أمي يا أمي ظلاتي وعادي مالي عادي أمي عبودي
أمي عادي أمي
أمي بشيء بعدي يجانبني بس أمي وعادي أمي عادي أمي
أمي جانك معادي أمي عادي أمي
أمي عاديYN
أمي عادي أمي أني وعادي أبو عمودي
أمي عادي أمي عادي أمي أني وعادي
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
أنه في أفضل حدث يدخل لكيهههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههههه
رن После الساعة
توزي
ني وجه في ميدقة
يدруж ما يسئلوني
لماذا يذهب في محروم غ why
لماذا يجب أن تفتح هذه الأشياء؟
لماذا يجب أن تذهب إلى المكان من such danger؟
My family asks me that.
My wife asks me that.
And I think it's when you're in places like Baghdad
or Somalia, or when I lived in Sarajevo
and you see what these people are going through
and you're outraged with the way that these people are suffering
and how they're being treated.
You want to tell the story.
You want to take an image that will make a difference.
I'm not even for a moment suggesting
that I can change the world
or photographs can change the world.
But I'd rather try.
Then sit back in complacency
and say just another world event.
And the other world event.
ولكن هناك مجدداً
مجدداً
لديك مجدداً
لديك مجدداً
مجدداً
مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
لديك مجدداً
الجانب
الجانب
نصب لنا
مافة
عشان
جزء
жدAm
أعتقد أن الأشياء الأشياء الأشياء في أي مكان
في أي مكان أن تكون في العالم يوجد إعتادة
لأنني أعجبت العالم كثيرا كما نفعل
ويوجد كثيرا أشياء الأشياء
ولكن هذا هو أشياء الجديد
ويوجد أشياء الأشياء بسبب أنك لا تعرف أين أشياء الأشياء
could be anywhere at any time
and it could be on a crowded street
it could be in a lonely back alley
it could come at your hotel room
as it did when this hotel was rocketed just a while ago
and it's really that unpredictable aspect
that makes it dangerous I think
but where things are happening
is generally where it's dangerous
إنه يبدو بشكل كبير
يجب أن تذهب بشكل كبير
يجب أن تذهب بشكل كبير
يجب أن تذهب بشكل كبير
يجب أن تذهب بشكل كبير
يجب أن تذهب بشكل كبير
إذا كنت تفعل بشكل كبير
سيحدث شيئاً
سيحدث شيئاً
سيحدث شيئاً
سيحدث شيئاً
سيحدث شيئاً
سيحدث شيئاً
أعتقد أنه لا يوجد سؤال
أنه لا يوجد سؤال
ظهراً
أنه ال�boat
سيحدث شيئاً
بشكل كبير
إذًا
علمين 걸ِ dorm
Therefore, it makes me realize I have to focus more
That is, what are the variables I am not thinking about
And you begin to kind of map it out
Gritted out out in a sense
That okay, what are the dangers
Snipers
Bombs in the street
And car bombs
All of those kind of scenarios
And you try to think over and over and over
And your mind
What am I going to do
What could I do better
What kind of sense of security that I have
وما يمكنه أن تحاول أن تقوم بإمكانه تحديث فيه
ويوجد مجرد منذ 10% المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
ويوجد مجرد من المدينة
هل أنت أخبرك أن الحقيقة؟
لن أخبرك الحقيقة.
أعطي أن الأشياء التي يحدث is usually when we're out patrolling.
لأنه أعطي أنهم لا تذهب after the tanks or the brandies.
They're harder targets, got you.
So they go after the softer target.
And the one who presents himself the most is us.
He's got them too.
And lately, the main problem we found is the IED's in the martin street.
It's a road that we call Canal Road.
This section in particular.
We've been shot at three times with RPGs.
If you hit the Humvee in the right spot,
it will penetrate you into the truck and blow up inside.
Obviously, the injured and the people inside.
Mostly the gunner, the legs, me and my driver.
They'll probably throw a strap in everywhere.
If we do some damage,
we'll necessarily stop the vehicle.
Yeah, because we'll probably stop the truck inside.
If you hit the Humvee in the right spot,
it will penetrate you into the truck and blow up inside.
Yeah, because we'll probably stop the truck inside.
