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Posts Tagged ‘war photography’

Mourning two journalism greats: Anja Niedringhaus and Heather Robertson

In beauty, business, culture, journalism, news, photography, travel, war, women, work on April 7, 2014 at 3:01 am

By Caitlin Kelly

We recently lost — we being the global community of journalists — two women who made profound differences in the lives of their many grateful editors, colleagues and readers.

Too often, journalism appears to be a business dominated by men: publishers, editors-in-chief, front-page bylines.

Talented, brave women also shape much of what we see, hear and feel.

One, shot dead while sitting in a car in Afghanistan, was Anja Niedringhaus, 48, a news photographer from Germany; in the car with her, also shot (but recovering) is Associated Press veteran correspondent, and Canadian, Kathy Gannon.

Heather Robertson

Heather Robertson

The other, Heather Robertson, is a Canadian journalist who led a life-changing lawsuit against Canadian publishers who, in a land grab, decided to “re-purpose” thousands of articles and earn handsome profits from them — without bothering to share those profits with the writers who had actually created them and their economic value.

Two lawsuits took decades to move through the Canadian courts, but they gave many writers fantastic windfalls; I got two five-figure payouts thanks to her work, which allowed me to breathe more easily in lean times, which every freelancer faces at some point.

Here’s Heather’s obituary from The Globe and Mail,written by my friend, Toronto writer David Hayes:

“Heather was a Canadian nationalist and a feminist,” says her friend and fellow writer, Elaine Dewar. “Her voice was clear, honest and rigorous in a way that was uncommon at the time.”

She embodied her grandfather’s crusading convictions outside of her writing life, too. Aware that writers were underpaid and often treated churlishly by publishers, she co-founded both the Writers’ Union of Canada and the Professional Writers Association of Canada. Her biggest coup, though, came in the 1990s when she became the lead plaintiff in two lawsuits against the country’s largest media corporations, including The Globe and Mail, over the electronic rights of freelance journalists. (Ms. Dewar remembers that Ms. Robertson was smart enough to be afraid of the responsibility and brave enough to ignore her doubts.) The eventual settlement of more than $11-million remunerated many freelancers for lost income and established that publishers could not simply re-purpose a writer’s work on databases or the Internet without credit or payment.

Here’s a long, thoughtful appreciation of Anja — with many of her photos — from The New York Times’ Lens blog:

She was long accustomed to the field, and to the dangers getting to it, and back to it. She wrote an essay, ‘Emotions Speak Through Images,’ for Harvard University’s Nieman Foundation for Journalism, in which she wrote of her compassion for civilians she met in Bosnia, Iraq, Gaza and elsewhere. She said she wanted to ‘understand the situation through their eyes’ during an American raid on a house in Baghdad in 2004. But she was also struck by the youth of the American Marines, ‘just out of school, young boys.’

In a passage, she described how after the 2003 invasion of Iraq she slipped across the border from Kuwait into Basra by hiding inside a Kuwaiti fire brigade truck, then joined up with her A.P. colleagues.

“I remember watching a fierce battle around the city’s university. Shells started to land nearby, and most journalists left the scene,” she wrote. “I had just put on my bulletproof vest when another shell landed so close to me that it injured three of my colleagues. I escaped with bruises and was able to drive them to safety in our Jeep, even though it was also hit, and two of its four tires were flat. One of my colleagues, a Lebanese cameraman, had shrapnel close to his heart and was immediately operated on by a British Army doctor in a makeshift tent. We were flown out to Kuwait for further treatment. Three days later I returned to Iraq in a rented Jeep from Kuwait.”

And, another, from AP colleague David Guttenflelder:

I honestly don’t think that the AP could have covered that war without her influence. Our entire staff was raised in her image. I’m sure that even now, when they go out the door with their cameras they ask themselves “What would Anja do?” I think maybe every AP photographer has asked themselves that at one point…

“She was one of the best people I’ve ever known. I was so lucky to have known and worked with her. I’m just one of countless people all over the world to have loved Anja. We are all totally devastated,” Guttenfelder said.

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.

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?

A War Photographer Loses His Legs: Joao Silva’s Sacrifice

In behavior, business, Crime, Media, men, news, photography, politics, religion, the military, travel, work, world on December 1, 2010 at 12:45 pm
The New York Times building in New York, NY ac...

Image via Wikipedia

Here is a new slide show on The New York Times‘ photo blog, Lens, of the images up to the moment that Joao Silva, one of the world’s top war photographers kept shooting — and stepped on a land mine.

He lost both his legs. He is now recovering at the Walter Reed Army Medical Center. His wife and two children live in South Africa.

It is almost unbearable to me as a fellow career journalist who relies heavily on the bravery of men like Joao and his many colleagues to bring us the unvarnished news — that, in simply doing his job, he has been so grievously and permanently injured while I work safely at home at a suburban computer.

He even squeezed off three more frames after the explosion.

I write freelance for the Times and my partner has been a photographer there and now a photo editor, so Joao, and his work, feels like family.

Those who put themselves in harm’s way every workday do not always wear a military uniform. We have a camoflauge Kevlar vest — it’s so heavy! — in our storage locker that my sweetie wore every day he worked for the Times shooting the Bosnian war.

Every journalist, videographer, cameraman, fixer and translator telling these dangerous, possibly lethal and important stories is risking his or her life for us, for the truth, for the facts. For us. For our ability to know what’s happening before it it’s spun, twisted, hidden or omitted.

We  need to know what is going on in the world and we will always need, and rely heavily on, people like Joao to show us.

We owe them.

With His Photos of Young, Fallen Soldiers' Bedrooms, Ashley Gilbertson Casts A Fresh Eye On War

In photography, the military on April 15, 2010 at 3:06 pm
Africa during World War II:  a Vichy French Do...

Now for something a little different...Image by gbaku via Flickr

“I’ve been covering conflict and war for more than 10 years, but this is the first time that I’ve really felt like a war photographer,” said Mr. Gilbertson, who is based in New York.

This, from The New York TimesLens blog, one of my favorite on-line destinations, which offers the story behind the story:

Although his coverage of Iraq has won awards, including the Robert Capa Gold Medal from the Overseas Press Club of America in 2004, Mr. Gilbertson, 32, said he has stopped photographing combat zones because the American public isn’t responding anymore.

Now concentrating on showing the aftereffects of war, including post-traumatic stress disorder, Mr. Gilbertson looks at bedrooms as a way of memorializing the lives — rather than the deaths — of young combatants.

“It’s powerful to look at where these kids lived, to see who they were as living, breathing human beings,” Mr. Gilbertson said. “Their bedrooms were the one place in the house where they could express themselves with all the things they loved.”

To find the 19 rooms published by The New York Times Magazine, Mr. Gilbertson regularly visited “Faces of the Fallen,” on The Washington Post’s Web site. He narrowed his search to casualties who were around 19, then reached out to their families. In some cases, he spent months building relationships. He has also started a Web site with information on memorial funds.

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