0:00:00 > 0:00:01Wednesday is still going ahead.
0:00:01 > 0:00:05Now on BBC News, Through the Lens.
0:00:11 > 0:00:15Sometimes, history's shaped not over the course of years or decades,
0:00:15 > 0:00:21but in a single day.
0:00:21 > 0:00:24I'm Rebecca Jones and I'm here at the Magnum photo print room
0:00:24 > 0:00:27in London in this special series celebrating the 70th anniversary
0:00:27 > 0:00:31of the agency Magnum photos.
0:00:31 > 0:00:33I'm going to introduce you to some of the world's
0:00:33 > 0:00:39greatest living photographers.
0:00:39 > 0:00:42Coming up, the British photographer who was in Berlin the night
0:00:42 > 0:00:45the wall came down.
0:00:45 > 0:00:48The American who captured the shock and terror of 9/11.
0:00:48 > 0:00:51And the Iranian who wasn't afraid to show the violence on both sides
0:00:51 > 0:00:53of the revolution.
0:00:54 > 0:00:57But first, let's meet Ian Berry he was the only photographer
0:00:57 > 0:01:05to witness the Sharpeville massacre in South Africa in 1960.
0:01:05 > 0:01:11A turning point for the anti-apartheid movement.
0:01:11 > 0:01:14News came through that the police had shot a guy in this township,
0:01:14 > 0:01:19Sharpeville.
0:01:20 > 0:01:22I got there and chatted to the protesters and what have
0:01:23 > 0:01:24you and they were all friendly enough.
0:01:24 > 0:01:31In fact it all seemed a bit dull.
0:01:31 > 0:01:34And I'd more or less given up, I walked back to the car
0:01:34 > 0:01:36and the cops opened fire.
0:01:36 > 0:01:39You can see here that the guy standing on the tank
0:01:39 > 0:01:41in the background, standing on an armoured vehicle,
0:01:41 > 0:01:42and they started to fire.
0:01:42 > 0:01:46And at this point, I saw these kids running towards me and initially
0:01:46 > 0:01:48I thought they were just shooting blanks or shooting over
0:01:48 > 0:01:50the head of people.
0:01:50 > 0:01:53And this guy was holding his jacket up as though to protect
0:01:53 > 0:02:00himself from bullets.
0:02:00 > 0:02:04And only as they started to fall around me did I realise
0:02:04 > 0:02:07that they were shooting real bullets into the back of people.
0:02:07 > 0:02:0870 odd people were dead.
0:02:08 > 0:02:10And the police charged the wounded with an affray.
0:02:10 > 0:02:14And when it came to the court case, I was the only witness.
0:02:14 > 0:02:17The police said they hadn't reloaded, and I had pictures of them
0:02:17 > 0:02:18reloading their automatic weapons.
0:02:18 > 0:02:20They said they'd only fired on the crowd.
0:02:21 > 0:02:23Most of the people were shot in the back.
0:02:23 > 0:02:33As they were running away.
0:02:33 > 0:02:37Anyway, the only good thing was that the wounded,
0:02:37 > 0:02:40the case was dismissed against them.
0:02:40 > 0:02:45In the early days in South Africa it was very difficult to photograph
0:02:45 > 0:02:47the black- white relationships, because, essentially,
0:02:47 > 0:02:51there were none.
0:02:51 > 0:02:54I came across this car and in it was a white child asleep
0:02:54 > 0:03:00on the back-seat and an African nanny, a child herself,
0:03:01 > 0:03:03had been left to look after the baby.
0:03:03 > 0:03:06I'd gone there to work and I kind of accepted in a way,
0:03:06 > 0:03:12I suppose, subconsciously, the way of life there.
0:03:12 > 0:03:24And that picture started me off thinking about South Africa
0:03:24 > 0:03:28and about the politics and really set me off on a path of looking
0:03:28 > 0:03:30at the country through different eyes.
0:03:30 > 0:03:32During the election that brought Mandela to power,
0:03:32 > 0:03:35although I shot a load of stuff on him, somehow this
0:03:35 > 0:03:41was a bit more symbolic.
0:03:41 > 0:03:45He was on his way to a university to speak, and on the way down,
0:03:45 > 0:03:48driving through this town, I saw this enormous poster of him.
0:03:48 > 0:03:51And people climbing up on the poster just to wave to him
0:03:51 > 0:03:58as he went through.
0:03:58 > 0:04:00I was on a white beach in Cape Town.
