Tag Archives: photography

Journalists: “Stay Safe” while on assignment

By Christopher B. Daly

Journalists face an unprecedented array of threats: the traditional physical dangers of covering riots and fires; the new online threats posed by trolls; partisan attacks on coverage someone doesn’t like; electronic hacking of our phones, laptops, and other gear.

At Boston University, where I teach journalism, my colleagues and I are trying to develop materials to help our students “Stay Safe” while they are on assignment — reporting, shooting videos, taking photos, recording audio, or whatever. This was prompted by the horrors of the 2013 Boston Marathon bombing (which took place very near our campus) and renewed by the recent denunciations of the news media by President Trump and his supporters.

Below is an attempt to distill best practices from two conferences. If you have experiences or advice to share, please leave a comment.

A JOURNALIST’S GUIDE TO SAFE REPORTING

 

In rare and unpredictable circumstances, our work as journalists requires us to approach dangerous situations and take calculated risks. Other times, an apparently benign assignment can turn threatening. Wherever your assignment or curiosity takes you, keep these principles in mind:

 

DON’T GO ALONE. If you can, go with another journalist. In any case, always make sure someone knows where you are – an editor, a colleague, a friend, a parent. Stay in touch with your “desk.” If there is a calamity, post to Facebook or some other platform, as soon as it is safe, so your friends and family know that you’re OK.

 

DON’T MAKE THINGS WORSE. Do not interfere with “first responders” – their work is even more important than yours. Do not take a risk that results in you needing to be rescued.

 

DON’T GET IN THE WAY. Take up a position where you can see but where no further danger will come sneaking up from behind. Cover your backside. At a fire, stand upwind, so that the smoke and cinders are not blowing at you. Don’t stand right above a working fire hose; they are under a lot of pressure. At a bombing, remember that bombers often plant a second bomb, timed to go off right around the time you would be arriving.

 

DO BE PREPARED. Wear sensible clothes, especially sturdy shoes, even on routine assignments. Pick clothes with lots of pockets. Bring all the gear you depend on, including extra batteries. Wear a press badge on a lanyard, so it’s visible. Carry a pencil or two, just in case your ink runs out or freezes.

 

DO MAINTAIN “SITUATIONAL AWARENESS.” Look around and listen to the environment, even while doing an interview or taking a photo. In disasters, things change fast. Be ready to run.

 

DO WHAT YOU’RE TOLD. Within reason, obey the lawful safety dictates of firefighters, police officers and other first responders. (This does not mean you have to submit to unconstitutional restrictions, but unless you bring your own army, you may have to fight that one another day.)

 

DO TAKE A COURSE IN FIRST AID, from a group like RISC, and consider a course in self-defense.

 

ESSENTIAL GEAR:

 

–Press pass, visibly displayed on a lanyard.

 

–Identification (and, where appropriate, passport).

 

–Cell phone, with charger and external backup power supply.

 

–Digital camera, with charger and external backup power.

 

–Cash and credit card.

 

–A bandana (which can be used to protect your face from smoke or tear gas).

 

–A headscarf.

 

–A bottle of water (and some kind of energy bar).

 

–Collapsable monopod or hiking staff (or, a flexible mini-tripod).

 

–Batteries of all kinds.

 

–Pens, mechanical pencils, etc.

 

–Flash drive or external hard drive.

 

–Mini-binoculars (I keep these around for birding, and they can come in handy).

 

–Comfortable clothes with lots of pockets.

 

Most of these things should be in your backpack at all times. You never know!

 

 

 

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What can we learn from a Civil War sketch artist?

by Christopher B. Daly

Plenty.

The little-known artist Alfred Waud was one of the most important “visual journalists” covering the greatest conflict in American history. Along with the young Winslow Homer and Thomas Nast, Waud was assigned to cover the fighting, including the critical Battle of Gettysburg, by drawing sketches that could quickly be converted into engravings that could be printed along with text in the pages of newspapers like Harper’s Weekly.

Much better known are the photographs of Mathew Brady (and his less-well-known team of assistants). But Brady’s photos, for all their power and terribly beauty, all suffered from the technical limitations of the mid-19th century. In order for the chemical emulsions used in photography to leave an impression on the glass or metal plates, the camera’s shutter had to be left open for a comparatively long time — at least several seconds. As a result, cameras in the Civil War era were unable to stop action. If the subject was moving, the image would be blurred.

So, it fell to sketch artists to capture any scene involving motion or action.

Sketch of action at Gettysburg by Alfred Waud for Harper's Weekly. Library of Congress.

