Showing posts with label war photography. Show all posts
Showing posts with label war photography. Show all posts

Saturday, September 5, 2009

War photography

War photography captures images of armed conflict and life in war-torn areas, beginning with Roger Fenton's photographs of the Crimean War of 1853-56, in which he was limited by his bulky equipment and the technology of the day, which had not yet developed a method for photographing moving objects.

The photography of war depicts the terrors of war mingled with acts of sacrifice. Different to paintings or drawings of war, photographic images are not easily altered; although in some cases, photographers manipulate the subjects and scenes depicted in a work, resulting in an image that is not completely objective in nature.

Photography, presented to the public in 1839, was believed to create images that were accurate representations of the world. In 1859, it was predicted that photography would be able to visually document future wars correctly by generating precise documentation of battles, fortifications, landscapes, soldiers, and military officers. Photography’s accuracy was assumed and taken as a mechanical impression of reality. As explained by Louis Daguerre, the creator of the first commercial photographic process, images produced by the camera were of “absolute truth” and “infinitely more accurate than any painting by the human hand.”

Photography was used to record historical information, but not always in the optimistic way that was conceived at the advent of the medium.

It was anticipated that photographers, supposedly not acting as active participants of war but as neutral partisan, would be able to bring their cumbersome photographic equipment into the battlefield and record the rapid action of combat. This was not the case, as the technical insufficiency of the photograph in recording movement was not considered. The daguerreotype, an early form of photography that generated a single image using a silver-coated copper plate, took a very long time to produce. This prevented action photography, as images took minutes to develop and could not be processed immediately.

The first war photographer was Roger Fenton in the Crimean War of 1853-56, although with his bulky equipment he was limited to posed still photographs or landscapes. He took a large van and an assistant, and returned to Britain with over 350 usable large format negatives.

The inability of the early photograph to record a moving object lead to the practice of recreating scenes of battle, such as in the work of both Haley Sims and Alexander Gardner. They admittedly reconfigured scenes that took place during the American Civil War (1861-1865) in order to intensify the visual and emotional effects of battle. Alexander Gardner and Matthew Brady rearranged bodies of dead soldiers during the Civil War in order to create a clear picture of the atrocities associated with battle. In Soldiers on the Battlefield, 1862, Brady produced a controversial tableau of the dead within a desolate landscape. This work, along with Alexander Gardner’s 1863 work Home of a Rebel Sharpshooter were images, which, when shown to the public, brought home the horrific reality of war.


Since early photographers were not able to create images of moving targets, they would record more sedentary aspects of war, such as fortifications, soldiers, and land before and after battle along with the re-creation of action scenes. Similar to battle photography, portrait images of soldiers were also often staged. In order to produce a photograph, the subject had to be perfectly still for a matter of minutes, so they were posed to be comfortable and minimize movement.

Unlike paintings, which presented a single illustration of a specific event, photography offered the opportunity for an extensive amount of images to enter circulation. The proliferation of the photographic images allowed the public to be well informed in the discourses of war. The advent of mass-reproduced images of war were not only used to inform the public but they served as imprints of the time and as historical recordings. Mass-produced images did have consequences. Besides informing the public, the glut of images in distribution over-saturated the market, allowing viewers to develop the ability to disregard the immediate value and historical importance of certain photographs.


Photographers who participate in this genre may find themselves placed in harm's way, and are sometimes killed trying to get their pictures out of the war arena. Journalists and photographers are protected by international conventions of armed warfare, but history shows that they are often considered targets by warring groups — sometimes to show hatred of their opponents and other times to prevent the facts shown in the photographs from being known. War photography has become more dangerous with the terrorist style of armed conflict as some terrorists target journalists and photographers. In the current Iraq War, several photographers have been captured and executed by terrorists or shot by armed insurgents.

AP IMPACT: Calm — then sudden death in Afghan war

The U.S. patrol had a tip that Taliban fighters were lying in ambush, and a Marine had his weapon trained on the trees 70 yards away. "If you see anything move from there, light it up," Cpl. Braxton Russell told him.

Thirty seconds later, a salvo of gunfire and RPGs — rocket-propelled grenades — poured out of the grove. "Casualty! We've got a casualty!" someone shouted. A grenade had hit Lance Cpl. Joshua "Bernie" Bernard in the legs.

A Marine and son of a Marine, a devout Christian, Iraq war veteran and avid hiker, home-schooled in rural Maine, Bernard was about to become the next fatality in the deadliest month of the deadliest year since the U.S.-led invasion of Afghanistan in 2001.

The troops of Golf Company, 2nd Battalion, 3rd Marines had been fighting for three days to wrest this town in southern Afghanistan from the Taliban who had ruled it for four years. As dusk approached on Friday, Aug. 14, things had quieted down. The Taliban seemed to have gone. Another day had passed in the long, hard slog for U.S. troops serving on the parched plains and mountains of Afghanistan, in a war that has steadily intensified.

