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

“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 “However, the events of the past week are unprecedented: rocks have been replaced by sniper bullets, city mosques transformed into front line field hospitals, and isolated street clashes superseded by systematized killings.”

The Magnum photojournalist Moises Saman was in Bangladesh this past week documenting the conditions Rohingya are enduring as they flee, whether wading through the river that marks the border between the two countries, making desperate efforts to obtain food and shelter, or finding dignified ways to bury their dead

in his new book, “Discordia,” which he is self-publishing this month, Saman collects images that convey a more personal and poetic account of his experience in the Middle East. The photographs often capture quiet moments peripheral to the action of a photojournalist: men collecting scrap metal from vehicles burned during the Rabaa massacre, in Cairo; the burial of a fallen fighter in Aleppo

The photographer Moises Saman spent the weekend documenting the protests in Hong Kong