Sketch of action at Gettysburg by Alfred Waud for Harper’s Weekly.
Library of Congress.

Now, a professor at Northern Kentucky University has used a Waud sketch to try to learn more about the crucial fighting that took place in Gettysburg, Pa., from July 1 to July 3, 1865. Emeritus Prof. Michael C.C. Adams argues that the sketch by Waud can be used to deduce the distance at which the opposing forces opened fire on each other. Many more Waud sketches can be found online or at the Library of Congress.

In the history of journalism, those Civil War sketches are some of the first examples of illustrating the news in a documentary fashion. Hats off to those brave sketch artists who got right up to the front lines armed with nothing more than a palette and some chalk.

 Alfred Waud, at Gettysburg. Library of Congress


Alfred Waud, at Gettysburg.
Library of Congress

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Photo gallery from Galapagos

By Christopher B. Daly 

Recently, I had the chance to visit one of the great destinations in the world — the Galapagos Islands, the equatorial archipelago in the Pacific made famous by the visit by Charles Darwin in 1835. Like many people, I have wondered about the Galapagos ever since first reading On the Origin of Species in college.

This trip was also a personal pilgrimage, to survey the place where my father-in-law, Army Lt. James W. Fishel, served during World War II. He and his men never surrendered an inch of territory to the Japanese (who did them the favor of not showing up).

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Million+ historic photos put online

By Christopher B. Daly 

Don’t miss: if you are a historian, researcher, or dedicated browser, visit the new flickr site of The British Library. The library recently made news by posting more than 1 million historic images — all digitized, all in the public domain, and all available for use now. Plus, there’s metadata for each one. The site is not as easy to navigate (it’s actually a bit overwhelming) as the U.S. Library of Congress site for the Prints & Photographs Division, but I’m hardly complaining.

It’s also based on flickr, so you need to have an account to take full advantage. (I tried to re-activate my old Yahoo account — Yahoo bought flickr a few years ago — but it was so cumbersome and annoying that I gave up, for now. I got these images by dragging them in from news sites.)

British Library Flickr

 

blflickr5_0

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Filed under history, journalism history, Photography, Photojournalism, Uncategorized

Shameless self-promotion (Journalism history division)

By Christopher B. Daly

Finally, it’s here: the electronic version of my book about the history of U.S. journalism, Covering America.

Just in time for the anniversary of the rollout of the hardback, this prize-winning book is now available in all major formats:

Nook,

Kindle,

Apple iBook, (This is the format I am checking it out on, and it looks great.)

Google Play,

you name it.

I am very pleased because I know that some folks have been waiting for the e-book. These formats make the book quite a bit cheaper and dramatically lighter! For people who don’t feel drawn to the ~$50 hardcover, here’s your chance to read Covering America. The book won the 2012 Prose Award for Media and Cultural Studies, and it has been selling well and drawing rave reviews (except for one stinker on Amazon — sheesh).

Enjoy it, and write to me about your reactions. You can comment here, or email me: chrisdaly44@gmail.com

CA cover final

 

 

 

 

 

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Filed under broadcasting, CNN, Covering America, David Halberstam, FCC, First Amendment, Fox News, history, Huffington Post, Journalism, journalism history, leaks, Murdoch scandal, New York Times, NPR, Photography, Photojournalism, Politics, publishing, Supreme Court, The New Yorker

Tyler Hicks: photos from Timbuktu

By Christopher B. Daly

The intrepid Tyler Hicks, conflict photographer for The New York Times, has made it to Timbuktu, recording the campaign to oust the Islamic militants who briefly held the remote city and the aftermath of the city’s liberation. Hicks (a graduate of the program where I teach at Boston University) has been to all the major hot spots in recent years and has survived a number of threats, including kidnapping. We should all treasure his work:

An ancient manuscript saved from destruction. Photo by Tyler Hicks / NYT

An ancient manuscript saved from destruction.
Photo by Tyler Hicks / NYT

 

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Civil War at 150

By Christopher B. Daly

Among the many worthwhile efforts to recall the U.S. Civil War on its 150th anniversary is an attempt to add a visual dimension. The “Civil War 150 Pinhole Project” is reviving the technology of the pinhole camera to make dramatic images of re-enactors and others. A hat-tip to Michael Falco, a photographer based in NYC for making this happen.

Some results:

Antietam cornfield

Antietam cornfield

crossing_artillary

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The big picture

By Christopher B. Daly 

In case you missed it, here is the Washington Post‘s panoramic photo of Obama’s second inaugural, which is quite impressive. (I’m just not crazy about those tags. They take up a lot of space and block a lot of pixels. Maybe there is a better design.)

