BACKSTORY: While covering the school shooting in Uvalde, Texas for the Washington Post, I relied on my skills both as a visual storyteller, and just as importantly, as an editorial partner - dual roles that demanded sound judgement, collaboration, and logistical problem-solving under extreme pressure under rapidly-evolving, deeply traumatic circumstances.

From the outset, I worked in close coordination with reporters on the ground and with photo editors in Washington, D.C. My role extended beyond producing photographs. I actively contributed reporting insight, pitched story directions, and helped shape narratives as events unfolded. In an environment where access was limited, information was fragmented, and emotions were raw, this kind of collaboration was essential to producing coverage that was both accurate and humane. I was the first editor on all the stories I produced on Uvalde.

Two stories from my Uvalde coverage illustrate this editorial approach clearly. One focused on Kat Roque, a student who survived the shooting after losing her best friend and much of her class. Our initial reporting plan centered on documenting a student with visible physical injuries to illustrate the immediate brutality of the violence. Drawing from my experience in visual storytelling, I pitched an alternative focus: centering on a survivor whose trauma was primarily psychological—profound grief and invisible wounds that would continue to shape their life and family long after the event. I believed this angle would more fully capture the enduring, often unseen impact on the community, where many families grappled with lasting emotional devastation. After discussion, the team agreed this focus better reflected the broader realities and allowed us to tell a more resonant, comprehensive story of the violence’s human toll.

Another story followed David Graham, a cowboy from Ohio who drove 1,213 miles to Uvalde to offer moral support by setting up “Cowboy Cares” on a street corner in town. I had already spent significant time photographing Graham and recognized the quiet power of his presence. I introduced him to a reporter and helped bring his story into the broader coverage, offering readers a portrait of how people far removed from the tragedy felt compelled to respond.

Because Uvalde is close to the U.S.–Mexico border, language access was a significant factor in the reporting. I served as a Spanish translator for reporters who did not speak the language, enabling more direct communication with Spanish‑speaking families and allowing their experiences to be represented accurately and respectfully. This role deepened the reporting and helped ensure that key voices were not lost because of language barriers.

In addition to editorial and reporting contributions, I played a critical logistical role. At a time when hotels were fully booked and cellphone service was unreliable, I located and secured two houses that became makeshift headquarters for The Washington Post staff in Uvalde. This support proved essential to the team’s ability to coordinate, file stories, and continue reporting effectively from the ground.

Uvalde was among the most difficult assignments of my career because of the scale of loss and the intimacy of the grief. Reporting took place amid mourning families, limited infrastructure, and intense public scrutiny. Despite these challenges, I was able to meet deadlines, produce meaningful work, and help strengthen the overall coverage through collaboration, editorial judgment, and empathy. This project reflects how I work in moments of crisis: contributing not only images, but also perspective, structure, and support that help ensure coverage is both rigorous and responsible.