A Week in Pictures, Middle East and Africa, July 10, 2020

A brutal and sad picture by Thalefang Charles. The elephant appears to reach out to the viewer with its trunk at the moment of its death in a barren landscape. There is no escaping the black hollow of the animal’s eye or the gaping hole where a tusk would have once been as we are led along the line of the trunk and the animal’s back to the tiny figure of a vet in the background.  Read on here 

Dr Wave Kashweeka, Principal Veterinary Officer stands over the carcass of an elephant found near Seronga, in the Okavango Delta, Botswana, July 9, 2020. REUTERS/Thalefang Charles

At first glance we are not sure if the screen on the left is a TV or a mirror. Ari Jalal has used the mirror hanging in the temporary accommodation to enable us to both look in and out of this room at the same time.  We get a sense of people being busy, the hurried tension of a small space, change happening. I love the body language of the young man in the doorway, as though he is saying “come on, get a move on”, but can’t out of respect to the others he shouldn’t really rush.  Read on here.

Yazidi displaced family of Nayef al-Hamo is reflected in the mirror as they prepare to leave their home in Sharya town and head back to Sinjar following the outbreak of the coronavirus disease (COVID-19) and economic crisis, near Dohuk, Iraq July 3, 2020. REUTERS/Ari Jalal

A wide and slightly compositionally chaotic picture from Philimon Bulawayo as the eye chases around looking for a focal point. It’s rather visually uncomfortable with figures running out of the frame left and right and the line of trees and sky cutting mercilessly across the frame into the head of the central figure, who seems to be coming up for air. But it’s what written on the sign that comes as bit of a shock and is uncomfortable reading.  

Health workers carry placards as they protest against economic hardship and poor working conditions during the coronavirus disease (COVID-19) outbreak in Harare, Zimbabwe, July 6, 2020. REUTERS/Philimon Bulawayo 

Two terrific pictures by two photographers working on one story about the convergence of the Nile. In the first by Zohra Bensemra we are immediately intrigued by the brown swirling mass “penned” in by trees left and right, a centrally placed figure making us wonder what is going on. I love the detail of his shoes on the right-hand side of the frame and the dappled light coming through the rough and ready roofing as we slowly begin to understand he is squashing mud with his feet. Read on here.

David Plantino, 35, a pottery maker from South Sudan, kneads mud with his feet, that will be used to make pottery at a workshop in an area known as the 'Potters Village' in Alqamayir, Omdurman, Sudan February 16, 2020. "I have been a pottery maker for 7 years, I relied on the Nile river like most people around me here for water and the mud", Plantino said. "Both are the foundation for people who rely on pottery to make a living." REUTERS/Zohra Bensemra

Mohamed Nureldin Abdallah entertains us with a beautiful abstract curve through his picture leaving us unsure of a sense of scale. We are initially confused by the flat grey shape that has a mirror-like quality and then the abandoned chairs snap into focus. We are looking at the waters edge of the Nile.       

Chairs are left facing the banks of the Blue Nile river in Khartoum, Sudan, February 15, 2020. REUTERS/Mohamed Nureldin Abdallah 

Just how much do you want to swim in that pool? Ahmed Jadallah’s picture is pleasing on so many levels: the colours, the shapes, the teasing shadows of the trees and the tantalising ripples on the water and that small figure, arms stretched out luxuriating in the warm water.  Dive in and have some fun, I wish. 

People swim at a swimming pool in the Atlantis The Palm hotel, as the Emirates reopen to tourism amid coronavirus disease (COVID-19), in Dubai, United Arab Emirates July 7, 2020. REUTERS/Ahmed Jadallah

Anees Mahyoub’s picture is striking as the graves are so deep, dark and so close together. What is to stop the walls of sand and mud falling in the diggers? But it’s the small details next to the sad and ugly gaping holes that gives this image its strength: like the pickaxe between the graves and the feet of the bystander. Read on here.

