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Photojournalism Hub x Riverside Studios (2nd Edition)
We’re delighted to welcome Zula Rabikowska and Giorgia Tobiolo to the 35th edition of the Photojournalism Nights. To join us register HERE
Photojournalism Nights invites contemporary photojournalists and documentary photographers to share their powerful, committed photography and engage audiences in social justice and human rights causes. Photojournalism Nights event is an opportunity for the public to ask questions, found out how to be involved and learn insights behind the powerful photos stories that are helping advance social justice and human rights around the world. After the presentations, the audience and the guest photographers can continue conversations and socialising in Riverside Studios bar and coffee lounge area.
Zula Rabilowska is a Polish queer photographer and visual artist based in London. Zula was born in Poland, grew up in the UK and her experience of migration influences her photography practice. Zula’s projects explore migration, gender and LGBTQI+ communities with a focus on Central and Eastern Europe and her work unpicks the binary understanding associated with the “West” and the “East”. Zula works with multimedia, film, and photography, and incorporates archival images and documents to challenge conventional visual story-telling norms. Zula holds an MRes in French Postcolonial Literature from the University of Warwick and an MA in Documentary Photography from the University of the Arts London. Zula exhibited as a solo artist in London (England) and Belfast (Northern Ireland), and her group shows include Format Festival (UK), Brighton Photo Fringe (UK), Lahti Fringe Festival (Finland), Gothenburg Fringe Festival (Sweden) Urban Banks Berlin (Germany) and Enjoy Museum of Art Beijing (China). Zula’s work has been published internationally including Dazed and Confused, the British Journal of Photography, the BCC, The Times. Guardian, The Calvert Journal. Zula works as a photographer in Europe, and a photography lecturer at Kingston University London, she is also a co-founder of the Red Zenith Collective, an online platform for non-binary and female artists from Central and Eastern Europe. Zula will be presenting 2 projects, “Nothing but a Curtain” and “Scared to Love.” Her photographs from “Nothing but a Curtain” will be exhibited a the Four Corners in October with the Private View on Thursday 12th October. All are welcome, please register here: https://www.fourcornersfilm.co.uk/whats-on/nothing-but-a-curtain IG: @zula.ra and zulara.co.uk
Giorgia Tobiolo Giorgia is an Italian documentary photographer and educator, based in London. Raising internal questions stimulates Giorgia to examine the external environment. In this two-way relationship, she is keen to reveal the humanity, diversity, and vulnerability of labelled or stereotyped subjects, often objects of prejudice. Ultimately with her practice, she aims to break down the indifference towards certain topics and give a voice to people that need recognition, support, or inclusion. Besides her MA in Photojournalism and Documentary Photography at the University of Westminster, she has completed an Internship with Magnum Photos. Giorgia has, and continues to, collaborate with schools, festivals, charities, associations, private clients, magazines and institutions such as UAL, The British Academy of Photography, Urban Photo Fest, Photography Oxford Festival, the Calthorpe Project, Caritas Foundation, Migrants Resource Centre, the Prison of Pescara, Reuters Institute, CNN, AlJazeera, Source Magazine and more. IG: @giorgiatobiolo and giorgiatobiolo.com
To join us register HERE
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Consider becoming a member of the Photojournalism Hub and receive the benefits of free access to events, Photojournalism Hub resources, premier editorial content, portfolio reviews, photography exhibitions, discounts on our courses and training, whilst you will be supporting our work advocating, advancing social justice and human rights. If there were ever a time to join us, it is now. Support the Photojournalism Hub from as little as £1 every month. If you can, please consider supporting us with a regular amount each month. Thank you. JOIN US HERE
Photojournalism Hub x Riverside Studios
We’re delighted to welcome Marcin Kornacki and Nathaniel White-Steele to the 34th edition of Photojournalism Nights on the 31st July at the Riverside Studios, 7pm. To join us HERE.
Photojournalism Nights invites contemporary photojournalists and documentary photographers to share their powerful, committed photography and engage audiences in social justice and human rights causes. Photojournalism Nights feature Q&A’s from guest speakers and an opportunity to connect with photojournalists who are helping advance social justice and human rights around the world.
