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1 DO WE NEED WAR PHOTOGRAPHY If we need to understand the concept of war you must realize that death and destruction falls within that notion, but why do we need to produce images of people dying and suffering, do we have the right to photograph this? I believe that we the inhabitants of this world have the right to see images in direct response to the decisions government’s policies, whether or not we can make a difference. We of our generation must take responsibility to record and preserve images so that future generations can try and understand the conflict. But I feel our generation, with the ability via television or the internet to have images of conflict viewed directly into the comfort of homes, must understand that the power of war photography. 2 YES We must preserve history or mankind will forget the mistakes of the past. History can be documented using several types of media, verbal accounts, written and photography to name a few. Written accounts can take hours to fully document a historical event. Photography can preserving the save event in seconds and even after many years the photograph will still show the actual events whereas human memory can play tricks and over time this might erode all the finer detail. A picture is worth a thousand words. A good example of photographs preserving history is ‘The Auschwitz Album’. Why, because it is the only surviving photographic evidence of the procedure leading murder of Jew’s arriving by train to Auschwitz-Birkenau. This album is unique because it was produced by SS either by Ernst Hofmann or by Bernhard Walte, there appears to be no first hand written proof of the process of the selection of Hungarian Jews from Carpatho-Ruthenia in early 1944. Some of the ... ... middle of paper ... ...On checking his images he found two photographs (taken seconds apart) that have good elements in each. He decided to combine both to create an image of a British soldier telling Iraqi civilians to take cover while a tearful man carrying a child is walking towards the soldier. The image was only discovered to have been manipulated after Colin Crawford, the Times' director of photography has been advised of a replication in the image. Crawford spoke to Walski who confirmed that he had digitally reworking the image, Crawford fired Wlalski for his deception. Walski was later quote as saying "After a long and difficult day, I put my altered image ahead of the integrity of the newspaper and the integrity of my craft," he says. "These other photographers are there [in Iraq] risking their lives and I've just tarnished their reputation." (Johnston, May 2003)


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