Skip to main content

Photojournalism: to take a picture or save a life

10 minutes after it happened.
What do you do first as a photo journalist if you see someone in grave danger? Take a picture or help. I know the answer 100 per cent, from personal experience, because that's the situation I was in on Sunday 4 April 2010.

As a photojournalist I've been in many tight spots and when it's your own life on the line you just take risk as a given. In certain situations you expect danger. But when you're out for a walk on a beach in Belgium, taking pictures on a clear afternoon, you don't expect to be plunged into a life and death situation.

Magda, my wife, and I were photographing near the harbour in Ostend. As photographers we often venture into areas not open to the general public to get more interesting images. So we went under the rope cordon and crossed into a construction area.

20 minutes later I heard a shout for help and to my horror 10 meters away I saw Magda sinking into quicksand. I rushed over and managed to stay just on the edge of the patch. When I saw my boot starting sink as well I knew I had to act really quickly. Magda was already waist deep. A few more minutes and it would have been over. A grim death. I grabbed her wrist and yanked her out. I knew speed was of the essence as the further she sank the harder it would be to get her out.

We both remained calm. Magda did shout, "My camera, my camera!" Afterwards we thought that was really funny.

"You should have taken a picture of me in the quicksand. Some photojournalist you are! Although at the time I would probably not have been amused," said Magda later.

So there you have it. I'm a trained and experienced photojournalist but when it came to seeing Magda in grave danger, I didn't get the shot.

If you would like to read Magda's version of the story then check out her blog. She also has photos of where it happened.

I know many of you go out photographing by yourselves. Do please be careful.

Please feel free to follow me through the Google widget on the right.

Till soon,
Paul
www.indigo2photography.co.uk

Comments

sulayman said…
I'd hate to think what kind of person would choose to take the shot over save their own wife. :)
Anonymous said…
Obviously i can remmember due to this article, the story of Kevin Carter and the story of his photo, the vulture waiting for the death of a starving girl.

The history says that Carter left the girl alone, after taking the photo, and it´s like in your article, but in the other side, you saved you´re wife, but Carter left the girl.

Sometimes, we take wrong ways...

Popular posts from this blog

Overcoming creative block and self doubt

Every photographer, for that matter every creative, I've ever met comes to a point when they're not happy with the work they're producing. The pendulum between creative highs and dry spells swings continuously. For some the cycle is long and the bouts are quite mild for others the feeling of doubt about their work can be a crushing experience which returns all to frequently. It's actually quite healthy to have these periods of doubt because it can often be the beginning of something new and interesting which takes you further than you thought possible. Creatives in the commercial world have to always perform and although they may agree looking back that they've had a few patches where their work was less good, they always seem to bounce back. A very few creative geniuses deliver such high quality work that their poorest attempts still surpass the rest of us. But I have never heard of anyone, from tortured soul of Van Gogh to the supreme showman and genius, Salvador ...

What You Photograph Reveals How You Think

  Photography is often described as a way of seeing. Less often do we talk about it as a way of thinking. What you choose to photograph, and just as importantly what you ignore, quietly mirrors how your mind works. Some photographers are drawn to faces, micro-expressions, emotional spikes. Others chase atmosphere, light, mood. Then there are those who gravitate towards structure, systems, order, the invisible logic holding a scene together. None of this is accidental. The camera becomes a sorting tool. It reveals what your brain prioritises. Where others see chaos, you might see alignment. Where some look for drama, you look for balance. Geometry, repetition, flow, layers, these aren’t just visual preferences, they’re cognitive ones. Strong graphic images tend to come from people who think spatially. Who notice how things relate before they notice what they mean. Lines before labels. Structure before story. And yet, the best images rarely stop there. They gain depth when human pres...

Is professional photography still a viable career?

I am not against amateurs and semi-professionals selling their photography. It's a great way to earn some extra cash. However I am concerned about the level of high quality published work and the standards that clients and the public accept these days. It seems that just about everyone is a photographer. The line between amateur enthusiast and professional is fuzzy to say the least. Photography enthusiasts are selling their images through stock libraries and microstock websites, directly to magazines or through their own and third party sites. They're accepting commissions to shoot weddings, being hired to shoot for magazines and selling fine art prints from their websites. They're teaching photography on the weekend and guiding photographic holidays and safaris. Photography became accessible to the masses with the first non-expert cameras and the famous Kodak slogan"You press the button, we do the rest." The digital camera age has taken the whole thing to a ne...