17 May - 22 June 2025
A Meditation
on Conflict
Reflecting on a group of war photographs from the Gallery's collection and Ezra Acayan.
Roger Fenton, Timothy H. O’Sullivan, Frank Hurley, Australian & USA Official War Photographers, Ossie Coulson, Tim Page, Nick Ut, Marc Riboud, Don McCullin, Dorothea Lange, ADF Arthur/Anthony, Ezra Acayan and others bearing witness.

an essay:
by Garrie Maguire the gallery director
As time goes on and I enter and exit stages of life, I have become increasingly uncomfortable with how our society relates to conflict. David Mamet’s said, the essence of drama is conflict, but now we have taken this idea and applied it to all of life. The imperative is to find or create drama. This applies to our news, our politic, our employment. As I wrote this I found it hard not see conflict as the central core underlying the Anglosphere cultures, from World War I to our society’s obsession with War on Drugs. It is impossible to achieve peace if the framework is conflict. My grandfather fought him World War I, in Belgium. He was there for 10 days before mustard gas came over no-mans-land and sent home. He returned to World War II as part of the signal core. I have his war records. They don’t say much. I met the man once at the end of his life in Greenslopes Repatriation General Hospital. I was about 10 at the time, and all I could remember was an old man on a bed in one of the less modern sections of the hospital. Growing up, ANZAC Day would come around each year and we would go out and see the veterans from World War I and II marched to remind us of their bravery and the sacrifices that were made to bring us peace. By the time that I have become politically aware, there were questions over whether the day should be celebrated or even continued. Now 55 years later, I doubt if any of the World War II veterans are still marching. The connection to those times and to the eye witness accounts are now broken. People seems to have collective amnesia of these atrocities. I moved to Melbourne and got to know a very old frail couple. His wife told me some of their backstory. He was captured in Singapore. Held in Changi, then put to work on the Thai Burma Railway by the Japanese Force. Japanese culture had become so certain of its superiority that it drew the conclusion of anyone not like them, not with their mindset, was not human, nor needed to be treated as human. In the bleakness of it all after enduring so much suffering, he treasured life even more, and had trouble understanding why young people were so flippant with theirs. In 1992, I visited Japan. First destination was south. I got out of the train, went looking for the centre of the city. I got on a tram. We were heading for a darkness, where discordant music was heard. As we got closer, it sounded like Japanese opera of great sadness and grief. I got off the tram and walked towards to singing. The path rose, as I walked up the arch of a small bridge. A river flowed under along with lanterns. Each consisted of a cross of timber, a candle and paper around. Thousands were floating down the river. I stood still taking in the scene. Then it occurred to me, I was standing on the bridge that the Enola Gay aimed for, i looked up to see the A-Bomb Dome where atomic bomb was dropped 47 years before to the day. The next morning I walked around making photos. A couple were scared with the horrors of conflict, even though they were probably children when the detonation happened. Japanese has a policy of amnesia about World War II. I felt it important in my friendships with Japanese to give a sense of the war. Yasushi came with me to the Australian War Memorial, there were a group of Japanese tourists behind us. I asked what they were talking about. They were very impressed that Australia has such a good collection of Japanese war memorabilia but they didn’t realise that we were not on the same side. After leaving high school, I was employed as an Article Clerk at the department of Veteran Affairs. My job was to find and prepare medical records for doctors’ appointments at Greenslopes Repatriation Hospital. During my employment, I noticed the perception shift between World War II and Vietnam War Veterans in how people saw personal responsibility. The war crimes trails after the war ended the idea that the soldiers’ primary responsibility is to carry out orders. They were no longer heroes,and the country was further divided after all the trauma they had been through. There was no sense of closure, unlike World War II. I went back to university to research the difference in notion of masculinity between Chinese and Anglo Celtic Australian understanding. The two archetypes are the ‘warrior’ and the ‘scholar’, in both cultures. The big difference being that in Chinese culture to be respected as a warrior, one need cultural understanding like a scholar. This is missing in our culture. In Chinese culture the scholar is more respected, in ours the warrior won. We use the lexicon of war to describe sport, business and politics. I doubt if this is helpful. I’ve never been to war. Though in 2015 to 2017, I was in fact in a war zone. Under Duterte’s regime, Philippine embarked on a war against drugs. Everyone remotely connected to the drug world were hunted, possibly tortured, murdered even. In a corrupt justice system that favours the rich, this means unfair prosecution and needless death of poor rather than the contrary. I was in Manila when I was embroiled in a sting operation scams by corrupt police office where things went horribly wrong for everyone. A story for another time perhaps. Over my lifetime one thing I know for sure. No matter how confident politicians or business leaders are, it is very difficult to win a war now, whether that is Iraq, drugs or poverty. People have become less willing to relinquish land, freedom or change behaviours to suit forces they do not feel part of.
Roger Fenton