0:04:00 > 0:04:03It's almost unbelievable, but there were beaches for whites,
0:04:03 > 0:04:05beaches for Africans, and you weren't supposed to be
0:04:05 > 0:04:10an the wrong beach, as it were.
0:04:10 > 0:04:13And I saw this white couple walking along the beach.
0:04:13 > 0:04:16And a couple of Africans sort of fooling around in the background.
0:04:16 > 0:04:19And I kind of thought, wait a second, and if they go past
0:04:19 > 0:04:22and I get the two together, there'll be an incident.
0:04:22 > 0:04:32The whites are going to at least swear at this couple of Africans.
0:04:32 > 0:04:35Anyway, the Africans went by in front and the whites didn't
0:04:35 > 0:04:40say a word.
0:04:40 > 0:04:42And I kind of realised then things were changing fast.
0:04:42 > 0:04:55And it was more or less the end of apartheid.
0:04:55 > 0:04:58Ian Berry whose outsider status enabled him to document sections
0:04:58 > 0:05:00of South African society that others could not.
0:05:00 > 0:05:08Insider knowledge, however, can also give photographs
0:05:08 > 0:05:09a particular potency.
0:05:09 > 0:05:12Between 1978 and 1980, Abbas recorded the revolution in Iran.
0:05:12 > 0:05:14In two pictures the Iranian photographer captured the moment
0:05:14 > 0:05:17a mob attempted to lynch a woman in the street.
0:05:17 > 0:05:25You're photographer, that means you know,
0:05:25 > 0:05:30the historian of the present.
0:05:30 > 0:05:32But you're not shooting for history, your shooting for today.
0:05:33 > 0:05:34It's important when the event is developing.
0:05:34 > 0:05:36That's the difference.
0:05:37 > 0:05:39You have history and you have the history of the present.
0:05:40 > 0:05:42Well, Iran was a genuine revolution, which means a total
0:05:42 > 0:05:47change of regime.
0:05:47 > 0:05:50They knew even when it was happening that only once in my life time,
0:05:50 > 0:05:54you know, I will be not only concerned, but I was also involved,
0:05:54 > 0:05:55at least in the early stages.
0:05:56 > 0:05:57The Shah left the country.
0:05:57 > 0:06:02Bakhtiar was the Prime Minister.
0:06:02 > 0:06:05Khomeini had not arrived yet, so there was a demonstration
0:06:05 > 0:06:12in favour of Bakhtiar and, of course, of the Shah.
0:06:12 > 0:06:14Militants gathered around the stadium and started beating up
0:06:14 > 0:06:16the people coming out.
0:06:16 > 0:06:24Beating them hard.
0:06:24 > 0:06:27Suddenly I see this woman running towards me and being lynched,
0:06:27 > 0:06:29you know, by the mob.
0:06:29 > 0:06:33And of course, again, in a time like this you don't think
0:06:33 > 0:06:33you just shoot.
0:06:33 > 0:06:35So I was running back, shooting.
0:06:35 > 0:06:37And somebody would say, don't take pictures, you know,
0:06:37 > 0:06:40I would always answer in Farsi,
0:06:40 > 0:06:42you know, this is for history.
0:06:42 > 0:06:43As a photographer you shoot.
0:06:43 > 0:06:46But the problem was, should I show this picture then?
0:06:46 > 0:06:48Because in the evening I'd get together with my friends
0:06:48 > 0:06:51and they said, Abbas, you can't show this picture
0:06:51 > 0:06:53because it shows the dark side of the revolution.
0:06:53 > 0:06:56I said, I'm sorry, this might be my country,
0:06:56 > 0:06:58my people in my revolution, but I'm also a journalist,
0:06:59 > 0:07:03which is a historian of the present, so we have to show this picture now.
0:07:03 > 0:07:05And in retrospect I think I was right.
0:07:05 > 0:07:08Because if you look at the faces, you know, lots of the violence
0:07:08 > 0:07:16and the hate that would serve as later on during the revolution
0:07:16 > 0:07:19is already rich in their on the faces of the militants.
0:07:19 > 0:07:23And then the next picture is when, you know, the army intervenes.
0:07:23 > 0:07:25So the woman fence.
0:07:25 > 0:07:27She was carried away, she was saved.
0:07:27 > 0:07:31Then of course I hide my camera, I tried to take a picture
0:07:31 > 0:07:34on the sly, but then this soldier saw me and he came,
0:07:34 > 0:07:38there was a grenade on his gun, he was pushing it to my face.
