ZEKE Magazine: Spring 2025

ZEKE

THE MAGAZINE OF GLOBAL

SPRING 2025 VOL.11/NO.1 $15 US

DOCUMENTARY PHOTOGRAPHY

ZEKETHE MAGAZINE OF

GLOBAL DOCUMENTARY

PHOTOGRAPHY

Published by Social Documentary Network

Photo by Jan Banning

Photo by Carlos Folgoso Sueiro

02 | BLOOD BONDS

Reconciliation in Post-Genocide Rwanda

By Jan Banning

12 | BEYOND THE LAKE

Spain

By Carlos Folgoso Sueiro

24 | ONE LANDSCAPE DIVIDED

Border Wall and Human Crisis

By Laurie Smith

32 | SURVIVING THE IMPOSSIBLE

Cuba

By Sandra Hernández

40 | I GRANT YOU REFUGE

Gaza

By Jehad Al-Sharafi, Mahdy Zourob, Mohammed Hajjar,

Omar Ashtawy, Saeed Mohammed Jaras, Shadi Al-Tabatibi

Photo by Laurie Smith

Photo by Sandra Hernandez

Photo by Mahdy Zourob

20 | A Conversation with Cristina Mittermeier

By Lauren Walsh

52 | ZEKE Award Honorable Mention Winners

Felipe Fittipaldi, Laia Ros, Simone Tramonte,

Valentina Sinis

56 | No Woman’s Land

Documenting the Lives of Afghan

Women Under Taliban Rule

By Mélissa Cornet

Photographs by Kiana Hayeri

61 | 2024 SDN/ZEKE Donors

62 | Book Reviews

Cover Photograph by

Laurie Smith

Honduran woman looking out

from behind the wall, El Paso/

Juarez border.

2023.

SPRING 2025 VOL.11/ NO.1

$15 US

Dear ZEKE Readers:

The challenges we are facing today in the United States are likely the most

difficult we have known in our lifetime. But in times like this, it is important that the

community of people committed to human rights, truth, and human dignity stick

together, follow our moral compass, and speak loudly about what we know is true

and right.

The abuses of power and assaults against the U.S. Constitution that the

newly installed Administration has committed in just three months in power are

overwhelming and we feel that ZEKE and SDN have a responsibility to respond.

Social Documentary Network (SDN) has always supported a long-term civil

rights agenda that embraces diversity in all of its forms. We believe in the power

of inclusion and that everyone’s story deserves to be told. We believe that climate

change is real and clean energy is the future. We believe that immigrants make

this nation stronger. We believe that the U.S. is more secure when other nations

throughout the world are healthy, safe, and have vibrant democracies. We believe

in human rights, women’s rights, LGBTQ+ rights, Indigenous People’s rights, and

disability rights. We believe in a free press and free expression and perhaps most

importantly, we believe in dignity and truth.

All of these issues and more have been presented on the SDN website since our

founding in 2008 and in ZEKE Magazine since our first issue in 2015.

All of these issues are now under threat.

SDN remains committed to embracing these stories in all of our programming,

including publishing them in ZEKE magazine, on the SDN website, on social media,

and in our many public programs, including our Spring Visual Storytelling Festival.

The guiding principles of truth and dignity remain at the center of our mission.

We look to our members from the U.S. and across the world to continue to submit

their documentary projects to SDN and we will do our best to further promote these

stories both to U.S. and international audiences in ZEKE Magazine.

Small independent organizations like SDN and ZEKE are critical in the battle

for truth. We also embrace the need to build a collective opposition among the

visual storytelling community to counter the disinformation coming from so many

fronts including directly from the White House and acquiescent media supporting

the MAGA agenda. SDN remains committed to providing a platform to nurture and

support this global documentary community. In short, we are here for you.

Celebrating ZEKE’s 20th issue at the Leica

Gallery Boston on October 17, 2024

with a panel discussion with ZEKE content

contributors including J. Sybylla Smith,

Matilde Simas, Barbara Ayotte (ZEKE

Senior Editor), Kristen Joy Emack, Glenn

Ruga, Lou Jones, and Lauren Owens

Lambert.

Glenn Ruga

Executive Editor

ZEKE SPRING 2025 / 1

ZEKE AWARD FOR SYSTEMIC CHANGE

Blood Bonds

Reconciliation in Post-Genocide Rwanda

by Jan Banning

Thirty years after the 1994

Rwandan genocide, remarkable

partnerships have emerged:

survivors reconciling with those

who killed their loved ones—a

profound journey toward

healing.

During the genocide, 800,000

people were killed in 100 days,

often by neighbors using crude

weapons. Survivors bear deep scars,

while perpetrators wrestle with guilt.

Photographer Jan Banning and

writer Dick Wittenberg spent a month

meeting pairs of former enemies

who reconciled, revealing stories of

immense suffering and forgiveness.

Over 20% of Rwandans face

trauma, with rates exceeding 50%

among survivors. To address this, CBS

Rwanda introduced a communitybased

sociotherapy program in 2005.

More than 64,000 participants, supported

by 1,000 trained volunteers,

engage in sessions blending safety,

care, and storytelling. Singing, dancing,

and shared narratives foster trust

and empathy.

Many perpetrators express remorse,

and 80% of groups continue meeting,

maintaining transformative bonds

and rekindling friendships. While the

scars of genocide remain, Rwanda

demonstrates that even the most divided

societies can begin to heal.

2 / ZEKE SPRING 2025

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Rose Mukarusagara, 60, lost

three of her children and almost

her entire family during the

genocide. On April 10, 1994,

a group, including Ezechiel

Niyibizi, 46, attacked her, killed

her baby, her sister-in-law, and

left Rose severely injured. Her

right hand still shows the scars.

In 2014, Rose joined a CBS

Rwanda sociotherapy, seeking

healing. During the sessions,

Ezechiel apologized for killing

her baby, and eventually, she

forgave him.

ZEKE SPRING 2025/3

Blood Bonds

Rafael Mageza (left, 66): “My father

had two wives. One of them was Tutsi. She

had three sons and two daughters — my

half-brothers and half-sisters. One of those

half-brothers, just like me, participated in

the genocide. He killed many people. He

did it to protect his mother. If he hadn’t

participated, his mother would have been

killed. His mother and her other children

survived the genocide.” Rafael himself

spent twelve years in pretrial detention.

Later, during a gacaca trial, he confessed

to murdering people. “I apologized. I

didn’t have to go back to prison. Thank

God. Before my release, I was advised to

approach the survivors. At first, I was too

ashamed. I saw the sociotherapy group as

an opportunity. Our group still meets every

week. We grow cassava together and share

the earnings.”

Pascal Mutarambirwa (58) married his

first wife in 1988. They had three children

— all four were killed during the genocide.

Of the twelve children in his parental family,

only he and one brother survived. Rafael participated

in the murder of Pascal’s parents.

Pascal: “I aligned myself with the government’s

policy. We had to reconcile — not

just in words, but in our hearts. Otherwise,

living together again would have been

impossible.” Rafael sent his son to Pascal’s

house to ask, “Can you forgive him?” Pascal

replied, “Only if he publicly expresses genuine

remorse and apologizes.” Rafael did so

after encouragement from the sociotherapy

group. “Now we regularly share beers at

his son’s bar. That son is married to my Tutsi

niece.”(They were photographed in the bar

of Rafael’s son).


ZEKE SPRING 2025/ 5

Blood Bonds


Ancile Unabagira (right, 57) recalls: “The

day after the genocide began, my husband

went to check on his parents. When he

arrived, government soldiers captured and

executed him without mercy—along with his

parents and four relatives. His sisters initially

escaped with their children, fleeing to a

nearby forested hillside, only to be intercepted

by Interahamwe militia. None survived.” She

also lost her parents and two siblings.

Ancile Unabagira fled to the forest with her

three children (sons aged 7 and 3, and an

infant daughter). “We starved, eating roots.

My boys developed diarrhea. When my milk

dried up, the baby’s ceaseless wails shattered

me. In my panic, I nearly abandoned her—I

came terrifyingly close.” They survived with

help from “good Hutus” who shared food.

Ancile Nyiramimani (52) encountered four

of Unabagira’s in-laws during the genocide:

“‘Kill them! Don’t let them escape!’ I shouted.

As men advanced with machetes, another

perpetrator intervened—claiming he’d

‘take them away’ but instead led them to

RPF resistance forces who saved them.”

Nyiramimani served 12 years in prison.

“Returning post-genocide, Ancile

Unabagira found her home destroyed. “I was

grief- stricken, furious—a dormant volcano.

My mind was sick.” Later, sociotherapy

transformed her: “I craved freedom from the

hatred poisoning me. At first, we survivors

and perpetrators eyed each other warily. But

we learned to listen. Eventually, I embraced

the woman who’d betrayed my sisters—and

forgave her. Her suffering moved me. She

was poorer than I, barely clothed. Our

group provided garments, a blanket, and a

mattress.”

ZEKE SPRING 2025/7

Blood Bonds

Vedaste Makumu (left, 70): “We had six children: one

son and five daughters. Shortly after the genocide began, we

fled to Karongi Hill. Thousands of Tutsis had gathered there.

We defended ourselves with stones, while they had guns and

grenades.

We ran for our lives. My wife took three children; I took the

other three—each in a different direction, hoping at least some of

us might escape. I watched as they seized my wife and children.

The ones I was dragging along fell behind. I couldn’t protect them

anymore. I was like a hunted animal. Slowly, I grew weaker,

waiting for my final hour. Then the RPF resistance arrived.

Previously, there were thousands of Tutsis living in this area.

Now, we were no more than twenty. We had no choice but to live

together with the perpetrators. In the sociotherapy group, I was

the only survivor among a group of ex-prisoners and their wives.

That was very difficult. You know what they have done. They

could do it again.

Ildephonoe Mugwaneza (50) was also in that group. He

confessed that he, along with others, looted and destroyed my

house. He apologized, and I forgave him. We have to move

forward. He was also part of the killer mob on Karongi Hill. He

has never confessed to that. I don’t hold it against him. We have

reconciled.

Ildephonoe’s first wife and their daughter turned their backs

on him. “I served 24 years in prison: from 1996 to 2020. Prison

life was brutal, especially in the early years. Many guards and

police officers had lost family members during the genocide. They

regularly beat us. The cells were overcrowded—there wasn’t even

space for everyone to sleep lying down. Some of us died. Others

developed chronic back pain.

Before your release, they prepare you for returning to the

outside world: ‘You’ll encounter people who lost loved ones

because of you—people who aren’t happy to see you back. You’ll

have to learn to deal with that.’

In the sociotherapy group, I listened carefully to Vedaste. That

man has suffered so much. I wronged him. For the rest of my life,

I will stand by him.”


Solange (23): “It wasn’t until I was eight that I learned my father

had participated in the genocide. From that moment on, I lived

in fear. I didn’t dare be around other people anymore — what if

they’d lost family members because of my father? I was constantly

depressed. I asked my mother, ‘Why did he participate?’ She said

she didn’t know.

Eventually I asked my father, ‘What did you do?’ He replied, ‘I

killed people.’ For the first time, I realized I was afraid of my own

father too — if he could kill strangers, he could kill me.

I never felt safe. I felt like I shouldn’t exist. When I was 21,

someone asked if I wanted to join a sociotherapy group. I would

have grabbed at anything to make my existence more bearable.

At first, I felt completely unsafe in the group. I trembled with

fear, knowing some members had lost their entire families during

the genocide. Hearing their horrific stories was difficult — they

filled me with sorrow. I felt their pain and tried to comfort them. I

shared my story too — about having a murderer for a father. And

they comforted me in return. The fear that had haunted me my

whole life disappeared.

People who knew me noticed the change. They said, ‘You

can look people in the eye again.’ I feel physically better too. It

helped that after his release, my father visited all the families he’d

wronged to apologize.”

Elie Zmanizabayo (40): “I saw the mob descend on our

house, screaming wildly. I saw both my parents killed — my

father with a machete, my mother with a nail-studded club. I saw

them: the killers. I knew every single one. The man who struck

my brother with an axe and threw his body in a latrine. The men

who killed my sisters. I ran. They didn’t find me. Hutus with good

hearts took me in. They hid me and fed me — at enormous risk. If

caught, they would have been killed as traitors.

After the genocide, the government called for reconciliation.

But I was consumed by scorching hatred. I even hated the killers’

children — they still had parents.I felt like an explosive ready to

detonate.

