Documenting war preserves the reality of the moment, ensuring that the noise of conflict and the human stories within it are not lost to time. Journalists and photographers play a heroic role in this endeavor, capturing and sharing the impactful narratives of those affected by war. Their work bridges the gap between past and present, giving voice to the experiences that shape our understanding of history.

Vaghinak Ghazaryan, 49, started taking photos as a hobby in 1995 and began working professionally in 2003 at Armenpress. He covers many topics, including war, social issues, and urban life. In one of his most famous projects, he captured unique moments while driving a taxi, using a mirror to photograph his passengers. During the 2020 Karabakh (Artsakh) war, Vaghinak decided to document the frontline, with an eye to capture the conflict’s human tragedy.

"The first goal was to witness everything firsthand, and the second was to portray it. Everyone documents the war differently; I captured what I saw and experienced in my own way. This was my unique relationship with the conflict and the area,” he says.

It was not his first military conflict as a photographer: he documented fighting in April 2016 using a video camera. 

He says there are two moments that left a mark on him during his time documenting war.

One was a horse calmly searching for food in a cemetery while fighting raged nearby.

"It was unexpected to see that horse in the quiet of the cemetery, doing its own thing. As I approached slowly, it turned and looked at me. Our gaze seemed to capture a moment of peace amidst all the chaos and confusion of war."

Vaghinak decided to take photos of the photos on the ground since one day everything will end there, where everything would eventually come to rest.

The second was a resting soldier, an image that ultimately won an award in the 2021 World Press Photo contest. Vaghinak met the soldier in a trench and took only one picture, which he submitted to the competition. 

"While documenting the war, you might not realize where your strength comes from. You start to feel like a soldier, driven by an internal sense of duty and urgency. At that moment, you don’t question whether you have the strength; you simply recognize the importance of your task and carry on.

Beatrice Arslanyan is 35 and she has been working as a journalist since 2015.

Originally from Argentina, she moved to Armenia eight years ago. Beatrice sees journalism as a personal mission to serve her homeland, especially during times of conflict. 

"We arrived at a house that had been bombed overnight, along with other journalists. The owners had just returned and were in shock seeing their devastated home. I found myself unable to cover the scene; I could barely move and managed to take just one photo. The situation was heartbreaking—the wife was crying while holding her husband. Instead of reporting, I questioned my role as a journalist. I realized I am human first, then Armenian, and then a journalist."

In this moment, Beatrice Arslanyan's experience underscored the profound emotional and ethical challenges faced by journalists covering war.

She underscored the importance of how journalists interact with the people they are reporting about—and be conscious of how little they can relate to what people are feeling when their lives are affected by war.  

The starlit sky in Artsakh left a lasting impression on Beatrice Arslanyan during her coverage of the 2020 war. She recalled arriving in Goris, in southern Armenia, first, where she stayed for about three days before heading to Artsakh. Upon arrival, she was struck by a poignant moment. “The city's lights were off, and the night sky was adorned with countless stars, illuminating the entire cityscape.”

Ani Gevorgyan, 35, has been taking photos since 2009. While working as a journalist, she began using an unused camera found in the editorial office. Over time, she began to use both photography and writing to report on the world around her.

Almost all of Ani’s work includes social elements, focusing on individuals and their lives, emotions, and aspirations. 

“My first serious topics emerged in 2010-2011, when the army started documenting deaths of soldiers from various causes. Even though there was no active war at that time, my early work is quite similar to what I later covered during the Artsakh wars.”

For Ani, black and white photography is the language of light and shadow,  that speaks volumes with minimal words.

Ani says there have been moments when she has questioned her ability to continue witnessing the profound sorrow created by war. For instance, she often thinks of a man she met, whose son—hurt during the fighting but desperate for the chance to say goodbye—managed to get to a phone to call his parents before he died. 

She says she finds comfort in children, describing them as "medicines for her soul" during the toughest times. 

“This is our reality, and we face it constantly. I’m grateful to my profession for allowing me to engage with these challenges not just as an observer, but by telling human stories.”