If you want to humble an empire it makes sense to maim its cathedrals. They are symbols of its faith, and when they crumple and burn, it tells us we are not so powerful and we can’t be safe. The Twin Towers of the World Trade Center, planted at the base of Manhattan island with the Statue of Liberty as their sentry, and the Pentagon, a squat, concrete fort on the banks of the Potomac, are the sanctuaries of money and power that our enemies may imagine define us. But that assumes our faith rests on what we can buy and build, and that has never been America’s true God.
On a normal day, we value heroism because it is uncommon. On Sept. 11, we valued heroism because it was everywhere. The fire fighters kept climbing the stairs of the tallest buildings in town, even as the steel moaned and the cracks spread in zippers through the walls, to get to the people trapped in the sky. We don’t know yet how many of them died, but once we know, as Mayor Rudy Giuliani said, “it will be more than we can bear.” That sentiment was played out in miniature in the streets, where fleeing victims pulled the wounded to safety, and at every hospital, where the lines to give blood looped round and round the block. At the medical-supply companies, which sent supplies without being asked. At Verizon, where a worker threw on a New York fire department jacket to go save people. And then again and again all across the country, as people checked on those they loved to find out if they were safe and then looked for some way to help.
This was the bloodiest day on American soil since our Civil War, a modern Antietam played out in real time, on fast-forward, and not with soldiers but with secretaries, security guards, lawyers, bankers, janitors. It was strange that a day of war was a day we stood still. We couldn’t move — that must have been the whole idea — so we had no choice but to watch. Every city cataloged its targets; residents looked at their skylines, wondering if they would be different in the morning. The Sears Tower in Chicago was evacuated, as were colleges and museums. Disney World shut down, and Major League Baseball canceled its games, and nuclear power plants went to top security status; the Hoover Dam and the Mall of America shut down, and Independence Hall in Philadelphia, and Mount Rushmore. It was as though someone had taken a huge brush and painted a bull’s-eye around every place Americans gather, every icon we revere, every service we depend on, and vowed to take them out or shut them down, or force us to do it ourselves.
Revisiting 9/11: Unpublished Photos by James Nachtwey
The following photographs were all made on 9/11 and are described here in Nachtwey's own words: "In my mind it all went into slow motion. Everything was floating. I thought I had all the time in the world to make the picture, and only at the last moment realized I was about to be taken out."James Nachtwey for TIME“Something unbelievable had just happened, and it was about to get much worse.”James Nachtwey for TIME“There was a sense of shock. The firefighters clicked into a kind of professional default and did what they knew how to do, in the face of impossible odds.”James Nachtwey for TIME“So many firefighters died that day. I think this picture recognizes their loss, and honors it. Their sacrifice was monumental. It will forever be remembered.”James Nachtwey for TIME“Conventional means of dealing with emergencies were completely overwhelmed. Even with their equipment destroyed the firefighters continued to work. It was much more than an exercise in futility. It was an act of bravery and nobility.”James Nachtwey for TIME“It looked like the set of a science fiction film about the apocalypse.”James Nachtwey for TIME“I’d been standing directly beneath the north tower when it collapsed. That I survived seems almost miraculous. I was inside that massive cloud of smoke and dust, suffocating and blinded. I kept moving and eventually saw light emanating in the distance.”James Nachtwey for TIME“Thousands of people had died, but they weren’t visible. The horrible fact sank in that everyone who’d been inside was buried beneath thousands of tons of steel and concrete. An unspoken understanding hung in the air – it was already too late.”James Nachtwey for TIME“The unbelievable had happened, and any effort seemed futile