Adam Ciralsky reports: On a stifling day in August 2013, a police photographer with chiseled features and a military bearing moved hurriedly about his office in Damascus. For two years, as Syria’s civil war became ever more deadly, he lived a double life: regime bureaucrat by day, opposition spy by night. Now he had to flee. Having downloaded thousands of high-resolution photographs onto flash drives, he snuck into the empty office of his boss and took cell-phone pictures of the papers on the man’s desk. Among them were execution orders and directives to falsify death certificates and dispose of bodies. Armed with as much evidence as he could safely carry, the photographer—code-named Caesar—fled the country.
Since then, the images that Caesar secreted out of Syria have received wide circulation, having been touted by Western officials and others as clear evidence of war crimes. The pictures, most of them taken in Syrian military hospitals, show corpses photographed at close range — one at a time as well as in small groupings. Virtually all of the bodies — thousands of them—betray signs of torture: gouged eyes; mangled genitals; bruises and dried blood from beatings; acid and electric burns; emaciation; and marks from strangulation. Caesar took a number of these pictures, working with roughly a dozen other photographers assigned to the same military-police unit.
But Caesar himself, like the intelligence operation of which he became a part, has remained in the shadows. He appeared only once in public, last summer, before the House Foreign Affairs Committee, where he wore a hood and spoke through a translator. He spoke briefly, and in a restricted setting, though I have been able to obtain a copy of his complete testimony. He sought and was granted asylum in a Western European country whose name Vanity Fair has agreed not to disclose, for his personal safety. [Continue reading…]