Journalists on the Job
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Europe, The Netherlands, Friesland, Harlingen, Zakkendragerspijp, Bronze statue of Rikus Poes (cut from all sides)
Harlingen honours its writers. Of course, a lot of attention is paid to Simon Vestdijk (there’s, for instance, an Anton Wachter (one of his characters) statue. And also to the stadsverslaggever (city journalist) Rikus Poes (Rikus Cat), the aka of Hendricus Attema, who worked between 1952 and 1978 for the Harlinger Courant. He’s using the tools of his trade here: a little notebook and a Kaptein Mobylette moped with the letters PERS (press) and a cat depicted on the obligatory yellow plate on the front fender of his moped.
In his time, journalists and photojournalists were still inhabiting separate professions. If this wasn't the case, it would have been great to see Poes wielding a big Graflex Speed Graphic in the design language of sculpturer Henk Zielstra. By the way: later in his career, Poes sometimes had a compact 35mm camera with him.
This is number 20 of the Harns/Harlingen album and 54 of Naar het Noorden.
Copenhagen journalists photographed at Svaneke harbour during a private visit by the queen of Denmark, May 9, 2025.
According to ancient tradition, Castelmezzano (Basilicata) was founded in the 10th century by a fleeing people: the former inhabitants of a town in the Basento Valley, who were running away from the Saracen invasion.
During their exodus, they found an ideal shelter among the region’s rocky Dolomites because from that vantage point they could bombard the approaching enemy with a rain of stones.
Now one of Italy’s Most Beautiful Villages (Borghi più belli d’Italia), as well as one of the starting points for the fantastic Volo dell’Angelo, Castelmezzano was immortalized by local journalist Rocco De Rosa with an evocative description:
“The history of this small town in the Dolomites is all there, summed up in its location: stern, solitary, almost untouchable. […] The landscape seems out of a fairy tale, and views turn into mythical settings from a time that never existed, when man’s relationship with nature spurred him to be completely different.”
This house in Emporia, Kansas was home to journalist William Allen White. It is a National Historic Landmark.
Nikola Mikovich journalist on Beogradska hronika
sun for rim on 1/1
on camera 580x 1/32 with ctb for fill
left hand high sb28 on 1/16
Spent the better part of today in the newsroom shooting portraits of political candidates. I passed the time in between sittings by snapping a few photos of the journalists busy at work.
As seen from Chicago, IL
September 27th, 2015
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
The Sochi Arboretum is a unique museum where flora of Caucasus and different countries is represented. The park is more than 49 hectares (120 acres) in area and numbers about 1,600 species and forms of plants from all over the world. The Arboretum was founded in 1890s by a famous journalist and publisher of that time Stepan Khudyakov. The plants were bought in botanical gardens of the Crimea, Germany and Caucasus. Arboretum is located in Khosta district of Sochi, Krasnodar Krai, Russia.
Journalist: Rie Elise Larsen og Stine F. Mathiasen Fotograf: Lisbett Wedendahl
more on www.marionhearts.com/2008/12/inspirational-homes-rie-elis...
Düzen Tekkal
Journalist •Filmmaker •
War Reporter •
Human Rights Activist •
Political Scientist.
Hannover
Chicago, IL
November 29th, 2016
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
El Real Palacio de La Magdalena está situado en la península de la Magdalena, frente a la isla de Mouro, en Santander (España),se trata de una obra de estilo ecléctico, que combina influencias inglesas ,fue construido entre 1909 y 1911, para albergar a la familia real española,fue residencia de verano del rey Alfonso XIII y su familia, hasta el verano de 1930 el Palacio de la Magdalena es sede real y punto de atracción social y política para periodistas y políticos de la vida pública española.Don Juan de Borbón vendió el palacio al ayuntamiento de Santander en 1977.En 1918 comenzaron a impartirse en el palacio cursos de verano hasta la actualidad.Este palacio recientemente ha sido imagen de una serie de televisión donde participa Concha Velasco,llamada el Gran Hotel.
Foto:Esta realizada desde el lateral derecho del palacio,la chica que aparece estaba en esos momentos dibujando en el lugar.
