Photographers in Mosul
During the twelve years that I was the photo editor at National Geographic Brasil I used to give some guidelines for photographers interested in contributing to the magazine: “look for a relevant theme that you feel comfortable portraying. You don't need to look for an exotic destination. A personal viewpoint on something you have access to is the first step to making good projects.”
I followed my words to the letter to some extent. I ended up producing my first project as a photographer in a distant place and on a topic I was unfamiliar with: the war. This happened because, in the end of 2016, I decided to join some photographers covering the battle to liberate Mosul from the control of the Islamic State group, with the aim of introducing the new generation of Brazilians who were dedicated to covering conflicts.
In Iraq, I met photographers from other parts of the world working with a great diversity of perspectives: from covering the facts for daily newspapers, to more reflective projects about the consequences of war, and even artists with conceptual projects.
“Photographers in Mosul,” introduces some of these professionals, shows what motivates them, what stories they are creating, the risks they take, and how each of them gives their voice to a narrative told by many.
