Posts Tagged ‘journalism’

Human Chain Around Parliament – Free Assange!

Friday, October 14th, 2022

Last Saturday, 8th October 2022, I photographed a protest in London against the imprisonment and possible extradition of Julian Assange, currrently held in the UK’s maximum security jail at Belmarsh.

Human Chain Around Parliament - Free Assange!

Assange’s “crime” was to publish documents about US war crimes in Afghanistan, Iraq and elswhere, making documents downloaded by Chelsea Manning, making them available after suitable redaction to protect the individuals concerned to the world’s press and to the public on WikiLeaks. Wikipedia has a good and fairly detailed entry on him which most of the details here come from.

Human Chain Around Parliament - Free Assange!

If extradited to the US he would be put on trial in a area where the jury would be composed of people from an area with strong connections to the US security services who will already have pre-judged him as guilty. His sentence is likely to amount to 175 years in a US maximum security jail, probably in isolation and never to be freed.

Human Chain Around Parliament - Free Assange!

In 2010 Sweden issued an extradition warrant for him on allegations of sexual misconduct, which were widely seen as a pretext to enable him to be extradited from Sweden to face criminal charges in the USA. When in 2012 he lost his fight against extradition to Sweden he jumped bail to take refuge in the Ecuadorian Embassy in London, where he lived in highly restricted accomodation until 2019.

A new government in Ecuador decided to end his asylum in the embassy and invited police in to arrest him in April 2019; he was then sentenced to 50 weeks in jail for breaching his bail. The Swedish sexual charges against him were dropped later in the year, but the USA immediately began proceedings to extradite him to face trial under the US 1917 Espionage Act.

The decision to use this Act has been widely criticised in the press and elsewhere as being an attack on the First Amendment to the United States Constitution, which guarantees press freedom. And if Assange is guilty then it seems clear that the editors of the newspapers that published the revelations he made in publising the Baghdad airstrike Collateral Murder video, the Afghanistan war logs, the Iraq war logs and other material could also be prosecuted. Even my publishing the link to the video could be a crime.

Assange’s sentence was completed in September 2019, but he was kept in jail because of the US extradition claim. He had been visited earlier by Nils Melzer, the United Nations special rapporteur on Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment, who, as quoted on Wikipedia found “in addition to physical ailments, Mr Assange showed all symptoms typical for prolonged exposure to psychological torture, including extreme stress, chronic anxiety and intense psychological trauma.”

After a protracted hearing including much medical evidence, a judge on 4 January 2021 ruled that Assange could not be extradited to the USA on grounds of mental health and the suicide risk in a US prison cell. The USA appealed the decision, and Assange remained in jail. The High Court rejected much of the medical evidence, believed the US lies of fair treatment made and found in favour of the USA on 10 December 2021.

In April his extradition was formally approved in court and referred to Home Secretary Priti Patel, who approved it in June. But the legal battle continues with a new appeal. Essentially Assange has now been locked up for 10 years. Wikileaks has continued his work in releasing information in his absence. The continuing persecution by both the UK and USA for revealing their war crimes seems spiteful and malicious.

On Saturday 8th October I photographed a protest in London by around 10,000 people who formed a human chain calling for Assange to be freed and not to be extradited around the Houses of Parliament, crossing the river on Westminster Bridge and returning across Lambeth Bridge, a distance of a little over two kilometres.

It’s difficult to know how many took part, but there seemed to be enough people to join hands, with quite a few to spare in some parts where people were shoulder to shoulder and some to spare. The organisers had thought they would need around 5,000 so I think it was probably rather more than that; estimates I’ve seen range from 3,000 to 12,000. But as well as those present in person, many unable to get to Londonwere represented by yellow sashes with their names on them.

When I arrived people were tying these to the railings around the Houses of Parliament, but police came to remove them, handing them back to the protesters. They said nothing was allowed to be fixed to the railings. Many of the protesters held or wore the sashes for the protest, and although I don’t often take part in the protests I’m photographing, most of these pictures were taken by me with a sash reading ‘#Free Assange Monique Dits Belgium‘ around my neck.

