About Erin Madigan White

Senior Media Relations Manager and proud promoter of The Associated Press. https://twitter.com/emadiganwhite

Pinning hopes on Olympic metal?

AP souvenir pins for the 2014 Sochi Olympics.

AP souvenir pins for the 2014 Sochi Olympics.

AP souvenir Olympic pins from years past.

AP souvenir Olympic pins from years past. (Photo courtesy AP Corporate Archives)

Pin trading at the Olympics is always an event as popular as any spectator sport. The small, colorful souvenirs are created by corporations, countries and media organizations, such as The Associated Press, and swapped and collected by athletes and fans, alike.

AP Olympic pins from years past (AP photo)

AP Olympic pins from years past (Photo courtesy AP Corporate Archives)

Designed by AP’s Creative Services team, this year’s set of four pins depicts silhouettes of athletes in bobsledding, snowboarding, hockey and figure skating.

AP-branded Olympic pins were created as far back as the 1984 Summer Games in Los Angeles, though AP has been covering the games for more than 100 years.

A limited supply of AP Sochi 2014 pins are available for $15 a set via www.apessentials.com.

Proceeds benefit the AP Emergency Relief Fund, which provides financial assistance to AP staff impacted by disaster around the world.

People trade Olympic pins at a pin trading site in Vancouver, British Columbia, Wednesday, Feb. 17, 2010. (AP Photo/Jae C. Hong)

People trade Olympic pins at a pin trading site in Vancouver, British Columbia, Wednesday, Feb. 17, 2010. (AP Photo/Jae C. Hong)

Pausing to see the world

In fast-paced Tokyo, a pause will be rewarded with “A View of Daily Life” around the world.

A man walks in front of the entrance to the AP photo exhibition at the Gyoko-dori Underground Gallery in Tokyo, Thursday, Jan. 9, 2014. (AP Photo/Shizuo Kambayashi)

A man walks in front of the entrance to the AP photo exhibition at the Gyoko-dori Underground Gallery in Tokyo, Thursday, Jan. 9, 2014. (AP Photo/Shizuo Kambayashi)

“A View of Daily Life” is a display of Associated Press photos from 31 countries newly installed in Gyoko-dori Underground Gallery, located in Marunouchi, one of Tokyo’s central business and entertainment hubs.

The Japanese paper Sankei Express has reported on the exhibit, which runs through April 22. Admission is free.

The new exhibit follows another international photo show that AP presented in the gallery in 2012-2013.

A man looks at a photograph at the AP Photo exhibition at Tokyo Station gallery in Tokyo, Thursday, Jan. 9, 2014. (AP Photo/Shizuo Kambayashi)

A man looks at a photograph at the AP photo exhibition at the Gyoko-dori Underground Gallery gallery in Tokyo, Thursday, Jan. 9, 2014. (AP Photo/Shizuo Kambayashi)

A Q&A with AP’s health law expert

Viewers of C-SPAN’s “Washington Journal” today got the chance to interact with Ricardo Alonso-Zaldivar, The Associated Press’ expert on the rollout of the nation’s new health insurance system. During the 45-minute segment, he took questions from callers and discussed trends in national health care spending and health law costs.

Ricardo Alonso-Zaldivar

Ricardo Alonso-Zaldivar

Among the key points he underscored:

  • Health care costs are rising, but not as fast as they used to. “It’s rising more or less in line with the overall growth of the economy, which is, if you think of it, a lot of money that the U.S. still spends for health care, but it becomes more affordable when that bill is rising more or less in line with the growth of the economy rather than galloping ahead,” he said.
  • The new law may leave some Americans who have a serious chronic illness “underinsured” because their annual out-of-pocket costs could still be high.
  • The law has varying effects across the states. For example, 25 states and the District of Columbia have decided to expand Medicaid, but the other 25 have not, which can impact health insurance affordability for low-income patients.

AP, which has reporters in all 50 states — a footprint unmatched by any other news organization — is providing comprehensive coverage and support for member news organizations in localizing stories as the law is being implemented across the states.

Guttenfelder is TIME’s Instagram Photographer of the Year

David Guttenfelder, AP’s chief photographer in Asia, can add TIME magazine’s Instagram Photographer of the Year to the myriad accolades he’s received throughout his career.