Textura gentileza de Ellenvd:
www.flickr.com/photos/41904174@N06/with/9336086503/
The Royal Palace of La Magdalena in the Magdalena Peninsula, opposite the island of Mouro, in Santander (Spain), it is a work of eclectic style, combining English influences, was built between 1909 and 1911, for house the Spanish royal family, was a summer residence of King Alfonso XIII and his family, until the summer of 1930 the Magdalena Palace is royal seat and attraction point for social and political journalists and politicians from spanish public life .Don Juan de Borbón sold the palace to the city of Santander in 1918 1977.En began teaching in the palace summer courses to actualidad.Este palace has recently been the face of a TV series where he participates Concha Velasco, called the Grand Hotel.
Photo: It is made from the right side of the palace, the girl who appears drawing was currently in place.
Texture thank you Ellenvd:
Journalist for the free news paper .SE, walking around asking people what cultural sites they would recommend... I said "Ehm... The Vasa museum?" :)
The Sochi Arboretum is a unique museum where flora of Caucasus and different countries is represented. The park is more than 49 hectares (120 acres) in area and numbers about 1,600 species and forms of plants from all over the world. The Arboretum was founded in 1890s by a famous journalist and publisher of that time Stepan Khudyakov. The plants were bought in botanical gardens of the Crimea, Germany and Caucasus. Arboretum is located in Khosta district of Sochi, Krasnodar Krai, Russia.
Arnold Henry Savage Landor (June 2, 1865 - December 26, 1924) - abandoned pavilion and soldier just outside Seoul (1891) - oil on wood - Exhibition "Painting Asia from life" - MAO, Museum of Oriental Art, Turin
Artista, antropologo, esploratore, avventuriero, scrittore, fotografo, giornalista e inventore: Arnold Henry Savage Landor (1865-1924) è una figura poliedrica estremamente interessante, che ha goduto di grande successo in vita e che, per motivi non del tutto chiari, è caduta totalmente nell’oblio dopo la sua morte. Savage Landor nacque a Firenze da padre inglese e madre italiana. Visse la sua adolescenza in un ambiente colto, in cui letteratura e arte erano passioni quotidiane. Tra i suoi maestri vi fu Stefano Ussi (1822-1901), che intuì le capacità del giovane e suggerì alla famiglia di lasciare che si dedicasse alla pittura. Partito presto alla scoperta del mondo, il giovane Henry visitò prima alcuni paesi dell’Africa settentrionale e dell’America, per muoversi poi alla volta dell’Asia: Giappone, Corea, Cina, dove dipinse centinaia di opere dal vero in uno stile 'impressionistico-macchiaiolo' di rapida esecuzione.
L'unicità documentaria delle sue creazioni appare evidente: in un periodo in cui ci si affidava già all'immediatezza della fotografia, Savage Landor ha persistito a lungo nel dipingere en-plein-air, prendendo però nettamente le distanze dalle visioni fantasiose e dallo stile minuziosamente classico della pittura di genere Orientalista per immergersi invece nel mondo asiatico reale, restituendone i vari aspetti con i tratti espressivi della modernità. Lo stile dell’artista anglo-fiorentino, rapido e conciso, si rivela infatti estremamente efficace nel 'fotografare' con immediatezza luoghi e persone che di lì a qualche decennio sarebbero completamente cambiati per conseguenza dell'incipiente globalizzazione.
Explorer, adventurer, writer, photographer, journalist and inventor: Arnold Henry Savage Landor (1865-1924) is an extremely interesting figure, who had great success in life and, for still unclear reasons, fell into oblivion after his death.
Savage Landor was born in Florence to an English father and an Italian mother. He spent his childhood and adolescence in very lively intellectual circles, where literature and art were daily passions. Among his teachers was Stefano Ussi (1822-1901), who sensed the young man's skills and suggested his family to let him devote to painting. Leaving home to discover the world, young Henry first visited some countries in North Africa and America, then moved to Asia: Japan, Korea, China, where he made hundreds of paintings in real life.
The documentary uniqueness of his creations is evident: at a time when the immediacy of photography was already being exploited, he long insisted on painting en plein air.
Although he was well aware of Orientalist painting, he stayed strictly away from its edulcorated, fantastical visions and from its meticulously classic style, preferring to plunge into the real world of Asia and portray it in a modern artistic manner.