Roger Fenton
Roger Fenton was the first photographer to documentary war it was the Crimean war a place so strategic that there is currently another war going on between Russia and Ukraine. It was limited by the WePlay process and needed to process the photos as soon as possible Photographed the encampments but mainly the office is involved. This is one of those offices. The glory of war is still ever present in this image. Major General Estcourt (Major General James Bucknell Estcourt) from Crimean War series This is a salt print made in 1855.
Timothy H. O’Sullivan

A Harvest of Death
From Time Magazine:
(The) debate on photographs of war dead that dates back to the Civil War.
Long before television and the Internet, graphic battlefield photos by Mathew Brady’s corps of war photographers made their way into homes through photo-album books. (In Timothy O’Sullivan’s 1863 Gettysburg tableau A Harvest of Death, you can practically hear the flies buzz over the bloated corpses.)
This was not the first photograph of the corpses of Soldiers. On the battlefield of Antietam, by Mathew B. Brady, September 1862, predates it and both are important as they were part of a large entrepreneurial venture, not for the official record but to make money, oh that failed.
Digital print from Library of Congress scan from original glass plate.
Unknown Australian Official Photographer

‘Occupied’
Troops of the 6th division aif moving up the gangplank into the troopship. Embarkation. These prints are most likely Rotogravures. They are all the Australian War Memorial collection. I’m in discussion with them to determine the age and reason for their existence. We believe that they are most likely printed after the Great War, probably to raise funds for the building of the memorial.

Stores, limbers and troops along the beach at Anzac Cove. Lighters and barges are by the piers.

This image is a British Admiralty official photograph which is held at G00408 and H10324. “In an Australian trench at Anzac showing a man using a periscope rifle, while a comrade ‘spots’ for him through a periscope. The periscope rifle was invented by an Australian soldier on Gallipoli.” (G00408 original caption) “An Australian trench at the Dardanelles, showing a soldier using a periscope rifle, and another keeping watch by means of a periscope.” (H10324 caption) “Men of the Royal Naval Division and Australians in the same trench. One is using a ‘sniperscope’ and another a periscope. Defence of the ANZAC. Scene in a trench during the period 28th April – 12th May, when the Marine and 1st Naval Brigades of the Royal Naval Division reinforced the Australian and New Zealand Army Corps in the area about what were later known as Quinn’s and Courtney’s Posts. The Marines brought a few periscopes with them, and the Australians improvised a supply from looking glasses sent ashore from transports.” (Caption for this image held by the Imperial War Museum at Q 13427) Identified from Australian War Memorial documents are, left to right: 274 Sergeant Ernest William Crain; unidentified; 313 Trooper Arthur Snowdon Demaine; Lieutenant Joseph Burge (killed in action 7 August 1915). These men belong to the 2nd Light Horse Regiment. These identifications are from a G series key sheet. Immediately after the First World War the Australian War Museum (now the Australian War Memorial) sought identifications from veterans to augment official captions. These identifications were recorded in the key sheets. Many veterans have felt an affinity with images such as this. Over time, multiple conflicting identifications have been suggested for these servicemen and the units in this image. The Memorial is maintaining the identifications received in the immediate post war period. The unidentified serviceman will remain unidentified, as there is no compelling supportive evidence to confirm an identification.

Troops of the 5th Division walking along a winding duckboard, known as Jabber Track, through the waterlogged and sodden valleys in Albania Woods, in the Ypres sector. On this date, the 3rd and 4th Division were engaged in the attack on Passchendaele Ridge, seen in the distance. Identified, along the duckboard, right to left: unidentified; Private (Pte) N Jewell (cigarette in mouth); Pte A Cranston; second from the front is Corporal Wiley.

