An Image Worth One Thousand Words

Photo By: fracturedfotos

Chris Hondros, the famous photojournalist, covered most of the major conflicts in the world since the 1990s and has appeared on major American newspapers such as the New York Times, the Los Angeles Times, and the Washington Post. His vast collection of photographs give a mere resemblance within the context of what circumstance each specific picture is endeavoring. Over the years, Hondros became a well-known and respected photojournalist who allowed his viewers experience first hand what each picture in his collection had to offer. The specific picture, War in Shadows and Light exhibited in the Gallery in Art and Design at the North Carolina Museum of Art presents a context standpoint to it’s viewers like none other before. This picture captured can be elaborated to persuade its viewers, while taking a more connotative reasoning of why Hondros captured this moment in history. Hondros wants you to examine the intrinsic social and political context that can be viewed as well. I will inform and come to a reasoning of why Hondros wanted War in Shadows and Light to touch his readers in the social aspects within the context of his photograph.

When you first approach and examine the picture taken in the museum and read that the picture was taken in 2005, the natural instinct is to think back and examine which major events took place in Liberia within that year. Whether or not off the top of your head you can contemplate which major event was taking place at that time within this country, that point of view can be eliminated because that is not the photojournalist’s reasoning. Hondros’ main goal for this specific picture was for it to be publicly recognized because of the social aspects going on in Liberia that still continue to this day. For example, if you fasten your eyes specifically on the background of this picture you can automatically assume this is a third world country. What is the first thought that pops into your mind when you see a picture with a third world country? A small feeling of sympathy? A striking sense of anger? Deja Vu filled with past events that correlate to this photograph? All three of these examples of immediate thinking that occur when viewing the background image of Liberia are mainly first world assumptions from a majority of people that live in the United States. “Wow, look at the culture and way of life the people of Liberia have to endure.” As a student enrolled at North Carolina State University, I can almost automatically come to the assumption Hondros did not publicly display this photograph for any of those reasons. In my eyes, Hondros thought this photograph was a masterpiece because of the social images that come to a viewer's mind when examining this. It can also be molded into many ways of perception that the viewer can take under their own discretion.

Another main viewpoint that I am convinced Hondros wants his viewers to examine is the aesthetic aspect of the photograph. When carefully scanning the picture, you can see the Liberian commander Joseph Duo physically jumping high in the air in what seems to be a major positive event that had occurred. Without providing you with any information or details of what happened to cause Joseph Duo to jump in this manner prior to the snapshot, you can assume something inspirational just occurred. This can automatically be derived from looking at Joseph’s facial expressions. His mouth is drastically opened to where not even a smile can express enough joy to express what event just took place. His eyebrows, dimples, and hair are all in pure disorder at the same time because of the action he is presenting. Joseph’s arms are also fragrantly thrown up in the air proclaiming this notorious moment. His body language is a critical giveaway that something very positive had taken place when Hondros captured this moment on photograph.

Taking an even closer look, examining the background image of this third world country allows you to realize that there are many building and tower-like complexes that suit this picture. Most of these homes or businesses in this community aren’t in tip-top enough condition for family living quarters. Even as some of the buildings look as if they are are about to crumble down and collapse at any moment, some of them are painted in vividly bright colors that resemble a rainbow. The photograph is taken from such a far distance that you can’t see what is specifically painted on the side of the walls on the buildings, but one can assume that they were paintings that took a long time to finish and that the community takes pride in these expressions. These paintings on the side of the walls on the buildings represent an aesthetic, positive vibe that can be seen and heard throughout the particular city in Liberia. No matter what the political, economic, or social standing Libera was facing when this picture was taken, the people in this city still have both vast hope and strong roots in their country. No matter what war or tragic event takes place in their city, these people are convinced that they are strong and will neither be shaken nor torn down by tragedy, and that is what the paintings on the side of the buildings represent.

Photo By: International Committee of the Red Cross

While taking in both the social and aesthetic aspects in this picture, the author is also trying to create a sense of expression. While examining the background, bridge, and people in this photograph, everything and everyone seems to have the life sucked out of them. The sky is a dark, hazy color that only brings upon gloom to the atmosphere. The man on the left side of the image seems to be another soldier in what might be a current battle going on. War only indicate hurt and pain in the long run, even to the victor. The grass on the right side of the picture is very patchy and uncared for, which resembles a possible broken Liberia, where the situations and events in this country may of been a rough patch for the citizens. All three of these specific details can make any viewer assume this country is on it’s last straw politically, socially and financially. The one silver lining that the author shoots at the last moment contrasts and defeats all of the darkness, as you see Joseph Duo grasping for joy. Whether Liberia had just won the war or made a crucial turning point in the war when this photograph was taken, the man jumping in the middle of the bridge looking at the photographer represents a luminary that this country still is chugging along. Hondros is able to tell his point of view because of the physical movement made by Joseph Duo. The image as a whole shows that no matter how terrible of a situation or predicament an individual or group of people can be in, there is always a small hope or aspiration that can be positively shown to motivate others.

If you ever come across this specific image by Chris Hondros, whether it be sometime during the next week, month, year or decade(s), you should think and examine the mood, cultural, historical, social and aesthetic aspects to this picture carefully. There are many viewpoints to be taken in terms of why the photojournalist took the image at this specific time and place. This art piece is no exception to the  famous saying, “A picture can speak a thousand words.” As a viewer, it is important to not only examine this photograph with a more thorough examination of why the photojournalist took this picture, but to bring that mentality along with you to every art piece and photograph you stumble upon as well. If you are able to bring this mindset to the table, you can open up a new literature world that can start a notion for others to have the same perception as you. This to me, is what Hondros wants his viewers to examine while looking at his photographs, along with other photojournalists’.

Work Cited

George, Rose. "Testament by Chris Hondros-Review." Theguardian.com. N.p., 23 May 2014. Web. 12 Nov. 2015.”

Murrmann, Mark. "The Dangerous, Harrowing Work of War Photographer Chris Hondros." Mother Jones. N.p., 11 Apr. 2014. Web. 12 Nov. 2015.”

"Liberia: Conflict Profile." Insightonconflict.com. N.p., n.d. Web. 12 Nov. 2015.”

Left, Sarah. "War in Liberia." Theguardian.com. N.p., 4 Aug. 2003. Web. 12 Nov. 2015.”

Hondros, Chris. "Windows on War." Sagepub.com. North Carolina State University, Sept. 2011. Web. 12 Nov. 2015.”