Photographers' Blog

Five years on… Taras Protsyuk


On Tuesday last week, family members, friends and colleagues of Reuters cameraman Taras Protsyuk gathered at Kiev to remember the fifth anniversay of his death in Baghdad.  After a church ceremony flowers were laid on his grave and a toast drunk to him in accordance with local custom


Taras was killed along with Telecinco cameraman Jose Couso by an American tank shell fired at the Reuters office in the Palestine Hotel. The shell also severly injured his Reuters colleagues Samia Nakhoul, Paul Pasquale and Faleh Kheiber.

Lydia and nephew

Taras’s widow Lydia and nephew Andriy stand at his grave.

The circumstances of Taras’s death are still an issue in Ukraine and the memorial celebrations were prominently covered by local television and newspapers. 

Taras demo in Kiev

A Ukrainian man places his handprint on a portrait of the late journalist Taras Protsyuk near the U.S. embassy in Kiev, April 8, 2006 on the third anniversary of the death of the journalist killed when a U.S. tank shell hit the Palestine Hotel in Baghdad as troops entered the Iraqi capital in 2003. REUTERS/Ivan Chernichkin

I, for one, will never forget that day.

Taras and son

Taras and son Denis – picture by Sergei Karazy.

My thanks to Mykhailo Chernichkin for the graveside pictures and to Sergei Karazy and Yann Tessier who were there.   

A toast to Adrees Latif

I’d like to add my own congratulations to the plaudits being lauded on Adrees Latif who has been awarded the Pulitzer Prize for Breaking News Photography. It is one hell of a picture.

The following images are unlikely prize-winners but serve to demonstrate the delight with which news of his win has been received by his Reuters colleagues. In the first Paul Barker, Editor Asia News Pictures and Asia Chief Photographer Russell Boyce toast his image;

 Adrees 2

while in the second the editorial team from text, TV, graphics and pictures at Reuters Asia HQ in Singapore drink his health as Adrees himself listens-in via the telephone on the desk to the right of the frame, from his assignment in Nepal.  

The story behind the Pulitzer picture

Reuters Bangkok senior photographer Adrees Latif tells how he took the pictures which won him a Pulitzer Prize. The pictures were taken in Myanmar during the protests in September last year and include the photo of Japanese video journalist Kenji Nagai being shot.

“Tipped off by protests against soaring fuel prices, I landed in Yangon on 23 September, 2007, with some old clothes, a Canon 5D camera, two fixed lenses and a laptop.

For the next four days, I went to Shwedagon Pagoda, two-three kilometres from the centre of town and waited for the monks who had been gathering there daily at noon.

Back on the Taiwan Killer media bus

On my way back from a routine election assignment in Hsinchu, a fellow wire photographer quizzes me on my age.

“Errr… 26″ I reply and the other wire photographer goes “Wah sey!” which translates as something like “Whoa” if there is such a word in english. He proceeds to to tell me that he can’t remember where he was when he was 26.

Which is probably also why Russell, the Asia Chief photographer, asked me to write about my newbie experience operating and planning my first big team story,  namely the Taiwan presidential election won by Nationalist candidate, Ma ying-jeou.

Cook the Hunt

The recent general elections in Spain were held in the wake of an ex-socialist councillor shot dead in the Basque Country in a place near my hometown. I was working on the afternoon shift when I saw the first alert of the assassination appear on our text service. I almost jumped out my chair. Somehow my internal alarm bell still goes off instinctively whenever something happens in the area where I used to work. It was only after a couple of seconds that I realized I’m 12,000 kilometers from where the assassination took place, and I couldn’t just grab a camera and go. There wasn’t much I could do, except get in touch with the photographer in the Basque Country, make sure he was aware of the breaking news, and then prepare for his pictures to land on the desk.
Above: Basque police collect evidence outside the house of a former socialist councillor after an attack in Mondragon, northern Spain, March 7, 2008.  Photograph by Vincent West

Above: People stand during a silent protest in Burgos, northern Spain March 7, 2008, against the murder of Isaias Carrasco. Photograph by Felix Ordonez

Above: Spanish vice president Maria Teresa Fernandez de la Vega (R) and Spanish Socialist Party spokesman Jose Blanco (C) walk in front of the coffin of Isaias Carrasco carried by Basque Socialist Party general secretary Patxi Lopez (back L) and Basque socialist’s president Jesus Egiguren, during a funeral in Mondragon, northern Spain, March 8, 2008. Photograph by: Vincent West

Get your snouts out

Business and economy news is one of the most challenging parts of covering the story in Tokyo.Why? Fashion shows have their beauties, red carpets have their stars, and sporting events have their action, but what is going to catch a reader’s eye and make them do more than glance at our picture on a story about GDP?
In Tokyo we’re trying to make our financial coverage as compelling as other subjects and our approach is to try to have fun with these assignments, and working around the tight access restrictions. What we see is tightly controlled, and even in news conferences we are usually corralled into a small section of the room and forbidden to move. The subdued demeanor and limited variation in clothing (black, navy or gray suits) worn by this country’s business leaders is another challenge. There are no Richard Bransons here. Not even a Bill Gates. We had a Carlos Ghosn, but he isn’t around much anymore.


Executive Interviews:

It’s easy to get beaten down and lose hope when we walk in to shoot photos of the CEO of an industry-leading company only to find the room is lit with dim florescent lights and the only decoration is nicotine-stained curtains. But the great thing about an interview is that unlike a crowded news conference you can set up lights, move around and seize control of the light away from the florescent strips in the ceiling and do some fun strobe work. I like snouts because they’re great for getting rid of the phones, plants, decorations, thermostats, light switches and anything else that clutters up a photo. A snout can be anything that fits over the head of your strobe to limit the spread of the light from it, letting you control where light falls and where it does not.


GDP and other Economic Figures

GDP and other economic figures are broad enough that you could almost shoot anything for these, but at the same time it’s a bit bewildering to try to sum up a country’s economic mood with one frame. I think we’re most successful when our pictures are beautiful and convey a strong mood at the same time, as in the photo below.

Fiddling around

Fiddler's audio slideshow

Tennessee Old-Time Fiddler’s Championship – audio slideshow

While in Nashville for the CONCACAF qualifying soccer tournament, I had two off days and figured what else are you going to do in Nashville but go to a fiddle contest?


The term ‘multimedia’ is used quite liberally these days, and means different things to different people. In reality it is an opportunity to be grasped, and will probably be what we choose to make it.

To mark the fifth anniversary of the start of the Iraq conflict Reuters has produced a multimedia piece. It pulls together the combined expertise of stills photographers, video camera operators , graphic artists, text journalists, and the multimedia producers. The various professionals are given freedom within their own discipline, and the different formats are brought together in a unified medium. The still image has not been devalued, but its role has been transformed. If this piece is an example of the multimedia project of the future, the still image is there too, as powerful as ever.


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