The town of Jenin on the morning after its capture by the 3rd Light Horse Brigade. As the Desert Mounted Corps was riding hard for the Esdraelon Plain, to get astride of the enemy’s communications, the Seventh and Eighth Turkish armies, assailed by the British infantry, were forced back from their position in Samaria. A force of about 10,000 Turks, retreating under this pressure, emerged from the hills near Jenin on September 20th. They were charged by the 9th and 10th Light Horse Regiments, and all surrendered without a struggle.

The 3rd Australian Light Horse Brigade ‘trekking’ by the Sea of Galilee en route for Rosh Pina, in Palestine. This is a digitally combined composite panorama made up of two separate images. It is only available as a digital print. The two images are also available separately at B00281A and B00281B.

Disabled Mk IV tanks in the mud near Clapham Junction, in the Ypres sector in Belgium. Note the water in the various shell holes in the foreground.
Nick Ut
In 1966, at a very young age, Út joined The Associated Press (AP) in Vietnam, after his older brother Huynh Thanh My, also an AP photographer, was killed in combat. Út covered the rest of the Vietnam War for AP. Later, he also worked in Tokyo, and in 1977 he was transferred to Los Angeles. There were many close calls for Nick Út while covering the war in Vietnam. When the Americans and South Vietnamese invaded Cambodia in 1970, he was wounded three times: in his stomach, his left leg and in his chest. The highlight of Út’s career came on 8 June 1972, when he photographed Kim Phuc running and screaming down route 1 after her village had been bombed with Napalm by South Vietnamese planes. Immediately after making the photo, he rushed the girl to a hospital, which saved her life. The image won every major photographic award in 1973, such as the World Press Photo award, the Pulitzer Prize, the George Polk Memorial Award and the Overseas Press Club award. In 1993, Nick Út was asked to open a new AP office in Hanoi, where he worked with his old colleague from his Saigon years, George Esper. Út is now a US citizen and currently lives in Los Angeles. https://www.worldpressphoto.org/nick-ut

Bung Cau, South Vietnam, Oct 21 -- Aiming for Sapper -- South Vietnamese Soldier is about to unleash grenade at North Vietnamese sapper positions during fighting to retake hamletf of Bung Cau, 16miles north of Saigon Saturday. South Vietnamese regained control of much of the village from the north Vietnamese sapper company after several hours of house to house fighting, backed by an artillery barrage. (AP Wirephoto via Radio from Siagon) 1972

(NY 4-APRIL 18) DEAD VIET CONG-- South Vietnamese militiamen look at bodies of Viet Cong killed recently when they tried to overrun an outpost on Route 1, about four miles north of Hue. The road is vital supply line to northern front at Dong Ha, 10 miles south of the DMZ. Some of the Viet Cong got through the post’s defenseperimeter, damaging buildings, background, wiht explosives. (AP Wirephoto)1972.

ADVANCE PMS WEDNESDAY MAY 29 WITH ORPHANS STORY BY LY PHUC THAI (NY9-May 25)--HAPPINESS ISN’T...---happiness isn’t a bowl of steaming noodles to one child at a orphanage in Saigon, As estimated 20,000 children live in orphanages in South Vietnam. (AP Wirephoto) 1974.
Marc Riboud

The Ultimate Confrontation: The Flower and the Bayonet
By 1969, LOOK saw this photo a “The Ultimate Confrontation: The Flower and the Bayonet.” Photographer Marc Riboud had discovered this girl offering a National Guardsman a flower, “a gesture of love and peace on earth. The boy could answer only with his bayonet.” The young woman was 17 year old Jan Rose Kasmir. “I don’t remember how I heard about the Pentagon demonstration, but I just knew it was something I had to participate in,” she says. “I had to speak out against this horrible war.” But she was surprised by her reaction when she found herself face to face with the soldiers. “I was begging them to come join us. ‘You don’t really want to kill me, come join us.’ … The moment that Marc snapped that picture, there is absolute sadness on my face because, at that moment, it was sympatica. At that moment, the whole rhetoric melted away. These were just young men. They could have been my date. They could have been my brother. And they were also victims of this whole thing. They weren’t the war machine. They were human beings and they were just as much a puppet of this whole horrible, horrible travesty… The gesture was prayerful.” By 1969, LOOK reflected the views of many, if not a majority, of Americans – the war was wrong. “This war, vicious as cancer, has in many ways been dramatically close to us because of television,” LOOK editor Patricia Coffin wrote. “But still, it is so remote that the routine Thursday morning announcement of U.S. casualties spews from my radio at the same voice level as the news about the weather. ‘Only 250 dead this past week, a reduction from …’ Only! And one hundred billion dollars have been spent on a war that was never officially declared. When I think what a fraction of that money could do…” link
Eddie Adams

