My wife commented that it was a terrific photo and I agreed. It suddenly occurred to me, looking at it, that the only really striking photos we see in the print media these days are of sport. The hard news picture, as it’s known in the trade, is almost a relic of the past.
The defining events of our time – the 1951 waterfront dispute, the Wahine disaster, the 1981 Springbok tour protests, to name just three – were captured forever on film by great photographers.
I had the honour and privilege of knowing some of them – people like Barry Durrant and John Selkirk at the Dominion, Phil Reid and Ian Mackley at the Evening Post. There are countless others I could mention.
They were hungry and competitive. They lived for big stories and would go to great lengths to get the right shot from the right angle at the right moment. The best of them had an almost uncanny ability to anticipate situations before they happened and strategically position themselves.
A famous example was the picture taken by Barry Durrant of the moment in 1968 when a blast of explosives blew away the last wall of rock in the underground tailrace connecting Lake Manapouri and Deep Cove – part of the Manapouri power project.
A part of dignitaries had assembled for the occasion but Durrant didn’t go for the obvious picture of cabinet minister Ralph Hanan pushing down the plunger to set off the explosion. Instead he turned his camera on the observers, hoping to capture the expressions on their faces.
He got more than that. The tunnellers had over-estimated the amount of explosives needed to do the job and the massive blast blew the safety helmets off the heads of the official party. Durrant was one of half a dozen photographers present but he was the only who got the shot of the shock wave blowing the VIPs’ hard hats off.
As news editor of the Dom in the 1980s, I could be confident that each day would produce at least one standout picture for the front page. There was fierce competition among the photographers (we had five or six) for the prestige of a front-page byline.
Now the old-school news photographer is an almost extinct species, like so many other casualties from the golden age of print (in fact almost literally extinct, since newspapers now use the pompous term “visual journalist”).
Reporters are expected to take their own pictures. Some do their best, but it’s not the same.
There are still a handful of skilled and dedicated news photographers around, but they are pitifully few. Our major newspapers are largely dependent on static or stock shots to illustrate their stories. You can go days, even weeks, without seeing an authentic hard news photo. Ones that make you mutter "wow", such as this morning's sports pic, are even rarer.
What happened? Some of the best photographers were “let go”, to use a ghastly euphemism, during the serial industry retrenchments that accompanied the shock of the digital revolution. I know of one who ended up working as a postie; another who bought a motel. They were a huge loss, one that accelerated the gradual and painful decline of newspapers.
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