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April 14th, 2016

UC Davis Paid $175K to Bury Infamous Pepper Spray Incident

The University of California, Davis spent “at least $175,000 to scrub the internet of negative online postings following the November 2011 pepper spraying of students,” The Sacramento Bee has reported. University administrators hired a private reputation management firm to eradicate “references to the pepper spray incident in search results on Google,” according to the newspaper.

A campus police officer casually pepper sprayed the students on November 18, 2011 as they sat in a line across a university sidewalk. Video of the incident went viral, and turned into an internet meme. The university was subject to negative publicity for months, and some critics called for the resignation of UC Davis Chancellor Linda P.B. Katehi.

The Sacramento Bee says in its report that the university hired Nevins & Associates, a Maryland company, in 2013 to bury references to the incident in order to counter “venomous rhetoric about UC Davis and the Chancellor.”

The newspaper says it found out about the university’s contract with Nevins & Associates after submitting a request for the information under the California Public Records Act. The paper’s full report is available here.

February 29th, 2016

Secret Service Investigating Agent’s Bodyslam of TIME Photog Chris Morris

Video by Joe Perticone of Independant Journal shows Chris Morris swearing at a Secret Service agent, who then grabbed the photographer by the throat.

Video shows Chris Morris swearing at Secret Service agent, who then grabbed the photographer by the throat.

After a U.S. Secret Service agent was videotaped throwing TIME photographer Chris Morris to the floor in a chokehold during a Donald Trump rally in Radford, Virginia, yesterday, the Secret Service issued a statement saying that its field office is investigating the incident. TIME has also issued a statement saying that it had contacted the Secret Service “to express concerns about the level and nature of the agent’s response.” According to TIME, Morris has “expressed remorse for his part in escalating the confrontation.” Video had captured the photographer swearing in the agent’s ear just before he grabbed Morris.
TIME Responds to Confrontation With Secret Service at Trump Event

TIME issued the statement after videos circulated showing Black Lives Matter protesters moving through the crowd at the Trump rally.

One video, taken a few feet from Morris and posted on Twitter by Joe Perticone of Independent Journal, shows Morris leaning forward and saying into the agent’s ear, “Fuck you. Fuck you.” The agent says “What?” then reaches for Morris. In another video, showing the full auditorium, Morris is seen standing near a pen with other photographers in the middle of the crowd, speaking to an agent. The agent can then be seen grabbing Morris’s throat and throwing him to the floor. Once Morris was on the floor, he tried to kick the agent away, saying, “Don’t touch me.” Moments later, he demonstrated how the agent had choked him by putting his hands on the agent’s throat. Morris was escorted out of the auditorium and, according to TIME, detained by local law enforcement. He was released later in the day.

A TIME spokesperson said, “We are relieved that Chris is feeling OK, and we expect him to be back at work soon.”

Some news stories originally reported that a member of Trump’s security, not a Secret Service agent, had thrown Morris down.

An article posted today on TIME Lightbox notes that “unlike other presidential campaigns, which generally allow reporters and photographers to move around at events, Trump has a strict policy requires reporters and cameramen to stay inside a gated area, which the candidate often singles out for ridicule.” Morris was near the entrance to the pen when the Secret Service agent first confronted him.

The journalism site Poynter today posted an article noting that during campaign events, Trump incites crowds to boo pool photographers and camera people after they refuse his demand that they turn their cameras away from the stage and pan the crowd, something pool photographers (responsible for covering the stage) can’t do. TV cameraman Grant Hansen told Poynter, “He rallied the crowd against us. It was frustrating, but I’m there to do my job just as he is there to do his.”

December 22nd, 2015

PDN Pulse: Top Photo News Stories of 2015

From photographer contract restrictions to instagram apps, and from copyright infringements to a changing code of ethics, this year’s list of the most-read articles on PDNPulse capture some of the highs and lows of the photography business this year.

A photo posted by SuicideGirls ? (@suicidegirls) on

1“SuicideGirls” Deliver Cleverest Response to Richard Prince’s Instagram Appropriation 

The band was cheered for their response to artist Richard Price’s appropriation of their images from Instagram. The brand’s founder, Missy Suicide (also known as Selena Mooney) announced the band would sell for $90 the same images Price and his gallery, Gagosian, are alleged to have copied and then sold for $90,000. Price sold the images at the Frieze Art Fair in New York and at Gagosian’s Beverly Hills gallery.

