We Must Look At It. We're Required To Look At It. We're Required To Do What We Can About It. If We Don't, Who Will? - SearchQuotes

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We must look at it. We're required to look at it. We're required to do what we can about it. If we don't, who will?

James Nachtwey

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In a way, if and individual assumes the risk of placing himself in the middle of a war to communicate to the rest of the world what's happening, he's trying to negotiate for peace. Perhaps that's the reason for those in charge of perpetuating the war do not like to have photographers around.

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Why photograph war? Is it possible to put an end to a form of human behavior, which has existed throughout history, by the means of photography.

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It's more difficult to get publications to focus on issues that are more critical, that do not provide people with as escape from reality but attempt to get them deeper into reality. To be concerned about something much greater than themselves. And I think people are concerned. I think quite often, publishers don't give their audience enough credit for that. In fact, at the end of the day, I believe people do want to know when there's some major tragedy going on; when there's some unacceptable situation happening in this world. And they want something done about it. That's what I believe. We must look at it. We're required to look at it. We're requited to do what we can about it. If we don't, who will?

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The main purpose of my work is to appear in the mass media. It's not so much that I want my pictures to be looked upon as art objects as it is a form of communication. Whatever I did that accomplished something, I'm glad for it. But there's always so much more to do. I've never felt complete; I've never felt satisfied. I wouldn't say I could use the word 'happy' about it because its always involved other people's tragedies and other people's misfortunes. At best, there's a kind of grim satisfaction that perhaps I brought some attention, and focused people's attention on these problems. Perhaps it brought some relief. But its shifting sand that keeps moving.

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And I realized that many of the people I was photographing might have been the very ones who had committed the massacres that I had witnessed just a few weeks before. And it was like taking the express elevator to hell.

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Every situation is different than the next. A lot of it was instinct, a lot of it is knowledge and absorbing information and coming to some sort of innate understanding of events.

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While I was doing this reportage, I discovered a man who had one arm and one leg. He'd been run over by a train seven years ago on a drunken night and somehow managed to survive. He was living with his wife and four children in the gravel between railway tracks. I could see that he was very loving towards his children; that they also loved him in return. That he was trying his best to keep his family together. And spent quite a bit of time documenting the life of this family.

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I began to do documentary photographs of poverty which is very widespread in Indonesia. There's terrible poverty. These are people who have jobs, raise families, it's very much a worker's neighbourhood. And this is what they have found themselves in; the longer railway tracks. These are not drug addicts or drop-outs; they work. They're trying to raise their families. They came in from the countryside looking for a better life, and they simply can't afford normal housing. So they build shacks of abandoned wood and plastic where there's no rent.

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For me, the strength of photography lies in its ability to evoke humanity. If war is an attempt to negate humanity, then photography can be perceived as the opposite of war.

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