And if you want to know how it was done, here is an explanation by the Reynolds Journalism Institute at Mizzou.

Can you spot yourself?

d

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Subway photos: The journalist’s dilemma

By Christopher B. Daly

Anyone who has ever ridden the NYC subways has probably thought about it as you stand on the platform waiting for a train. What if some crazy bastard snuck up behind me and pushed me onto the tracks? Could I get back up? Would anyone help me?

Or, perhaps a variation on the theme: What if I see someone else pushed? Will I have the courage to jump down there and help?

The recent tragedy in New York City pushes all these thoughts (and more) into focus. These issues often rise to the forefront when journalists are on-scene. It seems that photojournalists, in particular, are often thrust into these situations, because photographers are so often at or near the scene of terrible things.

This is an issue that I took up in my recent book, Covering America.(pgs 329-330)

Here’s an excerpt that was prompted by the famous photo from the American war in Vietnam that showed a Buddhist monk burning himself to death in protest. (More thoughts after the excerpt)

. . . On June 11, 1963, the Buddhist monks of Vietnam took center stage. For weeks as the crisis built, the AP’s Mal Browne had been filing stories, and he had spent a lot of time in pagodas, interviewing monks and getting a good understanding of  their cause. On the night of June 10 Browne got a call from a contact among the monks, telling him there would be an important development the next morning at a small Saigon pagoda. Several Western correspondents got the same tip, but only a few showed up, including Browne and, later, [David] Halberstam. Only Browne, under the AP photo policy, was carrying a camera. After a while, a 73-year-old Buddhist monk, Thich Quang Duc, went to a busy Saigon intersection and sat down in the lotus position, ringed by hundreds of other monks. Several monks doused him with gasoline, then he struck a match (fig. 11.2). As the flames rose, the monk never flinched. Browne kept working. “Numb with shock,” Browne later recalled, “I shot roll after roll of film, focusing and adjusting exposures mechanically and unconsciously, almost as an athlete chews gum to relieve stress. Trying hard not to perceive what I was witnessing I found myself thinking: ‘The sun is bright and the subject is self-illuminated, so f16 at 125th of a second should be right.’ But I couldn’t close out the smell.” Browne probably could not have intervened once the match was lit, even if he had been prepared. The hundreds of monks would have stopped him.

Malcolm Browne / AP

Malcolm Browne / AP

This incident, like much else that correspondents saw in Vietnam, dramatizes a problem that might be called the Journalist’s Dilemma. For obvious reasons, journalists often witness tragedies and catastrophes. In the course of reporting or shooting photos, they are sometimes confronted by an apparent conflict between continuing to work or stopping to render assistance. Should the journalist step out of the traditional role of observing news and try to help? If the journalist intervenes to prevent a tragedy or to offer aid and comfort to victims, does he or she thus enter the story as a historical actor and give up any claim to practicing journalism (and along with it, perhaps, any First Amendment rights)? Close examination of many cases reveals that the Journalist’s Dilemma is often an illusion. In most instances, the action unfolds so quickly that there is no time for decision making, while in others, the journalist is in fact able to observe the news, record it, and still rise to at least a basic level of humanitarian action. Still, it is in the nature of a dilemma to have no ultimate solution. . .

Like soldiers, cops, EMTs, firefighters and other “first responders,” news reporters and photojournalists often find themselves running toward trouble rather than away from it. As a result, they are often present when bad things happen. This, of course, does not mean that they caused the bad thing, just that they were in the vicinity. Throughout the history of journalism, going at least as far back as Samuel Wilkeson of the New York Times covering the battle of Gettysburg in 1863 and finding the body of his own son among the Union dead, the issue has come up again and again. Here are some notable cases:

Kevin Carter 1993

Kevin Carter 1993

–There is the story of photographer Kevin Carter, who took a heart-stopping photo of a starving child apparently being stalked by a waiting vulture. That photo, taken in Sudan in 1993, earned him both praise and condemnation. After the photo won the Pulitzer Prize in 1994, Carter took his own life. Here is his NYT obit (written by South Africa correspondent Bill Keller). Few people realize that Carter helped save the girl’s life. His story was later the focus of a film, called “The Death of Kevin Carter: Casualty of the Bang Bang Club.” (Made in 2006 at the Cal-Berkeley School of Journalism.)

