Millions of photographs circulate around the world everyday through media, albums, and magazines. Many people like to see what is pleasant to their eyes- pretty decorations, colorful scenery, creative art, other attractive people, etc. Fashionable images are often commercialized and praised. What about historical pictures? I have previously assumed that war photographs should not be displayed because they are too haunting and disturbing. It was not until after reading the “Regarding the Pain of Others” essay by Susan Sontag did I begin to think more about admiring the beautiful side that exists within war photographs. After expanding on Sontag’s ideas, I came to a better understanding of how finding and appreciating the beauty of war photography influences viewers.
Susan Sontag believes that “Photographs tend to transform, whatever, their subject, and as an image something may be beautiful- or terrifying, or unbearable, or quite bearable- as it is not in real life” (Sontag 258). I strongly agree with this, because war photographs can still be considered beautiful and admirable even if the revealed scenes are atrocious in reality. The example given in the essay is about the World Trade Center- “The site itself, the mass graveyard that had received the name “Ground Zero,” was of course anything but beautiful” (Sontag 258). Although the area is a reminder of terrorism, the modern site is breathtaking. Sharp images have the power of triggering viewers’ mood, memories, and responses. There is a section in Sontag’s essay that describes Leonardo da Vinci’s encouragement towards artists to have the imagination and courage to show war in all its ghastliness (Sontag 257). Being more realistic will definitely provoke more emotions and encourage new perspectives.
http://todayspictures.slate.com/farewellbosnia/
Susan Sontag mentions that “Other issues are raised when we are invited to respond to a dossier of hitherto unknown pictures of horrors long past” (Sontag 263). Issues could range from racism to politics to ethics. A specific point from the essay is: “Beautifying is one classic operation of the camera, and it tends to bleach out a moral response to what is shown” (Sontag 260). In other words, beautiful war photos can influence viewers’ thoughts on what is right or wrong. My first war photograph by Gilles Peress is named “A Farewell to Bosnia” (“Today's Pictures: Unrest on Wall Street”). An elderly Jewish woman was being captivated, forced to leave her home. The first thing I noticed in this picture was her facial expressions, which saddened me. The frown and lost look in her eyes are heartbreaking, but viewers can strongly feel the fear, love, care, and concern through them. Whoever she is looking at clearly felt the same way, as the helpless hand outside the blocking window struggled to keep her presence. She must have felt devastated and helpless due to not being able to prevent the separation between her and the reaching hand. This photo captures a great moment of grief, since it is possible that the woman would leave forever after treasuring her last moment of seeing the other person. A sense of painful hopelessness and loneliness fills the atmosphere. However, the invisible (untouchable) strong connection between the two people is the most touching and beautiful representation in the photo. A normal response to this picture would be to believe that Nazis were cruel and heartless for capturing Jews during the Holocaust, especially if captives of all ages like the elderly woman were sent off to concentration camps. “The concentration camps- that is, the photographs taken when the camps were liberated in 1945- are most of what people associate with Nazism and the miseries of the Second World War (Sontag 263)”. This war photograph reminds viewers of the sufferings and injustice people endured during this historical period, especially racism. I feel extremely sorry for the captivated Jewish woman whenever I see the depressed look on her face crying out for help. The separation might have been only the beginning of a nightmare for her. She had no choice but to accept her miserable fate under the Nazis, prepared to face dangerous and torturous days ahead of her.
War photographer Sebastio Salgado is introduced in Sontag’s essay. He states that spectacular and beautiful photos are sometimes considered “cinematic”, or movie-like (Sontag 258). Keeping this in mind while looking at my first war photograph, I thought about the after-crashing ship scene in the famous movie “Titanic” of Jack and Rose. The two lovers were afraid of missing each other and not ready to say goodbye yet. They looked at each other with glistening eyes during their struggle to survive in the freezing ocean. Jack’s attempts to encourage Rose to “never let go” or give up her life could be hidden messages in the “Farewell to Bosnia” war photo. The indescribable feelings between the two lovers may be similar to the pain of leaving someone that the departing Jewish woman in the picture also experienced. The captured moments in the movie scene and picture are simultaneously depressing and beautiful. As Aristotle mentions, “Pity can entail a moral judgment if pity is considered to be the emotion that we owe only to those enduring undeserved misfortune” (Sontag 257). Viewers of both the war photo and Titanic film are expected to sympathize and believe that the Jewish woman, Jack, and Rose are good people/victims who do not deserve to die.
http://bombsite.com/issues/59/articles/2033
Susan Sontag emphasizes that beautiful art could deliver mixed signals. “Stop this, it urges. But it also exclaims “What a spectacle! (Sontag 258)”. This applies to my second photo by Gilles Peress, of a mountain filled with corpses at Goma (Bomb Magazine). It is a display of “beauty in ruins” (Sontag 257). At first glance, one may think it is a terrible scene and immediately despise the cruelty of wars, which cause too many deaths. The pile of dead bodies in the middle of the photo stands out most. Seeing the corpses located in the main part of the photo (center) immediately leads viewers into wondering how each of those people were murdered. At second thought, it is a unique picture, an artistic snapshot of history. “The landscape of devastation is still a landscape” (Sontag 257). It looks like a fictional painting, but is actually part of a realistic story. The dramatic picture brings a sign of relief, for the horror of war has finally ended for the deceased. This captured moment is proof that the tragedy is over for these sacrificed people, and they have won respect even if they lost their valuable lives. They can rest in peace together in a safe and better place, whether it is heaven with God or afterlife in a new world-reincarnation. Loved ones (family and friends) still alive during that time would be able to honor them and be assured that those who passed away will no longer be hurt. Recognizing how fragile life is hopefully reminds survivors to cherish their own lives before reaching death.
