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<H4>PORTRAITS OF WAR</H4>
<H1>Unseen Pictures, Untold Stories</H1>
<H2>U.S. newspapers and magazines print few photos of American dead and wounded,
a Times review finds. The reasons are many -- access, logistics, ethics -- but
the result is an obscured view of the cost o</H2>By James Rainey<BR>Times Staff
Writer<BR><BR>May 21, 2005<BR><BR>The young soldier died like so many others,
ambushed while on patrol in Baghdad. Medics rushed him to a field hospital, but
couldn't get his heart beating again.<BR><BR>What set Army Spc. Travis Babbitt's
last moments in Iraq apart was that he confronted them in front of a
journalist's camera.<BR><BR>An Associated Press photograph of the mortally
wounded Babbitt remains a rarity — one of a handful of pictures of dead or dying
American service members to be published in this country since the start of the
Iraq war more than two years ago.<BR><BR>A review of six prominent U.S.
newspapers and the nation's two most popular newsmagazines during a recent
six-month period found almost no pictures from the war zone of Americans killed
in action. During that time, 559 Americans and Western allies died. The same
publications ran 44 photos from Iraq to represent the thousands of Westerners
wounded during that same time.<BR><BR>Many photographers and editors believe
they are delivering Americans an incomplete portrait of the violence that has
killed 1,797 U.S. service members and their Western allies and wounded 12,516
Americans.<BR><BR>Journalists attribute the relatively bloodless portrayal of
the war to a variety of causes — some in their control, others in the hands of
the U.S. military, and the most important related to the far-flung nature of the
conflict and the way American news outlets perceive their role.<BR><BR>"We in
the news business are not doing a very good job of showing our readers what has
really happened over there," said Pim Van Hemmen, assistant managing editor for
photography at the Star-Ledger of Newark, N.J.<BR><BR>"Writing in a headline
that 1,500 Americans have died doesn't give you nearly the impact of showing one
serviceman who is dead," Van Hemmen said. "It's the power of
visuals."<BR><BR>Publishing such photos grabs readers' attention, but not always
in ways that news executives like. When the Star-Ledger and several other papers
ran the Babbitt photo in November, their editors were lashed by some readers —
who called them cruel, insensitive, even unpatriotic.<BR><BR>Deirdre Sargent,
whose husband was deployed to Iraq, e-mailed editors of the News Tribune of
Tacoma, Wash., that the photo left her "shaking and in tears for hours." She
added: "It was tacky, unprofessional and completely
unnecessary."<BR><BR>Babbitt's mother, Kathy Hernandez, expressed ambivalent
sentiments. "That is not an image you want to see like that," said Hernandez,
still shedding tears of fury and sadness six months after her son's death. "Your
kid is lying like that and there is no way you can get there to help
them."<BR><BR>Hernandez — who lives in Uvalde, Texas, about 80 miles west of San
Antonio — wishes the newspapers at least had waited until after her son's
funeral to run the photo. But she has no doubt why they wanted to print
it.<BR><BR>"I do think it's an important thing, for people to see what goes on
over there," Hernandez said in a phone interview. "It throws reality more in
your face. And sometimes we can't help reality."<BR><BR>In virtually every
conflict since the beginning of the 20th century, the debate has been renewed:
Do Americans need to see the most vivid pictures of the consequences of
war?<BR><BR>One camp has argued against publishing graphic images of U.S.
