Manila City Jail, Hannah Reyes Morales

Hannah Reyes Morales is a Filipina photographer and National Geographic Explorer whose work documents tenderness amidst adversity. Her photography, both visceral and intimate, takes a look at how resilience is embodied in daily life. Based in Manila, Reyes Morales’ work explores the universal themes of diaspora, survival, and the bonds that tie us together.
Publications include: The Washington Post, The New York Times, National Geographic, Al Jazeera, The Southeast Asia Globe, Newsweek Japan, CNN Philippines, and The Atlantic.
Hannah is currently working on longer term projects, focused on safe-space making and care giving. She is available for assignments globally.


GMB Akash

I have received more than 100 international awards and my work has been featured in over 100 major international publications including: National Geographic, Vogue, Time, Sunday Times, Newsweek, Geo, Stern, Der Spiegel, The Fader, Brand Ein, The Guardian, Marie Claire, Colors, The Economist, The New Internationalist, Kontinente, Amnesty Journal, Courier International, PDN, Die Zeit, Days Japan, Hello, and Sunday Telegraph of London.
In 2002 I became the first Bangladeshi to be selected for the World Press Photo Joop Swart Masterclass in the Netherlands. In 2004 I received the Young Reporters Award from the Scope Photo Festival in Paris — once again, the first Bangladeshi to receive this honour. In 2005 I was awarded “Best of Show” at the Center for Fine Art Photography’s international competition in Colorado, USA. And in 2006 I was awarded World Press Photo award and released my premier book “First Light”. In 2007 I became the first Bangladeshi to be selected for the 30 Emerging Photographers (PDN 30), sponsored by Photo District News Magazine, USA. I won the 7th Vevey International Photography Grant from Switzerland in 2009 and in the same year, I took home the international ‘Travel photographer of the Year” title at the International Travel Photographer of the Year Competition (TPOY 2009) in the UK, the most prestigious award in travel photography. I was one of the speakers in the fifth Global Investigative Journalism Conference, held at Lillehammer, Norway in 2008 and as well I was the first Bangladeshi in Ted talk at TEDxOporto 2011, in Portugal. I was one of the speaker of “7th Forum of Emerging Leaders in Asian Journalism”, Yogyakarta / Indonesia”. In 2011 Nikon has selected me as one of the 8 influencers in Asia pacific (APAC region).
I presented the results of my 10-year project in 2012 which was published in a book entitled SURVIVORS in 2012 and which was reviewed by the prestigious Geo magazine. The proceeds from the book and subsequent exhibitions go to helping the subjects in that book set up small businesses for which I train them and monitor their progress in order to make them and their families self-sufficient.
I founded the FIRST LIGHT INSTITUTE OF PHOTOGRAPHY in Bangladesh in August, 2013. We now have hundreds of students from all over the world. I’ve also launched an exclusive One on One Photography Workshop a year ago and since then the program has been received with excellent reviews. So far, participants have come from Germany, the USA, Spain, Switzerland, Indonesia, Netherlands, Austria and Puerto Rico. The proceeds from this are to help achieve my ultimate objective of providing basic education for street children, unprivileged talented students, and child laborers.


Legal Rape, Emeke Obanor

In recent time, numbers of rape victim has been on the increase in Nigeria. Nigeria is still very much a patriarchal and misogynistic society; a society where rules are dictated and governed by men, and culture and tradition makes men head over women. The culture aspect includes gender norms that validate men as sexual pursuers and attitudes that view women as sexual conquests by which manhood is legitimized and women are objectified, as sexual objects to be owned, used, consumed, and even sexually abused by the “entitled”male.
The society on their part undermines the emotional trauma experienced by rape victims and thus become unsympathetic and sees it as a norm.
The documentary “
Legal Rapeexplores the uncomfortable memories of rape victims, violation of their human right and their search for closure, in a society where the mindset of most people as it relates to sexual assault tends to be un-empathetic, unsympathetic and seen as a norm.
Some of the victims truly suffer uncomfortable memories such as nightmares, flashbacks, suicide thoughts and feelings of guilt. It can also manifest in physical ways, like chronic pain, intestinal problems, muscle cramps, paralyzed vocal cord, or as in TY case, sleep disorder.
With the shameful act increasing day after day in Nigeria, keeping silent about the issue is no longer the way to go and heal for the girls I documented.
Truly, rape victims have some periodic bitter flashbacks, so they usually take steps to heal, but healing seems far for many of them without a proper support system from families, society or agencies. People should join “say no to rape” advocacy since that would go a long way to reduce the number of incidents, address rape as human right violation.