Photojournalist Eddie Adams captured one of the most famous images of the Vietnam War - the very instant of an execution during the chaos of the Tet Offensive. It would bring him a lifetime of glory, but as James Jeffrey writes, also of sorrow. The snub-nosed pistol is already recoiling in the man’s outstretched arm as the prisoner’s face contorts from the force of a bullet entering his skull. To the left of the frame, a watching soldier seems to be grimacing in shock. It’s hard to not feel the same repulsion, and guilt, with the knowledge one is looking at the precise moment of death. Ballistic experts say the picture - which became known as Saigon Execution - shows the microsecond the bullet entered the man’s head. Eddie Adams’s photo of Brigadier General Nguyen Ngoc Loan shooting a Viet Cong prisoner is considered one of the most influential images of the Vietnam War. At the time, the image was reprinted around the world and came to symbolise for many the brutality and anarchy of the war. It also galvanised growing sentiment in America about the futility of the fight - that the war was unwinnable. “There’s something in the nature of a still image that deeply affects the viewer and stays with them,” says Ben Wright, associate director for communications at the Dolph Briscoe Center for American History. The centre, based at the University of Texas at Austin, houses Adams’s archive of photos, documents and correspondence. “The film footage of the shooting, while ghastly, doesn’t evoke the same feelings of urgency and stark tragedy.” But the photo did not - could not - fully explain the circumstances on the streets of Saigon on 1 February 1968, two days after the forces of the People’s Army of Vietnam and the Viet Cong launched the Tet Offensive. Dozens of South Vietnamese cities were caught by surprise. Heavy street fighting had pitched Saigon into chaos when South Vietnamese military caught a suspected Viet Cong squad leader, Nguyen Van Lem, at the site of a mass grave of more than 30 civilians. Adams began taking photos as Lem was frogmarched through the streets to Loan’s jeep. Loan stood beside Lem before pointing his pistol at the prisoner’s head. “I thought he was going to threaten or terrorise the guy,” Adams recalled afterwards, “so I just naturally raised my camera and took the picture.” Lem was believed to have murdered the wife and six children of one of Loan’s colleagues. The general fired his pistol. “If you hesitate, if you didn’t do your duty, the men won’t follow you,” the general said about the suddenness of his actions. From https://www.bbc.com/news/world-us-canada-42864421 In AppleTV+ documentary on the war they give much more background to this image.
Tim Page

Tim Page was produced a significant body of work but is as well known for his personality and life lived large. He attributed his carelessness with personal safety to the motorbike accident that failed to kill him: “I was alive. I was not dead, and it seemed very clear, very free,” he wrote. “This was the dawning, the overture to losing a responsible part of my psyche. A liberation happened at that intersection. Anything from here on would be free time, a gift from the gods.” Hunter S. Thompson, the archetypal gonzo journalist, refused an assignment with Page to Vietnam in 1975 on the grounds that he was “too crazy.” There was certainly madness involved in the kouprey hunt that almost killed him in Cambodia’s remote Mondulkiri province in 1994. The search for the rare bovine was in a wilderness with Khmer Rouge remnants and ferocious bugs. The organizers included Nate Thayer, the American correspondent who tracked down Pol Pot on the Thai border three years later. Page always said it was more important to be a decent human being than a great photographer,” Bohane said. “Even though he is mostly known for being a rock ‘n’ roll war photographer, it’s important to remember his abiding humanism. He really wanted to bring attention to conflict and suffering as a way to end it. One of his most famous lines was, ‘The only good war photograph is an anti-war photograph.’” A brilliant raconteur, Page enjoyed public speaking, and basking among admirers at events. He was an engaging, detailed writer with unique turns of phrase -- dubbed “Pagespeak” by one of his editors. Anything or anyone he approved of was loudly declared to be “righteous” -- the ultimate Page benediction. Quotes by Dominic Faulder https://nikkei.shorthandstories.com/tim-page-the-photographer-who-lived-on-borrowed-time/

