(Updated at 2:25 p.m.) ARLnow’s staff photographer, Jay Westcott, is officially stepping away from the news industry — but he isn’t putting his camera aside just yet.

At 51, Westcott is shifting his focus from the fast-paced world of daily news photography to focus on the sides of photography that align with his other passions, including portraiture, storytelling and music.

“I’m looking forward to just concentrating on the things that I’m really good at,” he told ARLnow.

Growing up in Battle Creek, Michigan, roughly two hours west of Detroit, Westcott displayed a passion for photography from a young age, often using his dad’s camera to shoot yearbook pictures in high school. It wasn’t until after high school when he joined the U.S. Navy that Westcott’s passion for the visual medium began to flourish.

Four years after he joined the service when Westcott was aboard the USS Roosevelt, a Navy photographer reignited his interest in camera work.

“He had this really cool camera… and I just loved what he was able to do with that, the pictures he could get from that, and he convinced me to buy a camera,” Westcott said.

He wrote to his mother, asking her to mail his dad’s camera and bought a 35mm Canon autofocus SLR. In the years that followed, he documented life aboard the ship and the countries he visited around the Mediterranean, including Rhodes, Greece, and Venice, Italy.

Westcott, who is also a guitarist, remembers the day he decided he would leave the Navy and pursue photography. While browsing Guitar World magazine in his bunk one day, he came across a photograph by the renowned Seattle-based American photographer Charles Peterson, who was promoting his new book “Touch Me I’m Sick.”

“Instead of being one of the guys in the photos in the magazine, I wanted to be the guy taking the picture,” Westcott said.

In 1996, Westcott was honorably discharged from the Navy and headed to Virginia Beach, where he met his now ex-wife and sold cars for several years before moving to Northern Virginia.

In the summer of 2000, at age 28, Westcott enrolled at Northern Virginia Community College and then transferred a year later to George Mason University to study photography. About a year into his tenure at George Mason, and disillusioned with the program, Westcott applied and was accepted on a scholarship to The Corcoran College of Art and Design (now a part of George Washington University) in D.C.

“I went there for three years and loved every second of it,” he said.

Westcott’s first big break was a paid internship at the Scripps-Howard news service in D.C., which operated for 96 years from 1917 to 2013. What launched his career, however, was a chance sighting of of an armored truck robbery near McPherson Square Park, where he saw a man wielding a shotgun.

“So, I go out, and I take a couple of pictures and then go down to the street and take a few more pictures,” he said. “The guy gets hauled away in an ambulance while he was handcuffed.”

The pictures Westcott took that day got picked up by the Washington Post, which offered Westcott a full-time staff job shortly after.

“I felt I started at the top,” he said.

After his tenure at the Post, Westcott, whose work has been nationally recognized, would spend the next 15 years working with top national news outlets, such as Politico, The New York Times, Reuters, The Associated Press and Bloomberg before joining ARLnow in 2019.

“ARLnow has been a great place to be,” Westcott said. “I’ve been very fortunate to have an amazing boss in Scott [Brodbeck]. He’s the kindest, most understanding employer I’ve ever worked for.”

From his coverage of the pandemic to breaking news and day-to-day events, Westcott says he feels that his contributions at ARLnow have genuinely portrayed what living in Arlington is like.

“I feel like somebody could take away and get a feel for what Arlington was truly like by looking through my pictures. And it’s a vibrant, beautiful, crazy place,” he said.

But after a 20-plus career in the field, Westcott says it’s finally time to move on.

In addition to his straight news assignments, Westcott also said he had several opportunities to freelance for several bands, such as The Devil Makes Three, The Dropkick Murphys, Candlebox, The Violent Femmes and Blues Traveler, and create content for their websites, press kits and social media.

Some of his best work and favorite memories came from working with musicians, says Westcott, who now plans to focus on photographing bands on tour.

“I love documenting the musicians. Not just the performances, but the in-between moments,” he said. “This is where my work is going.”

Westcott says he will miss capturing historic moments, such as images outside the White House following the death of Osama Bin Laden.

“It’s been 20 years of amazing moments I’ve been able to capture. I worked my tail off to be able to do it,” he said.

Reflecting on the news business, Westcott says his departure comes as the news industry is getting more competitive and he is having a harder time keeping up. The landscape is also changing, he said, noting the loss of more than 2,400 newspapers since he graduated college.

Andrew Beaujon, one of Jay’s former colleagues at TBD.com and the current senior editor at Washingtonian Magazine, said that the journalism world will feel the absence of Westcott’s work. But Beaujon also noted he’s happy his friend can leave the industry on his own terms.

“I think that that’s really worth celebrating,” he said. “Jay doesn’t owe journalism anything… He’s put in the time. He’s always given it his all.”

