Wrapping Photographers Into The Packaging of War

They took the New York Times on a war tour. The Battle For Pakistan it was called when the magazine finally published the photographs their boys had so carefully constructed and bought back. They had all the elements that would suggest valor, fear, desperate battles, the struggle of ‘a state’ against an unseen but clearly fearsome enemy. Though to my eye it appeared to be a lot of pictures of Pakistani soldiers ‘posing’ – the kinds of pictures I know these soldiers often pose for whenever I have had to photograph them. They know the routine – it is a veritable war zone cat walk, Pakistan’s Next Top Soldier! There are ‘buckets’ of IEDs, emptied villages, men behind bars wearing their self incriminating, evidence acceptable in our modern courts of war, skull caps and beards. The Battle For Pakistan, a nation of 170 million, with a cultural and ethnic diversity that baffles most, was apparently being fought against a few hundred men with outdated guns and plastic buckets IEDs! Details »

What I Learnt From My Students & How It Was Not What I Had Planned On Teaching Them!

Earlier this year I taught a 1-week photography workshop in Dubai. I am not fond that city, and deliberately avoid going there for as long as I can remember. It has something to do with an early childhood memory of seeing poor Pakistani laborers being beaten with sticks by security police at the Dubai International Airport. I have since associated feelings of anger and sorrow with that town. But the workshop was being organized by a good friend and I could not say no. Details »

Panic Not! Ira Glass To The Rescue

After reading some of the recent posts focusing on the divergent and/or contradictory demands of academic and photographic project objectives, I thought that it would be useful for you all to step back and reconsider things.

Ira Glass. This American Life. A brilliant story teller. An amazing journalist. An inspiration to many. My friend Zoriah reminded me that perhaps the students should hear him talk about creative story telling and how the best of them actually work. He himself has written a post about Ira Glass on his blog. Details »

How We Refused To Embed With Britney Spears!

I woke up this morning and read the following piece of news:

“Sweden’s four national newspapers, Aftonbladet, Expressen, Dagens Nyheter and Svenska Dagbladet boycotting Britney Spears concert at the Globe July 13. The organizer needs to press photographers must sign a contract that gives her the copyright to the images, and the right to decide which images may be published. ‘If they do not tear the contract we will not shoot,’ says DN’s image manager Roger Turesson.”

And I soon wafted into a day-dream that took me back to the world in late 2002 as the final touches were being put on the US military journalist embed program, and this announcement hit the front pages of a oh-so-imaginary-but-courageous New York Times:

“America’s four national newspapers, The New York Times, The Washington Post, The Los Angeles Times and The Chicago Tribue are boycotting George Bush’s  Gulf War to be held in 2003. The organizers of this event demand that press photographers sign a contract that gives them [the organizers] the right to decide which images may be published and what, if anything, they will be allowed to document. ‘If they do not tear the contract we will not shoot,’ says New York Times photo editor Jane ‘battlefield” Schmoe.”

I have been accused of naivete, and stupidity by those in positions of ‘power’ at magazines and newspapers for constantly harping on this.

Today, with memories that do not go beyond the 24 hour news cycle, editors justify their decisions to continue to ‘embed’ their reporters with the arguments like ‘there is no other way to do it – its too dangerous otherwise’. They fail to realize that this is precisely what the embed program hoped to achieve beyond its simple control of the ‘image’ of the war.

We live in the very house we built!

(UPDATE: 25th July 2009: NBC’s new prime-time titilation is called The Wanted that unites ‘special operations’ operatives with self-declared ‘journalists’ to hunt down what they describe – without evidence, right to defense, process of law, right to counsel, a fair trial and a full hearing of course, are the world’s most dangerous ‘terrorists’. Where they get this list is easily guessed at. But, my point is underlined by such lunatic programming – our ‘journalists’, our ‘military’, our ‘intelligence’ and our ‘government’ continue to conflate. and continue to loose credibility. we are not even pretending any more!)

By getting in to bed with one of the belligerents we asked our journalists and photojournalists to participate in acts of war. The Iraqi and Afghani has been dehumanized but can we for a moment imagine what it must look like from the hell they are standing and looking from?

