Tag: Moises Saman

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

With temperatures reaching 100 degrees, the conditions on the Sinjar Mountains are dire. Most of the Yezidis ran for the hills without food and water. “That’s why it’s been such a dramatic situation for them,” says Moises Saman. “Without supplies on a mountain like that, nobody can survive more than a couple of days.”

The photographer Moises Saman, who has covered the Arab Spring and the Syrian civil war for The New Yorker, has done extensive work in Iraq, but had not been back since 2010. He returned in March to take photographs to accompany my piece, and found what he called “a mood of pessimistic perseverance.”

In January of this year, the Institute of Fine Arts at New York University sent a team, led by the field director Matthew Adams, to assess what had been stolen. The photographer Moises Saman joined them, in March, to document their operation.

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.

“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

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.