compared the magnitude of the event. I’m not sure there was even a place to attach their fire hoses.”James Nachtwey for TIME“The firemen could only put one foot in front of the other and try not to give in to despair.”James Nachtwey for TIME“That a car had been turned upside down looked bizarre, but more important was the look on the fireman’s face. His eyes were rimmed in black, and he had a thousand-yard stare.”James Nachtwey for TIME“Firefighters do a job that sometimes requires them to put their lives on the line. That day their courage and commitment were severely tested, and they paid an enormous price.”James Nachtwey for TIME“Tons of paper had flown through the air when the towers collapsed. Some of it had been blown through the broken windows of nearby buildings.”James Nachtwey for TIME“A group of firemen had raised a flag in the midst of the ruins. It was an expression of defiance, of being unbowed, a tribute to their fallen comrades.”James Nachtwey for TIME“Through the years my work has been fueled by anger at injustices and atrocities, but always in another country. Now it had happened in my own country, my own city, my own backyard, and the sense of anger had an edge that was even more personal.”James Nachtwey for TIME“Even as the sun was going down, firemen continued to fan out through the vast wreckage. By then, I’m sure they realized there was a slim chance of finding anyone still alive, but if they could find only one, they’d give it everything they had.”James Nachtwey for TIME
Terror works like a musical composition, so many instruments, all in tune, playing perfectly together to create their desired effect. Sorrow and horror, and fear. The first plane is just to get our attention. Then, once we are transfixed, the second plane comes and repeats the theme until the blinding coda of smoke and debris crumbles on top of the rescue workers who have gone in to try to save anyone who survived the opening movements. And we watch, speechless, as the sirens, like some awful choir, hour after hour let you know that it is not over yet, wait, there’s more.
It was, of course, a perfect day, 70º and flawless skies, perfect for a nervous pilot who has stolen a huge jet and intends to turn it into a missile. It was a Boeing 767 from Boston, American Airlines Flight 11 bound for Los Angeles with 81 passengers, that first got the attention of air traffic controllers. The plane took off at 7:59 a.m. and headed west, over the Adirondacks, before taking a sudden turn south and diving down toward the heart of New York City. Meanwhile American Flight 757 had left Dulles; United Flight 175 left Boston at 7:58, and United Flight 93 left Newark three minutes later, bound for San Francisco. All climbed into beautiful clear skies, all four planes on transcontinental flights, plump with fuel, ripe to explode. “They couldn’t carry anything — other than an atom bomb — that could be as bad as what they were flying,” observed a veteran investigator.
The first plane hit the World Trade Center’s north tower at 8:45, ripping through the building’s skin and setting its upper floors ablaze. People thought it was a sonic boom, or a construction accident, or freak lightning on a lovely fall day; at worst, a horrible airline accident, a plane losing altitude, out of control, a pilot trying to ditch in the river and missing. But as the gruesome rains came — bits of plane, a tire, office furniture, glass, a hand, a leg, whole bodies, began falling all around — people in the streets all stopped and looked, and fell silent. As the smoke rose, the ash rained gently down, along with a whole lost flock of paper shuffling down from the sky to the street below, edges charred, plane tickets and account statements and bills and reports and volumes and volumes of unfinished business floating down to earth.
Almost instantly, a distant wail of sirens came from all directions, even as people poured from the building, even as a second plane bore down on lower Manhattan. Louis Garcia was among the first medics on the scene. “There were people running over to us burnt from head to toe. Their hair was burned off. There were compound fractures, arms and legs sticking out of the skin. One guy had no hair left on his head.” Of the six patients in his first ambulance run, two died on the way to St. Vincent’s Hospital.
