Click top image to view larger and caption Deeply Rooted Germany by Astrid Scheuermann Published January 2025 “Deeply Rooted” is a documentary photography project about the Sorbian minority in Germany during a crucial period of its history: the structural change brought about by the eventual closure of lignite open-cast mines by 2038. The Sorbian minority is one of four official minorities in Germany. They are a West Slavic ethnic group predominantly inhabiting one of the country’s most intensive lignite mining regions: Lusatia, between the German federal states Brandenburg and Saxony. In the last 50 years, 136 towns have disappeared as the land was needed to expand the mines. In response to this identity crisis, Sorbians are creating opportunities to preserve their heritage, such as language revitalization. Being a Sorbian nowadays means belonging to a minority that is proud of their traditions and that has withstood gruesome events during its history, such as assimilation attempts during the Nazi regime and the intensified lignite mining during the Communist rule. Astrid Scheuermann Astrid Scheuermann (born in Panama City, in 1993) is a documentary photographer and filmmaker based in Berlin. Born and raised in two cultures (Germany and Panama), Astrid studied journalism and audiovisual production at Universidad Latina in Panama City from where she graduated with honors. In September 2015, she moved to the United Kingdom to earn a Master’s degree in Film, Photography, and Media at the University of Leeds, successfully completed with merit in December 2016. Astrid’s short documentary film “1989” competed in several film festivals around the globe, and earned three prizes. Her work has been published in several publications including GEO, Berliner Zeitung, Märkische Oderzeitung, Südwest Presse, and Lausitzer Rundschau. Her photographic and filmmaking practice is centered around major topics such as cultural diversity, identity, the relationship between humans and the environment, and collective memory. Follow Astrid Scheuermann on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption Stateless Lebanon, Dominican Republic, Nepal, Ivory Coast, Bangladesh by William Daniels Published January 2024 What happens when a person’s identity is negated to the point that they are deprived of any official existence? This person becomes stateless: they do not belong to any country – not even the one they consider their own. Most of the world’s 10 million stateless people do not feature in any census. They are seldom refugees: many have never left the land on which their ancestors were born. The question of who belongs and who does not, who has access to resources and who should be denied them, is a hot topic in our times of pervasive identity crises and populism fueled by social media. The philosopher Hannah Arendt wrote that citizenship is “the right to have rights”; in “The Origins of Totalitarianism”, she described the process of dehumanization of stateless people: when “Others” are created and differences are exploited, citizenship becomes an instrument to deprive rights of those who could threaten political, ethnic or economic interests. This story in ZEKE by William Daniels explores stateless communities, or “at risk of statelessness” in six countries. William's project, "Stateless" will be on display at the Bridge Gallery in Cambridge, Massachusetts, April 13-May 25, 2024, and at Photoville in Brooklyn, New York, June 1-16, 2024. William Daniels William Daniels is a French photographer working on long-term documentary projects, with a particular interest for people’s quest for a sense of identity and territories prone to chronic instability. In 2007, he won the Lagardère Foundation’s Young Photographer grant to conduct a personal project in the young and fragile Republic of Kyrgyzstan. The latter was prone to inter-ethnic clashes just a few years after the Tulips Revolution which had been hailed – and perhaps fantasized – by the West as the sudden ascent to democracy of a people liberated from the shackles of Soviet rule. This project was exhibited at the Fait Et Cause gallery in Paris, and self-published in the book, Faded Tulips (2012). Since 2013, Daniels has traveled 10 times to the Central African Republic, a former French colony mired in extreme violence and mistrust between communities. His work was exhibited as a 100-meter-long fresco along the Seine in Paris in 2014; in a similar street show in New York in 2016; And at the War Photo Museum in Dubrovnik in 2015. In 2017, he published the book RCA (Clémentine de la Féronnière ed.) Since 2015, William Daniels has also been making regular trips to the Russian Far. He has followed the Baikal-Amur mainline, documenting life along this mythical railway that has been abandoned since the fall of the USSR. In 2019, the Pavillon Carré de Baudouin in Paris hosted his exhibition Wilting Point. The installation, conceived as an immersive experience, offered a transversal narration through images of conflict-ridden places (in the Indian Kashmir, the Central African Republic, Kyrgyzstan, the Bangladesh-Myanmar border…). The roots of these conflicts differ, they have one common denominator: a colonial past. Aside from his personal projects, William Daniels contributes to National Geographic magazine, the National Geographic Society, Le monde and other international media. His assignments has won several international accolades, including two World Press Photo awards, a Visa d’Or at the Perpignan Photojournalism Festival, and the Tim Hetherington grant. www.williamdaniels.net Follow William Daniels < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption Shishmaref - A Native American Struggle Alaska, United States by Nima Taradji Published November 2023 Shishmaref, Alaska is a remote village of about 600 people located 30 miles south of the Arctic Circle, flanked by the Chukchi Sea to the north and an inlet to the south, and sits atop rapidly melting permafrost. The melting permafrost coupled with the rising of the sea levels due to melting glaciers has resulted in an accelerated sinking of this isolated island. The native Iñupiat that have inhabited this island for many generations need to find a new location and the funds for the necessary relocation. Both of which, as of now, are not secured. Nima Taradji Nima Taradji is an Iranian-American editorial and documentary photographer focusing on cultural, social and political themes. His aim is to photograph people and create stories that witness the multiplicity of human experience. His photographs have appeared in various national and international publications such as The Washington Post, The New York Times - Lens, CNN, CBS Chicago, ABC News, and Time . He is a proud member and co-founder of Argo Collective. Follow Nima Taradji < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

