Kai
Löeffelbein

Kai Löeffelbein
SchooL: University of Applied Sciences and Arts, Hannover, Germany
"Ghana/Accra." Each year hundreds of thousands of tons of electronic waste are moved from Europe and the U.S. into "third-world" countries. Most of the people on this landfill are refugees from Ghana's Muslim north. Above: A boy smashes a TV onto the ground to get the metal out.
(Image 1 of 6)

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Kai Löeffelbein
SchooL: University of Applied Sciences and Arts, Hannover, Germany
"Ghana/Accra." Each year hundreds of thousands of tons of electronic waste are moved from Europe and the U.S. into "third-world" countries. Most of the people on this landfill are refugees from Ghana's Muslim north.
(Image 2 of 6)

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Kai Löeffelbein
SchooL: University of Applied Sciences and Arts, Hannover, Germany
"Ghana/Accra." Each year hundreds of thousands of tons of electronic waste are moved from Europe and the U.S. into "third-world" countries. Most of the people on this landfill are refugees from Ghana's Muslim north.
(Image 3 of 6)

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Kai Löeffelbein
SchooL: University of Applied Sciences and Arts, Hannover, Germany
"Ghana/Accra." Each year hundreds of thousands of tons of electronic waste are moved from Europe and the U.S. into "third-world" countries. Most of the people on this landfill are refugees from Ghana's Muslim north.
(Image 4 of 6)

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Kai Löeffelbein
SchooL: University of Applied Sciences and Arts, Hannover, Germany
"Ghana/Accra." Each year hundreds of thousands of tons of electronic waste are moved from Europe and the U.S. into "third-world" countries. Most of the people on this landfill are refugees from Ghana's Muslim north.
(Image 5 of 6)

PhotoServe/Contact Info
Kai Löeffelbein
SchooL: University of Applied Sciences and Arts, Hannover, Germany
"Ghana/Accra." Each year hundreds of thousands of tons of electronic waste are moved from Europe and the U.S. into "third-world" countries. Most of the people on this landfill are refugees from Ghana's Muslim north.
(Image 6 of 6)

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Sophie
Jones

Sophie Jones
School: Williamstown Elementary School, Williamstown, Massachusetts
A summertime self-portrait.


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Jim
McAuley

Jim McAuley
School: Ohio University School of Visual Communication, Athens
Art and Peggy Gish had been married nearly 48 years and from their small farm near Athens, Ohio, they produced a small annual harvest. Working as Christian peaceworkers, they strove to lead an exemplary and simple life together. In July 2010, when Peggy was working on a peace team in Iraq, Art died in a tractor accident on the farm. Peggy has been rebuilding her life ever since.
(Image 1 of 6)

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Jim McAuley
School: Ohio University School of Visual Communication, Athens
Art and Peggy Gish had been married nearly 48 years and from their small farm near Athens, Ohio, they produced a small annual harvest. Working as Christian peaceworkers, they strove to lead an exemplary and simple life together. In July 2010, when Peggy was working on a peace team in Iraq, Art died in a tractor accident on the farm. Peggy has been rebuilding her life ever since.
(Image 2 of 6)

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Jim McAuley
School: Ohio University School of Visual Communication, Athens
Art and Peggy Gish had been married nearly 48 years and from their small farm near Athens, Ohio, they produced a small annual harvest. Working as Christian peaceworkers, they strove to lead an exemplary and simple life together. In July 2010, when Peggy was working on a peace team in Iraq, Art died in a tractor accident on the farm. Peggy has been rebuilding her life ever since.
(Image 3 of 6)

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Jim McAuley
School: Ohio University School of Visual Communication, Athens
Art and Peggy Gish had been married nearly 48 years and from their small farm near Athens, Ohio, they produced a small annual harvest. Working as Christian peaceworkers, they strove to lead an exemplary and simple life together. In July 2010, when Peggy was working on a peace team in Iraq, Art died in a tractor accident on the farm. Peggy has been rebuilding her life ever since.
(Image 4 of 6)

