Tag Archives: Rodrigo Abd

Syria’s Agony: The Photographs That Moved Them Most

Syria has always been a tough place to cover for journalists. Confidently authoritarian with a ruthlessly formidable security and intelligence apparatus, Syria has long been one of the most policed of Arab police states. So when some Syrians defied their government to take to the streets in the southern city of Dara‘a in March 2011, the temptation to cover the story was overwhelming for many, including myself.

The story of the Syrian uprising is ultimately the tale of regular citizens silencing the policeman in their heads, breaking their own personal barriers of fear to speak, to demonstrate, to demand, to reject, to no longer be afraid, to live in dignity. It’s about what these people will do, what they will endure, and what they are prepared to become to achieve their aims.

It is also the story of a significant portion of the population that considers the regime of President Bashar Assad the country’s best option, because they believe in its Baathist secular ideology or directly benefit from its patronage or don’t have confidence in Assad’s opponents and fear what may come next. Understanding what this segment of the population will accept in terms of state violence, the narratives they choose to believe and their concerns is a critical component of the story, though one that is harder to obtain, given the paucity of press visas issued by Damascus.

The only way to tell the Syrian story, really tell it, is to be on the ground with the men, women and children who are central to it, whether in Syria on in the neighboring states that many Syrians have fled to. It isn’t easy to do — the Committee to Protect Journalists, based in New York City, has dubbed Syria the “most dangerous place for journalists in the world” — but it is essential. Nothing beats being there. There is no compensating for seeing, feeling, touching, capturing, living the story.

The images here are a testament to the power of being on the ground, of sharing and capturing a moment for posterity, of translating an element of a person’s life through imagery.

Take a look at the photos. Can you place yourself in these situations? Can you imagine what it must be like? What do you feel when you look at the images? Are you drawn into them, or are you repulsed? Can you relate to them, or are they too alien? This is the power of translating on-the-ground reporting to an audience. This is why we must and will continue to document the Syrian uprising from inside the country when we can, and we — members of the foreign press corps — are not alone. Sadly, as is often the case, local journalists (both professional and citizen) have disproportionately borne the brunt of the casualties in this crisis. Still, this story is not about members of the media and what we go through to tell it; it’s about the Syrians who entrust their testimonies, their experiences, their hopes, their fears, their images to us in the hope that they will help explain what is happening in one of the most pivotal states in the Middle East.

—Rania Abouzeid


This collection of testimonies is the third in a series by TIME documenting iconic images of conflict. See “9/11: The Photographs That Moved Them Most” and “Afghanistan: The Photographs That Moved Them Most” for more.

Abouzeid is a Middle East correspondent for TIME. Reporting by Vaughn Wallace.



Aperture’s Week in Review: Online Photography Reading Shortlist

Aperture aggregates the best posts from this past week in the photography blogosphere.

  • LensBlog explores why Rodrigo Abd‘s photograph of a young Syrian boy expressing grief over the death of his father landed on the front page of three of the most prominent national papers in the United States.

 

Inside Syria: Photographs by Rodrigo Abd

AP cameraman Ahmed Bahaddou and I sneaked into Syria from Turkey, traveling with the rebels’ Free Syrian Army. Our aim was to understand and cover the conflict in the country’s northwest region, as well as in the hard-hit Homs neighborhood of Bab Amr, under siege for weeks by government forces.

Almost as soon as we arrived, news broke of a massacre and the military victory of Bashar Assad’s forces in Homs. But after traveling in the country for about 10 days it became clear that the rebel stronghold of Idlib was likely to be the next source of news.

Saturday, March 10, was a horrifying day in Idlib. Ahmed and I had slept the night before in a hospital for security. The city was completely dark, making it impossible to drive in the city, and the sounds of the fighting could be heard everywhere.

Turky

Rodrigo Abd—AP

March 12, 2012. A Turkish man drives a tractor on a dirt road in Turkey, meters away from the Syrian border.

After waking up that morning, we began documenting the chaos as dozens of civilians and fighters brought the wounded and dead to the hospital. We could hear that the fighting was very close, with the sound of bullets whizzing nearby. Assad’s forces were taking control of all the neighborhoods and it was clear they were not going to welcome the presence of journalists.

It was time to leave.

