NEW YORK: A woman has just discovered the bodies of her husband and brother in her garden in Bucha, a city in Ukraine’s Kyiv Oblast.
The bodies are powdered with frost. The woman lays one hand on her brother, while the fingers of her other hand touch her mouth.
There are two more human hands almost perfectly arranged in the frame, of someone whose face cannot be seen – one resting on the head of a dog, the other playing nervously with her blonde hair.
It presents an unexpectedly peaceful moment, arranged with the near-perfect balance of a classical painting. Except it’s not – it’s a photo from the aftermath of the massacre of civilians in Bucha, a suburb of Kyiv taken by the renowned photojournalist James Nachtwey.
The chilling photograph captured this moment of anguish and despair, immortalizing the bodies covered in frost. In the frame, the woman gently rests her hand on her brother, while the fingers of her other hand touch her mouth, embodying the unfathomable grief she must be experiencing.
However, the photograph reveals more than just the devastating loss. In a haunting composition, two additional human hands are meticulously placed – one tenderly resting on the head of a dog, the other anxiously playing with the woman’s blonde hair. This unexpected arrangement lends an eerie sense of peace, reminiscent of a classical painting, yet in stark contrast to the grim reality of the Bucha massacre.
Renowned photojournalist James Nachtwey, known for his powerful and emotive photography, masterfully captured this tragic scene as part of his retrospective exhibition, Memoria. His work delves into the depths of human suffering and the haunting aftermath of conflict. The photograph, depicting the juxtaposition of sorrow and serenity, compels viewers to confront the harsh realities of war and the indomitable spirit of resilience.
When I photograph, I focus on hands and eyes. And the detail of the dog. You actually seem to see sympathy in the face of the dog, Nachtwey reflects, emphasizing the profound emotions and narratives that lie within the subtle details of his work.
James Nachtwey, a revered photojournalist, has curated a collection of 126 photographs chronicling some of the gravest conflicts and disasters of our time – spanning from the Central American conflicts in the 1980s to the ongoing war in Ukraine. This anthology encapsulates the indomitable spirit of humanity amid the darkest moments in history.
A man of few words, Nachtwey’s photographs communicate volumes. In a rare interview held in Bangkok, he shed light on his approach to photojournalism and shared reflections on the evolving landscape of the profession in this digital age.
At 75 years old, Nachtwey stands on the cusp of the Vietnam War generation of photojournalists, a period when the profession wielded immense influence. The iconic images captured during the Vietnam War by photojournalists like Philip Jones-Griffiths, Don McCullin, and Tim Page played a pivotal role in shaping public opinion and eventually contributed to the withdrawal of US forces from the conflict.
Though Nachtwey missed the Vietnam era, he is hailed as one of the greatest of the subsequent generation. A five-time recipient of the Robert Capa Gold Medal for courageous overseas photographic reporting, his work is recognized for its raw immediacy and impeccable composition, offering a striking glimpse into the human condition even amid the harshest circumstances.
In today’s fast-paced, digital-centric information landscape dominated by videos and instant dissemination, still photographs continue to possess a unique power. They freeze a moment in time, distilling the essence of a news story and inviting deep reflection. Nachtwey’s images, with their ability to encapsulate split-second moments, stand as a testament to this enduring power.
In April 2022, amidst the aftermath of Russian forces withdrawing from the outskirts of Kyiv, a compelling photograph captured a woman emerging from a smashed apartment block, clutching blankets salvaged from her home. The scene presented a juxtaposition of mundane domesticity against the backdrop of pulverized rubble. Curious about the technique behind such a well-composed shot, the photographer was queried on whether the approach involved taking hundreds of pictures and hoping for that perfect shot – a technique colloquially known as “spray and pray.” In the digital age, where cameras can snap dozens of shots per second, this strategy seems plausible.
However, the photographer clarified that chance and prayer were not pivotal in this artistic endeavor. Instead, the process relied on years of training, applying learned skills, persistence, and an immersive engagement with the situation. The photographer emphasized the importance of immersion, instinct, and intuition in finding a moment where a powerful image might manifest.
The resulting collection, named “Memoria,” predominantly features black-and-white imagery. This choice is not always a preference, as the photographer revealed. Early in their career, they adhered to editorial requests for color photography. Yet, they maintained a careful balance, ensuring color did not overpower the essence of the image and became the focal point. Color, being a potent phenomenon, could easily dominate and shift the focus away from the intended subject.
In certain instances, however, color played a pivotal role, accentuating the narrative. An early photograph depicting the El Salvador civil war exemplifies this. It captures a military helicopter evacuating an injured soldier against a backdrop of an orange dust cloud. The distinctive element that elevates the image’s poignancy is the trio of young girls crouching behind a tree in the foreground. Their dresses, adorned in white, pink, and pastel blue, pop vividly amidst the dust, imbuing the photograph with a hauntingly beautiful quality.
In an age dominated by the medium of film, Mr. James Nachtwey has cultivated a remarkable career. However, as technology has evolved, so too has the landscape of photography. Mr. Nachtwey shares his perspective on this evolution, highlighting the distinct shift from traditional film to the digital realm. According to him, digital photography, while undeniably advanced, poses a new set of challenges, describing it as “more time consuming” than its film-based predecessor.
