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Friends of journalists I say from all people who do journalism,
War photographers are the craziest.
Can you talk about that?
Well, the problem is with war photography is there there is absolutely no way to do it from a distance.
You must be close.
You can't do it from your hotel,
you can't do it from across the road, across the bridge.
You must be there.
There really is no substitute for for that.
So you have to find out how to be in the midst of things,
no matter what happens.
And you must suspend your reasons sometimes
to do that and I think That's where the reputation comes from.
Give the name of the country torn by the war in the past six years or more
and most likely Chris Hondros is there.
He has worked in most of the major conflict zones of the world since the late 1990s.
Iraq, Liberia, Kosovo.
Through the camera lens, Chris Hondros has taken...
Pulitzer Prizes nominated Photographer war
Chris Hondros for Getty Images...
Chris is a staff photographer
for international photo agents Getty Images.
He just returned ninth assignment in Iraq.
I am not one of these people who enter war photography to rush.
I don't like adventure sports or something like that.
I mean, I believe in photography, I believe in that role
that reporters and photographers specifically play
throughout our system international conflict
and how we resolve differences.
We have a role to play and I want to get involved because.
Well, I would guess this might be the earliest image
I have Chris and this is me take this photo
like, "Here I am in middle school" and, look,
someone who will end be my best friend.
Beautiful young, Chris.
Um...
It's a small portion
of all those experiences he has all his life.
The experience is practical there are no people in the world
I've ever had.
He has an front seat for every major world event
from the last decade.
He is my best friend but it doesn't even start
to scratch the surface how I feel about him.
And there is instinct that I have that
some of him is still somewhere out there.
That part of him can be found in the community
and places are important to him.
Some of the most powerful, in my opinion,
some of the most powerful images you have taken are in Liberia and it seems to me
in looking at them You have a deeper connection
for what happened there. Am I right?
I like it enough, yes, from Liberia and Liberia.
I am excited about the war in my opinion because of that _ war can happen very easily prevented.
You know, there are things international community
can do that summer which should be prevented
caustic situation there.
Chris has a very firm belief in what he wants his photography becomes around.
I can drop it under any circumstances
and I don't need to explain why he was there.
He believes in the power of from illuminating light
in the opposite places will be dark.
In 2003, I was covering up what ended up
to be climax Liberia's civil war in West Africa.
Rebels start to move to Monrovia,
towards the capital, try to encourage Charles Taylor
out of power, and you know, we hear a lot of things
attacks on civilians, cruelty, slaughter.
And we go and try to verify this.
I meet Chris, I help him go to the front line
to cover the war that we are dying,
we kill each other.
Chris left the United States it was more peaceful
and come here to tell our story
and I remember the risk he took.
Photographers always want to go where there are shootings.
They say, "Why did the shooting happen?" They say, "I want to go there."
Troops on both sides of the current
just broken into pure militia.
They are mostly shirtless, many child soldiers.
Bullets fly everywhere.
We will see children
as young as seven, eight, nine years with AK-47.
These children are starving, hungry, riding drugs
that they have been given by the commander.
There is an element real madness for that.
There is one special bad day when I come out,
I have been caught in this series of mortars,
and I remember running, trying to go back
to the hotel because of that has a thick concrete ceiling
and I think I can hide in the basement or something and be safe.
A few minutes later, school across the street
wash with a large artillery shell.
There are all these civilians packed into the page,
they have taken refuge there and the shell falls
right in their midst.
And Chris ran to the hotel and he caught me
and he said, "The school has been hit across the street,
we have to go and photos."
And I was very surprised I was like, "No more, I'm done, I can't."
I just, sort of, huddle in the hotel, I can't go back out.
He returns there.
He photographed everything and he helped people to the hospital.
You learn how to deal with your fears, I think, in a situation like this.
I mean if you don't do it, you have wasted your time, right?
I mean, you've spent a lot of time and trouble get to this situation to do work
that you feel needs to be done
and if you don't do the last mile to really appear
under stressful situations, then you have been wasted all your time.
Frontline war for most of the summer
are a pair of these bridges and rebel forces
are on one side and government forces are on the other side.
And the first few days that area was the front line, I ventured there.
We have been with government soldiers
before they will be charged bridges and I think
it will be too dangerous to do that.
It's just been exposed, there's no place to hide, there's no place for ducks,
bullets are flying everywhere.
But there is something clicked inside me right now
when I think about it and the same as them will be charged.
You know, I am a little aware at that time that my entire career
as a photographer on the road has gone to
for a moment like that.
And the photo is on the bridge,
it's not 50 meters away from the middle of the bridge,
it's on the bridge.
There is no shortcut for that.
This is an iconic photo.
You know, and Chris is the best that often,
he has the ability to find the photos.
I thought when I first saw it, was immediate attention for his safety.
I'm like, man, he's getting closer.
Things you must understand in situations like that
there are still maybe flying bullets.
You are worried about exposure.
and able to maintain presence of mind
to really focus on the subject,
to frame the subject, to get that kind peak moment
really very difficult.
When you hear it tell the story
how dangerous the bridge is and how many metals
fly around and you think, to make this graceful photo
in the middle of all that is extraordinary.
And that one thing happened,
it's another thing other people document it.
One of the most interesting photos
from Liberia is very young Liberian Soldiers
who jumped excitedly, he just reached his target.