So, the commander had just finished telling me
the kinds of weapons that are used in this area.
And he's been shot at a lot in this area.
Not only by bullets, but RPGs.
And then he describes what an RPG can do to a Humvee,
and the vehicle that we're driving around in.
Now, why aren't you going to come out?
Go around it.
They're so impatient.
They've got to get around that turn. They've got to go.
And you'll move out of their way, you know.
And sure enough, just about a quarter of a mile down the road
an Iraqi fires an RPG at us.
Let's go.
Turn around. Turn around. Turn around.
Turn around.
Mecca, Mecca, Mecca.
Who's that?
Down here, down here.
Right here, down this road.
Go that way.
Go, go.
Open fire. I think they're shooting at the buildings.
Where?
I see them. I see them.
There was.
Of course, there was.
Go down, go down, go down.
Which way?
Right.
Hey.
So what just came out of the store up here?
Go down, go down.
Where that guy's running?
What guy?
Two o'clock, a guy's running to the house.
He just got out of this car,
tagged him, he's running to the house.
He's right there by the white truck right now.
He's getting ready to duck in.
So we're chasing after these guys
that had just shot at us.
And my job is to get this on film.
So there's gunfire going off.
There's cars racing around.
There's helicopters overhead.
So you're kind of operating
on the adrenaline of the experience
that's unfolding in front of you.
But there's a part of you
that's got to step back.
Be unemotional.
Check your off-stop.
Do you have a right film?
What composition am I going to use?
How can I work in the dark?
And it is a really surreal experience
of being totally mechanical like a robot.
I will do this despite being shot at.
Go down my way.
Despite being in this dangerous situation.
And then the other part
is really opening yourself up
to the emotional experience
because that's what I'm trying to get on film.
Okay.
One, two,
three,
and four
five, six.
And five.
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
مرحباً
أدا يفعله
ماذا is your name?
hey stay with this cat
رادي you got it
all right talk to me
لدينا لدينا شيء
نحن ندينه
نحن نزعه
نحن نضعه
نضعه
نحن نضعه
نحن نضعه
نحن نضعه
نحن نضعه
نحن نضعه
نحن نضعه
نحن نضعه
نحن نضعه
نحن نضعه
Almost until the dates
jury says so
Hey, where are the other picture
Here too, over here, against the gate
Have I hurt you?
No, stay in the search
Okay
Okay, rest assured
Okay
مولاي بحصول الهواء
مولاي بحصول الهواء
مولاي بحصول الهواء
مولاي بحصول الهواء
مولاي بحصول الهواء
لذا بعد تحديث like that you get back to the hotel
just late at night the adrenaline has sort of amped
you begin to wonder how close that could have been
you know there's the guy with the RPG on his shoulder
he shifts one inch in that direction
a couple of inches in the other direction
so two CNN employees a translator and a driver were shot and killed in an ambush on their vehicle
he clearly missed us but how close did we come
those are the things that begin to kind of gnaw away at you
you know you go risk your life for working for a newspaper
and that papers wrapping up fish by the end of the day
or in time magazine is this
are you willing to die for an image that is post each stamp size
are you willing to die to have it boxed in between jeopardy and you know survivor
and you become if you're not careful progressively disillusioned
you're really making a difference
well the role of photojournalism in a witness to war
I think it's probably more shaping of public opinion
than every word ever written about a war
now this one's got a lot more emotion to it
the reason being is that there's a personal connectivity
between the viewer of pictures and the subject in which they're seeing
with writing you go through a synthesis
you read a sentence, you think about it
you draw conclusions on that and then you move on
where with photography the immediacy of the image as it strikes you
is unremittant and unfiltered
and strikes equally at the heart and the mind at the same time
so what we have is a very powerful medium
Vietnam's a real easy case
all of the government
shall we say propaganda
that came out of that war
in an effort to sway opinion could not go against
the visual reality of that war
those are searing images that stay with us
for much longer than we can remember the year the war was fought
those are witnesses to the hell of war
the personal emotional hell of war
now Chris Rainier and I have worked together over the years
I first became aware of his photography as a picture editor
and art director in Philadelphia in choir
I was working on their Sunday magazine
what makes Chris Rainier's war photography special
is that he transcends the moment
the news of the day is usually good enough
for many of magazine and wire service photographers that cover war
but his photographs have a resonance that stays on
that has a lasting message
that we can read again and again
as the moment of war passes
and that is about the human condition within war
and he finds that human condition
and focuses on that
and lets that be the message
so that photograph could read in tomorrow's newspaper
but could also read in a gallery of photographs
three years later
and still have meaning for us
like scenes in the moment
and then there are scenes that try to explain the moment
and then there are scenes about the emotion from the moment
and I think all those bring together
establish place
establish the story
establish the crisis
the conflict
and the resolution are in this case
it doesn't have a very happy ending
how does Chris get those pictures?