At around 1.30, rather later than planned people were told to link hands and they chanted ‘Free Assange’ and other slogans for a few minutes. I’d chosen to be on Lambeth Bridge for this as I could then take photographs with the Houses of Parliament seen across the Thames in the backgound.

After taking some there I made my way along the rest of the chain back to Parliament, on my way passing John McDonnell being interviewed by a videographer. Normally I would have stopped to talk to him, but by now I was rather tired, still suffering a little from my booster jab the previous day and I carried on, past a small crowd of people with video and still cameras three or four deep around Jeremy Corbyn. But I’d decided he wasn’t really the story and carried on. I’ve photographed him enough times over the many years I’ve known him.

You can see more of the pictures I made in the album Human Chain Around Parliament Says Free Assange.


Harold Evans

Friday, September 25th, 2020

Harold Evans, certainly one of the greatest newspaper men of the second half of the twentieth century and the early years of this, died aged 92 on 23 September 2020. Many obituaries have appeared about him in print and online, and there is little point in my repeating the details of his life.

One thing that his career does illustrate is the malevolent power of Rupert Murdoch and the undue influence of him (and other billionaire newspaper proprietors) on what we are allowed to read. Murdoch appointed Evans as Editor of The Times when he took over the newspaper group in 1981, but the following year Evans resigned because of policy differences relating to editorial independence.

Like many photographers I have a well-used copy of his 1978 book ‘Pictures On A Page‘ written when he was Editor of The Sunday Times and in association with the paper’s Design Director Edwin Taylor. It was Book IV in a series of 5 volumes in the series by Evans, Editing And Design, “Published under the auspices of the National Council for the Training of Journalists“. It was a work I made extensive use of when I taught photography. It’s worth reading if you have any interest in photography or being a photographer, not simply for journalists.

I never met Evans, but Graham Harrison did, and on his Photohistories site is a fine piece on the man and the book Harold Evans and Pictures on a Page which I firmly recommend you to read.

The book has gone through several editions and revisions since its original publication and if you don’t already have a copy is well worth buying. You can find later editions secondhand for around a fiver as well as rather more expensively, though I’ve not found anything to match the £5,710.07 plus delivery that Harrison found on Amazon in 2015.


Not Window Dressing

Thursday, September 19th, 2019

I’ve never worked in the United States (or as they call it, America) or at least only digitally, having been on contract serially with three major US companies over a period of around 7 years. It started well, but ended sadly, at least in part because I wasn’t from the States.

During those years I sometimes had to write about the USA as if I was located there, taking a lively interest in exhibitions at US museums, reporting on some US events and US institutions, and about the US photography culture in general (and more difficult, on Thanksgiving and Independence Day.) In later years I even had to use ‘American English’, though I made no secret of being British and continued to try adopt an international approach, introducing my readers to photography around the world.

There were many ways in which photographers working in the USA had things rather better than us in the British Isles, and perhaps the basis of all these was a culture that took photography much more seriously than here, something that was perhaps most apparent in the number of museums and galleries and in the US press.

And generally books, magazines and papers were happy to pay usage rates that were considerably above those in the UK. I remember getting one request from a left magazine with a profuse apology for what little they could offer me for a picture which was at least twice what a more mainstream British publication would have paid, and was annoyed a few years later when a UK agency sold a picture for text book use at just under a third of the payment I had negotiated directly with the publisher for a previous edition (and then took 50% of that meagre fee for their efforts on my behalf!)

One of the reasons for these differences is the presence of strong organisations representing photographers, one of which is the National Press Photographers Association, NPPA. Of course we have organisations here, but good as some are, none has the same clout.

Newspapers across the USA are now suffering with competition from the web (and some have very fine web sites themselves) and many have made drastic cuts in staffing, with many photographers being ‘let go’, leaving many, particularly the smaller regional and local papers that are much more important in the US than here, without staff photographers and with very limited budgets for pictures. As of course we’ve seen in the UK.

It’s a situation that led Jaymie Baxley , a reporter working for The Pilot in Southern Pines, North Carolina to take pity on his fellow journalists and help them by “creating a resource for reporters in small newsrooms that no longer have visual journalists“, setting up a website offering his own editorial photographs for free.