Eventually, I joined a sociotherapy group with Solange — the

daughter of the man who had been part of the mob that killed my

family. I heard her story about growing up without a father. Even

though she hadn’t been born when the genocide happened. I felt

for her. Not overnight. It happened slowly. And I reached out to

her. I said, ‘Let’s treat each other as friends.’

ZEKE SPRING 2025/9

Blood Bonds

Celestin Kayijuka (left, 70) lost four children and at least

seventeen relatives during the genocide: “My father, two of

my five brothers, both sisters, and nearly all their children. I

buried only three. The rest were thrown into Lake Muhazi—

by perpetrators from this very village.”

His body bears scars: face, back, neck, foot. A limp

remains from fleeing attackers who stoned him as he tumbled

down a hill. “I dragged myself home to die. A neighbor hid

me in his banana plantation, bringing food and saying, ‘The

RPF is near. You’ll be safe.’”

After the genocide, most killers were imprisoned, then

released—including Jean Marie (right, 62), who murdered

Celestin’s father. “For years, we avoided each other’s eyes,”

Celestin recalls; “He wouldn’t greet me. We were

afraid of each other.” Sociotherapy changed everything:

“He confessed how local leaders coerced him. When he

apologized, I forgave him—not easily, But if we don’t

reconcile, we can’t move forward with our lives. It won’t

bring our dead back.” Now they share medicine costs and

dance at village celebrations. “As best we can,” Celestin

adds.

Jean Marie confesses: “My children know nothing. How

could they? I barely understand how I—a man who’d never

harmed a fly—killed a neighbor. I never thought I could kill

someone. No one will ever wash the blood from my hands.”

For information on Jan Banning’s book, Blood Bonds:

Reconcilliation in Post-Genocide Rwanda, visit

www.janbanning.com.


ZEKE SPRING 2025/11

ZEKE AWARD FOR DOCUMENTARY PHOTOGRAPHY

Beyond the Lake

Spain

by Carlos Folgoso Sueiro

Tony brought home nuts, claiming

Rosemary gave them to him, though

she existed only in his dreams. Adolf

and Raúl’s house was burned down

by neighbors over land disputes.

María, an emigrant, left her son in

Galicia. Years after her return, he succumbed

to alcoholism, a reflection of the broader

struggles faced in rural areas. Sabucedo’s

wild horses struggle for space as rural abandonment

reduces their lands. The droughts

of 2022/23 left 14.6% of Spain in a water

emergency, exposing critically low reservoirs.

The village of Aceredo, submerged by the

Lindoso reservoir, has re-emerged due to

droughts, offering a haunting glimpse into

the past. Eucalyptus replanting for industry,

including Altri’s proposed textile fiber plant,

risks biodiversity, soil health, and water sustainability.

The factory’s daily water use of 46

million liters threatens the Ulla River, a lifeline

for the region.

These stories stem from Galicia, where

reality blends legend. Change driven by

climate challenges, depopulation, land

abandonment, emigration, and alcoholism

threatens the fragile identity of Galicia’s

communities. This project sheds light on their

struggle to adapt and survive.

Nestled in the lush landscapes of Galicia, a woman dressed

in traditional Galician attire poses before a meadow at the

edge of a wooded enclave. The vegetation, a testament to

Galicia’s historical abundance of rainfall, unfolds before

her. The essence of Galicia’s enduring green legacy,

shaped by the perennial rains that have blessed the region,

is embodied in the silhouette of this woman, in a connection

with nature that characterizes the people of Galicia.


ZEKE SPRING 2025/13

Beyond the Lake

Guillermina, who comes from a family from the city

of Lugo, one day in her youth decided to break away

from her city and move to live in the mountains of

Vilauxín, an abandoned village that can only be

reached by walking for more than half an hour after

another two hours by car. Guillermina lived her youth

in these mountains in a “hippie commune”, raising

four sons and daughters, whom she gave birth to in

her own home, without a doctor or hospital facilities.

Guillermina currently lives in Escanlar, one of the most

remote villages in the Galician mountains, where the

road ends and is cut off for periods of the year because

snowfall or heavy rain ruins the roads. She spends her

days cutting wood, preparing the garden, and walking

through the woods. Two of her children have moved to

the city, while two others live in villages nearby.




Martina, a school teacher from Teo, poses in Palas de

Rey during a break from the theatrical play Son de

Aldea, which this year focused on water. This festival,

which explores a different theme each year, centered

in 2024 on an original and peaceful protest against

the establishment of the Altri cellulose factory. This

industry poses a significant threat to Palas de Rey’s

rural ecosystem and biodiversity, impacting water

resources and promoting the expansion of eucalyptus

monocultures—an invasive species that degrades the

soil and displaces native flora. Through initiatives

like this play, the local community aims to raise

awareness about the risks Altri poses to the region’s

environmental and social sustainability.

ZEKE SPRING 2025/15

Beyond the Lake

Above: The interior of a house,

abandoned for 70 years in a

rural Galician village, is lit by a

reddish light from sunlight filtered

through the smoke of a forest fire.

Galicia is among the regions most

affected by rural depopulation in

Spain: over 3,000 villages have

been abandoned since 1950,

leading to unmanaged forests and

overgrown vegetation, significantly

increasing fire risk. This lack of

land management is a key factor

in the region’s high incidence

of forest fires, where more than

24,000 hectares burned in 2022,

exceeding the average of the

past decade. Abandoned homes

like this one reflect the cycle of

depopulation and its environmental

consequences.

Right: Nacho is 40 years old and

originally from Zaragoza, a city

almost 1,000 kilometers away from

Galicia. After a turbulent youth,

he decided to isolate himself in the

Galician mountains to live a life

less dependent on society. Today,

he cares for his herd of goats, with

whom he shares a very special

bond: he hugs them, talks to them,

and cares for them as if they were

his children. Every morning, he

takes them to the mountains early

so they can graze, and he doesn’t

return home until nightfall. In these

animals, he seems to have found

the meaning of his existence.

Nacho lives in an old, occupied

stone house without electricity. His

diet consists of vegetables and the

milk his goats produce. As he says,

his dream would be to eat like the

goats, feeding on the herbs of the

mountains. Nacho leads a hermitlike

life, finding in this self-imposed

exclusion from normalized society a

true sense of freedom.


ZEKE SPRING 2025/17


Left: During the main years of Galician

emigration, the 70s, 80s, and 90s,

many of the emigrants who earned

good sums of money abroad decided

to build large houses in Galicia,

hoping to have a good place to live

one day when they returned. Many

of the houses built remained empty

forever, either because their owners

died before returning from emigration

or because they finally never returned.

In the image can be seen the passage

of time and neglect on a damp wall

in a room of a house built during the

times of emigration, which is now

practically abandoned. On the wall

hangs a portrait of the parents of the

owners of the house, Claudina and

Antonio, who never lived in that room.

Right: Apples, nearly rotten, rest upon

the stone of a fountain in the garden of

a house in Santiago de Compostela,

the capital of Galicia. This image

contrasts with the lush vegetation that

defines the region, shaped by some of

the highest rainfall in Europe: Santiago

receives an annual average of 1,573

liters per square meter. Yet, Galicia

faces the paradox of being a waterrich

region devastated by forest fires,

which in some years have accounted

for up to 80% of all fires in Spain.

This contrast highlights how land

management and rural abandonment

impact the balance between natural

abundance and environmental

disasters.

ZEKE SPRING 2025/19

A conversation with

CRISTINA MITTERMEIER

By Lauren Walsh

Anna Heupel

Cristina Mittermeier, “Mitty”, was born in Mexico

City and grew up in nearby Cuernavaca. As a

photographer and activist, she has dedicated her

life to protecting the world’s oceans. In 2014,

she co-founded the nonprofit SeaLegacy, to

protect the earth’s oceans and benefit biodiversity

through climate action and sustainable solutions.

Mittermeier’s work has been exhibited in galleries

around the world and has been published in hundreds

of magazines, including National Geographic,

TIME, McLean’s, The Men’s Journal and O. Along

with her partner, Paul Nicklen, she was named

one of National Geographic’s Adventurers of the

Year in 2018. In 2022, she received an Honorary

Doctorate of Fine Arts from Simon Fraser University

in British Columbia, Canada.

Hope for Our Planet

Last year was the hottest year on record,

according to the World Meteorological

Organization. Meanwhile, 99% of us

breathe toxic air, and air

pollution is now responsible

for one in eight deaths

worldwide. All the while, the

global average sea level has

risen 8+ inches over the last

century and a half. While

we may not know all the

statistics, we do grasp the

staggeringly dire reality of

environmental crises today.

But not everyone feels

disillusioned in the face

of such challenges. “I

ferociously reject apathy,

cynicism, and fear, and with

tenacity and determination, I

choose kindness and hope,”

says award-winning photographer

and conservationist

Cristina Mittermeier, who

has dedicated her 35-year

career to advocating for

biodiversity preservation

and documenting the lives of

Indigenous peoples fighting

to preserve their cultures. Her commitment has been expressed through

her photography and her involvement in multiple environmental organizations,

including SeaLegacy, a nonprofit dedicated to ocean protection, which

Mittermeier co-founded. She is also the author of numerous books including

the newly released HOPE. This book showcases Mittermeier’s imagery and

acts as a manifesto, where the author’s mission speaks most loudly through

photographs, expressly portraying the beauty of the natural world. Such

beauty inspires hope and possibility, says Mittermeier, who aims to harness

those sentiments in the protection of endangered ecosystems.

Mittermeier has been honored with notable awards including the

Smithsonian Conservation Photographer of the Year and has been twice

listed as one of 100 Latinos Most Committed to Climate Action. In 2023, she

received the Lucie Foundation Humanitarian Award, and was inducted into the

International Photography Council’s Hall of Fame. Here, she talks with Lauren

Walsh about her work, her vibrant new book, and her vision for the future of

conservation.

This interview was conducted in late 2024.

Lauren Walsh: Your new book, HOPE,

quotes Emily Dickinson’s poem “‘Hope’ is

the Thing with Feathers.” What drew you

to that particular poem about hope?

Cristina Mittermeier: I love the first

verse in this poem.

“Hope” is the thing with feathers -

That perches in the soul -

And sings the tune without the words -

And never stops - at all -

A lot of times, when I am photographing,

I get lost in my own thoughts, and I

often repeat little mantras to myself. This

first verse often visits me. There are so

many beautiful animals with feathers,

gills, manes and spines… They all perch

in my soul, where they sing tunes without

words and make me happy.

What a lyrical way of moving through the

world. Does this new title extend the work

you have already done over your many

years as a photographer and environmental

conservationist?

Although the initial intention of the book

was to foster a sense of optimism at a

time when so many of us are feeling

hopeless, the blunt truth is that I needed

this book to become my personal

liferaft. Perhaps it is because those of us

who spend a lot of time working in the

frontlines are in so much closer proximity

to the catastrophe of biodiversity loss

and climate chaos; it is unfolding right

before our eyes, and many of us, myself

included, often struggle to feel hopeful. I

wanted to make a book that would float

my own sense of gratitude, awe, and

wonder, and that would remind others

that some of us have not given up hope

yet.

HOPE is an important book for my

own mental health, but also for all the

people who, like me, suffer as we witness

the lack of action to solve these

existential issues. So to answer your

question, yes, hope is definitely a theme

I am leaning on for my work.




Sisters. The Suri people are one of the many Omo Valley tribes that embrace their cultural traditions, passing

down ancestral knowledge and wisdom, finding a deep sense of identity and fulfillment in their unique heritage.

Photograph by Cristina Mittermeier.

As someone who often focuses her professional

work on the traditional frontlines

of conflict, I appreciate the framing you

provide here. The frontlines of the climate

crisis exhibit different kinds of dangers and

devastation from conventional warfare—

and those dire situations should not be

minimized. Likewise, it is critical to discuss

the mental health challenges of working in

spaces of crisis. In addition to doing this

book as a liferaft, do you practice self-care

in other capacities?

I do not have a formulaic way of caring

for myself. I make it up as I go along.

Still, it almost always involves getting

away from my devices, spending

time on my own doing creative things

and, most importantly, eliminating

external pressures: I don’t have to talk

to people. I don’t have to be on social

media. I don’t have to dress or look any

particular way.

Many of your images are lush—wide, gorgeous

landscapes, rich colors.

