Kareem Rashad Sultan Khan Photo Essay Assignment

In 'Service,' A Celebrated Photographer Turns His Lens On U.S. Troops

(From left) Command Sgt. Maj. Gabriel Cervantes and Col. Burt Thompson of the 1st Stryker Brigade Combat Team, with Interpreter John Mardo. 2008. (Center) Pfc. Casey Long of the Tennessee Army National Guard. 2008. (Right) Sgt. Tim Johannsen and his wife, Jacquelyne Kay, at Walter Reed Army Medical Center, where Johannsen spent 2 1/2 years after losing his legs on his second tour in Iraq. 2008. Courtesy of Platon hide caption

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Courtesy of Platon

As a celebrated portrait photographer, Platon Antoniou (who goes professionally by his first name) is well-known for his close-up depictions of the powerful. He has aimed his camera at the faces of celebrities and world leaders ranging from Vladimir Putin and Moammar Gadhafi to Willie Nelson and Woody Allen.

"Sometimes," he says, "you look in their eyes and you see angels. And sometimes you see demons."

Platon's 2011 book, Power, featured photos of more than 100 world leaders. In Service (Prestel Publishing), the British-born photographer turns his lens on U.S. military personnel and their loved ones.

"I have a rather strange perspective on the times we're living in," he says, "because I've had very intimate moments with heads of state, and yet I've also had these very powerful moments with the people who have to play out the policies that our leaders put forward. It leaves me as someone in the middle."

The book results from a project that began back in 2008, an assignment Platon took on after he was appointed as Richard Avedon's successor as staff photographer at the New Yorker. (He now dedicates much of his time to The People's Portfolio, a nonprofit organization he founded to highlight underreported stories around the world.)

First, he spent time with troops while they trained in a simulated Iraqi village at the U.S. Army's National Training Center at Fort Irwin in the Mojave Desert, before they were deployed. Then he waited for them to return. When it was possible, he photographed them again — or the loved ones who survived them.

"I had done so many portraits of leaders," he says. "And what is great leadership? We have seen it being about confidence, charisma, strength, decision-making. We all know that side. But there's another side that's far more complicated — that's the idea of service. I wanted to find out what happens when you're asked to do something and you do it — and it's very dangerous, and the sacrifices you make. This is where I learned about the other side of leadership, which is service."

In the waning weeks of the 2008 presidential campaign, the New Yorker published several of Platon's images. One, showing a grieving mother at Arlington Cemetery embracing the headstone of her son — a Muslim-American soldier killed in Iraq — caught the eye of former Secretary of State Colin Powell, who highlighted it as he announced his endorsement of Barack Obama, who he hoped would be a unifying figure as U.S. president.

"The picture of the mother is the big question of our time: What is it to be American, to be patriotic, to give good service?" Platon says. "Unfortunately, the reason why the [image of the] mother was so powerful — that terrain is even more heightened now. I'm left with this sadness. Did we learn nothing?"

What did you first set out to do in this project?

We had an election coming, as we do now. We had this idea: How do we do a large-scale photo essay that provokes and stimulates respectful debate? I was interested in looking at poverty in America, but other issues came up and the U.S. military was one of them.

We focused on America's role militarily, and slowly, it morphed into this idea of service — it became less about war and was more about the human story behind the war. We wanted to avoid politics. We had this idea not to photograph anyone famous. This is really about ordinary men and women and families who all give great service. It was certainly an emotional roller coaster and it pushed me so far.

Describe the training camp you spent time in.

It's 100 square miles in California, in the desert, where they built Iraq. [The simulated Iraqi village] was called Medina Wasl. The soldiers called it "The Suck." They were sent there for the last two weeks before deployment to really get their heads in the zone. There's tanks tipped over on fire. All the signs are in Arabic. They had a Humvee which was exploded five times a day on routine patrols with IED explosives. It was more and more disfigured as the demonstrations continued.