Emeke Obanor’s Website

Rémi Ochlik

After graduating from high school, he went to Paris to study photography at Icart photo school and began working for the photography agency Wostok.
In 2004, at the age of 20, Ochlik went to Haiti to photograph the riots and conflict surrounding the fall of President Jean-Bertrand Aristide. The resulting work was awarded the Francois Chalais Award for Young Reporters and was projected at Visa pour l’Image International Photojournalism Festival.
In 2005, he founded his own photography agency called IP3 Press, with the goal of covering news in Paris and conflicts around the world.
He covered the war in the Democratic Republic of Congo in 2008 and returned to Haiti to cover the cholera epidemic and presidential elections in 2010. In 2011, Ochlik photographed the Tunisian and Egyptian revolutions and the uprising and war in Libya. His work has been published in Le Monde Magazine, VSD, Paris Match, Time magazine, and The Wall Street Journal.
He was killed when a shell hit the building where he and other journalists were working in Homs, Syria, on 22 February 2012.

Saúl Martínez

Saul Martinez is an independent freelance photographer and videographer based in South Florida. He specializes in documentary, portrait, editorial and news photography.
Saul’s vision and approach to his work flow allows him to do
cument life in a creative, intimate, storytelling way through photographs. He has been working in Florida since 2017, for numerous publications. (listed below)
Before shifting over to freelance work, he was based in Central America since 2009 as a staff wire photographer for EFE and Reuters news agencies for ten years out of Guatemala City, Guatemala.

Suzanne Stein

For New York-based photographer, Suzanne Stein, street and documentary photography is all about stark realism. The idea of framing a moment exactly as she saw it, regardless of how hard it is to look at, is what drives her art.
“City is a reflection of a complex place – it’s part street, part documentary,” Suzanne tells us. “I shoot moments that I feel form narratives and sometimes these little stories are hard to look at. Sometimes we all walk past and sometimes that’s not right.
“I also shoot people I meet on the street periodically, whenever I run into them over long periods. They change each time. They grow up, they blossom, and sometimes they deteriorate. That’s the city I see every day.”
Suzanne aims to offer a genuine window into life on the streets, using different techniques to illustrate the harshness, chaos, warmth, and beauty of the urban environment. “I shoot everyone and believe that absolutely nothing should be left out of street photography image creation, no matter how hard to look at or understand,” reveals Suzanne. “City is a harsh place, but also a warm place depending on who’s occupying a patch of pavement at any given moment. I use various ideas, techniques, and visual storytelling methods, sometimes it’s lighthearted and sometimes it’s bittersweet. Whatever it may be, it’s all part of the mosaic.”

Suzanne Stein

I am a single parent and former artist who is dedicated to the art and craft of street/documentary photography. I’ve studied at The University Of Pennsylvania, The Pennsylvania Academy Of Fine Arts and The Art Students’ League Of New York. I’m currently based in Southern California with a special interest in Los Angeles/Skid Row. My immediate future plans include some travel in an effort to start my next project, which will include the search for people and stories that captivate me, creating visual and contextual narratives using my dual approach as a street/documentary photographer and writer.

Días eternos, Ana María Arévalo Gosen

La miseria económica actual en Venezuela, mezclada con violencia y crimen arraigados en la sociedad, se ha acentuado dentro de los centros de detención preventiva. Los retrasos procesales están separando a miles de mujeres de sus familias y niños durante meses o incluso años. El sistema penitenciario va más allá del umbral de lo que se considera no aceptable en las sociedades donde funciona la democracia. Casos de muertes por desnutrición, enfermedades infecciosas y disturbios. Las instalaciones están muy pobladas. Hay una extrema precariedad de las instalaciones sanitarias, los suministros son proporcionados por miembros de la familia. Falta asistencia médica. En este contexto de privación, las detenidas se encuentran en una situación muy vulnerable. Son mujeres de origen humilde. Sus vidas han estado marcadas por el abandono familiar, el abuso sexual o el trato violento. Se les acusa de contrabando de drogas, robo, porte ilícito de armas, secuestro, asociación para cometer un delito, corrupción de menores, infanticidio, terrorismo y saqueo de propiedad privada. Las causas del encarcelamiento también se extienden a la esfera política. La “ley contra el odio”, aprobada en enero de 2018, prohíbe cualquier protesta contra el gobierno y ha puesto a un gran número de mujeres tras las rejas. Tener una segunda oportunidad en sus vidas es una idea recurrente que casi todas tienen en mente.

