“VTDigger’s Captivating Collection: Top 20 Photos of 2024 Through Our Lens”

As we approach the end of 2024, we chose to reflect on the past year and the numerous Vermonters we documented in VTDigger’s visuals. From summer floods and the total solar eclipse to a significant election, our photographers and freelancers were on hand to capture everything. 

Staff photographer Glenn Russell and Senior Editor Natalie Williams shared their thoughts on 20 of their preferred images and what distinguishes them.

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I was approaching the area where fallen power lines had blocked a road during a windstorm when a motorist drove past me, heading right towards the trees entangled in the wires. Only after considerable loud remonstrance, wild motions, and blame from the deputy sheriff was the driver persuaded to turn around. I observed the driver expressing his displeasure as he drove past me in the opposite direction.

(Captured in RAW format and converted to JPEG. Taken with a 70-200mm zoom lens at 200mm in aperture priority at f4.5 for 1/500th of a second with auto-ISO set to 2000 and slightly under-exposed by 1/3 of a stop. Major enlargement from the original frame. My cameras produce files approximately 6000 pixels wide on the long side. After editing and toning, I save JPEGs at 2500 pixels, allowing for a significant lossless cropping.)

— Glenn Russell

This is one of those snapshots I didn’t anticipate taking but ultimately cherished. I was reporting on the election of the new sergeant-at-arms for Vermont. There was a captivating instance when the Legislature adjourned for a brief recess due to the tight outcome, and around 20 individuals flocked to the podium at the front of the chamber to deliberate theresults prior to promptly dispersing. The throng of individuals brought to mind scenes reminiscent of a Renaissance artwork. While I cannot take credit for crafting something as splendid, I did find delight in the historical significance inherent in the portrayal.  

— Natalie Williams

When the individual accused of shooting three Palestinian scholars first appeared in court, his attorney requested the judge to remove his shackles for the session. Although this may not be the leading shot (for one reason, you cannot see his face), it adds an element of depth to the overall coverage.

(Captured in RAW format and subsequently converted to jpeg. Taken manually at 1/250th of a second at f/2.8 using a 70-200mm zoom lens set at 116mm and intentionally underexposed by 1/3 of a stop with an auto-ISO of 1250. State court sessions are accessible to the media, but typically restricted to one still photographer and one videographer. These pool photographers are mandated to share their captures in the courtroom with other media organizations.)

— Glenn Russell

Numerous photographs were captured during the total solar eclipse in April, yet the moment that freelance photographer Jeb Wallace-Brodeur preserved is particularly remarkable. It provides a glimpse of the vast crowds that flocked to the state for this exceptional cosmic event and vividly places you among all these individuals gathered on the Statehouse lawn, gazing up at the heavens as the sun emerges above a state office edifice. 

— Natalie Williams

When VTDigger editors informed fresh intern Juan Vega de Soto that on a rainy spring evening, some locals venture outdoors with their spatulas to rescue salamanders, he presumed we were joking. Unbeknownst to him, he found himself in the field discovering that amphibian counts are, indeed, an authentic activity. I was fortunate enough to accompany this escapade and observe this uncommon spring salamander that brought joy to our North Branch Nature Center guide.

— Natalie Williams

Photojournalists operate at the crossroads of information and artistry. With both preparation and serendipity, the two can intertwine. This picture is merely one in a continuing series of coverage that, hopefully, aids in portraying a multifaceted issue.

(Captured in aperture priority using a 20mm lens at f/7.1 for 1/800 of a second employing an auto-ISO setting of 100 under-exposed by one stop. Shooting wide from a low angle is a well-established method to maintain a tidy background while presenting a striking foreground.)

— Glenn Russell   

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The press is now prohibited from the edges of the House of Representatives chamber, marking a break from established tradition. Consequently, we must capture images wherever feasible, in this instance from the public gallery during a pause in deliberation.

(Captured in RAW format and converted to jpeg. The shot was taken with a 70-200mm lens at 135mm, 250th of a second at f2.8 in manual mode with auto-ISO set at 125, under-exposed by 1/3 of a stop. The exposure was adjusted for the highlights of the subject near the window. The scene was exposed and color-balanced towards daylight (more blue, outside light) for the subject, allowing the chamber to appear tungsten-colored (more yellow, indoor light) and darker.)

— Glenn Russell

This farmer was not the primary focus of the story I was documenting; however, his distinctive character compelled me to capture his portrait. He had a real old-school vibe, characterized by a deep French accent while sporting Dickies throughout.

(Captured in RAW format and converted to jpeg. The photograph was made in aperture-priority mode at f2.8 with a shutter speed of 1/2000 second using an auto-ISO set to 100 and under-exposed by 1/3 of a stop with a 70-200mm zoom at 200mm. Employing auto-ISO guarantees the highest quality (the lowest ISO) file. Under-exposing at ISO 100 helps to retain maximum detail in the highlights while also capturing detail in the shadows.)

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“`Glenn Russell

I captured an image of Nancy Morin at her flood-affected home that she has been forced to leave behind. It’s an unusual role I occupy. I insert myself into individuals’ lives during their most vulnerable instances. I establish rapport swiftly, foster that bond, document moments, and then move on.

(Photographed in RAW format and converted to JPEG. Took with a 50mm lens at f/2.8 at 1/500th of a second in aperture priority at auto-ISO 250 with an underexposure of 1/3 of a stop.)