The survivors of the first plot to bring down the Twin Towers, the botched attempt in 1993 that left six dead, had a great advantage over their colleagues. When the first explosion came, they knew to get out. Others were paralyzed by the noise, confused by the instructions. Consultant Andy Perry still has the reflexes. He grabbed his pal Nathan Shields from his office, and they began to run down 46 flights. With each passing floor more and more people joined the flow down the steps. The lights stayed on, but the lower stairs were filled with water from burst pipes and sprinklers. “Everyone watch your step,” people called out. “Be careful!” The smell of jet fuel suffused the building. Hallways collapsed, flames shot out of a men’s room. By the time they reached the lobby, they just wanted to get out — but the streets didn’t look any safer. “It was chaos out there,” Shields says. “Finally we ran for it.” They raced into the street in time to see the second plane bearing down. Even as they ran away, there were still people standing around in the lobby waiting to be told what to do. “There were no emergency announcements — it just happened so quickly nobody knew what was going on,” says Perry. “This guy we were talking to saw at least 12 people jumping out of [the tower] because of the fires. He was standing next to a guy who got hit by shrapnel and was immediately killed.” Workers tore off their shirts to make bandages and tourniquets for the wounded; others used bits of clothing as masks to help them breathe. Whole stretches of street were slick with blood, and up and down the avenues you could hear the screams of people plunging from the burning tower. People watched in horror as a man tried to shimmy down the outside of the tower. He made it about three floors before flipping backward to the ground.
Architect Bob Shelton had his foot in a cast; he’d broken it falling off a curb two weeks ago. He heard the explosion of the first plane hitting the north tower from his 56th-floor office in the south tower. As he made his way down the stairwell, his building came under attack as well. “You could hear the building cracking. It sounded like when you have a bunch of spaghetti, and you break it in half to boil it.” Shelton knew that what he was hearing was bad. “It was structural failure,” Shelton says. “Once a building like that is off center, that’s it.” “There was no panic,” he says of his escape down the stairs. “We were working as a team, helping everyone along the way. Someone carried my crutches, and I supported myself on the railing.”
Gilbert Richard Ramirez works for BlueCross BlueShield on the 20th floor of the north tower. After the explosion he ran to the windows and saw the debris falling, and sheets of white building material, and then something else. “There was a body. It looked like a man’s body, a full-size man.” The features were indistinguishable as it fell: the body was black, apparently charred. Someone pulled an emergency alarm switch, but nothing happened. Someone else broke into the emergency phone, but it was dead. People began to say their prayers.
“Relax, we’re going to get out of here,” Ramirez said. “I was telling them, ‘Breathe, breathe, Christ is on our side, we’re gonna get out of here.'” He prodded everyone out the door, herding stragglers. It was an eerie walk down the smoky stairs, a path to safety that ran through the suffering. They saw people who had been badly burned. Their skin, he says, “was like a grayish color, and it was like dripping, or peeling, like the skin was peeling off their body.” One woman was screaming. “She said she lost her friend, her friend went out the window, a gust sucked her out.” As they descended, they were passed by fire fighters and rescue workers, panting, pushing their way up the stairs in their heavy boots and gear. “At least 50 of them must have passed us,” says Ramirez. “I told them, ‘Do a good job.'” He pauses. “I saw those guys one time, but they’re not gonna be there again.” When he got outside to the street there were bodies scattered on the ground, and then another came plummeting, and another. “Every time I looked up at the building, somebody was jumping from it. Like from 107, Windows on the World. There was one, and then another one. I couldn’t understand their jumping. I guess they couldn’t see any hope.”
The terror triggered other reactions besides heroism. Robert Falcon worked in the parking garage at the towers: “When the blast shook it went dark and we all went down, and I had a flashlight and everyone was screaming at me. People were ripping my shirt to try and get to my flashlight, and they were crushing me. The whole crowd was on top of me wanting the flashlight.”