In the last light of the evening, we saw fighters celebrating the destruction of a tank, and we ran with them, trying to avoid the direct line of fire. A sudden big explosion that spewed a huge grey smoke over a group of wounded soldiers created a terrific scene that I quickly photographed.

After we ran back to the hospital I encountered some of the most moving images of the conflict: a group of rebel fighters weeping over their dead comrades. They may not be my best photographs, but I think they tell a lot about the situation in Syria.

We left Idlib that night, traveling again with the Free Syrian Army. After walking in the dark in complete silence through a passage, we then hiked more than 11 kilometers to avoid military checkpoints in hopes of reaching a friendly city.

Anything we suffered to tell the story was nothing compared with what the Syrian people have experienced in nearly a year of conflict: broken families. Human rights abuses. Children severely injured. More than 7,500 people dead. The cruel realities of a country with a dark future.

Rodrigo Abd is a photographer with the Associated Press. See more of his work here.

Pete Muller: TIME Picks the Best Photographer on the Wires

Of the millions of photographs moving through the news services—known as “the wires”—this year, the work of Associated Press freelancer Pete Muller, 29, stood out. His exceptional photographs—focused on Africa and particularly Sudan—take an individual approach to storytelling, one that combines a distinctive aesthetic with journalistic integrity.

The U.S.-born photographer moved to Sudan in 2009 knowing that the country was at a critical point in its history. Sudan had been devastated by decades of brutal civil war between the Arab-Islamic north and largely Christian south and was on the cusp of formal division. This July, southern Sudan became the world’s 193rd country, and Muller knew that very few journalists were in the region covering the story. “I thought that spending a few years documenting southern Sudan’s transition to independence would be of value to the historical record and might shed light on an underreported but geopolitically significant story,” he says.

Santiago Lyon, AP’s director of photography says Muller’s work showcases “a distinctiveness of voice combined with a fairly unique access.” Muller has found subject matter that balances the AP’s desire for news with a personal passion for more in-depth story telling. “I hope that, when appropriately paired with words, it contributes to the record of South Sudan at its long-awaited birth,” the photographer says of his work. “In an intellectual sense, I hope that it underscores the challenges of national identity and nation-states that exists in countless countries across the world and has, for centuries, been the source of immense bloodshed.” Internationally, where the majority of AP’s photo content is staff-produced, Muller is a rarity. He has been working for the AP since April 2010 and is one of a handful of freelancers the wire service works with, in part because of his location in Africa. In addition to his long-term work in Sudan, Muller has shot several stand-alone portrait stories, including one about rape victims in the Congo, in the last year.

Along with the work of a select group of established staff photographers—sprinkled across the bigger news agencies—Muller’s work diversifies the output from the wires to include work that differentiates itself from the standard news assignment fare. Other wire photographers who’ve also succeeded in adding their personal touch to their reportage work this year include Reuters photographer Finbarr O’Reilly, who produced a topographic series from Afghanistan and Libya, the AP’s Kevin Frayer, who shot an essay offering a different perspective on Afghanistan, the AP’s David Guttenfelder’s, notable for his series in North Korea and Japan, and the AP’s Rodrigo Abd, who used a box camera that developed the film inside the camera to make portraits of indigenous Guatemalan women. Getty’s John Moore deserves special mention for his work in Somalia, which was sandwiched among his coverage of some of theyear’s biggest news stories, including the revolution in Libya and the Occupy protests.

In an era of image saturation where it is more difficult than ever to differentiate one set of images from another, this more personal approach is finding support from the within the agencies. “We want photographers to have a voice and as long as that voice is journalistically sound and is as objective or impartial as it needs to be meet AP standards for fairness and accuracy,” Lyon says. “It is Important to have diverse group of photographers and it is important to let them express themselves—to let them to do something that, once upon a time, was not common and add even unheard of in the wire services.”

Although the lion’s share Muller’s work this past year went out through AP, he also worked directly for the New York Times, the Times of London, Foreign Policy and others publications. Muller has what Lyon describes as a triple threat: an accomplished lensman and writer who applies his skills within the rigors or art as well as journalism. “We’re not just about pretty pictures,“ Lyon says. “We want our pictures to say something, there’s a story there.” Muller’s work bares creative testament to this ethic. His photographs bring his stories more attention through his creative process, which balance a unique vision and aesthetic with journalistic integrity. And in this last year, Muller has been peerless in raising the bar for photography on the wires.