We went to Société Jersiaise Photographic Archive and St Helier Harbour to take pictures.
For this edit I wanted to try and leave it black and white but also add some colour to it to see how it turned out. I edited it by decreasing all the colours on HSL saturation and luminance expect orange. I also decreased the contrast, highlights and the shadows.
For this image I decided I wanted to make it have a high contrast and shadows and decrease the white and black in the image which I think turned out really nice. The black and white in this image makes it looks more interesting and detailed with all the mix shadows and shaded of black and white. I would say it’s my favourite image.
Since I really liked the black and white version of this image I wanted to try out giving it a bit of colour by using HSL which was quite interesting. I was hoping that all of the top part of the mountain would turn green but only most of it did but didn’t turn out as bad as i thought because it lightens up at the top and blends in well with the whit and black.
These are the best edited images I have. I edited all of the best images to black and white because I love the way it looks and how there is so many different shades of black and grey. The black and white photos makes the imagine looks more dramatic and with black and white images it’s never has over-expose highlights, makes the image more exiting in a way because of the dramatic dark colours in random places in the photos. Coloured images are beautiful most of the time but so is black and white images, and in black-and white it expresses reality better.
Narrative is essentially the way a story is told. For instance, you have the option to narrate various versions of the same tale. It is a highly subjective process with no correct or incorrect answer. Whether your photographic story is of good quality is a different question.
A narrative takes shape as you establish connections between multiple images (and/or text) and display them together. The way you choose and arrange images in a story is crucial for shaping the narrative. The photo-zine’s structure and design also reflect this idea. Yet, it is crucial to determine the nature of your story before deciding on the approach you want to take in conveying it.
How to Plan:
Create a detailed specification outlining your approach and strategy for exploring A Love Story. You must plan to complete a minimum of 3 photoshoots within the next 2-3 weeks, which may involve specific photo tasks. What kind of appearance and atmosphere do you want your images to have? Incorporate artists and photographers’ visual references regarding style, approach, intentions, aesthetics concept, and outcome. Keep in mind that the end result should be a 16-page photo magazine, so you must edit a final set of 12-16 images that, when sequenced together, form a story that visually represents your love story.
Lewis Bush discusses various books he has created that offer diverse narrative structures, ranging from straightforward to avant-garde. Books that reinterpret the stories from other books, books that allow for reading in both directions, and books that have no predetermined storyline. I am currently developing a narrative that moves back and forth in time simultaneously, as well as another book that will not be real, meaning its narrative will not exist either.
‘One story can spawn many narratives, a fact that, in contrast to photography, is well understood in literature and cinema….when I say ‘I’m going to tell you a story’ I actually tell you a narrative of that story.’
In a follow article titled ‘Photographic Narrative: Between Cinema and Novel,’ Lewis Bush discusses various examples from cinema, literature, and photography, identifying the unique strengths and weaknesses of each medium.
In Bush’s view, photography’s narrative strength is:
‘It’s sheer power of description.’ A single photograph can depict a scene with a verisimilitude which pages of written account would still fail to capture. It is this quality which led photography to be first employed for practices like crime scene and incomplete , in place of the unreliable memory and incomplete notes that had previously been relied upon.
MY STORY:
My story will be the looking at the history of jersey by looking at the photos and seeing how the harbour is now.
NARRATIVE:
Decided to keep most of the images black and white because it makes it look more interesting since the harbour is pretty old. For the second page of my booklet I’m going to talk a bit about Jersey Marina and on the 4th page I am going to talk a bit about Brian Nibbs who is the CEO of Jersey Harbours All the other pages are going to be portraits or landscapes of the harbour.
These are the images I am thinking to use: (10 – 16 pages)
Photographers try to Turn the ordinary to something extra ordinary when taking photoshoots.
FIXING THE SHADOWS
Photography was described as “fixing a shadow” before the advent of digital tools. A chemical combination used in the final steps of processing an image onto paper stabilized or “fixed” the image, neutralizing its sensitivity to light.