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Subscribe to ZEKE Photo by Kristen Emack. 2020 ZEKE Award First Place Winner Produced by: Sponsors: SDN & ZEKE magazine announce 2021 ZEKE Award for Documentary Photography ZEKE Award 40-ft banner displayed at Photoville, Sept-Nov 2020. First Place is shared by: Kristen Emack, from the US, for Cousins , a story about the photographer’s daughter and niece and their intimate and spiritual knowledge that is both ordinary and extraordinary. Jason Houston, from the US, for Last Wildest Place exploring the Purús/Manu region in southeastern Peru, one of the most remote, inaccessible, and important areas of the Amazon and home to perhaps the highest concentration of isolated “uncontacted” tribes on Earth. Kristen and Jason's projects will be exhibited in the SDN/ZEKE exhibition at Photoville this fall in Brooklyn and will also be featured in the fall issue of ZEKE magazine. Five Honorable Mentions are awarded to: Etinosa Yvonne, from Nigeria, for It's All in My Head , a multimedia project that explores the coping mechanisms of survivors of terrorism and violent conflict. Mohsen Kaboli, from Iran, for Surrogate Mother . In Iran, it is considered that in addition to solving many couples’ fertility problems, surrogacy also reduces the number of divorces. Tako Robakidze, from the Republic of Georgia, for Creeping Borders . Since the so-called “Five Day War” between Russia and Georgia in 2008, up to 20% of Georgian territory is now under Russian occupation, and more is lost each year. Nicoló Filippo Rosso, from Colombia, for Exodus . At the border with Colombia, a continuous flow of migrants from Venezuela crosses the line every day, compelled to leave for reasons of violence, lack of access to food, medicine, and essential services and loss of income due to the political situation. Ricardo Teles, from Brazil, for Everyday is a Saint Day . Black slavery lasted 350 years in Brazil. It was the most perverse, long-lasting and lucrative business in the New World. Perhaps the most common and effective form of resistance was Afro-Brazilian cults and celebrations. First-Place Winners Jason Houston: Last Wildest Place Photo by Jason Houston at Puerto Esperanza, Purús Province, Peru. March 14, 2015 The Purús/Manu region in southeastern Peru is one of the most remote, inaccessible, and important areas of the Amazon, where still-intact ecosystems provide sustenance for settled indigenous communities and home to perhaps the highest concentration of isolated “uncontacted” tribes on Earth. While still largely undeveloped, this last wildest place is increasingly threatened by many deforestation drivers including logging, mining, oil and gas development, cattle grazing, coca cultivation, agricultural expansion, and both legal and illegal road construction projects. These industries open up previously inaccessible forests with devastating and irrevocable impacts on the ecosystems and all who depend on them. Click here to view the exhibit on SDN. Jason Houston’s photography looks at how we live on the planet and with each other, exploring human experience through the lens of culture, community, and our relationships to the environment. He works closely with the communities he photographs, including various collaborative and participatory approaches, to learn from and accurately document their lives, understand the issues that affect them, and drive awareness to help guide social and environmental change. Jason has partnered with many organizations including The Nature Conservancy, WWF, UNESCO, USAID, and the Pulitzer Center on projects ranging from wildland firefighting in the American west and maternal healthcare in Haiti and Nepal to documentation of small-scale fisheries throughout the developing tropics. His work has been published editorially and exhibited publicly around the world and he is a Senior Fellow at International League of Conservation Photographers and a Fellow at Wake Forest University’s Center for Energy, Environment, and Sustainability. Kristen Emack: Cousins Photo by Kristen Emack. “My daughter and my niece's involvement in each other's lives is both gravitational and expected. We all grow up. The girls have each other to navigate this tender process, and I admire their innocent, confident relationships to themselves, their world and one another. Between them is an intimate and spiritual knowledge that is both ordinary and extraordinary, and I'm indebted to them for letting me capture the brilliance of their communion and kinship. As they have matured, they have begun to understand that the lives of Black girls are not well documented, and agree that one added intention of this series is to bring forward that perspective. My hope is that when they look back on this work, they will see the beauty of their childhood together, and when they look for everyday representations of themselves in the world, they will find themselves here, in this work we made together, reflected with love. Click here to view complete exhibit on the SDN website. Kristen Emack is a photographer and public school educator who lives and works in Cambridge, Massachusetts. She holds a degree in Latin American and Caribbean Studies. She is primarily a self-taught photographer and is a Mass Cultural Council Photography Fellow. She is a CRITICAL MASS Top 50 Winner, a Michael Reichmann Project Grant recipient, a PDN Emerging 30 nominee and will have images on The Fence this Spring for the second time. Her interview in Vogue Italia was published in February, and she recently became the second place series winner in Lensculture Portraits. Although a 2020 recipient of a McDowell residency, it has been postponed until next year due to social distancing concerns. Kristen's work includes two ongoing projects that look at childhood, family and visibility, and a finished series that looks at loss. Jurors jurors Barbara Ayotte is Communications Director for Social Documentary Network and Editor of ZEKE Magazine. She is also a communications strategist, writer and editor for leading nonprofit organizations. Barbara is the Director of Editorial Resources at WGBH, America’s preeminent public media organization and the largest producer of PBS content for television and the web and a major supplier of content for public radio and digital audio services. Barbara was the Senior Director of Strategic Communications for Management Sciences for Health, an international non-profit development organization working on global health issues in over 30 countries. Prior to that, she was Director of Communications for Physicians for Human Rights, a co-recipient of the 1997 Nobel Peace Prize. Greig Cranna is Founder and Director of the Bridge Photography Gallery in Cambridge, Massachusetts. Born in Vancouver, British Columbia, Greig eventually settled in New York City where he began his photography career in 1976. His clientele included the Council on Foreign Relations, the Japan Society, ABC Television, the International Typeface Corporation and the U.S. Dept. of Energy. He has traveled extensively in the Canadian Maritimes, photographing seabird research, Atlantic salmon research, aquaculture, environmental issues and ecotourism. Since moving to Boston in 1982, his work has expanded into economic development, housing, architecture, and agriculture. For the past four years he has been documenting the new generation of architect-designed bridges and their physical and cultural impact on the