A snapshot of camaraderie: Soldiers share a moment of unity in the midst of conflict
In the heart of Afghanistan's Korengal Valley, amidst the chaos of a military operation, two soldiers are caught in a seemingly intense altercation. However, a closer look reveals a touching display of brotherhood and solidarity between them.
In Snap, we explore the impact of a single photo, sharing stories about the creation of both contemporary and historical images.
In Afghanistan's Korengal Valley, during a period of intense American military operations against the Taliban, two soldiers seem to be engaged in a playful fight. One soldier has the other in a headlock, playfully planting a kiss on his cheek.
In 2008, the late British photographer Tim Hetherington captured a photograph during a time when almost 20% of all combat in Afghanistan occurred in a six-mile valley.
During the moments of boredom when the enemy was not present, the men stationed at the remote outpost had to find alternative activities to keep themselves occupied.
Sebastian Junger, a writer and journalist, described these guys as tough and aggressive. Even when there was no combat, they directed their aggression towards each other, but in a brotherly manner. Junger initially took Hetherington to Afghanistan for a project with Vanity Fair magazine in 2007.
'Doc' Kelso sleeping. Korengal Valley, Kunar Province, Afghanistan. July 2008.
'Doc' Kelso sleeping. Korengal Valley, Kunar Province, Afghanistan. July 2008.
Tim Hetherington
Hetherington and Junger were both fascinated by the idea of capturing the close bond within a combat platoon. They co-directed the acclaimed documentary "Restrepo," which received an Oscar nomination and was filmed during the deployment of the same platoon.
Junger fondly recalls Bobby, the soldier at the bottom of the image, as a witty and intelligent individual. On the top is Cortez, whom Junger describes as a kind-hearted young man and the "pretty boy" of the platoon.
Manning the Rail Events Ashore p33 40 x 56 1/2 inches Edition of 5 Out of Edition AP1_A4 (came from CMoA) Save for MoMA
Manning the RailEvents Ashore p3340 x 56 1/2 inchesEdition of 5Out of EditionAP1_A4 (came from CMoA) Save for MoMA
Courtesy the artist/Marian Goodman Gallery
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The photo can be seen at the Imperial War Museum in London. Alongside it is a quote from Hetherington's journal, where he reflects on the idea of masculinity in times of war and peace.
The exhibition, titled "Storyteller: Photography by Tim Hetherington," showcases the works of the late photographer. It was opened on the 13th anniversary of his passing, which occurred during his coverage of the Libyan Civil War in April 2011.
A young rebel fighter and hand grenade, taken in Tubmanberg. Liberia in June 2003.
A young rebel fighter and hand grenade, taken in Tubmanberg. Liberia in June 2003.
Tim Hetherington
Junger agrees with his friend’s sentiment. “One of the things that place is very good at is turning children into men. And I think that’s always been true of war.”
Young men in conflict
Hetherington's friends have shared that he often repeated a quote about the experience of war being the only chance for men to show unconditional love for each other.
During the Liberian Civil War in 2003, Hetherington heard this quote for the first time from his friend, photographer James Brabazon. They were together waiting with Liberian rebel forces who were preparing to attack the capital Monrovia. It was Hetherington's first taste of combat.
A casualty from an ambush lies in the back of a 'technical' during the push on Liberia's capital Monrovia in June 2003.
A casualty from an ambush lies in the back of a 'technical' during the push on Liberia's capital Monrovia in June 2003.
Brabazon first heard the saying from his grandfather, a British soldier who served in World War II. He shared in a video interview with CNN that his grandfather really took it to heart. Tim Hetherington was fascinated by the interactions of young men. He wanted to understand how they related to each other, how they portrayed themselves, where these portrayals originated, how they were magnified, and how they continued, especially in times of conflict.
In a remote outpost where society was “stripped away,” these bonds captured Hetherington’s attention more than the war itself.