ABERLARDO MORELL
Abelardo Morell (born 1948, Havana, Cuba) is a contemporary artist widely known for turning rooms into camera obscuras and then capturing the marriage of interior and exterior in large format photographs. Morell began his camera obscura series in 1991. Transforming entire rooms into cameras by covering the windows and inserting a small hole, he photographed the outside world as projected onto various interiors. Morell is famous in the photography world for producing camera obscura images in different locations globally and capturing them. Morell received the Cintas Foundation fellowship in 1992 and the John Simon Guggenheim Memorial Foundation Fellowship in 1993. In 2011, he was also honoured with the Infinity Award from the International Center of Photography.
CAMERA OBSCURA
Describe how an image is produced using Camera Obscura?
They are simply a lightproof box or room with a hole in one side. Light from the sun reflects off objects outside the camera obscura and passes through the hole and lights up the surfaces inside the room with an upside down but clear image of the outside view.
Examining eclipses without having to look directly at the Sun was done with the camera obscura. As a drawing aid, it allowed the tracing of the projected image to produce a highly accurate representation, and was especially appreciated as an easy way to achieve proper graphical perspective. A camera obscura with a very small hole is sometimes referred to as a pinhole camera, although this more often refers to simple (homemade) lens less cameras.
PINHOLE
What is the principle of pinhole camera?
The camera obscura is frequently referred to as the pinhole camera principle. Pinhole cameras operate based on the concept of rectilinear light motion, which explains that light moves in straight paths. The reason for the inverted image produced by a pinhole camera is the direct path of the light. Many centuries ago, humans found out that by directing light through a narrow opening, a reversed depiction of the surrounding environment is cast onto the opposite end of the opening. Pinhole photography is essentially a miniature version of this concept, where a small aperture captures and projects images onto film.
What is special about pinhole camera?
The pinhole camera is the simplest kind of camera. It does not have a lens. It just makes use of a tiny opening (a pinhole-sized opening) to focus all light rays within the smallest possible area to obtain an image, as clearly as possible. The simple image formed using a pinhole camera is always inverted.
NICEPHORE NIEPCE
Nicéphore Niépce (born March 7, 1765, Chalon-sur-Saône, France—died July 5, 1833, Chalon-sur-Saône) was a French inventor who was the first to make a permanent photographic image. Niépce conducted photographic experiments with the goal of meeting the increasing demand for inexpensive pictures by copying prints and capturing real-life scenes in the camera. In 1816, he created temporary camera images, which he referred to as points de vue, at his family property in the nearby village of Saint-Loup-de-Varennes. During the following ten years, he experimented with various chemicals, materials, and methods in order to improve the process that he later named héliographie, meaning ‘sun writing.’
What was Joseph Nicéphore Niépce development of photography?
Niépce named his technique heliography, deriving from the Greek word helios which means ‘creating images using sunlight’. In 1826, Niépce utilized this method to capture the oldest surviving ‘photograph’ depicting a scene outside his Chalons-sur-Saône home, with an exposure lasting approximately 8 hours.
HELIOGRAPHY
What does heliography mean?
An old method of photography, héliographie, creates photoengravings on metal plates coated with asphalt. In general, it is considered a form of photography.
Heliography, from the Greek words helios (meaning “sun”) and graphein (meaning “writing”), was introduced by Joseph Nicéphore Niépce around 1822. This process was used to create the first surviving photograph from nature, View from the Window at Le Gras (1826 or 1827), and was also the first instance of using photoresist to reproduce artworks by inventing photolithography and photogravure. Niépce created the heliograph by mixing light-sensitive bitumen with oil of lavender and spreading a thin layer on a polished pewter plate. He placed the plate inside a camera obscura and placed it close to a window in his upper-level work space. After being in the sun for days, the plate showed a representation of the courtyard, outbuildings, and trees. In December 1827, Niépce admitted in his writing that his process needed enhancements but saw it as “the initial uncertain move towards a brand new path.”