People dig graves at a cemetery where victims of the coronavirus disease (COVID-19) are buried in Taiz, Yemen June 23, 2020. Picture taken June 23, 2020. REUTERS/Anees Mahyoub 

A very busy but at the same time simple half-length environmental portrait by Muhammad Hamed works so well that you just want to meet this doctor. The direct eye contact draws you straight into his gentle, concerned but reassuring face past all the visual noise, his clean white jacket helping you make that journey. Once you have looked him in the eye then you can enjoy the rest of the room. I love the echo of his fingers in the brochure dispenser on the left of the image 

Jordanian doctor Nizar al Halaby poses at his clinic in Amman, Jordan, July 5, 2020. Picture taken July 5, 2020. REUTERS/Muhammad Hamed

I think Yamam al-Shaar has captured a moment of work that seems like it will never end. A single figure, masked against coronavirus set against a wall of boxes.  Not an inch of respite for her amid the boxes that completely fill the frame and bear down on her. 

A worker wearing a face mask holds an ice cream box inside an ice cream factory in Damascus, Syria July 2, 2020. Picture taken July 2, 2020. REUTERS/Yamam Al Shaar 

Is this bride dancing in Amir Cohen’s picture dancing? Why is she letting her beautiful wedding dress get dirty? Why on earth would she want to be photographed in an area that looks like an industrial estate? All these questions raised by a beautifully composed and side lit picture enables the viewer to make up their own story for this strong and affectionate standalone image of happiness.  

A bride walks on the shore of the Mediterranean Sea as she is photographed before her wedding amid the spread of the coronavirus disease (COVID-19), in Ashdod, Israel July 6, 2020. REUTERS/Amir Cohen

I feel in Thomas Mukoya’s picture as if this train is bearing down on me. I am the proverbial rabbit in the headlights as others scatter left and right away from its path. An effect created by careful exposure to allow the highlight of the train’s light to burn out. A quick look at the track and you see the kink in the line so we know it’s not travelling all that fast, time enough for me to scuttle away too.  

A commuter train arrives at a makeshift station, amid the spread of the coronavirus disease (COVID-19), at the Kibera slums, in Nairobi, Kenya July 6, 2020. REUTERS/Thomas Mukoya

In Mohamed Azakir’s wonderfully lit picture a yellow cushion seems to come to life with a facial expression that sums up the whole situation. It’s only then we notice the central figure in the gloom, and the candle light is neither kind or romantic but a necessity as powers cuts mean no electricity. Read on here.

Badiaa, 75, lights a candle and a portable light to light up the room due to a power cut in Beirut, Lebanon July 6, 2020. Picture taken July 6, 2020. REUTERS/Mohamed Azakir 

A week in Pictures, Middle East and Africa, March 27, 2020

A twisted swirl of neon-lit roads is devoid of traffic except a single motorcycle in Satish Kumar’s eerie picture from Dubai. The dark bridge that cuts across the image but apart from that, to me, the yellow roads take on an undersea organic appearance.

An aerial view of the Sheikh Zayad Road following the outbreak of coronavirus disease (COVID-19) in Dubai, United Arab Emirates, March 26, 2020.    REUTERS/Satish Kumar

The bright reds and blues in Tiksa Negri’s picture of of humble worship are flattened in the soft light and the haze of incense. The way the woman is bowing gives such a gentle sense of reverence. The picture is held together by powerful compositional shapes and lines made up of classic vertical thirds of the figures in red and white and a diagonal emphasised by the bowing woman. 

An Ethiopian Orthodox Priest blesses the faithful with incense, which they believe will keep the coronavirus disease (COVID-19) away in Addis Ababa, Ethiopia, March 26, 2020.   REUTERS/Tiksa Nigeri

As the coronavirus sweeps across the globe one thing that has struck me is how in some countries there is a full lockdown of movement and people are protecting themselves with masks, gloves and suits; while in others life goes on as normal. Baz Ratner’s images of two tourists in shorts strolling past a man sanitising an airport seems to sum this up.  