That picture, I'm still not sure
what that means, you know, it has ambiguity for me
it's still a bit, I'm exploring, I think.
Does it celebrate the war or is it something else?
I think many different people will bring different things
far from that image
and even I don't have enough know what that means.
I remember seeing all the images that came out of Liberia.
That's chaos.
And I think Chris spent a lot of money time through his actions...
... very empathic with people and their conditions.
And very desirable world to empathize with their conditions too.
There are about maybe 10 photographers
which is pitched there, and we start to saturate
news with images from war.
Suddenly, the United Nations was involved and held an audience
and start assembling peacekeepers.
I mean, there are real causes and effects.
Did Chris ever talk to you about why he felt
is it very important to go to cover these conflicts?
Well, I told him some stories You saw when they were children, you saw.
And they always say, "Mom, tell me a story about your childhood," you see.
So, at night I will do it then tell them stories the way I grew up.
You see, it's really different from that here in America.
Four thousand planes destroy the Atlantic wall...
When the war starts, Second World War,
it creeps closer and closer to small cities.
So I told him some stories.
Airplanes are shot down, and then they burn, you see,
and then people jump out and things like that.
What about you, Chris, what scared you?
None.
Sure.
Yes.
But what scares you?
Nothing really scares me.
He is always a very independent, confident person already when he was little.
And I don't know.
Maybe a gene, maybe, I don't know.
You know that he will be
a photographer, right, I mean, is that clear to you?
Uh, yes, he always talks about that.
My husband is very, very upset and I told my husband,
I said, "Zip, whatever he wants to do, he will do it
and leave him alone."
That is very important to me and I say, "You have a chance,
You have the means, you have everything here, what we don't have."
You see, I grew up in chaos there.
What we don't have.
I say, "use that."
Chris and I really intend to be journalists
that we often will try to jump forward
from what we learned in college and go out and do it.
Our first task with
is to cover Bill Clinton inauguration in 1993.
He called me and said, "Come on, let's close this for the student newspaper."
We arrived in Washington without press credentials
or even proper clothes to be able to enter
a first ball to get the story
we need, so Chris manages to bully
to secure pairs from all access through
and I made it in my uncle's dead cabinet
and steal some very large t-shirts and sports coat.
But we finally enter the ball
and get the shots we need,
so it works perfectly.
Chris hired me as an apprentice after I left campus.
I immediately saw, I was very surprised how young he was.
I mean, this is a man of my age.
He is the chief photographer on paper.
Um, however small the paper is, he still runs the show.
You know, the police scanner is always by his bed,
chasing every bit spot news that it's out there.
The very sophomoric first thing a young photographer
see National Geographic and say,
"Geez, I can shoot those photos."
Chris strongly insists that he will go shoot the picture.
And he will know the transit route to do that.
Working on a small scale daily newspapers in America
go and cover international war
is a fairly large step and there is no instruction manual
to tell you How do you do it.
Just to sell everything and go to Kosovo
a little risky action, but we are ready to make that jump.
Being very ambitious, young, inexperienced,
You don't really have it the right idea how many dangers
You put yourself in and that is very common
to just think nothing happens to you,
that you are an observer and somehow it protects you.
But when there is an actual battle is going on,
that is the only thing that teaches you
this is what really means is here.
This is where you really start to see made of what
and I can see what Chris is made of and it's clear that this won't happen
last trip to Kosovo or another place for him.
Well, honestly, he was there three times, I heard.
But we only know once.
He said, "I don't want you worry."
I always believe your judgment, you see.
So when I didn't hear from him for two or three weeks or more,
OK, he's busy.
Getty Images want to start newspaper services.
We are looking for to make a splash,
we want to make it our sign on the news scene.
He carries a higher level photography with him.
It's really affected all other photographers
who was working with Getty at that time.
You can call it "Hondros Effect".
Early days of Getty,
we really are the only wire do something,
trying to do something different
and fresh type and certainly more creative
in a broader interpretation about what is a news photo
is and can.
An absolute key for us in starting our news business
is what we want the photographers to tell the story.
And talk to Chris, that is exactly
what he did and what he really wanted to do it.
He wants flexibility and that ability
to tell his story the way he saw it.
And for him, the story is always about
people affected by by conflict
or with disasters that are opposed by for the disaster itself.
We have the latest news _ to tell,
seems, a plane has just fallen
into the World Trade Center here in New York City.
That just happened a few moments ago apparently.
Morning 11 September, I got a phone call
from Chris said, "Turn on the television."
... very apprehensive.
"You have to get out of your job today,
You have to come to New York tonight."
I hold baby bottles or change diapers or something
and I think a lot about how
our lives deviate at that time.
I will never forget that few days after 9/11
and we, you know, all in the office, we work in crazy hours
and suddenly I got news that Hondros was on the plane to Pakistan.
And I just said, "What?"
I don't even think about Pakistan.
He might be half step ahead of us
in this case the next story,
where this will happen, so, usually,
he will only call in the morning and say,
"Hey, this is what I do instead of waiting
for anyone to go and sending it anywhere."
Really, inevitable, at that time was the beginning of Chris just left.
There is nothing to change it back and for the next 10 years,
that's all he does, he goes.
From then on, I saw Chris's work cover of each newspaper in the world.
Do you know what is spot news?
You know, spot news is a car accident, bombs explode...
... plane to building.
Photos from that day...
has many effects, lots of emotions.