Herr also wrote the screenplay for Stanley Kubrick’s Vietnam picture Full Metal Jacket and worked on the narration for Coppola’s Apocalypse Now. The nameless crazed photographer played by Dennis Hopper in that film, the first Vietnam epic, was a composite of Page and Flynn. The drugged-up, wacked-out lensman, a visionary in combats. That’s Page’s place in photography – not for his photographs but as a photographer. A life lived through emulsion – glare-washed Ektachrome. As close as you can get to the guns, maybe closer – a 21mm lens, so hungry for understanding that it buries itself halfway into its subject’s bodies. An M3 Leica and a Nikon F hanging from the neck – part cameras, part post-historic totems, part body armour. Chrome and steel all black-taped up – camouflage as style (or perhaps the reverse). ‘Our adventure sandbox,’ that’s how Page described his and his pals’ Vietnam. ‘There was too much to shoot,’ he wrote. ‘Too many frames to be made. No time to do it.’ That was in his book, Tim Page’s Nam, which only came out in 1983, eight years after the war ended – by which point, the legend and myth had easily replaced whatever reality might have been there in the first place, in the public imagination and inside Page’s head. ‘The POI didn’t know zip about door guns, just sat there gawking.’ That’s one line in it. I’m not sure I know what it means and I’m not sure Page did either. Here is another line: ‘the camera became a filter to the madness and horror, a means of portraying it.’ And another: ‘The only thing it couldn’t stop was the stench of death.’ quote from Peter Silverton https://unitednationsofphotography.com/2021/02/04/icons-of-photography-tim-page/

After World War I, Palestine was administered by the United Kingdom under a mandate received in 1922 from the League of Nations. The modern history of Palestine begins with the termination of the British Mandate, the Partition of Palestine and the creation of Israel. The Partition of Palestine: In 1947, the U.N. proposed a Partition Plan for Palestine and recommended the partition of Palestine into two states, one Jewish and one Arab, with Jerusalem-Bethlehem administered by the UN. The resolution included the recommended boundaries for each proposed state and plans for an economic union between the proposed states and for the protection of religious and minority rights. Briton was to withdraw by August 1948 and establishment of the new independent states by October 1948. First Arab-Israeli War (1948): Jewish leadership accepted the Partition Plan but Arab leaders rejected it. The Arab League threatened to take military measures to prevent the partition of Palestine and to ensure the national rights of the Palestinian Arab population. One day before the British Mandate expired, Israel declared its independence within the borders of the Jewish State set out in the Partition Plan. The Arab countries declared war on Israel beginning. After the war the Armistice established the separation lines between the combatants: Israel controlled some areas designated for the Arab state under the Partition Plan, Transjordan controlled the West Bank and East Jerusalem, and Egypt controlled the Gaza Strip. The Six Day War saw Israel effectively seizing control of the Gaza Strip and the Sinai Peninsula from Egypt, the West Bank and East Jerusalem from Jordan, and the Golan Heights from Syria. The U.N. Security Council adopted Resolution 242, the “land for peace” formula, which called for Israeli withdrawal “from territories occupied” in 1967 and “the termination of all claims or states of belligerency.” Resolution 242 recognized the right of “every state in the area to live in peace within secure and recognized boundaries free from threats or acts of force.” from Dummies.com
Arthur or Anthony

EARTH HOUR
This is a series of photographs made by an Australian service person with Fit. We have his handwriting but I can’t work out with it as Arthur or Anthony. Please feel free to add your opinion to that. The photographs are all inscribed on the rear as to what they are off effectively Japanese prisoners being taken off a Japanese hospital ship in Morotai in 1945. Should be noted that at this point. Australian soldiers had been liberated from a Japanese camp, these prisoners of war and have been treated particularly appallingly. There are photographs within the Australian war memorial collection which shows them having lost virtually all fat on their body and in malnutrition these photographs. At first glance look very matter-of-factly but when you read the inscriptions on the rear you suddenly realise the animosity of the Photographer felt the other thing that’s worthy to know about these photographs is they were made on the island during the war. The first photograph which is turned around is the first one he made in his makeshift dark room and then I’ve included another 13 photos 14 counting the Ariel view of the camp not these are not great Prince by any means however they are records of something which we have very little record of.
USA Official War Photographers