casualties, saying the pictures hurt morale, aid the enemy and intrude on the
most intimate moments of human suffering.<BR><BR>Journalists, in contrast,
generally have invoked their responsibility as witnesses — believing they must
provide an unsanitized portrait of combat.<BR><BR>"There can be horrible images,
but war is horrible and we need to understand that," said Chris Hondros, a
veteran war photographer whose pictures are distributed by the Getty Images
agency. "I think if we are going to start a war, we ought to be willing to show
the consequences of that war."<BR><BR>Among the most arresting images of the
last three years: the charred bodies of American contractors hanging from a
bridge in Fallouja, by Khalid Mohammed of the Associated Press; the stoic face
of an exhausted U.S. Marine, cigarette dangling from his lip, by Luis Sinco of
the Los Angeles Times; the wrenching series of pictures of naked Iraqi prisoners
being humiliated at the Abu Ghraib prison, taken by the prison guards; and
Hondros' tableau of blood-stained Iraqi children whose parents had been
mistakenly shot to death before their eyes.<BR><BR>So why have photographs of
the American dead and wounded been so few and far between?<BR><BR>A wide array
of photographers and editors agreed that the most significant reason was
logistical.<BR><BR>With a relative handful of photographers at any time covering
a nation the size of California, a probing camera is usually absent when a
guerrilla attack erupts. Scenes of roadside bombings typically show only a
burned-out armored vehicle.<BR><BR>On other occasions, photographers find
themselves thwarted by their military handlers. In one case last summer, troops
jumped in the way to block pictures of the dead and wounded being rushed to a
hospital in Najaf.<BR><BR>Photojournalists sometimes withhold the most striking
images from Iraq on their own.<BR><BR>When 22 people died just before Christmas
in the bombing of a mess hall near Mosul, a Virginia newspaper photographer was
closest to the action. Thrown to the ground amid dead and dying servicemen, he
sent many images that ran around the world. But he believed the photos of a
soldier who died by his side were too personal, and perhaps too gruesome, to
transmit home.<BR><BR>A complex machinery sifts out many other images before
they reach print. Photographers embedded with the U.S. military agree not to use
photos that show the dead or wounded if faces can be recognized. A rule
requiring notification of family members means that some photos are held for so
long that they lose their immediate news value. In other cases, stateside photo
editors rule pictures too graphic for publication.<BR><BR>None of those
decisions goes without scrutiny in a war that has been politically charged since
its inception. The Pentagon banned photographs of flag-draped coffins being
delivered to the U.S., arguing it was a necessity to protect the privacy of the
dead and their families. But war critics said the military imposed the ban
(lifted partially with the release of some of the military's own casket
photographs) to obscure the costs of combat.<BR><BR>Veteran photographer Paul
Fusco — a liberal whose pictures of soldiers' funerals appeared early this year
in Mother Jones magazine — said he was convinced that controls on war coverage
came "straight from the White House" and helped prop up support for an
unjustified war.<BR><BR>By contrast, a handful of conservative Internet
commentators hammered the Pulitzer Prize awarded to the Associated Press in
April. They said the wire service's 20 winning photos for breaking news
(including the one of the 24-year-old Babbitt) bucked up the insurgents and
failed to show U.S. troops looking heroic or helpful. The pictures, said a blog
called Riding Sun, "portray the American invasion and occupation of Iraq as an
unmitigated disaster."<BR><BR>To measure how American publications have depicted
the war in pictures, The Times reviewed six months of coverage from Iraq. The
period from Sept. 1 of last year until Feb. 28 of this year included the U.S.
assault on Fallouja and the escalating insurgent attacks before January's
election.<BR><BR>Despite the considerable bloodshed during that half-year,
readers of the Atlanta Journal-Constitution, Los Angeles Times, New York Times,
St. Louis Post-Dispatch and Washington Post did not see a single picture of a
dead serviceman. The Seattle Times ran a photo three days before Christmas of
the covered body of a soldier killed in the mess hall bombing. Neither Time nor
Newsweek, the weekly newsmagazines, showed any U.S. battlefield dead during that
time.<BR><BR>The New York Times and Los Angeles Times printed the most shots of
wounded in the war zone during that time — with 10 each, an average of one every
2 1/2 weeks. The other six publications ran a total of 24 pictures of American
wounded.<BR><BR>"I feel we still aren't seeing the kind of pictures we need to
see to tell the American people about this war and the costs of the war," said
Steve Stroud, deputy director of photography at the Los Angeles
Times.<BR><BR>Fred Nelson, a photo editor at the Seattle Times, said his
newspaper ran graphic photos when necessary to convey the gravity of losses on
either side.<BR><BR>"But our readers are incredibly intelligent," Nelson added.