0:07:38 > 0:07:42As I was afraid, he let it go, if he let it go, I wouldn't be here.
0:07:43 > 0:07:45To him I didn't say, this is for history,
0:07:45 > 0:07:49I just left.
0:07:49 > 0:07:51The day the revolution became victorious, Khomeini had
0:07:51 > 0:07:52headquarters in a school.
0:07:52 > 0:07:54Around the school lots of things were happening.
0:07:54 > 0:08:02So I'm just around there and suddenly I see a mullah in a car
0:08:02 > 0:08:13with a gun in his hand.
0:08:14 > 0:08:15And thought, it really said it all.
0:08:15 > 0:08:17People say, OK, you were a prophet.
0:08:17 > 0:08:18No, but I wasn't...
0:08:18 > 0:08:21Maybe I was a prophet, but I didn't have any
0:08:21 > 0:08:27merit, you know.
0:08:28 > 0:08:30Having covered the Iranians revolution for two years,
0:08:30 > 0:08:32I could see that the wave of religious passion raised
0:08:32 > 0:08:36by Khomeini within Iran was not going to stop at the board of Iran.
0:08:36 > 0:08:38It spread in the Muslim world.
0:08:38 > 0:08:42When it did spread in the Muslim world, it spread all over the world.
0:08:42 > 0:08:44Abbas, a photographer who sees himself as a journalist,
0:08:44 > 0:08:45a historian for the present.
0:08:45 > 0:08:48Mark Power stumbled upon one of the defining moments
0:08:48 > 0:08:51of the 20th century.
0:08:51 > 0:08:54When he was an accidental witness to the fall of the Berlin Wall.
0:08:54 > 0:08:57The British photographer captured the joy and confusion of people
0:08:57 > 0:09:05caught up in that extraordinary event of November 1989.
0:09:05 > 0:09:07Photographs are so powerful that they become the memories
0:09:07 > 0:09:15in themselves.
0:09:15 > 0:09:19So, you know, my memory of Berlin that night is these black
0:09:19 > 0:09:19and white pictures.
0:09:19 > 0:09:23So I flew to Berlin on November nine 1989 with my friend George,
0:09:23 > 0:09:26and we were both really tired, but I'd never been to Berlin before.
0:09:26 > 0:09:28George had.
0:09:28 > 0:09:31I said, look, let's go out, let's go out for a walk.
0:09:31 > 0:09:33So which ambled down to Checkpoint Charlie.
0:09:33 > 0:09:36There seem to be a few people milling about.
0:09:36 > 0:09:40So I asked a fellow what was going on and he said that he'd seen
0:09:40 > 0:09:43something on the news that there's strong possibility that the wall
0:09:43 > 0:09:45would actually be open for passage this evening.
0:09:45 > 0:09:55So I looked at George and he looked at me and we realised we didn't have
0:09:55 > 0:09:59much camera equipment with us, so we got in a taxi and we went back
0:09:59 > 0:10:02to the youth hostel, grabbed all our stuff and went
0:10:02 > 0:10:10straight back to Checkpoint Charlie.
0:10:10 > 0:10:14Bang on midnight, the door right in front of us opened and the first
0:10:14 > 0:10:17East Berlin came through and gave George a big bear hug.
0:10:17 > 0:10:19And a succession of very emotional East Berlins pastors and,
0:10:19 > 0:10:21you know, waiting throng in the West.
0:10:21 > 0:10:23The pictures to show a range of emotions.
0:10:23 > 0:10:26There is a fantastic mixture of jubilation and complete
0:10:26 > 0:10:28the world and.
0:10:28 > 0:10:31The border guards were so bewildered but at the same time quite excited
0:10:31 > 0:10:33by what was going on, they also recognised
0:10:33 > 0:10:43that they were at a momentous point in history.
0:10:43 > 0:10:46That particular picture really does, I think, show quite clearly
0:10:46 > 0:10:48the sense of wonder they were feeling.
0:10:48 > 0:10:51We have to remember that when the Berlin Wall fell
0:10:51 > 0:10:59it was completely unexpected.
0:11:00 > 0:11:10When you're jettisoned to a major news event like that,
0:11:10 > 0:11:13it's hard to know how to react, because let's face it,
0:11:13 > 0:11:17I was there completely by mistake.
0:11:17 > 0:11:21The next day I remember not having much sleep the night before,
0:11:21 > 0:11:27being pretty tired, but walking back to the wall again and,
0:11:27 > 0:11:30amazingly, people were standing and sitting on the wall.