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Jim McAuley
School: Ohio University School of Visual Communication, Athens
Art and Peggy Gish had been married nearly 48 years and from their small farm near Athens, Ohio, they produced a small annual harvest. Working as Christian peaceworkers, they strove to lead an exemplary and simple life together. In July 2010, when Peggy was working on a peace team in Iraq, Art died in a tractor accident on the farm. Peggy has been rebuilding her life ever since.
(Image 5 of 6)

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Jim McAuley
School: Ohio University School of Visual Communication, Athens
Art and Peggy Gish had been married nearly 48 years and from their small farm near Athens, Ohio, they produced a small annual harvest. Working as Christian peaceworkers, they strove to lead an exemplary and simple life together. In July 2010, when Peggy was working on a peace team in Iraq, Art died in a tractor accident on the farm. Peggy has been rebuilding her life ever since.
(Image 6 of 6)

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Ciril
Jazbec

Ciril Jazbec
SChool: London College of Communication
Moved by the story of the disappearing islands of Kiribati, I have endeavored to capture the essence of the place while it is still possible. Through encounters with people, activists and the president, I address environmental issues and offer a testament to the population's spirit.

The story of Kiribati mirrors modern life in many developing Pacific countries which have experienced hardship due to global warming and rising sea levels. Kiribati is a small island nation of 33 atolls in the South Pacific; its area is the size of Alaska but the amount of dry land remaining could fit within Manhattan.

(Image 1 of 6)

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Ciril Jazbec
SChool: London College of Communication
Moved by the story of the disappearing islands of Kiribati, I have endeavored to capture the essence of the place while it is still possible. Through encounters with people, activists and the president, I address environmental issues and offer a testament to the population's spirit.

The story of Kiribati mirrors modern life in many developing Pacific countries which have experienced hardship due to global warming and rising sea levels. Kiribati is a small island nation of 33 atolls in the South Pacific; its area is the size of Alaska but the amount of dry land remaining could fit within Manhattan.

(Image 2 of 6)

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Ciril Jazbec
SChool: London College of Communication
Moved by the story of the disappearing islands of Kiribati, I have endeavored to capture the essence of the place while it is still possible. Through encounters with people, activists and the president, I address environmental issues and offer a testament to the population's spirit.

The story of Kiribati mirrors modern life in many developing Pacific countries which have experienced hardship due to global warming and rising sea levels. Kiribati is a small island nation of 33 atolls in the South Pacific; its area is the size of Alaska but the amount of dry land remaining could fit within Manhattan.

(Image 3 of 6)

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Ciril Jazbec
SChool: London College of Communication
Moved by the story of the disappearing islands of Kiribati, I have endeavored to capture the essence of the place while it is still possible. Through encounters with people, activists and the president, I address environmental issues and offer a testament to the population's spirit.

The story of Kiribati mirrors modern life in many developing Pacific countries which have experienced hardship due to global warming and rising sea levels. Kiribati is a small island nation of 33 atolls in the South Pacific; its area is the size of Alaska but the amount of dry land remaining could fit within Manhattan.

(Image 4 of 6)

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Ciril Jazbec
SChool: London College of Communication
Moved by the story of the disappearing islands of Kiribati, I have endeavored to capture the essence of the place while it is still possible. Through encounters with people, activists and the president, I address environmental issues and offer a testament to the population's spirit.

The story of Kiribati mirrors modern life in many developing Pacific countries which have experienced hardship due to global warming and rising sea levels. Kiribati is a small island nation of 33 atolls in the South Pacific; its area is the size of Alaska but the amount of dry land remaining could fit within Manhattan.

(Image 5 of 6)

PhotoServe/Contact Info
Ciril Jazbec
SChool: London College of Communication
Moved by the story of the disappearing islands of Kiribati, I have endeavored to capture the essence of the place while it is still possible. Through encounters with people, activists and the president, I address environmental issues and offer a testament to the population's spirit.