landscape. Barbara Davidson is a Pulitzer Prize and Emmy award-winning photographer/director. She is currently working on a Guggenheim Fellowship photographing survivors of gun violence across the US using an 8x10 film camera. A staff photographer at the Los Angeles Times until 2017, Barbara spent the past decade photographing women and children trapped in a culture of poverty and guns. She was also the lead photographer and curator for the global partnership to “End Violence Against Children” where she documented the plight of children across three continents. Barbara won the 2011 Pulitzer Prize for feature photography, and an Emmy for her work on innocent victims trapped in the crossfire of deadly gang violence in Los Angeles. Angelika Hala is the New York photo editor and producer for stern , stern VIEW, stern CRIME , and stern fashion supplements. Angelika came to photography with a background of TV and film production and the publishing business. As photo editor at the New York office of stern , she commissions, researches and licenses photography for a wide range of features from documentary, science, sports and news to portrait and fashion. She works with established photographers as well as developing talent. Angelika co-produced and curated Open Show New York events and has done multiple portfolio reviews across the country. Michael Itkoff is a Cofounder at Daylight Books. For over fifteen years he has been deeply involved in the publishing industry in both print and digital media. Michael’s photographic and video work is in public and private collections in the United States and his work has appeared on the covers of Orion, Katalog, Next City, and Philadelphia Weekly . Michael was the recipient of the Howard Chapnick Grant for the Advancement of Photojournalism, a Creative Artists Fellowship from the Pennsylvania Arts Council, and a Puffin Foundation Grant. Michael’s monograph Street Portraits was published by Charta Editions in 2009. Alexa Keefe is an Assistant Managing Editor at National Geographic magazine where she shapes the visual narrative for short and long form stories related to natural history and the intersection between humans and wildlife, including conservation and wildlife crime and welfare. She first joined National Geographic in 2011 as a photography producer and then became one of the founding editors of Proof, National Geographic’s award-winning digital series highlighting the experiences of visual storytellers from around the world. She started her career at U.S. News and World Report, where she was a photo archivist and photo editor from 2001-2010. Kurt Mutchler is a senior science photo editor at National Geographic magazine. He was awarded both Magazine/Media Visual Editor of the Year in Pictures of the Year International (POYi) as well as Magazine Picture Editor of the Year by the National Press Photographers Association (NPPA) in 2018. He was also nominated for Picture Editor of The Year by The Lucie Awards in 2019. His work has also been recognized by the Overseas Press Club of America, The Association of Magazine Media, Society for News Design, The Society for Publication Designers and World Press Photo. He has worked at National Geographic magazine since 1994 where he has held many positions—photo editor, deputy director of photography and executive editor of photography. Uche Okpa-Iroha is the Executive Director of the Nlele Institute in Lagos, Nigeria, a Pan-African nonprofit art photography organization. His own photography draws attention to the African continent where he uses cinematic narratives to investigate the stereotypical representation of deviant or marginal cultures. Uche is a founding member of Blackbox, a Nigeria photography collective. He is a two-time winner of the Seydou Keita Award at the 8th and 10th Bamako Encounters. He is a contributor to several publications including “Lagos – the City at work”, “Nigerians Behind the Lens” and “Unifying Africa”. Uche is an alumnus and ex-resident of the Rijksakademie Van Beeldende Kunsten Amsterdam, The Netherlands (2011/2012). Niama Safia Sandy is a New York-based cultural anthropologist, curator, musician and essayist. Her curatorial practice delves into the human story through the application and critical lenses of culture, healing, history, migration, music, race and ritual. She sees her role as one who endeavors to simultaneously call into question and make sense of the seemingly arbitrary nature of modern life and to celebrate our shared humanity in the process. Her aim is to leverage history, the visual, written and performative arts, and chiefly those of the Global Black Diaspora, to tell stories to lift us all to a higher state of historical, ontological and spiritual wholeness. Niama is an alumna of Howard University, University of London, and the No Longer Empty Curatorial Lab. She is a founding curator of the Southeast Queens Biennial which debuted in 2018. Sandy’s writing has been featured in Artsy, MFON: Women Photographers of the Black Diaspora, NAD NOW, and more. (Photo by Florian Koenigsberger) Jeffrey Henson Scales is an independent photographer who also works as a photography editor at The New York Times where he curates the photography column, “Exposures,” and is an Op-Ed editor as well as co-editor of the annual Year In Pictures section. His most recent book of personal photographs, “House” documents life in a legendary Harlem barbershop over the course of six years. In addition, he has been a successful editorial and entertainment industry photographer, photographing regularly for magazines, record covers, film posters, and publicity campaigns. His documentary photographs are in the permanent collections of The Museum of Modern Art; The Museum of Fine Arts, Houston; The George Eastman House; and other major collections. He has been the recipient of numerous grants and awards including, New York Foundation for the Arts, National Endowment for the Arts, W. Eugene Smith Award in Humanistic Photography, and numerous international awards for editing projects at The New York Times. ( Photo by Chad Batka) Fiona Shields is the Head of Photography for the Guardian News Media Group and has over twenty years' picture editing experience across a range of newspaper titles. Throughout her career she has been involved in the coverage of some of the most historic news stories of our time including the events surrounding 9/11, conflicts around the world from Bosnia to Iraq and Afghanistan, the revolution of the Arab spring and the continuing violence in the Middle East, large scale natural disasters and the humanitarian crises resulting from the growing refugee numbers across the globe. In addition she has delivered talks at photo festivals, taken part in mentoring programs for students of photojournalism and has enjoyed judging the Sony World Photography Awards, Lensculture Exposure Awards, the Renaissance Photography Prize to name a few. Last year she was on the jury of the esteemed Taylor Wessing Portrait Prize and is a regular nominator for the world famous Prix Pictet Award. Maggie Soladay is Senior Photo Editor at the Open Society Foundations based in NYC. The Open