A health worker sprays disinfectant to help prevent the spread of an outbreak of the coronavirus disease (COVID-19) at the Jomo Kenyatta International airport in Nairobi, Kenya March 24, 2020.  REUTERS/Baz Ratner

Olivia Acland’s image of traders waiting at a crossing point is a wonderfully composed portrait of a group of people. It looks as if it was constructed by a Renaissance painter. The gentle lop-sided U-shaped curve that leads your eye left to right to the figure standing in the doorway. Each limb leading you back along the line of people in a zigzag journey through the cool blues and tones. Olivia was careful not to crop out fingers, toes and clothing and kept them all in frame ; and then you see it, the smiling cartoon cow with a pink nose and thumbs up – nothing high Renaissance about that. Read on here.

Traders sit near a deserted crossing point between the Democratic Republic of Congo and Rwanda amid concerns about the spread of coronavirus disease (COVID-19), at the Petite Barriere in Goma, Democratic Republic of Congo (DRC) March 23, 2020. REUTERS/Olivia Acland

A myriad of busy colour and chaos is the first impression of Zohra Bensemra’s wide-angle picture as your eye zooms in from all sides to the X-shape of the figure in a white suit. Once you visually step back to survey the mess you are left thinking about the size of this worker’s task. You are overwhelmed with a sense of pointlessness – what chances of controlling the virus in such a mess? Read on here.

A member of a local hygiene service wears a protective suit and face mask as he disinfects the street and market to try to stop the spread of coronavirus disease (COVID-19) in Dakar, Senegal March 22, 2020.    REUTERS/Zohra Bensemra

What wonderful colours in Afolabi Sotunde’s affectionate picture as cyan fights with yellows and ochre for your attention on a battle field of black and grey. And there to break up the fight is the “doorman”, standing tall, gloves and disinfectant at the ready. In reality, he’s a member of the church congregation making sure that people who enter to worship have their hands sanitized. The lines of door behind him and the mat on floor welcome you into the church. Read on here.

A man stands with a sanitiser in his hands at the entrance of a Living Faith Church following the outbreak of the coronavirus disease (COVID-19) in Abuja, Nigeria, March 22, 2020.   REUTERS/Afolabi Sotunde

Siphiwe Sibeko’s picture is a beautifully seen image of people going to church and being protected by using hand sanitiser. Take your time to look around, the coordinated women’s dress which is the uniform of the church, right down to their white shoes, thankfully kept in frame. The perfect moment of the hands outstretched waiting for the spray, and the relaxed, easy seated, legs stretched out manner of the woman applying the spray. Look further, the blue notice board matching the uniform colour, the cold metal of the brass instruments waiting to be blown and the visual joke of the heater trying to pretend it’s an instrument too. And finally, the picture of Jesus on the wall. Read on here. 

A member of the faithful applies hand sanitiser to a woman as she arrives to attend church service at the Apostolic Christian Church in Kagiso, near Johannesburg, South Africa, March 22, 2020.   REUTERS/Siphiwe Sibeko

No escape and trapped in a cage a bear gnaws at the bars while a lion watches, on the face of it an easy image to capture. But not so, take closer look at Alaa al-Marjani’s picture, a combination of good luck, good light and perfect timing. Good luck as the bear is close to the bars, its enormous claws reaching out, good luck too as the lion is resting on this side of the cage and not the other. Good light so we can see both the foreground and into the shadows of the cage; and good timing as the bear’s mouth is wide open, teeth on show and the line of the bar divides the centre of the lion’s head so we can see both eyes on both animals. Remove any one of these elements and the picture would be so much weaker.  

A bear and a lion are seen in a closed zoo, as the zoo staff were advised to not come to work due to a curfew to prevent the spread of coronavirus disease (COVID-19) in the holy city of Najaf, Iraq, March 25, 2020.   REUTERS/Alaa Marjani 

A clever and thoughtful picture by Thomas Mukoya as people try to leave cities and escape to the countryside. The shapes and lines of the image drive us to the centre of the image so we are left in no doubt what we need to look at. It’s minimalist in its detail but we have just enough information from the shadows to let us know this is passenger carrying her child and baggage between two buses. Read on here.