2 & 3– Photographer Calls Out Taylor Swift for Apple Hypocrisy and Swift Agrees to Change Contract 

Taylor Swift headlines raked in clicks all across the internet this year, but it was the fine print in her contract with freelance concert photographers that drew readers to PDN. In late June, the singer’s management company, Firefly Entertainment, Inc., released a contract that limited photographers from running their photographs more than once, even for news purposes. In July, the management company revised the contract, removing and revising some of elements that photographers had found objectionable.

4– Controversial World Press Photo Winner Under New Scrutiny Today

In March, questions about the authenticity of photographer Giovanni Trolio’s series, “The Dark Heart of the Europe,” winner of a 1st prize in the 2015 World Press Photo competition, generated buzz when another photographer claimed that the images may have been staged. Ultimately, World Press Photo withdrew the award on the grounds that the story was not captioned in compliance with the entry rules. In November, World Press announced that the 2016 World Press Photo contest will be carried out with a new code of ethics to reflect an effort at reform and transparency in the wake of the scandal.

5– How to Kill Restrictive Concert Photography Contracts

In the wake of the backlash against Taylor Swift’s management company for its contract restricting photographers’ image usage (see 2 & 3), Norwegian photographer Jarle Moe wrote a blog post posing a solution: Photographers could end restrictive contracts if they identified themselves  “journalists,” not “concert photographers.”

6– If You’re Using This Instagram App, Delete It 

When the popular Instagram app InstaAgent was reported to be storing Instagram users’ passwords and usernames and sending them in plain text to a remote server, PDN encouraged readers using the app to delete it.

7– Ilford Offers Glimpse into the Mind of the 21st Century Film Photographer

Think film is dead? Black-and-white film supplier Ilford released findings from a study of of film-users showing that film is still a viable – and resurging – medium in the photography world. The company surveyed “thousands” of film users across 70 countries to understand who uses film and why. Notable in the findings was that 30 percent of respondents were under the age of 35, and that 60 percent of them said they had picked up film photography over the past five years.

8How Photographers With Huge Followings Grew Their Social Networks

October’s PhotoPlus Expo #Trending panel consisted of four photographers—Sue Bryce, Vincent Laforet, Jeremy Cowart and Chase Jarvis—with sizable social media followings. The panelists offered their advice, suggestions and experiences on how photographers can build and maintain their social network, such as making posts that are honest, positive, and have something of value to share with the world.

9NYT Mag Hires Male Photographer for Sexism in Hollywood Cover Story

In November, The New York Times Magazine ran a cover story discussing the challenges women face working in the male-dominated world of Hollywood. However, to shoot the cover, which featured portraits of 60 female actors, directors and executives, The New York Times Magazine hired a male photographer.  That irony inspired in an outpouring of social media posts from women photographers expressing their disappointment. Director of photography for The New York Times Magazine Kathy Ryan told PDN that women photographers shouldn’t “think that somehow there aren’t opportunities [at the magazine], because I feel very passionately that there are, and that’s important to us: To have women’s points of view, that diversity, that range in our pages is important.”

10 – Why TIME Chose an Amateur Photographer’s Image for Its Cover 

The May 11 issue of TIME Magazine had a cover bearing an image of protests in Baltimore taken by a 26-year-old amateur photographer, Devin Allen, who had only two years of experience under his belt. This marks the third time in the magazine’s history that it has used an amateur’s image on the cover. In explaining the decision to use Allen’s image, TIME deputy director of photography Paul Moakley noted that Allen is a Baltimore native, and, “He was being really thoughtful and was capturing both sides of what was happening.”

Related Articles
PDN Pulse: Top Gear Stories of 2015
PDN Pulse: Top Stories of 2014

The Best of 2014: PDN Photo of the Day

November 16th, 2015

The Do’s and Don’ts of Collaborating with NGOs

Jane Huber, creative director of Oxfam America, says she’s inundated with requests from photographers wanting to work for the non-governmental organization. The photographers she rehires understand its mission and values—which includes respecting the individuals and communities it serves. “When you work in the field with an NGO, for all distinct purposes, you are the NGO,” says Huber. “You’re representing us and you want to embrace our values: human first.”

