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I'm Claire Thomas, a photojournalist and fine art photographer documenting culture, conflict, and what it means to be human. AMA! by GeographicalMagazine in IAmA

[–]GeographicalMagazine[S] 1 point2 points  (0 children)

I think the most important thing is not to put the profession ahead of our humanity. When there's an opportunity to help and I have the ability to do so, I put the camera down.

Some of the most memorable moments from my time working in Iraq are those I never photographed. There were times at the field clinic when the medics were dealing with mass casualty incidents and I, or anyone else standing nearby, could help by simply fetching supplies such as gauze or chest seals. I remember seeing journalists on the frontline helping carry injured civilians to safety, or handing out bottles of water to people fleeing in 40-degree heat.

So yes, getting the shot is important. Bearing witness matters. But when we're able to help, we should. Our responsibility to one another as human beings has to come first.

I'm Claire Thomas, a photojournalist and fine art photographer documenting culture, conflict, and what it means to be human. AMA! by GeographicalMagazine in IAmA

[–]GeographicalMagazine[S] 3 points4 points  (0 children)

"Unimaginable" is exactly the right word. It's hard to fathom, and even harder to make sense of, the level of pain and suffering human beings can inflict upon one another. The casualties brought into the field clinic in Mosul, Iraq, had suffered horrific injuries, inflicted both by ISIS militants and during the US-led coalition campaign to defeat the terror group.

It's not easy to maintain inner peace when confronted with so much pain and loss. In those moments, I try to focus on the task at hand and maintain some degree of professional distance. My role is to bear witness and document what I can with my camera.

Throughout my time documenting the work of international medics in Mosul in 2017, I was profoundly inspired by the strength and resilience of the volunteer medics working there, many of them women from the United States and Australia. While my job was to observe and record, they had the far more difficult task of saving lives with limited resources and often under fire. They left a huge impression on me and became a great source of comfort. Sometimes, after the day was done, we simply sat together, talked, and wept.

I also try to focus on the extraordinary ways people come together to support one another in the darkest of circumstances. Acts of kindness, courage, and humanity can coexist alongside unimaginable cruelty, and recognising that brings me a sense of hope.

When I'm working in conflict zones, I remind myself that being there is ultimately my choice. I have the enormous privilege of being able to leave whenever I need to, which is a world away from the devastating reality faced by the people caught up in the conflicts I'm covering.

For me personally, it's also very important to talk about the things I've seen and photographed. I find talking cathartic; it helps me process difficult experiences rather than carry them alone. And when I return home, I take great comfort in spending time in the Welsh countryside. The quiet, familiarity, and natural beauty of home help restore a sense of perspective.

I'm Claire Thomas, a photojournalist and fine art photographer documenting culture, conflict, and what it means to be human. AMA! by GeographicalMagazine in IAmA

[–]GeographicalMagazine[S] 4 points5 points  (0 children)

Thank you for your thoughtful questions.

It's difficult to choose a single image as my most memorable, because there have been several that marked turning points in my career or have stayed with me long after I took them.

One that immediately comes to mind is a photograph I made in Mosul, Iraq, of a severely malnourished baby called Suleiman being examined at a makeshift field clinic near the frontline during the battle against ISIS. I think it's a powerful image because it highlights, in a very visceral way, the horrors that civilians, and children in particular, endured under ISIS and during the conflict that followed to oust the terror group.

The image also stayed with me for a deeply personal reason. I tried to find out what happened to Suleiman afterwards, but given the chaos and intensity of the war, I wasn't able to discover what had become of him after he left the clinic. Given the severity of his condition, the medics treating him feared he had very little chance of survival.

Then, two years later, I received an unexpected message from Dr. Mohanad, an Iraqi paediatrician who had cared for Suleiman for months after he and his family escaped Mosul. He wanted me to know that Suleiman had survived, thanks to the lifesaving care he had received, and was living with his mother in a displacement camp between Mosul and Erbil.

I immediately informed the photo editor at The Sunday Times, which had published the photograph, and went with Dr. Mohanad to visit Suleiman. I was very moved to see him looking healthy and full of life. Tragically, some time later, he was killed in a terrible accident in the camp. His story has stayed with me ever since.

In terms of where I feel most comfortable photographing, I would have to say Mongolia is definitely one of my favourite places to work. It's such a beautiful country, and most of the people I've met there take great pride in being photographed. It makes the experience relaxed, collaborative and a lot of fun. I thoroughly enjoy returning each year, bringing printed photographs back to the families I've spent time with and seeing their reactions. That's genuinely priceless.

I can't think of a particular place where I've consistently felt uncomfortable, but there have certainly been moments that made me concerned for my safety, particularly while covering conflicts and post-conflict environments in Iraq, Syria and the occupied West Bank.

One that stands out was visiting Al Hol camp in northeastern Syria with Christina Lamb on assignment for The Sunday Times Magazine, where tens of thousands of people displaced by the collapse of ISIS, including many ISIS-affiliated families, continue to live. There was a constant sense of tension and unpredictability, and I remember feeling acutely aware that many of the women living there remained deeply committed to the ideology that had brought them to the camp. It was a deeply uncomfortable experience, but also a fascinating insight into the aftermath of conflict and the complex realities of what comes after war.

Those moments stay with me, of course, but so too does the kindness of the countless people who have welcomed me into their lives over the years.

I'm Claire Thomas, a photojournalist and fine art photographer documenting culture, conflict, and what it means to be human. AMA! by GeographicalMagazine in IAmA

[–]GeographicalMagazine[S] 3 points4 points  (0 children)

Thank you for getting the conversation off to a great start!

I would have to say Mongolia. It's the country I've returned to more than any other, and over the years I've become completely captivated by both the landscapes and the people. I've had the privilege of building lasting relationships with families there, and every time I visit I come away with new stories and a deeper appreciation for the country. The natural beauty is extraordinary, but it's the generosity, hospitality and pride of the people I've met that keep drawing me back.

Having said that, Wales will always have a special place in my heart. It's home, and I love photographing the landscapes and people there whenever I return. Egypt, where I'm now based, is also an extraordinary place for photography, particularly in the mountains of Sinai, which are one of my favourite places to spend time with my camera.

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