When asked what it truly takes to be at the top, Westcott said it’s about understanding when a moment is special or historic.

“[American photographer] Eddie Adams would say, to paraphrase, ‘For any given news event, there might be one picture remembered for it, and your job is photojournalist is to get that picture and beat everybody else there,” Westcott said.

Looking back, however, Westcott said if he could do it all over again, he would.

“I think meditation and mindfulness and reading Buddhist philosophy has taught me to appreciate the present,” he said.
“And so, I don’t focus on the past, but I’m grateful for it, warts and all.”

The traditional understanding of photography’s exposure triangle, encompassing Aperture, Shutter Speed, and ISO, is being reevaluated in the digital age.

Joe Edelman, a renowned photographer and educator, has pioneered a fresh perspective that aligns more closely with the nuances of digital photography. Expanding upon Edelman’s groundbreaking concept, I have integrated two additional critical elements: the light-to-subject distance and the power of the light. This enhanced framework offers a more comprehensive and practical approach to achieving the perfect exposure in a digital context. Here’s an introduction to this new, evolved concept.

Choose your Shutter Speed with PURPOSE and your Aperture with FEELING. Then, adjust the BRIGHTNESS with ISO.

–Joe Edelman

Becoming a pro in photography means understanding the basics of exposure. Knowing how to work with these things can change how awesome your photos turn out. It’s not just about randomly picking camera settings; you must know why you use them. When you line up what you want your shot to say with how you set up your camera, that’s when the magic happens.

So, let’s get into why shutter speed, aperture, and ISO matter so much and how to choose the settings that’ll make your photos truly shine. We’ll also chat about two elements that get less attention: how far your subject is from the light and how intense that light is.

Shutter speed with purpose

Shutter speed determines the time the camera’s shutter remains open, influencing the representation of motion in your photographs. Consider the purpose of your shot: Are you freezing action or conveying motion? Opt for a faster shutter speed to freeze fast-moving subjects or precisely capture a decisive moment. On the other hand, if you intend to convey a sense of movement or capture long exposure shots, choose a slower shutter speed. You can communicate the desired message through your images by aligning the shutter speed with your purpose.

Aperture with feeling

The aperture controls the amount of light entering the camera and impacts the depth of field. However, the aperture also plays a significant role in conveying meaning in your photographs. Consider the story or emotion you want to convey through your image. A wider aperture (smaller f-number) with a shallow depth of field can isolate your subject, drawing attention and creating a sense of intimacy. It can be particularly effective in portraits or when you want to emphasize a specific element.

Conversely, a narrower aperture (larger f-number) with a greater depth of field can capture intricate details and provide context, making it suitable for landscape or architectural photography. By choosing the aperture that aligns with the meaning you want to convey, you can enhance the visual impact of your photographs.

ISO with light

ISO sensitivity determines how your camera captures light and is closely tied to the available lighting conditions. Consider the lighting situation you are in. A higher ISO setting is beneficial in low light environments or situations requiring a faster shutter speed.

However, higher ISO values can introduce digital noise, impacting image quality. A lower ISO setting is ideal for maintaining optimal image quality in well-lit scenarios. Adjusting the ISO according to the lighting conditions allows you to effectively manage light and achieve the desired exposure.

Two missing elements for proper exposure (Flash photography)

Two critical factors that play a pivotal role in achieving the perfect exposure in flash photography are the light-to-subject distance and the intensity of the light source. These elements are instrumental in shaping the quality and quantity of light falling on your subject.

Remember that these two factors are present in natural light photography also, using the sun and clouds. 

Light-to-subject distance

Light-to-subject distance refers to the precise placement of your light source concerning your subject. When employing light modifiers such as a softbox, the position of the light relative to the subject can significantly impact the final result. Moving the light closer to the subject effectively enlarges the light source, resulting in a softer, more diffused illumination that gently wraps around your subject.

Conversely, positioning the light farther away will cover a larger area but may produce harsher shadows and less flattering light. Therefore, understanding how to manipulate this distance is crucial for achieving the desired lighting effect.

The power of the light

Additionally, the power of the light source is a vital consideration, mainly when working with battery-operated lights. Managing the power output correctly is essential to avoid prematurely draining the batteries.

For example, when using speedlights, it’s prudent to begin at a lower power setting, such as 1/4 power, and then make adjustments based on your specific lighting needs. This conserves battery life and provides a more versatile range of lighting options, allowing you to fine-tune the exposure precisely to your liking.

Mastering flawless exposure: Applying these key principles

To streamline your photography process and focus more on creativity than technicalities during a photoshoot, you can lock down four elements of proper exposure. This approach involves a series of deliberate choices:

Light-to-subject distance and light power

Begin by positioning your light source, ideally at a 45-degree angle above the subject and a few feet away. This placement ensures catchlights are visible in the subject’s eyes, similar to how sunlight would create them. Start with the light set to a quarter power to extend battery life.