But I think Chris is very interested how the story happened.
What wisdom do we expect to come from this?
And I think Chris feels responsibility for answering many of those questions.
When the invasion starts,
I rent an SUV and...
and drove across the border to Iraq.
Enter Baghdad when the city will fall
will be the highest historical importance.
You want to be there when that happens.
And in fact, we met some other SUVs
with another partner Newsweek reporter
which is also feared to make it to Baghdad
before anyone else.
Shot for several days, no problem.
Followed by the main highway which leads to Baghdad
which is a long curved
column American armored vehicles, hundreds of miles long.
I have to take my time with that, I should just stay back
and slowly step up, but I'm a little excited
and I was pushed on the third day war
about halfway to Baghdad.
You know, it's a very quiet afternoon,
nothing happened, we just followed
a Marine convoy and there are no fights at all,
no resistance anything.
that we finally followed being transferred,
so there are other Marine convoys
maybe two or three kilometers ahead
and we try to connect with them
which means traveling two or three kilometers in no man's land,
so to speak, without any convoy protection.
We will now talk to Chris Hondros,
famous photographer with Getty Images.
So, Chris, tell us, what are you thinking about?
I thought that I was amazed that they let us drive this _ far into Iraq.
On the right side, I remember a very large gas station
and I just remember hearing, You know, shot,
and I turned to and there were at least 10 to 15 Iraqi soldiers,
all in uniform, shooting at us.
The tire on the right side of the car is completely destroyed
and we travel using rims.
And then we throw the car away, achieve what we can,
and we are very lost in the Iraqi agricultural field at nightfall for the night.
That's bad.
Chris is talking on the phone with his Getty people
returning to New York is recommended by the Marine commander
to squat, dig a hole,
and wait until morning.
I think it's really bad idea because you basically duck sitting.
I... That, uh... It's hard to convince Chris.
He, he's dead stay silent.
He is in this tunnel thinking that this is what he will do.
That's what happened to solve it by yourself,
by staying in a hole and waiting for to be saved in the morning.
I keep saying, okay, come in the morning,
everyone will be able to to see you, including Iraqis.
They will find you,
they will follow footprints in the sand.
I think that kind of thing is convincing he is that wrong decision.
When I tell you "convincing", I have to really catch it with the collar,
with his shirt, and shake him and I like slapping his face
because we feel like you can't live in the desert.
You have to come with us, we take you whether you like it or not.
So, we entered complete darkness for 10 kilometers.
Takes us around six or seven hours,
and succeed to the army staging area.
That also ends drive me to Baghdad
because I lost the truck, I lost a lot of equipment and teeth.
So, I stayed with that the soldiers who picked us up
for a few days but basically then,
they have a helicopter that will return on refueling
and I get one of them
with my tail between my legs.
We are stuck in the desert for three days.
There is a sandstorm raging.
You can't see anything but you can see
White Titanium Chris Hondros & apos ;, colorful turtlenecks.
You know Egyptian cotton.
So it's typical Chris.
I push it too far.
I think that we are actually just driving in a light, protected SUV across the border.
That can't be understood by me.
I mean, I think Chris and I are really stupid
to get ourselves in that situation.
Photojournalists in order to survive,
we need arrogance and I feel it,
I saw it in my colleague, and I have seen it at Chris.
I have a very good feeling that he feels like this.
Very high, highest believes in its ability
to survive everything.
A hubris.
Who doesn't feel that way sometimes.
You cover dozens of conflicts, several times,
lots of things and nothing happens to you
or when something happens to you,
You can, like, get rid of your pants and leave.
Chris definitely has a tolerance for risk
that I don't have.
And I don't, I don't know, I wasn't born with that.
He could be, I don't want to use it the word "arrogant,"
but he has this optimism.
He is finished, he will do it go home briefly
and relax and recover.
So I drove him from Baghdad to the southern border
and we see a sign for the city
where they were shot and I will never forget it.
He looks at me, he is like, "Let's just spin through the market,
I am sure you call my SAT, we can find the camera and call my SAT. "
And I just immediately shoot it just for, like, 120,
Just pretend I never even heard it, Chris, didn't hear it.
I thought we were a great suitcase, if that even a word.
Because he has a rich life.
I don't need to worry about him
because I know that he is always involved with people
in a way that allows him to process what he see.
Well, Chris is the type of man that you are fair befriend with
very fast and he is really open.
And he really is, one of those things
I really don't understand about Chris
until a long time later in us friendship is the scope friends he has.
Are they translators, drivers, friends they met along the way,
no matter who they are,
he really puts incredible amount of work
and energy to stay connect with these people.
And he really has this global presence about him.
Chris is one of these people it really can
let the world open the door for him.
He always, always has a smile on his face,
very curious about everything.
You know, he will only win friends, you know,
and if you want succeed in this profession,
You must have that ability.
Chris is always very interested in relationships.
He will travel around watering the world,
but basically maintain relationships.
He is like that, and you feel very often
that when you are in this environment and you, you know, you share,
I don't want to say you took, but you share
moments with these people, You can go home for your life.
And you know you leave these people
and their situation that they cannot leave.
He wants somehow to do something about that for people
and give them a chance that they will never otherwise.
Women and men, warm welcome to Monrovia.
Joseph, hey.
Nice to meet you.
-What are you doing? -I am doing fine.
Good. Thank you for meeting us.