Well, the tone of my work is inspired by

activist-philosophers like Martin Luther

King, Jr., who in his famous speech told

us he had a dream, not a nightmare.

HOPE is about presenting the picture of

the future dream I want to inhabit, not

the nightmare we are barreling towards.

This is a reminder that our planet is not a

spoiled post-apocalyptic space yet.

Yet one might say that the beauty of your

images allows the viewer to forget the very

serious problems that undergird your work.

For instance, this landscape is mesmerizing.

But it is also an image that speaks to

environmental loss. How do you effectively

balance the beauty of the photo with the

disaster or anxiety that sits behind it?

There are many dangers in focusing

solely on the negative aspects of the

crisis. These include the emotional rejection

of audiences due to being exposed

to constant negativity, the subsequent

numbness that comes from such overexposure,

and the apathy that results

from existential crises that seem too big

to solve. That is why I make images that

invite us to reflect on the beauty that still

exists. Our planet is the perfect home for

humans, but we have spoiled so much

of it, it can feel overwhelming to fix it.

Having an aspirational idea of where

we are going is the best way to build a

homing beacon through art.

Tell me about your work in documenting

Indigenous populations. What motivates

you? What are your interactions on the

ground like? What do you hope your

documentation achieves? Importantly, have

you ever worried that such work could

appear exoticizing?

I grew up surrounded by the mysticism

of Mexican culture. My family roots,

like so many other Mexican families,

come from a “mestizo” or mixed-race

background. That is perhaps why I have

always felt an intense affinity for the

values and knowledge of Indigenous

people.

On the surface, conservation seems

to be simply about saving wildlife. The

truth is that conservation can never be

achieved in the absence of community

participation and involvement. Colonial

Glacial structures like these form and break away from Antarctica’s sprawling ice shelf, drifting out from their

fortresses into the water like sentinels scouting the open ocean.Photograph by Cristina Mittermeier.

ZEKE SPRING 2025/ 21

conservation has failed us. Drawing

boundaries while excluding the people

who live on the land has never worked.

The traditional values, practices, and

knowledge of the original guardians of

biodiversity, however, are emerging as

a critical component of conservation

success.

As for concerns around “exoticizing,”

my work centers around

reminding us about what makes us

similar instead of what makes us

different. I am not interested in “othering”

Indigenous people. On the

contrary, just because as colonizers

we have forgotten that we are not the

first nor the only people to live on the

land, does not mean that the original

inhabitants of a place, with all their

beliefs, traditions, hopes, dreams,

and ideologies, have to change who

they are, how they dress, or how they

exist. Indigenous people are the last

people on this planet who are connected

to the operating system of

Earth. We should not consider them

exotic because of the way they dress.

Instead, we should get used to having

them present as trusted advisors in

every decision-making forum where

the future of life on Earth is being challenged

by capitalism.

President Trump has promised to roll back

environmental protections, particularly

some of the climate regulations put forward

during Biden’s administration. What are

your thoughts in response? And what is

your advice to rising voters, Gen Z’ers, who

often feel overwhelmed, even disillusioned,

by the global environmental crisis?

The good news is that we have had

a “dress rehearsal” for how a Trump

administration will behave when it

comes to environmental regulation, and

this second time, we know what the rest

of the world needs to do to keep making

progress despite Trump. As important

as the USA is, it is not the only country

engaged in solutions and at the end of

the day, Trump will be a small bleep

in the larger history of our planet. Let’s

keep making progress wherever we

can while the pendulum of U.S. politics

rights itself. There have been other U.S.

presidents in the past who have seen the

environment as an annoying obstruction

to their greed. The response to this

threat, from civil society, philanthropists,

international organizations, foundations,

and other governments, has always

created a counter-force. My advice to

younger people is to become politically

active.

What is the most critical environmental

issue we face today? And what do you

think the average person should do in

response to seeing your images or reading

this interview?

The most critical issue we face today is

our disconnection from each other and

from the planet that supports us. The

addiction to digital technology and the

belief that our lives are sheltered from

the fate we are imposing on nature is a

serious issue. In order to find solutions,

we need to be aware, engaged, and

present. That is something we all can

start doing today.

NUEVA LUZ STUDY CENTER

Celebrating 40 Years of Nueva Luz

This year marks the 40th Anniversary of Nueva Luz, and En Foco is proud to continue honoring its

legacy as a trailblazing community arts organization rooted in photography, culture, and education. At

the heart of this celebration is the Nueva Luz Study Center—a vibrant resource where our community

can explore En Foco’s rich history. From early exhibitions held in local bodegas and theaters to major

cultural initiatives, the Study Center offers access to the Nueva Luz & Critical Mass

archives alongside records from over 400

artists of color who have shaped our story.

Whether you're a researcher, artist, or

longtime supporter, the Nueva Luz Study

Center invites you to connect with the past,

engage with the present, and help imagine

the future.

Image: En Foco's early traveling exhibitions at the Puerto Rican Festival, 1974.

Collection of Nueva Luz Study Center.

Scan here to visit the Study Center

& access 40 years of Nueva Luz.


Visual Stories About Global Themes

Photo by Laia Ros from Queer Resilience.

Social Documentary Network

SDN Website: A web portal for

documentary photographers to

create online galleries and make

them available to anyone with

an internet connection. Since

2008, we have presented more

than 4,000 documentary stories

from all parts of the world.

www.socialdocumentary.net

ZEKE Magazine: This print

and digital publication allows us

to present visual stories both in

print and online with in-depth

writing about the themes of the

photography projects.

www.zekemagazine.com

SDN Salon: An informal gathering

of SDN photographers to

share and discuss work online.

Documentary Matters:

Online and in-person. A place for

photographers to meet with others

involved with or interested in

documentary photography and

discuss ongoing or completed

projects.

SDN Education: Leading

documentary photographers

and educators provide online

learning opportunities for

photographers interested in

advancing their knowledge and

skills in the field of documentary

photography.

SDN Reviews: Started in April

2021, this annual program brings

together industry leaders from

media, publishing, and the fine

art community to review work of

documentary photographers.

ZEKE Award: The ZEKE Awards

are juried by a panel of international

media professionals.

Award winners are exhibited at

Photoville in Brooklyn, NY and

featured in ZEKE Magazine.

Join us!



Hands through the wall,

Anapra, New Mexico 2019.


ZEKE AWARD HONORABLE MENTION FOR DOCUMENTARY PHOTOGRAPHY

One Landscape Divided

Border Wall and

Human Crisis

by Laurie Smith

Decades of political gridlock

have prevented comprehensive

immigration reform in the U.S.,

with bipartisan efforts stalling

again in 2024. The border has

become a political pawn, impacting

countless lives. Starting in 2016, the Trump

Administration implemented harsh rhetoric

and policies, including the centerpieces of

both campaigns: building a new 30-foot

steel bollard wall along the entire 2,000-

mile stretch of the border, and threatening

mass deportations, all intended to deter

migrants. Yet, these policies haven’t stopped

the flow, because people continue to

arrive in faith, not fear. (Immediately after

taking office in January 2025, the Trump

Administration began mass deportations

across the U.S.)

Driven by the 2016 building of the wall

and the revelation of inhumane migrant

detentions and separations, this series of

photographs documents the human and

environmental cost of these ad hoc policies

that will continue until humane and sensible

bipartisan immigration reform is enacted into

law.

These images, from the El Paso/Juarez

sector of the borderlands, invite viewers to

experience the stark reality of the border

wall, humanize those seeking asylum,

inform, and challenge complacency about

the crisis at the border

ZEKE SPRING 2025/25




Migrants seeking asylum

from Border Patrol at the

wall, El Paso/Juarez border

2022.

ZEKE SPRING 2025/27


Migrant mother bathing

child in the park as

they wait for asylum in

Juarez, Mexico 2018.

ZEKE SPRING 2025/29


Mt. Cristo Rey from the

Juarez, Mexico side of

the border wall 2019.

ZEKE SPRING 2025/31

There’s just one place to live –

the impossible.

– Reinaldo Arenas

This photography project amplifies the

voices of everyday Cubans navigating the

humanitarian and economic collapse of

their country. It challenges stereotypes of

Cuba, focusing on the lives of those who

have shared their most vulnerable moments.

Surviving the Impossible

by Sandra Hernández

Cuba

Cuba IS the impossible, as Reinaldo Arenas

wrote. Nearly 90% of Cubans live in extreme

poverty, according to the Cuban Observatory

of Human Rights. By September 2024, over

a million people lacked running water, and

most endured daily blackouts. Food, fuel,

and medicine shortages are widespread,

censorship is rampant, and over a million

fled the island between 2022 and 2023: the

largest migration in Cuban history.

This project explores themes like migration,

poverty, and human rights, shedding light on

Cuba’s complexities. Abandoned by their

government and the international community,

Cubans survive through resilience, mutual aid,

and support from abroad.

Cuba is a land of fractured families and

unfulfilled dreams. Yet, it is also a place of

resilience and survival in the face of the

impossible. Surviving the Impossible tells the

story of a people who refuse to give up.

Right: A young mother feeds her child with a nursing

bottle, outside the general store she works at in

Havana. Domestic life often spills out onto the streets

of Cuba, driven by the cramped conditions and lack

of adequate space in many Cuban homes. Having a

baby in Cuba can be very difficult economically, and

many Cubans are not able to afford to have children.






Portrait of a young woman

outside a nail salon on the

streets of Old Havana.


A worker looks out the

window of a general store

in Havana. Food shortages

continue to be a problem in

Cuba.



A man who works in the

tourism industry smokes

a cigarette at night in

Havana. Tourism is one

of the most important

sources of income on

the island. All young

people are looking

to get a job in this

sector, as tips in foreign

currency are generous,

which allows them to

purchase expensive

black market items. The

lucky Cubans work in

the tourism industry.




I Grant You Refuge

This collective photo

Gaza

exhibition features

extraordinary images

by six photographers

from the Gaza

Strip, representing the dozens of

photojournalists who live and work in the

area, eyewitnesses to one of the most

devastating conflicts of our time. The

exhibition aims to give voice and visibility

to the suffering and atrocities that the

Palestinian people in Gaza are enduring.

This exhibition attempts to break the

deafening silence of the Western media.

The exhibition takes its name from one of

the last poems by Palestinian poet, novelist,

and teacher, Hiba Abu Nada.

“Being a Palestinian is a story of

resilience, pain, and hope intertwined.

Every frame captured carries the weight

of a nation struggling for justice and

peace. Photographers document not just

destruction, but also the unyielding spirit

of the Palestinian people, the children

playing amidst rubble, the silent strength

of mothers, and the steadfastness of a

community that refuses to be broken.

These stories, raw and unfiltered, must be

shared to remind the world of the struggles,

the sacrifices, and the unwavering

hope of every photojournalist, of every

Palestinian.” (by Shadi Al-Tabatibi)

Curated by Paolo Patruno

Photographers in the collective:

Jehad Al-Sharafi

Mahdy Zourob

Mohammed Hajjar

Omar Ashtawy

Saeed Mohammed Jaras

Shadi Al-Tabatibi


Since dawn, the siblings

go every day on a

strenuous journey to gather

paper for their mother,

who relies on it to light the

fire at home. These simple

moments tell the story of

their patience and determination,

as they struggle

together to provide warmth

and food for their family

amid harsh living conditions,

defying challenges

and pain for the sake of

their loved ones’ survival.

Gaza Strip, Rafah, 2023.

Photograph by Mahdy

Zourob

ZEKE SPRING 2025/41




Palestinians attempt to

obtain bread, capturing

a scene that reflects the

suffering of displaced

people in Deir al-Balah.

Gaza Strip, 2024.

Photograph by Saeed

Mohammed Jaras

ZEKE SPRING 2025/43

From a neighborhood that

once thrived with life and

beauty, surrounded by green

trees and the sounds of

children, to ruins of ash. The

Occupation has destroyed

the buildings, institutions,

and kindergartens, but the

memories of this place, once

a haven of peace and life,

will never be erased. Gaza

Strip, Tal Al-Hawa, 2024.

Photograph by Shadi

Al-Tabatibi


ZEKE SPRING 2025/45


Relatives, colleagues and

loved ones of Palestinian

journalists Sari Mansour and

Hasona Saliem, who were

killed while working, mourn

during funeral ceremony in

Deir al-Balah. Gaza, 2023.

Photograph by Omar

Ashtawy.

ZEKE SPRING 2025/47


Ibrahim, 12 years old,

was hit by an artillery

shell in the school they

were displaced to,

which caused him to

lose his right hand.