Huber was a participant on two panels during a one-day workshop titled “Photography: Agent for Change,”  hosted by the Alexia Foundation at the International Center of Photography (ICP) in New York City on November 8. It was designed for documentary photographers and filmmakers who go beyond raising awareness and move into advocacy. Many photographers seek work from non-governmental organizations (NGOs) in the hopes that their images will be used in awareness campaigns, fund-raising and advocacy; some seek the access to communities or areas where the NGOs work, and want help with production and translation.

Huber spoke with PDN following the event to offer practical advice for photographers taking the initial steps to work with NGOs and how to behave in the field once they’ve been hired.

First of all, “do your homework,” Huber says. “As a prospective photographer you want to understand the objectives of Oxfam and what I’m seeking.” Huber continues, “I get a lot of emails that say, ‘I’d love to work for Oxfam because I love to travel and I’m interested in other cultures and I’m a photographer…’ And I think you haven’t done your homework. Photographers interested in doing work for international NGOs are a dime a dozen.”

To distinguish yourself, show that you know the organization and its programs well, Huber says; she recommends referencing specific campaigns that the NGO is conducting. Continue the email along the lines of “I’m particularly interested in labor issues and am always available for domestic work.” says Huber.  “Everybody likes to feel their time is valuable,” says Huber, “so you could say, ‘Dear X, I’m going to be in your area on Tuesday and I would love to take you out for coffee. It could be as short at 30 minutes.’” She adds, “Anyone who has a good portfolio, I’ll always try to give them a shot.”

Second, Huber expects photographers to put the people Oxfam serves before pictures. “You’d be surprised by what some people do in the field,” she says. “If you’re going to be a photographer working with people living in communities that are suffering because of poverty or violence and it’s for an organization that has a rights-based approach to development, then you have to mirror those values.” The photographers she rehires consider how they interact with the population they’re photographing. For example, she says: “If someone is weeping, it might be a really beautiful shot, but you may have to lose the great shot for the greater human interaction.”

Reciprocity with subjects is crucial, she says. At times that means missing the best light of the day to meet a contact person, an elder or local dignitary. It could also mean sitting down for tea. “I had a photographer who Oxfam worked with some years ago who I don’t choose to work with anymore,” Huber recalls. “It was reported back to me that when the family invited him to sit down for a cup of tea, he chose to sit in the corner and look at his camera. He may have thought he was using his time effectively, but when the team said it was important he sit with the family, he said, ‘I’m beat.’”

Huber sums it up by saying, “You may not be able to drink the tea because the water isn’t boiled, but you damn well sit there and show respect, because that’s reciprocity.”

—Sarah Stacke

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How To Work Profitably with NGOs

Can Photography Affect Change?

October 7th, 2015

Victor Blue Documents Survivors of Kunduz Hospital Bombing

Front page of October 4 New York Times, with photo by Victor J. Blue. © The New York Times

Front page of October 4 New York Times, with photo by Victor J. Blue. © The New York Times

Victor J. Blue‘s image of a young patient who survived the US airstrike on a Doctors Without Borders hospital in Kunduz, Afghanistan, appeared on the front page of The New York Times on October 4. Blue’s  interview with a man who survived the bombing was also reported in a follow-up story.

Blue happened to be working in Kabul, Afghanistan, on a story about the hospital run by Emergency, an Italian NGO, when patients started arriving from the Doctors Without Borders/Medecins Sans Frontieres (MSF) hospital in Kunduz. In addition to his front-page image of an eight-year-old patient  being comforted by a nurse, he photographed her being carried into the hospital and being treated.

Blue, who has traveled to and photographed in Afghanistan many times in the last six years, had spent two weeks in Kabul documenting work at the Emergency hospital. Admissions at that hospital have increased dramatically since the Taliban has regained ground. Blue says, “The month before I arrived, [Emergency] set a new record for admissions. Every day between 10 and 20 new patients are admitted. The hospital is so busy, they have to set strict admission criteria, only treating penetrating trauma—war wounds from bullets, shells, or mines and IED’s. They take some stabbings too.”

We reached Blue while he was awaiting transport to Kunduz, and asked him about his images and reporting on the MSF hospital casualties.

PDN: Why were you in Kabul, and working at the hospital there?
VB: I came to produce a piece on the flood of civilian casualties this year, and on the hospital in Kabul, Emergency, run by the Italian NGO of the same name, that works to save folks hurt in the fighting here. I made pictures in the hospital on both of my last two trips to Afghanistan. It’s an incredible place. The staff there are really open and dedicated, they work extremely hard to save a lot of lives.

