AYLAN KURDI: 6 MONTHS ON

by Jess Howard

Last year, I wrote an article on what a photograph of a drowned Syrian toddler’s body being lifted from a beach in Turkey could tell us about the Syrian civil war. About how the common misconception that refugees are coming to western countries in order to receive benefits and take money from our governments was entirely incorrect, and how these photographs show us the risks these people are taking just to survive.

Aylan Kurdi, along with his brother Galip, mother Rihan and father Abdullah, were travelling from Syria to the Greek Island of Kos. Their goal was to eventually travel to Vancouver in Canada, where Abdullah’s sister Teema had lived for a number of years. However, during their journey to Kos the boat in which they were travelling capsized, and the two young boys and their mother subsequently drowned.

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WHAT CAN A PHOTOGRAPH TELL US ABOUT HUMANITY?

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by Jess Howard

In my last article for The Norwich Radical I talked about risks, the risks of those who disregard their personal safety, instead preferring to take time to photographs of death, danger and carnage on their smart phones. This article is going to continue in a similar vein, focusing on the risks that individuals are willing to take, but for far different reasons. This week I will focus on the dangers that thousands of refugees are currently encountering, as a means escaping the war and conflict in their home countries.Continue Reading

PHOTOJOURNALISM: SHOOT OR SAVE?

by Jess Howard

The world of fashion and artistic photography are always portrayed as incredibly glamourous. Pre-organised shoots or models dressed in couture to advertise the latest perfume. Photojournalism falls into a slightly different category. Sitting on the boundaries between art and reporting, a photojournalist’s job is to depict the events and suffering that words are unable to convey.

But how does a photojournalist disconnect from the suffering they are capturing, without wanting to help those in the picture?

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