{"id":5863,"date":"2016-01-22T06:16:45","date_gmt":"2016-01-22T06:16:45","guid":{"rendered":"https:\/\/media.am\/on-the-scene-sargis-kharazyan\/"},"modified":"2016-01-22T06:16:45","modified_gmt":"2016-01-22T06:16:45","slug":"on-the-scene-sargis-kharazyan","status":"publish","type":"post","link":"https:\/\/media.am\/en\/on-the-scene\/2016\/01\/22\/5863\/","title":{"rendered":"On the Scene: Sargis Kharazyan"},"content":{"rendered":"<p>During political and public demonstrations, marches, and protests, usually demonstrators and police, sometimes politicians, and always journalists gather.&nbsp;<\/p>\n<p>In the Media.am \u201cOn the Scene\u201d series, we meet the journalists, photojournalists, and camera operators often covering the big and small demonstrations of a small country, who describe their principles and approaches.<\/p>\n<p>Fascinated by his father\u2019s old Soviet camera, Sargis Kharazyan was captivated by photography at a young age. \u201cOne day I realized that people not only see, but also hear with their eyes.\u201d<\/p>\n<p>As a teenager, his interest waned, but while a student at the architectural institute, the image and frame attracted him once again. \u201cStudying architecture gave me lessons on [being] a camera operator, director, and screenwriter and developed my visual skills,\u201d he says.<\/p>\n<p><img decoding=\"async\" alt=\"\" src=\"https:\/\/farm2.staticflickr.com\/1619\/24519540595_0f51702aff.jpg\" style=\"border:none; display:block; height:600px; margin-left:auto; margin-right:auto; width:800px\" \/><\/p>\n<p>He took his first classes in operating a camera at Internews Armenia, curently the Media Initiatives Center [the organization responsible for this site]. He shot his first footage here too. My co-workers know Kharazyan well; they produced videos with him on many occasions.<\/p>\n<p>For four to five years, Kharazyan worked at different Russian news outlets. Since 2011, he has been the camera operator at Civilnet.<\/p>\n<p><iframe loading=\"lazy\" frameborder=\"0\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/iKl9FlxaRBw\" width=\"640\"><\/iframe><\/p>\n<p>In his opinion, filming demonstrations is different than other, everyday filming. \u201cDuring demonstrations, I don\u2019t put forth specific main and secondary issues; I turn on [my] instinct, the same instinct that turns on during war. These are images that are completely parallel.\u201d<\/p>\n<p>Kharazyan says that on the scene, the only subject that can be debated between him and police officers is rights \u2014 he\u2019s not preparing to give them life lessons. His participation in demonstrations as a camera operator is decided depending on the situation.<\/p>\n<p><img decoding=\"async\" alt=\"\" src=\"https:\/\/farm2.staticflickr.com\/1650\/24437168051_5410b625cd.jpg\" style=\"border:none; display:block; height:506px; margin-left:auto; margin-right:auto; width:800px\" \/><\/p>\n<p>\u201cIf there\u2019s a verbal altercation between demonstrators and police officers, my intervention is zero; I film. A slight jostle or scuffle too [my intervention] is zero, but when they began to inflict bodily injuries on each other, when it\u2019s a matter of life and death, I am no longer a camera operator \u2014 the human factor kicks in. I can put the camera aside and, for instance, help the injured person. People, human life comes first.\u201d<\/p>\n<p class=\"rteright\"><strong>Story by Sona Kocharyan<\/strong><br \/>\n<strong>Photos by Sona Kocharyan,<br \/>\nHakob Hovhannisyan, Levon Taksildaryan<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>During political and public demonstrations, marches, and protests, usually demonstrators and police, sometimes politicians, and always journalists gather.&nbsp; In the Media.am \u201cOn the Scene\u201d series, we meet the journalists, photojournalists, and camera operators often covering the big and small demonstrations of a small country, who describe their principles and approaches. Fascinated by his father\u2019s old<a class=\"moretag\" href=\"https:\/\/media.am\/en\/on-the-scene\/2016\/01\/22\/5863\/\"> Read the full article&#8230;<\/a><\/p>\n","protected":false},"author":3,"featured_media":5575,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[33],"tags":[],"class_list":["post-5863","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-on-the-scene","author_posts-sona-kocharyan"],"acf":[],"_links":{"self":[{"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/posts\/5863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/comments?post=5863"}],"version-history":[{"count":0,"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/posts\/5863\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/media\/5575"}],"wp:attachment":[{"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/media?parent=5863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/categories?post=5863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/media.am\/en\/wp-json\/wp\/v2\/tags?post=5863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}