The hospital in Kabul actually draws in patients from a pretty wide catchment area, 7 provinces. Emergency runs a network of First Aid Posts around Afghanistan, 46 in all, which are situated in the districts and usually stabilize the wounded before transfer to Kabul, although plenty of folks come in by private taxi. The majority were from Ghazni province, where the fighting between the Taliban and the government has been really fierce.

PDN: When did you—and the staff of the hospital—learn they’d be seeing patients moved from the MSF hospital in Kunduz?
VB: About four days or so after the Taliban overran Kunduz, a few patients started to trickle in. Then, after the bombing [of the hospital in Kunduz], it was a lot—around 20 came in one day. You could tell they had been treated in the hospital in Kunduz, but were not healed enough to be sent home, and came [to Kabul] to continue treatment. On Saturday afternoon, the day of the US airstrike, the two families I photographed arrived in Kabul via Afghan helicopter from Kunduz. When they came in, I had a nurse ask [for me] if it was OK if I made some pictures, and the parents of both of the children agreed. The Emergency nurses worked to remove their soiled bandages and assess the wounds. The kids were pretty scared and upset, and the nurses were amazing with them—not just calming them, but asking them to be brave while they helped them.

PDN: How did you get in touch with The New York Times, and what did you send?
VB: I talked with the father of one of the children [evacuated from Kunduz], Najibullah, and then asked a staff member at Emergency to translate for me. I interviewed him and realized that his personal account was really powerful, he had survived the bombing with his son in a bunker. The same blast that put his son in the hospital killed two other sons of his.
I am in touch with friends that work as New York Times reporters when I am in Afghanistan, and my friend Joe Goldstein… is currently here reporting. We had already hung out, and were in regular contact about the situation in Kunduz and about another story of his I had been assigned to [cover]. I called him up and told him what I had and he sent a car over to pick me up. I hung out at the Times bureau while the Afghan reporters called Najibullah and asked him some follow-up questions to the interview I brought. Then I filed the pictures. It was a Saturday and International Picture Editor David Furst was off, so my friend Metro Editor Niko Koppel received them and passed them on to International Picture Editor Thom McGuire, who worked hard to get them in the paper. Najibullah’s account of surviving the airstrike ran the next day. It felt good to get his voice into such an important story.

PDN: Did MSF workers from Kunduz go to Kabul, too and what did they tell you?  
VB: The next day at the hospital, more patients from the MSF hospital as well as MSF staff arrived at Emergency. They were still grieving and in shock and made it clear they did not want to take questions from journalists. I continued to do my work, shooting patients and surgeries and following the nurses on their rounds, but gave the MSF folks a wide berth. Of course I wanted to talk to them and hear their stories, but I had to respect their wishes. It was a big moment of solidarity between them and Emergency, two organizations with similar missions but that work very differently, and I wasn’t going to get in the way of that.

March 3rd, 2015

Controversial World Press Photo Winner Under New Scrutiny Today (Update)

After questions over whether Giovanni Troilo staged this image, new questions arise about his "Dark Heart of Europe" project.

© Giovanni Troilo. After questions over whether Troilo staged this image, new questions arise about the integrity of his “Dark Heart of Europe” project.

Photographer Giovanni Troilo’s controversial prize-winning entry to the World Press Photo competition is under new scrutiny today because of reports that Troilo did not shoot one of the images where he said he shot it, according to Lars Boering, Managing Director of World Press Photo.

Troilo had said his project, “The Dark Heart of Europe,” winner of 1st prize stories in the Contemporary Issues category, was shot in Charleroi, a town near Brussels.

But a journalist investigating the project in the wake of controversy it has generated has reported that one of the images was shot in Brussels, which is 50 km from Carhleroi.

“There’s new information out now that one photo was shot 50 kilometers away from Charleroi,” Boering says. Bruno Stevens, a Belgian photojournalist,  announced the finding on his Facebook page.

“Of course this is going to be looked at again,” says Boering, who has been on the hot seat for several days over the controversy surrounding the Troilo project and prize. (more…)

February 18th, 2015

Should Photogs Disqualified from World Press Be Banned? Org Says No, For Now

In the days since World Press Photo announced that 20 percent of the photographs they considered in the final rounds of the competition were disqualified for manipulation, many in the industry have called for WPP to release the offending images and make their standards more clear. In comments by jurors, WPP administrators and photographers published on the New York Times Lens Blog, 2015 competition jury chair and New York Times director of photography Michelle McNally noted that the manipulations led “many in the jury to feel we were being cheated, that they were being lied to.” World Press Photo jury secretary David Campbell notes that newspaper and wire service photographers get fired when they are caught manipulating news photos: “Narciso Contreras and Miguel Tova have lost their jobs because of manipulations that crossed the one line we can draw.”

