Usually you’ll see the speaker standing behind a podium. You don’t often see portraits at rallies. Photojournalist Emilee McGovern at a #NeverAgain rally. For a close modern analogy, take the case of Shepard Fairey’s “HOPE” poster of Barack Obama, which was cribbed from a photo by AP photographer Mannie Garcia. This is not unlike what’s happened in the past, when photos reach well beyond the photographer’s control. I think any photographer who's ever had this happen to them can relate to that," McGovern said. Like you're no longer a part of something that you actually are a huge part of, this thing that you've dedicated your life to. “Don't get me wrong, having your photos kind of run off without you can sometimes feel somewhat disheartening. The only people who have permission to use them on their social media accounts were González and Hogg, according to the photographer. McGovern added that no one has contacted her to license the images. And just hope that the people who want to hear about it, find their way to me organically.” - Emilee McGovern I get to continue telling this story that I care deeply for. All that really matters to me is that I get to continue my work. ![]() And being out there with those kids is way more important to me than sitting at home tracking down infringements. “Everyday all day the story of Marjory Stoneman Douglas and the Never Again Movement, is my life. Her Instagram feed and Twitter posts are a chronicling of almost everything that’s happened around these Stoneman Douglas students since the shooting. So when your images start popping up everywhere without any proof that they belong to you, it can be scary, because you can't control it, and you definitely can't predict an outcome” - Emilee McGovernįlorida-based photojournalist McGovern has spent the last month diving full-force into coverage of the #NeverAgain movement, following the young students all the way to Washington D.C. … We'd all like to believe we don't need recognition, we can do our jobs and humbly continue on, but when your entire future depends on whether or not you've been published and where, it can be less of a courtesy and way more of a necessity. So sometimes the gratification of people simply responding in this way, has to be enough. Honestly, what else are we here for? When you decide to be a photojournalist, you kind of come to terms with the fact that you might not ever make much money doing it. ![]() Or that your work has resonated enough to invoke someone to want to share it. Knowing that you've inspired other artists to create. She describes her entry into journalism as “less of a choice and way more of a calling.” She believes strongly in what she’s doing and the work around the movement, but voiced concerns about how the photos were being used. McGovern is proud of the reach that the photos have gotten, but has conflicted feelings about being the photographer behind it that no one knows. She posted the photos to her blog after the event and from there, versions rocketed across the internet, finding their way to news services and social media accounts. Emilee McGovern is the photographer who photographed the pair of Stoneman Douglas students after a rally just days after the event. Apparently they’re a good way to shoot heavy telephoto out of a dumpster or off the back of a motorcycle.While the images have been spread far and wide, the photographer’s identity has not. Though when I sold camera equipment near Philly city hall they were a bit of thing with paparazzi using early DSLRs. On top of that it’s not a great idea to go waving around what looks like a sniper rifle from space. And modern image stabilization nuked a lot of the benefits. Seem to have peaked in the 70’s when very long, extreme telephoto lenses first became broadly available. Don’t do a ton that conventional shoulder mounts, gimble rigs or even a strap doesn’t. They don’t seem to have ever been particularly successful commercially, since they’re very niche. While shooting fast moving or skittish subjects. ![]() Particularly when kneeling, lying prone, or crammed in a fast moving vehicle or something like a tree stand. And it’s very fast and easy to aim, move and reorient the camera while shooting. The stock can support both the camera body and a long lens. The idea is that you get a stable shooting platform off your shoulder, and position your hands off the camera, but close to the controls.
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