Shutter speed for ambient light

Since you’re using a flash, it will freeze the action, so the shutter speed primarily affects the ambient light in the background. Incorporating natural light, a slower shutter speed can help properly expose the background. A starting point of 1/160 seconds is recommended.

ISO for light sensitivity

Set your ISO to control the sensitivity to light. Begin with the lowest ISO, typically around 100, and adjust as needed.

Aperture for depth and feel

Choose your aperture based on the desired depth and feel of the image. Starting with an f/4 aperture is a good rule of thumb. Adjust it to achieve the desired exposure.

For precise adjustments, use a light meter. Input your ISO and shutter settings, then fire the flash. The light meter will suggest the appropriate aperture for correct exposure. With these settings, you can easily identify which variable to tweak (light power or ISO) if the exposure is off. This allows you to adjust your setup without getting bogged down in technicalities.

By applying these fundamental principles, photographers can achieve flawless exposure with ease. The approach minimizes technical complexity, allowing for a focus on creative aspects.

Optimal positioning of the light source, efficient power settings, balanced shutter speed, and initial low ISO settings lay the groundwork for final adjustments, ensuring that each shot attains perfect exposure, bridging the gap between technical precision and creative expression in photography.

Watch the video below for more of Joe Edelman’s exposure tips in action:

I had only been with the Monitor for four months when a summer deluge descended on Vermont – the state I call home and a place rarely considered newsworthy by the rest of the world. That first night of flooding, I hunkered down, heeding warnings to stay off the roads, and felt grateful to live on high ground. I woke the next day to images of water rising in Montpelier, our tiny state capital, where I used to commute to work. 

I wanted to document the response to the flooding, how neighbors were helping neighbors. So I drove to Montpelier, making detours when I hit washed-out roads. When I finally got there, it was eerie. Sirens blared. Kids splashed in murky puddles. 

It was weird to see my favorite quiet places suddenly the focus of national attention. It refreshed my empathy for the people in front of my lens. I now carry this feeling with me whenever I am welcomed, cameras and all, into someone else’s home or their favorite quiet place. This could be anywhere from a Mohawk school in Akwesasne, which spans the United States-Canada border; to a church in Middletown, Ohio; to grasslands in Bear Butte, South Dakota. It is an act of trust from the people we photograph. Each time, it’s an honor.

Washington, D.C., December 15, 2023—The Committee to Protect Journalists is deeply shocked by reports and footage of Israeli security forces severely beating Anadolu Agency photojournalist Mustafa Alkharouf and calls for transparency and timeliness by Israeli authorities as they investigate and hold those involved in attacking the journalist to account.

Alkharouf, a photojournalist with Turkish state-owned Anadolu Agency, was covering Friday prayers near Al-Aqsa Mosque in East Jerusalem on December 15 when a group of Israeli Border Police officers attacked him, according to Anadolu Agency, footage shared by The Union of Journalists in Israel, and news reports.

The officers initially brandished their weapons at Alkharouf, punched him, and then threw him to the ground, kicking him. Alkharouf sustained severe blows, resulting in injuries to his face and body, and was subsequently transported by ambulance to Makassed Hospital in East Jerusalem.

Israeli police also attacked camera operator Faiz Abu Ramila, who was with Alkharouf. CPJ was unable to immediately confirm details surrounding the attack. CPJ’s WhatsApp messages to Faiz did not immediately receive a response.

The Israeli soldiers obstructed the work of nearby press crews, preventing them from reaching Alkharouf to check on his condition after he was evacuated from the scene for medical treatment, according to Wafa.

“The physical attack on Mustafa Alkharouf is not a singular incident. It belongs to a pattern of physical attacks, assaults, and threats by Israeli soldiers and settlers on journalists reporting from the West Bank and Israel that have dramatically increased since October 7,” said CPJ Program Director Carlos Martínez de la Serna, from New York. “CPJ calls on Israeli authorities to immediately cease attacking journalists, hold accountable those involved in these attacks, and provide much-needed protection to journalists reporting in Israel and the West Bank.”

Since the start of the October 7 war, Israeli soldiers and settlers have assaulted and threatened Palestinian and international journalists reporting in Israel and the West Bank. These incidents included attacks on journalists from BBC Arabic, Sky News Arabia, the German public broadcaster ARD, Al-Jazeera English, The New Arab, and RT Arabic.

CPJ’s email to the Israeli Police did not immediately receive a response. Israeli police have launched an investigation into Alkharouf’s beating and suspended the officers involved, according to its post on X, Anadolu, and other news reports.