Natasha Hirst looks at how photographers are reacting to the pandemic coronavirus


Visuals of the virus


M


ore than ever before, the coronavirus crisis is demanding that journalists and photographers document what is happening, and hold elected


bodies to account. It is also the latest challenge to the ability of photographers to make a living in an increasingly precarious industry beset by job losses, freelance budget and shift cuts and growing use of free, user-generated content. The coronavirus pandemic emerged at the


time of year where photographers’ diaries usually start picking up. As the lockdown descended, the list of conferences, sporting events, festivals and gigs steadily decreased. Many photographers, myself included, lost most of their income over a few days and, as the crisis bedded in, it became evident that our bread-and-butter work would not be returning for a considerable time. The NUJ was quick to respond by lobbying the


Government to ensure journalists, including photographers, were key workers. With the National Police Chiefs’ Council, the union sent information to police officers outlining how to support those with press cards to get on with their work.


Photographers have been working in an


environment of increasing obstruction and hostility, partly fuelled by right-wing activity. This has strengthened anti-media rhetoric with photographers being the most visible target for verbal and physical attacks. More widespread, though, appears to be a growing suspicion and lack of understanding regarding the role of photojournalists in a democratic society. The pandemic has amplified this. Open attempts to document people in public spaces or social distancing queues or to demonstrate the lack of PPE for staff in supermarkets have been met with anger and threats and accusations of spreading the virus and faking news. One photographer, who wanted to stay anonymous, said: “I had my car


12 | theJournalist


surrounded by six workmen telling me I couldn’t take pics and I should get a proper job.” The majority, working ethically, were not helped by social media trends to shame people who appeared to be flouting lockdown rules. Difficulty in gaining access to document


frontline work in the NHS has been a significant source of tension for press photographers. Many have reported requests being turned down with responses stating they would ‘get in the way’, or that journalists were not allowed in for ‘safety reasons’. Others were told to obtain permits that proved highly elusive. The limited spaces at far fewer press events are often allocated to agencies, which pool images, cutting out opportunities for freelances. Photographers have had to be creative and persevere in negotiating an often collaborative approach to gain access to the stories that needed telling. Slowly, new images have emerged. When access is granted, it provides an opportunity to showcase the incredible dedication and care provided by NHS staff, many of whom welcome the coverage. “I think we all require honest, meaningful reporting in this time of crisis, and I know that words and photographs are immensely powerful tools,” says Jonny Weeks, a freelance photographer for the Guardian. Weeks was able to build trust with one hospital to secure access and was welcomed in. He says: “I also had a duty to tell the stories of patients and to be respectful to all involved in such a challenging environment.” Many aspects of life for essential workers have been covered. Charlotte Graham, based in the north west, documented a police officer on duty: “I wrote an article in support of the police, about the abuse they got, I also got the same [abuse].” A stark contrast in the ease of access between


working in the US and the UK has been reported. British photographer Adam Gray, now based in


New York, has documented many aspects of the pandemic from the streets to inside his local


hospital. He experienced no obstruction from the police nor negative comments from the public. “The public never say a word really – half of them are filming it themselves or just curiously ask what’s happening. Freedom of speech is very serious here,” he says. His images in and around the hospital respected patient privacy and health and safety but still portrayed a powerful visual record of the impact of the coronavirus. Nigel Dickinson, a Paris-based freelance photographer, ran into difficulties with the police when documenting on the streets. However, he points out that journalism is considered an essential service in France bolstered by a history of defending free speech. The coverage is important, he says, because “photojournalists need to be able to document all aspects of the coronavirus pandemic as it happens, for transparency, news purposes, dissemination of information and as a historical document for the future”. Adapting to the loss of work, photographers recognise their own lives and home environments are worthy of being documented. Guardian freelance photographer Sarah Lee has published compelling observations from her daily walks, documenting the nuance of local surroundings as the social fabric was transformed around her. On her Instagram account, she wrote: “Camden sounded like a small town or even a village. And, with its newly fresh air, it smelt like one too. It’s an exceptionally horrible time but these things are quite lovely even if they can’t possibly qualify as a silver lining.” Photography networks and collectives have responded by organising online meet-ups, talks and image showcases. On the Women Photograph Instagram account, members are sharing images and thoughts on life in lockdown. Photographers have covered the activities of


volunteers, charities and the #ClapForTheNHS, showing solidarity in communities. There are a diversity of stories and many ways


of covering them. Photojournalism plays a crucial role in documenting society’s transformation through the crisis, both to inform now and to provide a lasting historical record of our lives. We have space for reflection and opportunities


to create a visual record of what is happening in this new context, and wonderful work has surfaced. Freelance photojournalist Suzanne Plunkett has received socially distanced portrait assignments and also turned her attention to family life. ”Whenever I worked in places like Afghanistan, I was always on the look-out for the stories of what life was like for women and children,” she says. “It feels strange to be surrounded by the story now in my personal life.”


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