— Glenn Russell

Josh Kuckens, one of our freelance photographers, operates out of the Northeast Kingdom. Given that much of the flooding in 2024 was concentrated in Caledonia County towns such as Hardwick, Kuckens documented numerous images showcasing the floodwaters and devastation in the region. This particular shot resonates with me due to its many dimensions—the individuals, the vehicles, the homes, the elevated water levels, the mud, the Hardwick Farmers Market banner, and so on. The viewer’s gaze encounters countless elements, vividly reflecting the profound and distressing impact these floods have exerted on Vermonters.

— Natalie Williams

The catastrophic floods of July 2024 obliterated much of Plainfield. I descended to the site where the now-calm waterway had devastated a building just hours before. The individual in red was traversing the same path and turned away as I lifted my camera.

(Captured in RAW and altered to JPEG. Taken in aperture-priority at f/5.6 and 1/500th of a second, slightly under-exposed by 1/3 of a stop at auto-ISO 220 with a 24-120mm zoom set at 24mm. The blurred figure in the foreground injects a compositional and emotive aspect to the image detailing the destruction across the river.)

— Glenn Russell

Another alarming flood moment, captured by freelance photographer Jeb Wallace-Brodeur, depicts a red vehicle entangled in flood debris. The sheer force of the rising waters is evident, illustrating a single example of how floods can engulf trees, power lines, and vehicles, among many other elements. The volume of debris and the angle of the car provided a powerful visual impact.

— Natalie Williams

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This is the image that’s not quite the image. What I mean is that this snapshot of a congressional visit to a flood-impacted farm fails to present the farm, the farmer, the senator, or the storm devastation. Instead, it depicts an individual grappling with an umbrella as the rain starts to descend. The photograph serves as a symbol, rather than a direct depiction of loss.

(Captured in RAW format and converted to jpeg. Shot with a 20mm lens at f5.6 for one 500th of a second, underexposed by a third of a stop at auto-ISO 1400.)

— Glenn Russell

These women initially acknowledged my presence but rapidly became engrossed in their activities. Whether knitting or sharing stories, the connections displayed through their glances and gestures were what I aimed to capture.

(Shot in RAW and converted to jpeg. Captured in manual mode using a 50mm lens at f1.8 and a shutter speed of 1/125 seconds at auto-ISO 1600, underexposed by a third of a stop. This represents just one frame from a series in which I utilized the 20mm, 50mm, and 70-200mm lenses. The 20 and 50mm are exceedingly fast (highly light-sensitive) prime lenses with a maximum aperture of f1.8, while the 70-200mm zoom lens is a fast f2.8 (though it is one and one-third stops slower—less light-sensitive—compared to the f1.8 lenses I employed).

— Glenn Russell

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We encountered Terri and her granddaughter Sarah at a neutral location, where they shared their journey of being unhoused. I needed to cultivate trust swiftly to encourage people to express themselves during these often tense situations. For a brief moment, Sarah overlooked my presence while Terri was talking, which allowed me to capture this photograph.

(Captured in RAW format and converted to JPEG. Taken with a 20mm lens in aperture priority at f/5.6 and 1/125th of a second, slightly under-exposed by 1/3 stop at auto-ISO 100.)

— Glenn Russell

The atmosphere at the election night viewing event hosted by the Democrats in South Burlington turned quite dreary quite fast. By the conclusion, just a few people lingered behind. This was the final image I captured that evening, shot in RAW and converted to JPEG.

(Taken loosely to convey the emptiness with a 20mm f1.8 at 125th of a second in manual mode at auto-ISO 1400, slightly under-exposed by 2/3 of a stop. I could have darkened the TV screen a little and I’m not satisfied with the arm of the individual in the background appearing to extend from the woman’s face, but other than that, it’s alright.)

— Glenn Russell

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This represents a moment of personal grief in a public setting, which is often a precarious scenario. The assembly occurs in a compact room filled with senators and spectators. I managed to subtly reposition myself to capture Sen. Clarkson’s response in the foreground. I simply wish Senator Baruth on the right had also been gazing at her as she lowered her head. Nonetheless, perhaps his averted gaze forms part of the narrative.

(Captured in RAW and transformed to jpeg. Taken in manual mode with a 20mm lens at f2.8 and 250th of a second with auto-ISO at 2500, slightly under-exposed by 2/3 of a stop. The room is illuminated by windows from two angles. Your exposure must adjust as you navigate the space.)

— Glenn Russell

Lia Menard spoke movingly about her brother’s existence and the events surrounding his and his wife’s demise as an unhoused couple residing in a tent. Capturing images of individuals in distress is always challenging, yet it must be accomplished in a genuine and dignified manner. I simply strive to remain silent, observe, and listen.

(Captured in RAW and transformed to jpeg. Taken in manual mode with a 50mm lens at f1.8 and 125th of a second with auto-ISO at 2000, slightly under-exposed by a stop. I photograph with two silent mirrorless cameras, which are significantly quieter than DLSRs. There’s no noise from the mirror flipping up and down with each image captured.)

— Glenn Russell

I have always been an admirer of photographs that reveal behind-the-scenes moments of an event — in this instance, I witnessed drag queen Lavender Homicide preparing for a photoshoot. As she applies her lashes and a “Rocky Horror Picture Show” poster observes, it creates an enchanting atmosphere reflecting her style and the forthcoming performance. 

— Natalie Williams 

This image is part of a sequence I captured just as the final goal in overtime was on the verge of being scored. The instant is filled with suspense. The subsequent frame showcasing the crowd’s enthusiastic response (which is insane) after the goal went in is impressive, but this photograph is the highlight.

(Captured in RAW and converted to a jpeg using a 50mm f1.8 at a 125th of a second in manual mode, under-exposed by one stop using auto-ISO at 7200. I typically under-expose my digital images — paradoxically, the lower the light, the more I tend to under-expose.)

— Glenn Russell