Dressed as toy soldiers in camouflage our reporters/photographers are seen strutting around in US military camps, sitting inside US army Humvees during patrols, chatting it up with US army personnel as civilian bodies lay shredded all around, sharing meals with those who break through doors and threaten families, walking away with soldiers as they humiliate and drag men to prisons, sharing sleeping quarters with those who torture them, and speaking fluently the language of the pillager and occupier.

That is, as pure and simple collaborators with what are illegal, and brutal wars of occupation and pillage.

Is it any wonder then that it is ‘too dangerous’ to cover it from outside the embed?

I will add that real reporters have covered the war in Iraq from outside the ‘voice over’ of the US military. Urban Hamid and Dahr Jamal come to mind, and also the group of young photographers who took considerable risks to produce independent stories from the country and the war and horror that was bestowed on her by our leaders.

I will also add that there are those who did embed, and came back with stories and images that spoke beyond what they were intended to do. Chris Hondros comes to mind, Zoriah and also Ashley Gilbertson to name a few. But these are exceptions that reveal ways that individuals have attempted to get something more out of a bad situation. They are all unique characters, not easily usurped by others and their work beyond Iraq continues to confirm this. I am sure that there are others, but again, these are people working ‘against’ the strictures of the embed program and allowing themselves to think beyond what is being shown.

And perhaps in a great irony, I remember an Iraq photojournalist telling me that it was the ordinary soldiers that were most keen on helping him see the things the Army did not want us to see – they helped him and encouraged him to photograph the insanity of war perhaps in the hope that the images could stop their involvement in this madness!

It can be done, it has been done by more and it is the only and the right way to report these wars. But it takes commitment and a willingness to understand why we are ‘reporters’ and ‘photojournalists’ in the first place.

It can still be done.

The newspapers can still come together and finally refuse to participate in the embed program and possibly even pool their financial resources to allay costs. Imagine if tomorrow all reporters simply refused, announced that they were going to arrive independent of military cover and start to work to establish an independent presence inside Iraq and Afghanistan and make the investments to rebuild trust and credibility with them, and with us here in the USA.

We need to rebuild our commitment to journalism and in particular in the eyes and minds of the people who are dying for ‘our protection’ and our supposedly sacrosanct ‘way of life’!

Newspapers and news agencies around the world have in fact organized boycotts on a number of occasions.  A little research shows however that they mostly tend to be aimed at pop stars, and sporting organizers. There was a slightly annoying incident with the National Football League some years ago, another with the Indian IPL cricket leage and then another with the football World Cup, and another with the Australian Cricket Board. I believe that the band ColdPlay was also the target of a threat of an organized boycott.

If we can confront the power of Britney, why not then the US military?

UPDATES: Some pieces that I came across that highlight the situation in Afghanistan a little better include Escalation Scam by Norman Soloman and a review by Ann Jones of the HBO film Fixer called Everything That Happens in Afghanistan Is Based on Lies or Illusions. I also found the hilarious but vividly revealing blog site for freelance reporter P.J.Tobia who is reporting the daily realities of Kabul and other places he visits.

NOTE: I realize that this boycott, like any against a pop star or a sports league, is less about ethics and standards and more about money. Rights to images determines of who gets the financial benefits of the images. However, the same argument can also be made for why American newspapers so eagerly jumped into bed with the US military; there was just more money to be made. It is easier to give people what they want than to adhere to the ethical obligations of your profession. Journalism is not just a business but, much like health care, also a public good. It is why profiteering by medical insurance companies or health care companies, so repulses us. Remember the Hippocratic Oath? We believe in the sanctity of the profession and its ethics reflect the ethics of our society; we care for all and it is just. It is what defines a civilized and developed society. Journalism is similarly – a public good and has priorities and responsibilities that go beyond money making. It has to balance profits with professional responsibility to serve the public. So yes, of course, embedding was easy and profitable and every one was doing it and it was going to be a huge seller since the nation was drunk of mindless patriotism that demanded blood and soon. We wanted pictures of heroes and liberators, not questions about the immorality and illegality of the wars, the fake intelligence reports, the lies at the UN or about ‘yellow’ cake and so on and so forth. I know all this. I still remain naive, and stupid, and idealistic and believe that regardless of the market share value improvement, it was the wrong decision and one that continues to hurt the newspapers and us as a society and a now-struggling democracy.)