0:11:30 > 0:11:33It seemed very much a matter of defiance, what I was looking at,
0:11:33 > 0:11:36it was quite interesting.
0:11:36 > 0:11:40I think in a way more interesting than the people on the wall
0:11:40 > 0:11:44are the guards at the bottom, you know, contrary to everything
0:11:44 > 0:11:46they've ever been told all believed in, then suddenly this
0:11:46 > 0:11:49is all happening in front of them, what are they supposed
0:11:49 > 0:11:59to do about it?
0:11:59 > 0:12:02It's very rare, isn't it, to be in a major news event
0:12:02 > 0:12:05like that, which is actually a happy thing, you know.
0:12:05 > 0:12:06It's not a tragedy.
0:12:07 > 0:12:09Mark Power, the right person in the right place
0:12:09 > 0:12:16at the right time.
0:12:16 > 0:12:18Remember, you can watch the whole series at BBC.com/throughthelens.
0:12:18 > 0:12:19Now to China.
0:12:19 > 0:12:23And the massacre in Tiananmen Square in 1989 when the Chinese authorities
0:12:23 > 0:12:25crushed the popular movement for democracy in Beijing.
0:12:25 > 0:12:45The former Magnum photos President, Stuart Franklin, was there.
0:12:45 > 0:12:48Coming to the sort of last moments of the event in Tiananmen Square
0:12:48 > 0:12:51in June 1989, I was sort of lying down, squatting down
0:12:51 > 0:12:54and photographing between the kind of balustrades of the balcony.
0:12:54 > 0:12:57And as the tanks rolled through the now cleared crowd,
0:12:57 > 0:12:59a guy, a single guy, white shirt, black trousers,
0:12:59 > 0:13:11two shopping bags, one in each hand, stood in the middle of the road.
0:13:11 > 0:13:13As the row of tanks, the column of tanks, approached.
0:13:13 > 0:13:14I felt very distant.
0:13:15 > 0:13:18In fact, so distant that I thought the picture was really of note
0:13:18 > 0:13:19interest at all particularly.
0:13:19 > 0:13:22On the other hand, I was persuaded by a journalist that this
0:13:22 > 0:13:23was a significant moment.
0:13:24 > 0:13:26It was unusual, you know, in those days in China
0:13:26 > 0:13:28for there to be a mass demonstration.
0:13:28 > 0:13:31In what is still, I think, the largest public square
0:13:31 > 0:13:32in the world.
0:13:32 > 0:13:36The sort of centre of the Chinese state.
0:13:39 > 0:13:43While I was on the balcony trying to photograph the tanks coming down
0:13:43 > 0:13:45the street, actually where I was keen to be
0:13:45 > 0:13:50was in the hospital is trying to understand how many people had
0:13:51 > 0:13:52been either killed or wounded
0:13:52 > 0:13:56the night before.
0:13:56 > 0:13:59At about 2pm some of us managed to leave the hotel and go
0:13:59 > 0:14:04to a couple of hospitals.
0:14:04 > 0:14:07You know, the situation was pretty chaotic, really.
0:14:07 > 0:14:10So what was most noticeable were the rows of young people
0:14:10 > 0:14:12from little mattresses and treated for bullet wounds.
0:14:12 > 0:14:15By being able to get in there and photograph that,
0:14:15 > 0:14:18you know, there was real evidence, material evidence, which is one
0:14:18 > 0:14:21of the challenges of journalists actually trying to tell the story
0:14:21 > 0:14:35of what happened.
0:14:35 > 0:14:39I was going to the square pretty well every day to try and photograph
0:14:40 > 0:14:42the various demonstrations, and one day there was an intense
0:14:42 > 0:14:49summer storm, sort of prophetic dark clouds appeared.
0:14:49 > 0:14:53And then this guy got up on top of one of the balustrades and,
0:14:53 > 0:14:58you know, bore his chest and put his arms up in the air and,
0:14:58 > 0:15:01for me, it was very emotional and a defining moment.
0:15:02 > 0:15:04I felt good about it, I felt it expressed,
0:15:04 > 0:15:06you know, the emotion behind the protest movement
0:15:06 > 0:15:07in China that time.
0:15:07 > 0:15:11I think one of the things that we try to do in news
0:15:11 > 0:15:13photography is to find an image that crystallises the event,
0:15:14 > 0:15:17or the spirit of a series of events in one image.
