Born in Australia in 1969, Patrick Brown lived in the Middle East and Africa before his family settled in Perth, Australia. Drawn to documentary photography, and influenced by the images of war and civil unrest from the 1980s and 90s, he returned to Africa and spent six weeks documenting the work of an Australian surgeon in Malawi. Brown joined Panos Pictures in 2003, and has shown his work in institutions such as the International Center of Photography in New York, and Visa Pour l’Image in France; he works for organisations such as The New Yorker, TIME, Newsweek, National Geographic, GEO Germany, OXFAM, Human Rights Watch, and The Red Cross. Brown focuses on documenting issues across Asia, and has been nominated for the World Press Photo of the Year for an image showing the bodies of Rohingya refugees laid out after the boat in which they were attempting to flee Myanmar capsized about eight kilometers off Inani Beach, near Cox’s Bazar, Bangladesh. BJP: Your image is quite oblique, you have to look again to see what’s actually being shown. Why …
“If you are asked to think what is the photo of the year, you have to try to have something about the events of that year, and that sends you to a news or documentary photography,” says Magdalena Herrera, director of photography for Geo France and chair of the jury for the 2018 World Press Photo Contest. “But we were looking for a point of view, the photographer’s point of view. We weren’t looking for an opinion, but for images in which someone had been able to take the photographic tool to envisage their part. Even if you are a documentary photographer, you choose the moment when you take the shot. YOU are the one reporting.
On 13 February, Çağdaş Erdoğan will stand trial in Istanbul accused of membership and support of the Kurdistan Workers’ Party (PKK), a separatist group classified as a terrorist organisation by the Turkish government. Erdoğan is of Kurdish descent, grew up in the region and, as an adult, embedded with affiliates of the PKK during the complex, multifactional conflict that has crossed the borders of Syria, Iraq and Turkey. But he did so, he claims, purely as a photojournalist intent on documenting an unseen conflict for the world’s media and without any alliance with or allegiance to any organisation. His only allegiance was to photography.
Shot in peoples’ homes, these intimate portraits and their accompanying captions show how refugees and their hosts in Britain have learned to live together – and how both have benefitted from the arrangement. From a Syrian teenager who found a new home in Epsom to a 72-year-old Eritrean who evaded life on the streets thanks to a Birmingham couple, the collection shows acts of compassion – but also the human face of a refugee crisis so often portrayed in negative stereotypes. These refugees have brought warmth and happiness to their new homes, say the hosts involved in the project. “Even after everything he has been through he is such a gentle soul and such a lovely, positive person,” says Shoshana of Faraj, a devout young Muslim forced to flee Aleppo and now living with her and her family in Cambridge.
The Visa Pour l’Image festival returns for the 29th time – to “turbulent time”, in which “photojournalists are obviously needed, and play an essential role which is now more important than ever” as the co-founder and director general Jean-François Leroy puts it
After eight months of fighting, Iraqi forces are close to retaking the city of Mosul. Photographer Tommy Trenchard has spent much of the last three months documenting the conflict in his project The Battle for Mosul. His photographs cover the bitter street-fighting in the western half of Mosul, as well as the war’s effect on the city’s residents – over half a million of whom have been displaced since the rise of ISIS in 2014.