Fighting Ghosts And Selling The Good War Or Why Are The Toy Soldiers On The Front Lines!

Alex Webb Magnum Photos (

Alex Webb Magnum Photos: The Invasion of Haiti 1994

The silence is deafening. As American troops are dropped in on Afghanistan to fight their fantasy war, there is no sound from our defenders of truth and checkers of power i.e. the media, about the operation, its objectives, our continued presence in the country, our blood thirsty allies, our ‘pretend’ Afghani democracy, our support of drug lords and genocidiares, our consistent killing of innocents and our blind faith in our own righteousness and unquestioned right to trample on another people and bend them to ‘our ways.

The glory of war is being sold on the front pages of our newspapers, none of which have the courage to ask what they know is in fact a fake war, aimed at a poor and defenseless people, fueled by the ‘intelligence’ and advice of a group of venal, corrupt, blood thirsty and power hungry clique of Afghani warlords, drug barons and oil huckster!

Here is The Washington Post’s idea of war. How purposeful!

Here is The Sacramento Bee looking at this war. How glorious!

Here is The Denver Post blinding themselves. Oh, Our Lord Calls!

Did someone in a marketing department at the pentagon think to arrange all this to coincide with hysteria and myopia that typically captures the nation on every 4th of July? I have to think so. Could they have found a better moment to sell ‘the good soldier’, and the righteous nation, by launching what is increasingly looking like yet another ‘ghost’ operation meant more for ‘domestic’ consumption and sales rather than any serious attempt to go after any real enemy. That something called ‘The Taliban’ are a manufactured foe is something I have written about in an earlier piece called To The Last Man: Fighting The Wrong War in Afghanistan. At most a band of village elders and fanatics with AK-47s scrambling about the remotest and barren regions of the globe have been re-cast as an existential threat to the world’s most powerful military and imperial power, and we all have fallen for it like children for the tooth fairy. Our think tanks, media ‘intellectuals’ and pundits, newspaper columnists and our politicians have become the finest marketing arms of the brand called ‘Al Qaeda’ and ‘The Taliban’, a brand that is perpetually maintained in front of our eyes and sold complete with music, video, and live performances such as this latest operation in Afghanistan.

I am reminded of the ‘great’ American military fantasy in the little country of Haiti – and Alex Webb was there to cut past the lies that these ‘toy soldier’ photojournalists love to sell once their work is done. He was abused for his ‘irresponsible’ pictures. I on the other hand remember hearing a rare honest voice.

Soon these ‘war’ pictures will be sent to competition around the globe, and winners will give interviews about how they wanted to ‘shed light on the truth’ and other such gibberish that is used to obscure the fact they mostly want to glorify themselves. This band of clowns who confuse bravado with bravery  will then be awarded trinkets at annual photo competitions by behind-the-desk warriors in offices at major magazine headquarters in metropolises around the globe. No questions will be asked about the veracity of the work, the independence of the sources, the commitment of the individual.

Chris Hedges said it best in a piece called On War:

The vanquished know war. They see through the empty jingoism of those who use the abstract words of glory, honor, and patriotism to mask the cries of the wounded, the senseless killing, war profiteering, and chest-pounding grief. They know the lies the victors often do not acknowledge, the lies covered up in stately war memorials and mythic war narratives, filled with stories of courage and comradeship. They know the lies that permeate the thick, self-important memoirs by amoral statesmen who make wars but do not know war. The vanquished know the essence of war—death. They grasp that war is necrophilia. They see that war is a state of almost pure sin with its goals of hatred and destruction. They know how war fosters alienation, leads inevitably to nihilism, and is a turning away from the sanctity and preservation of life. All other narratives about war too easily fall prey to the allure and seductiveness of violence, as well as the attraction of the godlike power that comes with the license to kill with impunity.