A passenger carries he child before boarding a disinfected public transport bus as residents leave for the villages amid concerns over the spread of the coronavirus disease (COVID-19) in downtown Nairobi, Kenya, March 25, 2020.   REUTERS/Thomas Mukoya 

      

      

A Week in Pictures - Middle East & Africa, February 16, 2018

A last minute update to the week's selection from Middle East and Africa of Luc Gnago's wonderfully composed picture using classic thirds and complementary colours of orange and blue. The picture of the tree against the blue sky on the orange earth would have been nice enough but three girls walking from left to right, all equally spaced in line, one, two, three or A, B C to fill the space perfectly make this image just a little bit special.

Girls carry water on their bicycles at a dispensary in Nedago village near Ouagadougou, Burkina faso, February 16, 2018.   REUTERS/Luc Gnago

A series of air raids by the Israeli Air force and anti-aircraft counter attacks by Syrian forces prompted a quick response by Ammar Awad, who headed to the Golan Heights. The main questions at this time were: ‘Whose move and what happens next?’Ammar’s picture of the signpost, the waiting woman and the cut-out figure of a gunman sum up the moment of watching and waiting. 

A woman sits near a sign at Mount Bental, an observation post in the Israeli-occupied Golan Heights that overlooks the Syrian side of the Quneitra crossing, Israel February 10, 2018. REUTERS/ Ammar Awad

If the cut-out of the gunman in Ammar's picture above is classic in its shape, I think Baz Ratner's running boy is another classic. The boy's legs are almost at full stretch, his arms are clearly defined, and water is splashing up behind. It is an irresistible pick for the week.  

A boy runs across the Turkwel River running through Lodwar, in Turkana County, Kenya February 6, 2018.  REUTERS/Baz Ratner

Satish Kumar’s picture is a wonderful combination of busy line and shape through shadow and structure. There are too many triangles to count as your eye races to the world’s tallest building, the Burj Khalifa, in the middle distance to the tiny shape formed between the hands of the woman taking a picture of her friend.

A visitor takes photos at the 71st floor of the Gevora Hotel, the world's tallest hotel, in Dubai, UAE February 12, 2018. REUTERS/Satish Kumar

The eerie cold blue light from a mobile device highlights the face of the fighter in a room bathed in the warm glow of firelight, creating an almost theatrical scene in Khalil Ashawi’s terrific picture. Shadows flickering in the light on the wall soften the unmistakable shape of his weapon in the background. At the same time the fighter’s covered features are frozen like ice in the harsh blue light.  

Turkey-backed Free Syrian Army fighter holds a cell phone in the town of Tadef in Aleppo Governorate, Syria February 12, 2018. Picture taken February 12, 2018. REUTERS/Khalil Ashawi

Faded glory has got to be the understatement of the week to describe Amr Abdullah Dalsh’s picture. The colours are muted, every poster is torn or faded and the piles of rubbish look as if they have been there for years and will be there for years to come. I can’t imagine for a minute what these men are talking about, but I sense they are in no hurry to finish their conversation. I think this is a wonderful and timeless picture.

An Egyptian man waits in front of Pepsi products shop for customers at the shanty area Zabaleen or "Garbage City", the poorest part of Cairo, where thousands of Copts make a living by recycling everything from plastic bottles, food remains, carton and metal on the Mokattam Hills in eastern Cairo, Egypt February 12, 2018. REUTERS/Amr Abdallah Dalsh

On the day police recommended that Netanyahu should be indicted for bribery, Nir Elias had a lucky break with the light as the prime minister walked into the spotlight. An inch lower and his eyes would be in shadow and the essence of the picture would have been lost. What also makes this picture for me is the fact that the sliver of light ends in black shadow on both sides of the frame, suggesting a momentary glimpse of something going on. 