- Enter inside? - Thank you.
Wow, is this all or bullet shrapnel?
This is an RPG and this one is a bullet.
Wow.
I have never sorted out connected with that fighter,
and when images start to be used around the world,
people ask me if I know the story or how old,
whether he survived the war, things like that, and I don't know.
I am not aware of the impact that image will have.
But my colleague at Getty, Spencer Platt,
finally going to Liberia one or two months later
and he told me that he went around
in an area and see the fighter You know, running around,
so he is pretty sure that he survived.
I say, "Okay, how do you know what it is?" He said, "Well, I recognize him from the picture. ordinary takes pride in the photo he is in the middle of a battle. = Say, "Look...
How much education do you have at that time?
You know there is a line that says, you know,
"If you kill one person, you kill all humans",
I paraphrase.
If you save one person, you save all humanity.
I think it's like Chris's way.
He maintains all of his possessions relationships in the same way.
I will need you again.
There are many people here in church and all.
"Are you not worried?" I say.
"Even if I'm worried, you see, there's nothing will change."
I can't tell him, you stay home because I'm worried, you see.
You can't do that.
Wait!
Smoke it! On the way, hurry up!
Smoke it! That smoke!
The only that I always tell him,
I say, "Please be careful."
An image is not commensurate with your life.
He said, "Oh, Mom, don't worry, I'm careful, I'm careful."
Most people go to Iraq in 2003 and that's it, the war is over.
Chris returns every year,
patrol after patrol after patrol.
I mean, very few reporters are in Iraq again.
And for me that is incomprehensible.
I understand that at some level, it is very dangerous.
On the other hand, it's like that a very important story.
That is a strange story from our time there is no bar.
He is dedicated to tell the story.
And he will go when it's 120 degrees,
he will leave when no one else wants to go again.
You know, actually, psychologically, he found out this story
but it will start creeping over the wire,
he gets closer and closer.
And then suddenly, take a picture
or a series of images that become pictures that determine of the event.
I want to go to downtown Mosul,
I really like it about it and they say,
"Well, we will send you to Tal Afar."
And I said, "What is Tal Afar? I have never heard of it."
And they say, "Well, we have very important missions
going on there, You really will like it."
Usually when they say that, will become some glacial boring things.
So I was flown to Tal Afar, the basis of this dusty field in the middle of nowhere.
I am actually walking to the platoon leader
and the platoon leader said, "Hey, this is what we have today."
And I like, "Great."
I always give journalists short,
"Okay, help me, do what I told you to do."
"If you don't do it what I say for you to do,
I can't keep you alive."
Chris's response was, he was like, "Well,
my first priority the pictures, man."
I like, "Okay, you will get my ass blow."
But I like that guy.
I got one unit which seems pretty good,
Apache Company.
Anyway they are beautiful friendly, these people,
so we went on afternoon patrol.
The street is empty,
there are types of curfews in effect, that is a very tense city.
But a car appears in the distance
and start approaching them.
And, you know, they, soldiers in Iraq don't let cars come towards them.
I mean, they don't let that happen
because of fear bombs and objects.
Chris and I, you know, stand there.
I see Chris shooting to my right
and we hear rumbling sounds machines,
like "What is this going on?"
We know something will happen.
We just found that out.
We give them warning shots, two warning shots.
That's more than usual
and they speed up.
So the company commander says, "Stop the car, someone stops the car."
So, it's an open fire, you know.
And that's 20 people
pull the trigger as fast as they can.
We decrease 18, 20 rounds a piece
into this vehicle before that a, "Armistice, ceasefire."
That's a lot of ammunition.
Of course, I hear children's voices
when they stop the car and I know it is family.
The back door is open and children have just come out of the car,
only one after one after another, all of them are six.
And parents sit in front
just full of bullets and immediately die.
I'm like "Oh, my God. What are we doing, what are we doing?" I see this one little girl and she has a lot of blood on her face.
He can be my daughter.
The children behind are quite extraordinary
unless one of them is shot into the stomach.
Chris was there, he saw it.
He has thoughts to take photos
and insist that it's image released
although the military is not interested in that.
The Major wants me to hold a photo
for several days, he said, "Yes, we appreciate
if you don't send them out for a few days
until we're done our investigation."
And I said, "Well, I have to talk to my boss
but I think, you know, we want to work with you there, Major,
so I think we might be able do something like that.
Let me check but I think we will be fine. "
Again, I'm very relaxed, very cool.
And then I stepped out of his office and return to my trailer and connect my SAT phone
and get all photos and look at them
and I say "Whoa", I can't believe how much
information is there, like the photos came out.
"I have to get this back to New York
before something happens."
I mean they have ability to, like, jam all communication from base
including my personal SAT phone, you know.
And I said, "OK, send, send, send them,
send them, send them, fast, fast, fast."
So I sent 20 images,
and then, wow, remove them.
Close the SAT phone, close the computer.
The impact of Tal Afar the photo is straightforward, you know.
Clearly there are reports through war
things like that happen but there are already
there is no visual evidence if you want.
The photos were taken possible problems
has been cloudy becomes a sharp help.
They run globally for days.
And then afterwards, you know, Chris is kicked out of being induced.
I just made a book Iraq, Iraq is my war.
I mean, I spent years there and actually covered the war.
And I think one photo that reaches the American public
of all these conflicts is a photo of Chris from Tal Afar.
