Our pick of the key stories from the past week, including Q&As with image-makers like Mathilde Vaveau and Karol Palka, Paul Senn’s documentation of a mass migration from Spain in 1939, and the programme for the 50th Les Rencontres d’Arles.
Petronella Chigumbura is a member of Akashinga, an all female anti-poaching unit that operates in Zimbabwe’s Lower Zambezi ecosystem. In Shona – the native language of Zimbabwe – Akashinga means the brave ones. Many of the members are victims of sexual violence and domestic abuse, recruited by the International Anti-Poaching Foundation (IAPF), and trained rigorously to serve on Africa’s frontline against poaching.
Back in 2011, Mohammed Badra was studying architecture at Damascus University, a 20-minute drive from his native Douma. Then war broke out in Syria and he was forced to abandon his studies, initially becoming a first-responder for the Syrian Red Crescent, and then starting to take photographs of the conflict. “Taking a picture is documenting history,” he says simply. “I am an architecture student, I was pushed into photography.”
In 2015 Badra joined EPA [European Pressphoto Agency], working under Oliver Weiken and starting to focus in on images of children. Children are “the biggest losers in this war” he says, and there are many caught up in the crossfire, with the UN estimating that some 500,000 are currently living in 16 besieged areas in Syria.
And it’s the child that’s the really shocking factor in Badra’s photograph from Eastern Ghouta, which has been nominated for the World Press Photo of the Year. Showing victims of a suspected gas attack in hospital on 25 February 2018, the image includes a small boy hooked up to breathing apparatus.
“I meet people with more empathy and more care towards one another in war situations or in conflict around the world than I have ever experienced in Europe. People want to share the little they have with me because I have talked to them and shown an interest in them,” says Jan Grarup. His work has taken him to the sites of the worst conflicts – from obvious examples such as Iraq and Iran, to forgotten areas like the Central African Republic. Each place he visits, he stays to learn about the culture and customs of the people before taking their photographs. In these places of despair and destruction, Grarup often finds hope and resilience. But the Western world needs to be more active and share the responsibility to help these regions return to a peaceful existence.