Few photojournalists have shaped the world’s understanding of conflict and resilience like Lynsey Addario. For over two decades, the Pulitzer Prize-winning photographer has documented war, humanitarian crises, and women’s issues across the Middle East, Africa, and beyond for The New York Times and National Geographic. 

Since September 11, 2001, Addario has covered nearly every major global conflict, from Afghanistan and Iraq to Libya, Syria, Sudan, and most recently, Ukraine, often putting her own life on the line to bear witness.

Now, Addario’s story takes center stage in Love + War, the powerful new documentary. The film follows as she navigates the brutal frontlines of Ukraine and beyond, along with her role as a wife and mother. 

The Tech Optimist had the privilege of interviewing Addario before the documentary’s release. In this conversation, she reflects on her career, the evolution of photojournalism, and more.

Early Moments in Ukraine With Lynsey Addario

Lindsey Feth: Your photographs from the early days of the Russian invasion became some of the most defining images of the war. Can you take me back to those moments? What were you feeling, and how did you decide when and how to take those pictures?

Lynsey Addario: The film actually begins before the full-scale invasion, and it’s funny watching that footage now because it captures the first time I came under mortar attack during the Ukraine war. It had been a few years since I’d been under fire, so you can see that we were scared and looking for shelter. Then, there’s a Ukrainian woman walking with her child on a bicycle—completely matter-of-fact—because Eastern Ukraine has been at war since 2014, and they’ve grown used to living under fire. As the film progresses, you really see how people, even photographers, begin to adapt to that reality.

Then, on March 6th, when I was caught in the attack that killed the family, it was incredibly difficult to decide how to photograph that moment. I had just narrowly survived that same strike—we were very close to the mortar that killed them, and it was sheer luck that the blast went in the opposite direction. You can hear me in the footage asking, “Am I bleeding?” I was in shock. 

As I approached the family, I was thinking carefully about how to photograph the scene respectfully. Once I realized these were civilians—women and children—I questioned whether The New York Times would even publish those images. But I also knew how important they were. I had survived that attack, I knew it was intentional, and I wanted to show the urgency and truth of what had happened while maintaining dignity for the victims.

Evolution of Tech in Photojournalism

Feth: You’ve covered war zones since the early 2000s. How has technology changed your work, from the cameras you carry to the way your images reach the world?

Addario: Technology has completely transformed my work. Early in my career, I worked with film cameras. I carried rolls of film, a scanner, and had to find places to process and develop negatives, then somehow transmit them over dial-up connections. It really was the AOL era.

Now I shoot digitally. I use Nikon mirrorless cameras—mostly the Z8 and Z72—and rarely work with film except for fine art images. In war zones, digital is essential. These days, I can tether my laptop to my phone and file images directly from the car or wherever I am. In Ukraine, my colleague Andriy Dubchak, who’s featured in the film, has a Starlink setup, so we can file images quickly and reliably. We also carry a BGAN terminal as a backup. The ability to send images instantly from the frontlines is something I never take for granted.

The Rise of AI and Fake News

Feth: I’d love to hear your take on AI-generated images. It’s one of the biggest issues being discussed in photojournalism right now. Do you see this as a major shift, and what steps can photographers take to maintain credibility?

Addario: It’s terrifying, honestly. Journalism is already under attack. People talk about “fake news” as a way to discredit journalists and distract from the real issues, including war crimes. AI-generated images posing as truth make this even more dangerous.

That’s why our work is more important than ever. There’s no substitute for a human being behind the camera, someone who can connect with others, witness, and report from the ground. A computer can’t sit down for tea with someone and hear their story. So it’s critical that we continue to have people documenting the realities of war, and that audiences stay aware of where their information comes from. People need to be mindful that much of what they see online may not be real.

Confronting Sexism in Journalism

Feth: Many women in journalism can relate to the sexism shown in the film—whether it’s offensive comments or being dismissed after speaking up. How have you learned to confront that effectively throughout your career?

Addario: My career has been long, and I think one reason I’ve continued to get assignments is because I’ve learned to be diplomatic. I’ve had to deal with sexism and difficult editors, both male and female, while still maintaining working relationships—because ultimately, I just want to keep telling stories that matter.

There’s a scene in the film where I talk about a male editor who told me he wouldn’t send me to cover war anymore because I was a mother, and that there were no women good enough to work for The New York Times. By that point, I’d already been sidelined for years, so I decided I had nothing to lose. I confronted him, something I don’t usually do, and told him, “If you have a problem with me, I can give you a list of 10 women you should be hiring tomorrow.”

That didn’t necessarily change anything, but I felt it needed to be said. There’s no perfect way to handle these situations. As freelancers, we don’t always have HR to turn to, and the field is still dominated by men. Sometimes you get great editors who stand by you; other times you don’t. I’ve learned to pick my battles. I used to avoid confrontation just to keep working, but as I’ve gotten older, I feel more responsibility to speak up—not just for myself, but for the women coming after me.

Lynsey Addario Talks Underreported Conflicts

Feth: In the film, one of my favorite lines from you is that “war shouldn’t be canceled.” Is there a current conflict or humanitarian crisis you feel deserves more attention in mainstream media?

Addario: Absolutely. Sudan is receiving very little coverage, and of course, Gaza is another major example. No international journalists have been allowed in, so Palestinian journalists have done an extraordinary job reporting under impossible conditions—losing loved ones, being displaced, and continuing to work. But we also need an international press corps there to share that burden and ensure global coverage.

Sudan, particularly Darfur and the city of El Fasher, has been cut off for months. There’s famine, executions, and an ongoing siege that no one is documenting because access has been denied. Both Gaza and Sudan urgently need more international attention.

Takeaways From Love + War

Feth: What do you hope viewers take away from Love+War?

Addario: I hope people understand that there are human beings behind the camera. This work is complicated and comes with immense sacrifice. It’s not the glamorous life often shown in fictional portrayals of war correspondents. 

Every photograph represents someone risking their life to bring the world truth and context. I want people to remember that when they look at an image, it’s someone’s lived experience, their courage, and their commitment to documenting reality.

Tune in to Love + War on National Geographic Nov. 6, with streaming available on Disney+ and Hulu.