Status
Available
Publication
Penguin Books (2016), Edition: Reprint, 368 pages
Description
Biography & Autobiography. Photography. Nonfiction. HTML: MacArthur Genius Grant winner Lynsey Addario's relentlesspursuit of complex truths drive this heart-pounding and inspirational memoir ofa photographer's life. Lynsey Addario was just finding her way as a youngphotographer when the events of September 11, 2001, changed the world. One ofthe few photojournalists with experience in Afghanistan, she gets the call toreturn and cover the American invasion. She makes a decision she would oftenfind herself makingâ??not to stay home, not to lead a quiet or predictable life,but to set out across the world, face the chaos of crisis, and make a name forherself. Addario finds in photography a way to travel with a purpose,and It's What I Do is the story ofthat singular callingâ??how it shapes and drives her life and how it changes thelives of others. She captures virtually every major theater of war of thetwenty-first century and from it creates a historical document of truth on theinternational conflicts that have made, and remade, our world. She photographsthe Afghan people before and after Taliban reign, the civilian casualties andmisunderstood insurgents of the Iraq War, as well as the burned villages andthe countless dead in Darfur. She exposes a culture of violence against womenin the Congo and tells the riveting inside story of her headline-makingkidnapping by pro-Qaddafi forces in the Libyan civil war. As a woman photojournalist determined to be taken asseriously as her male peers, Addario fights her way into a boys' club of aprofession. Rather than choose between her personal life and profession,Addario learns to strike a necessary balance. In the man who will become herhusband, she finds at last a real love to complement her work, not take awayfrom it, and as a new mother, she gains an even more intensely personalunderstanding of the fragility of life. Watching uprisings unfold and people fight to the death fortheir freedom, Addario understands she is documenting not only news but alsothe fate of society.It's What I Do is more than just asnapshot of life on the front linesâ??it is witness to the human cost of… (more)
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Media reviews
Although there is no academic credential that boosts one’s odds of becoming a successful combat journalist (ironically, one of the more common traits in the profession is a dearth of journalism degrees), there surely is a personality type: plucky, adventurous, intensely curious, ferociously
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driven. From early on, Addario showed signs of possessing all these traits, and in abundance. Show Less
User reviews
LibraryThing member ozzer
This remarkable memoir explores the unique life of a modern photojournalist from the perspective of a successful insider—her development; the culture of the profession, the travel, risks and sacrifices required and especially the drive required persisting. Lynsey Addario’s career has taken her
She describes a male dominated culture where the work is done in the world’s most difficult and often dangerous locales. Notwithstanding fierce competition, close relationships do develop not only with other journalists, but also with the local fixers. “A driver like Mohammed, who was tapped into a network of other drivers and rebels, helped us decide where we could go and how long we could stay. His directions often determined our fate. His contribution was invaluable.”
Gender issues are never far away in this story. Addario repeatedly experiences sexism but she is relentless in pursuing her goals. One of the strengths of her memoir is its focus on women. While recognizing that she is not immune to sexism in her work, Addario also sought to document the unique difficulties all women face living in war zones.
These places are dangerous and Addario readily admits to feelings of fear but also notes that she could adapt to them: “I became comfortable in places most people found frightening, and as I saw more of the world, my courage and curiosity grew.” A common image of the photojournalist today is the annoying paparazzi, relentlessly seeking titillating photos of celebrities, but few consider the risk and courage required of war photographers. These images are so prevalent today that we often do not consider what it takes to obtain them. The risks involved in reporting from war zones can carry considerable career cache as evidenced by the exaggerations of high profile reporters like Brian Williams and Bill O’Reilly but the risks assumed by lesser known reporters often go unnoticed and underappreciated: "When I risked my life to ultimately be censored by someone sitting in a cushy office in New York who was deciding on behalf of regular Americans what was too harsh for their eyes..., I was furious." Robert Capa once told Addario that “if your pictures aren’t good enough, you’re not close enough.” She reflects on this piece of advice while “(i)n Libya, if you weren’t close enough, there was nothing to photograph. And once you got close enough, you were in the line of fire.”
