![]() We’re doing that because the story warrants that kind of. “We have a dominant image that covers about half the page, and then there might be secondary images that show more details. “If you look at our front pages, they are very consistent,” Steele explains. 11, the Post-Dispatch’s editors and its director of photography have made the conscious choice to produce visually homogeneous covers. ![]() “We had to remake A1 at the last minute.” The resulting cover perfectly encapsulated the tension felt throughout Ferguson’s streets, as many of the newspaper’s covers have done over the last 10 days. “We had to be off the floor at 1 a.m.,” says Steele, referring to the process of sending the next edition to the printing presses. 14, Carson beamed back a picture of a man surrounded by tear gas at 12.50 a.m. It’s been essential for our coverage you have a consistent current of bad things happening after 12.30 a.m.”įor example, on Aug. “We have an early deadline at about 11 p.m., and we have one late deadline, which is very close to 1 a.m. “Santiago Carlos Ayulo, our presentation editor, has worked with the printing press to change our deadlines a bit,” says Steele. has offered non-stop coverage for the past 10 days, with journalists filing, on average, a dozen articles a day, and the photographers regularly uploading new images that are carefully curated in a daily photo diary.įor the print publication, the Post-Dispatch has had to make adjustments, as well, to respond to the situation’s urgency. And then, a whole day later, it’s in our newspaper.” “Traditionally, with a newspaper you think of the print medium, but I think this kind of event shows us how far in the past that is,” says Steele. That’s how we’re getting through it.”Įquipped with two cameras, a computer and an Eye-Fi wireless memory card, Carson has been able to file images within minutes of taking them-and speed, when covering breaking news, is obviously crucial. We have people starting in the evening, and we have people starting at 6.30 in the morning. “The amazing thing about this staff is that every single person volunteers, every single person is doing something to contribute. “We’re rotating eight photographers,” he explains. And that’s a key thing to have in this kind of situation.”Īt all times, the Post-Dispatch has between two and three photographers on the ground. We’re prepared because we have that knowledge. They are very familiar with the city, the dangerous parts of the city, and with the cops. Most of our photographers have been at the paper for decades. “We’re prepared in the sense that we have a very experienced staff. “It’s been a stretch to make sure that everything gets covered,” says Steele. “It makes it a lot harder to these things,” he says.Īnd yet, for the past 10 days, the Post-Dispatch has offered unprecedented visual coverage of a neighborhood in crisis-with some of their images ending up in newspapers and on websites across the world, including on ’s homepage. Today, Steele oversees a staff of 10 photographers and one multimedia director. But, as with countless newspapers across the country, the recession and the digital revolution have taken their toll. In the 1990s, the Post-Dispatch employed between 20 and 30 photo editors and photographers. “But having an isolated war zone, I don’t know how you prepare for that.” “We’re prepared for spot news,” Lynden Steele adds. “That’s not something that happens every day.” “It’s a little bit surreal to see President Obama talking about a situation that you witnessed firsthand the night before,” says Post-Dispatch photographer David Carson. ![]() 9, and the turbulent protests that followed, the paper’s staff photographers went to work-and they haven’t stopped. In the wake of Ferguson, Mo., police officer Darren Wilson’s fatal shooting of an unarmed black teenager named Michael Brown on Aug. ![]() Louis Evening Post, have been covering a national story unfolding on their doorstep. Over the past few weeks, the journalists at the Post-Dispatch, created by Joseph Pulitzer in 1878 from a merger of the St. We have to be able to stand by what we’re doing now because we’re going to be in that neighborhood weeks, months, years from now.” “We have to work knowing that what we do now will come back to us a month from now. Louis Post-Dispatch’s director of photography Lynden Steele recently told TIME. ![]() “When all the world’s media leaves, this is still our neighborhood,” the St. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |