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It has been said to be one of the most spectacular trails in the world. The trail immediately crosses the Virgin River. I had to take a photo of it.

It had rained heavily the previous day, and the river turned muddy with the distinctive orange sand that Zion is known for. It looked silky and delicious — like thick chocolate milk.

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Then it hits the mountainside and begins to climb steeply. At first the paved pathway snakes back and forth across the ever-steepening cliff. Then it becomes too steep for even for switchbacks, and the trail becomes stairs.

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At the top of the stairway is Scout Lookout. Danielle has never liked heights much, and decided to stay there. This was the first stretch of exposed trail we crossed. It was also probably one of the most dangerous on the hike.

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The view of the canyon from the other side was great — so we asked some guy to take our photo. Then Emilie turned back and I went on alone. This is what the trail looked like. Angels Rest was certainly one of the highlights. Great shots. My brother just did this hike actually. Even though I love taking weekend trips, Zion has somehow alluded me in all of these years off and on living in the southwest. I need to change that. You do have to check it out once. You did it! Actually, I thought Zion was a pretty amazing park! Beautiful pictures. But I think that I will have to bypass that trail.

Something incredible. My favourite view is the one from the Virgin River. Long time ago… These pix make me wonder how we did it….

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Just wanted to say thanks for stoping so much to take photos of your cool hike to share with us. Somebody said they hiked this with their dog? Is that possible? This is one of my favorite hikes in the park and have done it a couple of times. Thank you for the reminders. But since they were with a long depth of field and it was crazy bright out, I probably used a high aperture 8 minimum, but probably higher and adjusted the shutter speed to one stop below the camera recommended speed to avoid blowing out the sky.

Can you talk about the difficulty of the last stretch of the hike? My husband and I are planning on this hike this summer on a camping trip through Moab, Zion, and Grand Canyon. The pictures are beautiful. I have been there done that. Your photos and narrative capture the spirit of the hike exactly as I remember. Great job. Again GREG at job on your photography. I have hiked it twice in the last 6 years. On the page and in film — in motion, that is — a multiplicity of views ensued fig. Never static or given, subjects were social, even socialised, through the page and the sequence, in time.

The death of photojournalism may just be one of those myths, much like the end of work and the promises of free trade, which Sekula also sought to counter. In fact, its codification coincides with the production of Waiting for Tear Gas. It was in the late s that photographers, both new and seasoned, were forced to confront the fact that the page was no longer the means for circulating their work. This was not, as we have come to believe or have been told, simply because the screen replaced the page as the site for the circulation of news.

It was because mainstream magazine editors radically reshaped the organisation of the news on the page and in print. Instead of publishing lengthy photo-essays offering extended, in-depth and multiple perspectives on war and famine, the subjects of much of the s news cycle, they circumscribed editorials around one or two iconic shots.

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Photojournalism did not die in the s, nor was it necessarily outmoded by new technologies, be they television or the internet. Rather, it was revamped or reshaped into a form more conducive to the myths of neoliberalism. The death of photojournalism may be a myth, but it still buoyed the definition of photojournalism as synonymous with the iconic shot. Notably, we see this nowhere more clearly than in the media response to the protests in Seattle.

A case in point was the organisation of the Independent Media Center Indymedia. In short, it operated in direct opposition to the top-down, hierarchical structure of mainstream media outlets. The myth of the death of photojournalism and its simultaneous spectacularisation has, in other words, been incredibly generative. Not despite but because of the neoliberal revamping of the media, individuals can now make, record and circulate the news.

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  • It is easy to imagine that Sekula would have supported these new media platforms and promoted the proliferation of the news through collective and grassroots organisations. Yet Waiting for Tear Gas offered a wholly different response to the mainstream mythologies. Sekula worked alone, in his studio and with analogue technologies He also circulated his work, for the most part, in books and museums or galleries.

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    He produced a different history of media. This history, like his work, begins in the s and not the s. It begins when the pages of magazines, even those magazines wholly associated with corporate culture and cultural imperialism such as Life , could be read counter-culturally and critically.

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    As numerous historians of journalism have argued, the television did not simply replace the page in the s, such that the collapse of Life cannot be accounted for through histories of technological innovation. Sunday, Oct 6. The Latest. World Agents for Change. Health Long-Term Care. For Teachers. About Feedback Funders Support Jobs. Close Menu. Email Address Subscribe. What do you think? Leave a respectful comment. Close Comment Window. By — William Brangham William Brangham. Leave a comment.

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    Share on Facebook Share on Twitter. Photos: Eerie remnants of the former U. The safe-like metal door serves as the entrance to the museum. Photo of Ayatollah Khomeini taped above an office door. More detail of the alleged document forgery desk.