9/11: The Photographs That Moved Them Most
Kent Kobersteen, former Director of Photography of National Geographic
"The pictures are by Robert Clark, and were shot from the window of his studio in Brooklyn. Others shot the second plane hitting the tower, but I think there are elements in Clark's photographs that make them special. To me the wider shots not only give context to the tragedy, but also portray the normalcy of the day in every respect except at the Towers. I generally prefer tighter shots, but in this case I think the overall context of Manhattan makes a stronger image. And, the fact that Clark shot the pictures from his studio indicates how the events of 9/11 literally hit home. I find these images very compelling—in fact, whenever I see them they force me to study them in great detail."Robert Clark—INSTITUTEMaryAnne Golon, photo editor and media consultant; former Director of Photography of TIME
"James Nachtwey's photograph here of one tiny New York City fireman making his way through the inferno that was once the World Trade Center towers is forever seared into my memory from the darkest day in American history, 9/11/2001. Later on that evening, Jim, completely covered in ash from the fallen World Trade Center towers, arrived in person at the Time and Life building in midtown Manhattan to deliver his exposed film to his waiting editors. While his film was being processed, he drank a large bottle of water, and slumped exhausted in a dark green chair in the Time photo department hallway. The following morning, the imprint of his body on the chair and his dusty footprints were still there. Then editor-in-chief Norman Pearlstine and his deputy, John Huey, came by to see where the great photographer had walked. James Kelly, the finest news magazine editor in America, chose to run many of Jim's pictures in the 9/11 black-bordered issue of TIME Magazine that memorialized that tragic event. I was honored to have been the picture editor of that edition and to be the first person in the world to have seen Jim's haunting work. It took months for me to grieve as a human being. I was working 80-hour weeks to do my job as a journalist. Jim's work comforted me and helped many Americans to process the hideous aftermath of those horrendous days. Thank you, Jim Nachtwey."James Nachtwey for TIMEKira Pollack, Director of Photography of TIME;
former Associate Photo Editor of The New York Times Magazine
"On one of the days following the attack on the World Trade Center—I think it was the 13th—I walked uptown from my home in the West Village to Magnum's offices on 25th street to look at Steve McCurry's work, which I viewed on a light table. I was looking through the loupe and the pictures he had made were truly haunting. There was a picture of an escalator covered with papers and debris. It looked like the kind of apocalyptic ruin that would have happened over decades or centuries but it had happened in a single morning. You could feel the emptiness where the people were supposed to be. I viewed McCurry's chromes on a light box. It's amazing, looking back on it now, that none of the photographers we worked with were shooting digital. It was all film and that meant that it had to be transported by people from point to point at a time when most transportation was either restricted or shut down. I hand-carried a selection of chromes up to the offices at The New York Times and it was one of the pictures in the mix for several days being discussed by then editor Adam Moss, photo director Kathy Ryan, deputy photo editor Jody Quon and then art director Janet Froelich. The image was published in The New York Times Magazine in its 9/11 issue."Steve McCurry—MagnumElisabeth Biondi, former Visuals Editor of The New Yorker
"The picture Gilles Peress took for The New Yorker is indelibly burned into my mind. It was then after the devastating event and it is now, 10 years after. When I think of that day, I remember calling Gilles on his cell right after the first tower had been hit asking him to get to Ground Zero. Come to think of it, the word had not as yet been coined. His reply was that he was already on the bridge. The result was an extraordinary set of photographs which we published in our special issue with the famous black cover by Art Spiegelman. It came out on the Monday directly following the attack. Then and as now, I live in Tribeca near Ground Zero which meant my life had been changed for a long time. At the beginning, it reminded me of the stories my mother told me about World War II. All seemed to be a dark, foul smelling haze and I heard fire sirens day and night. I used to be able to see the towers from my roof. I felt their absence and I yearned to see what was left. I could not. It was sealed off on Guiliani's orders. Gilles' amazing pictures filled the void. They are still with me."Gilles Peress—MagnumJody Quon, Photography Director of New York;
formerly Deputy Photo Editor of The New York Times Magazine
"It is virtually impossible to not be moved by any image or document that pertains to 9/11. While sifting through countless photos—pausing, feeling, remembering at each flip of a page—I (surprisingly) found myself profoundly moved by a detail of an image: the burning smoke of the towers. The smoke became clouds, and the clouds became those whom we will never forget. This became the cover of our commemorative issue."David Surowiecki—Getty Images
JodyOlivier Picard, photo editor and photographer; former
Director of Photography for U.S. News and World Report