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"I found myself more intrigued by the connections between soldiers and my own bond with them rather than the actual combat," said Hetherington in the exhibit. He also mentioned, "My exploration of youth and violence, or of young men... It's a journey of self-discovery as much as it is about these young soldiers."
An anti-Gaddafi combatant during the Libyan civil war, April 2011.
An anti-Gaddafi combatant during the Libyan civil war, April 2011.
Tim Hetherington
After spending a year in the Korengal, Hetherington released a photography book titled "Infidel." The book features stills captured during his deployment, accompanied by commentary from himself and the US soldiers he was embedded with.
One of the contributors to the book is Cortez, a subject in the photos. In his commentary, Cortez expressed his commitment to his fellow soldiers by stating, "I would throw myself on a grenade without hesitation because I truly care for my brothers. It's a brotherhood, and I believe they would do the same for me."
The work done by the IWM is crucial.
They have the complete archive of Hetherington’s work and collaborated with researchers and various communities to explore how people interact with conflict photography. Greg Brockett, the exhibition curator, was particularly curious about how refugee communities would react to Hetherington’s work.
"It's hard to predict how people will react because many of them have firsthand experience with war and conflict," he shared in a video interview with CNN. "What stood out to me was the strong sense of importance placed on this work, allowing others to understand the realities they face."
"I'm not focused on people learning about Tim, but rather on them feeling inspired by him," expressed Stephen Mayes, the executive director of the Tim Hetherington Trust, in a video call with CNN.
A woman brings cassava leaves into the central market area of Tubmanberg, Liberia in May 2003.
A woman brings cassava leaves into the central market area of Tubmanberg, Liberia in May 2003.
Tim Hetherington was known for his unique approach to conflict photography. Unlike others, he would spend extended periods of time with his subjects, using film cameras and engaging in conversations with them as he took their photographs.
Brabazon explained that he wasn't into photography just for the sake of it, but rather to connect with the lives of others. It was a way for him to understand people better.
As a result, it took a toll on him emotionally, as it required a piece of his soul to capture those moments.
Hetherington was concerned about the extractive nature of photography during this process. According to Brabazon, he aimed for a consensual approach that would also benefit the community. One example of this was when Hetherington took street photographs in Liberia, taking a Polaroid for himself and giving another to the subject.
This practice was significant as it empowered the subjects to be part of the creative process. By including the subjects in the creation of the work, it gave them a sense of agency and participation in the final outcome.
Tim Hetherington self-portrait taken during the Libyan Revolution in Misrata, Libya, April 2011.
Tim Hetherington self-portrait taken during the Libyan Revolution in Misrata, Libya, April 2011.
Tim Hetherington's friends are saddened by his death in Libya. They feel that he died too soon as a photographer. This is not just because of the powerful images he created, but also because of his deep thoughts on the significance of capturing conflict.
Mayes mentions the old saying that taking a picture captures a part of the subject's essence. Tim felt like he was giving away a piece of his soul with each photo he took, almost as if he had made a deal with the devil.
Brabazon raises the question of what Tim hoped to achieve with his photography. Unfortunately, we may never truly understand his intentions as he passed away while still exploring the answer.
In his last diary entry dated April 19, 2011, Hetherington reflected on his experience attending the funeral of a rebel fighter who lost his life to a mortar. He described the young men he encountered, noting that they were grateful for the assistance and felt that their presence would shed light on their situation.
If you're interested in exploring more of Tim Hetherington's work, you can visit the exhibition "Storyteller: Photography by Tim Hetherington" at London's Imperial War Museum. The exhibition will be open until September 29th, so make sure to check it out before it's too late!
Editor's P/S:
Tim Hetherington's photographs capture the raw and intimate moments of soldiers in combat zones. He spent extended periods of time with his subjects, using film cameras and engaging in conversations with them as he took their photographs. This approach allowed him to capture the close bonds within a combat platoon.
Hetherington's work is not just about capturing the horrors of war, but also the humanity of those involved. His photographs show the soldiers as they laugh, cry, and support each other. They are a reminder that even in the darkest of times, there is still hope and love.