Something that was said Chris photo Tal Afar
is that this is something that happens all the time in Iraq,
he happens to be there when that happens.
And pictures of Tal Afar, again,
only this intersection that life, you know,
when it's over, everyone changes.
I believe it's true that was a very traumatic event for Chris
and I think that's possible
what makes him follow up and get involved
with a young child coming here for treatment.
The boy who was shot, he finally became,
on the basis of these photos, he was finally flown to Boston for treatment.
You know, he does a lot of things alone
to find a way out to bring Rakan to the US
which is a very difficult thing do in the middle of a war.
An Iraqi citizen has come to get help in this country for their wounds.
When you have that connection, you know,
You don't have that connection with everyone
but what Chris clearly has with these people
and he put it on the world stage,
and I think he might try to protect them too,
You know, make sure they are okay.
And many of us run through the lives of people
and take photos and sometimes we become famous
for that versus subject and I think he wants it to make sure
that they are fine.
Chris, you are very famous for this amazing series
photos in Tal Afar,
describe the little girl,
this most famous picture the little girl next to the army boots.
Yes. His name turned out to be Samar, Samara Hassan
and he is five years old at the time of drawing.
I think one of the reasons is that photo sort of resonance
it does because it has a kind of empty feeling.
Poor girl alone in the world now
just standing there in the dark, you know.
Chris is reluctant to talk about details
when his work he covered the conflict.
He prefers to talk about his music, for example,
or the latest novel he reads.
Yes, I'm sure many people will say this about Chris
but he can to go to place
he has gone and done the work he did
and still come back and have a little from sane existence.
He knows the cost of war is more than anyone but I never see him talking about it.
You know, if anything, he makes that light.
Sometimes we will discuss something and he will say, "Hey, you know,
like that," and, boom, he goes on another subject
and you think, "Oh,
we don't have a conversation I think we will have."
Chris and I will talk for hours and never talk about photography.
Chris talks about ideas.
On the one hand, is the strength of who he is and the strength of his work.
Like, camera is just an extension of soul and intelligence.
He really encouraged me to be more introspective
but also more conscious of the world around you.
There is intensity there, I mean, You can see it at work
but outwardly he doesn't take himself too seriously.
He has the perfect mix intensity and levity
because there are bigger missions here and we have to do it stay focused on that.
I have a career in front of me, I can't let this kill me,
I can't get out of this very messy
that I can't work from this point.
So, while it's booming to go back and back and forth,
I do my best, to...
have a normal life here and keep Iraq in Iraq.
I won't let Iraq get the best from me.
You know, I won't do it.
Hondros.
I have been a while ago, and again, one of the reasons
I have lasted a long time as I have is keeping
some level distance and sanity from the whole process.
So for my part, what is fun in Iraq.
Well, you know, journalists all stay at this hotel
and we have a party, you know.
There is Joe Raedle.
Penthouse at the Al Hamra hotel
actually is really a great place to go back
when you are out in the field.
Not a luxury penthouse but it's a good penthouse.
Getty Images works hard.
Everyone knows Chris Hondros. He's been there forever.
Um, they know the job.
Wow. Chicken!
- Hondras. -Hondros!
So we all always hang out all the time.
Does that happen dinner together,
we will have a weekly poker game here and there,
and Chris are present all night.
Classic Chris told me, "Oh, okay, you have to come
Getty apartments tonight. "
Looks like we've returned in New York or whatever.
That's pretty much how Chris.
Wherever he goes, you know,
he always trying to bring a normal feeling I think.
Maestro, maestro.
Chris called me and he said, "Hey, you know,
I have a concert master from Pittsburgh Symphony
to play Bach "Chaconne"
which is the single most important part ever written for solo instruments
in music history... should. "
And Chris is presented seven-year slideshows his work in Iraq
the time is perfect for movements in music.
I smell what I kiss that night.
Blood, brain, I mean, have you ever smelled?
You can't forget it.
Other people return and they are welcomed again
with, you know, hugs and what isn't, no, I mean, not me.
I can't connect.
All my friends leave.
So who else can I contact?
So I like, you know what, let's contact Chris, see how it is.
And, uh...
And he comes down.
He goes down quite fast and fast.
Um, well, you know Chris and me, we sort of,
we don't even really know what we are going to do
of this if there is, so it's just kind, like,
You know, we just kind of talk to talk about things.
I think it's irrelevant in that you don't say
one of your lieutenants said, "Bring the car out?"
Or in Captain Seabolt says...
The captain. - "Stop the car."
Do you think that you are the only shooting passengers?
I feel fair is responsible for the majority of from injuries.
I feel as if I am killing the pregnant woman.
I feel it.
I feel I hurt Rakan Hassan.
I feel it so that's what makes me...
You don't know for sure even so
yours is the only bullet hit the wife in this case.
No.
You suspect that but, I mean, many people are shooting.
You don't know that for sure.
Every time I go and see in a photo of Chris,
I have to see that.
Even though I know I will experience a nightmare.
I have nightmares every night.
It used to be very bad I will see a Friend walk down the road.
Did you follow what happened to him after that?
Yes, he went to Massachusetts I thought that,
and operated on and now he can walk.
Uh...
Is...
Looks like that...
he was actually killed in several types the incident in Mosul actually.
- Who, what, Bro? - -Mmm-hmm.
There is such a thing as a guerrilla attack in their home
and Rakan killed last summer.