The story of Kiribati mirrors modern life in many developing Pacific countries which have experienced hardship due to global warming and rising sea levels. Kiribati is a small island nation of 33 atolls in the South Pacific; its area is the size of Alaska but the amount of dry land remaining could fit within Manhattan.

(Image 6 of 6)

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Julia
Kozerski

Julia Kozerski
SChool: Milwaukee Institute of Art & Design
An image from "Half," a series of nude self portraits that serve as reflections of my experience losing 160 pounds. These honest images explore my physically and emotionally painful struggles with food, obsession, self-control and self-image.
(Image 1 of 6)

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Julia Kozerski
SChool: Milwaukee Institute of Art & Design
An image from "Half," a series of nude self portraits that serve as reflections of my experience losing 160 pounds. These honest images explore my physically and emotionally painful struggles with food, obsession, self-control and self-image.
(Image 2 of 6)

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Julia Kozerski
SChool: Milwaukee Institute of Art & Design
An image from "Half," a series of nude self portraits that serve as reflections of my experience losing 160 pounds. These honest images explore my physically and emotionally painful struggles with food, obsession, self-control and self-image.
(Image 3 of 6)

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Julia Kozerski
SChool: Milwaukee Institute of Art & Design
An image from "Half," a series of nude self portraits that serve as reflections of my experience losing 160 pounds. These honest images explore my physically and emotionally painful struggles with food, obsession, self-control and self-image.
(Image 4 of 6)

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Julia Kozerski
SChool: Milwaukee Institute of Art & Design
An image from "Half," a series of nude self portraits that serve as reflections of my experience losing 160 pounds. These honest images explore my physically and emotionally painful struggles with food, obsession, self-control and self-image.
(Image 5 of 6)

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Julia Kozerski
SChool: Milwaukee Institute of Art & Design
An image from "Half," a series of nude self portraits that serve as reflections of my experience losing 160 pounds. These honest images explore my physically and emotionally painful struggles with food, obsession, self-control and self-image.
(Image 6 of 6)

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Carly
Reichert

Carly Reichert
school: Rocky Mountain School of Photography, Missoula, Montana
"Images from a series featuring the photographer's idea of a perfect summer day."
(Image 1 of 5)

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Carly Reichert
school: Rocky Mountain School of Photography, Missoula, Montana
"Images from a series featuring the photographer's idea of a perfect summer day."
(Image 2 of 5)

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Carly Reichert
school: Rocky Mountain School of Photography, Missoula, Montana
"Images from a series featuring the photographer's idea of a perfect summer day."
(Image 3 of 5)

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Carly Reichert
school: Rocky Mountain School of Photography, Missoula, Montana
"Images from a series featuring the photographer's idea of a perfect summer day."
(Image 4 of 5)

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Carly Reichert
school: Rocky Mountain School of Photography, Missoula, Montana
"Images from a series featuring the photographer's idea of a perfect summer day."
(Image 5 of 5)

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Ivan
Benavides

Ivan Benavides
school: The Art Institute of San Antonio
"Fallout: A modern take on the cold war" is a series of what I believe portraits would look like during a time of nuclear warfare. These portraits are of the few men and women who have survived a hypothetical nuclear disaster.
(Image 1 of 6)

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Ivan Benavides
school: The Art Institute of San Antonio
"Fallout: A modern take on the cold war" is a series of what I believe portraits would look like during a time of nuclear warfare. These portraits are of the few men and women who have survived a hypothetical nuclear disaster.
(Image 2 of 6)

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Ivan Benavides
school: The Art Institute of San Antonio
"Fallout: A modern take on the cold war" is a series of what I believe portraits would look like during a time of nuclear warfare. These portraits are of the few men and women who have survived a hypothetical nuclear disaster.
(Image 3 of 6)

