A Week in Pictures, Middle East and Africa, July 26, 2019

August this year is the 400^th anniversary of the start of the slave trade to North America. To mark this date one of several stories Reuters is working on are artefacts from the slave period. Ancient things in cabinets rarely make for good images but one image that will haunt me, and not because I shot it (a rare thing these days) is the “Brookes” slave ship illustration. Using a narrow depth of field, I have tried to single out an individual packed on the boat with hundreds of others to humanize him. The details in the original drawing are spectacular. It’s as if every figure is a personal portrait and makes us feel as if we know them. If this was shot too wide the figures become unidentifiable, but too tight and you lose the sense of the vast numbers involved. Read on here.

A section of a print of the Brookes Slave Ship diagram dated 1791 forms part of the collection in the Wilberforce House Museum in Hull, Britain, July 5, 2019. According to the museum the print is arguably one of the most recognisable images from the campaign to abolish the Transatlantic Slave Trade in Britain. The publication of this image provided the public with a clear visual representation of conditions on board slave ships for the first time. August 2019 marks 400 years when the slave trade to North America began.   REUTERS/Russell Boyce

Emerging from a hole dug by hand, a miner brings up a shovel of earth that may or may not contain gold. Zohra Bensemra’s picture is as compelling and compassionate as it is claustrophobic. Every element is there, the perfect shovel shape, the miner’s lamp on his head, the black and dangerous chasm, and, most importantly, the glimpse of determination in his eyes. But there is more to this than meets the eye and that is why it’s taken months to get this story out. The gold comes at a price -  Read on  

An Informal gold miner carries a shovel as he climbs out from inside a gold mining pit at the site of the Nsuaem-Top, Ghana November 24, 2018. Zohra Bensemra 

Bloody and brutal with an eerie sense of isolation and silence. This is what strikes me most with Afolabi Sotunde’s image from the clashes in Nigeria. Why is this? Very rarely do you see a dead body in the street in complete isolation; there are usually emergency services, other demonstrators or even just bystanders, all usually part of the chaotic deadly scene.   

A member of the Shi’ite movement lies dead after a Shi’ite movement group set fire to an ambulance and fire engine station at the Federal Secretariat in Abuja, Nigeria July 22, 2019.   REUTERS/Afolabi Sotunde 

Bold and simple, great shape, great colour and ‘mini me’ feel to James Akena’s portrait picture lifts it above the ordinary. If I were to be really picky I’d like Bobi to be a little smaller in the frame so you can see both the eyes fully in the image behind him, but I won’t be picky.    

Ugandan musician turned politician. Robert Kyagulanyi, also known as Bobi Wine, addresses a news conference at his home in Kasangati, Kampala, Uganda July 24, 2019.    REUTERS/James Akena

Just because I am a big fan of the quirky, where objects are in place but out of context -  cars in swimming pools, boats on roofs - I can’t resist armoured vehicles under cool blue water photographed by the Aqaba Special Economic Zone Authority. Find out why they are underwater here. 

Jordanian Armed Forces vehicles lay on the seabed of the red Sea off the coast of southern port city of Aqaba, as part of a new underwater military museum, Jordan in this handout picture obtained July 23, 2019. Aqaba Special Economic Zone Authority/Handout via REUTERS

Ammar Awad’s mysterious image of smoke swirling around a building works as the window is just about the only sharp-edged shape you can see through the soft blur of smoke. This contrast creates a momentary focal point. If the picture had been taken a little earlier, the building would not be fully enveloped by the smoke, a moment later, the window would be obscured and the focal point lost.  

Palestinian building is blown up by Israeli forces in the village of Sur Baher which sits on either side of the Israeli barrier in East Jerusalem and the occupied West Bank July 22, 2019.   REUTERS/Ammar Awad

A great combination sequence picture by Mussa Qawasma from the same scene as Ammar’s picture above tells the same story but in a different way. Each element is perfectly captured. With the still images, every detail can be examined closely. For sure it would be great to see video of this, but then you would not be able to look at every detail closely, see what it looked like before, followed by the blast, the smoke and then the destruction.    

A combination picture shows a Palestinian building as it is blown up by Israeli forces in the village of Sur Baher which sits on either side of the Israeli barrier in East Jerusalem and the occupied West Bank July 22, 2019.   REUTERS/Mussa Qawasma

As far as the eye can see there are football fans surrounding the victory parade bus in Ramzi Boudina’s picture. Are the arms raised in adoration or is it that just about everyone is holding up a mobile phone to take pictures and shoot video. Either way it really doesn’t matter as what it does achieve is to make the bus take on the appearance of a boat slowly sailing away from white cliffs through a sea of waving arms.  