“In the days of film,” he reminisces, “I’d shoot my rolls of film, and that was it. I would write my captions, label the rolls, and then I would have an evening to network and talk with people, get information to figure out what I was going to do the next day. Now I have to download all the memory cards, back everything up, do an initial edit.” The digital workflow demands meticulous attention to detail and a structured approach that can be considerably more time-intensive compared to the streamlined process of film photography.
As we delve into Mr. Nachtwey’s powerful and poignant photographs captured during a tumultuous period in Afghanistan, we are transported back to the year 1996. The images portray a stark reality, frozen in time, documenting the devastation of Kabul during the intense battles between competing warlords.
In one photograph, a woman veiled in a light-coloured burqa appears to float like a ghost amidst the black ruins, embodying an ethereal presence in a desolate landscape. Another image captures a grieving woman on her knees, tenderly reaching out with a ringed hand to touch the rough-hewn gravestone of her brother, a victim of a Taliban rocket. The sombre scene unfolds amidst dozens of hastily-dug graves, each a testament to the horrors of war.
Mr. Nachtwey recalls the grim context of these photographs, stating, “This is the final stage of the Afghan Civil War, when Kabul was surrounded and besieged by the Taliban.” The city faced relentless shelling and rocketing on a daily basis, while NGOs withdrew, leaving only the ICRC to operate. Foreign journalists retreated, disinterested in the unfolding tragedy. However, Mr. Nachtwey felt a deep connection to the story and chose to document it, despite the challenges that lay ahead.
He positioned this section adjacent to his poignant captures of the 9/11 attacks in New York, intending to draw a meaningful connection.
In our vastly interconnected world, the fall of Kabul marked one of the concluding battles of the 20th Century, setting the stage for the conflicts that define the 21st Century. It’s a reality we can’t escape—events unfolding on one side of the globe undeniably reverberate across borders and impact us all.
When confronted with a viewpoint espoused by his esteemed peer, Don McCullin—whose career predates Nachtwey’s by a dozen years—that modern digital photography’s malleability has eroded trust, Mr. Nachtwey respectfully disagrees. “I don’t agree with that assessment,” he emphasizes. The credibility of the person who’s creating and sharing the image is paramount. He acknowledges that while some individuals may manipulate digital imagery deceptively, the same potential for manipulation exists with traditional film in a darkroom.
Yet, we find ourselves in an age permeated by scepticism, where many question the impartiality of established media—the very platform that propelled Nachtwey into the limelight. Does this scepticism weigh on him? It’s a question worth considering.
In the realm of journalism, the notion of objectivity and transparency is paramount. It’s crucial to acknowledge and address any potential agendas and biases that might influence the portrayal of events. In a world saturated with digital imagery, it’s a pertinent question to consider if the heroic age of the photojournalist, as we knew it, is undergoing a transformation—particularly with the rise of citizen journalists armed with smartphones, often capturing the initial and compelling images of significant events.
Reflecting on the past, the zenith of photojournalism could be traced back to the pre-digital era, epitomized by the vibrant Sunday colour supplements of newspapers and influential image-centric magazines such as Time. These publications provided a platform where millions could witness powerful photos from global hotspots, often forming their only visual connection to those events.
However, amidst the changing landscape of journalism, some speculate if the traditional photojournalist is facing an inevitable decline. The rapid dissemination of digital images has democratized the process, enabling citizens to document events and share them instantly. The first glimpses of unfolding incidents are frequently captured by these citizen journalists, adding a layer of immediacy and rawness to the coverage.
James Nachtwey, a veteran photojournalist, remains optimistic despite these shifts. He acknowledges the value of citizen journalism and the role smartphones play in providing coverage where professional journalists might not be present. The coexistence of trained journalists and citizen reporters is crucial; their unique strengths complement each other. Trained journalists bring a wealth of experience, insight, and talent, ensuring not just the delivery of a message but the quality and impact of that message on the audience.
At the heart of this ongoing evolution lies the understanding that the essence of photojournalism extends beyond mere documentation. It is about capturing the truth through a lens, fueled by empathy, experience, and a dedication to revealing humanity’s stories. The evolving landscape encourages the fusion of traditional photojournalism with the advancements of the digital age, allowing for a broader spectrum of voices and perspectives to be heard.
As we navigate this transition, it is evident that photojournalists like Nachtwey continue to illuminate the darkest aspects of humanity, shedding light on stories that demand our attention and empathy. The photograph of a young Vietnamese woman, a poignant reminder of the tragic effects of Agent Orange, stands as a testament to the enduring power of visual storytelling, reminding us that the duty of a photojournalist extends beyond eras and technologies—to bear witness to the world’s truths and tell its stories, regardless of the medium or the moment.
The mother gracefully extends her slender arms in a balletic stance, embracing exercise. Nearby rests her sister, facing a similar plight, amid the humble abode’s rough textures. The young woman’s neck captivates with a dazzling filigree lace, drawing one’s gaze, as her serene visage, eyes gently closed, exudes a seraphic expression. It’s a poignant and exquisite tableau, momentarily obscuring the underlying suffering with its ethereal beauty.Top of Form
