Tag Archive: us military
This is in part a guest post by photographer Daniel Etter
From the very beginning of the wars in Iraq and Afghanistan there has been debate about the nature of US media coverage of the conflicts and the embedding system. One of my favorite sources for this media criticism has come from Michael Shaw at BagNewsNotes. He recently published a post about three news organizations publishing three stories about US Medevac units at the same time, which has set off a series of discussions and posts around the photo world. Medevac is short for Medical Evacuation, typically a helicopter rescue in the context of modern war zones. For a good round-up and links to all of the work in question, see this PDN Pulse post which includes a response from one of the photographers involved.
I think it is worth noting as well, before we get started, the photographic echoes we are dealing with when we look at medevac stories and why they are so visually/culturally interesting. This story’s inherent appeal is echoed in Etter’s response. We can start with Larry Burrow’s foundational Life Magazine essay One Ride with Yankee Papa 13 and David Turnley’s memorable photograph from the 1991 Gulf War of a soldier crying over the death of his friend in a medevac chopper. As well, James Nachtwey recorded a video interview with Time Magazine about his assignment in question: “Photographing the Birds of Hope: An Army Medevac Unit in Afghanistan”.
I was especially interested in this discussion because an old colleague of Scott and mine, Daniel Etter, recently completed an embed himself with a US Medevac unit and worked on his story Medevac, which we are also featuring in this post. I thought to ask him what his view was on the current hubbub, given his own personal knowledge of the process and decision making, and to learn more about his own project. He wrote back with some thoughtful ideas and insights and we have chosen to publish the entire piece. I consider this a guest post for Dvafoto by Daniel Etter, and turn it over to him with thanks:
So there were three major US publications that nearly simultaneously published prominent stories on US Army medevac units. My take on it? Partly coincidence and partly photographers’ herd instinct.
I approached the military specifically asking to be embedded with a medevac unit. There was absolutely no influence from the side of the military. It might have taken longer if I’d applied for a foot patrol, but I doubt that. I was embedded in Regional Command South and during my time there, there were at least four photographers with troops on the ground, while there were only two photographers embedded with medevac units, me being one of them. One additional photographer split his time between ground troops and a medevac unit. The people who didn’t ask for a specific unit ended up with ground troops.
I was surprised to see all these photographers doing the same story and, even more so, to see the same story being published in the NYT and Time Magazine within such a short time frame. The former is pretty easy to explain. You could be with the infantry on foot patrols for weeks and absolutely nothing happens, and, given the cynicism of our profession, you don’t want that. (Back in Kandahar, another photographer asked if I had seen any amputees during my embed. I said, yes. To which he somewhat jealously replied: “Strong images, man, strong images.”) Being embedded with a medevac unit means, you can be sure to get dramatic photos. About every third mission I accompanied was to a so-called “POI”, the point of injury somewhere in the dusty plains around Kandahar. In one case it was a hot POI, meaning that fighting was still going on. Wounded being rushed into helicopters, guns pointed at invisible enemies and dust blown up by the whirling chopper blades. Very visual.
In 2008/2009 various high profile photographers went to the Korengal valley embedded with US combat troops. Among them were Tyler Hicks, David Guttenfelder, Tim Hetherington and Adam Ferguson. Gary Knight (on Rethink-Dispatches) and David Campbell (on his blog) wrote about this strange clustering, asking if this was due to the military’s strategy to narrow the public’s focus on this tiny part of Afghanistan and keep it away from other parts. [Editor's Note: This is a terrific observation and both Campbell's and Knight's articles offer great insights that are applicable to this current discussion]. Now almost the same question is being asked again just the other way around. Is the military trying to get the focus away from combat? In both cases, I doubt that the answer is a simply “yes”.
When deciding where to embed, photographers, especially those without much experience in the war theater, ask other photographers or look at work that has been done before. The most important question often is: Where do I get good photos? Which basically means: Where is the fighting? In 2008/2009 the answer was Korengal. Last year it was medevac, and I expect we will see more of it this year. This clustering doesn’t only happen with war photography, but with pretty much every subject. For example, most of the photographers based in India have done stories on Kushti, the traditional Indian wrestling.
The other thing is that medevac embeds are comparatively safe. Well, at least you feel safer. You are only on the ground for a minute or two and you spend the majority of your time on the base. On a foot patrol there’s always the danger of getting shot at out of the blue or, even worse, stepping on an IED. While with a medevac unit chances that you get under fire are much higher than with the infantry, at least you don’t have to carry that fear around all day long. Perceived safety and dramatic images at the same time make up for a pretty strong argument for a medevac embed. At least, when you look at it from a purely pragmatical viewpoint.