Gaza Strip, 2024.

Photograph by Jehad

Al-Sharafi.

ZEKE SPRING 2025/49

Doctors treat the wounded

in Deir al-Balah, using cell

phone lights, as hospitals

run out of fuel and have

no electricity. Gaza Strip,

2024.

Photograph by Mohammed

Hajjar.


ZEKE SPRING 2025/51


Felipe Fittipaldi

Eustasy, Brazil

Atafona, a small town in Brazil

located in the delta of the Paraíba

do Sul River, is caught in the grip

of environmental change. Over the

past few decades, the sea has been gradually

submerging the town, forcing hundreds

of people to abandon their homes. Its dunes

now cover about 500 buildings, including

public spaces, residential blocks, a hotel,

a gas station, and a church. A combination

of factors, including rising sea levels and

disastrous human interventions along the

river, has made Atafona one of the most

significant cases of coastal erosion in Brazil

and produced hundreds of environmental

immigrants.

The Intergovernmental Panel on Climate

Change reported that sea levels are rising

faster than ever, with the rate more than

doubling in the past 10 years. According to

the World Economic Forum, over 410 million

people could be at risk from rising sea levels

by 2100 as a result of the climate crisis.

Top: Gervasio Gonçalvez stands beside his

boats stored in his backyard. Frequent silting

often leaves boats stranded during crossings,

forcing fisherman to wait for the full moon tide

to resume their journeys.

Middle: The deteriorating scenery of Atafona

highlights the environmental crisis. The

small town belongs to a mere 4% of global

coastlines that are receding at a rate of five

meters or more each year.

Bottom: Érica Nunes, who has had paralysis

in her leg since childhood, in front of her

house surrounded by sand dunes. In 2019,

the sea breached her home during the night.

Erica was confined to her bed until firefighters

removed the seawater the next morning.

More

information



More

information

Laia Ros

Queer Resilience, Kenya

LGBTQIA+ rights are not protected

equally around the globe. According to

a 2024 Equaldex report, Kenya ranked

155 in LGBTQIA+ equality out of 197

countries with laws that criminalize homosexual

acts between consenting adults—a legacy

from the British colonial Penal Code. However,

it’s not illegal to identify as homosexual or to

organize for LGBTQIA+ rights, despite the loud

complaints of Christian and Muslim groups

in the country. This peculiar setup has given

activists and members of the community

some space to associate and to celebrate their

identity in safe spaces through demonstrations

of queer culture such as ballroom or drag

performances.

Several associations were contacted in

order to understand how to approach the

subject in a way performers and members of

the community would be comfortable, and to

assess that the consent forms for were up to

their standards.

Performers were invited to write down how

they feel when they perform, and this was

superimposed on their portraits to achieve a

collaborative approach and to emphasize why

what they do matters to them.

This project was developed in collaboration

with journalist Myrto Vogiatzi, who

wrote the article that was published, along

with the photographs, in the Spanish newspaper

El País.

Top: The Ishtar Dolls’ performer Almah poses

for the camera in Nairobi, Kenya. Ishtar is

part of the Gay and Lesbian Coalition of

Kenya (Galck+). Part of its members form the

Dolls, a group of drag performers in which

include transgender people; they gather

together and walk the makeshift runaway and

lip-synk popular songs to create community,

express themselves, and battle the stigma

against queer people.

Middle: The Ishtar Dolls’ performer Cronic

poses in Nairobi, Kenya.

Bottom: The Ishtar Dolls’ performer Niss

Mwikali poses for the camera ahead of the

fashion and drag runway.


ZEKE AWARD HONORABLE MENTION FOR SYSTEMIC CHANGE

More

information

Simone Tramonte

Net-Zero Transition

Facing the urgent climate crisis,

“Net-Zero Transition” documents

innovative solutions across Europe

aimed at reducing emissions and

promoting sustainability. Over the last

five years, Simone Tramonte traveled

the continent capturing how advanced

technologies and sustainable practices

are forging a path to a more sustainable

future. This project challenges us to rethink

our relationship with the environment,

highlighting the necessity to integrate

humanity with its ecosystem. With

the planet warming at unprecedented

rates—2024 was the warmest year ever

recorded—immediate action is crucial. The

EU aims to cut emissions by at least 55%

by 2030 and achieve net zero by 2050,

utilizing methods from geothermal and

solar energy to precision agriculture and

the circular economy. “Net-Zero Transition”

not only showcases the efforts to meet the

European Green Deal but also exemplifies

how technology and ecological strategies

are merging to foster a fairer, more resilient

world.

Top: An operator runs a routine check of

the photobioreactor at the Algalif facilities

in Reykjanesbaer, Iceland. Algalif is one of

the top European biotech startups that grows

micro-algae to produce astaxanthin, a food

supplement with antioxidant properties.

Middle: An aerial view of the greenhouse

of H2Orto, in Ostellato, Ferrara, Italy.

High-efficiency LED lights are used in the

greenhouse to enable winter production and

ensure year-round tomato harvesting.

Bottom: The combined heat-and-power wasteto-energy

power plant Amager Bakke in the

industrial outskirts of Copenhagen, Denmark.

Amager Bakke is the world’s cleanest waste-toenergy

facility and it also hosts a recreational

area called CopenHill with its own ski slope,

the world’s tallest climbing wall and hiking

trails up the building.



More

information

Valentina Sinis

Were Afghan Women to Unveil

Their Tales

This project gives a close and

respectful look into Afghan women’s

lives, showing what they go through

in a difficult reality. Afghanistan

today faces many problems, and one of the

most serious is the loss of women’s rights

and freedom. Since the Taliban took control

again, over seventy rules have been made

to restrict women’s access to education,

work, healthcare, and freedom to move. This

harsh environment has greatly worsened

the lives of Afghan women, as shown by

their own stories. These limits affect women

everywhere, from public spaces to their own

homes, where they face daily restrictions

on movement, opportunities, and even

small decisions. Afghan women continue to

show incredible strength. Their daily choices

like leaving home, running businesses,

or organizing in their communities, are

brave acts. These actions show a deep

determination to hold onto their identity in

a society that tries to limit their freedom.

Afghan women’s lives are shaped by an inner

strength that withstands the pressure of an

environment set up to hold them back.

Top: A group of young girls in an elementary

school classroom. Since August 2021, the

Taliban have methodically stripped women

and girls of their access to education,

imposing increasingly severe restrictions After

completing their education, the majority have

no other option but to stay at home and wait

for an arranged marriage.

Middle: Young women attend a secret sewing

class in Kabul. The vocational training program,

aimed at teaching tailoring skills to women and

girls who have been denied education and

employment, was initiated by a female activist

who lost her job at a medical university when

the Taliban took control again.

Bottom: A group of women is sitting in a

tailor shop, waiting for their garments to be

finished. The Taliban’s local morality police

have instructed male tailors to stop making

dresses for women and girls.


Documenting the Lives of Afghan Women Under Taliban Rule

Text by Mélissa Cornet

Photographs by Kiana Hayeri

Between January and June

2024, women’s rights

researcher Mélissa Cornet and

photographer Kiana Hayeri

spent ten weeks traveling

across seven provinces of

Afghanistan to document the

lives of women and girls under Taliban rule.

The result, No Woman’s Land, is a photo

reportage that captures a wide spectrum

of lived experiences—from malnutrition

and child marriage to quiet moments of

resistance, creativity, and joy. As restrictions

on Afghan women deepened following the

Taliban’s return to power in August 2021, this

project set out to record their realities with

nuance and respect.

Since the 2021 regime change,

Afghanistan has been undergoing an

unprecedented rollback of Afghan women’s

rights. What was once fragile progress

in women’s education, employment, and

political participation has been erased in

just a few months. The goal of our project,

No Woman’s Land, is to document this

regression from the inside, using a humancentered

lens that neither sensationalizes nor

sanitizes, but instead shows the stories of the

more than 100 women and girls we met in

2024.

Left: Muska, 14, recently returned from

Pakistan to Afghanistan with her family.

“Here the restrictions are more than in

Pakistan. I went to school in Pakistan, I

used to go to a Madrasa in Pakistan, but

here I cannot go. I’m good at reading and

writing. I’d rather live in Pakistan, there I

could at least pursue my education.” Jalal

Abad, Nangarhar, Afghanistan, February

2024.


Fatemah, two and a half years old, was admitted for the third time to the malnutrition ward. When she arrived,

she weighed 5 kg, and after a week of care, weighs 5.5 kg. Her family lives in precarious conditions under a

tent, and all of Fatemah’s siblings are also malnourished. Kabul, May 2024.

A Systemic Erasure

Since August 2021, Afghan

women have been increasingly

excluded from public life. The

Taliban’s policies have barred

them from education beyond

grade six, prevented their access

to universities, and restricted employment

across most sectors. Women have also

been forbidden from entering parks,

gyms, public baths, and beauty salons,

and are required to travel with a male

chaperone. A new morality law effectively

silences them in public, and forces them to

cover their faces.

For many women, these restrictions

aren’t even the worst: since August

2021, the country has been facing an

economic crisis that makes most Afghan

families struggle to put food on the table.

The suspension of development aid, the

freezing of the Afghan Central Bank’s

assets, and broad sanctions—all intended

to pressure the Taliban—have primarily

harmed women and girls.

In Nangarhar, a province near the

Pakistani border, for instance, we met

Muska, 14. She is what the Afghans

would call a moon face, a sign of beauty

in this part of the world. Muska and her

family are returnees from Pakistan, pushed

back by police harassment. Born in

Pakistan, Muska used to go to a madrassa

there, and learned to read and write.

When her family returned to Afghanistan,

they struggled to find a house, to find

employment, and to feed their children.

Without networks, lost after more than a

decade abroad, and amid a crisis affecting

the whole country, returnees struggle

even more than the average Afghan.

Unemployed and in debt, their parents

accepted their landlord’s offer: to marry

off Muska to his son in exchange for a

well and solar panels, the equivalent of

a few hundred dollars. Muska tells us her

story neutrally: in Pashtoun culture, it is not

uncommon to marry young, and getting

married is seen as an achievement. Child

marriage has always been a reality in

Afghanistan, both culturally and as a way

to obtain a dowry, but it exploded since

2021 and the start of the economic crisis,

as a means of survival.

Women and girls suffer much more

from this seemingly gender-neutral

economic crisis in other ways as well. In

a malnutrition ward, a nurse explained

to us why they had more baby girls

admitted than baby boys: when food is

scarce, families will prioritize men and

boys — who work and leave the house

— over women and girls, who stay at

home. She shows us a baby, Maryam,

hospitalized for the third time, because

her family doesn’t manage to properly

feed her. Each time the nurses manage to

get her back to a healthier weight before

she can go to her home, where she’ll start

losing weight again. At two and a half

years, she weighed five kilograms when

she was admitted, and managed to gain

500 grams. She should weigh more than

10 kilos, according to the World Health

Organization’s weight chart.

According to OCHA, an estimated

22.9 million people—over half the

population—will require humanitarian

assistance in 2025, including nearly six

million women. The policy decisions that

led to this situation—from international

funding freezes to the Taliban’s legal

A ripped poster shows how women are supposed to

cover their faces: with a burqa, or chadari, a full face

covering, or with a niqab, allowing only the eyes to

be uncovered. Faizabad, May 2024.




decrees—are not abstract, and their

consequences are evident in clinics and

homes across the country.

Halima’s Story

All the stories we encountered were

similar in how they showed the impact of

both international policies and Taliban

policies on their lives: their education, their

bodies, their mental health. Every single

woman or girl we met suffers from them

in their own way. Yet, it was crucial for

us to avoid the reductive portrayals often

seen in international media: since 2021,

Halima holds the ring that belonged to her husband, a

short 40 days after his death. Kabul, February 2024

Afghan women are shown either bravely

protesting in the street, or as faceless

victims under a burqa. While women in

burqas begging in the street are a reality,

we wanted to show these women and

their stories the way they deserved to be:

with dignity and care.

One afternoon we met with Halima, 28,

in her home in Dasht-e-Barchi. The room is

sparse and cold, a bukhari (wood stove) in

the middle attempts to warm it. Her hands

are ink-stained and she holds the hand of

her young apprentice, guiding her as she

tattoos the arm of a teenage boy. The boy,

Mustafa, 17, doesn’t flinch as the needle

draws the contour of a woman’s face. “I

got my first tattoo when I was seven,” he

says casually. Three other teenage boys

lounge on the toshaks, the low cushions

that line the room, waiting their turn. Since

the Taliban cut her lifeline by closing

women’s beauty salons, Halima receives

her clients at home, illegally.