Israeli Prime Minister Benjamin Netanyahu (R) arrives ahead of a planned address at the Muni World 2018 conference in Tel Aviv, Israel February 14, 2018. REUTERS/Nir Elias

In Bassam Khabieh’s picture, the boy’s arm and his cheek echo the shape of the Red Crescent logo. The circles of the emblem are also echoed in the wheels of the bike and the truck, all combining to make a very complicated composition. There is there is no telling if this boy is holding his head in relief because supplies have reached Douma, or in concern that it’s not enough. But either way, I think the tension in his locked fingers tells a story of concern. 

A boy gestures near a Syrian Arab Red Crescent truck in the besieged town of Douma, eastern Ghouta, in Damascus, Syria February 14, 2018. REUTERS/Bassam Khabieh 

A sea of faces stretching to the furthest horizon, with people’s arms crossed in unison, makes Tiksa Negri’s picture quite striking. The only break in the flow to the rear of the picture is a single flag being waved. I can almost taste the dust being thrown up by these thousands of people.

Supporters of Bekele Gerba, secretary general of the Oromo Federalist Congress (OFC), chant slogans to celebrate Gerba's release from prison, in Adama, Oromia Region, Ethiopia February 14, 2018. REUTERS/Tiksa Negeri

A surprise press conference late in the evening by South African President Zuma gave Siphiwe Sibeko access to a historical moment. On the face of it, a simple assignment -- man speaks at podium to announce his resignation – but it’s much harder to make it something special. Throw in strong light and a long shadow and you have a special moment well captured by Siphiwe. I have added a second picture that was well used and which demonstrates that ‘bread and butter’ pictures are as important as thoughtful, creative images. Think too about the caption as we edit this live. Zuma arrives as president, all smiles, and we don’t know what he is going to say. At the end of his address he announces his resignation and leaves press conference as a former president. 

South Africa's President Jacob Zuma arrives to speak at the Union Buildings in Pretoria, South Africa, February 14, 2018. REUTERS/Siphiwe Sibeko

South Africa's President Jacob Zuma looks down as he speaks at the Union Buildings in Pretoria, South Africa, February 14, 2018. REUTERS/Siphiwe Sibeko 

A Week in Pictures Middle East & Africa December 22, 2017

A few days before Christmas and protesters are wearing Santa Claus outfits to hurl stones at the Israeli military. Mohammad Torokman’s surreal, balletic image catches not only the stone in mid flight but the weird sheen of the red costume as the light catches the synthetic material. The soldiers in the background don’t look too worried. See more here

A Palestinian demonstrator dressed as Santa Claus hurls stones towards Israeli troops during clashes at a protest against U.S President Donald Trump’s decision to recognise Jerusalem as the capital of Israel, near the West bank city of Ramallah December 19, 2107.   REUTERS/Mohamad Torokman

As a follow on to Mohammad’s picture it’s worth mentioning that at all security advice training courses one is taught to ‘blend in, don’t stand out’ and be the ‘grey man’. It seems that this advice should have been better heeded or maybe it’s being ignored to make a point. Looking at pictures from previous years here it seems the latter is true.

A wounded Palestinian demonstrator dressed as Santa Claus is evacuated during clashes with Israeli troops, at a protest as Palestinians called for a ‘A Day of Rage’ in response to U.S President Donald Trump’s recognition of Jerusalem as Israel’s capital, near the border with Israel in the southern Gaza Strip December 22, 2017.   REUTERS/Ibraheem Abu Mustafa

As a nod to my love of commodity stories Ange Aboa’s picture really caught my eye. The strong left to right flow of the picture as the worker pulls the heavy sack of beans off the ground aided by the low angle of the bare footed man walking away, his toes echoing the tone, colour and shape of the scattered beans on the ground. I also like the warm sepia feel of this picture, which is wonderful as it’s about the raw materials that go to make up chocolate.

Workers transport sacks of cocoa beans in Ntui village, Cameroon, December 17, 2017.   REUTERS/Ange Aboa

A moment perfectly captured by Ibraheem Abu Mustafa as each militant figure forms the unmistakable shape of a combatant. What I really like about this picture is that each figure is clearly isolated in their own space, no part of any of them invading the space of another. Bizarrely, I am put in mind of classic images of soldiers used in illustrations or even action figures. 