that's something I don't think I could ever do
it's about being in the right place
at the right time
and it's not about an accident of the right place
in the right time
but it's understanding the meaning of everything
that you see as you look through the viewfinder
so what does a crumbling wall mean
or what does a dank dark room
and a broken window
and a gun sticking out mean
and then how is it arranged compositionally
to have power layered on that meaning
so when you see that picture
as a viewer of that picture
the fear and the energy
and the action and the emotion
are all within that picture
and all elements of that picture
are supporting that orchestrated message
you have to have the skills
to see the elements
and move almost at the speed of light
to get yourself to a place
where a picture can be made
that is more than just the record of the moment
so about halfway through my trip to Iraq
I spent time with the British
down in the southern part in Basra
and we went out on a patrol
we were going to set up a roadblock
and we went out in these huge
Chinook helicopter
and we went out on a patrol
we were going to set up a roadblock
and we got in these huge Chinook helicopters
about 12 paratroopers
and we were flying along
and we land literally on one of these
Iraqi superhighways
and we were touched down
right in the middle of the freeway
and all of a sudden
all of the 12 paratroopers
jump out and start pointing their guns
at the oncoming traffic
pull your fucking rifle at the middle fucking stop
and the story that I was really trying to tell
is what does these Iraqis feel
they're driving along this freeway
and they suddenly come around the corner
and there's a group of foreign soldiers
with their guns up
pointing at them
screaming at them
to get out of the car
and for me as a photographer
what I was really trying to do
was show that emotion
that terror that they must feel
of what are they going to do
are they going to shoot us
are they going to arrest the men
are they going to take my husband away
or my father
you can imagine what this experience is like
if we were driving along the freeway
in America
and all of a sudden this
double blade Chinook helicopter
lands right on our freeway
a bunch of soldiers jump out
with guns pointed at you
screaming for you to stop
can you imagine
the fear
I was trying to put that on film
and trying to really show
the emotional response
that the Iraqis were having
to this experience
here regardless of whether you're in Iraq
or you're in Somalia
or in places like I've been in the Sarajevo
or Rwanda
is that war is a terrible experience
and it impacts the people
and it's a horrific scenario
and it shows up on people's faces
you know Chris
he tells a remarkable story
of coming upon a group of teenagers
in Somalia
who obviously were
very savvy about the media
and began to put on a kind of a
macabre performance
for them
Chris had his camera
they had a gun
there was a young kid
they had taken from an opponent
they had a gun
they had a gun
they had a gun
there was a young kid
they had taken from an opposing faction
and for Chris's benefit
they blew his brains out
you know
where does anyone put stuff like that
I think in the same way
those of us who never experienced combat
can never begin to understand
what the essence of combat is
I think that
I certainly will never be able to understand
what Chris went through
in those kinds of moments
I think he puts it somewhere
very deep in himself
and
you know
these are the kinds of
those are the kind of anecdotes
that are so profound
that they don't
perhaps a lesser individual
would use them
as a part of their repertoire
around a cocktail party
in Paris or something
I don't know where he puts that
I was near the end of the trip