These reactions beg the question: If World Press Photo is a reflection of the photojournalism industry, should photographers who attempted to deceive jurors—and the public—be banned from the competition? After all, newspaper and wire services have fired photographers who manipulated images.

According to World Press Photo managing director Lars Boering, the organization is not currently planning to ban any photographers who submitted manipulated images to the competition. “I might discuss that with the board and the team that is organizing the competition,” he told PDN, adding that “a lot” of the disqualified photos were cases of “clumsy” Photoshop use rather than blatant attempts to deceive competition judges.

World Press Photo rules state: “The content of an image must not be altered. Only retouching that conforms to currently accepted standards in the industry is allowed.” In her statement on Lens, McNally clarified that the manipulation the jurors disqualified included “removing or adding information to the image, for example, like toning that rendered some parts so black that entire objects disappeared from the frame. The jury—which was flexible about toning, given industry standards — could not accept processing that blatantly added or removed elements of the picture.”

The organization is very aware that manipulation accusations can deal huge blows to the careers of photojournalists, Boering says, which is why they are keeping confidential the names of photographers who were disqualified—despite calls for more transparency. “If people get caught by agencies, then they are thrown out, and I know it’s difficult for these people to get back to work or find other agencies, so that’s a serious thing,” Boering explains. “If an agency makes that decision it’s up to them because that’s their rules. We organize a competition; we care a lot about photojournalism and visual journalism, but…I don’t think we should be the ones that decide on the careers of photographers, and whether they should be ruled out of competitions with others or whether they should lose their job with their agency.”

“We’re not going to put their names out unless we think it’s really severe what they’ve done,” Boering adds. “It might be that we think about talking to them about the way they go about it.”

Boering said WPP had today sent notices to the disqualified photographers presenting their evidence and explaining their decisions. He says the organizations has received one or two responses from photographers accepting the decision.

It’s more important to WPP that this controversy sends a message to photojournalists and the industry, sparks discussion and, hopefully, a resolution, Boering says. “Technology makes a lot of things possible, but it makes it possible to find things…. The technicians that do our research, they’ve showed me several examples of things that you can do and I think it’s amazing.”

Boering says he’s heard from people at agencies and news organizations, and others in the photo industry in the past few days. World Press Photo is planning “several debates” starting on the day of the awards presentation, that he hopes will help the “find common ground with the industry to get it right.”

Related: Mads Nissen Wins World Press Photo of the Year 2014 Prize
AP Cuts Ties with Photographer Narciso Contreras Over Photoshopped Image
Photographer Fired by AP Says Decision Was Fair, But Process Wasn’t

August 28th, 2014

Want to Buy a Drink for the Photographer Who Delivered James Foley’s Last Letter?

www.davidbrabyn.com/buy-daniel-rye-a-beer

www.davidbrabyn.com/buy-daniel-rye-a-beer

After the murder of journalist James Foley by his captors in Syria, his parents released to the public their last communication from him. Because all of Foley’s letters were confiscated by his captors, he asked a fellow captive to commit to memory a letter for his family.

Photojournalist Daniel Rye Ottosen (known professionally as Daniel Rye) had been kidnapped in May 2013 by members of the Islamic State of Iraq and the Levant and was held with Foley for 13 months. When he was released in June, he called Foley’s parents and dictated the letter from memory. Foleys thanked him “from the bottom of our hearts” on the Free James Foley Facebook page where they shared the letter.

When photojournalist David Brabyn, a friend of Foley’s, heard about Rye’s message, he recalls, “I thought, what a thing to do! I wish I could buy him a drink.” Brabyn figured out a way to do that, and he’s offering others a way to thank Rye, too.

Brabyn has set up the Buy Daniel Rye a Beer web page, with a Pay Pal account where people can chip in beer money. (In addition to being a photographer, Brabyn is also a website consultant at digitaltechparis, and has experience at charity fundraising:  He and Foley worked together organizing the Friends of Anton benefit photo auction, which raised over $135,000 for the children of photojournalist Anton Hammerl, who was killed in Libya when Foley was captured and detained the first time, in 2011, along with two other journalists.)