I think you might have heard about it Because I was published too.
No.
It's just that they aren't targeted or something weird like that, right?
They seem have been targeted.
Very?
Yes, it's true a pretty good surprise.
I don't know.
And that's because of what we did that he died.
I see...
I want to apologize.
Um...
No matter how many times you say you are sorry.
Sorry.
If the assumptions we have chance to meet Samar
and his family, would you like us to convey the message together?
Right.
Yes, of course.
I never asked Chris if he...
You know, sorry to be involved.
Yes.
Yes, that, I mean, is a question for Chris. Yes.
We all make court decisions.
We all feel sorry for in different ways.
And of course sometimes the consequences are beyond our control.
And there are lots of discussions about
whether reporters or not must do that.
Yes, I think the only person who might question that are the people who aren't there yet.
It's hard to go from a little girl
It sits in the middle of the of the blood of its relatives.
We are human, we are not machines.
I see...
When you speak about war being hell, this is what you mean.
Not just a battlefield type of goods.
When a country says it will go to war,
these are things like that that we can expect
because these are things that happened in war.
Hello, Samar.
Does he understand that my friend is
the photographer who took the photo?
You know I always think is much harder
for photographers when we enter this business
we don't want to talk about objectivity,
then of course balance.
You know, a journalist can go in a situation and say,
"Well, I can always get both sides."
With a photo, actually doesn't exist
sort to balance the image.
Do you think about that?
Sure.
Individual photos of course are difficult to balance in the same way.
In addition, I think overall,
in terms of body work, is possible to achieve
such balance, sort of justice.
I think in my work, I have discussed in Iraq,
I have been embedded with US Soldiers, you know, for months and months.
I have been with Iraqi people in their homes.
You know, I've tried to cover every part of this story is possible to be covered,
and I think if it looks in my overall work,
You see that multifaceted that aspect.
How do you get it These amazing photos
and go to these extraordinary places
where do you internalize deeply human experience?
I will always get telephone calls from him
and conversations we have very often
is Chris on the top of the mountain
in the world, um, lonely.
You know, he's traveling around the world, hanging around,
nice to see, very articulate conflict photographer.
I should many women imagine that
this type matches their film line,
but this is a difficult life.
Is it difficult to have a relationship in what you do?
That's obviously difficult, I mean, we travel, mostly because we travel a lot.
You know, when I went to Iraq, I went for about six weeks normally,
and I go at least every...
two or three times a year since the war began.
Besides that, I don't think it's impossible.
I mean there are many people by consuming jobs
and, you know, for me, has a relationship
is a personal decision and it has many factors
and this is only one of them really.
I'm always rather disturbing him,
I said, "Chris, you are getting older, and trust me,
because I say when you yourself, it smells, okay?"
And he said, "Yes, ma'am, don't worry about that."
I don't think that I have too much hope
after meeting him, through a friend of mine.
He is rather quiet when I met him at first.
So we have many lunch dates and many first dates it seems.
And then suddenly, we seem to find our way.
When Chris meets Christina, her fiance,
I think that he found opening for the rest of his life
and that is the way he has been looking for
in several ways to justify change speed
or change the tempo of the objects that he did professionally.
We are very interested in each other because we want a family
and live abroad
and have very curious pleasant life in the world.
I think he has to 10 years
only losing teeth in many ways.
He misses deep connections with someone
and I think he really has it find it with Christina.
He was very happy that he came to that place.
I have a background working with others
that works in conflict areas, so there is always
awareness of risk
and what is involved but I really believe
in the photo the work journalist does
and I'm fine with him going
and we always feel connected
in a different way, so it's not like that sacrifice at all.
It's frustration with young Tunisian unemployment who started it all.
Today, thousands of people take to the streets
demands change in Algeria.
They bring their complaints to the world pay attention to this method.
Tensions are now soaring in Syria.
I remember he turned on TV
and Egypt just started brewing for a few days.
And he's a bit of a pacing back and forth
said, "I think I have to go, I will talk to my boss
and try there Because I think this will be great."
And sure enough, two days later, he was there
and he's right, that's big.
Even while the government insists
that journalists are accepted to report freely in Egypt,
at the end of last week, we are now learning that
from the International Committee to Protect Journalists,
26 reporters have been detained
since last weekend, since Friday.
Seventy one since the protest started and that
is the most appropriate they can calculate.
I interviewed Chris for my book about Iraq
and he spoke specifically about changes in the role of from the media
and he said, "You know, 10, 15 years ago
Western press was something that was approached and needed and today
everyone has their own propaganda wings. They extinguish their own messages
and a Western journalist who is there checking the facts just on the road. "
The number one fundamental change is
if you have media credentials or said media or press
in your vehicle or on your bulletproof jacket
or whatever, you are safe _ unless there is an accident.
You don't go to be targeted.
Now really a different story.
On the way from Benghazi, Libya,
fortress forces against Libyan forces
loyal to Muammar Gaddafi defend their leader.
City of Benghazi, is now the heart of rebellion,
cut to foreign media.
Libya is like a black hole, it is very difficult to look inside.
We have crossed the border into a country
who has been turned off from the world for 42 years
and we are there illegally according to this government.
This is not Cairo or Tunisia where you take photos
street demonstrations, these deadly mortars,
artillery, and war is not a joke, you know.
When I reach Libya, I know it will be bad.
