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Inferno is also a masterpiece in strictly aesthetic terms. The power of Nachtwey's images transcends journalism. Bloody handprints on a living-room wall in Kosovo, the ghostly imprint of a Serb victim's vanished body on a floor, a Hutu with crazed eyes displaying the machete gashes he received for opposing the Tutsis' butchery, a howling orphan in a crib, one eye contracted in anger--these are compositions that depend, like Goya's, on the artist's skill as much as the subject's legitimate claim on our conscience.
Nachtwey's photographs make us capable of imagining that it could have happened to us. They are hard to forget, or forgive. --Tim Appelo
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Nachtwey allows his truthful images to speak for themselves,from the barren lands,the forsaken lands of the world that god has forgotten about.Somalia,Sudan,Rwanda,India,Bosnia,Chechyna,but it really doesn't matter where this occurs, the fact that it does right now, everyday. On artistic terms as others here have said these photos transcend the artistic frame, and given a forever deeper meaning to what art can express of the human spirit. These images also speak of the past, asking the pathetic question where have we come, or does anyone care.