About the Photographers
Nathaniel White-Steele is a documentary artist from Bristol, UK. He is interested in the visual register of authority, how power inscribes itself on landscapes and how ‘territory’ is made. He has worked with satellite images, GIS mapping technology, audio, archive, wet plate collodion tintypes and other methods to unpick how we attempt to control the landscape in order to govern people and the moments when the landscape and the people resist. Nathaniel is currently based in London and has exhibited both nationally and internationally, most recently showing alongside anthropologist Jason de Leon’s work Hostile Terrain 94 in Den Haag, The Netherlands.
Marcin Kornacki is a London-based photographer currently completing his MA in Photojournalism and Documentary Photography at LCC London. His photography focuses on the often untold human stories behind the headlines of communities affected by both chronic and acute distress. His most recent project on Jaywick, the most deprived area in the UK, was recognised by the British Journal of Photography as a winner of the 2022 Portrait of Britain. He is currently working on a project with Haitians displaced by gang violence in the country’s capital city Port-au-Prince.
BECOME A PJH MEMBER
Consider becoming a member of the Photojournalism Hub and receive the benefits of free access to events, Photojournalism Hub resources, premier editorial content, portfolio reviews, photography exhibitions, discounts on our courses and training, whilst you will be supporting our work advocating, advancing social justice and human rights. If there were ever a time to join us, it is now. Support the Photojournalism Hub from as little as £1 every month. If you can, please consider supporting us with a regular amount each month. Thank you. JOIN US HERE
In Gozo A Legacy of Salt Continues
Photos and text by Naima Hall
In August, 2022, I travelled to Xwejni, a remote region of Gozo, Malta where I was granted the opportunity to interview fifth generation salt farmer, Josephine Xuereb, who is at the helm of a traditional salt harvesting practice that her family lineage has had stewardship over for more than one hundred years.
During our time together Xuereb and her family explained their history and trade practices and allowed me access to the family cave- a space near the salt pans that serves as the heart of family life.
The mediterranean has been an important salt producing region for several centuries, with coastal climates favorable for salt cultivation. Researchers have traced salt production in the Maltese Islands back as far as the medieval period, however the comprehensive history of the salt pans, including the area of Malsaforn where Leli Tal-Melh salt is produced by the Cini family, remain somewhat elusive.
According to historical records, the 16th and 17th centuries proved to be one of the most active for Maltese salinas after the Knights of Malta instituted price fixing monopolies mirroring Sicilian governance of salt, due to increased understanding of the value of the commodity, population increases and a desire to protect the asset from potential disruption from the Ottoman Turks. While there has been a continuous decline of family run salinas throughout Europe since the 1950’s, due to developmental projects, economic migration, tourism and fluctuations in demand for artisanal salt, there are still a few remaining families engaged in the multigenerational trade.n the area of Malsaforn, a centuries old tradition of stewardship over salt pans continues with Josephine Xuereb at the helm of the family practice formerly run by her father Emmanual Cini and his wife Rosa, who have since retired from working in the pans.
Salt pans, also referred to as salinas, salterns, salt gardens or salines in this region occur naturally, but in a symbiotic dance in which nature and humans work for mutual benefit, they are reinforced with man-made design to optimize utility and maintain the strength of the ecological framework. The Cini family work within what is described as “atypical” or “artisanal” salinas, which refer to salt pans that are maintained traditionally by individual salters as opposed to saltwork pans in which mechanization is instituted for large scale pan cultivation and harvest.
The oldest pans in this family lineage have been estimated by researchers to be approximately one hundred and sixty years old and have been communicated by oral tradition to have likely been dug by Josephine’s great grandfather. For the last forty years Emmanuel Cini and his family–in addition to the production of salt–have been responsible for the conservation, restoration and land management of the salt pans. While the government does not currently recognize the salinas as historical sites and they are not listed as legally protected heritage property of the Maltese Islands, the Cini family work tirelessly to protect their geo-heritage on this micro-landscape.
Like tempered steel, Josephine seemingly grows stronger the more that she is stressed and pressurized by the elements inherent in her life as a salt farmer. On a typical day that begins at 4:00 a.m, Josephine’s skin is brushed by saline and pummeled by an unrelenting Gozitan sun along with humidity that would bring a grown man to tears, while she sweeps piles and carries heavy bags of salt from the salinas to transportation vehicles.