"And I think they can figure it out without us sticking a photo of a bloody body
in their face every time it happens."<BR><BR>American television news also has
delivered a relatively blood-free portrait, according to academics who have
studied video imagery from the war. A George Washington University survey of
about 2,000 TV news segments found that the war had been "sanitized" and
rendered "free of bloodshed."<BR><BR>With relatively few pictures coming from
the battlefield, American publications have used photos from the home front in
an effort to get the story across.<BR><BR>The Los Angeles Times and the
newspapers in St. Louis and Atlanta, in particular, have focused on covering
memorial services for soldiers and stories about grieving families.<BR><BR>On
more than a dozen occasions, the Washington Post opened full pages inside the
newspaper to print "Faces of the Fallen," with hundreds of portraits of those
killed. The New York Times packed similar images into a single edition when the
U.S. death toll reached 1,000. Newsweek ran a large color spread on a tank
soldier weeping over the death of a crewmate. And Time magazine this spring ran
a six-page story with photos by perennial award-winner James Nachtwey, offering
an unflinching view of amputees at military hospitals.<BR><BR>American
publications typically have run substantially more photos of Iraqi blood
spilled, including the New York Times with 55 photos of Iraqis dead or wounded
over the six months surveyed, compared with its 10 photos of U.S.
casualties.<BR><BR>The Los Angeles Times ran 41 photos of Iraqi casualties and
10 of American wounded. The Washington Post ran 18 Iraqi casualty photos and six
of U.S. wounded.<BR><BR>"War kills men, women and children, and we would be
remiss if we couldn't in some way show that this is what happens in war," said
Michele McNally, New York Times director of photography. "It's our
responsibility to bear witness to these events."<BR><BR>Photographers and
editors said pictures of Iraqi losses had been much more prevalent in large part
because Iraqis had suffered many more casualties.<BR><BR>But there are other
reasons. American editors have less fear that grieving friends and relatives
half a world away will have see the traumatic photos. And Iraqi casualty photos
can be transmitted without the "hold" restrictions — for notification of family
members — that govern photos of American casualties.<BR><BR>When they do show
images of casualties on the American side, newspaper executives can count on a
backlash. Newark's Star-Ledger received about two dozen complaints when it ran
the picture of Babbitt on its front page.<BR><BR>Complaints to the News Tribune
of Tacoma about the "insensitivity" of the photo prompted Executive Editor Dave
Zeeck to write an explanatory essay on Page 2 of the main news section.<STRONG>
</STRONG>Zeeck told readers that he believed the picture, taken by John Moore of
the Associated Press, epitomized the sacrifice of the American
soldier.<BR><BR>"We not only have the right, but the responsibility to run such
photos," Zeeck said.<BR><BR>Nearly 20 photographers who have worked in Iraq said
in interviews that no factor limited pictures of the bloodshed more than the
difficulty in getting to the news.<BR><BR>News organizations have invested
millions of dollars in covering the war, but journalists form a thin, broken
line when stretched across the vast deserts and mountains of Iraq.<BR><BR>At any
given time in recent months, from three to 13 photographers have been on
assignment with the military, a U.S. Army official said. And those who remain
"in country" find their movements increasingly limited by the
violence.<BR><BR>"Compared to the pope's funeral or Martha Stewart or the
Michael Jackson trial, there is nobody here," said Jim MacMillan, part of the
Associated Press' Pulitzer Prize-winning team of photographers in Iraq.