“Since we were based in Washington, D.C., we had no communication with New York for the first couple of hours. The deadline for closing our special issue was the next day. I didn’t sleep. We published an image by freelance photographer Patrick Witty that for me best evokes that tumultuous morning. It is 9:59 a.m. and New Yorkers witness the collapse of the South Tower. Their reaction was mine. Immediate. Disbelief. Raw. Violent.” Patrick WittySimon Barnett, Director of Photography of LIFE.com;
former Deputy Director of Photography of Newsweek
"In a manner of speaking, after the insanity and bedlam and brutality of 9/11, the morning that followed came as something of a surprise. You felt as is if the sun wouldn't rise in the quite the same way. Jonathan Torgovnik made this photograph on Sept. 12. While it doesn't have a soundtrack it is an incredibly quiet picture (although I'm sure the audible reality may well have been different). It forms a bridge between pre and post-9/11—an office that most of us can relate to, have visited, or worked in–against a spectacularly lit backdrop of heinous devastation. 9/11 was the photographic event of all-time; so immense that it was tough to get grounded in, to take measure of, to begin to believe what had happened. This picture does that."Jonathan Torgovnik—Reportage by Getty ImagesPatrick Witty, International Picture Editor of TIME;
former freelance photographer
"After the towers fell, I walked back to my apartment on the Lower East Side, completely in a daze. I had shot black and white film that morning and there was a small lab in the kitchen of my neighbor’s apartment where I could process and scan. When I walked inside, covered in dust and a ripped t-shirt, my neighbors were there and we looked at each other in silence, in disbelief. Another photographer was there who I didn’t know, named David Surowiecki. At the time he was an editor at Getty Images, along with my old roommate Craig Allen. David and Craig were scanning film and transmitting the images from the apartment since Getty’s offices had been evacuated. David’s film from the morning was on a light table near the film dryer in the kitchen. I started looking at his film with a loupe and will never forget the feeling of despair when I saw this one particular image. It was a bizarre and terrifying, yet almost calm image, split down the middle with four tiny bodies falling to the ground. I saw bodies falling when I was near the burning towers, but I didn’t shoot it myself. I couldn’t.David Surowiecki—Getty ImagesAlison Morley, Chair of the Documentary Photography and Photojournalism Program
at The International Center of Photography; former Picture Editor of
The New York Times Sophisticated Traveler Magazine
"Gary Fabiano's photograph of the man under the tower comes to mind first. The shock of seeing that man immobilized by the flash, coming out of the darkness with his arm raised and eyes, glazed and suspended always remains with me. The back story makes it even more compelling when you learn that the fireman asked the photographer to use his flash to help light their way out of the garage where a group of people and firemen had gotten caught. The man was just inches away from the camera but all sense of space and distance was lost in such absolute blackness."Gary Fabiano—Sipa PressMichel duCille, Director of Photography of The Washington Post
"This image holds a serene quality for me. The early morning amber light is hardly visible through the hazy smoke filled scene. The lone firefighter stands framed in miniature by the shell of broken steel beams, it is all that is left of the twin towers of the World Trade Center. Yoni's photograph has always stuck with me because I get a deep sense of loneliness. The leaning beams overhead adds a dramatic contrast to the fireman. The task before him seems daunting. The melancholy look of the figure silhouetted between the broken steel beams, feels burdensome and reinforces the weigh of this tragedy on the nation's shoulders."Yoni BrookFred Ritchin, director of PixelPress and author of After Photography
"A few days after the attacks of Sept. 11, at pixelpress.org we encouraged people from around the world to send in imagery or text responding to the events. One of the most affecting to me was by a photographer in Boston, Michal Hardoof-Raz, who simply sent in nine images of dust. To me that was the contribution that best expressed the desolation that we were all feeling—nothing was left, so much was invisible, the pain would be permanent."Michal Hardoof-RazJörg Colberg, editor of the photography blog Conscientious
"There is a photograph of a lone office worker by Stan Honda walking home (presumably), holding a piece of cloth in front of his mouth and nose, his clothes covered with dust from the towers. It's impossible for me to imagine what must have gone through the man's mind, I'm assuming he was struggling to comprehend what he had just seen and experienced. But I've always thought that this photo really expressed what so many people were feeling, who had not been in New York that day, but who were deeply affected by what happened: This mix of shock, horror, and sorrow."Stan Honda—AFP/Getty ImagesMagdalena Herrera, Director of Photography of GEO Magazine;
former Art and Photography Director of National Geographic France
"A man, as an acrobatic diver, is falling. He seems so quiet heading straight to death. What's in his mind?"Richard Drew—dapdJeremiah Bogert, Picture Editor at The Los Angeles Times;
former Assignment Editor at The New York Times.