Football fans surround a bus during a victory parade to celebrate Algeria winning the Africa Cup of Nations (Afcon) in Algiers, Algeria July 20, 2019.    REUTERS/Ramzi Boudina  

A Week in Pictures Middle East and Africa November 10, 2017

Looking directly into the camera with the confidence and beauty of a model, a migrant in Libya demands our immediate attention in Ahmed Jadallah’s striking image. I asked myself, does the red line in the background detract from the picture? For me, no. As soon as I try to look away the red line draws me back into these piercing eyes that seem to hold so many questions.

A migrant arrives at a naval base in Tripoli after he was rescued by Libyan coastal guards off the coast of Libya, November 6, 2017.   REUTERS/Ahmed Jadallah

A combination of strong, simple shapes, primary colours and the visual surprise of a man’s head popping up from a sea of red make this picture irresistible. Immediately, we want to know what is going on in Khaled Abdullah’s eye-catching picture. Is this man being swallowed by a giant pillow? Why does he have a rifle? And why does he have a picture on a stick poking out of the barrel of his gun? It’s only the caption that saves us from a lifetime of frustration.

A Houthi follower emerges from a gap in a flag as he attends a rally organised to show support for the Palestinians in Sanaa, Yemen, November 6, 2017.   REUTERS/Khaled Abdullah

I love pictures that immediately raise questions in our minds. We just want to know what is being said to President Mugabe by his wife Grace in Philimon Bulawayo’s wonderful picture, and at the same time we want to know what he’s thinking. The temptation might be to crop this even tighter to just the lips and eyes but then we’d lose the bright yellows of their matching berets, which would be a shame. There is temptation also to use this picture in a speech and thought bubble caption competition, but that would only cheapen this great image. 

President Robert Mugabe listens to his wife Grace at a rally of his ruling ZANU-PF party in Harare, Zimbabwe, November 8, 2017.   REUTERS/Philimon Bulawayo

 A tightly shot detail picture can often be one of the most revealing images in a sequence of  images in a visually led story. James Akena’s picture of a father holding a treasured but tiny black and white image of his murdered son is one such case. The young man’s face on this slightly damaged photograph is held up against a clean blue and green background. We look at him and wonder about his short life. It takes a while for us to notice the missing nail on the middle finger of his grieving father: more pain.

South Sudanese refugee Simon Wani holds up a picture of his son who he claims was killed by rebels in South Sudan when he returned in search of food from Palorinya settlement in Moyo district, northern Uganda October 25, 2017.               REUTERS/James Akena

The conflict in Libya is far from the front pages but the struggle for power by different political and militant factions rages on. Esam Omran Al-Fetori’s front line pictures as the Libyan national army battles Islamic Militants are very powerful so I can’t select just one. I will say no more as they speak for themselves. To see more click here.

A military vehicle belonging to the Libyan national Army fires towards the positions of Islamic militants during clashes in Khreibish district in Benghazi, Libya November 9, 2017.   REUTERS/Esam Omran Al-Fetori 

Members of the Libyan national Army take position during clashes with Islamic militants in Khreibish district in Benghazi, Libya November 9, 2017.   REUTERS/Esam Omran Al-Fetori

A member of the Libyan national Army runs during clashes with Islamic militants in Khreibish district in Benghazi, Libya November 9, 2017.   REUTERS/Esam Omran Al-Fetori

On occasion a spectacle itself is enough to make great pictures. Crowds of worshipers descending to worship at a shrine is one such example. Abdullah Dhiaa al-Deen photographed the commemoration of Arbaeen and went a step further to make one of the most eye-catching pictures of the week. Looking through an archway of red tiles and light, we are drawn into a seemingly endless crowd, for me, with a complete sense of awe. The celebrations are estimated to be twice the size of the Hajj pilgrimage, with 22 million people expected to converge on the holy city of Kerbala.  

Shi’ite pilgrims pray at the Imam al-Abbas shrine during the commemoration of Arbaeen in Kerbala, Iraq, November 9, 2017.  REUTERS/Abdullah Dhiaa al-Deen

 Just published now is Abdullah Dhiaa Al-Deen story on the culmination of hundreds of thousands of Shi’ite Muslims gathering in Kerbala and I just had to add this image. It the exception of the printed picture in the background this could have been from hundreds of years ago, amazing. See the whole story here

 Muslim men beat themselves with their hands September 24, 2017 in mourning for Imam Hussein, a grandson of the Prophet Mohammed who was killed in a 7^th century battle in Kerbala, Iraq.   REUTERS/Abdullah Dhiaa Al-Deen

A week in Pictures, Middle East and Africa, October 15, 2017

It appears to the rest of the world that Kenya is struggling as the two main political parties wrestle for power in the lead-up to a second election after the first was declared void. Baz Ratner’s pictures of a plus size fashion show was a visual antidote to the daily diet of bloody street clashes. There is sheer joy on the faces of the women as they walk the catwalk in the latest Kenya fashions. I love how the light of the show changes from a cool blue on the right to hot reds on the left and you can almost hear the booming music.