In 2021, married, with a young son,

she had a beauty salon—a space where,

beyond getting their nails or eyebrows

done, women could meet together, far

from men’s eyes and uncover, laugh,

and gossip. Her husband worked for the

Ministry of Defense, a secure job given

the continued violence in the country. “We

never thought it could happen again,” she

says of the Taliban’s return. “Not with him

working for the Ministry of Defense.”

On the morning of August 15, 2021,

her husband called her. “They’re here,”

he said, “the Taliban are in Kabul.” She

locked the doors of her beauty salon, and

took a taxi home. Her husband met her

there. They stayed inside, too afraid to

leave. The next day, the Taliban tore down

the banners outside of her salon—images

of women were now forbidden. The 2023

Taliban’s ban on beauty salons struck

a final blow. She moved the business

underground, to her home, handing out

cards discreetly in shopping malls, relying

on word-of-mouth, and started to become

more active in activist circles. On a good

week, she might earn 2,000 to 3,000

Afghanis—around $40, a steep drop from

before. Her husband, unemployed since

the Taliban’s return, couldn’t help.

The impact of the Taliban’s directives

against women’s abilities has been

unmeasurable: forced to be accompanied

to and from the office, prevented

from sharing offices with men, forced out

of the public sector (except health and

education), from working for NGOs and

the United Nations, the pressure is heavy

on them to stay at home. The losses of

preventing women from working were

estimated by the UN in 2021, a few

months after the fall, at an equivalent of

up to USD 1 billion, or 5% of the country’s

GDP. For women-headed households —

widows, or whose husbands left to work

abroad — the situation is even more dire.

On a cold day in January 2024,

Halima went out to buy tools for her salon

and hand out business cards. Her hijab

was proper, but her friend’s wasn’t. The

Taliban stopped them on the street and

took both of them to the police station.

There, they searched her phone and found

photos and videos—evidence of her activism.

They slapped her, punched her, beat

her until her face was red and swollen.

That night, her husband collapsed. The

arrest, the threats due to his old job, the

years of stress, were too much. His chest

pains, which he’d complained about for

years, took him, and he died of a heart

attack before midnight. Halima told us this

story on the eve of the 40th day after her

husband’s death, a sacred time in Shia

Islam. Now, Halima is alone, with the

weight of her children, her business, her

activism all falling on her, and no time to

grieve or lament.

“I Keep Fighting”

Suhaila assists a mother giving birth to a baby girl

inside the Zabul Provincial Hospital. The mother,

first unaware of the gender of her child, was very

disappointed after learning she has given birth to a

daughter, her fourth child. Qalat, February 2024.

The first few months after August 2021—

activists and women fighting for their

rights, demonstrating, complaining online,

complaining to the Taliban — were relatively

tolerated. Since then they have been

increasingly violently repressed, crushing

any public form of protest. Women activists

are arrested, detained, and beaten.

The social sanction is as violent: sexual

abuse has been reported in detention,

and after women are released, whether

or not they have been assaulted, are often

rejected by their families and their communities.

“Things aren’t good,” Halima says

simply, yet she is still connected to other

activists, hosting programs in secret,

organizing women who have lost their

right to education, their right to work, their


Maryam Bahnia illustrates her dreams of doing parkour.

freedom. “Many of my friends and sisters

can’t get an education,” she says. “That’s

why I keep fighting.”

Blending Documentation

with Hope

While meeting with Halima, we followed

our security protocols to ensure her safety.

Working in Afghanistan also came with

risks, especially for the women we met: by

meeting with us, these women were taking

risks, and so their security — as well as the

security of our driver, and other people

working with us – was central to all the

decisions we made: how to communicate,

when and where to meet, etc. In the

case of Halima, we were introduced by

a common acquaintance, who vouched

for us, which helped establish trust. We

met in her home, where she felt most

comfortable. We explained our project,

how the photos would be used, including

the fact that they would be published

online, meaning they would be accessible

by anyone with a smartphone. It’s only

by sharing frankly the risks associated

with the project that we could ensure

their consent was truly informed. Once

photographed, Kiana showed her the

photos she had taken of her: a close up of

her hands holding her late husband’s ring,

or a portrait of her as a silhouette against

her window, making her un-identifiable

and thus protecting her. Many of the

photos of women taken for this project

play with light, fabric, details, symbols,

and silhouettes to ensure beautiful

portraits while not endangering them.

After the interview was over, we stored

her story separately from her photo, and

separately from her contact information.

In some cases, we confronted difficult

ethical choices. When a woman agreed,

or even requested, to be photographed

showing her face, should that image be

published, and how—knowing that what

is safe today may not be in six months?

We leaned toward caution, weighing

the longer-term implications over the

short-term impact. In a few cases, this

meant pulling powerful portraits from

publication, preserving the safety of the

subject above all else.

On a different afternoon in the

beginning of spring, we sat with teenagers

in an art gallery, a place where they retreat

to spend a quiet hour practicing drawing

skills with the guidance of their teacher,

Fatimah. We met these teenagers several

times over six months, which allowed us

to build trust and thus to obtain access.

We joined them for birthday parties, in

their homes, in a café. This was possible

because we had the luxury of time: the

Carmignac Photojournalism Award, that

made this project possible, gave us six

months to produce our reportage, a rare

occurrence in today’s journalism field.

In another instance, repeated visits to a

maternity ward in Zabul in the conservative

South of the country, helped us blend into

the environment, enabling Kiana’s camera

to become less intrusive over time, and

enabling more relaxed interviews and

anecdotes, collected late at night.

From spending time with these

teenagers, another idea was born: we

started collaborating with Fatimah and her

students to produce art that would reflect

their now out-of-reach dreams: after being

photographed, they were handed prints of

their images and paintbrushes, encouraged

to illustrate their dreams and aspirations

directly onto their own portraits. The result

was a series of unique pieces that blend

documentation with hope.

Similarly, we became creative: where

photography was impossible—such

as at wedding parties—sketches were

used. In other cases, visual storytelling

was complemented by intergenerational

video conversations, later to be used in

exhibitions.

We are now concluding the project,

turning it into both a website, so that

anyone around the world can access

these stories, and into a photobook.

While No Woman’s Land does not aim

to directly influence policy, we hope to

show that behind these policies, drafted

in Washington, Brussels, or Kandahar,

stands a girl who cannot go to school,

a mother who cannot feed her children,

or an activist imprisoned for fighting for

her rights. It serves as both memory and

warning, archive and testimony, created

in the hope that one day, change will

come, again, and that then, people will

read these stories and wonder: how could

we have tolerated this ?

Learn more about the project at

www.NoWomansLand.com

You can follow Kiana’s work on Instagram

at @kianahayeri and Mélissa’s work at

@melissacrt


2024 SDN/ZEKE Donors

January 1, 2024– January 15, 2025

SDN thanks the following individuals,

foundations, and businesses who have

contributed to SDN in 2024, making

possible everything that we do.

Leadership Circle

Bill and Isa Aron

Robert and Judith Ayotte

Barbara Ayotte

Jamel Shabazz

David Spink

Benefactor

Carol Allen-Storey

Dr. Julien & Pauline Ayotte

Edward Boches

Paul Marotta

Maggie Soladay

Bob & Janet Winston

Amy Yenkin

Michele Zousmer

Sustainer

Ronald Aubert

Margo Cooper

Greig Cranna

John Day

Caroline De Bertodano

Ivy Gordon

Kamini Grover

Michael Kane

Mary Ellen Keough

France Leclerc

Rusty and Paula Leffel

Houck Medford

Mariette Pathy Allen

Deborah Shriver

Supporter

Bill Aguado

Cathi Baglin

Sheila Bodine

Liane Brandon

Anja Bruehling

Diane DePaso

Ellen Feldman

Stephen Ferry

Frank Folwell

Connie Frisbee Houde

Morrie Gasser

Vivien Goldman

Windsor Green

David Greenfield

John Heymann

Linda and Gary Hirsch

Ed Kashi

Michael Lutch

Sandra Matthews

Kevin McKeon

Cynthia Murray

Ezio Gianni Murzi

Robert Newman

Fredrick Orkin

Bruce Rosen

Karen Siegel

Małgorzata Smieszek

Elin Spring

Jamey Stillings

Robert Wilson

Donor

Joe Abate

Vincent Albano

Virginia Allyn

Michelle Badash

Nancy Bechtol

Junius Beebe

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Sara Bennett

Marc Bergeron

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Andrea Zocchi

vasa-project.com

Foundations

Sponsors


BOOK

REVIEWS

THE HISTORY WAR

Larry Towell

GOST Books, 2024

$95.00 | 372 pages

Larry Towell’s 372-page book, The

History War, challenges notions

of what war and conflict images

should be and what a photo book can

be. It has no table of contents, no page

numbers, no index, few captions, almost

no white space, and not much text. In

some layouts, horizontal images run

edge to edge in this vertical book so

you have to

turn the book to

see the images.

It is confusing,

jumbled, messy,

and personal.

Like war is.

It is visually

cacophonic.

Like war is. It

is immersive

and demands

involvement. Like war does. It is not

linear. Like war never is. It has no clear

resolution. Like war seldom does.

It may just be my favorite photobook.

This is not The History of War. It is The

History War. Ukraine’s war. A legacy of

conflict and a fierce determination for

independence that dates to 1237 when

the Moguls first invaded and extends to

2025 and the ongoing Russian invasion.

The book is also the 10-year history of

Towell’s involvement with Ukraine. He

first visited in 2014 almost by chance

during the Maidan uprising, where

he photographed the final days of the

clashes between protestors and police

in Kyiv.

He returned to Ukraine multiple times

as the conflict evolved, capturing its

shifting realities. The book is structured

into six chapters, each corresponding to

a different stage of his journey—Maidan

Kyiv, Chernobyl, Donbass, ATO, The

Separatists, and The Russian Invasion.

Pages 1 and 2 of 24-page historical timeline of Ukraine that begins the book © Larry Towell / Magnum Photos

Each chapter begins with a page of text

partly historical and partly diaristic. As

a nice design touch, the facing page

features a still life image of objects heavy

with symbolism: a wooden handmade

shield, a 1954 Soviet recruitment poster,

an exploded shell from a destroyed

factory, a victory poster, and artwork

created by refugee children. Other

eclectic still life images are scattered

throughout the book, such as old gas

masks on green stands, a salvaged fur

hat, and a melancholy two-page spread

of a single red rose dropped onto the

snow. By whom we don’t know.

The other pages of this book are

crammed with Towell’s war images, or

photographs of his journal pages that

contain his photos, found photos, and

ephemera. The items in the journal

pages are affixed with masking tape

onto which Towell has written notes.

The objects he collected—left behind

in the debris of destroyed buildings or

abandoned by fleeing Ukrainians—are

almost as revealing as his photographs.

He picked up items such as maps,

stamps, postcards, family photographs,

ID cards, a computer keyboard, a playing

card featuring a semi-nude woman,

found photographs, airline baggage

stickers, an old airmail letter, a crumbled

Nescafe cup, and a strip of stamps

featuring military men from the Crimean

War of 1854.

The book opens with a striking

26-page history of Ukraine, presented

as a collage of objects taped to the

pages with masking tape. Over this

assemblage, Towell has meticulously

layered a historical timeline, tracing

Ukraine’s long and tumultuous past.

We learn that the name Ukraine was

first recorded in the 12th century, that

the Mongols invaded in 1237, Russia’s

first takeover began in 1772, the first

conflict with Russia came in 1853

with the Crimean War, and that the

Ukrainian War for Independence in

1917 established Ukraine as a Republic

which became part of the old USSR.

Bringing history to the present, Towell

notes that by the time the book went

to press, following Russia’s invasion in

2022, 17.6 million Ukrainians were in

need of humanitarian aid, with 5 million

internally displaced and 8 million

seeking refuge across Europe.