“We sent a few photographers out to emergency rooms and it was so scary and sad when it became clear that there would be very few patients. We had hundreds of people line up outside the Times building with their own photos. I would say that Angel's photo of the women looking at towards the World Trade Center affected me the most that day. Because you can’t see what exactly they are looking at, your mind starts filling in the blanks with an amalgam of imagery made up of what you had already seen. Also, the woman on the left wears an expression of concern and fear which is made more powerful by the woman on the right who is covering her eyes.”Angel Franco—The New York Times/ReduxDavid Friend, editor at Vanity Fair and author of the book, Watching the World Change: The Stories Behind the Images of 9/11
“Wolfgang was doing an art project in which he was taking, with a fixed camera in Brooklyn, a panorama of the New York skyline. And every four seconds it would tick off and over the internet he would send, to a gallery in New York, a 22 x 9 foot mural projecting the image of downtown Manhattan. And it would refresh every four seconds. As Wolfgang said, ‘History high jacked art. Reality high jacked art’. And suddenly he recorded this transformation of New York—mass destruction and death. It’s a sense of no art or expression exists without its toehold in reality." A revised edition of Watching the World Change was just published with a preface on the roles that images and social media have played in documenting news events since 9/11.Wolfgang Staehle, courtesy of the artist, from "Watching the World Change: The Stories Behind the Images of 9/11"Alex Webb, photographer
"My wife Rebecca's and my first glimpse of lower Manhattan on September 11, 2001 was from a rooftop in Brooklyn Heights. That's where I took––probably on my first roll of film that day—what I consider my one singular image from Sept. 11—a mother and child with the smoldering ruins of the Twin Towers behind. It's a picture, in retrospect, that seems to me to suggest something about how life goes on in the midst of tragedy. Perhaps it also raises questions about what kind of future world awaits the child—and all of us. One reason this photograph continues to resonate with me is that the situation was different from violence that I'd witnessed in the past in places such as Haiti or Beirut. On September 11, 2001, not only was I photographing this particular mother and child in the city in which I lived, I was also aware of—out of the corner of my eye—another woman, my wife, the poet and photographer Rebecca Norris Webb. About an hour earlier and a few miles away in our apartment in Park Slope, Brooklyn, we were holding each other as we watched the second plane hit the second tower on our small TV. When I started to rush out the door with my cameras to head towards Manhattan, Rebecca—a photographer who has had little experience photographing conflict or violence—said she wanted to go with me. I balked. Shouldn't she stay in Brooklyn, away from the chaos of lower Manhattan? Perhaps I shouldn't even go—a startling notion for a photographer like myself who has covered situations of conflict in the past? And what might happen next to our city on that terrible morning? What if we were separated and unable to communicate during another wave of violence? Amid the chaos and the uncertainty, we chose to stay together and do one of the few things we know how to do—respond with a camera. Looking back ten years later, I'm not sure I would have seen this particular photograph—with its note of tenderness and looming tragedy—if Rebecca had not been with me."Alex Webb—MagnumRobert Clark, photographer
"When I look at all the pictures from the coverage of 9/11, I keep coming back to this one. I think that this is a very powerful image, it seems to tell the whole story of the people who had to run for their lives. It is a stripped down image of the event, I see pure emotion, fear, tragedy. It some how seems to be very honest, the fact that it is in black & white reminds me of the way lower Manhattan looked that day. It shows the damage in human terms, my image (Robert Clark made photographs on 9/11) is a bit detached and an over-all shoot of the event, the other image is one that shows fear, pain, lose. The human factor."Gulnara Samoilova—APAlice Rose George, curator, photo editor, educator and one of the four founders of Here is New York: A Democracy of Photographs"