Using special effects, this Hummer explodes into flames multiple times a day in Medina Wasl, a mock Iraqi town set up at the National Training Center. Fort Irwin, 2008. Courtesy of Platon hide caption

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Courtesy of Platon

You feel like you're in Iraq; it's 105 degrees. [The soldiers] are ambushed by role-playing terrorists; people are screaming. They use amputee role players coming out screaming, holding part of their foot.

I was allowed to photograph all this. I built a small studio and invited [people] in.

They called this street [at the camp] "Trauma Lane," and that was the working title of the book for a long time. As the project shifted to the return home, I realized there was something more than just trauma here. There was tenderness, feelings, love and compassion. So it shifted to something more universal, which became Service.

The conditions sound challenging, not your usual studio photography.

It was a godforsaken place. I've never been to war; I've never experienced anything like that. I was suddenly put in this hellhole of a place, and that wasn't even the real thing. It felt a bit like Apocalypse Now. Things start to get a bit warped. The Hasselblad, the camera I use, has this leather on the side glued onto the metal, and it was so hot, the glue was melting. All the casing started to come off.

We worked 15-hour days in the heat for four or five days. There was nowhere to shower. At night, you could hear explosions going off, but after awhile you'd fall asleep because you were exhausted.

You had a rude awakening one night, right?

I remember I felt this pressure between my eyes, and I woke up and there was a gun — I don't know what kind of gun because I'm not a gun kind of guy — but it was one of these machine gun things pointing right between my eyes, with night vision. The guy looked like some version of Robocop — I nearly had a heart attack. He just whispers as he presses the barrel more and more into my flesh, "Don't. Move."

It was a [simulated] nighttime patrol mission. I just lay there. He steps over me and just carries on walking. I wanted to say, "But I'm a New Yorker photographer! I'm just here doing portraits!" But obviously you daren't speak.

I actually found the guy who did it the next day. I wanted to show everyone what it felt like — "Would you help me do that?" He said sure. And he points the gun right at the camera. It's not the same, because [originally] it was nighttime and I was half-asleep. But the feeling of that giant looming over you with perspective, the gun literally coming into your face, was the nearest I could get to it as a portrait photographer.

You met some of the soldiers when they returned.

Airman 1st Class Christopher Wilson greets his fiancée, Beth Pisarsky, after returning from a six-month deployment in Iraq. Wilson is a member of the 305th Security Forces Squadron of the 305th Air Mobility Wing. McGuire Air Force Base, N.J., 2008. Courtesy of Platon hide caption

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Courtesy of Platon

Yes, they were deployed. Then they come back and it's all different. I waited with the families. I waited with this young lady [Beth Pisarsky]. The Humvee pulls up, [Airman 1st Class Christopher Wilson] steps out, and when these guys come back, they are built like rock — not just physically, but emotionally.

[Pisarsky] charged at him like a team of wild horses and almost knocked him over. And it was almost like an attack of love. I remember having to tilt the camera because I wasn't expecting it, it surprised me. It was the beginning of emotion — now I'm not just seeing a sense of bravado, I'm now seeing what did it take to be a good servant. What price did you have to pay? You know he's come back different.

There's another shot of a soldier hugging [a loved one] and there's a tear rolling down his face that isn't just happiness. It's complicated. And from now on, it's going to be really complicated. He's seen things you can't unsee. And she hasn't. But she's experienced that they had a relationship that's now going to be fundamentally changed.

So it became really human. It stopped being about the military and war, and turned into this human story that I never really expected it to be. I ended up taking pictures of love in the second half of the book.

Tell me about the portraits you shot at the Walter Reed Army Medical Center.

I did a portrait of [Jacquelyne Kay] with her arms around [husband Sgt. Tim Johannsen] in a wheelchair. And it became what I saw as this transference of power. She's his wife and saying, "I've got him home now, no one is going to hurt him anymore." The picture is divided into two halves. I remember thinking consciously, do I show his legs cut off? Maybe I should be more sanitized about it. Then I thought, no. You have to acknowledge both — the love and tenderness, and the brutality, danger, pain and trauma that's also there.