LOUIS DAGUERRE
Louis-Jacques-Mandé Daguerre was a French artist and photographer known for creating the daguerreotype process of photography. He gained recognition as one of the founding figures of photography. While he is primarily known for his achievements in photography, he also excelled in painting, creating scenic designs, and innovating the diorama theatre. Louis Daguerre’s birthplace was in Cormeilles-en-Parisis, Val-d’Oise. He learned architecture, theatre design, and panoramic painting from Pierre Prévost, the pioneer French panorama painter, during his apprenticeship. Extremely skilled in the art of theatrical illusion, he gained fame as a theatre designer and went on to create the diorama, which premiered in Paris in July 1822.
How did Louis Daguerre change the world?
The invention of the daguerreotype allowed for the image produced by a camera obscura to be recorded and saved as a physical item. It was the initial usable method for taking pictures and brought in a fresh era of visual potential. Louis Jacques Mandé Daguerre (1787–1851) invented the process in 1837.
DAGUERREOTYPE
The daguerreotype is a method that produces a detailed image on a copper sheet covered in a thin layer of silver, without needing a negative. The procedure necessitated immense caution. The copper plate coated with silver had to be thoroughly cleaned and polished to achieve a reflective surface.
Why is daguerreotype so important?
The daguerreotype technique allowed for the reproduction of images from a camera obscura and their conservation as physical objects. It was the initial functional method of photography and marked the beginning of a fresh era of visual potential.
How do you tell if a photo is a daguerreotype?
Daguerreotypes can be recognized by their mirror-like, well-polished silver surface and their dual negative/positive appearance when seen from various angles or under raking light. Daguerreotypes are commonly stored in small cases with hinges, which are constructed from wood and wrapped in leather, paper, fabric, or mother of pearl. Unlike photographic paper, a daguerreotype is rigid and heavy. The daguerreotype is precise, intricate, and focused. It possesses a reflective exterior and is extremely delicate. Because of its high susceptibility to damage, most daguerreotypes are displayed in a protective casing.
HENRY FOX TALBOT
William Henry Fox Talbot was an English scientist and inventor known for creating the salted paper and calotype processes, which were early forms of photography used in the 19th and 20th centuries. His research in the 1840s paved the way for the development of the photoglyphic engraving technique, which eventually evolved into photogravure. He owned a contentious patent that influenced the initial growth of commercial photography in Britain. He was a recognized photographer who also played a role in the advancement of photography as an art form. He released The Pencil of Nature (1844–1846), featuring unique salted paper prints from his calotype negatives, and captured noteworthy early images of Oxford, Paris, Reading, and York. Talbot developed a method for producing moderately light-resistant and long-lasting photographs that was the first one accessible to the general public; nevertheless, it was not the initial process of its kind invented or publicly disclosed.
CALOTYPE
What is a calotype in photography?
The process designed by William Henry Fox Talbot, known as calotype or “Talbotype,” involves both negative and positive stages. This technique involves creating a print with a paper negative that results in a softer and less crisp image compared to the daguerreotype. However, the advantage lies in the ability to produce multiple copies due to the negative.
How long does a calotype take? Under near-total darkness, the sensitive calotype paper was loaded in the camera. It was exposed to the scene, sometimes for as little as ten seconds, usually for a time closer to a minute, and sometimes for tens of minutes.
ROBERT CORNELIUS
Robert Cornelius, born on March 1, 1809, was an American photographer who was a trailblazer in the development of photography. His self-portrait captured via daguerreotype in 1839 is widely acknowledged as the earliest photographic portrait of an individual in the United States, marking a significant milestone in the realm of self-portraiture. Between 1840 and 1842, he ran some of the first photography studios in the US and introduced new methods to greatly decrease the time needed for portrait exposures. He was a creator, entrepreneur, and producer of lamps. In 1843, he invented and obtained a patent for the “solar lamp”, which provided a brighter light and enabled the use of less costly lard instead of the pricier whale oil as fuel.
What is Robert Cornelius best known for?
Between 1840 and 1842, he ran some of the first photography studios in the United States, introducing new methods that greatly decreased the time needed for portrait exposure. Philadelphia, Pennsylvania, U.S. He was an inventor, businessman, and maker of lamps.
SELF-PORTRAITURE
The study of self-portraits, known as self-portraiture or autoportraiture, focuses on the history, methods, distribution, reception, styles, and interpretations of self-portraits. Originating in Antiquity and gaining popularity during the Renaissance, self-portraiture is a growing field of study despite being relatively new.