Society Foundations is one of the largest philanthropic organizations in the world, working to support freedom, democracy, and human rights. She curates the Open Society Instagram feed, where each week a different photography project is featured exploring different human rights issues. Maggie has over 25 years of experience in the photography industry having worked in nearly every role from photo assistant, photographer, location scout, producer, and editor. rules Enter Now » How to Enter Entering the ZEKE Award for Documentary Photography is identical to creating a standard exhibit on the SDN website, except that it is flagged as an award entry for the jurors and you pay the submission fee immediately after submitting your project. Click here for details on how to prepare and submit your work to SDN. When you are ready to enter, click the Enter Now button, or click here . Entry Requirements Entries must be documentary. We define this broadly, but an important quality is that the intent is to tell a visual story about the subject of your photographs. If the work is more about you as an artist, then it would not be appropriate for SDN or ZEKE magazine. Composited photographs (photo collages) are not accepted. All entries must have between 6 and 30 photographs related to a specific theme. The submission may also have a multimedia component to supplement the still images. Submissions must have an abstract to provide context (180 words maximum) and captions to accompany the photographs. Additional text about the situation being documented may also be entered, as well as a bio of the photographer, information on organizations working with affected communities, and other relevant information. Photographs must have been taken after January 1, 2010 unless the work is part of a long-term project that began prior to 2010 and continues to the present. All work must be submitted via the Social Documentary Network website . For specific image specifications, click here . Images must be a minimum of 1500 pixels in one dimension. All entries are automatically and simultaneously submitted for exhibition on the Social Documentary Network website and must follow all rules and regulations regarding exhibits on SDN. Exhibits on SocialDocumentary.net need to be approved before going live (click here for more information ). In the event that an entry to the Call for Entries is not accepted for the SDN website, the photographer may make changes to their exhibit and re-submit, at no additional cost, up until the entry deadline. Greater than 90% of all exhibits submitted to SDN are approved. All submissions will be viewable to the public on the SDN website. Once your exhibit is accepted, it will remain live on the SDN website for one year. You may choose to hide your entry from the public, but if you hide your entry prior to the completion of judging, you will also hide your site from the jurors. Converting Existing SDN Exhibits to an Award Submission Existing exhibits on SDN can easily be converted to an awards submission by logging into your account, going to the exhibit you want to convert, and click a button at the top of the page to convert to the awards. Eligibility The ZEKE Award is open to professional and amateur US and international photographers. SDN staff, volunteers, advisory committee members, judges, and their families are not eligible to enter. Previous SDN Call for Entries first-place winners in the past five years are not eligible to enter. There is no restriction for honorable mention winners from prior years. Entry Fees Early entry fee $25. Standard entry fee $30 for one exhibit entry of 6 – 30 images and one multimedia piece. All fees must be paid using a credit or debit card on the SDN website. International credit cards are accepted. All entry submissions and fees are final and non-refundable. Scholarships Scholarships are available for photographers from countries without access to credit cards or where there the submission fee would be prohibitive. To apply, send an email to scholarships@socialdocumentary.net with an explanation of your need. Requests for scholarships must be received one week prior to submission deadline. Important Dates Submission deadline: Midnight EST, May 7, 2020 Judging: May 14-June 1, 2020 Winners Announced: By June 12, 2020 Photoville exhibition: Dates TBD Award Reception: Date TBD, Brooklyn, NY Published in ZEKE: Fall 2020 Use Rights All entrants and winners retain copyright of their work. By submission for jurying, photographers grant SDN a royalty-free license to use their images for the purpose of subsequent display on the SDN site, in SDN promotional materials, and in ZEKE magazine. Entries grant SDN the right to use their name for promotion in any medium including radio, newspapers, publications, television, videotape, and/or distribution over the internet. Samples of the winning work will be released to the press for promotional purposes. Photographers grant use of their images as stated without further contact or compensation from SDN other than the prizes listed above. Photographer’s credit will be provided with all use. Release Entrant acknowledges that SDN may not be held liable for any loss, damages, or injury associated with this contest. Entrant agrees to indemnify SDN for all costs, damages and attorney fees resulting from any third party claims, including copyright infringement, arising from entrant’s participation. Entrant must have rights to publish images. SDN reserves the right, at its sole discretion, to disqualify any entrant that fails to comply with contest and website rules and guidelines. About SDN Social Documentary Network (SDN) uses the power of photography to promote global awareness. SDN members include photographers, editors, NGOs, journalists, curators, and students who create and explore documentary websites investigating critical issues facing the world today. Recent exhibits have explored oil workers in the Niger River Delta, male sex workers in India, Central American immigrant women during their journey north, and Iraqi and Afghan refugees in Greece. Questions? Email us at info@socialdocumentary.net scholarships