and very close to the hotel
that I was staying in
I stumbled across a group of
kids
young teenagers
that were clearly homeless
living in this old abandoned building
they were orphans
they had no parents
their parents had been lost
either in the Iran-Iraq war
the first war
they had no parents
they had no parents
in the Iran-Iraq war
the first Gulf War
even this most recent war
and their situation was pathetic
they were living in squalor
and a garbage dump
of a building
and they had been reduced
to begging and sniffing
we say that the Americans gave them
that drugs
the Americans teach them how to use it
find that hard to believe
yes of course
one of the hardest things
as a photographer
is to go into these scenarios
and take photographs
and realize
there are some people
you're not going to be able to help
and clearly these kids
we're going to die
either
starve to death
get shot
get killed by
the Iraqi police
and there was nothing
that I could do
there was no image I could take
it was ultimately negative
you know the bitter irony
is that far more civilians
have died
in wars throughout the 20th century
and now into the 21st century
than soldiers
and you see that
when you're out covering wars
it's the civilians that are impacted
which is not to say
that soldiers obviously
don't have a terrible terrible experience
but the innocent civilians
that are impacted far more
I spent a year in Sarajevo
and the snipers would sit up
in the hills above
and would deliberately
target civilians
I spent a year in Sarajevo
and the snipers would sit up
in the hills above
and would deliberately
target civilians
فقط أخذهم أحد by أحد
أقرأت في سنايبر أولي
والأشخاص من سارييفو
يجب أن يساعدون
يجب أن يساعدون
سيارب سنايبر
أو يجب أن يجدون
ويجب أن أرى
هذه one old woman
مثابتاً
يجب أن يساعدون
في سنايبر
لأنهم يتضمنوا
ويجب أن ترى
بحرارة وزماء
كما كانوا بطلق
يجب أن يساعدون
امتدوا
يجب أن يساعدون
بحرارة
ويجب أن يساعدون
يجب أن يساعدون
يجب أن يساعدون
يجب أن يساعدون
ويجب أن يساعدون
يجب أن يساعدون
يجب أن يساعدون
ونحن نحن في مجموعة مجموعة
ونحن فلدت
ونحن كانت مجموعة
ونحن كانت مجموعة
أعتقد أنك لم تأتي إلى الأمر
مع بعض الأحيان
التي توجدها في مجموعة
ويمكنك أن تضعها في مكان
where it becomes all very rational
and you say okay I'm
a war photographer
I'm covering this
there needs to be these kind of photographs taken
but many times
there are the experiences where
you're not quite sure to
what to do with them
how do you live with them
how do you go to sleep that night
and I don't have an answer for that
مجموعة
سأح Kirsty
هناك يوجد
يأتي شيئا ke
هناكっちゃ في كل ال� étant
ترى الكاربوم, الموئات
سئنات اوory
وغوم والحرب
اضية
وبى أنه يعد لقيم
حذر انه خذ الخير
أجزائر
الت freezer
١٢ perdre
صار
الطارست
١٩١
بما نجحة
سؤال
إيجاب إ guru
الأشكال
من خلال مجدداً
هو أن يجب أن يكون هناك مجدداً
أن يجب أن يكون هناك مجدداً
أن يجب أن يكون هناك مجدداً
ويجب أن يكون هناك مجدداً
ويجب أن يكون هناك مجدداً
لدينا أشعار روميكية
عن ما يبدو
بما يجب أن يكون هناك مجدداً
ويجب أن يجب أن يبقى
الحياة المتحدة في هذه الأحيان
ويجب أن يكون هناك أشعار روميكية
ويجب أن يكون هناك أشعار روميكية
ويجب أن يكون هناك أشعار روميكية
ويجب أن يكون هناك أشعار روميكية
ويجب أن يكون هناك أشعار روميكية
ويجب أن يكون هناك أشعار روميكية
إن you look at the Vietnam War you can think of 2 or 3 powerful images
The girl running down the street naked, after being napalmed
The South Vietnamese General shooting, the Viet Cong prisoner
The monk setting himself on fire
Those were iconic images that clearly affect their memories
لقد فتحت بطريقة العالمية
أعتقد أن في العام 21
هناك still an image to be taken
يمكنك أن تغيير طريقة العالمية
إذا لم أصدق ذلك
لم أصدق حياتي
يجب أن أصدق ذلك
لقد فتحت بطريقة العالمية
لقد فتحت بطريقة العالمية
لقد فتحت بطريقة العالمية
لقد فتحت بطريقة العالمية
لقد فتحت بطريقة العالمية
لقد فتحت بطريقة العالمية