Ana Peraica discussed the topic of self-portraiture today, focusing on the increase in the creation of self-portraits, especially selfies. Self-portraiture extends beyond the realm of just visual arts. Research comes from different fields, like Philosophy. The growth of language is ever-changing and factual. For instance, the word selfie was only coined in the 1980s.
Who took the first selfie?
In 1839, Robert Cornelius, a photographer from America, captured a daguerreotype of his own image. Captured a couple of years post the introduction of the daguerreotype and shortly after Daguerre unveiled his invention to the public, the picture is believed to be the earliest self-portrait and one of the initial photos of an individual.
JULIA MARGARET CAMERON
Julia Margaret Cameron, born Julia Pattle on June 11, 1815, was an influential English photographer known for her portraits in the 19th century. She is recognized for her blurred close-up images of well-known Victorians and for illustrative depictions of characters from mythology, Christianity, and literature. Originally from Calcutta, she first gained a foothold within the Anglo-Indian high society before relocating to London, where she networked with the cultural elite. After that, she established her own literary gathering in the coastal town of Freshwater, Isle of Wight. Cameron started doing photography when she was 48 years old, following a gift of a camera from her daughter. Swiftly, she generated a plethora of portraits and crafted symbolic pictures influenced by tableaux vivants, theater, 15th-century Italian artists, and modern creators. She collected a large portion of her work in albums, one of which was The Norman Album. Over a span of 12 years, she captured approximately 900 photos. Cameron’s work sparked controversy during her era. Critics criticized her gentle, blurred images, deeming her illustrative photos amateurish. Nonetheless, her depictions of figures like Henry Taylor, Charles Darwin, and Sir John Herschel have received consistent acclaim. Her pictures have been praised as “exceptionally strong” and “completely unique”, and she has been recognized for creating the initial close-up shots in the field.
What was Julia Margaret Cameron criticized for?
Cameron frequently received criticism from the photographic community in her time due to her perceived lack of skill: some of her photographs were blurry, her plates occasionally had cracks, and her fingerprints were frequently seen.
PICTORIALISM
Pictorialism was a global style and aesthetic movement that was prevalent in photography in the late 19th and early 20th centuries. The term doesn’t have a universal definition, but generally it describes a style where the photographer alters a regular photo to create an image instead of just capturing it. Usually, a visual image seems to have a blurry focus, is produced in colors other than black-and-white, and may display brush strokes or surface alterations. To the pictorialist, a photograph was a means of conveying emotional intent to the viewer, much like a painting, drawing, or engraving.
Pictorialism flourished from around 1885 to 1915, with certain individuals advocating for it until the 1940s. It started as a reaction to the idea that a photo was just a basic reflection of reality, and evolved into a movement to elevate the recognition of all photography as a genuine form of art. Painters, photographers, and art critics have been discussing conflicting artistic philosophies for over thirty years, leading to the purchase of photographs by numerous prominent art museums. Pictorialism lost its popularity slowly after 1920, but it remained popular until the conclusion of World War II. In this era, the trend of Modernist photography became popular, and people became more interested in highly detailed images like those found in Ansel Adams’ work. Many influential photographers from the 20th century started out using a pictorialist approach but shifted to more defined, focused photography by the 1930s.
HENRY MULLINS
Henry Mullins was the most productive among the initial Jersey photographers in the mid-1800s. Between 1848 and 1873, he created numerous portraits of locals at his thriving studio in the prestigious Royal Square, St Helier. As a professional photographer, he always welcomed the fast technological advancements that coincided with his career. Despite the establishment of several photography studios in St Helier during the 1850s and 1860s, Henry Mullins remained the preferred photographer for prominent individuals in Jersey society and prosperous local and immigrant families. Mullins’s work quality matched his productivity level, as demonstrated by the detailed portraits of Victorian islanders found in his photo albums.