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Ivan Benavides
school: The Art Institute of San Antonio
"Fallout: A modern take on the cold war" is a series of what I believe portraits would look like during a time of nuclear warfare. These portraits are of the few men and women who have survived a hypothetical nuclear disaster.
(Image 4 of 6)

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Ivan Benavides
school: The Art Institute of San Antonio
"Fallout: A modern take on the cold war" is a series of what I believe portraits would look like during a time of nuclear warfare. These portraits are of the few men and women who have survived a hypothetical nuclear disaster.
(Image 5 of 6)

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Ivan Benavides
school: The Art Institute of San Antonio
"Fallout: A modern take on the cold war" is a series of what I believe portraits would look like during a time of nuclear warfare. These portraits are of the few men and women who have survived a hypothetical nuclear disaster.
(Image 6 of 6)

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Michael Anthony
Schmidt

Michael Anthony Schmidt
school: The Art Institute of San Antonio
School: School of Visual Arts, New York City
A series of black-and-white portraits.
(Image 1 of 6)

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Michael Anthony Schmidt
school: The Art Institute of San Antonio
School: School of Visual Arts, New York City
A series of black-and-white portraits.
(Image 2 of 6)

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Michael Anthony Schmidt
school: The Art Institute of San Antonio
School: School of Visual Arts, New York City
A series of black-and-white portraits.
(Image 3 of 6)

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Michael Anthony Schmidt
school: The Art Institute of San Antonio
School: School of Visual Arts, New York City
A series of black-and-white portraits.
(Image 4 of 6)

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Michael Anthony Schmidt
school: The Art Institute of San Antonio
School: School of Visual Arts, New York City
A series of black-and-white portraits.
(Image 5 of 6)

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Michael Anthony Schmidt
school: The Art Institute of San Antonio
School: School of Visual Arts, New York City
A series of black-and-white portraits.
(Image 6 of 6)

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Olga
Kravets

Olga Kravets
School: London College of Communication
PublicAtionS: The New York Times Lens blog; El País magazine; NRC Handelsblad
Fixer: Milorad Batinic
"Uhvatio Maglu/Tracing Ratko Mladic." A photographic representation of fugitive war criminal and bosnian Serb general Ratko Mladic via the places he lived, hid and visited. Mladic, responsible for the Srebrenica massacre, was finally captured in 2011 after 16 years on the run. Above: A portrait of Mladic in the restaurant balkan, outside of the town of han Pijesak. the resturant owner complained that the police used to arrest him for displaying Mladic's picture.
(Image 1 of 6)

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Olga Kravets
School: London College of Communication
PublicAtionS: The New York Times Lens blog; El País magazine; NRC Handelsblad
Fixer: Milorad Batinic
"Uhvatio Maglu/Tracing Ratko Mladic." A photographic representation of fugitive war criminal and bosnian Serb general Ratko Mladic via the places he lived, hid and visited. Mladic, responsible for the Srebrenica massacre, was finally captured in 2011 after 16 years on the run. Above: The forest surrounding Mladic's now sealed bunker a few kilometers from the town of Han Pijesak.
(Image 2 of 6)

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Olga Kravets
School: London College of Communication
PublicAtionS: The New York Times Lens blog; El País magazine; NRC Handelsblad
Fixer: Milorad Batinic
"Uhvatio Maglu/Tracing Ratko Mladic." A photographic representation of fugitive war criminal and bosnian Serb general Ratko Mladic via the places he lived, hid and visited. Mladic, responsible for the Srebrenica massacre, was finally captured in 2011 after 16 years on the run.
(Image 3 of 6)

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Olga Kravets
School: London College of Communication
PublicAtionS: The New York Times Lens blog; El País magazine; NRC Handelsblad
Fixer: Milorad Batinic
"Uhvatio Maglu/Tracing Ratko Mladic." A photographic representation of fugitive war criminal and bosnian Serb general Ratko Mladic via the places he lived, hid and visited. Mladic, responsible for the Srebrenica massacre, was finally captured in 2011 after 16 years on the run.
(Image 4 of 6)