And it gets worse very quickly.
You never know where bad people will come from,
when, how fast things change,
how fast a city or village or city
can change hands from relatively safe
to be fully in control
from the other side and that's what I experienced
when I was arrested in Ajdabiya.
The New York Times said that four of its journalists
Covering the uprising in Libya lost.
One day you are fine and then you don't.
And me and a few others from The New York Times
beaten and put in various prisons in the Libyan desert.
I know Tyler has been arrested.
Don't know what happened to them at that time.
We have heard of refugees outside the city
where there are many things battles occur.
So, we want it to make a story about them.
You know, we are quite careful about making sure
that the story of our refugees will do
is something we can safely.
Are you sure it's behind the battle line?
There is no question we will meet
Gaddafi forces and we believe that,
You know, it's safe.
And...
we...
finally goes right to the front line
from Muammar Gaddafi, um...
army.
Photographer still Joe Raedle goes
skipping Saturday while Covering the conflict in Libya.
They were arrested at gunpoint by Gaddafi's forces.
They took us to a handle area that I thought was like 12 hour drive.
The first thing you see is, when we get out of our truck
there may be 12 people standing with sacks above their heads.
Um...
And then the Gaddafi people all have surgical masks.
So it's beautiful, uh, disturbing vision.
They made us take our equipment and as we experience
this stack, uh, gear,
they have-- New York Times equipment is there too.
I see, I think the name Tyler in his bag or New York Times
and, uh, so we know that they have been in our place,
we just don't know if they make it out alive
or not at that time.
What is your detention?
Four days.
But, yes, I'm good, succeed.
Other people don't.
My driver was killed in the process
when we are captured and difficult to process.
Who has a bullet just flies past it
and who is the person who is hit and why?
They don't kill us
but, of course puts me some psychological, uh...
upside down.
You know, ends with them saying that to me,
punching me and telling me if I will...
go home in a box, so, you know, that something is difficult to handle.
We can get it released after a terrible time
and Chris said, "Well, he can't go out and no one welcomed him.
He will need a hug after this and he will need a hug
from one of his friends and co-workers.
So I will go there. "
So he goes.
You know that looks like your sister.
Everything will be fine.
I think we tried not thinking about it
but we all know that something like that it can happen
and the fabric profession
is about risk and danger, so we try not to talk about it too much
but I think when that happens, members
International Journalism Community Photography,
everyone tries to advance and help and is there for them.
When do you learn that Chris will go to Libya?
I know someone will enter , you know? So, uh...
I mean, he replaced me.
We have a long conversation in my office
with both of them, with Chris and with Joe
only in the next room and it's like,
"Surely this is a warning."
And that is, "No, this is the big story."
He called me and he said, "Well, I decided to go to Libya."
And in the light of conversations we just experienced,
I remember asking him, you know,
"Why did you go to Libya? Come on." You know?
"You just spoke about your marriage,
why do you have to be there?"
I remember saying to him,
"I'm tired of seeing AK-47 in the desert
and if I'm numb,
how many people have just numbed him?
And it's not even registered emotional response again. "
A few weeks later I see the front page
from The Washington Post on my computer one morning.
And I type on Facebook a little note for him,
" My brother, that's the best picture damn AK-47
in the desert I have ever seen. "
This is Chris Hondros. I am in Libya today.
Visit www.Hokijudi99.id Trusted Secure Online Gambling Agent
I get a message from Chris who says" Libya? "
That unusual because he always tries
to make me come to Baghdad or Afghanistan
or wherever the story happens so we can
report together again.
I always say no.
And I have many reasons
I have used in the past to be used again,
and the idea not to go never crossed my mind.
We are in an area controlled by the rebels in Benghazi and, you know, that's pretty much the wild west _ out there.
Our days are spent driving from relative security from our hotel
to the front line from conflict.
And that's about one hour and a half or two hours of travel.
One of the great things about Chris is its ability
to sort of let your attitude a little and ease the mood.
I remember one day we were driving in a car
and we are heading towards God who knows what
towards the front line where people are killed that day
and Chris asks everyone in the car,
"How do you order flowers for marriage?"
That is a reminder that is this other life
waiting for it after this task is complete.
And that's also the way for all of us
to divert our minds from what is coming.
Allahu Akbar!
To say this front is liquid is a serious statement.
Here we are again at the gate of Ajdabiya
which has now become frontal defensive position
rebels in eastern Libya.
These kids only play war.
Harmful to them, is dangerous to us.
If you think about it, is like,
if you really delete it,
this is only observer, teenager,
they don't even have weapons, they don't even pretend they have weapons.
Basically we stand here, if you see it,
obviously with three or four armed trucks.
We stand here with three or four trucks
which actually has ammunition,
so, against the Libyan army, which is completely forged,
mechanical and armed road with who knows how much.
What I hear is that it's kind of amateur hour
there and there all these young photographers
running around with cellphones and like
and that's true is very worried about me.
I know Chris and Team are traveling with
which of course makes me feel much better
because one of the most dangerous things you can do
go to war situation with inexperienced people ,
who don't have medical training,
Who might not be will hold it together.
Allahu Akbar!
There are all these young people the generation of journalists who follow him
and they follow it in Cairo, you see the pictures on Facebook,
he is surrounded by by all these people.
I don't know, it bothers me that he doesn't work alone.
Too many people around you are a distraction.