CARTE-DE-VISIT
Carte-de-visite was originally a visiting card, particularly one adorned with a photographic portrait. Highly favored during the mid-1800s, the carte-de-visite was promoted by Parisian portrait photographer André-Adolphe-Eugène Disdéri, who patented the technique in 1854. Disdéri employed a camera with four lenses, producing eight negatives measuring 3.5 × 2.5 inches (8.89 × 6.35 cm) on a single plate. The big print created from the plate was divided into small portraits and each one was individually placed on cards sized around 4 × 3 inches (10 × 7.6 cm). These cards were cost-effective compared to other portrait options, as they allowed for eight different poses in one session and needed no editing.
Saint Helier Harbour is the main harbour on the channel island of Jersey. It is on the south coast of the island, occupying most of the coast of the main town of St Helier . It is operated by Ports of Jersey, a company wholly owned by the Government of Jersey.
A Short History Of The Development Of St Helier Harbour
Early beginnings
Since its first settlement, St. Helier, the capital of Jersey, has had a strong marine history. Soon after the Normans occupied the island in the tenth century, the strategic significance of St. Helier’s natural harbour was acknowledged. However, major port developments did not start until the 17th century.
The French & English Harbours
The construction of French and English Harbours in 1700 marked a significant development in marine infrastructure. Both of these harbors, featured on early maps and illustrations, are some of the oldest constructions solely for maritime purposes on the island. For more than one hundred years, they acted as the primary harbor for the larger ships of Jersey, enabling trade and maritime business between Jersey and the mainland.
Enlargement in the 18th Century
As maritime commerce expanded, the constraints of the current harbors were revealed. Construction of the North Pier began in 1790 to support the growing maritime activity. This advancement was essential for increasing the port’s capabilities and safeguarding ships from turbulent waters. It took more than 30 years to finish building the North Pier, which was completed in 1821.
19th and Early 20th Century Developments
During the 19th century, St. Helier Harbour continued to be enhanced with the building of more piers, quays, and the integration of modern shipping amenities. The port became a crucial center for commerce, sightseeing, and ferry services, linking Jersey with other harbors in the Channel Islands and continental Europe.
The Second World War
Throughout World War II, Jersey was taken over by German troops, resulting in major alterations to the harbor’s activities and structures. Post-war reconstruction aimed at renovating and updating the docks to bolster the expanding post-war economy.
Modern Era
During the second half of the 20th century and continuing into the 21st century, St. Helier Harbour has experienced ongoing modernization. The upgrades involve creating new ferry terminals, upgrading cruise ship docking facilities, and improving recreational areas for leisure activities. Presently, St. Helier Harbour is an important connection for both trade seafaring and tourist activities, playing a crucial role in Jersey’s economic infrastructure.
Etymology
Saint Helier Harbour is dedicated to Helier, a 6th-century hermit from Belgium known for his ascetic practices. His martyrdom is commonly believed to have taken place in the year AD 555. The annual municipal and ecumenical pilgrimage to the Hermitage falls on 16 July, which is his feast day. If you are interested, you can find more information here regarding the expansion of St Helier.
The Elizabeth Harbour
The Elizabeth Harbour includes a ferry terminal, two roll-on/roll-off ferry berths, and a trailer park for shipping containers, all managed by Elizabeth Harbour. High-speed vessels use them to travel to Poole, Guernsey, and Saint-Malo, while traditional ferries are used to reach Saint-Malo, Guernsey, and Portsmouth, and foot passenger ferries provide service to Granville, Barneville-Carteret, and Sark.
Main harbour
The main port offers deep water docks for commercial ships next to Victoria Quay and New North Quay. Victoria Quay is home to fish wholesalers like Fresh Fish Company and Aquamar Fisheries. Albert Pier has transformed from a ferry terminal into new docks for big boats and yachts. Check out the latest news on this subject and don’t forget to browse through ED.EM.04 – Victoria and Albert: on the Piers, a photo-zine created by the SJ Photo-archive.
These are some edits and photos I took of abandoned buildings inspired by Yves Marchand & Romain Meffre.
I took these photographers inspired by Michael Marten.
Just like Michael Marten I took three photoshoots in the same place but different angle. I like the way it all connected in some way, all three images into one.