Addario also takes the reader up close to her personal life in this memoir. Notwithstanding being kidnapped twice, she manages to fall in love and start a family, all while holding fast to the notion that her work matters most. “Long ago I learned that it is cruel to make loved ones worry about you. I tell them only what they need to know: where I am, where I am going, and when I am coming home.” Clearly her choice of an understanding journalist as a spouse plays an important role in her successful marriage. In the lovely film “1,000 Times Good Night” Juliette Binoche plays a similarly driven photojournalist, but her personal life does suffer because of her long absences and concerns for safety.
Addario enhances her memoir with multiple insights about her work. One of her early mentors, Miguel Salgado advised her develop her skill as a photographer before seeking more prominent assignments: “Stay in Argentina, learn photography, and make all of your professional mistakes in Argentina, because if you make one mistake in New York, no one will give you a second chance.” She reflects on her role: "I became fascinated by the notion of dispelling stereotypes or misconceptions through photographs, of presenting the counter intuitive ... I learned quickly to tuck away my own political beliefs while I worked and to act as a messenger and conduit of ideas for the people I photographed." She learned how to capture unique images: "People think photography is about photographing. To me, it’s about relationships. And it’s about doing your homework and making people comfortable enough where they open their lives to you." Also never fails to recognize her subjects by asking permission to photograph them: "I was still trying to figure out how to take pictures of them without compromising their dignity ... my role was always the same: Tread lightly, be respectful, get into the story as deeply as I could without making the subject feel uncomfortable or objectified." Also, she acknowledges failure: “Even the most experienced photographers have days like this: You can’t frame a shot, catch the moment. My fear was debilitating, like a physical handicap.”
In reacting to this memoir, one marvels at how a woman so young could acquire so much knowledge and insight. With the birth of her son, Addario seems to be recognizing a greater need to strike a better balance between her career and profession. One wonders if the book would have been more effective if she had made more of an effort to be introspective. The images that accompany the book are indeed one of its strengths. These, often distressing images of terror, violence, death and violation of human rights clearly demonstrate her expertise with getting close to her subjects and her drive to make a difference by communicating through pictures.
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to virtually all of the hotspots in the world today. She shares her experiences conveying what the work requires. “The truth is that few of us are born into this work. It is something we discover accidentally, something that happens gradually.” In her case, it was an early fascination with photography and world travel. She describes a male dominated culture where the work is done in the world’s most difficult and often dangerous locales. Notwithstanding fierce competition, close relationships do develop not only with other journalists, but also with the local fixers. “A driver like Mohammed, who was tapped into a network of other drivers and rebels, helped us decide where we could go and how long we could stay. His directions often determined our fate. His contribution was invaluable.”
Gender issues are never far away in this story. Addario repeatedly experiences sexism but she is relentless in pursuing her goals. One of the strengths of her memoir is its focus on women. While recognizing that she is not immune to sexism in her work, Addario also sought to document the unique difficulties all women face living in war zones.
These places are dangerous and Addario readily admits to feelings of fear but also notes that she could adapt to them: “I became comfortable in places most people found frightening, and as I saw more of the world, my courage and curiosity grew.” A common image of the photojournalist today is the annoying paparazzi, relentlessly seeking titillating photos of celebrities, but few consider the risk and courage required of war photographers. These images are so prevalent today that we often do not consider what it takes to obtain them. The risks involved in reporting from war zones can carry considerable career cache as evidenced by the exaggerations of high profile reporters like Brian Williams and Bill O’Reilly but the risks assumed by lesser known reporters often go unnoticed and underappreciated: "When I risked my life to ultimately be censored by someone sitting in a cushy office in New York who was deciding on behalf of regular Americans what was too harsh for their eyes..., I was furious." Robert Capa once told Addario that “if your pictures aren’t good enough, you’re not close enough.” She reflects on this piece of advice while “(i)n Libya, if you weren’t close enough, there was nothing to photograph. And once you got close enough, you were in the line of fire.”
Addario also takes the reader up close to her personal life in this memoir. Notwithstanding being kidnapped twice, she manages to fall in love and start a family, all while holding fast to the notion that her work matters most. “Long ago I learned that it is cruel to make loved ones worry about you. I tell them only what they need to know: where I am, where I am going, and when I am coming home.” Clearly her choice of an understanding journalist as a spouse plays an important role in her successful marriage. In the lovely film “1,000 Times Good Night” Juliette Binoche plays a similarly driven photojournalist, but her personal life does suffer because of her long absences and concerns for safety.