0:15:26 > 0:15:28As Stuart Franklin said, it was by visiting hospitals
0:15:28 > 0:15:31in Beijing that he discovered the true extent of the Tiananmen
0:15:31 > 0:15:33Square massacre.
0:15:33 > 0:15:37But for the New Yorker Susan Meiselas, there was no need to seek
0:15:37 > 0:15:40out the story, it came to her on the morning of September
0:15:40 > 0:15:44the 11th 2001 when one of the planes that hit the World Trade Center flew
0:15:44 > 0:15:51low over her home.
0:15:51 > 0:15:54So much of history has been shaped by that day.
0:15:54 > 0:15:57Nothing of this scale had happened in New York.
0:15:57 > 0:16:00I actually remember hearing the plane coming very,
0:16:00 > 0:16:03very low over the part of Manhattan where I live,
0:16:03 > 0:16:04Little Italy.
0:16:04 > 0:16:07Riding my bicycle down, I've seen a television programme,
0:16:07 > 0:16:08very unclear what's happened.
0:16:08 > 0:16:13I ride my bike down to that area of New York, I live not that far
0:16:13 > 0:16:15away, and it's one of the first photographs I made,
0:16:15 > 0:16:18just people looking.
0:16:18 > 0:16:21That photograph is really just a passer-by making a souvenir
0:16:21 > 0:16:24photograph of something that at that moment in time we had no idea
0:16:24 > 0:16:27what had happened.
0:16:27 > 0:16:31The first plane had gone into one of the Twin Towers.
0:16:31 > 0:16:35It's this strange photograph for me that marks that everyone
0:16:35 > 0:16:38becomes a photographer.
0:16:38 > 0:16:42This, I think, is very much of its time.
0:16:42 > 0:16:46It stands for a moment in time perhaps.
0:16:46 > 0:16:49I was probably two blocks from the tower when it actually,
0:16:49 > 0:16:51the last real drop of the tower.
0:16:51 > 0:16:56And that led to this massive escape.
0:16:56 > 0:17:00So I was standing still and trying to move closer, as close as I felt
0:17:00 > 0:17:03I could, as people were just racing past me.
0:17:03 > 0:17:06And actually I've tried to reconstruct that photograph,
0:17:07 > 0:17:10I tried to find people who were in that moment of time.
0:17:10 > 0:17:13The photograph of the statue, which many people didn't realise
0:17:13 > 0:17:17when they first saw the photograph was a statue, and I'm not even sure
0:17:17 > 0:17:20I did when I made the photograph, I was focused on the fact
0:17:20 > 0:17:23that there was all this what looks like confetti,
0:17:23 > 0:17:25but were torn up papers and dust filling the air
0:17:26 > 0:17:27as the towers came down.
0:17:27 > 0:17:30And when I looked at Liberty Plaza there was this statue which,
0:17:30 > 0:17:33at the moment, looked so lifelike, it is life-size.
0:17:33 > 0:17:36Of a man burying himself in a briefcase that could have been
0:17:36 > 0:17:37any man at that moment.
0:17:37 > 0:17:40We were all kind of not knowing where our things were,
0:17:40 > 0:17:54what was happening.
0:17:54 > 0:17:57So he kind of personified everyone, and the anxiety everyone had
0:17:57 > 0:17:58at that moment.
0:17:58 > 0:18:01There is a photograph of the firefighters.
0:18:01 > 0:18:05So as I start to pull away and just get some distance on what happened,
0:18:05 > 0:18:08along with the West side Highway, which was completely evacuated,
0:18:08 > 0:18:11no cars, no people, this group of firefighters were retreating
0:18:11 > 0:18:13and probably just regaining confidence to go back,
0:18:13 > 0:18:16no doubt, and they were washing their faces on this fire hydrant.
0:18:16 > 0:18:23They had opened it up and they were just flushing
0:18:23 > 0:18:28their faces and their lungs probably come up with the water.
0:18:28 > 0:18:31I was just struck, they were the real heroes
0:18:31 > 0:18:35of that day.
0:18:35 > 0:18:37This photograph haunts me in a different way,
0:18:37 > 0:18:54the skeleton that remained.
0:18:54 > 0:18:57That's kind of the last memory of that day, these two phenomenal
0:18:57 > 0:19:00towers that every time you flew into New York you would look out,
0:19:01 > 0:19:03you know, the plane, and see them standing
0:19:03 > 0:19:06there at the tip of the island, they were reference points
0:19:06 > 0:19:07from so many points in the city.
0:19:08 > 0:19:10We didn't yet, I mean when I'm making my photograph,
0:19:10 > 0:19:12no idea how that even was possible.