Then, as the Marines were enjoying some downtime, reports of mortar, machine-gun and sniper fire sent them scrambling again. The 11 Americans and 10 Afghan soldiers edged their way into the town's abandoned bazaar. With them were Associated Press correspondent Alfred de Montesquiou, AP photographer Julie Jacobson and AP Television News cameraman Ken Teh.

Eyes scanning rooftops for gunmen and the ground for buried bombs, the patrol pushed past shops still smoldering from U.S. mortar shells, past Taliban posters on the walls exhorting the populace to fight the Americans. Bernard, his face daubed in gray and brown camouflage paint, was the point man.

A young Afghan in front of the family store showed the patrol a patch of upturned earth in a ditch. It was here that insurgents had fired their mortars a few minutes earlier.

"But don't say I told you, or they'll kill me," the man said.

As he spoke, the Marines got word of the ambush being readied nearby. Two Cobra helicopters circling overhead fired Hellfire missiles at a mortar position. The Marines weren't sure this had settled the matter with the Taliban. They pushed on.

Then they reached the pomegranate grove.

___

At first Jake Godby thought Bernard had stepped on an explosive device. Godby, a 24-year-old 2nd lieutenant from Fredericksburg, Va., quickly regrouped his men and directed the returning fire.

The squad found itself stuck under sustained and heavy fire with a wounded man on a narrow crossroad — buildings behind them, insurgents hidden in the orchard in front of them, and a large puddle from a broken water pump in the middle. Godby had the troops advance to the cover of a mud wall and an irrigation ditch. The orange streaks of bullets whizzing in every direction grew visible as the light faded.

"That's when I realized there was a casualty and saw the injured Marine, about 10 yards from where I'd stood," Jacobson would write in her journal. "For the second time in my life, I watched a Marine lose his. He was hit with the RPG which blew off one of his legs and badly mangled the other. ... I hadn't seen it happen, just heard the explosion. I hit the ground and lay as flat as I could and shot what I could of the scene."

Bernard lay on the ground, two Marines standing over him exposed, trying to help. A first tourniquet on Bernard's leg broke. A medic applied another.

"I can't breathe, I can't breathe," Bernard said. Troops crawling under the bullets dragged him to the MRAP, the mine-resistant armored vehicle that accompanied the patrol.

"The other guys kept telling him `Bernard, you're doing fine, you're doing fine. You're gonna make it. Stay with me Bernard!' He (a Marine) held Bernard's head in his hands when he seemed to go limp and tried to keep him awake. A couple more ran in with a stretcher," Jacobson recalled in the journal.

"Another RPG hit the mud wall on the other side of the street from where we were, about 5 yards away. It was a big BOOM, and I just lay my face in the dirt and everything went quiet for about 10 seconds. It was just silence like I was wearing noise-canceling headphones or like world peace had finally descended upon the earth. The air was white with sand. Then I started feeling the rubble fall down around me. And I thought, `Is this what it's like to be shell shocked? Am I all still here? I can't believe I am.'

"I was fine and surprised at how calm I was and that I could actually still hear."

___

The rocket-propelled grenade exploded in a powerful pinkish blast, lighting up the scene and briefly knocking out de Montesquiou and Staff Sgt. Alexander Ferguson. When Ferguson recovered, he helped haul Bernard inside the vehicle. Bernard was driven back to base some 500 yards from there, receiving first aid along the way. Minutes later, a helicopter evacuated him to Camp Leatherneck, the main Marine compound in southern Afghanistan. His vital signs were stable when he left.

At the ambush site, the fighting continued uninterrupted for 10 to 15 minutes. The men could see the grenades coming in at them, and even some of the machine gunners. They estimated they were facing six to eight fighters.

Adding to the confusion, an Afghan soldier with the troops fired his own grenade at the insurgents, but he hadn't checked whether anybody was close by. A Marine was knocked out by the back-blast.

Another grabbed the Afghan by the collar. "Once he stopped shooting, we were able to get control of the situation," Russell said.

Some Marines are uneasy patrolling with the Afghan National Army. For one thing, there's a language barrier. During the shootout at the orchard, the patrol's Afghan interpreter disappeared and took cover, leaving the Marines unable to coordinate their moves with the Afghan soldiers.

"They're not lacking courage, they're just lacking training right now," said Russell, 22, from Stafford, Va. "At least they were shooting in the right direction."

The fighting ebbed with nightfall. Godby and some of the Marines equipped with night vision glasses pushed deeper into the orchard, but the insurgents were gone. Intelligence pointed to three enemy dead, several Marines said, but it could not be confirmed.