Brabyn got in touch with a friend of Rye’s who will make sure someone picks up the photographer’s bar tabs while the funds last; friends who treat Rye will be reimbursed from the money collected through the website. Brabyn acknowledges that Rye may have need for more than beer, but says the Buy Daniel Rye a Beer effort is simply a way to say thanks. “This isn’t about turning his life around. It’s just a friendly gesture from people who think he did something great,” Brabyn says. “If he wants to order wine or anything other than beer, that’s fine.”

Given the number of people around the world who have been touched by the letter Rye delivered, there might be a lot of people thanking him. “I think what he did is an astonishing achievement: to be locked up in terrible conditions, in a war zone, for so long and yet manage to memorize this long text,” Brabyn notes. “On top of that feat of the mind, he delivered this moving letter that is obviously so hugely meaningful to Jim’s family.”

Related articles

Danish Photojournalist Released After 13 Months in Captivity

Print Sales, Web Site to Benefit Anton Hammerl’s Children

August 14th, 2014

Philly Paper Swaps Ferguson Riot Photo: Did It Do the Right Thing?

Reading a Philadelphia Magazine report about the decision by editors at the Philadelphia Daily News to change a cover photo in response to some outrage on social media left us wondering:  Did photo editors at the Philadelphia Daily News change their minds because they thought they’d made a mistake? Or did they change their minds to avoid controversy and public outcry?

philly DN covers_555

The Philadelphia Daily News cover in question (above, left) featured a photo from Ferguson, Missouri that showed a protestor about to hurl a burning Molotov cocktail gas canister at police. Protests began in Ferguson over the weekend, after police shot and killed an unarmed black teenager, Michael Brown. The protests began peacefully, and have remained mostly peaceful, but some violence and looting have erupted, and police have been widely criticized for their iron-fisted and highly militarized response to all protestors.

Against that backdrop, the Daily News published a cover photo of a protestor with the Molotov cocktail burning canister over the headline, “Hell Breaks Loose.” The photo drew immediate and harsh criticism on Twitter: Readers said the image could be taken to suggest that the (mostly white) police response was justified because the (mostly black) protestors were being so violent. In response the Daily News put out another edition of the paper with a different photo.

The second cover photo shows a distraught-looking female protestor, holding up a sign demanding answers from police about the shooting of Michael Brown. Police in riot gear can be seen lined up behind the protestor. The Daily News did not change the headline.

And that leads to some larger questions about photo editing in the social media age: Should editors show deference to the instant opinions on Twittering readers, on the theory that input from the public leads to more informed picture choices? Or does deference to the instant opinions on social media undermine photo editors by encouraging readers to constantly demand changes and retractions on coverage of controversial or sensitive topics?

Philadelphia Magazine published Tweets from Daily News readers, followed by a Tweet from a Daily News senior writer who wrote, “Based on reader reaction we’re changing our front page image — so we actually do listen.” That was followed by a Tweet from Daily News assistant city editor David Lee Preston that said: “Big takeaway from tonight should be that a bunch of pros with hearts & souls inhabit this newsroom.”

But it remains unclear why the Daily News changed the cover photo: Did they think they’d made a mistake? Or were they simply bowing to pressure from some angry readers?

Regardless of their motives, we throw open the floor to PDN readers: Did the Daily News make a mistake publishing the Molotov cocktail-throwing protestor? Should the paper have changed the cover photo? Should photo editors let social media reaction influence their decisions, and if so, to what extent?

Note: Earlier version of this story described the burning object in the protester’s hand as a “Molotov cocktail.” Readers noted it was a burning gas canister. We changed it.  In this case, we listened to readers on social media, too.

August 13th, 2014

AP Photographer Injured in Gaza Explosion that Killed Videojournalist, Translator

The Associated Press (AP) reports that video journalist Simone Camilli and translator Ali Shehda Abu Afash were killed this morning when an ordinance exploded in Gaza in the town of Beit Labiya. Hatem Moussa, an AP photographer was “badly injured” in the blast. AP spokesperson Paul Colford says, “Hatem is being treated for his injuries.”

The unexploded ordinance was believed to have been dropped during recent airstrikes by Israel in Gaza. Gaza police engineers were trying to deactivate the explosive when it blew up. Three police engineers were killed in the explosion, along with the journalists.

For more details, including information on the careers of Simone Camilli and Ali Shehda Abu Afash, see AP’s story.

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