Accessibility in newsrooms: Managing disability in a profession that isn’t disability friendly

How disabled journalists navigate the industry

By: Aru Kaul

An illustration of a hijabi person working on a computer with scribbles behind them

Content Warning: Mentions and discussions of (dis)ableism and its impacts

As journalists, the public relies on us to bring stories to them. The minute we step into a newsroom, we are making a commitment to deliver factual, timely and relevant information, regardless of whatever is going on in our personal lives. But how do you do this when the newsroom wasn’t designed for you?

Anything from a newsroom’s architectural design or its workplace environment can create barriers for disabled people. For example, in a 2021 article for Canadaland, reporter Bailey Martens said she couldn’t even fit in the door of her student newsroom. In addition to physical disabilities, a 2022 survey from the Canadian Journalism Forum on Trauma and Violence finds that Canadian journalists experience alarming amounts of anxiety and depression due to the fast paced and often traumatizing nature of the job.

As someone who was diagnosed with generalized anxiety disorder (GAD) and attention deficit hyperactivity disorder (ADHD) as an adult, I spent a lot of my life not understanding what was wrong with me. Why were my intrusive thoughts, sleepless nights, irritability and lack of focus constantly getting in the way of things? Why couldn’t I just snap out of it?

These symptoms followed me when I began my journey as a journalism student at Toronto Metropolitan University (TMU) in 2019. My first time interviewing a source was followed by a panic attack in the bathroom. Then, when I sat down to write the article, it took me three hours to write a single paragraph.

Even though these were not isolated incidents, I chalked this up to being nervous because I was starting a new school. At the very least, that was a problem with a relatively simple solution. When things didn’t change in my second year, I began to entertain the possibility that it was more than just nerves brought on by a new school.

But since there were no visible signs that I was struggling, I often felt that I shouldn’t ask for accommodations and just “push through.” I felt so much shame admitting that I needed help that I would never do anything other than search for answers on the internet. It comforted me to see posts on social media or read articles about other people going through the same thing.

And on the rare occasions when I did ask for help, they would often be accompanied with apologies or with more information than was needed when requesting a deadline extension. Unfortunately, I’m not the only one who feels that way.

Emily Fagan is an associate producer at CBC as well as a freelance journalist based in British Columbia. She too has yet to master confidently advocating for herself when she’s in need of more support or time than is offered by the industry.

“It’s hard to do when your disability isn’t obvious to others,” Fagan said.

Fagan has Crohn’s Disease, a type of inflammatory bowel disease that causes swelling of tissues in the digestive tract. This can lead to abdominal pain, severe diarrhea, fatigue, malnutrition and weight loss.

“I typically don’t mention when I’m in pain or having issues with my Crohn’s to coworkers, out of fear that it might make me seem unreliable,” Fagan said.

According to the Scandinavian Journal of Disability Research, chronic pain often occurs as part of chronic illness, which can be understood to be illnesses that do not go away by themselves within six months, that cannot reliably be cured, and that will not kill the patient any time soon.

“I’m privileged that I have the ability to mask my symptoms, but I also struggle with feeling like people will judge me, thinking I’m ‘not sick enough’ to take time off or ask for any accommodations,” Fagan said.

Disability and journalism

In Canada, job applicants do not have to disclose their disability at any point in the application process unless the disability directly impacts your ability to perform the job, according to the Canada Human Rights Act. However, does this actually mean that applicants are being treated fairly and equally?

For many disabled journalists in inaccessible newsrooms, it’s hard to steer clear of getting pigeon holed into disability reporting.

John Loepkky, a freelance journalist and editor from Saskatchewan, says many disabled journalists are typecast as op ed writers.

“Here, we’ll give you a bit of money to write about your trauma,” said Loepkky. “That traumatic experience that happened to you is worth $250 and not a penny more.”

As a wheelchair user, Loepkky said that disabled people don’t have the “privilege of being boring,” in an article for CBC. This means that they’re either painted as inspirational or heavily pitied for their disability. 

“This is how you end up with ledes like ‘John Loepkky who is confined to a wheelchair got out of bed this morning’,” Loepkky said.

Portraying disabled people as inspirational is called inspiration porn, which was coined by Australian disability advocate Stella Young. A good way to know if something is inspiration porn is by determining how it is supposed to make non disabled people feel. If the point of the message is to make non disabled people feel good about not having a disability, it’s inspiration porn.

A disability justice approach centers the priorities and approaches of those most historically excluded groups, such as women, people of colour, immigrants, and people who identify as LGBTQ+.

How to talk about disability

I remember being taught in school that we should not use the word “disabled” to describe a person and instead say things like “special needs” or “differently abled.” These euphemisms position disability as something bad and as a site of difference. Disabled people do not need to be ashamed of their identities. As disabled scholar Sami Schalk said, “disability is not a catastrophe to me, it is a part of life.”

Crip time is a term used to describe how disabled, sick, chronically ill and neurodivergent people experience time and space differently from non-disabled people. According to disability theorist Alison Kafer, “rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.”

