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Posts Tagged ‘Tim Hetherington’

Tim Hetherington, war photographer in HBO doc April 18, 8:00 p.m. ET

In film, History, journalism, Media, news, photography, television, the military, war on April 18, 2013 at 12:53 am

By Caitlin Kelly

English: Tim Hetherington at a Hudson Union So...

English: Tim Hetherington at a Hudson Union Society event with Sebastian Junger, co-director of the Oscar-nominated, Sundance Film Festival Grand Jury Prize-winning documentary, Restrepo. (Photo credit: Wikipedia)

For those of you not working in news journalism, or photojournalism, award-winning British photographer Tim Hetherington was only 40 when he was killed in Misrata, Libya with photographer Chris Hondros in April 2011.

It’s easy to forget — or not even really understand — that while soldiers are killed, or maimed and traumatized by fighting in war, so are journalists, photographers, videographers and their fixers and interpreters. You can’t phone in war photos, so those shooting with a camera are often as much in the line of fire, as much in harm’s way as the soldiers they are with.

It is a small and tightly-knit community of men and women war journalists who move from one conflict zone to the next, their helmets and Kevlar flak jackets ever at the ready.

Author, writer and film-maker Sebastian Junger, who lives in New York, gave this long and intimate radio interview yesterday on the Leonard Lopate show on WNYC. He made an award-winning war documentary, Restrepo, with Hetherington.

Here are some images of American soldiers by Hetherington at the International Center of Photography, on display until May 13.

Every journalist, journalism teacher and student of journalism needs to watch this film and know what news reporting can cost.

A life.

English: Tim Hetherington at a photo session i...

English: Tim Hetherington at a photo session in Huambo, Angola in 2002. (Photo credit: Wikipedia)

I hope you’ll make time to watch this documentary and remember the sacrifice and bravery of those who witness war on our behalf.

We owe them our attention and respect.

Actually, this is the reporter’s job

In behavior, blogging, books, business, culture, journalism, war, work on November 13, 2012 at 12:50 am
Red Hook

Red Hook (Photo credit: mercurialn)

The New York Times’ new public editor’s last column praised the paper’s reporters and photographers for climbing stairs in the dark to find and interview and photograph victims of Hurricane Sandy:

That’s just one example among many in which Times reporters went to extraordinary lengths to get the stories of ordinary people’s suffering. I was equally struck by Cara Buckley’s and Michael Wilson’s’s front-page article about life without power in New York’s public housing projects.

It included this passage: “As light drained from the skies above the Red Hook Houses in Brooklyn on Thursday, Sharlyn Marin, 18, huffed her way up 140 steps to visit her godmother, Judith Rodriguez, on the 10th floor. Blind and in a wheelchair, Ms. Rodriguez, 62, relied on Ms. Marin as her sole conduit to the outside world.”

Such articles, involving shoe-leather reporting at its best, are not easy to get. The only way to get those scenes is to be there — in this case, to climb the stairs in a dark and dangerous housing project.

Ms. Buckley told me about her experience in an e-mail: “It’s actually a 14-story building, and the photographer, Ruth Fremson, and I went to the top twice and then worked our way down. No matter the time of day, the stairways were pitch black, windowless and without power.”

That’s their job.

These days, the expression “shoe leather” journalism seems unfamiliar to many reporters, especially those who came into the field assuming that Google has the answer to everything. Instead it means leaving the cozy, familiar newsroom and building and neighborhood. It means walking/climbing/hiking — doing whatever is necessary on foot (and by plane/car/bus/donkey/boat) — to get on-scene to witness and report the gritty details of a story.

It demands guts, street smarts, preparation — knowing what to wear and what to carry, finding and hiring fixers and drivers and interpreters.

Great reporters tells us what the air smells like, what the baby was eating, the color of the walls and the size of the windows. They capture tone, light, anecdote, vernacular, nuance. They bring us into that place and make us feel what those in that place are feeling, whether joy or terror. They smell the blood, sometimes even slipping in it.

