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This Easybody annex, and this is the Candid Frame.

When we think of the many iconic images that have been made during the short history of photography,

many of these photographs have been made by photojournalists.

Whether it's Bill Edwards' photo of a mortally wounded Robert Kennedy on the kitchen floor of the Ambassador Hotel,

or Alfred Eisenstadt's photograph of a sailor planning a kiss on a nurse in New York City at the end of World War II,

these are images that are etched in our collective psyche, capturing humanity at its best and at its worst.

There have been many changes in the world of journalism over the last few decades. Not all of them

good. But one thing that persists is the passion and the commitment of men and women who want to use the camera to tell

stories, that we as individuals aren't privy to, but that we want or need to know about.

Jonathan Alcorn has been making this pursuit of the story, his life's work, a position that

has placed him right in the middle of the most

dramatic and perilous moments in the recent history of Los Angeles. He is another example of a

photographer whose intention is not merely to make a pleasing photograph, but to create images

that say something about who we are and where we are and where we're going.

It is not an easy thing to do, and it's often underappreciated, but I for one am glad that

there are people like Jonathan out there, raising the camera and making the effort to make images

that can and do matter.

Well, thanks for doing this.

Man, I'm a long time coming.

It's good to do it, and I wish we had done it sooner, but it's good to do it today.

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