This is a collection of American war images. These were sold to raise money for the campaign and were collected as mementos. This group contains images of dead Japanese and American soldiers, in the pacific war. Many appear to be several generations from the original negatives. In these images we find an unflinching vision of the horror of war.
Dorothea Lange

Florin, California. Two of the nine American soldiers of Japanese ancestry who have returned to their home town on furloughs that were granted to them in order that they could assist their families prepare for evacuation of all persons of Japanese ancestry from their west coast homes. This community is depending on their returned service men for many errands, shopping, banking, etc., because the soldiers are permitted to travel into town, nine miles away, while others cannot because of military restrictions. 10 May 1942. In 1941, Lange became the first woman to be awarded a prestigious Guggenheim Fellowship for in Photography. After the attack on Pearl Harbor, she gave up the fellowship in order to go on assignment for the War Relocation Authority (WRA) to document the forced evacuation of Japanese Americans from the west coast of the US. She covered the internment of Japanese Americansand their subsequent incarceration, traveling throughout urban and rural California to photograph families required to leave their houses and hometowns on orders of the government. Lange visited several temporary assembly centers as they opened, eventually fixing on Manzanar, the first of the permanent internment camps (located in eastern California, some 300 miles from the coast). Much of Lange’s work focused on the waiting and anxiety caused by the forced collection and removal of people: piles of luggage waiting to be sorted; families waiting for transport, wearing identification tags; young-to-elderly individuals, stunned, not comprehending why they must leave their homes, or what their future held.To many observers, Lange’s photography—including one photo of American school children pledging allegiance to the flag shortly before being removed from their homes and schools and sent to internment—is a haunting reminder of the travesty of incarcerating people who are not charged with committing a crime. Sensitive to the implications of her images, authorities impounded most of Lange’s photography of the internment process—these photos were not seen publicly during the war. Wikipedia
Commonwealth Dept of Information

PASSED BY OPERATIONAL CENSOR. PHOTO NO 14564. ISSUED BY THE DEPARTMENT OF INFORMATION, COMMONWEALTH OF AUSTRALIA. NORTHERN AUSTRALIA. Japanese raid on Darwin. This bedroom suffered severely when hit by a bomb during the recent raid on Darwin. 49 fighters and bombers were attached by Sprifires, at least 14 of the enemy plans being shot out of the action. FOR PUBLICATION NOT BEFORE FRIDAY MORNING 9/4/43.
Official US Navy photographer

At Tsuki near Yokohama in Japan two Australians ( Harry Potter and Jim O’Connor) were chosen to be among for 15 correspondents to enter Japan ( wearing side arms at the direction of general Douglas MacArthur and despite the Geneva convention ) before any member of the fighting services. They were there from the Australian newspaper groups Potter from the Western Australian evening newspaper group 3 and O’Connor From group one morning papers they were there when the general first put his feet on Japanese soil at Atssuki giving his first press talk he was left for the grand hotel in Yokohama which made he his headquarters until he moved to Tokyo. The first 15 Newmen in Japan, including Potter and O’Connor, were bundled out of the grand hotel and went to the Bund hotel, once used to Nurse prisoners of war. Official US Navy photographs.
Unacknowledged Photographer

Though starving and humiliated, Manila’s residents could still gaze upon one of the miracles of the war: the Philippine capital and its architecture—a mix of renaissance Spain and 20th century America—was still intact. When the Japanese invaded the Philippines in 1941, General Douglas MacArthur had declared Manila an “open city,” withdrawing troops to spare it from heavy Japanese bombing. Three years later, the historic Spanish fortress of Intramuros with its massive walls and giant dungeons was still pristine. So were enormous American structures like the Legislative Building, the Finance Building, the Agricultural Building, and the Malacanang Palace—all designed by Daniel Burnham, who had created New York’s Flatiron Building and Washington’s Union Station. The Manila buildings were created in the heavy Roman style that the Americans used for their official structures back home. These buildings impressed Manilenos as symbols of authority and power. ... American 4.2-inch mortars could not penetrate reinforced concrete. It was ugly and bloody work, leaving behind many Japanese, American, and Filipino dead. The 3rd/148th suffered 58-percent casualties. Lacking time to bury the thousands of Filipino dead, GIs dumped quicklime on their bodies. ... There were plenty of them, but about 100,000 Manilenos had died in the fighting, mostly of them victims of ghastly atrocities. The Japanese had lost 16,665 men in the battle, virtually their entire force. The Americans took 6,575 casualties, 1,010 of them killed. ...It was a terrible victory all around. Manila had been destroyed, including the great Intramuros fortress and the massive American-made buildings. The biggest victors in the struggle were likely the Allied internees and POWs, who were liberated with far less difficulty than the city itself. Quotes by David H. Lippman Link
Associated Press Photographer