In this January 15, 2013 photo taken with an iPod Touch and originally posted to Instagram from Pyongyang, a woman walks on a Pyongyang street in front of the pyramid-shaped 105-story Ryugyong Hotel, which North Korea began building in 1987 and it is yet to be complete. (AP Photo/David Guttenfelder)

In this January 15, 2013 photo taken with an iPod Touch and originally posted to Instagram from Pyongyang, a woman walks on a Pyongyang street in front of the pyramid-shaped 105-story Ryugyong Hotel, which North Korea began building in 1987 and it is yet to be complete. (AP Photo/David Guttenfelder)

Guttenfelder’s images snapped on Instagram, including many taken during his visits to North Korea, generated particular fascination in 2013. In fact, Guttenfelder’ work on Instagram was featured by media outlets ranging from the CBS Evening News to National Geographic to Mashable to Wired.

His Instagram feed has more than 235,000 followers. That’s a number that’s likely to grow with endorsements such as this one from WNYC radio, which tweeted: “PSA: Follow [David Guttenfelder] on Instagram, he’s posting amazing photos from North Korea. http://wny.cc/1bSzI4V  pic.twitter.com/Sx15rbVlzb.”

Working for the only western news organization with a full-time, multiformat bureau in Pyongyang, Guttenfelder has used his unprecedented access to bring a rare view of the reclusive country to the rest of the world, capturing what TIME called “striking, intimate pictures.”

“Nobody knows anything about [North Korea] and what it looks like,” Guttenfelder told TIME. “I feel like there’s a big opportunity and a big responsibility.”

Guttenfelder’s images are available via AP Images. Follow him on Instagram.

TIME names Muhammed Muheisen best wire photographer of 2013

Calling his work “indispensable for news outlets the world over,” TIME magazine today named Associated Press photographer Muhammed Muheisen the best wire photographer of 2013.

Pakistan's Chief Photographer Muhammed Muheisen shows Afghan refugee children how the camera works, in a poor neighborhood on the outskirts of Islamabad, Pakistan, Monday, Oct. 21, 2013. (AP Photo/Nathalie Bardou)

Pakistan’s Chief Photographer Muhammed Muheisen shows Afghan refugee children how the camera works, in a poor neighborhood on the outskirts of Islamabad, Pakistan, Monday, Oct. 21, 2013. (AP Photo/Nathalie Bardou)

Muheisen, who is based in Islamabad, has captured images of both daily life and of conflict in countries throughout the region. He’s won numerous awards throughout his career and was part of the team that earned the 2013 Pulitzer Prize for breaking news photography documenting the civil war in Syria.

“Viewers everywhere are richer for Muheisen’s compassion, his devotion to his craft and his unwavering, unblinking engagement with the lives and the issues around him,” TIME said.

The magazine also noted that his pictures have appeared more often than those from any other photographer this year in its LightBox “Pictures of the Week” feature.

TIME is not the only publication to highlight his tremendous work. New York Times “Lens” blog editor James Estrin recently tweeted that images by Muheisen had been featured 197 times.

“Muhammed is an extremely talented photographer who time after time manages to win the trust of his subjects in order to record scenes as though he were invisible,” said Santiago Lyon, AP vice president and director of photography. “His understanding and use of light is exquisite.”

TIME also noted the “outstanding work over the past 12 months” by AP photographers David Guttenfelder and Jerome Delay.

See a collection of Muheisen’s work on APImages.com, and watch him discuss his work in Syria.

Executive editor on why AP sought Newtown 911 tapes

The Associated Press sought the 911 calls made during the Dec. 14, 2012, shootings at Sandy Hook Elementary School in Newtown, Conn., where the gunman, 20-year-old Adam Lanza, killed 20 children and six educators. On Wednesday, the calls were posted on the town’s website after AP prevailed in a monthslong legal effort to obtain them.

Senior Vice President and Executive Editor Kathleen Carroll explained why the AP wanted to review the tapes as follows:

“We all understand why some people have strong feelings about the release of these tapes. This was a horrible crime. It’s important to remember, though, that 911 tapes, like other police documents, are public records. Reviewing them is a part of normal newsgathering in a responsible news organization.”

“Everyone knows what happened on that awful day. What we still don’t understand is why it happened. Perhaps we never will. But it’s our job to ask questions and gather facts for stories that seek to understand why.”

Carroll also discussed why AP pursued a legal challenge on the BBC World Service.

Read the AP news story.