Addario enhances her memoir with multiple insights about her work. One of her early mentors, Miguel Salgado advised her develop her skill as a photographer before seeking more prominent assignments: “Stay in Argentina, learn photography, and make all of your professional mistakes in Argentina, because if you make one mistake in New York, no one will give you a second chance.” She reflects on her role: "I became fascinated by the notion of dispelling stereotypes or misconceptions through photographs, of presenting the counter intuitive ... I learned quickly to tuck away my own political beliefs while I worked and to act as a messenger and conduit of ideas for the people I photographed." She learned how to capture unique images: "People think photography is about photographing. To me, it’s about relationships. And it’s about doing your homework and making people comfortable enough where they open their lives to you." Also never fails to recognize her subjects by asking permission to photograph them: "I was still trying to figure out how to take pictures of them without compromising their dignity ... my role was always the same: Tread lightly, be respectful, get into the story as deeply as I could without making the subject feel uncomfortable or objectified." Also, she acknowledges failure: “Even the most experienced photographers have days like this: You can’t frame a shot, catch the moment. My fear was debilitating, like a physical handicap.”
In reacting to this memoir, one marvels at how a woman so young could acquire so much knowledge and insight. With the birth of her son, Addario seems to be recognizing a greater need to strike a better balance between her career and profession. One wonders if the book would have been more effective if she had made more of an effort to be introspective. The images that accompany the book are indeed one of its strengths. These, often distressing images of terror, violence, death and violation of human rights clearly demonstrate her expertise with getting close to her subjects and her drive to make a difference by communicating through pictures.
Show Less
LibraryThing member muddyboy
When you read a book about a photographer's life and work you expect the photography to be more compelling than her words but that is not the case here. Ms. Addario has had near death experiences at many trouble spots throughout the world and tells her tale well. It was the photos chosen for this
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book that let me down. Many are not labeled. Other times she speaks of a series of photos she took that I badly wanted to see and none were chosen for the book. Others were shot at long distances and I see little connection to the written words. A compelling story but the photos and their description are lacking. Show Less
LibraryThing member muddyboy
When you read a book about a photographer's life and work you expect the photography to be more compelling than her words but that is not the case here. Ms. Addario has had near death experiences at many trouble spots throughout the world and tells her tale well. It was the photos chosen for this
Show More
book that let me down. Many are not labeled. Other times she speaks of a series of photos she took that I badly wanted to see and none were chosen for the book. Others were shot at long distances and I see little connection to the written words. A compelling story but the photos and their description are lacking. Show Less
LibraryThing member Susan.Macura
This is an exceptional book about the life of a photojournalist who has covered some amazing events in our lifetime. Not only are the photos that are included in this book incredible, but also so is her story. Her life has been filled with danger and normalcy – from being kidnapped to getting
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married and having a son. Having seen the movie Restrepo and having read War by Sebastian Junger I am aware of the particular dangerousness involved with being there at that time. I respect her spending time embedded with those troops and covering their experiences. This was one of the best books I have read this year. Show Less
LibraryThing member St.CroixSue
Lynsey is an American photojournalist who has covered conflict in Afghanistan, Iraq, Lebanon, Darfur and the Congo. This is her story and it is remarkable.
LibraryThing member dele2451
Does a nice job describing the work vs personal life conflicts faced by women in "unconventional" careers. I appreciated her relaying her personal experiences as a Western woman wearing the burqa and numerous other granular details associated with her field assignments in the Middle East and
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Africa. Not surprisingly, her pictures are terrific too. Show Less
LibraryThing member KimMeyer
I love a good awesome woman memoir, and this one delivers. Addario tells stories from her career as a photographer in war zones, from her first assignment to receiving the MacArthur grant, with two kidnappings, several failed relationships, and plenty of commentary on international politics and
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being a woman in a patriarchal world inbetween. Show Less
LibraryThing member njtrout
Excellent autobiography of one of the worlds foremost war photojournalist. The details Lynsey writes are so vivid and have tremendous feeling. She truly loves her work and deserves all the accolades that have come from it.