One could also argue that the first mass atrocities of WWII started at the Nanjing Massacre, also known as the Rape of Nanjing, was an episode during the Second Sino-Japanese War of mass murder and mass rape by Japanese troops against the residents of Nanjing, then capital. The massacre occurred over six weeks starting December 13, 1937, the day that the Japanese captured Nanjing. During this period, soldiers of the Imperial Japanese Army murdered Chinese civilians and disarmed combatants numbering an estimated 40,000 to over 300,000, and perpetrated widespread rape and looting. One of the worst affected cities in China was Chongqing a major city in Southwest China and one of the five national central cities in China. The Chinese Air Force was unprepared at the outbreak of the war. The Japanese air attacks went essentially unopposed. At the start of the second Sino-Japanese War in 1938, the Japanese began bombing China’s new capital city of Chongqing. During the five-year campaign, the Japanese killed an estimated 11,889 people, wounded 14,100 and destroyed 17,608 buildings, according to the Chongqing Municipal Government. Many people died, both in the bombings and also in the air-raid shelters, especially babies, from heat and exhaustion and diarrhea. Condensed quote from Dirk De Klein Link
unacknowledged Photographer

The International Military Tribunal for the Far East (IMTFE), also known as the Tokyo Trial and the , was a military trial convened on 29 April 1946 to try leaders of the Empire of Japan for their crimes against peace, conventional war crimes, and crimes against humanity, leading up to and during the Second World War. The IMTFE was modeled after the International Military Tribunal (IMT) at Nuremberg, Germany, which prosecuted the leaders of Nazi Germany for their war crimes, crimes against peace, and crimes against humanity. Following Japan’s defeat and occupation by the Allies, the Supreme Commander for the Allied Powers, United States General Douglas MacArthur, issued a special proclamation establishing the IMTFE. A charter was drafted to establish the court’s composition, jurisdiction, and procedures; the crimes were defined based on the Nuremberg Charter. The Tokyo War Crimes Tribunal was composed of judges, prosecutors, and staff from eleven countries that had fought against Japan: Australia, Canada, China, France, India, the Netherlands, New Zealand, the Philippines, the Soviet Union, the United Kingdom, and the United States; the defense consisted of Japanese and American lawyers. The Tokyo Trial exercised broader temporal jurisdiction than its counterpart in Nuremberg, beginning from the 1931 Japanese invasion of Manchuria. Twenty-eight high-ranking Japanese military and political leaders were tried by the court, including current and former prime ministers, cabinet members, and military commanders. They were charged with fifty-five separate counts, including the waging wars of aggression, murder, and various war crimes and crimes against humanity (such as torture and forced labor) against prisoners-of-war, civilian internees, and the inhabitants of occupied territories; ultimately, 45 of the counts, including all the murder charges, were ruled either redundant or not authorized under the IMTFE Charter. The Tokyo Trial lasted more than twice as long as the better-known Nuremberg trials, and its impact was similarly influential in the development of international law; similar international war crimes tribunals would not be established until the 1990s. Wikipedia