Click top image to view larger and caption American Punks as an American Mosaic United States by Daniel Hoffman Published November 2024 The idea of “America” has evolved and changed since 1959 when Robert Frank published his seminal work. While America is less homogeneous now than ever before, it is no less fraught with social challenges to understand what it means to be “American.” However, sitting on the margins of our society is a group of Americans who form a community that celebrates ideals central to being “American,” the American Punks. In their music and dance, punks celebrate life, mutual trust and support, and freedom to express themselves about social injustice and the government. Indeed, American Punks form a dynamic example of the “American Mosaic.” American Punks come from all sectors of society and often include immigrants, all are welcome provided you are free of bias and judgment. E Pluribus Unum. This project explores the idea of American Punks as a social movement that embodies what it means to be American. Daniel Hoffman Daniel Hoffman is a professor and photographer. Over the past 30 years, he has completed several photo documentaries in numerous countries including the U.S., Japan, Kenya, Brazil, and Bulgaria on topics ranging from the lives of Roma as refugees, underground music clubs, religion and worship in marginal communities, and the changing face of Times Square. Follow Daniel Hoffman on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption Climate Revealed A global exploration of climate research facilities USA, Italy, Germany, UK, The Gambia, Brazil, Mexico, Sweden by Fabio Cian Published February 2024 “Climate Revealed” by Fabio Chan is an exploration of some of the most important climate research facilities across the world, where scientists are working on pressing issues around climate change. His research has brought him to places as diverse as Columbia University’s Lamont-Doherty Earth Observatory in Palisades, NY photographing scientists working on sediment, tree and ice cores; the Jet Propulsion Laboratory at the California Institute of Technology/NASA, Pasadena, CA where he documented NASA scientists and engineers building the Mars 2020 Perseverance Rover; and the Max Planck Institute for Biogeochemistry, Abisko, Sweden, where he met a team of scientists focusing on understanding the contribution of the fluxes of N2O and methane from the sub-arctic permafrost to global warming. According to the United Nations, climate change is the defining crisis of our time. Since the early 1800s, humans have been the main cause of climate change through burning fossil fuels, releasing greenhouse gases such as carbon dioxide into the atmosphere, and causing the earth’s temperature to rise. The 2023 Sixth Assessment report [1] by the Intergovernmental Panel on Climate Change states the earth’s temperature has become 1.1°C (2°F) warmer since the late 1800s and is predicted to reach or exceed 1.5°C (2.7°F) over the next twenty years. The same report, collecting the work of thousand scientists, states that if we don’t limit global warming, we will experience a significant rise in sea levels, an increase of severe heat waves and flooding, degradation of coral reefs, and the loss of a significant portion of plant and animal habitats. The impacts of climate change are far reaching, including lack of clean drinking water and degradation of the soil leading to food insecurity and disproportionately affecting vulnerable populations. 90% of world disasters are now classified as climate related, which places an enormous financial burden on the global economy and leads to millions of people living in poverty. Conflict can also arise over the lack of resources in various contexts, causing violence and mass displacement. Effectively addressing climate change by reducing our climate footprint will require a collective effort from all sectors of society. “Climate Revealed” is a journey through time and across the earth that gives us hope in the power of human intelligence and a deep sense of humility for nature. [1] IPCC, 2023: Sections. In: Climate Change 2023: Synthesis Report. Contribution of Working Groups I, II and III to the Sixth Assessment Report of the Intergovernmental Panel on Climate Change [Core Writing Team, H. Lee and J. Romero (eds.)]. IPCC, Geneva, Switzerland, pp. 35-115, doi: 10.59327/IPCC/AR6-9789291691647 Fabio Cian Fabio Cian is a documentary photographer based in Venice, Italy. His photographic research lies at the intersection of the human and natural worlds, analyzing global phenomena driven by anthropogenic forces. His work is currently focused on climate science and climate change-related matters. In particular, he is interested in the scientific activities and practices that lie behind the study of earth’s climate. He is also interested in the impacts of climate change related disasters, such as floods, typhoons, and droughts, on the environment and the people that inhabit it. His working method is rooted in scientific research. He obtained a certificate of Visual Storytelling from the International Center of Photography, New York. He was selected for the Eddie Adams Workshop XXXVI, Jeffersonville, NY. He holds a master’s degree in Space Engineering and a PhD in Science and Management of Climate Change. Fabio is a scientist carrying out research on climate change, natural disaster management and financing. He has published several research papers in peer-reviewed scientific journals. He has exhibited his work at Visa pour l’image, Perpignan, France; Grün-Berlin, Gärten der Welt, Berlin, Germany; Ca’ Foscari University of Venice, Venice, Italy; Museum of Science and Technology of Milan, Italy; and Joint Research Center, European Commission, Ispra, Italy. He is a recipient of the Outreach scholarship, Rachel Carson Center, Lüdwig Maximilian University, Munich; and a winner of the “Climate Chance: The grand challenge”, a climate change communication contest organized by the Ca’ Foscari University, Venice, Italy. Follow Fabio Cian at: < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) مشاركة أفكارك كن أول من يعلِّق.

Click top image to view larger and caption First Nations Portraits of Dancers and Wisdom Keepers United States by Jeanny Tsai Published November 2024 Historically, Indigenous Americans have largely been portrayed in unfavorable stereotypes in the media and their presence has been mostly invisible in education, pop culture, and politics in the U.S. Currently, there are 574 federally recognized Indigenous American Nations. I estimate I have photographed individuals from over 60 Nations from the U.S. and Canada so far. I have traveled to numerous intertribal gatherings around the U.S. to meet and photograph First Nations dancers and wisdom keepers. Through this photo series, I seek to illuminate these contemporary Indigenous Americans who are simultaneously preserving and evolving their traditions. I was inspired to start this portrait series during the Standing Rock Reservation protests against the Dakota Access Pipeline in 2016 because I wanted to know more about the Indigenous traditions in the U.S. As a young person attending public school, I feel I received a limited education about the history of Indigenous Americans. As I worked on this series, I heard many personal stories told to me by the people I photographed. In turn, I captured their stories that are not spoken but are told through the radiance of their eyes and spirit. Jeanny Tsai Jeanny Tsai is a photographer, storyteller, and lover of life specializing in documentary, ethnographic, and portrait photography. Jeanny has a passion for photographing people and cultures that express their devotion to the divine through rituals and celebrations and for those facing environmental or social challenges threatening established culturally rich ways of life, including in Brazil, India, Indonesia, Nepal, and the U.S. She desires that her photos convey a positive, uplifting testimony of people and places despite the existing external circumstances. Follow Jeanny Tsai on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Deel je gedachten Plaats de eerste opmerking.