The glare reflecting from the salt pans is intense, bleaching the environment and rendering it unnavigable without wearing both sunglasses and a head covering. Rather than grow weary in an environment that might be described as unforgivable, Josephine is revitalized, rejuvenated–channeling her ancestors as she continues her tasks with honor and reverence, expressing that, “working with nature is a privilege.” Having dominion over these pans, her job is to shepherd these table diamonds–summer snow–to families near and far looking for the rare treat of Leli Tal-Melh artisanal salt.
“I remember when it was fuller.” Josephine points out the doorway of the cave in the direction of Xwejni rock (also known as Lunar Hill) in the distance. Then she grabbed a family photo album that has been tarnished by salt and sun, but features a noticeably fatter image of Xwejni rock taken a few decades ago. The rock is so much bigger in the image that it almost looks doctored, but it’s clearly an authentic image. We talk about the effects of erosion on the rock and the salt pans. Josephine explained that the salt pans are limestone geological compositions designed partly by nature and partly by man.The sedimentary structure of the coast lent itself intrinsically to shallow platforms inherent to salt production, probably from its earliest formations, however through time, the Cini family have further designed and reinforced the pans to maximize their strength and utility.
In addition to compensating for erosion that is incurred by weathering, the Cini family–as stewards of their land–do their best to prevent erosion that occurs at the hands of humans. From time to time divers come within close proximity of a delicate seaside portion of the pans, while some instagram-eager tourists elect to cross the border walking directly onto the private property of the salt pans, disrupting aspects of cultivation and the ecosystem. While the family can’t prevent all of the meddling, they do what they can to protect the land and educate the public.
Further to the right of the Cini salt pans are echoes of an earlier time when more families were producing salt. The eerie remnants of abandoned salt pans and caves are visually stunning but also create a haunting tapestry of things left behind and stories left untold. Gozo has been influenced by Phoenicians, Carthaginians, Romans, Greeks, Arabs and the British. To look at the abandoned salt pans and caves is like looking back in time at ancient ghosts of world history that helped to develop Gozo and its legacy of salt into the unique tapestry that it is today.
Naima Hall is a Brooklyn-based independently contracted photographer/writer with interests in the intersection of human society and the environment. Her images and written work have appeared most recently in Photojournalism Hub, GoNOMAD Travel Magazine, Wanderlust Travel Magazine and Corbeaux Magazine. A curated selection of her photos appear on the Smithsonian Magazine public archive. Naima holds master’s degrees in urban planning and education. She is a former United Nations employee currently serving as a tenured educator for the blind and Library of Congress certified Braille transcriber for the New York City Department of Education.
Naima Hall
NaimaHallphotography.com
https://www.linkedin.com/in/naima-hall-9463106a/
https://www.instagram.com/naimahallstreetphotography/
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Empowering Ukrainian Scholars Through Photojournalism Education
Inspiring Voices Amidst Ukraine’s Struggle for Justice
Date: June 10, 2023
Renowned photojournalist Vudi Xhymshiti empowers Ukrainian scholars through his groundbreaking education program, emphasising metadata mastery and ethical principles. Inspiring voices amidst Ukraine’s struggle for justice.
Renowned Kosovar-British photojournalist and educator, Vudi Xhymshiti, embarks on the third week of his journey, dedicated to educating fifteen Ukrainian scholars who have been awarded scholarships in his groundbreaking photojournalism educational program. Over the course of this Thursday and Friday, the scholars engaged in enlightening discussions on the paramount importance of mastering metadata and adhering to the ethical principles of photojournalism.
Following an extensive year of reporting in Ukraine throughout 2022, Xhymshiti recognized the dire need to extend support to the Ukrainian people. Moved by the plight of voiceless men, women, and children, who have suffered the harrowing atrocities inflicted by the Russian military aggression since the full-scale invasion launched by Russian President Putin on February 24, 2022, Xhymshiti made it his mission to share his wealth of knowledge in photojournalism. By doing so, he aimed to equip the scholars with the necessary skills to become the unwavering voice of Ukraine.