Photography solitary profession, must.
There is a reason for that.
And to align and relate to your own feelings
and your environment and what happened.
-Guest God! -Allah is the Greatest!
Let's go, Chris.
Wait! Wait! Wait!
More experienced seasoned photographers,
they see younger people trying to enter this business
and they might be able to help here and there,
but they really won't try to like to take you under their wings
or care about you as much as Chris did.
He really wants, like, make sure the younger ones
photographer or reporter,
sort of, stay together and be safe
and you know, they feel a way is responsible for us
and that is something I feel very grateful
and also I feel like that will be fine.
We might have to get out.
Yes, it sounds rather hairy.
- What do you think?
No...
Chris always recalibrate where he stands,
walking around, you can just look at the spinning wheel,
he constantly frames,
You can see his eyes moving the entire frame.
He is not confused.
He is very aware of those things it can be wrong.
He is constantly doing mental calculus.
And I see how he has evolved and became an adult as a photographer,
really at the top of the game
the last few days when together.
Yes.
We have about 45 minutes to make it safe.
GOOD.
See you soon, see ya.
Ooh!
Get out of here, no problem.
I last saw Chris on Wednesday April 13
in the lobby hotel in Benghazi.
Chris's last words for me are, "We caught you out of here without injury."
Even another day with...
I hope I will do it hug her a little longer
when we embrace and say goodbye for the last time.
In Benghazi, there is a front line.
That is not always clear because this is not a professional fighter,
they will fall asleep on the front line, they will do it run away during the battle.
Misrata is different.
Misrata is a siege
and we will enter can cover humanitarian crisis occurs
and you could say that war crimes occur.
So we boarded a boat, some reporters including Chris and Tim Hetherington.
That is a 17 hour trip.
We get to Misrata and you are surrounded by water.
Regime forces on the other side
and battle zone in the city center.
And there is no place to go unless you ride the boat
and exit, and even the port is under fire all the time.
It's a bit difficult to find a place to live there,
so the rebels are like home host all journalists.
There are many of us basically sleep
on mattresses in various places around the living room.
So, on the morning of the 20th, I remember Chris was there
on the sofa read Pride and Prejudice
or something very strange in this conflict situation.
And, uh, I think I went first
and then it's Chris and Tim and the whole group
who decides to go to Jalan Tripoli.
One of the front lines of Misrata
is on Tripoli Street.
And part of the path opens,
so you can really, You can drive there
and you can sort around and see the damage.
There are big ones crowd,
they are shooting in the building.
It seems, some snipers inside.
And we will have people in the field with light artillery shooting at the building.
It's like very dangerous place to be.
One of the men who is at my side has just been shot in the head.
Last.
We are ready.
They try to burn tires to make it out.
They will not come out.
This oil is old.
Someone like, lit a fire on the stairs
and everyone starts running out of the building
because of smoke.
Hetherington is upstairs...
stuck at some point
and basically must exit the building on the stairs.
The situation is very crazy for a while
and then calm down a little a little because I think they killed these people
so we decided to go back.
Guillermo, are you okay, friend?
We return home so we can submit our work.
And at one point, is likely to come back here,
I don't know where, and I said, "Yes, why not?
Some others will return and, at first, like,
"No way, I won't come back. It's impossible."
You know, and Chris won't come back.
I remember that was a kind of division
between humans, to return or not.
And I think Mike and Chris aren't really back.
There has been a lot of talk about it what decision entered that day.
I don't think we will have it answers that are 100% clear
about how things really go down, um, and why.
We don't have the luxury of to be able to ask him
why did he decide to return.
So when we arrived at dusk,
nothing happens, that's weird.
You can't hear gunshots, you know.
But you can feel tension.
We started walking near the building
that we spent the morning at then
maybe only 100 feet past the building,
a few hundred feet, that's when...
mortar entry.
Thirty minutes after one hour,
let's give you a check the main story this morning.
The battle for Libya has claimed the lives of of two Western photo journalists,
Chris Hondros and Tim Hetherington.
They are covering the battle between the rebels and Gaddafi
forces on the front line in Misrata.
American photographer Chris Hondros
from Getty Photo Agency died within a few hours
receive destructive brain injury.
British-born photographer and Oscar-nominated director
The Hetherington team died earlier in the same incident
in the western Libyan city from Misrata.
Shrapnel from explosion
kill both Hetherington who was born in England and Hondros America.
Two others were injured.
I'm always... I'm always very, very proud of him.
He has a dangerous job but we talk about it many times.
You see, that's the decision, it's the job, he likes it.
I'm still a little angry that he must go,
but I always say he does more live in 41 years
of some men 100 years old.
You know I have been a photographer since I was 16 years old.
I don't know what I will do if I don't do this.
Despite being a war photographer
You see so much destruction and you see so much humanity
worst, this for me is balanced by that fact
You also see humanity often the best.
I have seen it like that example of courage and such examples
human generosity in my work as well and for me
it's already balanced for all the horrible things that I've seen.
In 2003, I was just a photographer, still a photographer,
and I actually want to be a photo journalist.
Chris Hondros came here to tell our story
that brought the war to an end so I learned a lot.
2005 he returned, we worked together.
He gave me this scene and I was there.
I am now a staff photographer for Europeans Pressphoto Agency.
So I always imagine him with the angle I took,
it's always come to my head.
I feel spiritual that Chris is in me.
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