It's What I Do
Lynsey began photographing professionally in 1996 - with no professional photographic training or studies - and immediately focussed on documenting conflict and humanitarian issues. In 2000, she traveled to Afghanistan under Taliban rule to document life and oppression under the regime. She has since covered conflicts in Afghanistan, Iraq, Lebanon, Darfur, and Congo, and shoots features across the Middle East, South Asia, and Africa.
Lynsey’s recent bodies of work include Veiled Rebellion, a photo essay exploring the lives of women in Afghanistan for National Geographic, Maternal Mortality in Sierra Leone for Time Magazine, Talibanistan, and Battle Company is Out There, documenting both sides of the war in Afghanistan and the Taliban in Pakistan for The New York Times Magazine.
Helen Manders manages the translation rights for It's What I Do
Translation Rights Sold
Addario's memoir brilliantly succeeds not only as a personal and professional narrative but also as an illuminating homage to photojournalism's role in documenting suffering and injustice, and its potential to influence public opinion and official policy.
Kirkus Reviews (starred) Full Review
Booklist Full Review
It’s What I Do is as brilliant as Addario’s pictures—and she’s the greatest photographer of our war-torn time. She’s been kidnapped, nearly killed, while capturing truth and beauty in the world’s worst places. She’s a miracle. So is this book.
Lynsey Addario’s book is like her life: big, beautiful, and utterly singular.
A gifted chronicler of her life and times, Lynsey Addario stands at the forefront of her generation of photojournalists, young men and women who have come of age during the brutal years of endless war since 9/11. A uniquely driven and courageous woman, Addario is also possessed of great quantities of humor and humanity. It’s What I Do is the riveting, unforgettable account of an extraordinary life lived at the very edge.
A life as a war photographer has few parallels in terms of risk and reward, fear and courage, pain and promise. Lynsey Addario has seen, experienced, and photographed things that most of us cannot imagine. The brain and heart behind her extraordinary photographic eye pulls us inexorably closer to the center of each story she pursues, no matter what the cost or danger.
[Lynsey Addario] illuminates the daily frustrations of working within the confines of what the host culture expects from a member of her sex and her constant fight for respect from her male journalist peers and American soldiers.
Beautifully written and vividly illustrated with her images.
[A] richly illustrated memoir.
[Addario’s] ability to capture… vulnerability in her subjects, often in extreme circumstances, has propelled Addario to the top of her competitive field.
[An] unflinching memoir.
The very best photographers develop an ineluctable bond with their subjects, an intimacy built on patience and trust; in the strongest photos here, such as her portraits of women rape victims in Congo, her ability to capture their strength and vulnerability is profoundly touching [...] In the acutely observed account of her negotiations with a young Taliban visa clerk, for example — a complex dance requiring her to shift constantly between submission, flirtation and defiance — the reader is likely to learn more about the capricious nature of Islamic fundamentalism than from a dozen essays or position papers.Scott Anderson
International New York Times
A post-9/11 memoir by a female photojournalist torn between the need to bear witness from often dangerous places and the call of family, motherhood and a safer life.
Addario has all the criteria for being a war photographer – guts and stamina, persistence and patience – but her photographs are about much more than being in the right place at the right time. Her compositions are exquisite, and she specialises in dispelling myths and stereotypes.Jessamy Calkin
[A]n incredible account of a woman who is deftly trying to balance her drive and ambition, a compulsion to tell stories that need to be told, her family back home, and the occasional gut-check that lets her know that she’s right on the line of going irrevocably too far.Goop