Michael Marten took images when low tide and high tide, I found it very interesting so I decided to do the same. I went to frigate beach and took some images of low tide and high tide. When it was low/high tide they would be a sunrise/sunset which made the photoshoot a bit more alive.
Sailing has been essential to the advancement of civilisation throughout history since it gives people more mobility than land travel for purposes like trade, transportation, and conflict, as well as the ability to fish.
What type of goods did Jersey merchants exchange for cod-fish?
In addition to exporting codfish to Jersey, traders in cod fish also traded plantation products like sugar, molasses, rum, cotton, coffee, and tobacco to markets across America, Europe, and the United Kingdom (including Jersey). Later, these products were also traded to Brazil. In that framework, Jersey benefited from the wealth generated by the British Empire, which was built on a capitalist model of an economy centred around slavery.
What was the involvement of Jersey Jersey seamen play in the transatlantic carrying trade and the Canadian cod fisheries?
It WAS uncertain when the first Europeans arrived in Canada, but it is believed that fishermen were drawn to the north of the continent around 1497 by Italian explorer John Cabot’s accounts of “new found landes” and a sea teeming with fish. Around 1600, English fishing captains continued to record cod shoals.
Beginning in the early 16th century, Basque fisherman started visiting the area to fish, and by the year 1580, some 10,000 European fishermen were crossing the Atlantic to catch for cod.
Among them were the fishermen from Channel Islands, who by the 1750s had established profitable trade lines connecting Europe, America, and Canada. They also established facilities on the Gaspé Coast, where they could prepare and salt cod.
Which ports did Jersey ships sail to and trade with?
Trade in Roman times
During the Roman period there was an established trade route between Alet (St Servan) and Hengistbury Head in Dorset. Guernsey was the favoured stop off point, because of the natural deep water harbour at St Peter Port, although these boats undoubtedly called in to Jersey as well. The Roman cargo boat recently raised from St Peter Port Harbour provides information on the type of vessel used on this route.
Ships became larger during the 12th century and ports began to take on a greater importance. The earliest harbours in the island were the natural havens which provided shelter from the worst of the winds and a sandy bottom on which a vessel could ground with damaging its keel. Areas such as Havre des Pas, St Brelade, St Aubin and La Rocque were used. There is mention of a Spanish ship taking on a cargo of wheat “in the harbour of St Obin”.
17th century harbours
A concerted effort to build harbours did not take off until the late 17th century, when work began on building a pier on the islet on which St Aubin’s fort stands. During the 18th century St Aubin’s harbour proper was constructed and work began on developing St Helier as a port, although the capital had to wait until the 19th century before it really began to develop as a port. Early 19th century, It was during the early 19th century that stone piers were built at La Rocque, Bouley Bay, Rozel and Gorey, to accommodate the oyster boats. The harbour at Gorey also took passenger traffic from Normandy.
The mailboats
At this time the harbour of St Helier was concentrated around La Folie in The English and French harbours. At low water there was a landing stage at La Collette, to which passengers were ferried in small boats and picked up by waiting carriages and horse drawn omnibuses. With the building of the Victoria and Albert Piers in the 1840s and 1850s, passengers could arrive in a little more comfort, although the state of the tide still played an important role.
To what extend, has the island of Jersey benefitted from its constitutional relationship with Britain and the legacies of colonialism based on a slave plantation economy during the first Industrial Revolution (1760-1840)?
Jersey Island has greatly profited from its constitutional ties with Britain and the results of colonialism, especially in the period of the first Industrial Revolution (1760-1840). This partnership resulted in a stable political environment that encouraged economic growth, enabling the island to shift from a successful agricultural economy to a varied financial services and tourism industry. Merchants from Jersey participated in transatlantic trade, making money from products made by slaves like sugar and rum from the Caribbean, leading to increased local investments and better quality of life. Moreover, the colonial ties promoted cultural interactions and aided in the expansion of population, leading to a more diverse demographic on the island. Investment sourced from colonial riches continued to enhance the financial services industry in Jersey, turning it into a hub for banking and tax evasion. The connections made in history resulted in advancements in social infrastructure like education and healthcare.