In today’s digital age, photojournalists face a myriad of challenges when it comes to showcasing and monetizing their work. One aspect often overlooked, yet crucial, is the meticulous handling of metadata and captioning. This vital information not only assists photographers in organising their collections but also plays a pivotal role in capturing the attention of editors and potential clients.
During an exclusive conversation with Photojournalism HUB in London, Vudi Xhymshiti expressed his unwavering dedication to promoting high-quality journalism worldwide. He shared insights into his education programs, which are specifically designed to elevate the skills of emerging professionals and students from diverse backgrounds. Through the provision of scholarships and access to valuable resources, Xhymshiti aims to empower individuals, enabling them to become leaders in their respective fields and share their unique perspectives with the global audience.
In discussing his educational initiatives, Xhymshiti emphasised his role in guiding fellow professionals away from ignorance. Recognizing that traditional forms of education can often perpetuate narrow viewpoints, he is committed to offering programs that foster critical thinking, creativity, and diverse thought. His ultimate vision is to contribute to the advancement of journalism and the democratisation of public narrative, inspiring the next generation of journalists to strive for excellence and create a better world through their impactful work.
Furthermore, Xhymshiti’s conversation highlighted the paramount importance of mastering metadata in the field of photojournalism. With his expertise and experience as an esteemed instructor, he shed light on the profound influence that metadata mastery can have on the career prospects of aspiring photojournalists. By stressing the significance of this aspect, Xhymshiti aims to equip his students with the necessary skills to thrive in their professional journeys.
Xhymshiti, with his unrivalled expertise, highlights the indispensable connection between accurate metadata and professional success. He asserts, “Without proper metadata, no news editor, whether in London, New York, Paris, or elsewhere, will consider your photographs. The absence of this crucial information hampers editors’ ability to comprehend the contextual significance of an image.“
According to Xhymshiti, countless talented photographers miss out on lucrative assignments simply because they neglect to master the art of metadata and captioning. He explains, “Editors are unwilling to take the risk of hiring someone who lacks these essential skills. The absence of metadata and captions can lead to confusion and disrupt the seamless progress of a project. Editors would rather replace you with someone who understands the significance of these vital details.“
Furthermore, Xhymshiti unveils a startling truth about the scarcity of formal education concerning metadata in photography programs. He notes, “Unfortunately, universities rarely impart these critical skills to aspiring photographers. Furthermore, some professional photographers who offer courses intentionally withhold this information due to their own self-doubts and fears of competition.“
Xhymshiti’s comprehensive course aims to bridge this knowledge gap and equip students with the indispensable skills required to excel in the industry. He emphasises the importance of regularly practising metadata mastery and captioning, asserting that these tasks should become as routine as brushing one’s teeth in the morning. By instilling these practices early on, students can confidently collaborate with editors and significantly increase their chances of securing coveted assignments.
One of the intriguing topics raised during the course revolves around the use of watermarks on photographs. Xhymshiti clarifies that watermarks play a vital role in protecting copyrighted work when selling images on certain platforms. However, he advises against using watermarks on websites or portfolios intended to attract potential clients. By allowing clients to view high-quality, unmarked images, photographers heighten their chances of securing paid work.
To illustrate his points effectively, Xhymshiti showcases his own websites, featuring both watermarked and unmarked images. He emphasises the importance of presenting pristine, high-quality images to potential clients, enabling them to accurately assess a photographer’s skills and capabilities.
Throughout the course, students actively engage in discussions, sharing their personal experiences and challenges. Xhymshiti fosters an environment of open dialogue, encouraging the exchange of ideas and the cultivation of growth.
By shedding light on the profound significance of metadata mastery and ethical considerations in photojournalism, this exclusive course offers aspiring photojournalists invaluable knowledge. It equips them with the skills necessary to navigate the fiercely competitive industry, ensuring they are prepared to meet the demands of professional assignments. Xhymshiti’s unwavering dedication to empowering his students and safeguarding them from exploitation shines through, making this course an extraordinary and priceless opportunity within the realm of photography education.
Join us on June 21, 2023, for an upcoming online edition of Photojournalism Nights, where we are thrilled to have Vudi Xhymishiti as our guest speaker. Discover the incredible work of this renowned photojournalist and educator by joining us via our ticketing system. HERE.
