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Due to the public nature of the attack, which occurred in a busy location in broad daylight, the attack on the World Trade Center on 9/11 is said to be the most photographed disaster in history. Potentially due to the sudden and catastrophic nature of the attacks, there was no effort by city, state, or federal governments to document the disaster.<ref>{{Cite journal|last=Orvell|first=Miles|date=Spring 2006|title=After 9/11: Photography, the Destructive Sublime, and the Postmodern Archive|journal=Michigan Quarterly Review|volume=45|pages=239–256}}</ref> The [[Mayor of New York City]] at the time, [[Rudy Giuliani]], issued an executive order shortly after the end of the attack, banning amateur photographs of the ruins as it was deemed a "crime scene" and not a tourist attraction.<ref>{{Cite journal|last=Kirshenblatt-Gimblett|first=Barbara|date=Spring 2003|title=Kodak Moments, Flashbulb Memories; Reflections on 9/11|journal=The Drama Review|volume=47|pages=11–48|citeseerx=10.1.1.454.101|doi=10.1162/105420403321249983|s2cid=57570630}}</ref> |
Due to the public nature of the attack, which occurred in a busy location in broad daylight, the attack on the World Trade Center on 9/11 is said to be the most photographed disaster in history. Potentially due to the sudden and catastrophic nature of the attacks, there was no effort by city, state, or federal governments to document the disaster.<ref>{{Cite journal|last=Orvell|first=Miles|date=Spring 2006|title=After 9/11: Photography, the Destructive Sublime, and the Postmodern Archive|journal=Michigan Quarterly Review|volume=45|pages=239–256}}</ref> The [[Mayor of New York City]] at the time, [[Rudy Giuliani]], issued an executive order shortly after the end of the attack, banning amateur photographs of the ruins as it was deemed a "crime scene" and not a tourist attraction.<ref>{{Cite journal|last=Kirshenblatt-Gimblett|first=Barbara|date=Spring 2003|title=Kodak Moments, Flashbulb Memories; Reflections on 9/11|journal=The Drama Review|volume=47|pages=11–48|citeseerx=10.1.1.454.101|doi=10.1162/105420403321249983|s2cid=57570630}}</ref> |
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Many photojournalists such as Kelly Guenther and Suzanne Plunkett, became aware of the scale of the attack after the first tower was hit. Guenther recounted that she ran to the [[Brooklyn Heights Promenade]] shortly after the first tower was hit; this is when she noticed the second plane coming in over the Statue of Liberty. Her photo of the plane coming into the New York City skyline was used on the front of multiple newspapers. Plunkett had just exited the subway and was attempting to get past police barriers when the towers collapsed, and she began to run before turning around and capturing those evacuating the area.<ref>{{Cite web |last=Almond |first=Kyle |date=September 10, 2021 |title=The 9/11 photos we will never forget |url=https://www.cnn.com/interactive/2021/09/us/9-11-photos-cnnphotos/ |access-date=2023-06-27 |website=www.cnn.com}}</ref> |
Many photojournalists such as Kelly Guenther and Suzanne Plunkett, became aware of the scale of the attack after the first tower was hit. Guenther recounted that she ran to the [[Brooklyn Heights Promenade]] shortly after the first tower was hit; this is when she noticed the second plane coming in over the Statue of Liberty. Her photo of the plane coming into the New York City skyline was used on the front of multiple newspapers. Plunkett had just exited the subway and was attempting to get past police barriers when the towers collapsed, and she began to run before turning around and capturing those evacuating the area.<ref>{{Cite web |last=Almond |first=Kyle |date=September 10, 2021 |title=The 9/11 photos we will never forget |url=https://www.cnn.com/interactive/2021/09/us/9-11-photos-cnnphotos/ |access-date=2023-06-27 |website=www.cnn.com}}</ref> |
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Cameras and rolls of film were recovered in the rubble, which were either lost by surviving photographers or near those that lost their lives. These rolls of film and equipment, where possible, were cleaned and processed; many of the photos produced showcase the photographers' final work, notably with the recovered cameras of [[Bill Biggart]].<ref name=":2">{{Cite book|title=Watching the World Change; The Stories Behind the Images of 9/11|last=Friend|first=David|publisher=Farrah, Straus and Giroux|year=2006|isbn=978-0-374-29933-0|location=New York|url-access=registration|url=https://archive.org/details/watchingworldcha00frie}}</ref> Of the pictures recovered or initially uploaded to company servers, editors had to choose which to include or which would be deemed too disturbing to be published. Of polled photo editors who chose to run images classified as disturbing, for instance those with victims trapped on high levels or falling from the buildings, none chose to run the images on the front page but felt that not running the images would be a disservice to the victims and the scale of the tragedy. One such editor stated:<ref>{{Cite journal|last1=Martin Kratzer|first1=Renee|last2=Kratzer|first2=Brian|date=2016-08-01|title=How Newspapers Decided to Run Disturbing 9/11 Photos|journal=Newspaper Research Journal|language=en|volume=24|pages=34–47|doi=10.1177/073953290302400104|s2cid=193064929}}</ref> |
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{{Blockquote|text=The horror of the event and the magnitude just demanded that you get that across in a very forceful and powerful way. I can't imagine what was going through those people's minds as they're trapped inside the Trade Center. And think of all the bodies, the people jumping to their inevitable deaths. What was going through their heads when they looked at everything around them or looked at the 100 stories beneath them? And to think that was their best escape. I just can't fathom the horror, and I think that gets that across in a way that if you don't show it, people won't recognize it as being a terrible thing, but when you have the image before you, it just helps convey what was really going on that day. You can't not run a picture like that.|sign=Midwest Photo-editor|source=Media Studies of September 11 Journal Article; Winter 2003}} |
{{Blockquote|text=The horror of the event and the magnitude just demanded that you get that across in a very forceful and powerful way. I can't imagine what was going through those people's minds as they're trapped inside the Trade Center. And think of all the bodies, the people jumping to their inevitable deaths. What was going through their heads when they looked at everything around them or looked at the 100 stories beneath them? And to think that was their best escape. I just can't fathom the horror, and I think that gets that across in a way that if you don't show it, people won't recognize it as being a terrible thing, but when you have the image before you, it just helps convey what was really going on that day. You can't not run a picture like that.|sign=Midwest Photo-editor|source=Media Studies of September 11 Journal Article; Winter 2003}} |
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[[File:EMA PHOTOGRAPHER ANDREA BOOHER AT GROUND ZERO, FALL 2001. PHOTOGRAPH BY DOUG WELTY, FEMA.jpg|left|thumb|[[Federal Emergency Management Agency|FEMA]] photographer [[Andrea Booher]] at Ground Zero, fall 2001. Photograph by Doug Welty, FEMA]] |
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Other forms of photo documentation of the disaster were not discovered until much later, such as a man's web-camera that had been set to take multiple photos and had captured the disaster.<ref>{{Cite book|title=9/11 and the Visual Culture of Disaster|last=Stubblefield|first=Thomas|publisher=Indiana University Press|year=2014|isbn=9780253015631|location=Indiana}}</ref> |
Other forms of photo documentation of the disaster were not discovered until much later, such as a man's web-camera that had been set to take multiple photos and had captured the disaster.<ref>{{Cite book|title=9/11 and the Visual Culture of Disaster|last=Stubblefield|first=Thomas|publisher=Indiana University Press|year=2014|isbn=9780253015631|location=Indiana}}</ref> |
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