Click top image to view larger and caption Dayana The Eye of Cuba Cuba by Michele Crestani Published September 2024 Dayana is a 34-year-old woman from Santiago de Cuba, living in a 25-square-meter apartment in a courtyard shared by 17 families. She has three daughters—Juliane, 14; Julianis, 12; and Jimena, 5—born from two different relationships. With her family far away in Havana, Dayana's closest relationships are with her neighbors and her godmother, Elvis, 60. Dayana worked in a textile factory but now earns a living through teaching dance lessons—the government rations food, water, and electricity. With severe inflation, Cuban citizens rely on informal and local economies to access basic goods. Cuba faces a prolonged economic crisis, worsened by U.S. sanctions and the pandemic. Over a million Cubans left between 2022 and 2023. The country suffers from an aging population and low birth rates, with bleak economic and social prospects. Despite the hardships, Dayana and the community in Santiago de Cuba demonstrate resilience, supporting each other through daily challenges like waiting hours for banking services or affording food. All photos were taken in Santiago de Cuba, in July 2024. Michele Crestani Michele Crestani is a photographer born in 1992 in Magenta, Italy, and studied biomedical engineering at Politecnico di Milano. While working on his Masters degree, he moved to Singapore for a year and a half where he also pursued photography as an amateur, bringing to the surface a gift that his father passed on to him as a child. Through trips in Southeast Asia, Michele witnessed extreme poverty, different religions, and glittering luxury. These aspects—combined with the interest in how history and recent society shape human beings—influenced his vision of the world and relationships with others. Michele moved to Milan in 2018, where he obtained a PhD in Systems Medicine. His maturation involved a search for other means to express himself as well as to document and understand people and their social dynamics. For this reason, he has been attending the photo reportage photography school, Valerio Bispuri, since November 2022. In 2022, he moved to Zurich, Switzerland where he regularly works on documentary photography projects regarding home accessibility, carried out with a squat community in Zurich. The long-term development of this work envisages motivating what keeps this community alive and narrating its often-forgotten anthropological aspects. He now also works as a freelance photographer. Follow Michele Crestani on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Comparte lo que piensas Sé el primero en escribir un comentario.

Click top image to view larger and caption Through Rohingya Eyes A Journey of Resilience Bangladesh by Rohingyatographer Collective Published March 2024. ZEKE Award Honorable Mention winner Rohingyatographer is more than a photography project, it is a platform of narrative justice for Rohingya refugees. Through the photographic magazine Rohingyatographer , refugees recover parts of their lost identity, sharing their stories of resistance and hope amid despair. Rohingyatographer is distinguished by empowering Rohingya people to become narrators, not just subjects, promoting a level of authenticity rarely seen. In doing so, the project challenges existing stereotypes, provokes meaningful dialogue, and instills a new respect for human resistance. The Rohingyatographer Collectives project, "Through Rohingya Eyes: A Journey of Resilience" will be on display at the Bridge Gallery in Cambridge, Massachusetts, April 13-May 25, 2024, and at Photoville in Brooklyn, New York, June 1-16, 2024. The story behind Rohingyatographer Sahat Zia Hero and David Palazón met for the first time while working at the Rohingya Cultural Memory Center in the refugee camps of Cox’s Bazar. In 2021, they partnered remotely to support Sahat in the self-publishing of his first photo book. The collaboration was a success and Sahat expressed his desire to produce a new project that could include other Rohingya photographers, and thus Rohingyatographer magazine was born. The magazine quickly established itself as a cornerstone for those interested in topics such as the Rohingya experience, community documentary photography, visual anthropology, and human rights. Currently, Rohingyatographer works with 30 photographers, each contributing unique perspectives to our narrative effort. Biographies of the founders: Sahat Zia Hero Sahat, born in 1994 in Maungdaw, Myanmar, is a photographer, writer, and human rights activist. Initially, Sahat aimed to study Physics at Sittwe University, but witnessing the systemic discrimination against the Rohingya community altered his path. Now living in a refugee camp in Bangladesh, Sahat has established himself as an advocate for his community. Sahat’s photographic work has been exhibited at the Oxford Human Rights Festival and the Head On Photo Festival in Sydney. His written and photographic contributions have appeared in media such as Aljazeera, The Guardian , and NBC, as well as in academic journals of the Center for Migration Studies in New York and the Forced Migration Review of the Center for Refugee Studies of the University of Oxford. In 2021, Sahat was nominated for the UNICEF Photographer of the Year Award, and in 2023 he received the Prince Claus Seeds Award and the Nansen Refugee Award. David Palazón David, born in Barcelona in 1972, is a designer, curator, and creative producer. He studied at the London College of Communication, the Royal College of Art, and the EICTV in Cuba. His work focuses notably on countries such as Bangladesh, Timor-Leste, Sri Lanka, Vanuatu, Palestine, and, more recently, Pakistan. Specializing in design, photography, documentary film, and visual anthropology, David has worked in partnership with several UN agencies, including IOM, UNHCR, UNICEF, and UNFPA, using art as a catalyst for social justice and change. In Bangladesh, David was the curator implementing the Rohingya Cultural Memory Center in collaboration with IOM, the UN Migration agency. This experience forged valuable ties with Rohingya artists and photographers, catalyzing his subsequent role in the production of the Rohingyatographer magazine led by refugees together with Sahat. Follow Rohingyatographer Collective on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption Closing the Circle Rwanda by Glenn Vanderbeke Published December 2024 The title of this exhibit, “Closing the Circle”, is based on a form of circular agriculture, creating new products with waste. In the Kivu region of Rwanda, coffee farmers derive their income from coffee only once a year when the beans reach maturity. After they have been washed, tons of cherry (coffee) pulp and other waste remain from the coffee. This is where the coffee chain normally ends. Moulins du Nil Blanc, a Rwandan-based eco business, enables small coffee producers to receive a year-round income and not just at the moment the coffee cherry is harvested. This is accomplished by recycling