Features of the work of a photojournalist in conditions of increased danger

The Ukrainian media landscape has transformed under the influence of Russia’s hybrid war, followed by the full-scale invasion of Ukraine. The year 2022 became a turning point for Ukrainian journalism. As visual elements now take center stage in media products, photojournalism has reached new heights, driven by the urgent need to cover events from the frontlines. In today’s conditions, photojournalists must be able to work in extreme environments, quickly and efficiently adapt without compromising military operations, and strictly adhere to safety protocols.

Photojournalism is a form of journalism that informs the audience through images, shaping the perception of current events. Visualization is a key characteristic of this genre, as visual representation in modern media serves as vital evidence of the authenticity of events.

In dangerous conditions, a photojournalist must realize that the value of their images increases due to the unique access they possess—most of the civilian population does not have access to the frontline. Therefore, the responsibility to depict these events truthfully rests heavily on their shoulders. Photo documentation allows readers to immerse themselves in the unfolding events, and photo reports that create a sense of presence allow viewers to experience the recorded reality. As Andriy Dubchak, a Ukrainian war photographer and correspondent, says: «War is not only about killings but also about the daily life, which is equally important to show. It’s about people and their inner feelings, but 'if you feel scared of blood, of horrors—don’t go in».

Journalists shape public opinion and must be cautious when presenting material to avoid manipulating the emotions of viewers when they encounter potentially distressing content. As Yaroslav Tabinsky wrote in his work «Challenges of Modern Photojournalism during the Russo-Ukrainian War»: «The widespread use of photos to illustrate journalistic texts also has its drawbacks. People have stopped paying attention to details—they literally ‘scan’ the image with their eyes. Such a trend provides opportunities to manipulate mass consciousness through illegitimate propaganda methods» The audience consumes content, trusting authoritative communication channels. As Susan Sontag asserts: «The wisdom contained in a photographic image speaks to us: 'This is the surface, now think, feel, intuit what lies beyond it. Calculate what the reality must be behind such a surface».

Another crucial aspect of a modern photojournalist’s work during wartime is the safety of media personnel. Photographers and videographers often head into the epicenter of events to capture moments that will enter history. Therefore, before being dispatched to the “zero line” or gray zones, photojournalists must prepare themselves and their equipment for potentially extreme conditions. For such cases, the Institute of Mass Information has developed a guide for journalists working in dangerous environments titled «Journalist and (In)security», where the authors offer advice on how to thoroughly prepare for hazardous journeys, protect equipment, avoid common mistakes, and—most importantly—determine what should or should not be publicly disclosed.

Images give the audience a sense of the context behind events. Documentary photography shapes historical and cultural memory about the war. Besides adhering to journalistic standards, photojournalists must also prioritize their safety, as they risk their lives to gather significant socio-political material.