As you can read on the NPPA web site in a post by Sue Morrow,
Pictures are not window dressing. In fact, pictures are the window, this did not go down well with other photographers. And the NPPA got on the case, explaining their position to Baxley, who quickly took down the website.

Under Morrow’s article is a post by NPPA President Michael P King which makes a great case for professional photography, starting from the premise ‘Photography is valuable‘ and giving some reasons why.

It’s a statement I think is worth reading and which makes a great case for using professional photography – by staff or freelance photographers. As he says it’s a matter of trust and legality and of retaining credibility for news organisations.

Controlling the Image

Thursday, September 5th, 2019

Two stories I’ve read in the past couple of weeks have illustrated an increasing attempt by organisers of events to control the way they are photographed. It’s something that has happened over many years in some limited areas of photography, particularly around the film and music industries, but which seems now to be widening as PR people become more and more involved.

I’ve only rarely worked in areas where accreditation is vital, and have hardly ever needed to get permission before distributing or publishing images. Occasionally when taking portraits I’ve shown pictures of people to them before sending them off, but generally only as a courtesy; fortunately I’ve never had anyone object to my choices. But then I usually try to show people at their best, and generally delete pictures that show people in an unfairly negative light rather than use them. It’s a decision that has almost certainly cost me considerably with pictures of some politicians.

There have been one or two cases where long after an image has been published on a web site I’ve been asked if I would remove it. Unless there is a legal imperative or a very good reason – for example that it might endanger someone’s safety or even life by enabling a violent offender to trace them – I ignore such requests. Being unflattering isn’t grounds for censorship.

Often I’ve photographed aspects of events which the organisers would prefer were not shown, but I’ve not faced the kind of problems which Manchester-based photographer Joel Goodman describes in his blog post about his experiences in photographing Manchester Pride. Of course people have deliberately got in my way (police and security staff are skilled in this) but I’ve not been threatened with removal and ejection from events, though rather too often with arrest.

One of Goodman’s main complaints is about a PR person who tried to prevent him from taking pictures when “a lesbian gender ideology protest attempted to hijack the front of the parade“. Later the same woman came up to him at a candlelit vigil and told him he had to leave, because of his coverage of the earlier incident and also his photograph of Ariana Grande, taken from a public place after he and other photographers had been banned from photographing the event – for which the singer’s team provided a single image for media use.

Goodman, who I’ve met covering various events in London and whose photographic work is admirable, makes his points about this clearly, stating his legal rights as well as making clear what he feels is his job as a journalist, and his feelings as a gay, HIV+ man in being told by Pride’s PR team he was not “on our side” and would be refused accreditation for Pride in future years.

Clearly Pride’s attitude is totally unacceptable and as Goodman says, it “exposes the ever present danger of the sort of expectations PR operatives have of journalists, in exchange for access.”

At the bottom of the post are links to his photographs of the events, and as you can verify they show a totally professional approach.

The second article I read was by photographer Peter Dench in the Amateur Photographer, in a post I don’t care if my documentary shots are ‘unflattering’ about covering several sporting events. On a press trip to a prestigious horse-racing event for The Sunday Times Magazine he met two people who described themselves as ‘journalists and influencers and vloggers’ who he says seemed ‘to have spent most of their day in the hospitality box making saccharine social media posts of the sponsor’s products.’ I’m sure they were the PR’s delight.

At another sporting event he was asked when leaving by the PR to show the photographs he had taken in the VIP marquee. Dent writes: “‘I can’t do that,’ I said. ‘I haven’t seen them yet and after I’ve seen them, the client will be the next to see them, then I can let you have a look’ ” He was then informed that a photographer ‘the previous year had taken a less-than-flattering photograph of a minor royal and was now excluded from all of their events.

Dench goes on to mention other cases of photographers being warned not to take ‘unflattering’ pictures or have accreditation refused. He concludes with the sentence ‘Photographers shouldn’t stop taking truthful photographs of what they witness. They may not be seen immediately but one day, I hope, they will form an important archive of our time.’