Unlike much of Towell’s previous work,

this book blends both black-and-white

and color photography. The color images

often feel diaristic—intimate glimpses of

people and places encountered along

his journey. Some resemble smartphone

snapshots: fragments of war debris,

impromptu portraits of civilians, or empty

interiors. But then, in the way that paging

through this book feels like a treasure

hunt, you come across a color image

on a double page spread of 60-year




old Klimenko Nikolay wounded in the

shelling of his home labeled as “Hospital

#21” and you are gobsmacked by

Towell’s brilliance. In this haunting image,

Nikolay sits hunched on an old mattress

draped in an army-green blanket,

his head bowed and his hand obscuring

his face. A crutch leans against the

bed. The stark side lighting fractures the

space behind him into geometric blocks

of tan, brown, and pale blue, evoking

the abstract compositions of Mondrian.

It is a moment of quiet devastation—both

intimate and inscrutable, much like the

book itself.

The black-and-white images of

war and conflict in The History War

are intense, raw, and unfiltered. Some

become even more immersive through

expansive four-page fold-out panoramas,

sucking the viewer into scenes of

chaos and uncertainty. These images

are the antithesis of the hyper-stylized,

oversaturated aesthetic often seen in

war photography meant for contests;

instead, they embrace the disarray and

ambiguity of conflict. One such spread

unfolds to reveal a woman in the center

of and at the very edge of the frame,

so close it feels as if you could reach

out and touch her. Her face is marked

by confusion and anguish as she stands

amid old tires, scattered debris, and

soldiers. Around her, men sift through

the wreckage, their intent unclear—are

they searching for survivors or salvaging

remnants of destruction? In another,

a chilling composition fills the page. To

the right, what appear to be body bags

stacked in heaps, an unsettling mass

of loss. In the center, men are at work,

their figures slightly blurred as they dig,

surrounded by dusk and thick smoke.

The air itself seems heavy, pressing

against the scene, making it almost

suffocating.

The book’s six chapters mirror the

history of Ukraine’s ongoing conflict,

and reflect Towell’s experiences documenting

the chronicle of destruction,

survival, and resilience. After his first trip

to Kyiv during the the Maidan uprising,

his focus shifts to the haunting emptiness

of Chernobyl, the site of the world’s

worst nuclear disaster. These images

capture the eerie remnants of a place

abandoned in haste: “family albums

scattered on the floor alongside vodka

bottles.”

In “Donbass,” embedded at different

times with both the Ukrainian army and

the separatists, Towell explores a “no

man’s land of debris and damaged

souls.” With the help of a Ukrainian

contact known as Cowboy, Towell

searches for “tributes to an old Empire”,

the countless crumbling monuments

commemorating WWII and empty

pedestals where Vladimir Lenin once

stood larger than life. He found one in

a construction equipment yard partially

buried beneath tree branches, with

Lenin’s foot painted with the colors of

independent Ukraine, a silent act of

defiance.

In the chapter ATO (Anti-Terrorist

Organization), the tone shifts again.

Towell documents his time in Bakhmut

and his interactions with Ukrainian

playwright Alik Sardarian. Here, the

images feel more personal—portraits

of smiling soldiers, barracks filled with

camaraderie, children’s drawings pinned

to walls, wounded soldiers in hospital

beds, and decorated veterans. Yet

Towell’s writing undercuts these moments:

“The vodka I mentioned earlier helps

me wash down the boiled potatoes in

the rancid-smelling kitchen, the walls

of which are papered with children’s

drawings of flowers, houses, and tanks.”

By the time he reaches Donetsk

in The Separatists, the landscape

has transformed into something

unrecognizable. “Cold, dark, and

snowy,” Towell writes. The city is

hollowed out, half its population gone,

the ones who remain seeking refuge in

“black mildew-covered basement bomb

shelters.” The photographs become

harsher—bunkers, obliterated homes,

and deeply unsettling target practice

setups, one with the targets pasted onto

nude female mannequins and another

Girl at barricade on Hrushvesky Street. Maidan

uprising, Kyiv, Ukraine. 2014 © Larry Towell /

Magnum Photos

where the female mannequin becomes

the target, with circles drawn on breasts

and abdomen to indicate where the

shots should be aimed.

Finally, the narrative leaps forward to

2022 and the full-scale Russian invasion

where Towell photographs what

remains: bodies left in the streets, mass

graves hastily dug, burned-out tanks,

mortar shells, and, in one abandoned

Russian trench, an acoustic guitar left

behind like a ghost of something human.

The book’s design is a final layer

of meaning. It was printed in two

color variations: a yellow cover with

blue endpapers, or a blue cover with

yellow endpapers—the colors of

Ukraine’s flag. My copy has a yellow

cover and is textured like the canvas

of a journal. The title, The History War,

and Towell’s name are embossed in

silver, while Ukraine is embossed only

in yellow, nearly invisible against the

yellow background—a quiet yet potent

metaphor for Russia’s attempt to erase

its identity.

—Michelle Bogre


MIS[S]UNDERSTOOD

by Michele Zousmer

Daylight, 2024 | $50

96 pages | $50.00

“We are Travellers, we are

different,” a mother gently tells

her children in the opening

pages of Mis[s]understood. The children

already know this. They’ve grown up

acutely aware of how their community is

set apart.

After six years of documenting the

Irish Travelling community, photographer,

Michele Zousmer reveals a group of

people defined not by marginalization but

by pride, resilience, and a deep-rooted

identity. The resulting photobook,

Mis[s]understood, published by Daylight

books offers a rare and intimate glimpse

into the often misunderstood stories of the

Irish Traveller community.

With deep respect and empathy,

Zousmer particularly focuses on the

intricate lives of women within this

community. Blending striking photographs

with personal quotes from the subjects

themselves, this photobook presents

the challenges they face and the

pride and spirit that sustain them. The

images are bold and flamboyant, often

collaboratively posed, offering a vivid

glimpse into the unique lifestyle of the

Irish Travellers. Within their mobile homes

and tightly woven social circles, these

photographs capture both the vibrancy

and intimacy of their daily lives. These

images exhibit moments of joy and

sincerity, highlighting playful interactions


and instances of spontaneous laughter.

Alongside these moments, Zousmer

also reveals the weight of hardship and

struggle, portraying a deeply human

narrative. The images and quotes reveal a

deep longing for a brighter future for their

children, the struggles in navigating faith,

and the emotional hardships of seeking

acceptance from others. Almost every

photograph is paired with a quote rather

than a traditional caption, immersing

the reader directly in the experience of

the community. The seamless integration

of text and imagery on every page

creates a dynamic and more intimate

engagement with its material. Through

this insightful work, Zousmer brings a

deeper understanding and calls for us to

“recognize that in the most meaningful

ways, they are just like you and me.”

The Irish Travellers are an ethnic

minority indigenous to Ireland. Despite

their traditionally nomadic lifestyle and the

subsequent dispersion of their community,

they still maintain a shared dialect, strong

cultural traditions, and a deep commitment

to the Catholic faith. Zousmer explores the

community’s profound dedication to their

faith, documenting traditions that shape

their identity. At the same time, Zousmer

sensitively navigates the complexities of

the women’s flirtatious mannerisms and

provocative facades, questioning this

unique attribute of their identity. Through

this photographic work, Zousmer explores

how these expressive social dynamics

coexist with deeply rooted cultural values.

Beyond the powerful purpose of this

photobook, a new generation of Traveller

girls is actively challenging stereotypes,

and reshaping the perception of their

community, striving to redefine what

has long been misunderstood. “We are

strong. We are beautiful. We have faced

challenges with grace and resilience,”

states an Irish Traveller. “We deserve

to be recognized for all we do for our

families and community. There are lots of

nice settled people but they look at you

differently. You know?”

With their chins held high, these women

refuse to conform to the expectations

imposed upon them by society. Instead,

they stand with confidence, demanding to

be seen and respected for who they truly

are, on their own terms.

From striking portraits to candid

glimpses of everyday life, as well as

posed group shots and ceremonial

images, these photographs serve as a

window into the heart of the Irish Traveller

community, offering a platform for the Irish

Traveller to be seen and understood. As

one woman powerfully asserts, “I would

never pretend to be what I’m not, put on

a false show for anyone. What you see is

what you get.”

Together, and with unwavering companionship,

these Irish Travellers come

together to share a story of a long-rooted

resilience, strength, and an enduring

commitment to preserving their exuberant

culture. Through generations of adversity,

they have held fast to their traditions

and embraced their heritage. In all their

glamour, these Irish Traveller women insist

on dignity and respect, redefining what

it means to be a Traveller woman in the

modern world.

—Alice Currey

SPINA AMERICANA

by Richard Sharum

GOST Books, 2024

208 pages | $60.00

In the end, the only thing holding the line

between honor and the windblown dusk

of a collapsed empire, is us.

— Richard Sharum

Both horrified and inspired by the

events of January 6, 2021, Sharun

set out to explore and document

a 100 mile-wide column of America

running from the Gulf of Mexico to the

Canadian border, a part of the country

often referred to derisively as fly-over

country and a term that Sharum rightly

deplores for its callousness.

While Sharum was appalled at what

MAGA adherents were doing at the U.S.

Capitol on January 6, he was just as curious

to understand what makes this part of

America tick. “I knew that in order to find

out what America is, I needed to travel its

central corridor to see it for myself.”

And so he does in this magnificent

book, Spina Americana, The Spine of

America.

For two years, and more than 25,000

miles, he crisscrosses this corridor photographing

farmers, factory workers,

slaughterhouse workers, strippers, restaurant

workers, nudists, and just people.

Following in a rich history of twentieth

century American documentary photography

including work by Dorothea Lange,

W. Eugene Smith, Michael Disfarmer,

Eugene Richards, Robert Frank, Richard

Avedon, Sally Mann, Diane Arbus, and

Mary Ellen Mark, Sharum has set out to

add to this archive exploring the meaning

of America.

Sharum’s point of reference is the

failure of the American experiment resulting

in the unspeakable horrors of the Civil

War. As much as anyone can do with ink

or toner on a sheet of paper, Sharum is

mercenary in his goal to bridge gaps and

heal wounds through not only photography

but by the very radical act of photographing.

The great photographers listed

After the Sweat Ceremony. JRCC. Jamestown, North Dakota. March 5, 2022. @ Richard Sharum

above, Sharum included, are not great

because of the arrangement of grain and

pixels on paper but rather because of

the relationships they establish with their

subjects and it is these relationships that

we are so fortunate to experience through

these images.

Sharum is dubious that photography

can solve problems, but he is sure that

“When people are willing and able to

speak to one another without platitudes

and without preconceived barriers, they

find that we are more alike than we are

different.”

The book is divided into eight chapters

beginning with “Home”, ending

with “Work” and in between, “The

Americans”, “Blue River Nudist Colony”

and others. It is a reach for any photographer

to label anything “The Americans”

without comparing it to The Americans

by Robert Frank. In Sharum’s case the 17

images in his “The Americans” chapter are

not the strongest in the book, but taken as

a whole, the entire book could be called

The Americans—and stand up well—if the

name was not already taken.

Among the strongest chapter of the

book is the final, “Work”. Probably

because Sharum is as interested in relating

to people as he is to photographing

them, and “Work” is comprised of

ten plates of full-body frontal portraits

of workers in gritty, dangerous, dirty

places—a “gutter” and “skinner” at a

slaughterhouse, a machine shop, a railroad

yard, a coal yard, a foundry, and

others. I only regret that Sharum doesn’t

include a few words from his conversations

with his subjects.

Other sections of the book are equally

compelling. While “Work” is all men, the

“Bombshells, Kongo Klub, and Maximus”

chapter is all women, mostly in various

states of undress at three different strip

clubs up and down the spine of America.

Sharum’s black and white images are at

his strongest here with the chiarascura

lighting at play on the faces and bodies of

his subjects, either backstage or performing.

The photographs of these working

women bring out their humanity, vulnerability,

and agency more strongly than

many of his other subjects—who often

appear as victims of the great injustices

bestowed upon working people across

America.

Among the strongest photo in the book

is an image of six strong, large, dark male

bodies just out of a homemade sweat

lodge at the James River Correctional

Facility in North Dakota. What have they

done wrong to end up in this place other

than to attempt the impossible, to maintain

their dignity while trying to survive in a

system stacked against them at birth.

To heal America is to heal its spine.

Kudos to Richard Sharum for telling us the

story.