He closed his eyes in her embrace. It was the most powerful thing. For him to show a sense of vulnerability, it made him all the more tough for me.

You also photographed people grieving in Arlington Cemetery.

I was photographing many bereaved families I had appointments with. And I was dreading that day. I was worn down. I also read the weather reports and they said in D.C., there were going to be terrible thunderstorms and wind and rain. I use strobe lights, it's a whole operation, and on top of that, I'm dealing with the most acute sensitivities you can imagine. I am literally treading on sacred ground here. I was really nervous.

As the rain faded away, I noticed at the far corner of the cemetery a woman I didn't have an appointment with. She brings a foldout picnic chair and would sit and read [at her son's grave] every day. It was such a powerful and tender thing to witness. The dialogue between mother and son continues even after his passing. I went over and asked permission to take her picture.

She puts the book at the bottom of the headstone and goes behind it and cuddles the headstone as if she is cuddling her son. And then she closed her eyes. I was standing on the wet ground, where her son is buried, and I was so aware of the delicacies of my body language, and I was really looking at her face and hands and her mannerisms. I had no extra attention left over to notice that the book was the Quran or that the name on the headstone was a Muslim name. I thanked her and asked her name and she said, "Elsheba Khan." I still didn't think.

I took the pictures back to the magazine. When we were doing the edits, it was [New Yorker Editor] David Remnick who said, "Look at that." We thought, "Oh my goodness." We ran it in the photo essay with all the other pictures [in September 2008].

And shortly thereafter, that photo came up when former Secretary of State Colin Powell endorsed Obama for president on Meet the Press. He warned against divisiveness and said, "I feel strongly about this particular point because of a picture I saw in a magazine."

He went on to describe exactly my picture. I'm sitting there with my mouth open.

That picture was described as a game changer, but it was not [a photo] of anyone powerful. I had worked with all the power players. But it wasn't any of those that shifted people's hearts and minds. It was an ordinary person, dealing with the one thing we have in common — we all love and lose. We're all united by that. I received a letter from [Powell] that said, thank you for showing me in a very painful way what America really is all about.

Unlike the celebrities and power players you've photographed, here you were dealing with people often in a state of vulnerability. How did you establish trust with them?

It's the difficult question — how do you do that? I wish I had a gimmick; I wish I had a trick. Trust means you have to be courageous first, with all your emotions open and so respectful and humble that there's no room for your ego in this space. I am your servant and I am here to tell the world what happened to you. I can't do it alone. I need you to be courageous with me. And if you really mean it, if you're 100 percent committed, you can't bulls*** that. You can't fake it. It's called authenticity.

And of course, that's very traumatic. It's very traumatic for me. Before a shoot, I don't have a storyboard. I don't know whether this person will be angry at the world — or maybe at me — or if they will break, how to deal with vulnerability. You have to be ready for the whole human condition to play out. You go in so raw. You just have to make very quick emotional decisions.

And sometimes I get it wrong.

How so?

I went to a lady's house. Her name is Jessica [Gray]. Her husband wrote an op-ed criticizing America's policy. Shortly after that, he was killed in Iraq. They'd recently had a little girl.

I'm setting up my studio in her living room. I'm dealing with a woman's pain and courage, facing a new life that's going to be difficult. That becomes consuming. I saw the flag they'd draped over his coffin and I said, "Would you be prepared to hold the flag?" She said of course and took the flag out of the box.

I asked her, how would you feel wearing a piece of his clothing in tribute to him? She said, that's a good idea. She had received a box of his clothing, it was at the base of the bed but she had not yet had the courage to open it. All his clothes, his Army T-shirts were in the box. She said, maybe now is the time to open it.

And then I thought, oh — what am I doing here?

She undid one latch. I undid the other. And as she lifted the lid, she burst into tears.

I felt so ashamed. I really blew it. I thought, for the sake of a photograph, you went too far. I said, "I feel so ashamed. I didn't want to hurt you. Let's not do this. This was a bad idea."

She said, "You don't know why I'm crying. I've just realized they washed his clothes and I wanted to smell him again." She said, "The pain is there whether I open the box or not. Now the box is open and I think I would like to wear his T-shirt."

