“Throughout my decade of coverage, the goal has always been to humanise this complex issue of immigration,” says John Moore, who’s nominated image from June 2018, Crying Girl on the Border, became a symbol of the families pulled apart by Trump’s “zero tolerance” immigration policy.
The Melbourne-based photographer traversed Egypt investigating the demise of its tourist industry in the aftermath of the Arab Spring
Pannell plans to visit Egypt and explore the decline of its once thriving tourism industry in the aftermath of the Arab Spring
In 2011, Chatelin, a successful photojournalist and author of the photobook Israel Borderline (2008), was sent to Libya to cover the uprising at the beginning of the war. After a few months he became frustrated with the work he was producing and decided to head in a different direction. Switching to a large format camera, he travelled to the Egyptian desert and began looking at the impact of shifting economies on the landscape and territories surrounding the nucleus of action. This work has also seen explorations to Detroit, western China and Siberia, which, like Egypt and Libya, are places with diverse histories and contrasting geographies but which are fixed in outside perceptions with a single vision.
Swedish documentary photographer Loulou d’Aki’s Make a Wish has been a long time in the making. The project, which was shortlisted for the Grand Prix at Lodz Fotofestiwal this year, revolves around the aspirations and dreams of young people across the globe, recorded in a sweeping compilation of portraits and landscapes. Shot alongside commissions for international publications such as Le Monde, The New York Times and Die Zeit, it evolved over a number of years, charting the photographer’s life on the move.
When in July 2013 Matthew Connors turned the key in the lock of his Brooklyn studio for the first time in a year, he had more than 27,000 images on the hard drive in his bag. A professor at the Massachusetts College of Art and Design in Boston since 2004 (he commutes once a week from New York City via train), he had spent the previous 12 months on sabbatical, travelling through Egypt and North Korea, photographing both. He had arrived in Cairo in the run-up to the second anniversary of the January 25th Revolution of 2011, when Egyptians had taken to the streets to end the three-decade-long presidency of Hosni Mubarak, one of a series of uprisings across the Middle East that became known as the Arab Spring. Connors admits to being shocked when he first saw Tahrir Square, the location in the centre of Cairo where the protesters had congregated. “I had come to know it mostly through journalistic images, where it had been swarming with people and full of encampments. But when I arrived in early January, none of …
A fortnight after Emine Gozde Sevim arrived in Arizona as a high school scholarship student, two planes crashed into the World Trade Center. “It made me realise how powerful an image can be – how pictures can serve as a record,” she says, by phone from her apartment in New York. “If nobody makes a record, we can’t connect to what happened in the same way.” She took up photography soon afterwards. As a child, Sevim had adored making little films with a video camera but, until 9/11, she’d had no real contact with photography proper, she says. She grew up in Istanbul, “which differs from the rest of Europe – visual culture is not paid much attention”. Born in Turkey, with Afghan roots on her mother’s side, she felt personally as well as intellectually affected by 9/11. “It felt like a big historical breaking point, that the world was separating into East and West, more distant than they had ever been,” she says. “I was being educated in America, and I come from a …