PhotoServe/Contact Info
Olga Kravets
School: London College of Communication
PublicAtionS: The New York Times Lens blog; El País magazine; NRC Handelsblad
Fixer: Milorad Batinic
"Uhvatio Maglu/Tracing Ratko Mladic." A photographic representation of fugitive war criminal and bosnian Serb general Ratko Mladic via the places he lived, hid and visited. Mladic, responsible for the Srebrenica massacre, was finally captured in 2011 after 16 years on the run.
(Image 5 of 6)

PhotoServe/Contact Info
Olga Kravets
School: London College of Communication
PublicAtionS: The New York Times Lens blog; El País magazine; NRC Handelsblad
Fixer: Milorad Batinic
"Uhvatio Maglu/Tracing Ratko Mladic." A photographic representation of fugitive war criminal and bosnian Serb general Ratko Mladic via the places he lived, hid and visited. Mladic, responsible for the Srebrenica massacre, was finally captured in 2011 after 16 years on the run.
(Image 6 of 6)

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Tobin
Jones

Tobin Jones
Student Winner of the Marty Forscher Fellowship Fund



school: University of Westminster, London
Kibera is Kenya's largest slum and is estimated to be home to nearly one million residents. Above: Mama Africa, as she likes to be called, is one of the many sex workers who call Kibera home.
(Image 1 of 6)

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Tobin Jones
Student Winner of the Marty Forscher Fellowship Fund



school: University of Westminster, London
A child peers in through the window of a bar. Bars are some of Kibera's most thriving businesses. Everyday after work throngs of men crowd these bars to socialize and forget about the daily realities of life.
(Image 2 of 6)

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Tobin Jones
Student Winner of the Marty Forscher Fellowship Fund



school: University of Westminster, London
A sex worker waits in a bar for customers. Sexual inequality is still a huge problem in Kibera, with men almost always having authority over women in the slum. Combined with alcohol, this makes for an atmosphere in which women can rarely say no to a man.
(Image 3 of 6)

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Tobin Jones
Student Winner of the Marty Forscher Fellowship Fund



school: University of Westminster, London
A young man drinks and smokes with two sex workers. Most men in Kibera, unable to afford bottled beer, rely on illegally brewed local beer and the more potent liquor changa'a.
(Image 4 of 6)

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Tobin Jones
Student Winner of the Marty Forscher Fellowship Fund



school: University of Westminster, London
A sex worker with one of her customers. Monica is one of the older prostitutes in Kibera, having started when she was just 16. Her reason for starting? Money. According to her, "If you're a lady and want money, you have to go to the men."
(Image 5 of 6)

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Tobin Jones
Student Winner of the Marty Forscher Fellowship Fund



school: University of Westminster, London
A sex worker at home with her family. Even though most in Kibera have relatively easy access to condoms and the threat of HIV is all around, many men refuse to use them. One consequence of this is unwanted pregnancies, with many prostitutes mothering illegitimate children from a host of different men.
(Image 6 of 6)

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Ashley
Kauschinger

Ashley Kauschinger
school: Texas Woman's University, Denton
Images from the series "Hot Skin," which compiles autobiographical, staged dramas that reflect upon the past and present through the investigation of themes and symbols such as sex, transition and family connections.
(Image 1 of 6)

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Ashley Kauschinger
school: Texas Woman's University, Denton
Images from the series "Hot Skin," which compiles autobiographical, staged dramas that reflect upon the past and present through the investigation of themes and symbols such as sex, transition and family connections.
(Image 2 of 6)

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Ashley Kauschinger
school: Texas Woman's University, Denton
Images from the series "Hot Skin," which compiles autobiographical, staged dramas that reflect upon the past and present through the investigation of themes and symbols such as sex, transition and family connections.
(Image 3 of 6)