Models pose on the catwalk during a plus size fashion show in Nairobi, Kenya October 7, 2017.   REUTERS/Baz Ratner

If ever a picture needed the health and safety warning “don’t try this at home”, it must surely be Mohamed Abd El Ghany’s picture of Egyptian fans celebrating their team qualifying for the 2018 Word Cup Finals. You can image the conversation moments before ‘I’ve got an idea, let’s all spray flammable gases into the air in a crowd and set fire to it’. A bad idea resulting in a great picture. 

Egyptians celebrate their soccer team’s victory against Congo that qualifies Egypt for the 2018 World Cup, in Cairo, Egypt October 7, 2017.    REUTERS/ Mohamed Abd El Ghany

Libya-based photographer Hani Amara’s picture of migrants sent a chill down my spine. At first, all we see is dozens of people sitting in perfect rows in a fenced-off area. Then we notice that more people are joining their ranks on the right, peeling off in strict order. What we can’t see is how many more will join, but I get the sense that this line of human tragedy is endless.  

Migrants sit at a detention centre in Gharyan, Libya, October 12, 2017.

Even though Abdullah Dhiaa Al-deen’s picture was taken last August it was only published this week and so it qualifies to be included in pictures of the week (I set the rules anyway and they are there to be bent.) Abdullah worked on this in-depth story for weeks, and from the whole series I like this image the most. To me the calm and beauty of the scene seems as timeless as the turban is long. The delicate material held by the men draws you slowly into the picture towards the graceful arches, the eye pausing to take in the complexity of the floor’s design. The whole picture story, published on the Wider Image that can be seen here. 

A Shi’ite cleric holds a turban at al-sayed al-Yazdo school run by al-Hawza al-Ilmiyya in Najaf, Iraq August 12, 2017. For more than 1000 years the al-Hawza al-Ilmiyya in southern Baghdad has been giving religious instructions to thousands of Shi’ite Muslims to help them become clerics.   REUTERS/ Abdullah Dhiaa Al-deen

Most of the time I believe that a picture has a natural crop, which might be captured by the camera in the purist Cartier Bresson sense or might need to be cropped by an editor with an eye to bringing out the best. On rare occasions some pictures just need to be seen in two different ways. Baz Ratner’s image is one of these. You immediately ask yourself ‘what is going on here?’ Cropped wide you see a man in a car consumed by white gas, the colour of which matches the paintwork. The car, the man’s face and arms and the eerie shadow on the side all add to the bizarre nature of the image. But then you want to see the man’s face, with his eyes seeming to pop out of his head as he tries to escape the smoke, his hands flailing about. You choose which you prefer.  You can read the back story to Baz’s picture here.

An opposition politician of the National Super Alliance (NASA) coalition, reacts after a gas canister fired by police hits his car during a protest along a street in Nairobi, Kenya October 13, 2017.  REUTERS/Baz Ratner

Often the strongest pictures are made when objects are seen out of their usual context; a boat balanced on a building after a storm, a Rolls Royce in a swimming pool (it’s only Rock and Roll) and in this case Ange Aboa’s picture of a plane in the sea. What makes this picture even stronger is that the rescue is still going on. The man on the right of the picture desperately seems to call the viewer into the image to help with the rescue. The waves batter the stricken plane and crash in left to right, hampering the rescue. The wind so strong you can almost taste the salt water mixed with the spilled fuel of the plane.

People pull the wreckage of a propeller-engine cargo plane after it crashed into the sea near the international airport in Abidjan, Ivory Coast October 14, 2017.    REUTERS/Ange Aboa

Photographing a deadly bomb attack in Mogadishu is never easy. The constant danger of a secondary device targeting rescue workers and the fear that there may be a follow-up gunman attack means that you always have to be super careful. You also have to be mindful that you don’t produce pictures of such horror and gore that they are just un-publishable. Feisal Omar not only portrays the devastation of the scene -- fire, smoke, burning vehicles, wreckage and men carrying weapons -- but he also captures the human element of rescue and survival as the armed men carry the injured to safety. A very powerful news image.

Somali Armed Forces evacuate their injured colleague from the scene of an explosion in KM4 Street in the Hodan district of Mogadishu, Somalia, October 14, 2017.   REUTERS/Feisal Omar

The simple oval composition to Thierry Gouegnon’s picture, aided by a pointing hand, draws you into the writing in the sand.  Immediately you are intrigued; what is going on and what is causing such intense scrutiny? A game of chance? A plan for some event? Nope, the Liberia election results as they are announced on the radio. A fantastic picture that to me sums up the struggles and hopes of one of the world’s poorest nations as they go to the polls. 

Supporters of George Weah, former soccer player and presidential candidate of Congress for Democratic Change (CDC), note on the ground presidential election results announced on the radio, in Monrovia, Liberia October 15, 2017.    REUTERS/Thierry Gouegnon