Hiroshima, Japan, 12/18/45. Willie and me and two little Jap(anese) boys.
On 6 August 1945 the United States Army Air Force dropped the first atomic bomb on the city of Hiroshima, Japan. The effects were devastating. The bomb released energy equivalent to 12.5 kilotons of TNT and had a surface temperature of 6,000 degrees. It is estimated that approximately 30% of the population, between 70,000 and 80,000 according the US Strategic Bombing Survey, died as an immediate result. The radius of total destruction was 2 km, demolishing the landscape and reducing the city to rubble.
In March 1946, Australia was assigned to Hiroshima and the surrounding area as part the British Commonwealth Occupation Force (BCOF), whose mission was to demilitarise and democratise Japan. By 1946 there were already the beginnings of a major tourism industry in Hiroshima and, unaware of the dangers of radiation, Australians flocked to the infamous city.
Shortly after the Japanese surrender on 15 August 1945, Australian prisoner of war Kenneth Harrison decided to celebrate his freedom with his fellow inmates by travelling to Hiroshima. Originally captured in Malaya 1942, Harrison was a survivor of the Burma–Thailand Railway. He was later transported to Japan, where he worked at a shipyard in Nagasaki and then a coal mine in northern Kyushu. Despite his experiences under the Japanese, Harrison could not help but be affected by the devastation that he saw at Hiroshima. At the end of his visit he reflected:
“Now, as we left Hiroshima, our hatred of the Japanese was swept away by the enormity of what we had seen. All bitterness was shed and left behind forever in the silence, the desolation, the ashes of Hiroshima.”
Quotes by Phebe Bowden Link
When I was a five playing with the other neighborhood boys, we would play soldiers. Our game had no consequences, we did not die. We remained friends at the end of every battle. There was a complication to our play. Emi. She was the lady who lived across the street, she was married to an Australian soldier she had met in Hiroshima prefecture. They have four children. Emi, was quiet, pleasant and kind. That made ‘killing’ the enemy difficult, when we knew and liked one. We did not live in a big city, we lived in Australia’s smallest city, less than 30000 people, it was only a city because the Anglican Church needed a cathedral. I never got to meet Emi, after childhood. I met her daughter at my uncle’s funeral. In her was the direct connection to Emi, and the experience of a young Japanese women, who fell for Australian soldier when he part of the occupation force. The Americans gave Australia Hiroshima prefecture, her husband died of cancer, as did many of the soldiers posted there.
garrie maguire (curator)
Ezra Acayan

More than 27,000 dead: this is the result of a two-year war on drugs in the Philippines. In 2016, Rodrigo Duterte became president of the Southeast Asian republic. His campaign promise to fight drugs with any means won him the election: he threatened those connected to drug consumption and sales with the death penalty, called for vigilante justice and allowed the police to act with brutality under complete impunity. As president, Duterte has likened himself to Hitler and vowed to massacre millions of drug users. Dealers and users were murdered, as well as countless innocent lives and children—mostly poor people. An estimated 30 people are killed each day across the country. The United Nations appealed in vain to the Philippine government to investigate extrajudicial killings and to prosecute the perpetrators, while the International Criminal Court has begun preliminary examinations into these alleged crimes against humanity. But the war continues. This photo reportage hopes to illuminate both the violent acts carried out in the Philippines as well as the questionable methods of Duterte and the police. With thousands dead in two years and with four years left in Duterte’s term, it has become more than ever crucial to record these atrocities. Ezra Acayan

Ezra Acayan is a documentary photographer based in Manila whose work primarily focuses on social issues and human rights. Currently, he is working on a documentary reportage on the suffering and abuse experienced by communities under the Philippine government’s war on drugs. In 2017, together with a team of Reuters journalists, was awarded a special merit at the Human Rights Press Awards for multimedia reporting on the drug war. In 2018, he received both the Ian Parry Scholarship Award for Achievement and the Lucie Foundation Photo Taken Emerging Scholarship, as well as being named Young Photographer of the Year at the Istanbul Photo Awards. This work—along with work by other journalists who cover the drug war—has been exhibited in Geneva for two straight years as part of the Universal Periodic Review of the Philippines at the United Nations Human Rights Council. It has also been exhibited at the Foreign Correspondents Club in Thailand (FCCT), in France during the Prix-Bayeux Calvados Award for War Correspondents, in Sarajevo during the WARM Festival, and in Germany during the Lumix Festival for Young Photojournalism. He has done multimedia work for various outfits such as Reuters, European Pressphoto Agency, Agence France-Presse, Deutsche Presse-Agentur, and the French Society magazine. He has also done work for NGOs such as Diakonie Katastrophenhilfe, Care International, and the French Red Cross. His work has appeared in Time, Newsweek, The New York Times, The Guardian, Wall Street Journal, Vice, Washington Post, Al Jazeera, Le Monde, Stern, Paris Match, and more.