That night, officers assembled the platoon in a darkened room of the run-down house where the Marines had camped after taking Dahaneh two days earlier. There the officers delivered the news: Bernard had died of a blood clot in his heart on the operating table. He was Golf Company's third fatality since arriving in Afghanistan in May.

Bernard was the 19th American to die in Afghanistan in August. Fifty-one Marines, soldiers and seamen lost their lives that month. Of the 739 Americans killed in and around Afghanistan since 2001, 151 died last year and 180 so far this year.

___

Down a rural dirt road in New Portland, western Maine, John and Sharon Bernard sat on their porch and talked about their son.

Joshua, they said, loved literature and showed early interest in the Bible and Christianity. "He had a very strong faith right from the beginning," his mother said.

His father described him as "humble, shy, unassuming — the very first to offer help." He didn't smoke or drink, and always opened the door for others. His main friends were his church group, whom he would visit when on leave, and his sister Katy, 20.

Bernard's father is a retired Marine 1st sergeant. Three weeks before the Aug. 14 ambush that killed his son, he had written to his congressman, Rep. Michael Michaud, expressing frustration at what he described as a change in the Afghanistan rules of engagement to one of "spare the civilians at all cost." He called this "disgraceful, immoral and fatal" to U.S. forces in combat.

Joshua loved videogames and snowboarding, and hiked parts of the Appalachian Trail with his father. He hoped to become a U.S. marshal.

"Service and personal honor," is how his father summarized his son.

___

Three days after Bernard's death, as his belongings were being packed for shipment to his family, Cpl. Joshua Jackson, his squad leader, was still referring to him in the present tense.

"He definitely doesn't hesitate," said Jackson, 23, from Copley, Ohio. "He's very good, he definitely has the nerves to do what he's needed to do."

He called Bernard "a true-heartedly very good guy ... probably one of the best guys I've known in my entire life."

The hardest part is "just wondering if there's something that I could have done different, or maybe prevented him from dying," Jackson said. "But that's something we've all got to deal with."

"I think it's got to do with being a Marine; you just carry on," said Godby. That night he got two hours of sleep. Before dawn, his platoon took part in a raid on a suspected Taliban stronghold.

Bernard was determined, his comrades said. That's why he was chosen as the squad's point man and navigator, moving at the front of his unit.

Lance Cpl. Jason Pignon, 22, from Thayer, Ill., was his close friend. They had been in the same platoon since 2007 when they joined "the Fleet," as Marines call the units preparing to deploy. They served together near Fallujah in Iraq in 2008, and again in Afghanistan.

During the firefight, Jacobson had wrestled with a question every war photographer faces: whether to offer to help save a life, or keep out of the way of the professionals and go on shooting pictures.

Some of Bernard's comrades asked to see the photos. In her journal she described them flipping through the images she had captured that day:

"They did stop when they came to that moment. But none of them complained or grew angry about it. They understood that it was what it was. They understand, despite that he was their friend, it was the reality of things."

___

It had all gone very quickly. It was late afternoon when the Taliban fired their first RPGs. It was dusk when the Marine was driven away in the armored vehicle. And it was night when the patrol returning to base saw the dark silhouette of the helicopter that flew him away.

Lance Cpl. Joshua "Bernie" Bernard was 21 years old.

___

Glenn Adams contributed to this report from New Portland, Maine.


http://news.yahoo.com/s/ap/20090904/ap_on_re_as/as_afghan_death_of_a_marine

Julie Jacobson photographer


Lance Cpl. Joshua "Bernie" Bernard is hit

With all due respect this photograph by Julie Jacobson of the mortally wounded soldier was published to make people aware. Before you react please be sure you read the post above this? Remember, the photos of Vietnam actually helped bring the war home and change allot of peoples minds about what the war really was like. This helped end the war. Look at the photos of the Civil War casualties that were published when photography was new to the public. The military, by hiding all photos of coffins and of the dead is misleading the public and its wrong! They are taking away the gut shock war brings and pillowing the public from reality. It is immoral and un-American to censor the press unless it endangers the troops or compromises a mission. Gates and the military wanted to keep this from the public but the soldiers julie was embedded reacted this way:
"Some of Bernard's comrades asked to see the photos. In her journal she described them flipping through the images she had captured that day:

They did stop when they came to that moment. But none of them complained or grew angry about it. They understood that it was what it was. They understand, despite that he was their friend, it was the reality of things."



http://en.wikipedia.org/wiki/War_photography


Here is a rare image of Petersburg, Virginia. Dead Fed. Soldier. It was taken in 1865 by Roche, Thomas C., d. 1895.

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I grew up in Chautauqua County, NY. I graduated from Edinboro University of Pennyslvania in 1981 with a BFA in Jewelry and Metalworking. I have been married 31 years. I currently run a small business with my husband. We both enjoy the outdoors and animals a great deal and live on a tiny farm in Western, NY.