PHOTOJOURNALISM NIGHTS 33rd edition (online)
Join us for an exciting night of PHOTOJOURNALISM! Our online event starts on Wed Jun 21 2023 at 7:00 PM BST. To book: HERE
This event will showcase the works of talented photojournalists Vudi Xhymshiti and Sascha Klamp. Get ready to be inspired by their captivating images and stories. Vudi a renowned photojournalist will share stories from war torn Ukraine where he has been reporting from over 7 months and Sascha who is a multi awarded filmmaker will be speaking about his latest work in Armenia.
During the event, you’ll have the opportunity to interact with the photographers and learn about their experiences in the field. You’ll also get a chance to ask questions and share your own thoughts on the power of photojournalism.
Don’t miss out on this incredible opportunity to connect with two great photojournalists, documentary photographers and filmmakers with and connect with a peer community. Register now and get ready for a night that will inspire.
Vudi Xhymshiti is a photographer and journalist based in London, who has covered major world events since 2007, with his work appearing in prestigious news outlets such as The New York Times, TIME Magazine, The New Yorker, The Guardian, The Times and the Sunday Times of London, CNN, BBC, DW etc. His assignments have taken him to the frontlines of the Arab Spring, the Syrian and Libyan Civil Wars, and the aftermath of the Armenian-Azerbaijani armed conflict in Nagorno Karabakh. Throughout 2022, he reported on the Russian military aggression in Ukraine and travelled to Moldova to observe and report on the impact of Russian territorial expansionist foreign policy on neighbouring countries. He also spent four months familiarising himself with rising tensions in Kosovo, Bosnia and Herzegovina, and Montenegro, following Serbia’s alignment of its Foreign Policy with the Russian Federation. Xhymshiti is not only a talented journalist, but also the founder of VX Pictures and an educator in the visual journalism industry. Don’t miss out on his insights and coverage – visit his website https://vudixhymshiti.uk/ to learn more about him, read his blog https://vudixhymshiti.uk/blog/, and view his latest work on https://vximages.com/.
Sascha Klamp is a British/German multi-award winning Documentary Filmmaker, Photo-documentary Journalist and Producer based in London, UK. He spent the majority of his career as an investor and entrepreneur which enabled him to travel across frontier and emerging markets. His photography practice centres on highlighting social impact and social justice affairs which is deeply rooted in his curiosity to learn more of the world around him. He tells frontline human and community stories based on empathy for the situation and the people involved. His thinking is informed by his interest in ethnology and anthropology. Sascha exhibited a small selection of his The Art of Seeing, The Art of Remembering project in London in November 2022. His work was highly commended by the TPF Social Documentary Awards (Professional Category, Series) for his The Art of Seeing, The Art of Remembering work. Sascha completed his MA Photojournalism & Documentary Photography studies at the University of the Arts (Distinction), London. He also holds an MBA (Bayes Business School, London) and a Masters in Law, LLM (King’s College, London), and a BSc International Securities, Investment & Banking from Henley Business School (ICMA Centre). He is married with three daughters. Filmography: “The Art of Seeing, The Art of Remembering” (2022), “The Blockade” (2023)
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JONATHAN ALPEYRIE
Jonathan Alpeyrie’s career spans over two decades, has brought him to 35 countries, and has covered 14 conflict zone assignments, in the Middle East and North Africa, the South Caucasus, Europe, North America, and Central Asia.
Born in Paris in 1979, Jonathan Alpeyrie moved to the United States in 1993. He graduated from the Lycée Français de New York in 1998 and went on to study medieval history at the University of Chicago, from which he graduated in 2003. Alpeyrie started his career shooting for local Chicago newspapers during his undergraduate years. He spent a month driving across the country to create my first photo essay like a professional. The essay focused on the remnant of the Communist era heavy industry. His driver at the time took him to all the major industrial sites, visiting abandoned factories and taking photographs of what once was. The decaying infrastructure was a fascinating reminder of a collapsed system barely 10 years prior.
