Fengyi (Jeffrey) Jiang 

The Hun School of Princeton

DOI: 10.64212/CJHU2953

Abstract
This is a documentary war photograph taken by war photographer David Turnley, a colleague of renowned war photographer James Nachtwey. The image shows Nachtwey raising his camera to capture a scene of one teenager holding a firearm amid chaos. The photo was taken in Thokoza, South Africa, in 1994, during intense civil conflict between the African National Congress (ANC) and the Inkatha Freedom Party (IFP). The photograph is also connected to the broader context of the 1994 Rwandan Genocide. This photograph has sparked profound discussions on the ethics of war photography: while revealing the harsh reality, how should photographers safeguard the dignity of vulnerable groups such as children? This photographer attempts to convey educational messages while respecting the informed consent, privacy rights of the subjects, and avoiding secondary harm. However, some critics argue that although such works aim to present the reality, they may inadvertently reinforce the negative stereotype of African teenager as “naturally violent.” The responsibility of war photography should be to inspire society and evoke reflection, rather than using the suffering of the subjects to gain attention. The photographer endeavors to photograph children in an ethical and non – intrusive manner. Nevertheless, photojournalists constantly face a moral dilemma: revealing the truth may violate an individual’s right to privacy. This tension not only tests the ethical boundaries of photographers but also prompts viewers to look beyond the surface of the images. When we view such photographs from a critical perspective, they have the potential to inspire empathy and in – depth reflection—provided that viewers approach the images with care rather than consuming them as “spectacles” for sensationalism.

Key Words
War photography, art and politics, image dissemination, photography ethics, documentary photography