Moises Saman in Cairo

“In the two years since I moved here, every milestone of the revolution has been marred by an outburst of street violence,” he says. “However, the events of the past week are unprecedented: rocks have been replaced by sniper bullets, city mosques transformed into front line field hospitals, and isolated street clashes superseded by systematized killings.”

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I remember photographing the first wave of Syrian refugees in early 2012. Under the cover of a cold winter night, a young couple held tightly to their baby girl while balancing aboard a rickety boat that was smuggling them across the Orontes River, from Syria’s Idlib Province into the safety of Turkey. Since then, more than 1.5 million Syrians have fled their homeland, seeking shelter wherever they can find it: renting apartments in east Amman, sleeping in makeshift tent settlements in the Bekaa Valley, or confined to fenced-in tent-cities along the borders of Jordan, Turkey, and Iraq.

A Glimpse Inside Hezbollah

“In Lebanon, Hezbollah is both everywhere and nowhere,” the photographer Moises Saman told me. “The conflict in Syria has given weight to the …

“In Lebanon, Hezbollah is both everywhere and nowhere,” the photographer Moises Saman, whose picture accompanies Dexter Filkins’s piece on Hezbollah in this week’s issue of the magazine, told me

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Last week, as protests once again raged in the streets of Cairo, Magnum photographer Moises Saman was there. Over three days, he documented the ongoing street battles near his residence in the Garden City area—right around the corner from the American Embassy and Tahrir Square.

Moises Saman Photographs Syria’s Descent Into Civil War

The bombing in Damascus “emboldened the rebels to go on the offensive, for a moment suggesting that a perfect storm would lead to the imminent fall of the regime,” Saman wrote to me from his home base in Cairo. “Here we are a month later, with people dying at a rate of about sixty per day, as both sides hunker down and prepare for a long and vicious civil war that will inevitably affect any chance at further reconciliation.”

Even in Egypt, a Long Way to Go

Moises Saman had been photographing the run-up to the Egyptian elections when the recent riots broke out. He spoke to Lens about the challenges of digging deeper into the story.

Moises Saman has been covering the Arab Spring for The New York Times since its beginning in Tunisia. In July, he moved to Egypt — where, for the last four weeks, he has been photographing the run-up to the Egyptian elections. Mr. Saman, a nominee for membership in the Magnum Photos cooperative, spoke with James Estrin and David Furst

POV: Moises Saman And Cairo Undone

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The photo essay (it's really a gallery as there's no storyline nor timeline) is of snapshots (I use this term very respectfully) of daily life in Cairo...the gritty, the edgy, the incomprehensible, the political and the anachronisms that dominate this teeming city.

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In July, while working for the New York Times, photographer Moises Saman journeyed into Syria as the first Western photographer to enter the country since the conflict between anti-government protestors and forces of the regime of Syrian President Bashar Assad began

From a Bubble, 'Sneaking Little Moments'

Moises Saman’s work and words have been featured on Lens 17 times since he was assaulted by tthe police in Tunisia in January. Mr. Saman, who is represented by Magnum Photos, is on assignment for The Times in Libya, where he is in a press pool covering the forces loyal to Col. Muammar el-Qaddafi.

At an Eerie Crossroads in Tripoli

In Tripoli, Libya, Moises Saman is learning to expect the unexpected.

The amazing thing is that we’ve been seeing a lot. We thought that we’d be extremely managed by the government and we’d only be seeing what they wanted us to. But they’ve been taking us to places where the fighting has been happening. Today, they took us to Zawiyah, about 30 miles west of Tripoli, which is completely under the control of the opposition. This is really bizarre. They took us right into the opposition side.

Photographer Attacked by Police in Tunisia

Moises Saman, a Magnum photographer on assignment for The Times, was mildly injured in Tunis when police officers attacked him.

Moises Saman, a Magnum photographer on assignment to The New York Times, was mildly injured at dusk on Tuesday when he was assaulted by a group of about half a dozen police officers, David D. Kirkpatrick reports from Tunis

On Assignment: A Perilous Route to Marja – Lens

Moises Saman, a freelance photographer for The New York Times, arrived there just after United States Marines had secured the district center. Traveling with Taimoor Shah, a Times correspondent and translator who is based in Kandahar, Mr. Saman was working independently from the military, unembedded, seeking to document conditions since the offensive.

On Assignment: Afghanistan in Free Fall

Moises Saman has returned to Afghanistan time and again with the hope of documenting the promise of peace and prosperity, which now seem ever more elusive.

KABUL — I was one of the hundreds of young photojournalists who came to this distant country in 2001 to photograph my first war; naïve, a little reckless, and mostly unprepared. At the time, the Taliban ruled most of the country. Only a thin slice of mountainous territory in the north, between Tajikistan and the Panjshir Valley, was controlled by the opposition, the Northern Alliance. My travel companions were Matthew McAllester, who was then a foreign correspondent for Newsday, and Tyler Hicks, a photographer for The New York Times.

Dateline: Iraq – Lens Blog –

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Dateline: Iraq – Lens Blog –

Moises Saman does not need a timetable to know that things have changed in Iraq — however tenuously — since his last rotation there a year ago as a photographer for The New York Times. “You hear music on the street sometimes,” he said Monday in a telephone interview from Baghdad. He’s also noticed that people linger outdoors at night. (Indeed, the music from the park opposite The Times’s bureau was so loud last night that it was hard to hear Mr. Saman sometimes.) “I think there’s more life on the street,” he said. “Without painting too rosy a picture, there’s a definite sense that life is moving.”