They do not phone it in. They do not Google it or look at a Google map to see what the devastation looks like or watch it on TV or read it out of someone else’s story.

Great reporting on tough stories like this one mean getting, literally, down and dirty, joining the story where and when it’s happening. It means that reporters and photographers will indeed also end up hungry, thirsty, tired, sore and worn out  – like the people whose lives they’re there to describe to readers many miles away, safe and warm and dry.

Great journalism is fueled by compassion. Not every story requires it, obviously, but when reporting on war, poverty, violence, crime, natural disaster or medical mishap, a reporter unwilling to live it firsthand is only going to report a dessicated, sanitized version of the facts.

My husband and I have both done this sort of reporting work, I as a writer and he as a photographer. In winter, he spent six weeks covering the end of the Bosnian war. He had to sleep in an unheated metal cargo container and his Christmas meal was a small packet of dried soup. He and the reporter and their interpreter, their car car stuck, were towed out of a snowbank at dusk because Jose had thought to pack a carabiner in his luggage.

I’ve seen car windows sheeted with blood after a head-on collision, and — nauseated and terrified — walked toward the vehicle to see what make and model it was. I’ve walked across frozen fields, climbed muddy embankments, knelt on dirty floors.  I flew to Winnipeg, Edmonton and Toronto on a medical investigative story, and watched the women  I interviewed shake and cry as they related their misery to me. It was exhausting and emotionally draining for all of us.

That’s the point.

Shoe-leather reporting can also be lethal, killing legendary New York Times reporter Anthony Shadid last year, when he suffered a fatal asthma attack from the horses carrying him and his photographer across the Syrian border; the photographer, Tyler Hicks, carried his dead body into Turkey.

It killed photographers Tim Hetherington and Chris Hondros last year in Libya and it killed Marie Colvin, the American-born journalist working for the London Sunday Times. She had already been blinded in one eye by shrapnel while working in Sri Lanka.
Here’s a great profile of this amazing woman, in the August 2012 issue of Vanity Fair.

Stony Brook University, on Long Island, NY, is raising $1 million in her memory to fund its Journalism Without Walls program, which sends young reporters into the field.

Boots-on-the-ground detail-gathering is what readers need and deserve.

It’s necessary for us to truly understand our world.

It’s what we should expect.

The Touch of Fire

In behavior, business, journalism, work on January 13, 2012 at 5:51 am

If we’re lucky, at some point in our lives, we’ll feel the touch of fire — time spent with someone so inspiring, accomplished and genuinely interested in us and our talents, however latent — that brands us forever.

It’s happened to me twice (so far) in my life, both when I was in my mid-20s. The first was on my fellowship in Paris, founded and run by a charismatic, bossy, imperious, charming legend named Philippe Viannay. The man, even then in his 60s, dressed elegantly, laughed often and had created more social value in his lifetime than almost anyone I’ve had the privilege to meet since: he was a Resistance hero; co-founded a major newspaper; founded a home for wayward boys; founded a sailing school; ran a journalism school and, (whew) founded and ran Journalists in Europe, the program that chose me and changed my life and worldview forever.

We had an immediate rapport, and he introduced me to everyone as “le terrible Caitlin!” I was deeply offended until I realized it meant terrific. The fellowship changed everything for me: how I felt about myself as a person, as a writer, showed me I could thrive in another language and culture. I’m honored to have known him, and that he shared some of his time with me.

When I returned to my native Toronto, and got my dream job as a writer for The Globe and Mail, Canada’s national newspaper, I briefly met Jill Krementz, a photographer whose work is well-known to Americans, and the widow of writer Kurt Vonnegut. She came to Toronto for a day-long photo shoot for a book called A Day in the Life of Canada and, as a reporter, I shadowed her throughout the entire day.

I’d started my career eager to become a photographer and then — in the mid 1980s — there were relatively few women working at her level in that field. The notion of meeting her, let alone spending an entire day with one of my idols? Swoon!