‘Electronic shoe leather': How AP found, verified images of train crash

The following note to staff from Senior Managing Editor Michael Oreskes explains how AP sought and verified compelling visuals in the immediate aftermath of Sunday morning’s deadly train crash in New York:

The technology may be new but the goal is eternal: Get verifiable visuals and eyewitness accounts as quickly as possible when news breaks.

The AP accomplished just that after a Metro-North commuter train careened off the rails – thanks to fast and smart work by Caleb Jones of the Nerve Center, who harnessed social media to help AP tell the story of the deadly accident with photos, video, sound and text. Call it electronic shoe leather. Caleb tracked down sources and verified that they were who they said they were and had seen what they said they saw. He did it all with accuracy and speed.

Caleb Jones

Caleb Jones

First word of the Bronx derailment came shortly after the 7:20 a.m. incident, when Photos’ David Boe alerted the Nerve Center to a call from a former AP staffer who had heard scanner traffic. Jones first alerted the East Desk, then launched a search of social media.

He found that two nearby residents had posted pictures, and sent out Twitter messages to both: “Hello. Are you on the scene? Are you available to speak with The Associated Press?”

The first to respond, Rebecca Schwartz, did not have usable photos; Jones passed her along to the East Desk, and she provided the first eyewitness account of the derailment’s aftermath.

“You could see multiple train cars off of the rails, including one train car – I couldn’t tell from where I was whether it was right into the water or just out of the water,” she said.

Edwin Valero had posted a better photo, but the accident scene, as shot from his apartment window, was still largely obscured by trees. Jones asked him if he had more, and he did – from a better location on a nearby bridge.

Cars from a Metro-North passenger train are scattered after the train derailed in the Bronx neighborhood of New York, Sunday, Dec. 1, 2013. (AP Photo/Edwin Valero)

Cars from a Metro-North passenger train are scattered after the train derailed in the Bronx neighborhood of New York, Sunday, Dec. 1, 2013. (AP Photo/Edwin Valero)

The train, all of its eight cars knocked from the tracks, had stopped just short of the water. (Original eyewitness reports said cars appeared to be in the water, and that was corrected based in part on Valero’s photos). Strewn about like playthings, some of the cars were thrown on to their sides, trapping passengers until rescuers could pull them free.

Still, Jones wanted more. He asked Valero if he could safely return to his perch to shoot video, and he did. Valero’s subsequent interview with AP Radio also provided quotes for text and TV, and the video scenes he shot with his iPhone were used in the AP package.

Valero’s signature’s shot of the wreckage in the shape of a giant question mark led the AP coverage and was the most widely used image across online media from morning into the night, displayed prominently by The New York Times, the New York Post, The Boston Globe and The Guardian and other outlets even after news organizations had their own shooters in the Bronx.

And it provided the AP with crucial information before its reporters could get to the scene.

Said East Regional Editor Karen Testa: Caleb’s work “was extraordinary in securing compelling images that not only told the story visually but helped ensure we were accurate in describing the wreckage before we had boots on the ground.”

For his intrepid and determined use of social media, which put the AP ahead on a breaking story of wide interest, Caleb Jones wins this week’s $500 prize.

AP calls for greater White House access in New York Times op-ed

UPDATED: Dec. 11, 2013

Santiago Lyon, AP vice president and director of photography, wrote this opinion piece published in The New York Times: Obama’s Orwellian Image Control.
__

Nov. 21, 2013

The Associated Press today reiterated its call for greater access to President Barack Obama for photographers who cover the White House.

“Journalists are routinely being denied the right to photograph or videotape the President while he is performing his official duties,” said a letter delivered today to White House Press Secretary Jay Carney that was signed by AP and many other news organizations. “As surely as if they were placing a hand over a journalist’s camera lens, officials in this administration are blocking the public from having an independent view of important functions of the Executive Branch of government.”

The letter echoed concerns raised by AP since President Obama’s first days in office in 2009.

AP Vice President and Director of Photography Santiago Lyon underscored key points in the dispute:

AP Vice President and Director of Photography Santiago Lyon

AP Vice President and Director of Photography Santiago Lyon

What is The AP seeking?
The AP and other media organizations are seeking more regular photo access to the President in the Oval Office and elsewhere as he performs official duties or meets with staff. While photographers are granted some access to Oval Office meetings and other activities, it has decreased markedly under the Obama administration when compared to previous presidents. We believe we should have access to a wider selection of presidential events where we know access to be possible.