The latter, why there where three major publications who did the same story within such a short time span, I can’t explain. But I don’t believe that it was due to influence from the side of the military. Perception has a lot to do with the current ruckus, I think. If Nachtwey hadn’t done this story, nobody would have raised the topic. And also, there were other, less heroic pieces that got published around the same time. About a month earlier, the NYT did a story on night raids that were heavily criticized by the Afghan government.
That being said, I still think that this clustering of the same story being repeated is definitely a symptom of some problems of the photographical coverage of the war in Afghanistan. I just don’t think the gravest problems lie within the embed system. Sure, being embedded means that you are part of the military’s public relations strategy, and there are definitely stories withheld from the public (special ops, for example). But it’s not that you don’t see the downside of the military’s actions. Adam Ferguson had a big multimedia piece in Time on an infantry unit that accidentally killed a 14-year-old girl (there is also a a text version of the story).
The graver problem, I think, are the difficulties of getting out of the embed system. What’s missing are not stories about American troops fighting, but stories about the other side. It is not only very dangerous to report unembedded in Afghanistan, but also very expensive. An embed is free. So a lot of independent photographers end up doing the same stories with the military and their public relations strategy.
Another problem that comes up here sounds very simple: Photography relies on images. The more dramatic, the better to sell. Photographers aren’t magically drawn to stories like Korengal or medevac. You can make powerful and journalistically important images in these places, but on the other hand you are very limited with a camera. There are stories that simply cannot be told in images. And sometimes, even if the story is an entirely different one, the images remain the same. Can you tell the difference between an insurgent and a simply Afghan farmer on a photo?
My decision to embed with a medevac unit was mostly pragmatic. It was my first embed, and, to be honest, I was freaking scared to go. I didn’t set out with the idea to do the best or most unique story possible. And I don’t believe in the naive notion that one single photographer in the context of this war can change anything for the better. However, I do believe in the necessity of communicating these stories and events to a wider audience in order to keep public debate alive. But I just wanted to start with something that might not be the most important topic but seemed relatively safe. I’ve seen Nachtwey’s piece on the broader subject of military medicine in National Geographic, which also covers the work of US flight medics. It seemed like a good option. Simple as that. No conspiracies involved.
[Ed: Thanks again Daniel for your insights in to this story and your honest and open assesments of the situation. And to Michael Shaw for setting this discussion and our thinking off ]
“5th April 2010 10:44 EST WikiLeaks has released a classified US military video depicting the indiscriminate slaying of over a dozen people in the Iraqi suburb of New Baghdad — including two Reuters news staff.
Reuters has been trying to obtain the video through the Freedom of Information Act, without success since the time of the attack. The video, shot from an Apache helicopter gun-site, clearly shows the unprovoked slaying of a wounded Reuters employee and his rescuers. Two young children involved in the rescue were also seriously wounded.” -Collateral Murder by Wikileaks
The New York Times reports, “An online whistleblowing group [WikiLeaks] has circulated online classified U.S. military video showing a 2007 attack by Apache helicopters that killed a dozen people in Baghdad, including two Reuters news staff.” Wikileaks says the classified video and supporting documents were provided by US military whistleblowers. The video is available on youtube, and WikiLeaks has posted many screengrabs.
While you’re at it, here’s an interesting read on various governments’ efforts to stop WikiLeaks.
From The New York Times: “Gates Blocks Photographs of Prisoners”
Federal courts had rejected the government’s arguments to block their release, so Congress gave Mr. Gates new powers to keep them private under a law signed last month by President Obama.
The promised/reneged release of new prisoner abuse photographs by the US Military has been an ongoing story but this, I believe, is the first use of this specific new power given to the Secretary of Defense by the Congress. He is now the final arbiter to decide what is released and what is not. End of discussion?
BLDGBLOG has posted a great interview with Richard Mosse about his new project “Breach” in which he photographed Saddam Hussein’s palaces in Iraq and some of their current use by the US Military. (They also interviewed him a year ago for his series on Air Disaster Simulations)
The most interesting thing about the whole endeavor for me was the very fact that the U.S. had chosen to occupy Saddam’s palaces in the first place. If you’re trying to convince a population that you have liberated them from a terrible dictator, why would you then sit in his throne? A savvier place to station the garrison would have been a place free from associations with Saddam, and the terror and injustices that the occupying forces were convinced they’d done away with. Instead, they made the mistake of repeating history.
BLDGBLOG: What was the basic story behind your visit to Iraq? Was it self-funded or sponsored by a gallery?
Richard Mosse: The trip was backed by a Leonore Annenberg Fellowship in the Performing and Visual Arts, which I received after graduating from Yale last summer with an MFA in photography. The Fellowship provides enough to fund two full years of traveling to make new photographs, and I applied to shoot in a range of places, including Iraq. My proposal was to make work around the idea of the accidental monument. I’m interested in the idea that history is something in a constant state of being written and rewritten—and the way that we write history is often plain to see in how we affect the world around us, in the inscriptions we make on our landscape, and in what stays and what goes.