The style of the Anglo-Florentine artist, quick and concise, proves to be extremely effective in "photographing" places and people who would have completely changed after a few decades as a result of the incipient globalization.
JAMAL KHASHOGGI
Jamal Ahmad Khashoggi (Medina, Saudi Arabia, 13 October 1958 – Istanbul, Turkey, 2 October 2018) was a Saudi journalist, political commentator, and dissident voice who became a global symbol of the price of truth when truth disturbs absolute power. His story is not that of an ordinary reporter: it is the story of a man who grew up within an authoritarian system, who understood the machinery of power from the inside, and who therefore knew exactly how propaganda can turn into violence.
Origins, family, and education
Khashoggi was born in Medina, one of the most important cities in Islam. He came from a well-connected and socially recognized Saudi background: his family had status and access, and he grew up close enough to institutions and elites to understand how authority truly functions. This point is crucial: Jamal Khashoggi was not a dissident “from the margins.” He was a man who knew the structure—and became dangerous precisely when he chose not to lie.
He studied and developed part of his education abroad, which helped shape a broader view of politics and freedom of expression. His professional identity was built on journalism rooted in facts and direct observation: he did not write to entertain, he wrote to expose.
Journalistic career and public role
For decades, Khashoggi worked as a journalist in Saudi Arabia and across the Arab world. He had close knowledge of political life and witnessed crises, wars, transformations, and power struggles. He wrote about sensitive subjects: corruption, extremism, internal repression, war, and the relationship between society and religious authority.
In this stage, his role was complex: on one side he was a journalist with access and connections; on the other he tried to preserve an independent space of thought. This tension reflects a country where speaking truth is always dangerous and every sentence becomes a negotiation with the limits imposed from above.
Exile and the choice to speak
In the final years of his life, as political repression intensified in Saudi Arabia and the control of critical voices grew harsher, Khashoggi increasingly collided with power. His public positions, his call for reform, his criticism of censorship, and his denunciation of arrests of opponents made him unacceptable to the regime.
He moved to the United States and began writing as a columnist for The Washington Post. At that point his voice became international—and therefore even more intolerable. He was no longer a manageable dissenter within the country’s borders: he had become a global witness.
Private life and his relationship with Hatice Cengiz
On a human level, Jamal Khashoggi was not only a political symbol: he was a man with a private life, love, and plans. He was engaged to Hatice Cengiz, who would later become a crucial witness after his disappearance. Their story makes the tragedy even more brutal: Khashoggi entered a building expecting to complete paperwork necessary to marry and build a life, and was instead erased.
His death: how, where, and why
On 2 October 2018, Jamal Khashoggi entered the Saudi Consulate in Istanbul, Turkey, to obtain documents required for his marriage. He never came out.
International investigations and reconstructions indicate that he was lured into a trap: inside the consulate a team of Saudi agents was waiting. Khashoggi was killed and his body was made to disappear. The brutality of the operation—carried out inside a consulate, a formally diplomatic space—turned the case into a message to the world: no place is safe if power decides you must vanish.
The murder of Khashoggi was not “just another killing.” It was a political execution. An act of state terror against an unarmed man, guilty of only one thing: writing, criticizing, thinking.
Those who ordered it, and its historical meaning
Questions about who ordered the murder and higher-level responsibility have marked the entire case. The most disturbing truth is this: an operation of that kind is not the action of uncontrolled criminals, but the expression of a power structure capable of using death as a political instrument.
Khashoggi became a symbol of the violation of press freedom, the repression of dissidents, and the fragility of human rights when they collide with economic interests and geopolitical convenience.
Why Khashoggi belongs in this series
Jamal Khashoggi died for truth in a modern and terrifying way: not in a public execution, but through a planned disappearance, inside an official building, in the twenty-first century.
His death forces a question the world continues to avoid: how many times does global politics choose silence over justice when truth becomes inconvenient for the powerful?