Professor Marc Herold has been working to reveal the media’s role in selling us war. In a piece called War As An Edsel: The Marketing & Consumption Of Modern American Wars he points out that

By the first Gulf War, reporters were confined to pools and the Pentagon distributed video-game like footage to TV channels extolling the precision of U.S. weaponry. In September/October 2001, the Bush Administration hired the public relations firm, Rendon Group1, and also Ms. Charlotte Beers, former “queen of Madison Avenue” and chairperson of both advertising giants J. Walter Thompson and Ogilvy & Mather (she had successfully promoted Head & Shoulders shampoo and Uncle Ben’s Rice), to “explain” the new Bush wars to Muslims abroad (and the American consumer), creating the new post for her of the State Department’s Under Secretary of State for Public Diplomacy with a half billion dollar budget.2 According to Colin Powell, Beers was fluent with branding and she was:

“from the advertising business. I wanted one of the world’s greatest advertising experts, because what are we doing? We’re selling. We’re selling a product. That product we are selling is democracy.”

Democracy sold abroad, war sold at home. But while the battle for minds abroad led by Beers and Rendon fared badly in Muslim lands, the battle on the home front to persuade the American public led by MIMIC succeeded eminently. The Bush Administration worked hard to encourage and benefit from a compliant mainstream domestic corporate media – led by Rupert Murdoch’s Fox News, Time Warner’s CNN, the Clear Channel radio network, radio talk shows, and major dailies like the New York Times, the Los Angles Times, and the Washington Post and journals like Rupert Murdoch’s Weekly Standard – which served as giant megaphones of State Department and Pentagon positions on the Bush wars… Clear Channel, the largest owner of radio stations in the country, has scrapped even any pretense of objectivity with its sponsorship of pro-war rallies in major cities throughout the U.S. The mainstream media bosses recognized – led by CNN’s coverage of Iraq in 1991 – that media flag-waving, fabricated personal story heroics, action-movie like storytelling, techno reporting could boost TV ratings and profits.

And so here we go again – the blatant entanglement of our media barons with the purveyors of power are known and obvious and the war in Afghanistan is being ‘produced’ for us much as the previous wars. The tired cliches are being published by machine-tool journalists who cannot even bother to confront the obfuscating language they have become so used to using. Rory Stewart recently wrote about the use of language to curtail thought and achieve results in a piece called The Irresistible Illusion :

When we are not presented with a dystopian vision, we are encouraged to be implausibly optimistic. ‘There can be only one winner: democracy and a strong Afghan state,’ Gordon Brown predicted in his most recent speech on the subject. Obama and Brown rely on a hypnotising policy language which can – and perhaps will – be applied as easily to Somalia or Yemen as Afghanistan. It misleads us in several respects simultaneously: minimising differences between cultures, exaggerating our fears, aggrandising our ambitions, inflating a sense of moral obligations and power, and confusing our goals. All these attitudes are aspects of a single worldview and create an almost irresistible illusion.

It conjures nightmares of ‘failed states’ and ‘global extremism’, offers the remedies of ‘state-building’ and ‘counter-insurgency’, and promises a final dream of ‘legitimate, accountable governance’.,,It papers over the weakness of the international community: our lack of knowledge, power and legitimacy. It conceals the conflicts between our interests: between giving aid to Afghans and killing terrorists…It is a language that exploits tautologies and negations to suggest inexorable solutions. It makes our policy seem a moral obligation, makes failure unacceptable, and alternatives inconceivable. It does this so well that a more moderate, minimalist approach becomes almost impossible to articulate.

Our ‘brave’ photojournalists continue to cloister their minds and thump their chests as they rush into ‘combat’ protected of course by entire battalions of some of the best trained military men and women in the world. No need to think how they got there, or why they are there on the front lines.

The toy soldier lives.

The Afghani dies.

I still wonder how we got here and why the slide to this mediocrity has proven so easy!

Digital Image Management…Again

Some of you have been asking questions about which tools and what versions and such, so I thought it best to write another discussion about software and specifically about image manipulation tools.

First, there is no need to invest a lot of money in tools like Photoshop CS 3 or CS 4 if you have not already done so. Photoshop is expensive. This is a narrative photography workshop and our focus is on our stories, and the way in which we construct them and present them. This is not a photography tools and image enhancement workshop so we need to worry about whether we have the ‘best’ or the ‘latest’. We just need the workable. Details »

Broken Promise: Israel Known & Unknown

HAMID SAMONI  Father of Zakaria Hamid Samoni, 8 years of age, who was killed by a rocket fired from an Israeli helicopter operating in their neighborhood.

