Analyzing the “Photographic Evidence” of the Nanking Massacre

that these photographs had been recently taken in Nanking and Suzhou, and added thatthe outfits of these men—summer clothing—suggests that they had been taken recently.Although one cannot ascertain from his remarks about the actual location of where thephotographs were taken, Farmer’s message was at least clear about when they were taken.Thus, one can conclude that the scenes captured on these photographs have no relevanceto the Nanking campaign, which took place during the winter.Photo 13: “Cilu.” First featured in WMRB. A person lying on the ground, as circled in the image,appears as if napping in a leisurely manner—a scene that is not consonant with thetension-packed atmosphere of the entire image.Second, it is obvious that the cameraman took these images from variousangles—something that one could not do without obtaining permission from those whowere conducting the execution. Clearly, someone took Photos 12, 13, A, and B from anelevated position at a distance and then that same person also captured the images ofPhotos 14, 15, C, and D at close range. Such varying camera angles suggest that thecameraman took these shots openly, instead in secrecy. In other words, the Japanesemilitary must have permitted these scenes to be photographed.In total, these points disprove the contention that these photos are proof ofatrocities in Nanking.80