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Ashley Kauschinger
school: Texas Woman's University, Denton
Images from the series "Hot Skin," which compiles autobiographical, staged dramas that reflect upon the past and present through the investigation of themes and symbols such as sex, transition and family connections.
(Image 4 of 6)

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Ashley Kauschinger
school: Texas Woman's University, Denton
Images from the series "Hot Skin," which compiles autobiographical, staged dramas that reflect upon the past and present through the investigation of themes and symbols such as sex, transition and family connections.
(Image 5 of 6)

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Ashley Kauschinger
school: Texas Woman's University, Denton
From the series "Hot Skin," which compiles autobiographical, staged dramas that reflect upon the past and present through the investigation of themes and symbols such as sex, transition and family connections.
(Image 6 of 6)

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Justin
Trupiano

Justin   
Trupiano nbsp;  
School: College for Creative Studies, Detroit
"Fan and Spoon."


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Beth
Devillier

Beth Devillier
School: The University of Texas at San Antonio
This body of work is an exploration of the emotions associated with the lack of an emotional relationship with my dad. he was always present in my life, but being a businessman, showed little interest in my siblings and I. The objects used throughout the images allude to things associated with my father and/or childhood.
(Image 1 of 6)

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Beth Devillier
School: The University of Texas at San Antonio
This body of work is an exploration of the emotions associated with the lack of an emotional relationship with my dad. he was always present in my life, but being a businessman, showed little interest in my siblings and I. The objects used throughout the images allude to things associated with my father and/or childhood.
(Image 2 of 6)

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Beth Devillier
School: The University of Texas at San Antonio
This body of work is an exploration of the emotions associated with the lack of an emotional relationship with my dad. he was always present in my life, but being a businessman, showed little interest in my siblings and I. The objects used throughout the images allude to things associated with my father and/or childhood.
(Image 3 of 6)

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Beth Devillier
School: The University of Texas at San Antonio
This body of work is an exploration of the emotions associated with the lack of an emotional relationship with my dad. he was always present in my life, but being a businessman, showed little interest in my siblings and I. The objects used throughout the images allude to things associated with my father and/or childhood.
(Image 4 of 6)

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Beth Devillier
School: The University of Texas at San Antonio
This body of work is an exploration of the emotions associated with the lack of an emotional relationship with my dad. he was always present in my life, but being a businessman, showed little interest in my siblings and I. The objects used throughout the images allude to things associated with my father and/or childhood.
(Image 5 of 6)

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Beth Devillier
School: The University of Texas at San Antonio
This body of work is an exploration of the emotions associated with the lack of an emotional relationship with my dad. he was always present in my life, but being a businessman, showed little interest in my siblings and I. The objects used throughout the images allude to things associated with my father and/or childhood.
(Image 6 of 6)

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Liz
Arenberg

Liz Arenberg
schooLs: Pratt Institute and School of Visual Arts, New York City
"You see Me" is an ongoing study of my younger sister, Molly. there is a complex push and pull in these photographs. Molly and I love each other but are still mired in the constant combat of our childhood.
(Image 1 of 6)

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Liz Arenberg
schooLs: Pratt Institute and School of Visual Arts, New York City
"You see Me" is an ongoing study of my younger sister, Molly. there is a complex push and pull in these photographs. Molly and I love each other but are still mired in the constant combat of our childhood.
(Image 2 of 6)

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Liz Arenberg
schooLs: Pratt Institute and School of Visual Arts, New York City
"You see Me" is an ongoing study of my younger sister, Molly. there is a complex push and pull in these photographs. Molly and I love each other but are still mired in the constant combat of our childhood.
(Image 3 of 6)

PhotoServe/Contact Info
Liz Arenberg
schooLs: Pratt Institute and School of Visual Arts, New York City
"You see Me" is an ongoing study of my younger sister, Molly. there is a complex push and pull in these photographs. Molly and I love each other but are still mired in the constant combat of our childhood.
(Image 4 of 6)

PhotoServe/Contact Info
Liz Arenberg
schooLs: Pratt Institute and School of Visual Arts, New York City
"You see Me" is an ongoing study of my younger sister, Molly. there is a complex push and pull in these photographs. Molly and I love each other but are still mired in the constant combat of our childhood.
(Image 5 of 6)

PhotoServe/Contact Info
Liz Arenberg
schooLs: Pratt Institute and School of Visual Arts, New York City
"You see Me" is an ongoing study of my younger sister, Molly. there is a complex push and pull in these photographs. Molly and I love each other but are still mired in the constant combat of our childhood.