agricultural waste including coffee pulp from Rubavu coffee washing stations, wood waste, and cotton waste, and producing varied, delicious, nutritious, and eco-responsible, oyster mushrooms. In a zero-waste system, the used mushroom substrate and vegetable waste are recycled to produce organic fertilizer. Which can be used to fertilize new or existing coffee trees, making this project circular agriculture which completes the coffee chain. Glenn Vanderbeke Follow Glenn Vanderbeke on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption This House is Not Black Iran by Sara Lal Kamalian Published January 2025 The veins of land are dry in this district. Its inhabitants, who used to make a living through plant growth and farming, are suffering hardship and make a living through burning wood to make charcoal. Five meter-deep pits are filled with water and fire. Wood burns and turns into charcoal in these pits. The coal furnaces are the black signs of the age. A well that is defined through being black, and the workers of the furnaces go deep into them to, as they themselves say, to provide a living. This black furnace is the other house of these workers, which is neither white nor black for them in reality since their living is made through these furnaces. “This House is Not Black” is the title of a set of images that were created to depict the fact that the workers in coal furnaces, who are involved with the black sign of the age, make a living through wood, fire, and smoke. Sara Lal Kamalian Sara Kal Kalamian was born in November 1994 in Neyshabur, Iran, a city renowned for its profound contributions to Iranian art and culture. Sara initially pursued an undergraduate degree in Midwifery, and it wasn’t until 2014 when she joined the Young Cinema Society of Neyshabur that her passion for photography emerged. In August 2017, she transitioned towards a more professional engagement with photography, further immersing herself in the activities of the Young Cinema Society and earning a certificate in cinematography. Shortly thereafter, Sara began her career as a photojournalist for Khayam Nameh newspaper and later with the ISNA news agency, which enriched her understanding of visual storytelling. Sara’s first public exhibition occurred at the Khansar Photography Festival, which showcased her work and offered the opportunity to visit Isfahan, a pivotal moment in her professional development. In 2019, Sara curated her first solo exhibition, The House is Not Black , a project documenting the arduous lives of laborers in coal kilns. Between 2020 and 2023, Sara expanded her contributions to the field of photography by joining the Iranian Photographers Association and the Iranian Art Credit Fund. During this time, she also began teaching photography, initially through private instruction and later at the university level after completing her master’s degree in photography. Sara’s academic and professional engagement with photography culminated in honorary membership in one of Iran’s contemporary visual arts associations. As a scholar and practitioner, Sara remains dedicated to exploring the intersections of photography and contemporary issues, striving to challenge conventional narratives and uncover new perspectives. Through this medium, she seeks not only to document the world around her but also to cultivate a deeper understanding of her own artistic identity. < Previous Next > comments debug Comments (10) Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Sort by: Newest mj 22h ago wow amazing🥀❤ Like Reply Sara 19h ago Replying to mj Thank you 🙏 Like Reply Nima Taradji 1d ago Wow!! These images are awesome. I love how you have brought out the fraility of the workers. Very impressive work. Well done. Like Reply Sara 19h ago Replying to Nima Taradji Thank you for your attention. Like Reply Reza 1d ago A strong documentary about workers in Iran. Great work Thanks sara Like Reply Sara 19h ago Replying to Reza My concern for many years is photographing difficult jobs. Thank you for your attention Like Reply Mohammad 1d ago great work٫astrong project created by a girl is really admirable Like Reply Sara 19h ago Replying to Mohammad Thank you my best friend Like Reply Sahar 1d ago فوق العاده بود. Everything I see in this project is full of feelings Like Reply Nadia 1d ago Just amazing when i look at this pics i can understand black is not just a color sometimes its life for others Like Reply

Click top image to view larger and caption Bearing Witness Black Birth Experience Virginia, United States by Benita Mayo Published July 2024 The photos in this gallery are of Michaela, a woman I met while I was a doula-in-training with Birth Sisters of Charlottesville (VA), a women of color community-based doula collective. Michaela agreed to allow me to photograph her for this project, “Bearing Witness”, during and after the birth of her daughter in July 2021. Michaela and her husband discovered that she was expecting during the pandemic. She wasn’t afraid; she was set on finding joy in pregnancy and hiring a doula and midwife for a home birth. She’d partnered with a doula, Doreen, for her last pregnancy, and knew Doreen would help her navigate this pregnancy in a way that felt compassionate, safe, and liberating. Michaela would be my first client as a doula in training; Doreen was my mentor. I spent the months of Michaela’s pregnancy consulting with her via Zoom calls, accompanying her to the midwife’s checkups, and making home visits. Initially, I felt awkward as a doula—starting a conversation about birth felt strange, and I had no idea how to approach a relationship with a client. Doreen reminded me that working with Michaela would be similar to how I guide my yoga students. Becoming a doula was about more than acquiring knowledge and skills—it was about creating a supportive space for a Black woman during one the most vulnerable moments of her life. In the early hours of July 11, I got the text that Michaela was in labor. I set out into the night and made my way to her house. As I drove the narrow country road, my tummy was nervous, my hands shaky. But it helped to remember that this wasn’t about me. It was about something bigger. I pulled up into a yard full of cars and entered Michaela’s home to find her in active labor, surrounded by her closest friends, family, and birth team—doula, midwife, and midwife assistant. The midwife gave verbal cues, encouraging her to listen to her body. Push. Release. Surrender. Things were happening fast. At 3:30 AM, with the loudest, sharpest, most intense shriek I’ve ever heard, Michaela birthed her daughter. There was nothing left to do but to be present. Doreen rubbed Michaela’s head, gave her water, heated food for her, assisted with her shower, and walked her back to bed. In those moments, I saw clearly the trust, instinct, compassion, and power of this work. Benita Mayo Benita Mayo is a visual artist based in Charlottesville, VA. She is an inaugural member of the Charlottesville Black Arts Collective and a resident artist at the McGuffey Art