An outdoor photography exhibition showcasing photos of Rohingya was placed across seven locations in Jersey as part of a European premiere.
The Rohingya Experience, is a photographic exhibition offering an intimate view into the lives and experiences of the Rohingya refugee community in Cox’s Bazar, Bangladesh. Curated by David Palazón and Sahat Zia Hero, the exhibition launched at the Jersey Arts Centre and was displayed in St Helier between 1–14 July 2024. i love the way every image has a different meaning to it.
Hope and dreams: The Rohingya artist’s daughter yearning to look like a princess
Onaysa Khan was only 3 months old when her father, the Rohingya artist Enayet Khan, took her picture. Her name in Arabic means ‘Good Friend’, the one who brings peace and calmness to the heart.
Decades of displacement: The harrowing life story of Rohingya refugee Muhammad Jalil
Muhammad Jalil was 102 years old when this photo was taken. Born in 1920 in Thaming Chaong, Rathedaung, he was one of the oldest Rohingya living in the refugee camp in Cox’s Bazar. He had been an eye-witness to many historical events in Arakan like the Japanese-British war before Burmese independence. Jalil first became a refugee in 1978, when the Tatmadaw —the Myanmar armed forces—conducted an operation called Naga Min (Dragon King) targeting the Rohingya through the confiscation of possessions, destruction of villages and desecration of mosques. The second time Jalil became a refugee was in 1991, when operation Phi Thaya (Clean and Beautiful Nation) was launched by the Tatmadaw resulted in killings, rape, arbitrary arrests and the burning of Rohingya villages. 250,000 Rohingya were forced to flee Bangladesh. Since then, Jalil lived in the refugee camp under crowded conditions, without freedom of movement or the most basic human rights, deprived of access to a healthy environment and to the nature he loved. He had lived with the only hope to go back to Myanmar before he died.
Guided by the light of her ancestors: The story of Umme Habiba
Umme Habiba, born in Myanmar to a family of three, cherishes a memory from her father, a Rohingya fisherman. His prized possession was a serak (kerosene lamp) inherited from his grandfather. Amid the 2017 conflict and ensuing brutality, Umme Habiba’s family fled Buthidaung township for Bangladesh. Her father, realising he’d left the lamp behind, was distraught, as it held immense sentimental value.
Like a sunset: Rohingya youth hopes for a beautiful ending to the hardship of their community
Amidst life’s difficulties in the refugee camp, this scene of beauty of a sunset over the camp reminds the photographer, Ro Mon Sur Ali, that even in our toughest moments, there’s a radiant end to each day. It inspires him the hope that a Rohingya future, too, may be as beautiful as this golden hour of the day.
25th August: The legacy of Rohingya Genocide Remembrance Day
View of the gathering that took place on August 25, 2019 to commemorate Rohingya Genocide Remembrance Day. This annual event honours and mourns the victims of the genocide against the Rohingya people, the ethnic minority group that has faced widespread persecution and violence in Myanmar for decades. The event was led by Mohib Ullah, an outspoken Rohingya leader and a brave and fierce advocate for the human rights of Rohingya Muslims around the world. Sadly he was assassinated by gunmen on 21st September 2021.
Threads of hope: A Rohingya girl’s embroidered journey
A teenage Rohingya girl finds solace in the art of embroidery, meticulously stitching her creation within the confines of her shelter. Though displaced, she carries on a long-standing crafting tradition among Rohingya women and girls.
Unbroken circle: Henna hands capture women’s unity in the Rohingya community
In the heart of the Rohingya Refugee Camp in Cox’s Bazar, a circle of young girls join hands in a collective practice that transcends mere physical connection. Their shared effort is a mingling of spirits, each contributing to a tapestry of uniqueness. To the discerning eye, the extraordinary can be found in the seemingly mundane.
Devoted son, daunting terrain: A Rohingya man’s courageous care for his mother
A Rohingya man carries his elderly mother up steep, rugged terrain to reach the nearest hospital in their overcrowded camp. The camps are not designed with accessibility in mind, making it extremely difficult for the disabled and elderly to navigate the hilly paths and countless stairs.
