Ivor Prickett : End of the Caliphate

Ivor Prickett’s book End of the Caliphate is the result of months spent on the ground in Iraq and Syria between 2016 and 2018 photographing the battle to defeat ISIS. Working exclusively for the New York Times, Prickett was often embedded with Iraqi and Syrian Kurdish forces as he documented both the fighting and its toll on the civilian population and urban landscape. The battle to defeat ISIS in the region, resulted in thousands of civilian deaths and ruined vast tracts of cities such as Mosul and Raqqa. Involving some of most brutal urban combat since World War II, the fall of Mosul was key to the downfall of the Islamic State: soon after the remains of the so-called “Caliphate” began to crumble.

After the fall: documenting the end of the caliphate

Focusing on human struggle in the battle to defeat Isis, Ivor Prickett spent months on the frontline in Iraq and Syria, documenting the end of the caliphate, andthe daunting return homefor thousandsof displaced citizens

In September 2017, Ivor Prickett met Nadhira Aziz, sat in a plastic chair 15 feet from where an excavator was digging through the ruins of her home in Mosul, Iraq. “At times, she was engulfed in dust as the driver dumped mounds of stone and parts of her house beside her,” Prickett writes in his remarkable new book, End of the Caliphate, published by Steidl. “But she refused to move.” He stayed there with her, until eventually they found the remains of two women – Mrs Aziz’s sister and niece, who had been killed by an airstrike that hit the home in June, three months prior.

Fleeing Mosul

Five photographers document the flow of refugees escaping the Iraqi city

Over the last six weeks, five photographers—Maria Turchenkova, Laurent Van der Stockt, Jan Grarup, Ivor Prickett and Emin Ozmen—have documented Iraq’s push against ISIS and the resulting flow of refugees. They speak to TIME LightBox.

Conscientious Extended | A Conversation with Ivor Prickett

A little while ago, Benjamin of duckrabbit fame sent me an email, telling me about Ivor Prickett and his story about Abkhazia. I like Ivor’s work very much, and since there currently is so much talk about how photojournalism is presumably dead (or maybe not) and about the relationship between photojournalism, documentary photography and what we call “fine art” photography (for a lack of a better term), I approached him to talk about his work.