LibraryThing member yhgail
Glad I read this.
LibraryThing member smorton11
Whoa. Literally, just whoa. For someone who has lived a fairly sheltered life in Pennsylvania for my entire existence, it blows my mind how people can just pick up at a moment’s notice and not just go on an adventure, but go to a war-ravaged country that is most certainly on the state
When I picked up It’s What I Do, I was on a biography/autobiography kick, having just finished Notorious RBG, and I was looking for some inspiration as I tried/am still trying to figure out what it is I want out of my life. And while I certainly want adventure, I don’t think I’m quite cut out for Lynsey’s level of adventure, but let me step back a bit.
In 2014, my sister moved to Washington D.C. right after her college graduation. When Ben and I went to visit her, we planned a little mini trip, which included a visit to an old favorite, the Library of Congress, and a new spot, the Newseum. While I never considered journalism as a career, I’ve followed Christiane Amanpour since she first was referenced on Gilmore Girls, I am a perpetual student of political science, and I am an obsessive news junkie. So needless to say, the decision to go to the Newseum was a no-brainer. While there, I learned about the numerous and life-threatening risks journalists take to bring the information they have gathered back to us. And when they travel to dangerous places, they are traveling as members of the press, but more importantly, not as soldiers or military personnel, but as civilians.
Lynsey Addario rarely hesitated when making the decision to go overseas to follow a breaking story/event. All I can say is that her story is simply amazing and I have been recommending It’s What I Do left, right and center at the bookstore. I’ve found every excuse and opportunity to display it, to share it, to talk about it – I even forced my mom into a copy and she doesn’t read anything but Baldacci and spy thrillers (though I sold it to her as a real-life spy thriller). If you are in a reading slump, or just need some motivation to get up in the morning, It’s What I Do is the book for you.
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department’s travel advisory list. But time and time again, that’s what Lynsey does.When I picked up It’s What I Do, I was on a biography/autobiography kick, having just finished Notorious RBG, and I was looking for some inspiration as I tried/am still trying to figure out what it is I want out of my life. And while I certainly want adventure, I don’t think I’m quite cut out for Lynsey’s level of adventure, but let me step back a bit.
In 2014, my sister moved to Washington D.C. right after her college graduation. When Ben and I went to visit her, we planned a little mini trip, which included a visit to an old favorite, the Library of Congress, and a new spot, the Newseum. While I never considered journalism as a career, I’ve followed Christiane Amanpour since she first was referenced on Gilmore Girls, I am a perpetual student of political science, and I am an obsessive news junkie. So needless to say, the decision to go to the Newseum was a no-brainer. While there, I learned about the numerous and life-threatening risks journalists take to bring the information they have gathered back to us. And when they travel to dangerous places, they are traveling as members of the press, but more importantly, not as soldiers or military personnel, but as civilians.
Lynsey Addario rarely hesitated when making the decision to go overseas to follow a breaking story/event. All I can say is that her story is simply amazing and I have been recommending It’s What I Do left, right and center at the bookstore. I’ve found every excuse and opportunity to display it, to share it, to talk about it – I even forced my mom into a copy and she doesn’t read anything but Baldacci and spy thrillers (though I sold it to her as a real-life spy thriller). If you are in a reading slump, or just need some motivation to get up in the morning, It’s What I Do is the book for you.
Show Less
LibraryThing member Aronfish
Fascinating account of a celebrated war photographer. I listened on audio, which was excellent. I admit that her propensity to go into the most dangerous situations after barely escaping several times with her life made me pretty anxious at times. But this was also reflective of her skill in
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conveying these scenes in Afghanistan, Iraq and other places with such clarity. She highlights the challenges of being a woman working in these places, and also her commitment to telling women's stories through her photos. Show Less
Awards
Chautauqua Prize (Shortlist — 2016)
WLA Literary Awards (2016)
NPR: Books We Love (2015)
Kirkus Reviews Best Book of the Year (Nonfiction — 2015)
Christian Science Monitor Best Book (Nonfiction — 2015)
Los Angeles Public Library Best of the Year (Non-Fiction — 2015)
Language
Original language
English
Physical description
8.38 inches
ISBN
0143128418 / 9780143128410