Niko Koppel is a multimedia journalist with over a decade of experience. His extensive knowledge of covering breaking news and long-form feature stories has led him to work as a staff member for leading news organizations including the New York Times and CNN in a variety of roles including reporting, photographing, photo editing, and producing videos and virtual reality experiences.
He is currently focused on immersive storytelling, producing augmented reality experiences for The New York Times, attempting to bring his knowledge of narrative and the standards of news gathering to this cutting-edge platform.
Produced videos that have viscerally transported audiences to natural disasters, large-scale protests, as well as provided rare access inside emerging subcultures.
IN THE WAKE OF HARVEY
In August 2017, Hurricane Harvey slammed Texas, causing catastrophic flooding and billions of dollars of damage. Witness residents of Houston and beyond in the storm’s aftermath.
WRATH OF IRMA
After Hurricane Irma hit South Florida, Anderson Cooper takes you through the devastation left in the storm’s path from Miami to the Keys.
Worked as a producer for the New York Times for The Daily 360, which published 400+ 360° news and feature videos from all around the world.
Streamlined the intensive post-production process of VR to be immediate and unvarnished, publishing content within hours of spot news events.
Pushed boundaries on the medium, taking viewers to uncharted and mesmerizing vantages, including flying with a Golden Eagle.
LIFE ON MARS
Produced an award-winning VR series for the New York Times on a NASA-funded simulation of a Mars colony.
The seven-episode series documented the lives of six people living in complete isolation under Mars-like conditions on Mauna Loa volcano in Hawaii.
The HI-SEAS mission simulated life on the the red planet in order to study team dynamics and inform how astronauts are selected for long-duration space travel.
Since the crew’s only communication with the outside world was by email, we trained participants to document their mission in VR.
EYE IN THE SKY
A licensed drone pilot, I’ve flown and captured hours of footage for live news broadcasts as a member of CNN AIR.
CALL IT SLEEP
At the beginning of the millennium, the internet cafe was a beacon of the future. But now, amid a lack of affordable housing and a surge in homelessness in New York City, these vestiges of the dot-com boom have become an unlikely safety net.
On any given evening in the few remaining 24-hour cybercafes in Manhattan’s Chinatown, chairs are filled with exhausted bodies, who pay as little as $7 a night for a roof over their heads.
People have lived there for weeks or months — or by some accounts, even years. “It’s like prison,” said one regular. “You got to be high to sleep.”
Late on a winter night, a fight broke out at a cyber cafe and a man was thrown down a flight of stairs to Eldridge Street.
Throughout the commotion, people continued to sleep in front of glowing screens, seemingly dreaming, as a woman mopped up blood from the tiled floor.
Regular residents of Hi Speed Internet Cafe gazed out at the annual Lunar New Year parade. It closed after two men were stabbed during a fight in May 2016.
A man dozes in the sapphire glow of Hi Speed Internet cafe, his hand still clutching the computer's mouse.
The piece ran in the Metropolitan section of the New York Times and on the Lens blog.
A series photographed for the New York Times exploring the buttoned-down moments of the city at night and the lives that revolve around it. After the sun sets and neon ignites, the streets take on a noirish mood. Those who work all day need a release, and often the late night hours are when this happens.
The name of the series comes from an expression that means to stay up all night without sleep.
VIRTUAL CRIME SCENE
The NYPD and other departments around the country are implementing new photographic technologies to document and freeze evidence in time, aiding in investigation, and later presented in court rooms.
Created during an Eyebeam residency, Crime Scene brings these 360-degree panoramas of police-involved shootings to a 3D environment where a viewer can virtually step inside the images and be transported beyond the yellow tape.
The project was shown in an installation in Industry City and later presented at MoMA. In addition to the visual element, the actual person shot by the police, or a relative in cases where the shooting was fatal, narrate the scene for the viewer.
The week before the anniversary of Hurricane Sandy, he curated Residual Images, an outdoor multimedia installation of a 9/11 first responder’s records of the destruction in Lower Manhattan, that were transformed a decade later by the murky water of Hurricane Sandy.
On September 11th, Michael Redpath, a FDNY firefighter, was dispatched to the World Trade Center. Starting hours after the collapse of the towers, Redpath documented the destruction and recovery effort at Ground Zero.
For more than a decade, Redpath’s archive of stunning images was stored in his basement in the Rockaways until Hurricane Sandy irreversibly altered his negatives, binding the two events.
Never before exhibited, these powerful and cathartic artifacts, depicting first responders atop twisted steel surrounded by psychedelic splotches, inverted colors and abstract water spots, were projected in an outdoor installation at First Street Green art park and later at Photoville.
As the photo editor for the Metro section of the New York Times, he was dedicated to bringing a consistent in-depth visual acuity to daily coverage of breaking news as well as documenting a vibrant and offbeat window into the city. Recipient of a number of awards including the NPPA’s Best Photo Editor the Year in 2014.
Disciplined reporter and writer of assigned and original story ideas, with the ability to recognize early signs of national trends. Find my archive at nytimes.com.
Niko.firstname.lastname@example.org (917) 587-4979 Instagram: nikokoppel Twitter: nikokoppel