–There is the longer version of Mal Browne’s photo of the burning monk. Browne also describes the incident in a segment of a terrific historical PBS video called “Reporting America at War.”

KIM PHUC VIETNAM –There is the story behind another famous Vietnam war photo — the “napalm girl” photo of 1972, taken by photojournalist Nick Ut, a Vietnamese native who was working for the AP at the time. As with Kevin Carter, few people who saw this photo ever learned that Ut put his camera down and render aid that probably saved the girl’s life. Here is a version told in part by the AP photo chief in Saigon during the war, the prize-winning photojournalist Horst Faas. The girl, Kim Phuc, survived and moved to Canada. Here is more about her. She was also the subject of a 1999 biography by Denise Chong called The Girl in the Picture. Photographer and subject also met several times.

–More recently, NYTimes photojournalist Tyler Hicks has found himself in the thick of things all throughout Pakistan, Afghanistan, and the countries of the Arab Spring. Hicks, a Pulitzer Prize-winner, was captured in Libya in March 2011. Later, he was with his colleague Anthony Shadid when Shadid died from a severe asthma attack that came on while the two journalists were entering forbidden territory in Syria. Hicks carried his buddy’s body across the border into Turkey. images

–Finally, there is the incomparable James Nachtwey, who has been thinking about these things for a long time. Here are some of his thoughts in a TED talk.

 

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Horst Faas, great news photographer, dies at 79

By Chris Daly

One of the most important photographers and photo editors of the last century has died. Horst Faas, a two-time Pulitzer Prize-winner during his long career at The Associated Press, was 79.

Obits are here and here and here.

Horst Faas in a heroic pose / AP Photo

Faas really made his mark in Vietnam, where he was stationed from 1962 through 1973. There, he planned the coverage, trained new photographers and photo stringers, edited many of the most memorable images of the war, and shot photos himself. From the tiny darkroom in the bathroom of the AP’s Saigon bureau, he was responsible for much of the “look” of the war.

Two photos are always associated with Faas and his constant efforts to disseminate photos that would show the reality of war:

–in 1968, during the Tet Offensive, the AP photographer Eddie Adams snapped a photo of a South Vietnamese officer executing a Vietcong prisoner. The photo caught the very moment when the bullet entered the prisoner’s head and captured something about the offhand violence of the war.

Eddie Adams / AP Photo

–in 1972, he fought to transmit the unforgettable image of a young girl fleeing naked and screaming from a napalm attack. The picture was shot by Nick Ut, a Vietnamese photographer trained by Faas, and the decision to send it out was one that Faas fought hard for. I remember seeing it on the front page of the Boston Globe on the day it was published in 1972 and never could forget it.

Nick Ut / AP Photo

As I discovered in researching my new book on the history of journalism, Covering America, Faas was also responsible for another of the most emblematic photos of the Vietnam War, the photo from 1962 of a monk burning himself to death in protest against the government of South Vietnam. The photo was taken by AP correspondent Malcolm Browne. But Browne was a reporter/writer, not a photographer. The only reason he was carrying a camera that day was that Faas insisted that all AP correspondents learn to take photos and carry cameras with them. Back at home, union rules forbade AP correspondents from shooting photos, but in Vietnam, those rules didn’t apply, and Faas wisely turned everyone into a photographer.

Recently, while researching the photos for my book, I came across Faas photo. This is a photo that I knew I wanted for my book, but I had a devil of a time figuring out who owned the rights to it. I had seen it variously credited to TIME and the New York Times (both wrong) and to the AP (not quite right either). It is a photo that shows three of the key U.S. correspondents stationed in Saigon during the early years of the war: David Halberstam of the Times, Mal Browne of the AP, and Neil Sheehan of UPI (later of the Times). They are standing around in front of a helicopter. Browne is smoking and Sheehan holds a big map.


According to Faas, he took the photo himself. And he told me that he took it with his own personal camera and that it never belonged to AP. But rather than rile the AP and its lawyers, he sent me the image directly via email and said to go ahead and use it with his blessing. Here’s what he wrote late last year:

I took the photo at the time as a personal picture and should have it in my personal computer files. I will look for it beginning next week: No time now – I am off for a quick trip (without my computer). Since all my material at the time was officially AP material I don”t want to get in conflict with AP and would give you the photo “courtesy of..” i.e. free of charge, In return I would be interested in a copy of your book once it is published. OK?

Best regards, Horst Faas

Thanks again, Horst.

I also want to share another photo that Faas sent me (“courtesy of” the photographer). It shows the press corps in Saigon in 1963:

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