The Top 5 Most Dramatic Images of the European Migrant Crisis

Migration and its perils is a subject photographers have never been shy to explore. Whether it be Robert Capa in Palestine during the formation of the state of Israel, or Sebastião Salgado's magnum opus Exodus. 

The cause of the mass migration of peoples is a maze of geo-political factors; one of which is conflict. News of the humanitarian crisis unfolding in Syria as a result of almost 5 years of civil war is interminable. Brexit and Donald Trumps presidential campaign have forced an almost reluctant media to cover migration topics, brazenly bias on both the left and right. And, since only 12% of broadcast and newspaper content is their own and, within them, only 12% of the information is checked for factuality; the news media are egregiously unreliable.*

Photography, however, is actual. It can be argued that the "12 inches" behind the camera carries their own biases. This is indeed true, a photographer after all chooses what he or she photographs. But the places, the people; their faces, cloths and actions - captured through the lens - are not chosen by the photographer. This simple fact makes them substantially more reliable then any news print or broadcast.

Here is a list of my top five most dramatic images taken by photographers of a modern exodus.

1) Massimo Sestini's image of over-packed boat that set sail off the coast of Libya, later rescued by an Italian naval frigate.

2) Aris Messinis' image of migrants stepping over dead bodies whilst being rescued off the coast of Libyia

3) Alex Majoli's image of migrants being rescued on the coast of Lesvos, Greece.

4) Vadim Ghirda's image of a woman and her two children huddling around a fire on the nothern Greek border of Idomeni.  

5) Warren Richardson's image of a women and her child awaiting a bus to transport them to a camp to be processed in Hungary. 

Edmund Burke one observed that he was "convinced that we have a degree of delight, and that no small one, in the real misfortunes and pains of others". I happen to disagree with him, I take no pleasure in seeing these images; what attracts my attention to these photos - and photography in general - is that they show us faces, real faces, real situations. And they should simply make us ask, why? 

*Taken from Nick Davies book Flat Earth News





From Lesvos to Paris - Reflections on the work of Alex Majoli.

©  Alex Majoli

© Alex Majoli

The Greek island of Lesvos sits, much closer, to the Turkish coast than the Greek. On this island a mass exodus of Greeks and Armenians braved the Aegean Sea on over-crowded boats from the shores of Turkey, across the channel to escape a renewal of ethnic tensions, the Greco-Turkish war. 

That was 1922, it is now 2016 and Lesvos is seeing a very similar exodus, but of peoples further east. Alex Majoli, an Italian photographer, in 2015 found himself witness to this exodus, and with his camera he has captured a stark, theatrical tragedy. His use of high contrast black and white make his images almost timeless; they could have been captured on black and white film in 1922 and processed in a dark room. Instead, Majoli is using modern digital camera equipment, instead of rickety rafts the refugees arrive on dinghies, instead of blankets the refugees can be seen wrapped in foil. 

©  Alex Majoli

© Alex Majoli

Majoli's images are surreal and ethereal, small glimpses of a vast human tragedy. Indeed, Majoli himself claims he took inspiration from an Italian absurdist novelist called Luigi Pirandello. The photographer Robert Capa famously mused that 'If your pictures aren't good enough, you're not close enough'. This is certainly the case with Majoli, his photo's are close enough for us to see the subjects frightened eyes and ethnic features. However, Majoli has framed them in a way that give us the position of the audience in a theatre and his flash is a stage light, illuminating the events as they unfold. 

If you compare Majoli's images with those of another photographer, Warren Richardson, it can illustrate what I mean. Richardson won the 2015 World Press Photograph of the year with his image of a small child being passed through barbed wire by a tired-eyed father to the hands of an person unseen. This image was illuminated not by a flash, but by moon light, and the camera's high ISO allowed for extra exposure. In the case of Richardson's style, his images are snap shots taken in the heat of the moment. They look and feel like memories, etched into the mind of a witness, the ISO noise and the motion blur caused by slow shutter speeds make them rough and gritty; with Richardson you're in the moment, with Majoli, you're standing outside it.  Both have a dreamlike and timeless quality, but in the case of Majoli, you are more aware of the photographer.

©  Warren Richardson

© Warren Richardson

On the opposite side of this crisis, is Europe, the refugees destination. But, Europe is dealing with a crisis of its own; which is a direct result of this mass exodus. Open borders in Europe have allowed mass migration onto the continent; which has been both a blessing and a curse. My opinion of mass immigration will not be discussed in this piece as I wish to concentrate my energy on the photo's themselves, but - and it must be said - mass migrations of peoples from one culture to another will inevitably cause tensions. It is to these tensions that Majoli also pointed his lens.

On November 2015, on a Friday night in Paris the city was the target of a massacre. The perpetrators of the attack - one of many in recent years - were doing it in the name of Islam. This, one of largest of the Abrahamic religions, is the religion of many of the refugees landing on the shores of Lesvos. The bullets that may have killed the friends and relatives of the refugees, were fired with the same motivation as the ones that killed French socialites; in the name global Jihad. 

©  Alex Majoli

© Alex Majoli

Majoli travelled to Paris to witness the aftermath of the November attacks. In his photographic style, he captures a city that is in shock, mourning the dead and intrigued at this new level of violent religious fervour. In my favourite picture, taken in a restaurant a mere 100 metres from one of the establishments that was attacked, a women reads a newspaper with the simple headline typed in bold L'HORREUR. Around her, the restaurant is packed full of people eating and drinking wine. The France in this picture, is the France of Hemingway's A Moveable Feast, a place of leisurely cafe's, bars and terraces. It shows the defiance of the Parisian spirit.    

©  Alex Majoli

© Alex Majoli

This is why I consider Majoli's work to be so meaningful and - I would argue - necessary. On the one hand we see the bedraggled masses arriving scared onto a foreign continent, often risking their lives and spending large sums of money to make the perilous journey; of which nothing is certain. On the other, we see Europeans, confused at witnessing a new type of religious violence, one that wants to police free speech and expression, often upheld by politicians in the name of multiculturalism and, failing that, through extreme violence. Majoli's images offer beautifully poignant moments in an ever-changing and complicated drama.