Lauren Munro, a disability studies professor at TMU said disability accommodation — whether it is in education or in employment — is oriented through a legislative framework. An example of this is the requirement to provide disability documentation.

“The current expectations around disability and accommodation puts the onus on that person to see a medical professional and obtain a note to excuse their absence. Getting that note takes time, energy and money,” Munro said.

“If you can't get out of bed in the first place and/or you can't afford the fee that your healthcare provider is charging for that note, you're going to have trouble accessing accommodations,” she added.

I truly hope that I will live to see a world where accessibility is the norm. Globally, one billion people live with a disability, according to the WHO World Report on Disability. And according to Statistics Canada, nearly 22 per cent of Canadians are disabled. To put that into perspective, that’s one out of every seven people. There are so much more of us than people think, and we deserve a much better life than one spent in a constant state of struggle.

Even to this day, I still hear things like “You don’t look like you have anxiety” or “how do you have ADHD when you still get things done?” While I understand that the people who say this mean no harm, I can’t stress enough that anxiety and ADHD don’t have a look. Just because I’m not having panic attacks every second of every day or failing all of my classes does not mean my disabilities are any less real.

Film is not dead: The prevalence of analog photography

How Toronto photographers are carrying on the legacy of the traditional medium

By: Madeline Liao

An analogue camera on a red background with a series of scattered film around it.

One evening in September 2018, Wendy Vu battled the chaos of Toronto’s Union Station and hopped on a GO bus, travelling an hour to meet up with a mysterious Facebook Marketplace seller. She sat at the front of the bus’s top floor, accompanied by a beautiful sunset on the way to Hamilton for the first time.

Filled with worry and fear about meeting this stranger, she sat in the station, wondering if the back-and-forth messages between her and the seller would turn out to be a scam. Fortunately, Vu met a man holding a grocery bag full of his film camera collection, which she bought for $300. Initially selling for $400, she had negotiated the price, rationalizing her travel efforts. The seller agreed, just wanting to get rid of his collection. After she got home, Vu said she didn’t test the cameras and just priced them to sell at her first photography pop-up shop in a couple of days.

While selling those cameras that day was an impulse decision, they sold out immediately. “That's when it sparked for me,” Vu said as her eyes lit up at the memory. “I was like, people are interested in film, people want to try it.”

Photography has been around since the 19th century, with innovators like Nicéphore Niépce and Louis Daguerre revolutionizing the medium. Kodak, a familiar name in the photography world, released the first analog camera in 1888. Technology has advanced far beyond that time— photography is now as easy as the click of an iPhone button. However, film is still alive, and a niche community of film photographers exists even with digital technology.

A new generation of analog photographers has taken the traditional medium and continued to honour it in a new age. For instance, there are currently nearly 24 million Instagram posts under the hashtag #FilmIsNotDead. And the top five videos under the YouTube search “analog photography” were all uploaded within the last three years.

Film offers photographers a chance to immerse themselves in the intricacy of taking—and later developing—a picture. From the dimness of the darkroom to the rhythmic motion of winding film in the camera, the practice doesn’t just stop at the shutter button; the suspense of developing and waiting to see how your photo turns out encompasses the feeling of shooting film. 

“We want people to enjoy the experience of film photography more than we want to profit off it.”

“You're with it every step of the way physically,” Vu said when asked why she favours analog over digital. “And the digital is all digital, there's just no life to feel.” Vu said she has a personal relationship with film photography—it has helped her through her struggles in her teenage years and allowed her to cherish memories she might have otherwise forgotten.

After the pop up shop’s success, Vu began collecting as many film cameras as she could to distribute to others. A year later, on Sept 26. 2019, Vu and her partner Sarah Delano launched Choose Film, an Instagram business that sells refurbished film cameras for an affordable price. Now with over 2,000 followers, their cameras have often been sold within five minutes of posting. In December 2022, the pair also released their own custom-designed point-and-shoot film camera. Vu proudly spoke about their business and how it has grown. What started as a side hustle is now something they see becoming a full-on store and film lab five years down the line.

“[Our] motto has always been ‘making analog photography accessible and affordable,” said Delano. “We want people to enjoy the experience of film photography more than we want to profit off it.” Delano said their selling approach has attracted many beginner photographers and opened the door to a broader community of film photographers in the city.

Over 100 years after Kodak’s release, analog cameras have become collectors’ items, with vintage cameras auctioning for as high as millions of dollars, like the Leica 0-series no. 105.

However, vintage treasures are not the only part of analog photography. Today, companies like Kodak and Lomography are developing new models, and point-and-shoot cameras are often available at thrift stores—where Vu and Delano source many of their products. Kodak is even hiring new film technicians to keep up with the demands of film production. Cameras are also passed down through generations, with current photographers like Kaela Leone carrying on the legacy of their parents and even grandparents.

Leone, a Toronto-based digital and analog photographer, grew up with film photography and even had a darkroom in her childhood home. While the memory is fuzzy, she remembers the space being nearly completely dark, with a small red light bulb on the ceiling illuminating from above. The darkroom was a haven for her dad, who would go from his day job as an engineer to spending nights developing photos. Leone said this process was mind-blowing for her, watching her dad put strips of film in the chemical solution and process his images into prints.