This is not the look of a victim. This is the look of a woman trying to pull all her strength together to face the future.

Have you stayed in touch with Jessica Gray or any of the other people you photographed for this project?

(Left image, from left) Seaman Collins and Petty Officer 3rd Class Smith. Norfolk, 2008. (Right image, from left) Petty Officer 2nd Class Alex Smith, Seaman Jeremiah Lineberry and Seaman Hoyt of the USS San Antonio. Norfolk, 2008. Courtesy of Platon hide caption

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Courtesy of Platon

Most were deployed; a few I did have some contact with. In putting together the book, in some cases, I found out some passed away or changed completely. I very rarely seek to have a friendship with the people I work with. Sometimes it happens accidentally. All my attention and affection goes into the work. And my subject knows that. When I'm actually taking the picture, that's the moment. I know there's a good chance I'll never see this person again.

I've done some emotional projects before, but not at this relentless pace, day after day. The way I work is, I'm very subjective. I'm not the objective journalist who doesn't get involved. I'm not the "observer." How the hell can you be objective when you're in a widow's house and she's standing there in front of you and she's crying? You can't. You're in. You find yourself becoming part of the story in a weird way.

The picture is a complete collaboration between me and the sitter. There's no stolen moment. It's a discussion — a visual lesson they are teaching me about life, and I'm just learning it and recording my lessons on film.

This interview has been condensed and edited. Learn more about Platon's work here:http://www.thepeoplesportfolio.org/

Spc. Patrick Quinn, of the 1st Stryker Brigade Combat Team, wears night vision goggles. First made available to the U.S. Army in 1959, night vision goggles form images by detecting discrepancies in temperature between objects. Fort Irwin, 2008. Courtesy of Platon hide caption

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Courtesy of Platon

Elsheba Khan at the grave of her son, Spc. Kareem Rashad Sultan Khan, in Section 60 of Arlington National Cemetery, 2008. Spurred by the Sept. 11 attacks on the World Trade Center, Khan, a Muslim, enlisted immediately after graduating from high school in 2005 and was sent to Iraq in July 2006. He was killed a year later. Courtesy of Platon hide caption

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Courtesy of Platon

Elsheba Khan at the grave of her son, Spc. Kareem Rashad Sultan Khan, in Section 60 of Arlington National Cemetery, 2008. Spurred by the Sept. 11 attacks on the World Trade Center, Khan, a Muslim, enlisted immediately after graduating from high school in 2005 and was sent to Iraq in July 2006. He was killed a year later.

Courtesy of Platon

Jessica Gray was widowed at age 26 when her husband, Staff Sgt. Yance Gray, was killed in Baghdad in 2007 while serving with the 82nd Airborne Division. He was also survived by a 5-month-old daughter, Ava Madison Gray. North Carolina, 2008. Courtesy of Platon hide caption

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Courtesy of Platon

The British-born photographer Platon has captured some of the most influential people of our time, from politicians Barack Obama and Vladimir Putin to the boy band One Direction and whistleblower Edward Snowden. In 2008, tasked by the "New Yorker" magazine to produce a 20-page photo essay dedicated to the topic of service," Platon employed the same minimalist techniques he has used in portraiture as he turned his lens on ordinary people whose lives had been affected by the US military presence in Iraq and Afghanistan. Though he'd chosen not to embed as a war photographer on the battlefronts, Platon captured the war like no other photographer had.

With recent events in Iraq and the US beginning a new election campaign, the photo series take on a whole new urgency, imploring viewers to consider the individuals affected by foreign policy decisions. Several images from the series are currently on display in Cologne at the minimalist Böhm Chapel. DW's Courtney Tenz met Platon at the show's opening.

DW: You've been best known for your portraits of world leaders. What inspired you to shoot ordinary people back in 2008?