Palestinian militants of the Popular Front for the Liberation of Palestine (PFLP) demonstrate their skills during a military exercise in front of the media, on a beach in the southern Gaza Strip December 22, 2017.    REUTERS/Ibraheem Abu Mustafa

Silhouettes and sunsets are easy, low hanging fruit for nice pictures but rarely do they catch my eye or make me pause for thought. Ahmed Jadallah’s picture in Dubai is an exception to this and for many of the same reasons that I selected Ibraheem’s picture above. Just about every silhouetted figure is isolated in their own space. What is different is that a railing joins them all, but for me this only adds to the layered feel of the image. Distinct bands of shadow and highlight lead you to the background of the picture where the setting sun is sufficiently obscured that we see a yellow glow and not an over exposed white.

People watch the sunset in Dubai, United Arab Emirates, December 21, 2017.  REUTERS/Ahmed Jadallah

This picture by Muhammad Hamed selects itself, not only is it a picture of a VW Beetle (why is it that everyone seems to love this car?) but it is shot as an ‘environmental portrait’ with wonderful details that makes you want to look and look. First is the advert for ‘the smallest hotel’ which I think is a dreadful painting of the castle in the background, a promise of a wonderful view from the ‘hotel’. Then you quickly notice the car is balanced on rocks that hold it off the ground. Next you see the footwear of the occupants left outside, no doubt to ensure the interior is not made dirty and then finally the decoration to disguise the fact that this is, in reality, a broken down car. You might even be able to see the small Santa Claus figure on the roof, I assume an attempt to drum up seasonal trade. Having slept in cars on many occasions I will not be booking this up but I am sure many others will.

A Volkswagen Beetle, the ‘World’s smallest hotel’ as its owner Mohammed Al-Malahim claims, is seen in Shoubak, Jordan December 20, 2017.  REUTERS/Muhammad Hamed

In very much the same way people like VWs, I can’t help being drawn to the long suffering beast of burden, the donkey. Not quite sure why, as animals come a far second to people, but I’m adding these pictures by Alaa Al-Marjani (although shot in November it was only published this week) as personal favourites. First it really struck me just how primitive the nature of the brick works are, but it also slightly gladdened my heart that now we are getting images of construction and not destruction from Iraq.  I really like the mirror image feel of Alaa’s picture as the donkeys face each other. Very powerful visually for me too is the smoke from the chimneys drifting into the blue skies, the blackened stack almost the focal point of the image. I can’t help feeling a sense of hope as the industry of rebuilding starts to take shape. 

Iraqi labourers work at a brick factory in Najaf, Iraq November 28, 2017.  REUTERS/Alaa Al-Marjani

Iraqi labourers carry brick on a cart pulled by a donkey at a brick factory in Najaf, Iraq November 28, 2017.  REUTERS/Alaa Al-Marjani

Never far from my mind is the conflict in Yemen, maybe it’s because I am often looking at images that rarely make their way into publication. Abduljabbar Zeyad’s distressing picture of tiny Nadia cries out to me in all senses. The obvious fear and feeble cries of the child is captured with the open mouth and wide-open eyes, a spot catches light in the centre of the dark eye. This frightening scene frozen in a harsh direct light is framed by a riot of clashing cheerful colours, pinks, reds blues and greens, a medical tube snaking across the whole scene, maybe offering a glimmer of hope for survival.

Sixty-day-old Nadia Ahmad Sabri, who suffers from severe malnutrition, lies in bed at a malnutrition treatment centre in the Red Sea port city of Hodeida, Yemen December 20, 2017.   REUTERS/Abduljabber Zeyad

Finally for 2017 I am very proud that Zohra Bensemra, staff photographer for Reuters who is based in Algeria and has travelled throughout the Middle East and Africa in 2017, has won the Guardian award for Agency Photographer of the Year. You can see some of her work here.