“It was just kind of this like sacred space to him that I would like only ever really peek into,” she said, looking back on these fond memories of her home. Now a professional photographer, Leone is making these memories tangible for a living.

Although she was always aware of analog photography, she didn’t “plunge into it” until her partner’s godmother gave her an old Minolta camera three years ago. Since then, she has incorporated it into her professional and personal photography, something she said helps her become more intentional and thoughtful than digital photography's ease.

“I know this one shot is going to cost me $1.50,” she said, laughing awkwardly. “[But] getting film scans back is like Christmas morning.” For Leone, the excitement of waiting for scans from a lab is part of why she loves analog.

She spoke animatedly about the “magic” of film photography. Even though she uses both digital and analog in her work, she tries to push for film with many projects because she thinks it’s more personal and lets her and her clients “take a deep breath” during the photoshoot.

“It’s the intentionality behind it that I think is so amazing. I haven’t felt that in a lot of areas in my life since I was a kid,” Leone said. Like Vu, who has made a business selling analog cameras, Leone has shaped a large part of her life around her passion for film photography.

Vu looked back on her memories with a sad smile, knowing she hasn’t been able to shoot film in a while. Increasing costs and low supply have stopped her from using film regularly. She mentioned how a pack of Kodak Gold 200 film has doubled in price compared to the $11 plus tax just a few years ago—and that’s if you can even find it in stores. She said she can’t justify spending money on film casually when she doesn’t have a motive for using it, such as a photoshoot. Although she hasn’t shot film regularly for a few years, she knows that her love of it will always be there. She finds it “uplifting” that she can rely on her passion through her business and interacting with other photographers in the city.

By connecting with fellow film aficionados and building that sense of community, she knows she can fall back onto her passion even if she hasn’t touched the shutter button for some time.

Through events like “photo walks,” a significant part of Toronto’s photography community, and attending local art markets, Vu said she feels a sense of familiarity and connection with the medium that she thinks will be a part of her forever.

TMU School of Journalism announces new live journalism course

Students can enroll in the course starting Winter 2023

By: Krishika Jethani

Two performers in the Harmed in Hamilton show on October 22, 2022 at the Theatre Aquarius in Hamilton.

Sonya Fatah (left) and Janeyce Guerrier (right) performing in Harmed in Hamilton,  a stitched! Production on Oct. 22 at the Theatre Aquarius in Hamilton.  (Aloysius Wong/stitched!)

A live journalism course is coming to Toronto Metropolitan University (TMU) in the Winter 2023 semester. The course, named Special Topics in Journalism, will be offered by the Creative School’s School of Journalism.

Live journalism, unlike traditional journalism, requires a live audience. Instead of publishing a story in a newspaper or magazine, a story is performed on stage while engaging the audience.

The course will be found as “JRN 319” for the upcoming semester. In the following year, it will have its own course code and will be known as “Journalism: Live on Stage” and will be taught by Sonya Fatah, an assistant professor at the School of Journalism.

Aru Kaul, a fourth-year journalism student who is assisting in promoting the new course, says live journalism differs from traditional news by providing audience members with an experience. “Live journalism shows them what is happening,” Kaul said.   

stitched!, founded by Fatah, is a live journalism lab at TMU that encourages students to perform journalistic practices in front of a live audience. 

The underlying notion is to bring news to the stage. Journalists employ oral storytelling techniques to share stories before audience members, who become news consumers.

While the course is open to all journalism students that have completed the prerequisite courses JRN272 and JRN273, students from other programs can also obtain permission from Fatah to enroll.

Through exploring an oft-underrepresented form of news and information dissemination, students will be able to practice journalism in a different and innovative way. In a journalist fellowship report on live journalism and its capacity to re-engage audiences, Jaakko Lyytinen cites theatre as “the last oasis of undivided attention.” To bring journalism to theatre means bringing the media apparatus into a “shared place and time for experiencing something corporeal with words, pictures, sound.”

Professor Fatah says this course serves as a “unique” opportunity for journalism and non-journalism students alike. Live journalism allows students to learn how to communicate issues to an audience as a way of practicing storytelling.

Although live journalism is practiced differently by individual organizations, it still follows the same reporting approach as traditional journalism, as “you still need to go out there, meet people whose stories you’re sharing and come report it and bring it back,” said Fatah.

Those enrolled in the course in the Winter 2023 semester, will have the opportunity to work with the climate disaster project based at the University of Victoria– a project led by environmental journalism professor Sean Holman.

“He runs this program that is established across 13 schools in North America and the students in those 13 schools have been collecting testimonies of climate crisis survivors… and we have access to that archive,” said Fatah.

Students will also break up into different groups and work with those who have shared these stories.

There are also more live journalism shows produced in the U.S. and Europe including Pop-Up Magazine, The Black Box, and Live Magazine in France, among others.

“The goal of some of our work is to create a space where you can have a post-show engagement to push the conversation beyond the story itself,” said Fatah. “And to consider how we as a community, as a society, really discuss this issue.”