Archive
Documentary photography capturing real events and human moments.
5 projects
This photographic documentation of the wheat harvest in As-Suwayda explores the stark visual contrast between the region's dark, rugged basalt landscapes and the vibrant, golden textures of the wheat. The work focuses on this interplay of color and material, capturing the seasonal cycle through a lens that emphasizes the balance between the land’s raw earthiness and the harvest's bright, saturated tones.
On March 21, 2026, a public celebration of Newroz took place in Damascus, marking an unprecedented event of this scale in the city. The coverage captures the dynamic energy of the gathering through a mix of wide-angle action shots and intimate portraits. Technically, the series leverages low-light photography, utilizing high shutter speeds to freeze motion during active moments and controlled focus to isolate subjects against the festive backdrop. The interplay of torchlight and fire provides a warm, contrastive aesthetic against the night, emphasizing the crowd's presence and the symbolic significance of the celebration.
This photographic collection serves as an integral visual component of a series of comprehensive investigative reports published by Kassioun newspaper within its economic dossier. Documenting facilities such as the Sharq Underwear Company, the Damascus Cable Company, the General Carpet Manufacturing Company, and the Metal Constructions Company, these images were captured during a period when these factories were still actively operational. Today, as many of these facilities have ceased production and closed their doors, this series stands as a poignant visual archive that complements the analytical depth of the original investigations. The imagery aims to challenge the narrative of state-run industrial failure by exposing the tangible reality of these factories—places that, despite the economic challenges of the time, remained operational and vibrant. Each frame is an extension of the journalistic effort to spotlight the potential for recovery that once existed within the public sector. By highlighting the mechanical processes and the human presence through vivid, high-color imagery, the series asserts that these institutions were not condemned to inevitable loss, but were active pillars of the national economy. These visual documents are now a testament to a lost industrial momentum, highlighting what was possible before these sites fell into silence.
This collection offers a poignant visual documentation of the destruction in Zabadani, Syria, in 2017, transcending simple record-keeping to become a profound study of the aesthetics of ruin. A striking technical contrast emerges where shattered concrete structures intersect with the clarity of the bright, expansive sky. The jagged gaps left by aerial bombardment act as unintentional frames; these voids where roofs once stood function as lenses, inviting light and color into scenes of devastation and transforming the absence of architecture into a powerful compositional element. Artistically, the work relies heavily on natural light to emphasize the depth of the scenes, highlighting the textures of rubble and the stark exposure of private interiors now open to the elements. By juxtaposing the monumental scale of architectural collapse with the fragility of abandoned domestic artifacts, the photography achieves a visual equilibrium between the violence of the surroundings and the lingering human presence. Through the deliberate use of light and the sky as a backdrop for profound loss, these images transform the wreckage into a compelling visual testimony that captures the weight of displacement and the enduring memory of the landscape.
This collection offers an intimate, behind-the-scenes look at the late Syrian master Nazir Ismail (1948–2016) within the sanctuary of his workspace. Known as one of the most significant Arab painters for whom the portrait was the central pillar of his artistic projects, Ismail’s legacy spans over 62 solo exhibitions across the globe, from Damascus to Paris. These images capture the artist not just as a creator, but as a custodian of his own materials, reflecting his deep belief that art is a human endeavor rooted in the desire to adorn life using simple, tactile materials at hand. The documentation employs a mix of warm-toned color photography and high-contrast black-and-white silhouettes to emphasize the atmosphere of the studio. The color compositions utilize natural window light to highlight the textures of the materials Ismail engages with and provide a glimpse into his personal archives, documenting his authentic creative environment. Conversely, the high-contrast monochromatic portraits utilize powerful backlighting to transform the artist into a study of shape and presence, underscoring the contemplative nature of his practice and honoring the legacy of a figure whose influence remains a cornerstone of Syrian visual heritage.