Platon: When I was given this assignment, I was given access that no other journalist had. They allowed me into this tactical training facility made up to look like a fake Iraqi Village called Medina Wasl, at Fort Irwin, California. I slept on the streets there to take pictures of the training the soldiers went through right before their deployment. I was onboard the USS San Antonio with those sailors right before they set sail.

With this essay for the "New Yorker," we consciously wanted people to talk about service, and the responsibility of sending people into conflict and the damage that can be done. Barack Obama at the time was talking about pulling troops away from Iraq and Afghanistan, and John McCain was talking about sending more troops in and it was a very big debate. Obviously, we needed to remind people that war is brutal. But there are also different messages. These are the human stories that I found.

Even though I consciously avoided politics in this project - I'd had enough of politics - this series ended up getting deeply involved in politics and helped shape the political landscape. One of my pictures was voted the most important photograph of the election campaign. It wasn't of Obama, whom I had photographed, or of McCain, whom I had also photographed. It wasn't of anybody important or any celebrities or powerful people. It was this one: "Elshaba Kahn at the grave of her son, Specialist Kareem Rashad Sultan Khan, in Section 60 of Arlington National Cemetery." A picture of an ordinary person, like any of us, who has no authority whatsoever, but she's dealing with something that many politicians don't - and that's being authentic and dealing with loss of life in the most dignified and noble way. And it was that authenticity and dignity that actually captured people.

Platon's photo hugely impacted the 2008 US presidential election

How did you come to take that image?

I went to Arlington National Cemetery, where all of the soldiers who had been killed during war are buried and I photographed many families there who were grieving their sons and daughters. I saw this lady at the other end of the cemetery. I wasn't planning to photograph her. Someone told me that she's there every day. She brings a folding chair that she sets up and she has this book and every day, she reads this book to his spirit. I went over to her and I watched her and it was beautiful. I asked her if she'd allow me to take her picture and she graciously agreed and she gets behind the gravestone and cuddles it as if it's her son and she put the book she reads on the ground.

I was very moved by this woman, with this human side of dealing with grief in a very dignified way. And I was so moved that I didn't even look at the book that she reads to him. I didn't even look at the writing on the gravestone to see that it was a Muslim name. I was consciously more concerned with the human side. Only when I took it back to the "New Yorker," and we were laying out the story, only then did we notice what's written on the gravestone and what the book is.

In the image, the background is blacked out and the Koran is highlighted.

My father was a modern architect; Mies van der Rohe and the Bauhaus have deeply shaped how I function. The idea of modernism is to respect the materials and be truthful and to reduce. If something is made of concrete, you show it's made of concrete. What's left is essential. When it comes to my pictures, most of the time I try to simplify it so that you look where I want you to look.

Platon's minimalist approach communicates focused, concise statements

The most important thing is her gesture. I'm always trying to simplify and trying to direct your attention at a time when we're all suffering from attention deficit disorder and it's very important that we are helped to slow down. To stop. To have a moment of almost meditative focus and see something as a clear and concise statement.

The image went on to be considered the most influential of the election. Why?

About a week after we published it - about two weeks before Election Day - General Colin Powell went on the news. He made an historic announcement and said, "I'm no longer endorsing my fellow Republican. I'm changing sides. I'm now supporting Barack Obama." When the TV moderator asked him why, he said, "A photograph changed my mind." This photograph had changed his mind. And his endorsement was huge. It could swing the vote.

And yet you're showing the photograph again now, seven years later, when the US troops have left Iraq.

What I discovered while shooting this is that it wasn't war. It wasn't the glory of war. It wasn't the politics of the wars in Iraq and Afghanistan. The story was the grieving wife, widow, devastated. It was a reminder of what is important in life: humanity, respect, openness in society. Respecting people's religions, their ideology. Valuing love. Valuing relationships. Realizing how special they are and how fleeting the opportunity is to have someone around you that you love. I've seen love lost and I've seen what it does to people. And seeing that adds incredible value to the love that we have now. As an ordinary citizen in society, my job is to remind people how important love is and respect and dignity and compassion.

Five images from the "Service" series are on display now through September 22, 2015 at Böhm Chapel, in Hürth, Germany.

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