Jillian Meyer
Soldier Photography: visualizing the war in Iraq
In “Soldier Photography: Visualizing the War in Iraq” by Liam Kennedy, Kennedy discusses the different types of photography on the battle field and their implications on soldiers. Despite being a little redundant and overlooking some points of view, Kennedy makes an effective argument favoring the importance of photography to soldiers in today’s digital age. By citing primary and secondary sources, using many examples, and mostly avoiding bias and political affiliation, Kennedy clearly communicates the benefits of soldier photography in the Iraqi and Afghani wars.
One thing that made Kennedy’s argument even more effective was his explicit thesis at the end of his introduction. He clearly lays the foundation of his paper by identifying topics such as analysis of genres of soldier photography and their implications, and the effects of having an immediate dissemination of war photographs (Kennedy 819). Kennedy then goes on to discuss each topic thoroughly, providing many examples. He cites primary sources such as Jay Romano, a soldier who explains how his photojournalist-esque way of photographing and sharing images from the war not only allowed him to document his experience, but also helped him become a better soldier (824). Furthermore, Kennedy argues that Romano’s photography skills helped effectively communicate soldiers’ perspectives and everyday experiences to American civilians. Kennedy also quotes secondary sources such as webmasters of photo sharing sites, in order to give further insight on how soldiers share pictures (829). These examples provide the reader with massive amounts of evidence on the effects of photography and photo sharing. By using both primary and secondary sources as evidence, Kennedy is able to really encompass all the ideas of soldier photography, and thus making his argument more effective. However, his argument would have been even better if he had included more evidence to support his claims that soldier photo sharing could be dangerous. By neglecting to include this evidence Kennedy loses some of the effectiveness of this particular claim. If he had included specific examples of the dangerous implications of broadcasting war photos, his contention would’ve been more viable.
Another way Kennedy makes his argument more effective is by presenting his claims without many biases or a particular political affiliation. By avoiding these, he is able to appeal to more people and persuade them to agree with his argument. However, one could say Kennedy has some bias because he talks extensively on why photography and photo sharing is beneficial for soldiers, while only briefly addressing how it can be detrimental. Kennedy makes a short counter claim that soldier photography could be bad because it may be too graphic or could pose security risks. If he had elaborated more on this topic and later dismissed it, his overall argument would’ve been stronger. Kennedy uses the logical fallacy of false dichotomy when discussing the ways soldiers communicate with people from home and the ways they express their emotions about the war. Kennedy makes it seem as though a soldier has two options: communicate with friends and family through photography and blogging, or not take photos or blog, and thus have no way of communicating and expressing yourself. This is not true because there is a plethora of ways a soldier can stay connected to loved ones and be expressive without photography.
If I were to pose a counter claim to Kennedy’s paper, I would contend that although photography and blogging are good sources for soldiers, there are better, more secure outlets of emotion, and therefore eliminating the false dichotomy.
Liam Kennedy is able to effectively construct his argument by using numerous examples and sources as evidence. Despite having a slight bias and neglecting certain perspectives, overall “Soldier Photography: visualizing the war in Iraq” provides a compelling assessment of war photography and the way it is immediately disseminated to online viewers.
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