May 16, 2021 – La Joya, Texas, USA. La Joya has become a new hot bed of passing migrants trying their luck in entering the USA. Strong Border Patrol and local police as well as national guard units are present all along the area in order to arrest as many as possible. ©Jonathan Alpeyrie
After graduating from the University of Chicago in the spring of 2003, Jonathan was sent off to start his first dangerous photo essay which he hoped at the time would help me further to launch his career as a photojournalist. He spent over a month covering gang activity in the Congolese capital of Kinshasa. With the photo essay completed, he returned home and was quickly picked up by Getty images for the reportage section after it was noticed by some editors at the NYC office. 2004, was a watermark year for Jonathan as he started covering wars that very same year, from West Africa to the Caucasus, all for Getty Images.
March 25, 2017, West Mosul, Northern Iraq. A son is crying over the dead body of his father after he was killed after a car bomb blew up on the street. A massive car bomb sent by ISIS has targeted an Iraqi army controlled street on the front lines, destroyed a few humvees, and killing a local civilian who was delivering water to his family. ISIS units has been using car bombs to destroy Iraqi army units and defensive positions, however, civilians usually pay the price of such attacks. ©Jonathan Alpeyrie
I became a war photographer in order to immerse myself into historical situations to then report them back to the public. Cut and dry
Jonathan Alpeyrie
With almost a decade of experience behind him and half a dozen wars under my belt, Jonathan decided to go on his own and leave the agency business partially behind. Dealing directly with his own clients while still working for various photo agencies, he started covering wars in the Middle East and Central Asia, furthering his resume as a war photographer. A year later, the Arab Spring launched a new phase in his career.
With the various conflicts erupting all around the Middle East, Syria started to attract war reporters from all over the world interested in covering this new hot conflict. After two trips to the war-torn country in 2012, Jonathan decided to return in 2013. It happened after he was kidnapped for three months by Islamic rebels.
May 4, 2017 – Northern Mosul, Iraq. The 9th division of the Iraqi army is launching a new operation to relieve pressure on the Federal police in Southern Mosul after suffering multiple setbacks from constant Daesh counter attacks. This new offensive is meant to end all ISIS resistance inside the city, which would free the remainder of the areas still controlled by ISIS fighters. Severe resistance is causing significant casualties amongst Iraqi ranks. ©Jonathan Alpeyrie
March 6, 2022 – Irpyn, Municipality of Kiev, Ukraine. Some civilians have remained on the other side of the river and still trying to escape towards Kiev and seek for safety. Russian forces North West of Kiev are slowly closing in on the Ukrainian capital trying to push South and enter the city. The Ukrainian army is so far is resisting the Russian onslaught and causing significant casualties and delays to the advancing Russian troops. ©Jonathan Alpeyrie
By 2014, right after his release from Syria, he embarked on another voyage, this time into Slavic land to start covering the new hot war: Ukraine. After almost 14 months of coverage, he was injured during a gun battle in Mariupol.
February 6, 2015, Debalteve, Donbass Oblast, Ukraine. A lone woman is standing in front of the bombed out house. Thousands of civilians are still trapped inside the besieged city of Debaltseve. The rail way hub has been hotly contested by both pro-Russian separatists and Ukrainian forces, where hundreds of civilians are soldiers have died since the battle stated 10 days ago. Each day volunteers form all over Ukraine risk their lives to go inside the city to provide with food to the remaining locals still inside the town as artillery fire from both sides rains down in and around the city. ©Jonathan Alpeyrie
That year his career took another turn as he almost permanently stopped working for agencies and focused on some of his big clients like Vanity Fair, CNN, and others, which, interestingly was a reminiscence of the earlier part of his career when he was solely doing photo essays and almost no news. He focused on personal projects which took him closer to a region a new from his previous travels like Mexico and Central America while keeping an eye on South America.
September 9, 2022 – Guayaquil, Guayas, Ecuador. With the ramping up of the drug war in Ecuador, the small South American nation has become one of the major passing point of drug and arms smuggling of the Southern Continent. Indeed, most of the illecit drug trade has its starting point in Peru where the Cocaine is being produce then shipped through Ecuador, then Colombia for refining. The Ecuadorian authorities hare struggling to keep up with the violence the trade induces. ©Jonathan Alpeyrie
After a hiatus from covering wars, he went to Iraq to cover the battle of Mosul in 2017, and took another break from war in 2018, except for some time spent on the front lines in Ukraine, he decided to focus on the drug wars in South America, and more specifically in Brazil. Covid19 cut short his project and focused on the pandemic with an exception: the war in Armenia at the end of 2020.