Don’t we already see photos of these occasions?
A small group of photographers and a videographer, collectively known as the “travel pool,” enjoys some access to the Oval Office and other presidential activities but increasingly the Obama administration labels events as “private” before then releasing official photos shot by White House photographers such as Pete Souza.

These images are posted on the White House Flickr page — http://www.flickr.com/photos/whitehouse — where they are available for free.

This July 1, 2013, screen grab from the Twitter Page of the official White House photographer, Pete Souza, shows a tweet featuring an image of President Barack Obama and his family listening to a tour guide inside Nelson Mandela's cell on Robben Island on June 30, 2013, in Cape Town, South Africa. The White House barred press photographers from this portion of the tour saying it was private, but then released their own photos of from Mandela's cell. (AP Photo/The White House)

This July 1, 2013, screen grab from the Twitter Page of the official White House photographer, Pete Souza, shows a tweet featuring an image of President Barack Obama and his family listening to a tour guide inside Nelson Mandela’s cell on Robben Island on June 30, 2013, in Cape Town, South Africa. The White House barred press photographers from this portion of the tour saying it was private, but then released their own photos of from Mandela’s cell. (AP Photo/The White House)

The photos on that page are visual press releases and are carefully vetted by administration employees before distribution. Such images are increasingly offered to the media by the White House in lieu of real journalistic access and we and other media organizations find this unacceptable. Media organizations generally do not reproduce written press releases verbatim, so why should we settle for these official images?

What sort of situations have the media been excluded from?
The media were prevented from documenting the President’s first day on the job – surely an historic occasion. In addition, we have been denied access to legislation being signed as well as notable foreign leaders and other visitors of interest, such as the Pakistani student activist Malala Yousafzai. In fact, since 2010 we have only been granted access to the President alone in the Oval Office on two occasions, once in 2009 and again in 2010. We have never been granted access to the President at work in the Oval Office accompanied by his staff. Previous administration regularly granted such access.

And AP isn’t the only news organization with this complaint?
The AP joined with numerous other news organizations, including all the major television networks, as well as media umbrella organizations such as APME, ASNE and the White House Correspondents’ Association to protest this diminished access in a letter to White House Press Secretary Jay Carney. In that letter we also requested a meeting with Mr. Carney to discuss the issue.

Hasn’t the AP used White House photos in the past?
We recognize that certain areas of the White House are off-limits to the media because they are secure or private areas, such as the President’s living quarters. On those occasions where something newsworthy or notable happens in these areas we sometimes distribute the official photos. Each such scenario is considered on a case-by-case basis. To be clear – we are asking to be allowed consistent, independent access into the room when the President signs legislation, greets visitors of note, or otherwise discharges his public duties.

Read a PDF of the letter to Carney.

A look at AP’s work base in Tacloban

Singapore-based photographer Maye-E Wong is among the Associated Press journalists who’ve been documenting the aftermath of Typhoon Haiyan since it slammed into the Philippines Nov. 8.

Wong, who just returned home after eight days on the ground, has shared a series of images and videos on her Instagram account that give a look at conditions there.

Image

One image shows AP’s makeshift work station, seen amid much debris, at the airport in Tacloban and another shows the satellite units AP is using to file pictures and stories around the world. Another shows Wong brushing her teeth on the tarmac.

“That’s me brushing my teeth on the Tarmac of the airport in #Tacloban where we made camp (our tents in foreground) with survivors of #Typhoon #Haiyan in the #Philippines,” she writes.

Read more about what it has been like to cover the disaster from Manila-based reporter Jim Gomez.

Covering the monster typhoon

Associated Press journalists covering the aftermath of Typhoon Haiyan in the Philippines are now living and working in two locations – the meeting room in a hotel that was largely destroyed and a spot at Tacloban’s seaside airport  enclosed by a large party tent.

Ten days after the devastating storm blew through, Manila-based AP reporter Jim Gomez recounts the scene that he and colleagues first encountered:

An aerial image taken from a Philippine Air Force helicopter shows the devastation of the first landfall by typhoon Haiyan in Guiuan, Eastern Samar province, central Philippines Monday, Nov. 11, 2013. (AP Photo/Bullit Marquez)

An aerial image taken from a Philippine Air Force helicopter shows the devastation of the first landfall by typhoon Haiyan in Guiuan, Eastern Samar province, central Philippines Monday, Nov. 11, 2013. (AP Photo/Bullit Marquez)

Covering the horrific death and devastation wrought by Typhoon Haiyan in Tacloban, a lively central Philippine city of more than 200,000 people on Leyte island, southeast of Manila, was like reporting in a war zone.