—Glenn Ruga


BRIEFLY

NOTED

EDITED BY ALICE CURREY

EYEWITNESS

By Manoocher Deghati

FotoEvidence, 2024

Two volumes | 80€

Eyewitness is a retrospective photo

book of Manoocher Deghati’s life

work and his biography, written by

Ursula Janssen. Award-winning photojournalist,

Manoocher Deghati has

been photographing conflicts, social

issues, everyday events, and human

stories around the globe. Beginning

with the Iranian revolution of 1979 and

the subsequent war between Iran and

Iraq, Manoocher focused his humanistic

lens on major historical events. Exiled

from Iran in 1985, Manoocher worked

for numerous agencies and the United

Nations and served as the director of

photography for the Associated Press in

the Middle East. His work has appeared

in dozens of publications and in 2002

he founded the AINA Photojournalism

Institute in Afghanistan to train photojournalists

and support the development

of photojournalism in the Middle East.

Manoocher’s archive spans decades

and more than a dozen countries. His

biography depicts his experience:

remarkable encounters, and incredible

coincidences. It’s the story of an indestructible

zest for life that exposes the

nature of oppression and celebrates the

relentless pursuit of freedom.

Spread from Lebensborn: Birth Politics in the Third Reich By Angeniet Berkers

LEBENSBORN: Birth Politics in

the Third Reich

By Angeniet Berkers

The Eriskay Connection, 2024

272 pages | 40€

In 1935, Germany initiated a program

to provide the Third Reich

with a new generation of leaders:

Lebensborn (Source of Life). The birth

rate in Germany fell dramatically after

World War I, and all Germans were

called upon to have more children, with

the slogan “Give the Führer a child”.

Abortion was banned, contraceptives

suppressed, and incentives and tax

breaks devised for families with children.

The Lebensborn had a special

task: to increase the number of ‘Aryan’

offspring. This plan aimed to improve the

‘racial quality’ in the new empire to be

built on a National Socialist basis with

blue-eyed, blonde-haired, and lightskinned

children. When the program

wasn’t effective enough, thousands of

children were kidnapped from Eastern

Europe and taken to Germany to be

‘Germanised’. After the war, these

children were often stigmatized and

mistreated or abused. Angeniet Berkers

documented the stories of nine individuals

in their 70s and 80s. Lebensborn

uses found materials to tell the compelling

story of this history.

IN LIGHT OF EVERYTHING

By Debbie Fleming Caffery

Radius, 2024

256 pages | $60

In Light of Everything immortalizes in

book form Debbie Fleming Caffery’s

first major career retrospective

presented at the New Orleans Museum

of Art. Examining the deep emotional

relationship between people and place,

Caffery is recognized as a leading

photographer visualizing the American

South. Her shadowy, blurred images

thoughtfully feature elements of luster

to reveal elements of the shared human

experience—childhood, spirituality,

labor—and ultimately bring darkness

to light. This publication is her most

comprehensive to date, showcasing

projects produced within and beyond

the American South to Mexico, France,

and the American West. Caffery’s sixth

title, In Light of Everything, is the first to

feature all series over the course of her

career.

.




SEA BEACH

By Ismail Ferdous

Imageless, 2024

156 pages | $60

As a young boy, Ismail Ferdous

first visited Cox’s Bazar; it was

his parents’ first holiday together.

Growing up in Dhaka, he returned

throughout his youth, first with family,

and later with friends. From his early

days playing in its sands to coming

of age through the free roaming of

adolescence, and now decades on

returning as an adult, this beach on the

Bay of Bengal has remained an enduring

presence in his life. Cox’s Bazar is

where people from across Bangladesh’s

districts, dialects, religions, and social

strata come together, as if in a diorama.

Ordinary life is illuminated by the refraction

of sunlight on the sea, animating the

rich breadth of Bengali and Indigenous

cultural heritage. The journey outward

leads inward, and the further Ismail has

traveled, the more he has come to perceive

the landscapes of origins. Waves

repeat endless cycles of departure and

return, as with every shoreline on Earth,

and we find a communal crossroad here

between vastness and intimacy.

THE ENEMY WITHIN: The

Miners Strike 1984/85

By Michael Kerstgens

Dewi Lewis Publishing, 2024

152 pages | 35€

On March 6, 1984, miners in

Yorkshire went on strike. Six days

later, the strike was made official

across Britain; the UK’s biggest strike

since the General Strike of 1926.It ran

for almost a year until March 1985 —

a year of bitter conflict between the

miners and Margaret Thatcher and

her government and marked the end

of the mining era in Britain. 24-yearold

Michael Kerstgens was studying

photography in Germany at the time.

But he had strong links with South Wales

having been born in Llanelli and spent

his early years there. His father had also

spent twelve years working in South

Wales for an engineering company in

the mining industry. As a sixteen-yearold

Kerstgens took a summer job at the

company’s Swansea office. He also

experienced the underground life of

the miners at Cynheidre Colliery. It’s not

surprising therefore that once Kerstgens

heard about the strike he went to South

Wales to find out what was going on

and to start what would be his first major

photography project. The resultant photographs

offer a powerful insight into a

brutal strike that tore a rift through British

society, entire mining communities, and

even individual families.

UKRAINE: Love+War

By Sarah Leen

FotoEvidence, 2024

296 pages | 70€

The book Ukraine: Love+War

(2014-2024) is a product of the

2024 FotoEvidence Book Award

and it is dedicated to the impact of the

Russian full-scale invasion of Ukraine on

children and families. It is a collection of

photographs and witness accounts by

94 Ukrainian and international photojournalists

from 23 countries. Following

FotoEvidence’s historical publication

Ukraine: A War Crime, the photojournalism

community unites for a second

time to document this tragic period in

Ukrainian history for future generations.

With texts and images from more than

90 Ukrainian and international photojournalists,

Ukraine: Love+War, documents

the profound impact of Russia’s

aggression against Ukraine during the

last decade. The book focuses on daily

life and the disruption, displacement,

destruction, and death visited on innocent

Ukrainian civilians. The bilingual

book was released in September 2024

in Europe and the USA in Ukrainian

and English. The production of the book

Ukraine: Love+War is supported by the

Open Society Foundations Western

Balkans and Grodzins Fund.


BRIEFLYNOTED

CONTINUED

BURNTHOUSE LANE

By Michelle Sank

Dewi Lewis, 2024

120 pages | 35 €

The Burnthouse Lane estate was first

dreamt up by Exeter Council in the

idealistic 1920s to rehouse impoverished

people from the West Quarter

slum. In the 1980s, Margaret Thatcher’s

Right to Buy scheme meant that some of

the properties became privately owned,

but Burnt House Lane is still referred to

as a council estate. The deprivation it

was supposed to overcome has continued

to haunt it, but the isolated nature

of the estate and its intricate labyrinth

of lanes, have also made for positives,

such as a close-knit community and a

sense of solidarity among the residents.

Michelle Sank has developed a reputation

for her environmental portraits and

landscapes. She has published four previous

books and has exhibited widely

across the world. Her work is in many

private collections. Born in South Africa,

Michelle Sank settled in the UK in 1987.

She grew up during apartheid and is

the daughter of Latvian immigrants. She

cites this background as informing her

interest in sub-cultures and the exploration

of contemporary social issues and

challenges. Her crafted portraits and

landscapes meld place and person creating

sociological, visual, and psychological

narratives.

JML NYC 02-23

By Joseph Michael Lopez

GOST Books, 2024

112 pages | $60

The photographs in JML NYC 02-23

were taken over two decades as

Joseph Michael Lopez traversed

the streets of the boroughs of New York

by foot. Devoid of the visual tropes

associated with the city, the images

instead present a vision of New York

as it was experienced. Each picture

is carefully

composed of

an untold story,

happening before

and continuing

after the frame.

They show details

of the city: a man

sprawled on the

floor of a train,

the spray from a city fountain, a bird in

flight, a shard of light on park railings, a

crying child being carried down subway

steps, and couples lost in each other.

The people in the photographs appear

constantly in motion, moving in and out

of frame against the static backdrop of

angular city details and architectural

canyons. Collectively the photographs in

JML NYC 02-23 impart not how the city

looks, but how it feels.

LEGACY OF LIES: El Salvador

1981–1984

By Robert Nickelsberg

Kehrer, 2024

192 pages | 55€

In the early 1980s, the Cold War

clashes that had bloodied other

parts of the world shifted to Central

America. Following the overthrow of

Nicaragua’s Somoza government by

the left-wing Sandinista rebels in 1979,

the United States sought to prop up El

Salvador’s right-wing military government

as a backstop against homegrown

insurgents and rising Soviet and

Cuban influence. Its role helped fuel

a lethal 13-year civil war. Legacy of

Lies contains previously unpublished

black-and-white images that American

photographer Robert Nickelsberg produced

on behalf of TIME magazine and

is supplemented by essays by renowned

journalists. Robert Nickelsberg worked

as a TIME magazine contract photographer

for nearly thirty years, specializing

in political and cultural change in

developing countries.


FASHION ARMY

By Matthieu Nicol

Mack, 2024

192 pages | $50

Fashion Army investigates the evolution

of military attire into iconic

fashion. French visual researcher

Matthieu Nicol presents a catalog of

three hundred and fifty documentary

images from the declassified U.S. Army

Natick Labs archive, tracing military

style from the late 1960s to the early

1990s. These images showcase the

meticulous development of clothing and

gear designed for both the battlefield

and everyday military life, highlighting

the profound connection between fashion,

power, and aesthetics. Through this

ambiguous and compelling sequence,

Fashion Army offers a nuanced account

of style, innovation, and the far-reaching

influence of military apparel on fashion

and identity, ultimately interrogating the

signifiers of violence embedded in such

attire. An essay by renowned fashion

critic Angelo Flaccavent reflects on the

interplay between military functionality

and the fashion industry.

THE ENCHANTED ONES

By Stephanie Pommez

Kehrer, 2024

128 pages | 48€

Within the vast expanse of the

Brazilian Amazon forest is

a community known as the

Ribeirinhos or river dwellers. Among

them live the traditional midwives who

welcome life and share stories as they

travel through the rivers that crisscross

the landscape. The Enchanted Ones

by Stephanie Pommez is a tribute to

their legends and myths. These tales are

intricately woven into the fabric of the

Ribeirinho culture, enriching our understanding

of the Amazon forest and the

river dwellers’ profound connection with

their environment. Stephanie Pommez is

a photographer and filmmaker based in

New York. Her images have been published

and exhibited in various countries

and her documentaries have been

broadcast on channels such as National

Geographic, Arte, TV Cultura, and TV5

among others.

THE SYNTHETIC EYE:

Photography Transformed in

the Age of AI

By Fred Ritchin

Thames & Hudson, 2024

240 pages | $29.95

A

revelatory glimpse into the future of

photography, one where the very

nature of how images are created

is fundamentally transformed by artificial

intelligence (AI). The revolution caused

by AI in terms of what a photograph can

and cannot do is profound. This book

looks at photography’s strengths, what

it has meant for individuals and for society,

its massive transformations caused

by a variety of factors in the digital age,

and the newer possibilities for image

making. These include old and new

media, with an emphasis on synthetic

imaging as both a positive and terrifying

development. The Synthetic Eye is about

this transformative revolution. How can

synthetic imagery be utilized to amplify

our understanding of ourselves and our

worlds? Can alternative photography

deepen and expand the medium’s previous

reach? What are the pitfalls? How

will our senses of the real, the possible,

and the actual be affected?


Content Contributors

Barbara Ayotte is the senior editor of

ZEKE magazine and the Communications

Director of the Social Documentary

Network. She has served as a senior

strategic communications strategist,

writer and activist for leading global

health, human rights and media nonprofit

organizations, including the Nobel Peace

Prize- winning Physicians for Human

Rights and International Campaign to Ban

Landmines.

Jan Banning is a Dutch photographer

with East Indies roots. His work

reflects his academic study of social and

economic history, focusing on ‘structural’

socio-political themes. Sometimes, it

involves sociological or anthropological

classification; at other times, it explores

the individual psychological impact of

major social events. Banning occasionally

describes himself as an ‘artivist,’ not

satisfied with merely visualizing themes

through documentary work but striving

to bring about change using both his

work and his reputation.

Michelle Bogre, Professor Emerita,

Parsons School of Design, is a teacher,

copyright lawyer, documentary photographer

and author of four books:

Photography As Activism: Images for

Social Change, Photography 4.0: A

Teaching Guide for the 21st Century,

Documentary Photography Reconsidered:

History, Theory and Practice, and The

Routledge Companion to Copyright

and Creativity in the 21st Century. She

regularly lectures, writes and teaches

workshops on copyright and photography.

