Several
things very disturbing here. The camera was obviously a
professional's. That means that the lens and all of the exposure data,
including the distance to the point of sharp focus, are embedded in the
file that contains the image. To prove he "couldn't do anything fast
enough, he could produce that info. Two, if he really wanted the drivers
attention, he would have moved towards the roadbed and shot
silhouetting the guy to the driver. This would have resulted in camera
flash reflections in the cab windows, washing out the image somewhat.
But no, instead he shoots from the best camera angle for a good picture,
carefully framing out people he claims were closer. Three, he should
have documented everyone at the scene after the guy was run over
immediately. To have a full rig out and visible in a place where
normally you hide it as best you can tells me he was well aware of the
tension at the scene, well before the push. Four, the authorities with
the surveillance tape know damn well how much time elapsed between when
Han was pushed and when the train ran over him. Five, my sense of the
image is that he was within 50 feet of the victim, based on the flash
and the lack of telephoto effects in the image, and maybe even closer.
Strobes do not reach too far, especially if you are going for low ASA
numbers (higher quality of image). I would say he went for the gold,
and I hope the family sues him for every penny of it and all his gear
too.
New York Post's Subway Death Photo: Was It Ethical Photojournalism? - Forbes
www.forbes.com
When a news photographer witnesses a tragedy in the making, is his obligation to intervene or to document it?
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