0:19:12 > 0:19:13It was just inconceivable.
0:19:13 > 0:19:16So, you know, everyone took away from that day their own experiences,
0:19:17 > 0:19:20a combination of what they heard them what they saw on television,
0:19:20 > 0:19:22what they saw in books, and what continues to happen
0:19:22 > 0:19:24as a result of that action.
0:19:24 > 0:19:25Susan Meiselas remembering 9/11.
0:19:25 > 0:19:28The German photographer Thomas Dworzak was in Iraq
0:19:28 > 0:19:36during the American led invasion of the country in 2003.
0:19:37 > 0:19:40He's the president of Magnum photos and he captured the emotions
0:19:40 > 0:19:43of Iraqis in the days both before and after the fall of Baghdad.
0:19:43 > 0:19:46Something makes you a good war photographer when you're young
0:19:46 > 0:19:49and eager and crazy.
0:19:49 > 0:19:52And when you get older and you've seen a lot,
0:19:52 > 0:19:54you get more scared and you get more...
0:19:54 > 0:19:55It's not so easy.
0:19:55 > 0:19:58I was in Iraq before the war, it was very controlled,
0:19:58 > 0:20:00it really didn't feel like a very...
0:20:00 > 0:20:01Felt like a scary country.
0:20:01 > 0:20:03People were afraid of making a mistake.
0:20:03 > 0:20:07It was like a couple of months before the war when Saddam suddenly
0:20:07 > 0:20:10decided for I don't remember what reason that this was the day
0:20:10 > 0:20:23of clemency and all the prisoners were allowed everybody
0:20:23 > 0:20:24was allowed out of prisons.
0:20:25 > 0:20:27With criminals in it, all the political prisoners,
0:20:27 > 0:20:30everything, just open up the entire prison, which was this huge,
0:20:30 > 0:20:33I think at the time the biggest prison in the Middle East.
0:20:33 > 0:20:34They just ran out.
0:20:34 > 0:20:35They didn't escape.
0:20:35 > 0:20:39The gates were open and everybody left.
0:20:39 > 0:20:42I think it was surreal because I'd heard about it so much
0:20:42 > 0:20:43and because it had this...
0:20:43 > 0:20:46I never thought I would ever get into it.
0:20:46 > 0:20:48We didn't know anything, anybody if asked, because it
0:20:48 > 0:20:52was so off-limits.
0:20:52 > 0:20:55Right after the fall of Baghdad there was this,
0:20:55 > 0:20:58there were tonnes of Saddam statues, so people went out, they took
0:20:58 > 0:21:02off their shoes and they stood there like it was this never ending
0:21:02 > 0:21:07beating of metal and concrete statues with shower sandals.
0:21:08 > 0:21:09And somebody brought in sledgehammers, they brought
0:21:09 > 0:21:12in the bigger machinery and blew them into pieces.
0:21:12 > 0:21:14The foundation, and then they change them...
0:21:14 > 0:21:17There was a whole ballet of all kinds of things you can do
0:21:17 > 0:21:22with dismantled Saddam statues.
0:21:22 > 0:21:26The fall of Saddam was a relief for people, of course there was no
0:21:26 > 0:21:28plan, of course it all went crazy afterwards.
0:21:28 > 0:21:31But initially there was this, OK, now it's over, thank good.
0:21:31 > 0:21:34So there was definitely a mood of celebration and of course
0:21:34 > 0:21:37there was a lot of looting after and mayhem and chaos,
0:21:37 > 0:21:40but this was right after when the Americans took over one
0:21:40 > 0:21:43of the old palaces.
0:21:43 > 0:21:46When the swimming pool was still there and they have
0:21:46 > 0:21:49recruited some kids on the street who were translators,
0:21:49 > 0:21:50spoke some English.
0:21:50 > 0:21:52This is one of them jumping into the pool.
0:21:52 > 0:21:56This was still a time when Americans would drive around walk around
0:21:56 > 0:21:59Baghdad, I think they had body armour but they had open Humvees,
0:21:59 > 0:22:00nobody was expecting ideas...
0:22:00 > 0:22:02There was still a kind of...
0:22:02 > 0:22:12There was this really post-war relief.
0:22:12 > 0:22:23Didn't last.
0:22:23 > 0:22:28Thomas Dworzak looking back on his time in Iraq.
0:22:28 > 0:22:37To see the rest of the series, do go to BBC.com/ThroughTheLens.