Her photographs and/or writings

have been published in books, including

the Time-Life Annual Photography series,

The Family of Women, Beauty Bound,

The Design Dictionary and photographer

Trey Ratcliffe’s monograph, Light Falls like

Bits. She is currently trying to finish a long

term documentary project on family farms,

published on Instagram as

@thefarmstories.

Daniela Cohen is a freelance journalist

and non-fiction writer of South African

origin based in Vancouver, Canada.

Her work has been published in New

Canadian Media, Canadian Immigrant,

eJewish Philanthropy, The Source

Newspaper, and Living Hyphen. Daniela’s

work focuses on themes of displacement

and belonging, justice, equity, diversity

and inclusion. She is also the co-founder of

Identity Pages, a youth writing mentorship

program.

Mélissa Cornet is a women’s rights

researcher who lived in Afghanistan from

2018 to 2024. She conducted fieldwork

across a dozen provinces, documenting

the impact of Taliban rule on Afghan women

and girls. She has published widely on

women’s economic empowerment, mental

health, and access to aid. A recognized

expert, she’s been featured by the BBC,

The Guardian, and Frontline. In 2024, she

co-won the Carmignac Photojournalism

Award with photographer Kiana Hayeri.

Alice Currey recently graduated from

New York University with an individualized

major in photojournalism,

specifically its use in conflict resolution

and collective security. Having spent

her childhood in Kenya and her teen

years in Uzbekistan, she has adopted a

cultural insight and empathy that uniquely

understand the power of visual storytelling

in implementing global change. As

both a writer, photographer, and editor,

she hopes to contribute to preserving the

practice and integrity of photojournalism.

Felipe Fittipaldi is a Brazilian photographer

with a Bachelor’s in Journalism

and a post-graduate degree in Communication

and Image. He constantly collaborates

with international newspapers,

magazines, and NGO’s such as National

Geographic, The New York Times,

United Nations, The Guardian, among

others. Felipe has also been awarded

and selected for multiple awards, with

his work recognized across the world.

Carlos Folgoso Sueiro is a Spanish

photographer. His photographic work

engages closely with social, geopolitical,

and environmental issues, particularly in

Russia and his homeland, Galicia, Spain.

In select works, Carlos investigates the

atmosphere and problems of his land:

nostalgia, abandonment, social rejection,

exclusion, and dualisms such as oppression

and domination. Other works stem

from long-term documentary projects that

explore isolated or self-excluded communities

around remote areas of the Russian

Far East.

Kiana Hayeri is an Iranian-Canadian

photojournalist whose work explores

migration, identity, and adolescence in

conflict zones. She lived in Kabul for

nearly a decade. Her accolades include

the Robert Capa Gold Medal, James

Foley Award, and the Leica Oskar Barnack

Award. A TED Senior Fellow and

National Geographic Explorer, she regularly

contributes to The New York Times.

In 2024, she was the co-laureate of the

Carmignac Photojournalism Award.

Sandra Hernández is a photographer

and a Fujifilm Ambassador

based in Mexico. Her work focuses on

documenting everyday stories that often

go unnoticed, exploring the universality

of the human experience. She is a

freelance photographer with Reuters,

and her images have been featured in

national and international publications.

She has participated in numerous exhibitions

and has earned awards in prestigious

global photography competitions.

I Grant You Refuge Photo

Exhibition

“I Grant You Refuge” is a collective

photo exhibition featuring extraordinary

images by six photographers from the

Gaza Strip (Jehad Al-Sharafi, Mahdy

Zourob, Mohammed Hajjar, Omar Naaman,

Saeed Mohammed Jaras, Shadi

Al-Tabatibi), representing the dozens

of photojournalists who live and work

in the area, eyewitnesses to one of the

most devastating conflicts of our time.

The exhibition aims to give voice and

visibility to the suffering and atrocities

that the Palestinian people are enduring,

in the deafening silence of the Western

media.The exhibition is curated by Italian

documentary photographer Paolo

Patruno.

Laia Ros is a photographer and

multimedia storyteller who graduated

in journalism from Universitat Pompeu

Fabra (Barcelona). She is currently

based in Brussels. She combines her

photojournalistic and assignment work

with documentary and long-term projects,

in which she intends to portray the

subjective element, the emotions and

feelings of the people she photographs,

for which she often employs a collaborative

practice to invite them to dive into

their own experience.


Glenn Ruga is a photographer, graphic

designer, and curator. He founded the

Social Documentary Network (SDN) in

2008 and in 2015 launched ZEKE: The

Magazine of Global Documentary. As

a photographer, he has created traveling

and online documentary exhibits

on the struggle for a multicultural future

in Bosnia, the war and aftermath in

Kosovo, and an immigrant community in

Holyoke, Mass.

Valentina Sinis is a documentary

photographer based in China and the

Middle East. Her projects gravitate

toward the quirky and unusual and

portray offbeat realities and people on

the margins. Her photos are a thorough

but delicate insight into idiosyncrasies,

hidden meanings, and all those little

gestures that are either taken for granted

or sensationalized — but rarely investigated.

Fluent in Chinese, she started

by working for the European Pressphoto

Agency, EPA, in China.

Photographer and art activist Laurie

Smith tells stories through narrative

photography while exploring the

complexities of culture. For more than

30 years, she has photographed food,

culture, and travel in a reportage style.

For the past five years, she has turned

her eye to something close to her heart.

Laurie’s roots in West Texas pull her to

the U.S.–Mexico border to document

what is unfolding at the border wall.

Simone Tramonte is an Italian

photographer focused on documenting

contemporary social and environmental

issues. His work analyzes the relations

between people and the environment

and aims to document how innovative

technologies shape a more sustainable

future. His long-term project, NET-ZERO

TRANSITION, is about the solutions that

will enable Europe to achieve the Green

Deal.

Lauren Walsh, Professor at New York

University and Founder and Director of

the Gallatin Photojournalism Intensive,

is the author of numerous books on the

visual coverage of conflict and crisis,

and peace journalism. Walsh heads

media and visual literacy educational

initiatives globally, with an emphasis

on ethics as well as safety and mental

health concerns for journalists. She is the

lead educator who oversaw the development

of media/visual literacy curricula,

including a focus on generative AI, for

the Content Authenticity Initiative.

The Foundation for Systemic Change

congratulates the first place winners of

the 2025 ZEKE Awards

Jan Banning

ZEKE Award for

Systemic Change

Carlos Folgoso Sueiro

ZEKE Award for

Documentary

Photography

foundationforsystemicchange.org


SPRING 2025 VOL.11/NO.1 $15 US

ZEKE

THE MAGAZINE OF GLOBAL DOCUMENTARY

PHOTOGRAPHY

Published by Social Documentary Network

ZEKE is published by Social Documentary Network (SDN),

a nonprofit organization promoting visual storytelling about

global themes. Started as a website in 2008, today SDN

works with thousands of photographers around the world to

tell important stories through the visual medium of photography.

Since 2008, SDN has featured more than 4,000 exhibits

on its website and has had gallery exhibitions in major cities

around the world.

Executive Editor: Glenn Ruga

Senior Editor: Barbara Ayotte

Editorial Assistant: Alice Currey

SDN and ZEKE magazine

are projects of Reportage

International, Inc., a nonprofit

organization founded in 2020.

ZEKE does not accept unsolicited

submissions. To be considered for

publication in ZEKE, submit your

work to the SDN website either

as a standard exhibit or a submission

to a Call for Entries.

Reportage

International, Inc.

Board of Directors

Glenn Ruga, President

Eric Luden, Treasurer

Barbara Ayotte, Secretary

Dudley Brooks

John Heffernan

Maggie Soladay

Documentary Advisory

Group

Bill Aguado, Bronx, NY

Cathy Edelman, Chicago, IL

Jill Foley, Silver Springs, MD

Lori Grinker, New York, NY

Michael Itkoff, Bronx, NY

Lou Jones, Boston, MA

Ed Kashi, Montclair, NJ

Lekgetho Makola, Johanesburg

Mary Beth Meehan, Providence, RI

Marie Monteleone, New York, NY

Molly Roberts, Washington, DC

Joseph Rodriguez, Brooklyn, NY

Jamel Shabazz, Hempstead, NY

Nichole Sobecki, Kenya

Jamey Stillings, Sante Fe, NM

Steve Walker, Danbury, CT

Lauren Walsh, New York, NY

Frank Ward, Williamsburg, MA

ZEKE is published twice a

year by Social Documentary

Network, a project of Reportage

International, Inc.

Copyright © 2025

Social Documentary Network

ISSN 2381-1390

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Concord, MA 01742 USA

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info@socialdocumentary.net



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Speaker Series.


PROFILE: COVER PHOTOGRAPHER

Laurie Smith

Showing the Scars of the

Migration Crisis

By Daniela Cohen

I

nspired

by her photographer mother,

Laurie Smith spent 35 years on a

global journey of food and travel

reportage.

When Trump became U.S. President

in 2016 and declared his intention to

build a wall in her homeland of El Paso,

Smith felt called to document what

unfolded. Now living in Denver, she

said, “every time I’m away from the

border, I get this tightness in my chest

when something comes up and I can’t

be down there immediately to record it.

It was endlessly frustrating, because I’m

not living there and I’m not very fast

when it comes to turning photographs

around.” She concluded that even if

her photographs weren’t sequential, the

crux was to document the crisis. This

marked a transition into using her art as

activism.

Smith’s “One Landscape Divided:

Border Wall and Human Crisis” project

intends to capture El Paso/Juarez as

the epicenter of immigration in the

U.S. while evoking compassion. It’s

“the perfect microcosm of a worldwide

issue, and seems never ending,” she

said.

Smith was shocked at how many

people, locals included, had not visited

the wall. She wanted to show “this

30-foot ominous structure that looks

very sculptural and majestic, and has a

horrible beauty, sort of like the Berlin

Wall ....” Smith showcases the wall

from different angles, highlighting the

“scar in the land” that harms both the

environment and the migrants who

attempt to cross it, leading to injury and

even death.

Smith said the wall looks like “a

patchwork quilt” in some places as

coyotes have cut holes through materials

supposed to be impenetrable to push

the migrants through, and contractors

have subsequently patched up the gaps.

In Smith’s view, it’s a cycle that will

continue indefinitely, both because of

the migrants’ search for safety and the

profit the coyotes make from helping

people cross the border.

Her relationship with the Border

Patrol’s public relations team has given

Smith the opportunity to join patrol

rides. “It’s dark outside, and you hop

in the truck, and almost immediately,

they’re getting a radio call that a group

of men and a woman and her child are

crossing the desert at Mount Cristo

Rey,” she said. “So, we go bouncing

through the dirt roads of the desert,

lights on. And with the Black Hawk

helicopter flying above and shining the

lights down, it feels like a war zone.

And then, they apprehend them, seating

them on the ground outside before

loading them into the van where their

belts and shoelaces are removed.”

The cover photo of this issue of

ZEKE magazine shows the eyes of a

Honduran woman looking out from

behind the wall. “I’m hoping it’s

powerful enough to catch the gaze of

this woman and feel her desperation

and give some sort of a window into

humanity,” said Smith. This woman

crossed the Rio Grande with her

husband, young daughter and their

friend, able to walk through the dirt at

low tide, unlike times where migrants

drown in the strong currents. After they



arrived on the U.S. side, “they were

just standing there trying to get the

attention of the Border Patrol to ask for

asylum,” Smith said, “and the Border

Patrol truck was just sitting on the

other side of the wall there, not telling

them where they needed to go.” Smith

approached them, asked for permission

to take their photograph and explained

that they needed to hike down the river

to the nearest designate port of entry to

ask for asylum.

Growing up, Smith had a close relationship

with her family’s housekeeper,

Romelia. Along with other Mexican

women, Romelia crossed the border

each Monday for work after spending

the weekend with her family. She paid

a man a dime to climb onto his shoulders,

holding a dry pair of clothes on her

head while he waded her across the Rio

Grande with a snorkel and goggles. In

Smith’s experience, the El Paso/Juarez

location has always been a bicultural,

binational one, with people going back

and forth across the border for many reasons,

including work, school and family.

For Smith, the purpose of her work

is to shine a light onto the multilayered

impacts of the wall. “What’s most

important is to see it,” she said. “I just

want you to see it.”

Jody Polk Schwartz


documentary

SDNsocial

network

PUBLISHER OF ZEKE MAGAZINE

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Concord, MA 01742

USA

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ZEKE Magazine: Spring 2025

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