Americans, he said, "are missing the war. The embedded perspective is going
vastly undercovered, with some exceptions, and that is the only place you can
cover the risk and the price being paid by Americans."<BR><BR>The conflict in
Iraq has produced uncommon displays of bravery and skill from dozens of
photographers; that's the consensus of correspondents who have been there and of
those who have covered earlier conflicts.<BR><BR>But like journalists through
history, today's war photographers endure long hours of boredom, punctuated by
"crazy adrenaline for perhaps 20 minutes at a time," said Thomas Dworzak of
Magnum Photos, another agency whose photos are distributed widely to the
media.<BR><BR>In one six-week period, Dworzak said, the unit he was embedded
with engaged in two firefights and suffered two bomb attacks, while violent
encounters went unrecorded minutes away.<BR><BR>Digital cameras and satellite
communications make it possible to ship pictures from a foxhole at the front. No
technological advance, however, can eliminate perhaps the photojournalist's most
difficult terrain — building camaraderie with soldiers while continuing to hold
them objectively as subjects.<BR><BR>Many soldiers and officers in Iraq said
they came to respect the cameramen and camerawomen who stood beside them through
firefights and mortar barrages. But those relationships can fray quickly when
things go wrong.<BR><BR>Tyler Hicks of the New York Times and Carolyn Cole of
the Los Angeles Times accompanied the Army in August during the dangerous
assault on the insurgent stronghold of Najaf. They weathered several
life-threatening episodes with the troops. But much of the respect they gained
disappeared when the two tried to take pictures of wounded and dead soldiers
being rushed to a field hospital.<BR><BR>Cole, a Pulitzer winner for photographs
she took of the war in Liberia, said later she understood the soldiers' high
emotions. But she resented the row of soldiers blocking her camera, who in her
view prevented her from doing her job.<BR><BR>"They were happy to have us along
when we could show them fighting the battle, show the courageous side of them,"
Cole said. "Then suddenly the tables turned. They didn't want anything shown of
their grief and what was happening on the negative side, which is equally
important."<BR><BR>Although they had not broken any written agreement, both
photographers said their Army handlers made it clear they were no longer
welcome. They transferred to a Marine unit. (The Army public affairs officer who
oversaw the two did not respond to repeated requests for
comment.)<BR><BR>Hondros, the Getty Images photographer, took pictures early
this year that provoked a particularly strong reaction. They showed children in
the terrifying moments after an Army patrol accidentally shot their parents to
death.<BR><BR>Published in Newsweek and several newspapers, the pictures sparked
discussion of the military's rules of engagement with civilian vehicles and
provoked an outpouring of aid for the "orphans of Tall Afar." They also resulted
in Hondros being banned from any further work with the unit, part of the 25th
Infantry Division.<BR><BR>Officers with the unit, which patrolled the town near
the Syrian border, said they thought they had an understanding with the
photographer that he would hold the pictures until they could investigate.
Hondros said he had made no such agreement.<BR><BR>"The military does hold over
your head the ultimate trump card that if you do something they don't like, they
can boot you out," said Joe Raedle, another war photographer for Getty Images.
"But for the most part, it doesn't keep you from doing your job."<BR><BR>Though
a few photographers relentlessly blare the 1st Amendment clarion, most said they
found themselves on the battlefield balancing a more nuanced set of values and
emotions.<BR><BR>Dean Hoffmeyer of the Richmond Times-Dispatch in Virginia found
out how confounding such calculations could become a few days before Christmas,
when a suicide bomber attacked the military mess tent where he was waiting in
line with dozens of soldiers.<BR><BR>Blasted to the ground, Hoffmeyer pulled
himself up and into the chaos of the deadliest attack of the war on any U.S.
