||The thesis looks at how the pre-famine conditions in the Yemen civil war are being portraied through photography in late 2018, early 2019 and, at its core, discusses the lack of systematic, institutionalised ethic regulations in humanitarian photography and its impact on the future of understanding humanitarian tragedies. It explores three different ways of photographic representation that all aim for charity as main purpose: case oriented, illustrative human rights photography (Doctors Without Borders), dehumanising and objectifying tendencies of mass media photography spectacles (New York Times) and the inbetween, using sequential narratives to generate context (United Nations Crisis Relief/UNOCHA). The following discussion explores the use of photography as visual spectacle rather than portraying human beings in a context that grounds them as human beings. This bases in the recent discourses of visual global politics (Bleiker, Hutchinson, Chouliaraki, Robinson, Pruce et al.). At last, it expands the discussion towards modern means of visual media (sequential photography, video, virtual reality, augmented reality, 4d)and explores the vast possibilities of integrating alternative media formats in humanitarian causes as well as its possible dangers that 'do-good' humanism can cause for humanitarian organisations in the long run.