Center. Mayo holds a B.A. in Rhetoric & Communications from the University of Virginia (UVA), and she was a fellow-in-residence at the UVA Equity Center, creating a photo essay highlighting the pregnancy risks that Black women face in the U.S. and the positive benefits of doula support. Mayo was the winner of the 23rd Julia Margaret Cameron Award for "Women Seeing Women" and received an Honorable Mention for the portraiture category. Mayo’s work has been featured in publications including Virginia Quarterly Review , SxSE Magazine, Library of Congress, C-Ville Weekly 434 Magazine , and Charlottesville Tomorrow. Her work has been exhibited at various galleries including the Center for Fine Art Photography - Fort Collins CO, Social Documentary Network, Welcome Gallery, Second Street Gallery, Studio IX, Academy Center of the Arts, the Bridge Progressive Arts Initiative, Artspace Herndon, MidAtlantic Photo Visions, Washington School of Photography and her work has been recognized internationally and in private collections. Follow Benita Mayo on Instagram < Previous Next > comments debug Comments (1) Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Сортувати: Найновіші Гість 12 серп. 2024 р. Outstanding narrative--written and visually! Congratulations, Benita! Like Reply

Click top image to view larger and caption Arming Teachers in America United States by Kate Way Published November 2024 This photo accompanies an essay that explores the highly controversial trend of K-12 schools arming teachers and other school staff in the United States. Since the Sandy Hook Elementary School massacre in 2012—and the more recent school shootings in Parkland, FL, and Uvalde, TX—well over a dozen states have begun arming teachers. Shockingly, no one official federal or state body has been keeping count of how many schools across the nation have armed staff, and in many communities, even the parents and the general public remained uninformed. Often without public knowledge, there are teachers, administrators, custodians, nurses, and bus drivers carrying guns in America’s schools. This photograph was taken at an Ohio gun-training program designed for school staff in a community divided over arming its teachers. Kate Way Kate Way is a critical educator, photographer, and documentary filmmaker based in western Massachusetts. Her interests lie in the intersection of media literacy, public education and policy, and social and economic justice. With a doctorate in Language, Literacy, and Culture, Kate is a Lecturer in the College of Education at the University of Massachusetts Amherst, and director of the Visual Literacy Project, a secondary school documentary photography program. Her photography has been published on numerous platforms. < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption Huaorani The Ghosts of the Yasuní Ecuador by Aga Szydlik Published August 2024 This project aims to observe and document the deep connection between the Huarani (Waorani) people and their ancestral home—the Yasuní Reserve in the upper Amazon basin. The Huaorani are Ecuador's most recently contacted Indigenous group. They were first approached in the late 1950s by U.S. missionaries and oil workers, ultimately leading to ongoing oil exploitation, territorial displacement, and cultural colonization. The Yasuní Biosphere is one of the areas with the most extraordinary biodiversity per square meter on the planet. 99.73% of the biosphere reserve consists of original natural vegetation. Yasuní has been undergoing radical change for many years as the exploration of the region's oil reserves threatens many native species and habitats and the lifestyle of the Indigenous Huaorani. The latest referendum halted the development of all new oil wells in the Yasuní, bringing hope to preserving the unique culture of Huaorani and their home. Aga Szydlik Aga Szydlik focuses on cultural, documentary, and environmental photography. She is passionate about exploring the world and immersing herself in the cultures she documents. Her passion for photography and travel is shared with her love for science as her projects range from developing novel therapeutics to improving human health to environmental causes. Her photography is focused on understanding and documenting the rich cultural heritage of various tribes and their rituals in the context of the modern and traditional knowledge of cultural evolution. Aga's professional journey began in Thailand photographing Thai boxing, also known as Muay Thai. Years later, her journey took her to Indonesia and South Africa. Aga has exhibited and published her work internationally. She is continuously captivated by alternative printing processes and large-format analog photography. Follow Aga Szydlik on Instagram < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Share Your Thoughts Be the first to write a comment.

Click top image to view larger and caption Resistance of the Native Peoples of Ecuadorian Amazon Against Extractivism Ecuador by Nicola Ókin Frioli Published April 2023 This documentary tells the story of the resistance that the Indigenous people of the Ecuadorian Amazon have waged against extractive companies that threaten their territories through continuous concessions and contamination caused by Texaco during its presence in the country. In 1964, Texaco (now Chevron), arrived in Ecuador with a concession of 1.5 million hectares in the provinces of Sucumbíos and Orellana. At that time, they were extracting oil from 450,000 hectares. The oil giant admitted in court to having dumped 19 billion gallons of crude oil and harmful chemicals directly into unlined rivers and pools in a particularly biodiverse region of the Ecuadorian rainforest over decades. The health and future of the inhabitants were affected by contaminants present in the soil and groundwater, quantities exceeding permissible levels in Ecuador. Following the events that indelibly marked the future of many families, the Native peoples of the Ecuadorian Amazon applied different defense methodologies against mining, oil companies, and the government. Armed confrontations, national strikes and their presence in the courts were the strategies that the Indigenous nationalities used to stop the loss and destruction of their territories as they consider their environment part of their body and plants and animals are the other members of their society. Nicola Ókin Frioli Nicola Ókin Frioli is an Italian freelance photographer. A fine arts graduate, he has worked for 20 years in documentary photography and advertising campaigns, traveling mainly in Mexico and the Ecuadorian Amazon. His work has been published in magazines such as Washington Post, Time Magazine, The Guardian, Stern, El País Semanal and others. He has received numerous awards and held exhibitions in various countries. Follow Nicola Ókin Frioli < Previous Next > comments debug Comments Write a comment. End comment with your name (optional) Write a comment. End comment with your name (optional) Partagez vos idées Soyez le premier à rédiger un commentaire.