base. A young man bleeding to death beside him would be one of 22 to die that
day.<BR><BR>Despite a broken lens, aperture wide open, Hoffmeyer fired off
several frames of the mortally wounded soldier.<BR><BR>He continued taking
pictures of the blast scene — images that ran prominently in nearly every
American paper in the days to come. But he never transmitted the pictures of the
dying GI.<BR><BR>Seeing them weeks later, his editor would describe them as
"horrible pictures, wonderfully made."<BR><BR>The married, churchgoing Hoffmeyer
has struggled with the decision ever since. He has gotten plenty of support from
other photographers and taken hits from a few others, who suggested he left his
best work in his camera.<BR><BR>Hoffmeyer thought the pictures of the soldier —
his hand pressed over a neck wound streaming with blood — might be too graphic
for publication. If the vivid shots had made the paper, they might have
infuriated the Virginia National Guard battalion he had covered, and threatened
his plan to catalog the unit's postwar lives. Finally, he thought how terrible
it would be if he ever had to see pictures of his own son, age 9, in such a
position.<BR><BR>"I don't know if what I did was right," the 41-year-old onetime
radio disc jockey said. "But it's what I felt was right."<BR><BR>Another
photographer on the front line made the opposite decision, but the result for
American newspaper readers was much the same.<BR><BR>Stefan Zaklin of European
Pressphoto Agency transmitted the picture of a fallen U.S. Army captain during
November's assault on Fallouja. It was apparently the only news picture to be
published of one of the dozens of service members who died in the
battle.<BR><BR>The photo ran in Thailand's Bangkok Post, in Paris Match and on
the front page of Germany's Bild-Zeitung, the highest-circulation newspaper in
Europe.<BR><BR>The Village Voice in New York became the first American newspaper
to print it this week, along with an essay in which Sydney H. Schanberg argued
that the war could not be covered while "omitting anything important out of
timidity or squeamishness."<BR><BR>MSNBC.com had briefly posted the shot in
November, but took it down after complaints from the officer's
family.<BR><BR>"At first we thought it was a really iconic photo of the terrible
violence going on in Iraq," said Dean Wright, editor in chief of MSNBC.com. But
when it appeared the soldier could be recognized, "we thought it was too
horrific, because it was more personalized then."<BR><BR>Many American editors
sound the same note as Jeff Schamberry, director of photography for Newsday, the
Long Island, N.Y., daily.<BR><BR>"Our policy in general is not to use a picture
with a body, a dead person — unless there is a very compelling reason,"
Schamberry said.<BR><BR>That's a marked contrast from the attitude at many
foreign publications, which tend to run more pictures of bloodshed, whether from
the accident across town or a war across the world.<BR><BR>Scenes of the war's
death and destruction appear routinely in Europe and Asia, according to several
journalism analysts. But that coverage has limits. Editors of several English
newspapers acknowledged, for instance, that they used pictures of British
casualties sparingly.<BR><BR>Nonetheless, foreign news outlets depict more
bloodshed, perhaps in part because their audiences have often had closer contact
with war and seem less willing to accept sanitized coverage, one U.S. academic
said.<BR><BR>"Americans have a view of war that comes out of World War II, that
war is a sort of sacred national cause," said Daniel C. Hallin, a communications
professor at UC San Diego, who has conducted extensive reviews of TV war
coverage. "We are all supposed to unite around war … because these great
sacrifices are being made for freedom."<BR><BR>Even aggressive American
photographers sometimes become resigned to the notion that the public might not
see their work.<BR><BR>"These pictures are going unseen because editors don't
print them," Hondros said. "And they don't print them because readers don't want
to see them."<BR><BR>But there is some evidence that the public holds a more
ambivalent view.<BR><BR>A survey on behalf of Associated Press managing editors
questioned 2,461 regular newspaper readers about a series of photos, including
the image of the mortally wounded Babbitt.<BR><BR>In the unscientific survey,
59% of the readers said they would have published the Babbitt
photo.<BR><BR>"This doesn't tell me we shouldn't be there," reader Rose Barnett
of Jacksonville, Fla., said of the photo. "This tells me that this was a brave
and kind man to lay his life down for the freedom of others. God rest his
soul."<BR></FONT></DIV></BODY></HTML>