The War in Ukraine since 2014 never ended but rather was in a state of hiatus with more upsurge of fighting once in a while. February 2022, with the Russian invasion of its neighbor, has had everyone surprised by the scale of its aggression. When the fighting erupted he was in Mexico shooting a story on the drug war, as soon as his assignment ended he departed for the front in Central Ukraine. He spent a month covering the war between the two Slavic nations. Once more, he was drawn back into a conflict.
With the ongoing drug war tearing apart Mexico, it’s Northern boder with the USA has been for decades now a strategic location in order to pass drugs and migrants into the USA, making the area a highly lucrative spot in Tijuana, Baja California , Mexico, March 27, 2023. In recent years, Tijuans has been prone to intense violence between various drug cartels and the government, seeing at some point up to 10 murders each day, making Tijuana one of the most dangerous cities in the Americas. Photographer: ©Jonathan Alpeyrie
May 22, 2019 – Rio de Janeiro, Brazil. An operation is under way to capture and kill drug dealers operating ner the police station. A unit of the famous UPP police unit is operating in one of the most dangerous favela of Rio. Clashes errupt on a daily basis between the military police and drug gangs. Rio Police suffers about 200 killed each year in the hands of the various armes gangs populating the favelas. ©Jonathan Alpeyrie
Alpeyrie has worked as a freelancer for various publications and websites, such as the Sunday Times, Le Figaro Magazine, ELLE, American Photo, GLAMOUR, Aftenposten, Le Monde, & bbc among others. Jonathan Alpeyrie’s career spans over a decade, and has brought him to over 36 countries, covered 14 conflict zones assignments, in the Middle East and North Africa, the South Caucasus, Europe, North America and Central Asia. A future photography book about wwii. Veterans with verve editions are in the works.
Alpeyrie has been published in magazines such as: Paris Match, aftenposten, times (Europe), Newsweek, Wine Spectator, Boston Globe, glamour, bbc, vsd, Le Monde, newsweek, Popular Photography, Vanity Fair, La Stampa, cnn, and Bild Zeit, elle Magazine, Der Spiegel, Le Figaro, marie claire, The Guardian, The Atlantic.
Jonathan Alpeyrie
www.jonathanalpeyrie.com
E: peloponnessian@hotmail.com
@Jonalpeyrie
BECOME A PJH MEMBER
Consider becoming a member of the Photojournalism Hub and receive the benefits of free access to events, Photojournalism Hub resources, premier editorial content, portfolio reviews, photography exhibitions, discounts on our courses and training, whilst you will be supporting our work advocating, advancing social justice and human rights. If there were ever a time to join us, it is now. Support the Photojournalism Hub from as little as £1 every month. If you can, please consider supporting us with a regular amount each month. Thank you. JOIN US HERE
About Me, and my Community – Issue 4
We are pleased to present the 4th issue of ‘Me, and my Community’, a photography magazine produced by a group of senior residents of Hammersmith & Fulham.
In this issue, the group has continued to explore their individual ideas and projects on communities and their lives within. We present photo stories that document the impact of regeneration in the borough of Hammersmith & Fulham, street photography exploring life through shop windows, eco-community and sustainable living at Meanwhile Gardens, Ravenscourt Park and much more.
We hope you enjoy this issue.
Capturing Crisis
We are incredibly pleased to present the fourth edition of Capturing Crisis photography and reporting magazine produced by the group of youths of the ‘Stories, Reporting Mag, Photography Course’ project.
Responding to the cost of living crisis, the young photographers have covered with photo stories and photographs themes and topics that expose social justice issues as well as current social and environmental changes.
Some of the stories cover the impact of living crisis on restaurants owned by minority groups, the relationship of the UK to the past through the relationship of people to monuments, the emergency and emergence of food banks. Some have taken up street photography as a means to document the reality of London.
We are very proud for the commitment, talent and drive demonstrated by the young participants.