As a photojournalist, Sam Hood provided photos for newspapers including the Sydney Mail, Australasian, Daily Guardian, Sun and Sydney Morning Herald. He covered many of Australia’s landmark events, but on this occasion Hood captured a more personal moment. While covering a polo match, he photographed a man — perhaps a fellow journalist — asleep at the wheel of a car. Hood’s composition leaves the match in the background hanging like a ‘dream bubble’ over his head. PXE 789 (v.50) collection.sl.nsw.gov.au/record/nQRq2gd1/PaDqvXpLqwgL2
On display in
Shot - 400 photographs | 200 photographers | 3 centuries
Free Exhibition - State Library of NSW (closes Nov. 2024)
Visit sl.nsw.gov.au/exhibitions/shot
Online version - photogallery.sl.nsw.gov.au/?_gl=1*ouza4a*_ga*MjA4NjIyODUx....
Catalogue sl.nsw.gov.au/sites/default/files/shot_photography_galler...
My uncle just passed away a week ago and he was a journalist and well known historian in the Netherlands. I am receiving articles about him and the one mentioned him as a "gentleman journalist". This scene today at the Remembrance Day Ceremony made me think of him. There is a fine line between recording events as a journalist and respecting the significance of the moment. This soldier was doing his best to reflect on the moment ahead of him while behind him the media was making sure others who could not make it to the cenotaph, could see it on tv or read about it in the paper. I wonder how my uncle would have handled this moment knowing that the Canadian soldiers helped give his family freedom in the Netherlands.
My interview on Google Local Guide Connect
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Last night members from the United States 75th Ranger Regiment located and liberated captured photojournalist reporter Jake March. March was captured by Mujahideen forces in northern Afghanistan last September.
March has been embedded with Marines, Army, and even the elusive Special Forces groups including Green Berets and accompanying Navy SEALs on several missions throughout Iraq, Afghanistan, and locations in Africa.
While missing his fellow reporters tapped every local contact they had in the attempt to locate him ultimately resulting in several leads which led to his rescue.
March says he now plans to take some time at home before re-embedding with American forces on the front lines.
File: 2021001-0043
Male journalist, at a factory, somewhere in Worcester, Worcestershire, England, United Kingdom. Date unknown, but circa 1992-94.
About the photograph.
This is a local newspaper journalist, the one seen here with the camera, attending an event at a local factory.
The factory is one of those companies that makes either the majority of the parts or even an engine, for an open wheeled single seat racing car, like a Formula One car, which you can see in the right side of the photo. The factory allowed a group of school children to attend a tour, to talk about engineering works on stuff like that, possibly to let those kids think about their future.
Because of this, the local newspaper sent us, that’s him and me, to attend and report about it. I’ll explain why I’m there in the next section below.
What is this all about?
I am a deaf person, I attended a deaf school ran by hearing teachers, and in my last year (1985-86) at school, my class were learning about jobs and work. The teacher and the visiting career advisor were to tell us about jobs, like difference between part-time and full-time, and stuff like that. They also talk to us about what kind of jobs and future we wanted to have, and also to see what needs to be done after school. Like to see if arrangements can be set up for some to get a job after leaving school, or if some of us need to attend college.
I admit my first choice was to become a diver, but my teacher dismissed it as something I can’t do because of my being deaf. I had at least 3 or 4 other ideas, but all were shot down. It is easy to look back and realised that was discrimination.
My next idea was to become a photographer. I really wanted to, I want to be a photographer, and wanted to study photography. Again, he dismissed it, but I decided to put my foot down, and stick with it. I keep trying to ask for a college course in photography, they keep asking me to rethink my options.
As time was running out, they all agreed to make arrangements for me to attend a one-year college course, which is really more of a further education course. Once again, I keep asking for a college course in photography after that course.
Finally they got me a two year college course, but it was more of training course. I had three days on-the-job training, working for a professional photographer, and two days at college, studying graphic design.
After leaving college, I struggled with trying to get a job in photography, because during those days, the early 1990s, there were still discrimination against disabled people.
I think maybe around 1993, the Job Centre got me a short term training course, in helping improve my job seeking chances, and I managed to ask if I could have a volunteer work in photography, and somehow got a placement with a local newspaper’s photography department.
I was there, familiarise myself with how photojournalist work, and learn the ropes. I was told to go with this journalist to attend this event, and while he was taking photographs for the newspaper, I was taking photographs of him for myself.
It was only a few weeks, but enough for me to want to push harder, and try to get into photography as careers, even if I still face discrimination.
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