Working in the reputable world of journalism, I told photographers to cover other peoples difficult life situations. I justified marching into moments of sadness, under the appearance of the readers right to know. I worked with professionals talking their way into situations or shooting from behind police lines. And I wasnt alone.

　　In any American town, after a car crash or some other horrible incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to take photos of the blood and injuries. But you are likely to see local newspaper and television photographers on the scene and fast

　　How can we justify doing this? Journalists are taught to separate, doing the job from worrying about the consequences of publishing what they record. Repeatedly, they are reminded of a news-business saying: Leave your conscience in the office, A victim may lie bleeding, unconscious, or dead. Your job is to record the image (图象). Youre a photographer, not an emergency medical worker. You put away your feelings and document the scene.

　　But catastrophic events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. They rush to obtain the rights to be the only one to own these shocking images and death is usually the subject. Often, an agency buys a picture from a local newspaper or an amateur photographer and puts it up for bid by major magazines. The most sought-after special pictures command tens of thousands of dollars through bidding contests.

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