Power, transport, fuel, food, water and telephones were snuffed out by one of the most ferocious storms on record.

In knocking out all forms of communications, Haiyan prevented news of the massive death toll and devastation from rapidly filtering out beyond the island. There was a fleeting mention  by a Manila aviation official of Tacloban’s airport being ruined by storm surges. The government put the overall death toll in the central Philippines at 3 or 4. Media outfits began speculating how the country was spared from serious damage despite the monster storm’s deadly profile.

However, the next morning, when the same aviation official told news organizations  that at least 100 people perished in Tacloban alone, AP staffers sprang into action. Video journalist Kiko Rosario and his  assistant, Vicente Gonzales; photographers Bullit Marquez and Aaron Favila and I rushed to the Villamor Air Base in Manila, where air force C-130 aircraft were taking off to transport the first  disaster-response teams and food packs to the battered city. Favila got to Villamor first, quickly looked for the manifest and listed our names – a crucial action since throngs of foreign and local journalists would converge later at the air base to fight for about a dozen seats allotted to media. All commercial flights were suspended.

After landing at Tacloban’s ruined airport,  Kiko, Bullit and Aaron quickly spread out to capture the first images of the devastation as night approached. They climbed to the top of the airport tower – its glass shattered – and took in flattened and devastated villages as far as their eyes could  see.

The airport parking lot was a muddy wasteland of upturned cars, cargo trolleys, aviation equipment and jagged tin roofs. Walking just a few blocks away, we saw bodies on roadsides, covered by tin roofs, sodden bedsheets and pieces of wood. Stunned survivors huddled together on sidewalks near corpses, covering their noses. They asked for food and water but we had none.

One lady said she was given biscuits by friends but would not eat them because she had no water. Beyond the road, she pointed to a clearing that I thought was a barren farm but turned out to be a crowded coastal village, where her house once stood, until a wall of water surged from the sea the morning the typhoon hit and swept away everything.

We  set up a makeshift office outside a low-slung, damaged building, where a few airport controllers and army troops temporarily operated. The building attracted journalists because it was the only structure in the entire airport with a light bulb on. A diesel generator supplied power. Connecting to the power line, the AP team sent out the first images and stories through laptops hooked to satellite phones.

Dinner was a piece of salty cracker topped with a small slice of sardines, courtesy of fellow journalists from another news outfit. Bed for me was a white plastic chair, in which  I tried to sleep. The stench of bodies stacked in a nearby chapel kept me awake all night.

Without car, fuel and information – the city government had virtually collapsed – it was hard to plan the next day’s  coverage. Photographers hiked  several kilometers to  town and hard-hit villages. Coordinating the movement of AP staff became a challenge without functioning telephones, so staffers were basically on their own, incommunicado, once they left our airport base. Many survivors later found their way through the airport’s broken perimeter fences and wandered near our workplaces, later competing for sleeping spaces.

There was no meal at all on the second day. Some air force personnel handed us a couple of  water bottles and later allowed us to use a hand-operated water pump that was dangerously located in the middle of a heap of sharp tin debris and rocks. We washed ourselves there.

The hardest moments were interviewing the survivors, who were  visibly traumatized. Many had missing loved ones, or they were struggling to care for injured or sick relatives and wanted to escape Tacloban but couldn’t. Most of the survivors I interviewed had not had a meal for days. Many waited in long lines outside the airport, hoping to get a flight out on military relief aircraft.

Once, while reading my notes to my colleague Todd Pitman, who was typing them in his laptop for transmission later to the Manila desk. I got overwhelmed and could not go on when I was describing how a father was embracing his kids and wife during a downpour on the tarmac. Huddled close together, I saw that they were all crying quietly. The wife and kids were to board a C-130 shortly and the father decided to stay home to guard their damaged home.

At another time we were interviewing a woman, who was with her children and other relatives. They had waited with the huge crowd for days but could not get seats in one of the outbound military planes amid the bedlam. She worried for her family and begged us for help, tears streaming down her face.