![]() Like soldiers, photographers can carry these wars home But sometimes, when trauma weighs too heavily - when those recorded moments become too 'decisive' - photographers internalize what they've seen. The events that shock their humanity, serve as fuel for their professional career. The most successful are praised and rewarded for their work. These aspects allow a modicum of control. Some photographers try to lose themselves in the technical elements of their images: the exposures and f-stops, saturation and white balance. ![]() But after capturing those last breaths and cities laid waste by violence, these photographers are left to scroll through the day's shots before wiring the most gripping images to newsrooms around the world. Their industry rewards intimacy, often driving photographers closer to the sharp edge of conflict. There, unarmed and exposed, they take pictures of combatants and the afflicted: civilians suffering in battle, hospitals straining to cope with the wounded, and the communities within which conflict lives. They follow marine units, rebel militias, and protesters - stride-for-stride - into the field, through crumbling neighborhoods and down crowded streets. Photojournalists strap bulletproof vests to their chests, steady 60-pound packs on their backs, and hang camera equipment from their shoulders before trekking into the world's most dangerous environments. Tim Hetherington, on filming the documentary Restrepo The only weapon Gilbertson carries is a camera. It was the blood of Lance Corporal Miller.Īs the scene became chaotic, Gilbertson's immediate reaction was to shoot back. Gilbertson was pushed backwards, tumbling down the steps. Guns at the ready, the convoy had just crested the first flight of crumbling stairs when gunfire erupted. As Gilbertson took to the stairs, his partner Dexter Filkins mounted the steps behind him. However, Lance Corporal William Miller and his partner, Lance Corporal Christian Dominguez, would not back down, and they took the lead that November afternoon. He wanted to take first shot at the insurgent who used this holy perch to prey on advancing U.S. ![]() Moments before starting their climb, Gilbertson argued to be the first person in the room. Stepping around and over the rubble created by an earlier shelling of the mosque, Gilbertson could hardly see the two soldiers in lead. ![]() As Ashley Gilbertson crept up the dark staircase of a minaret in Fallujah, he hovered closely behind advance troops of the United States Marines. ![]()
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