Cess Gatchalian, Jamayka Rhose Pascual, and Fernan Carigma

In today’s rapidly evolving media landscape, journalism stands at the intersection of tradition and innovation, particularly in visual storytelling. School newspapers, once defined by photography's rawness, are increasingly favoring digital illustrations for cover pages. While some see this as a natural evolution, others worry it undermines the authenticity and impact of photojournalism.


For years, photojournalism has served as the foundation of visual reporting, capturing unfiltered moments that convey truth and evoke deep emotion. Iconic images appearing on the front pages of well-known newspapers in the country such as the Manila Bulletin and Philippine Daily Inquirer have played a crucial role in shaping public perception and documenting significant events with a raw authenticity that only traditional photography can provide. 

From the haunting image of the 1986 EDSA People Power Revolution, depicting a vast sea of Filipinos standing against tanks, to the stark front-page coverage of Typhoon Yolanda’s devastation in 2013, these photographs have not only informed the public but also deeply moved the nation. Whether celebrating Manny Pacquiao’s boxing triumphs or depicting the sobering realities of political upheavals, photojournalism continues to be a powerful force in shaping our historical narratives.

However, digital technology has significantly transformed the production of school newspapers under the Department of Education (DepEd). Tools like Canva and Adobe Photoshop enable student artists to create appealing illustrations and high-quality photos. This shift is evident in press conferences, where digital artwork is often preferred, especially in competitions like the NSPC and RSPC. However, the evolution of layout and design raises concerns about prioritizing aesthetics over authenticity in journalism, prompting the need to balance traditional photojournalism and digital illustration to maintain the integrity of campus journalism.

During the 1980’s, pioneering Filipino artists like Alfredo Manrique played a role in introducing digital arts to the mainstream media. Manrique, widely recognized as a trailblazer in the field, helped digital illustrations gain acceptance across various platforms, including newspapers. Over time, digital arts became more than just an alternative–it became a tool in both print and online news media outlets to convey meanings.

This shift eventually made its way into school publications. A notable milestone was on September 11, 2005, when the Manila Christian Computer Institute for the Deaf published a digital art comic strip emphasizing the experiences of deaf individuals. As digital illustrations became more advanced, they grew in popularity, particularly for newspaper cover pages in school publications.

However, this rise came with an unintended consequence–traditional photography, once the cornerstone of visual journalism, began taking a backseat. In many school press conferences, photographs have become secondary to digitally rendered graphics when designing newspapers.

Recently, a debate sparked on Facebook over whether school publications should continue prioritizing digital illustrations on their front pages. Many have noticed that “winning” student newspapers often showcase digital art over traditional photographs, raising questions regarding whether this shift enhances storytelling or diminishes the role of authentic photojournalism. Some believe that digital illustrations in school newspapers are used primarily for “aesthetic purposes,” helping publications secure championship titles in competitions. 

Yet, with this transition comes a growing concern, wherein school papers have started to resemble magazines rather than platforms for real journalism. Because of this, many advocate for a return to traditional photography, emphasizing the importance of giving photojournalists the recognition they deserve.

In one of the previous posts, a lawyer expressed displeasure over the use of digital art as a cover photo, stating, "Digital art should only be a second option. Let digital art shine elsewhere in the paper. Give the front page to the photojournalist. There is a reason why photojournalism is an entirely separate category in presscons. Good stories must be complemented, as much as possible, with equally compelling photos by the photojournalist."

At the same time, others see digital art as more than just decorations. With carefully crafted symbolism and thoughtful design, illustrations can capture emotions and convey messages just as powerfully as photographs. The ability of digital arts to enhance a story’s meaning and resonate with readers makes it a valuable tool in visual journalism.

Even professionals acknowledge that certain topics are better represented through digitally rendered illustrations rather than photographs. When dealing with sensitive and complex issues, digital art can provide a way to inform while also being mindful of the audience. After all, school newspapers are not just created for competitions–they exist to be read by students. Cartoonists and illustrators often find creative ways to tell stories without diminishing their impact, ensuring that essential messages still come across.

As school publications evolve, this discussion should move beyond debating which medium is better and instead focus on how visuals can enhance storytelling. Photography captures raw moments, offering authenticity, while digital art adds creative depth and symbolism. Rather than seeing them as opposing sides, they should be viewed as tools that serve different purposes, each capable of making a story more engaging and impactful. 

The solution is not to diminish digital art, nor is it to restore traditional photography to a place of dominance. Instead, we need to level the playing field. Both forms of visual storytelling should be given equal importance in school newspapers. 

Covers should not be judged solely on their artistry, but on how well they serve their purpose in journalism. A balance must be struck—one where illustrations enhance narratives without overshadowing the power of real-life imagery. Whether through a compelling photograph or a thoughtfully crafted digital illustration, the cover should communicate the essence of the stories it represents, drawing readers in and setting the stage for meaningful engagement.

Visual storytelling should not be limited when both photography and digital art can be used to convey emotions and messages more effectively. The question is not which tool should remain, but rather which is best suited to enhance the message of a specific story being told. Instead of viewing digital art and traditional photojournalism as opposing choices, we should recognize the value of both and adopt a more balanced approach. 

Dismissing either entirely does not protect journalism–it restricts it. Every story deserves the visual representation that best compliments its message, and that should be our priority. Journalism is not just about following tradition or chasing innovation, it is about telling stories in the most impactful way possible. By limiting the tools available to campus journalists, we risk lessening the depth and reach of their storytelling.

Student journalists are not just creating publications for competitions; they are shaping the future of media. And if we want that future to be fair, ethical, and rooted in truth, then we must learn to embrace both tradition and innovation—not as rivals, but as equal forces in the art of storytelling.