“ALWAYS get to the scene as soon as possible”, is a mantra for the Tokyo picture team. It is advice which features prominently in the pocket-sized guide to emergency coverage procedures produced by our boss Michael Caronna - a guide which has also become indispensible in everyday coverage too. 

Japan is one of the world’s most seismically active areas and the Tokyo Pictures team’s emergency earthquake coverage plan is well-developed and paid off recently when we covered a powerful earthquake in Northern Japan. 

The guide suggests a very clear and concise principle: “Have equipment and photographers in place at all times and just go when it happens.”

So we keep long lenses, a Nera sat-phone, a small generator, extra batteries, gasoline container, a portable TV, a radio and survival kits with emergency food, bottled water, wet weather gear and the like, in the Company car. rain gears, etc, in the Pix van and the contents are checked regularly.  We carry laptops and basic camera gear with us day and night. 

Because a strong quake in Tokyo may also tumble our office building, we have a second parking space near where Issei Kato, Toru Hanai and I live, about 10 Km away from Tokyo office. Every night one us takes the van, our mobile office, and parks it near where we live and brings it back to office in the morning. 

From time to time, as an emergency drill, we test filing pictures by sat-phone using the generator from the office or from a local  park.

When the 7.2 magnitude quake struck Iwate, about 500 km north of Tokyo, on that Saturday morning, we followed the guide to the letter.

0930 AM,  about 40 minutes after the earthquake alarm hit local media, Hanai and I were already on the highway to the scene with our mobile office, company car,  because we didn’t have to waste time picking up gear in the office and left before we even knew how many earthquake casualties there were.

While Hanai and I rushed to the scene, Michael was picking-up pictures from local media in the office while Kato looked for alternative transportation to the earthquake site.  All bullet trains had stopped and flights to the nearest airport were fully booked, so he set off in a rental car.

Hanai and I arrived around 2 o’clock and our first pictures hit the wire two or three hours ahead of our competitors, after which everything seemed to go very smoothly.

Kato who has a lot of experience in earthquake coverage found a spot to which evacuated victims were being ferried by helicopter and his picturesquickly followed ours on to the wire.

Hanai and I separated and we all kept shooting and filing pictures of shelters and landslides until midnight.

Around 1 AM, we tried to get some sleep but were back on our feet by 4 AM because our earthquake expert Kato knew rescue workers and civil defense troops start work early. While our competitors still dozed, Hanai and I had moved daylight pictures via mobile and satphone from the scene  of a landslide area, while Kato had negotiated his way on to a civil defence chopper enroute to a spa resort buried under a landslide, the only wire service photographer to do so. 

Hanai located an evacuation centre from which we filed our pictures and as I finished filing we watched our competition arrive at the landslide area, long after the rescue teams had packed-up for the day. It was at that point I realised that we had won this story.

Our efforts were rewarded by two pictures in the IHT including the front page.

In the end the earthquake did relatively little damage and there were few casualties. The scale of the event was far smaller than we feared and anticipated but it did prove that careful contingency planning, following established emergency procedure, clos e teamwork and an early start are an essential combination when disaster strikes. 

Japan’s sleepy town of Iga offered an opportunity for me to write my first story for the news wire. Iga is known to many Japanese as one of the traditional home towns of the ninja. I was looking forward to seeing tens of thousands ninja clad enthusiasts, the ninja themed-train and a house with secret escape passages - the home of a real ninja.

The hardest part was knowing where to start - that and deciding on what the story’s ’selling point’ would be in text terms rather than pictures. Would I be able to persuade people to give me both tantelising ninja tidbits and interesting quotes?

I first interviewed the self-proclaimed grandson of a real ninja who told me that his grandfather was always out on the lookout for ways to further his skills had even mastered the art of hypnotism. A museum curator  that the web of myth and mystery surrounding the world of the ninja fired people’s imaginations and for this reason the ninja lives on.

These were details that could only be related in words rather than pictures.

Shooting and writing have many things in common. Whether writer or photographer, one must think, “what would keep the viewer’s attention for at least one more second?” “Is it this angle? Should I crop the picture like this?” or, “which quote is more interesting? What headline is catchier?”

Needless to say both disciplines call for ethics and accuracy.

But shooting requires instantaneous reactions and concentration - the time it takes to make or break a picture. We can’t ask the subject to smile again, and goals and penalties on the soccer field cannot be replayed in real life. Writers can draft, rewrite and call sources back to check details again but they also need to have an overall view of an issue, information from all sides and different perspectives to balance their offerings, which is often something photographers cannot provide.

So, which is more difficult?

May I haven’t fully experienced the obstacles and challenges which face one of our text writers, but for me every photographic assignment is a battle because there are no real answers. There is no handbook for creativity.

We photographers need eyes in the back of our heads and although we may generate most of it ourselves we work under enormous pressure to distill the essence of the story and capture it in a moment.