¿Cómo continúan presas, algunas de ellas madres, sus vidas después de la liberación y se reúnen con sus familias? ¿Y qué nos dicen sus condiciones sobre el estado de la actual crisis venezolana? Frente a esta terrible realidad del sistema de justicia, una tarea obligatoria de debate público y acción política, no solo en Venezuela, sino en todo el mundo, es contribuir a la urgencia de establecer instituciones penitenciarias que no violen los Derechos Humanos de estas mujeres.

Yevgeny Khaldei

It is symbolically fitting that Yevgeni Khaldei, who became one of the most significant photojournalists of the 20th-century, was born in the same year as the Russian Revolution. On March 10, 1917, Khaldei was born into a Jewish family, the youngest of six children in Donbass, a Ukrainian steel town. He was introduced to the horrors of the Russian Revolution on March 13, 1918 during a pogrom, when a bullet fired by an anti-Jewish gunman passed through Khaldei’s side and into his mother, killing her.
His childhood was about survival. He subsisted on grass during a great famine that killed many of his countrymen. At eleven, he worked cleaning steam engines in exchange for food. At the age of twelve he left school and began to work in a steel factory. This is where his passion for photography was realized. He created a crude box camera with a lens from his dead Grandmother’s eye-glasses and experimented by taking portraits of his sisters. At the age of fifteen his photographs started to appear in his local paper Socialist Donbass. Yevgeni Khaldei portrayed the local miners and steelworkers as pioneers building the Great Utopia.
By the time he was eighteen years old, he had landed a job as a staff photographer at the Tass news agency based in Moscow. When the German troops invaded Russia, Khaldei was commissioned as a lieutenant in the Soviet army. He was sent out to photograph the Second World War carrying a camera, a backpack, chemicals to develop film, and a black leather coat. He covered all 1,481 days of the War between Russia and Germany as a correspondent for the Tass News Agency and much of this work was published in Pravda.
The images that Khaldei took during the War were later compiled to create the album From Murmansk to Berlin, a chronicle of the Russian involvement in the War. At the outbreak of the Second World War Khaldei was sent to the Arctic city of Murmansk. He was stationed with a group of British pilots who were sent to protect the Arctic convoys.
In April of 1945, the Russians reached Berlin. Khaldei planned to photograph the capture of the city as it unfolded. When he realized that there were no Soviet flags in the city, he hopped on a plane to Moscow and searched throughout the day for a flag. As he entered a shop, he noticed some red tablecloths used for formal events. He borrowed three of these tablecloths from a reluctant shop worker named Grisha Lubinskii. Khaldei brought them to his uncle, a tailor, who then stayed up all night to sew on the hammer and sickle and yellow star.
Rushing back to Berlin he raised the first make shift flag over the Great German Eagle at the Tempelhof Airport on April 28. On May 2, Khaldei reached the Brandenburg Gate and witnessed a group of Russian troops being told that Hitler was dead. Khaldei immediately climbed the staircase of the gate and placed the second tablecloth-flag at the top with the bronze horses. Khaldei was determined to place the final Red Army flag at the top of the Reichstag. When he reached the burnt out structure, fighting was still going on in the basement. Khaldei and three comrades ascended to the roof of the Reichstag, which was slippery with blood from the fierce fighting just hours before. Khaldei then snapped one the most dramatic images of the century as the Russian soldiers raised the Soviet flag over the Reichstag.
At the War’s end Khaldei was at the Potsdam conference to photograph the victorious leaders and sent to Manchuria for the last days of the Soviet Army’s campaign against the Japanese. In the fall of 1945 he documented the war crimes trial in Nuremberg where many Nazis were convicted. After the war’s end Khaldei made a very modest living working in film labs and continuing to photograph for Russian publications. He died in Moscow on October 6th, 1997 at the age of 80.

Gilles Peress


I don’t care so much anymore about ‘good photography’.
I am gathering evidence for history

Gilles Peress

Children for Rent – India’s Orphanage Business, Sandra Hoyn

Living conditions at many orphanages in India are appalling. The children are not washed or fed properly, they are beaten and receive no medical treatment when sick. The worst thing is that these children are not orphans. The owners of the homes send agents out to villages to rent children to put in fake orphanages as a way of getting tourists to part with their money – all donations land in the pockets of the orphanage owners. The parents believe their children are being well cared for. During school holidays some of the children are allowed to return home to their families. The older ones remain at home and the younger siblings are sent back to the orphanages in their place.

With my pictures I would like to demonstrate the misery, which results from orphanage tourism. Children homes have to be reduced instead of created. It is important to support the rehabilitation of children into their own families. But instead of this the orphanages are promoted by sponsorships and senseless distribution of large amounts of money.