"I was in Portugal when it happened. It was horrible not to be in New York. It took me a week to get back and immediately we started the store front gallery for photographers and anyone who had used a camera to deal with the tragedy. We were given thousands and thousands of pictures which we hung on clothes lines and sold digital prints of, giving the money to the Childrens Aid Society. There are many images that stick in my mind. The planes going into the buildings, image after image, never fail to shock me. The individual faces, the ash, the ruins, and then the bodies falling from the tower (David Surowiecki's photograph)—the horror of those realities, conveyed in picture after picture, is profound and moves me still."David Surowiecki—Getty ImagesJames Collins, Associated Press Photo Desk Supervisor
"One of the most memorable photos from Sept. 11 is actually from the night of Sept. 12, by Beth Keiser. It’s nearly 36 hr. after the attacks and it’s probably around the time the reality of what had happened really began to sink in with me. Like many other journalists, on the actual day—the 11th, I was caught up shooting pictures, at first, and then later working on the desk through the night. Beth’s picture makes me think of that moment that occurred for a lot of us, in the days, or maybe weeks after, when we stopped and thought, 'my God, what happened here?' The silhouetted shapes of Trade Center wreckage rising ghost-like in the background are positively haunting. We recognize their form from the buildings that once soared over downtown Manhattan, but that’s all been supplanted by a new reality. The cops in the foreground stand weary and solemn – they’ve already seen too much. Their paper masks are a flimsy and perhaps futile protection against more horror to come—the dust and smoldering fallout that hung in the air for months."BETH A. KEISER—APSpencer Platt, staff photographer, Getty Images
"For me there are a certain number of images from September 11 that have become locked in our collective conscience and seem to define the event for historical purposes. While that is to be expected, there are many images from both professional and amateur photographers that have not received the attention they deserved at the time. One of those images was from my late colleague Chris Hondros of Getty Images. Chris, who was in Pittsburgh on the day of the attack and had to race back to New York in a mad all-night drive, managed to bring his uniquely sensitive and honest perspective to the story. I had thought by the time Chris had arrived into lower Manhattan that the opportunity for strong images from Ground Zero had past. Chris spent day and night crawling through the rubble while evading the police who had set up a virtual ring of steel around the site. In the quiet moments between dusk and dawn he was able to capture images that revealed the sublime and timeless nature of the tragedy. The firefighter sleeping in the morning light on a pile of rubble was an image I didn’t see until years later. But it is a picture that immediately carries me back to those days when, caked in dust, we worked 24-hour shifts, smelled of wet concrete and death and had world wariness for the first time in our lives. When you first see the image your mind interprets it as the death of a firefighter, as a man who has become one with a landscape of destruction and waste. But on closer inspection you realize that the man is sleeping on the rubble after a night of searching for his lost comrades. It is an image that could have come from the battlefields of the Civil War or the French trenches of World War I. These images can’t be staged or thought out; they only come to those journalists who stealthily wander through battlefields seeking out the truth. Chris intrinsically knew this was his story, that this event would come to shape his life and define him as a photographer. Only days after taking this picture Chris would board a flight to Pakistan to follow the story to its next field of battle. In the following years he followed the trajectory of the events stemming from that day more than anyone I know."Chris Hondros—Getty Images