The second photo reminds me of war forts that tourists enjoy visiting. The forts were once places where many brutal fighting and killings happened, filled with gloom. Yet it is difficult for amazed visitors to stop exploring. Many tourists exclaim their astonishment. In fact, people have the instinct to take photos of the remarkable forts and remember the special structures/features associated with them. The coexisting feelings of admiration and sadness towards the forts and war photos further proves that beautiful photography can send out mixed messages.
Other people find it more interesting to look at the more realistic side of things even if it means ugliness or gore. Sontag mentions that “Uglyfying, showing something at its worst, is a more modern function: didactic, it invites an active response” (Sontag 260). Instead of neglecting these unpleasant images, people want to feel a stronger connection to the photographs- since bringing a painful reality closer was bound to “goad viewers to feel more” (Sontag 259). Both of these quotes support the idea that shocking photos draws viewers’ attention.
http://www.villagevoice.com/photoGallery/index/214963/0/
Sontag points out that “Among such archives of horror, the photographs of genocide have undergone the greatest institutional development” (Sontag 262). This means it is important to show these types of photos because people should not forget about the past. My third war photo titled “The Holocaust without Guilt” by Gilles Peress is a result of the Massacre of Tutis in front of a church located at Rwanda (Hentoff). “Photographs that depict suffering shouldn’t be beautiful” (Sontag 258). The person lying on the ground in the photo has suffered greatly. He looks hurt, angry, and defeated by an enemy. This is a scary and shocking picture, but the image can easily be locked into viewers’ minds because it is a close-up of the man’s suffering face. His bold expressions are shown in details. The hatred and fierceness in his eyes and gritted teeth are intimidating, causing viewers to be alarmed and question what was on the person’s mind at that time. Sontag also states that the “illustrative function of photographs leaves opinions, prejudices, fantasies, misinformation untouched” (Sontag 261). Since photos contain no written words that tell the whole story, viewers tend to guess what is happening in the picture. The man’s furious face in my war photo could be screaming out his excruciating pain or crave for revenge. One can easily be haunted by photos like this one and quickly develop sentiments towards it, understanding the injustice the dead man must have felt.
Susan Sontag mentions, “Photographs of the suffering and martyrdom are more than reminders of death, of failure, of victimization. They invoke the miracle of survival” (Sontag 262). This brings an entirely different perspective to the second and third picture. Seeing the lifeless bodies stacked together followed by a zoomed-in face of a corpse can urge spectators to again consider how valuable life is. Too many people were forced to death during times of war before having the chance to live life to the fullest. Goals were unreached, promises were broken, and loved ones were forced to separate. Keeping this in mind, viewers should take the time to be grateful for everything they already have in their own lives (appreciation)- education, friends, shelter, family, materials, food, etc. and feel happy to be alive in a peaceful setting. Birthdays can be seen as important celebrations of survival as well.
Before coming to an end to this essay, I personally asked several people to choose the photo that leaves the deepest impression (out of the three war photos discussed in this essay) in their minds. Seven out of eight people pointed to the last one of the angry man and stared at it for the longest. When being asked the reason for their choices, most responded that it was too scary. This leads me to conclude that unpleasant images indeed have the strong power of implanting remembrance and provoking bigger responses.
After comparing and contrasting different ideas, feelings, and responses toward war photographs with Susan Sontag’s essay, I was able to rethink my previous beliefs and discover hidden beauty within tragedies that I have missed before. It is clear that both attractive and unattractive photos can lead viewers into limitless perspectives and moral judgments about the past. Although some people may consider it is “heartless” to find beauty in war photographs (Sontag 257), it can be humane and appropriate to like them and develop curiosity instead of trying to push them away. Photos are open for interpretation and admiration that may differ from the actual event. To me, a picture can be a special and interesting piece of art even it portrays a depressing topic. A beautiful picture leaves room for imagination so viewers can develop feelings, opinions, and emotions-especially the appalling ones that make lasting impressions. It is important to remember and preserve history because photographs are “a species of alchemy; for all that they are prized as a transparent account of reality” (Sontag 259). It is respectful for the modern society to be broadminded and willing to explore past events, continuing to treasure the rich art of history displayed through museums, war memorials, books, and more. The Holocaust Memorial Museum in Washington D.C., for example, continues to educate and inspire people nowadays. Remembrance days, traveling exhibitions, campus outreaches, galleries, and holocaust commemorations are organized to ensure that Holocaust studies continue to grow (“About the Museum”). These are given opportunities for people to refresh their memories and admire displayed work as well. Leadership training programs are also offered to professionals (from the fields of law enforcement, foreign policies, military, etc.), for them to commit to values and moral responsibilities of protecting the future nation. Overall, this living memorial museum teaches people to overcome hatred, promote human dignity, and prevent genocide in our world today.

Works Cited
"About the Museum." United States Holocaust Memorial Museum. Web. 18 Oct. 2011. .
Bomb Magazine. "Gilles Peress by Carole Kismaric." Bombsite: The Artist's Voice Since 1981. New Art Publications. Web. 18 Oct. 2011. .
Fleming, David, and UMass Amherst Writing Program Editorial Collective. Other Words: a Writer's Reader. Dubuque, IA: Kendall Hunt, 2009. Print.
Hentoff, Nat. "The Holocaust Without Guilt." The Village Voice Photo Gallery. 09 Mar. 1999. Web. 18 Oct. 2011. .
"Today's Pictures: Unrest on Wall Street." Slate. Washington Post.Newsweek Interactive Co. LLC, 2007. Web. 18 Oct. 2011. .

Posted by Shaz at 2:35 PM