It was amazing to me, (even with parents working in film and television), that people of this stature would make time to talk to me, get to know me a bit, share some of their wisdom and insight. At the end of the day, back when shooters used film, Krementz sat cross-legged on her hotel bed as she counted film canisters, and I pelted her with questions about her career and how she’d achieved what she had. She was tough as nails. Is that what it would take?

(Yes!)

I have a young friend in Tucson, far from the bright lights and easy professional contacts of a New York, Los Angeles, London or Paris. Roxana is quiet, pretty, soft-spoken, Hispanic, not a culture that necessarily “gets” a young woman eager to sell her news photos for a living. In her social circles, the odds of meeting a world-famous, globe-trotting star of her industry is slim-to-none.

But she did, and her meeting with Chris Hondros — killed April 20, 2011 in Misrata, Libya while on assignment– touched her deeply. They spoke, emailed, stayed in touch.

With her permission, I include her account of this amazing and life-changing experience:

In 2007,  my first semester in journalism, I took an ethics course. One day we were viewing one of Chris Hondros’ famous pictures, the one with a little girl covered in blood where all you can see next to her are the boots of a soldier. Powerful, powerful image and story.

We were discussing in class about how it should be published. My opinion was front page and in color — people need to know. For the course I decided to write my report on war photography and focus on Hondros’ work. One day, I friended him on Facebook just in case. Maybe I would be able to ask him some questions personally instead of citing a book.

Five minutes later, he messaged me back. He wrote, “Perfect timing.” He was going to be in Tucson a few days working on an economy piece for Getty Images. I was so excited, I jumped from my chair, smiling ear to ear.

Minutes later we were talking on the phone and I was helping him with information about Tucson, while another of my friends, also a great photojournalist, James Gregg, teamed up to help Hondros find what he was looking for. When he arrived it was like meeting a celebrity.  He was in Tucson for four days. I went out photographing with him one afternoon and felt so lucky. I kept blushing and was nervous.

But Hondros was so down-to-earth. Every time I asked him about his work he gave short answers, very to the point. He was more interested in talking about my work.

The last night he was in town we had coffee and I brought my work for him to see it. It was my first real news portfolio, mostly pictures taken for my college paper. I was very nervous. He glanced at them very quickly closed the book and kept talking about something else — before we left I asked him about my work. “It’s a first portfolio. Mine was bad when I started.” We laughed.

But he told me that I was very passionate and he believed that I would become better. We walked to his hotel, he gave me a huge hug and told if I was ever in New York City to look him up.

I don’t have a picture of me and him, and I wish I did. I felt too embarrassed to ask.

I never knew that I wouldn’t see him again.

After that visit I was in constant contact with him through Facebook, email, sometimes Skype. We chatted online when he was sent to Baghdad, or Afghanistan on assignment and I was always picking his brains.

The last portfolio I sent him to see, he said it looked good and sharp. He once told me that when I was ready he would take me to Getty Images. I was honest with him and shared my frustrations with journalism and finding a place to publish me. He would tell me not to give up on photography because I was good at it.

The day he died was so tough for me. I had never had anyone close to me die so suddenly.  I turned on CNN and there it was Tim Hetherington, confirmed dead, but Chris was still in critical condition. At the same time I was chatting online with a photographer from Kosovo living in France. He knew Chris too, and had helped him in Kosovo.

This community of war photographers and foreign journalist is small. Most know each other, and I’m so glad to be linked to them.

I prayed for Chris all morning and I didn’t leave my house. The hardest moment was seeing the woman on CNN say, “We have confirmed that Chris Hondros has died.” My mom held me tight.

I had spoken to him a couple of weeks earlier when he was in Cairo covering the revolution. All I could think of was our last chat. I didn’t think that he would leave so soon. I miss him so much. I still feel that he’s still out there photographing the world.

He is my drive and inspiration.

Have you been touched along the way by someone like this?

What effect did it have on you or your career?

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