(Image 6 of 6)

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Oxana
Onipko

Oxana Onipko
schooL: The Rodchenko Moscow School of Photography and Multimedia
The mountainous Caucasus region has a long-running history of religious, political and military conflict from Tsarist times to the present. Two wars in Chechnya made news in the Nineties, for example.

While those conflicts may have subsided, others have arisen—most notably in the republic of Dagestan. Here Russian federal forces fight an increasingly horrific campaign against an insurgency increasing in size and tenacity. While away from the headlines, the conflict takes its toll on ordinary citizens.
(Image 1 of 6)

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Oxana Onipko
schooL: The Rodchenko Moscow School of Photography and Multimedia
The mountainous Caucasus region has a long-running history of religious, political and military conflict from Tsarist times to the present. Two wars in Chechnya made news in the Nineties, for example.

While those conflicts may have subsided, others have arisen—most notably in the republic of Dagestan. Here Russian federal forces fight an increasingly horrific campaign against an insurgency increasing in size and tenacity. While away from the headlines, the conflict takes its toll on ordinary citizens.

(Image 2 of 6)

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Oxana Onipko
schooL: The Rodchenko Moscow School of Photography and Multimedia
The mountainous Caucasus region has a long-running history of religious, political and military conflict from Tsarist times to the present. Two wars in Chechnya made news in the Nineties, for example.

While those conflicts may have subsided, others have arisen—most notably in the republic of Dagestan. Here Russian federal forces fight an increasingly horrific campaign against an insurgency increasing in size and tenacity. While away from the headlines, the conflict takes its toll on ordinary citizens.

(Image 3 of 6)

PhotoServe/Contact Info
Oxana Onipko
schooL: The Rodchenko Moscow School of Photography and Multimedia
The mountainous Caucasus region has a long-running history of religious, political and military conflict from Tsarist times to the present. Two wars in Chechnya made news in the Nineties, for example.

While those conflicts may have subsided, others have arisen—most notably in the republic of Dagestan. Here Russian federal forces fight an increasingly horrific campaign against an insurgency increasing in size and tenacity. While away from the headlines, the conflict takes its toll on ordinary citizens. Above: A Dagestani man visiting the grave of his son who was killed in unclear circumstances.

(Image 4 of 6)

PhotoServe/Contact Info
Oxana Onipko
schooL: The Rodchenko Moscow School of Photography and Multimedia
The mountainous Caucasus region has a long-running history of religious, political and military conflict from Tsarist times to the present. Two wars in Chechnya made news in the Nineties, for example.

While those conflicts may have subsided, others have arisen—most notably in the republic of Dagestan. Here Russian federal forces fight an increasingly horrific campaign against an insurgency increasing in size and tenacity. While away from the headlines, the conflict takes its toll on ordinary citizens.

(Image 5 of 6)

PhotoServe/Contact Info
Oxana Onipko
schooL: The Rodchenko Moscow School of Photography and Multimedia
The mountainous Caucasus region has a long-running history of religious, political and military conflict from Tsarist times to the present. Two wars in Chechnya made news in the Nineties, for example.

While those conflicts may have subsided, others have arisen—most notably in the republic of Dagestan. Here Russian federal forces fight an increasingly horrific campaign against an insurgency increasing in size and tenacity. While away from the headlines, the conflict takes its toll on ordinary citizens.

(Image 6 of 6)

PhotoServe/Contact Info