 

HAMID SAMONI Father of Zakaria Hamid Samoni, 8 years of age, who was killed by a rocket fired from an Israeli helicopter

The Summer 2009 issue of The Virginia Quarterly Review magazine dedicated to matters Middle East has been published just as Amnesty International releases its report on Israel’s 22 day assault that began on December 27th 2008 on the territory of Gaza.

The report (download a copy at this link) provides a broad human rights and war crimes background to the work that writer Elliott Woods and I recently completed in Gaza thanks to the generous support of the Virginia Quarterly Review and The Pulitzer Center On Crisis Reporting. Details »

What’s On My Computer Or Thoughts On Digital Image Management & Manipulation

I do not subscribe to the idea of more being better. I have a very limited interested in acquiring new software packages, or hardware devices. To that end I try to keep my digital image manipulation and management tools to a very basic set. Furthermore, I am a photojournalist and do not typically produce the high volume of images that sports, fashion and product photographers produce each day. Keeping this in mind, here is what I loaded on my white core 2 duo macbook. Details »

Getting Past The Obvious: Photojournalism & Lesser Explored Frontiers

Dayanita Singh is an Indian photographer. She used to be an internationally famous photojournalist until the day she realized that the India editors kept asking her to shoot was not what she herself was experiencing. There was a gap between the cliches being asked of her and the complexities, human and social, that she knew lay unexamined behind so many of the stories she was being asked to do. Whether the stories were about poverty, prostitution, child labor or any number of the conventional cliches we seem to love to produce from India, Dayanita Singh was unable to turn off her mind. She was amongst the first to produce a series of images of India’s emerging middle class. She had seen this phenomenon at a time when others would not take it seriously.

Dayanita Singh’s work is beautiful, brilliant and difficult. And one project that I have always loved is a story she did on a Muslim eunuch and her daughter title ”Myself Mona Ahmed’, a beautiful, human portrayal of a subject that has been drowned in cliches and populism – we love to gawk at these creatures and stories about ‘transvestites’, ‘eunuchs’, ‘lady boys’ etc. are on the rosters of many photojournalists. And yet Dayanita’s work is brilliantly different because it is so modest and so honest.

You can read an interview with Dayanita Singh about this story and how she produced it.

You can also find pictures from the work on the NB Pictures website. Just go to the main menu and select ‘*nb photographers’ and choose dayanita’s name.

I encourage you to see and understand this work. It will help you see one very important hallmark of an aftermath photographer; the humility and courage to respect the subject agency of action.

Too often the subject is reduced to a mere victim, the better to allow ourselves or our audience to ‘insert’ itself into the story as ‘saviours’ or ‘interventionists’. This has been the traditional approach for a lot of ‘NGO’ driven work, or even ‘news’ journalism that has been arguing for ‘intervention’. Where there is such a need this is essential. But quite often photojournalists and journalists will create this ‘need’ and erase and/or deny the actual lives and actions of the people they are working with.

‘Myself Mona Ahmed’ reveals a story of a strong, independent individual confronting her society, its prejudices, proud to be a mother, dreaming large dreams and never waiting for anyone.  Its an ordinary story about an ordinary person who happens to have a persona and character that is to many of us rather extraordinary.

Such respect for the possibilities, abilities, convictions, determinations, courage and agency of the others is what enables a photographer to find those more complex, multi-faceted stories that typically reflect an aftermath sensibility.

Asim

John Steinbeck’s 10 Minute Lesson In Photography

At the start of my photography workshops, I offer the students 2 options.

The first is a sheet of paper in an envelope that they are invited to take home at that very moment, with a full refund of their workshop fee, and trust that what I have written on the enclosed sheet of paper is the only photography lesson they will ever need.

The second of course is that they remain the entire lenght of the 7 days workshop, their fees in my pocket, and walk out of here with the foundations of knowledge and inspirations that can help them continue their path towards becoming real photographers.

No one has ever taken the envelop! Details »

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