Family is such a fundamental part of Islam, and women run the family. I had to force myself not to impose my own definition of political and social freedom on women in Islam, and approach each story objectively.
From Lynsey Addario
I was kidnapped by Sunni insurgents near Fallujah, in Iraq, ambushed by the Taliban in the Korengal Valley in Afghanistan, and injured in a car accident that killed my driver while covering the Taliban occupation of the Swat Valley in Pakistan.
It's very hard to turn your back once you're aware of what's going on, and you're aware of the injustices, and you're aware of the civilian casualties. It's much easier if you have no idea and you've never seen it.
I started freelancing for the Associated Press. I had a great mentor there who sort of taught me everything.
Where in the world would I rather be than on the front line of history?
My strength is looking for composition and light, and I think those things come in the quieter times of war or photographing people affected on the margins of war - civilians, refugees; that is where I really excel.
With each assignment, I weigh the looming possibility of being killed, and I chastise myself for allowing fear to hinder me. War photographers aren't supposed to get scared.
With photography, I always think that it's not good enough.
If I'm doing a story on how a single mother copes in a refugee camp, I'll go to her tent; I'll follow her when she's working, see what her daily life is like, and try to pack that into one composition, with nice light, in one frame.
I interviewed dozens and dozens of African women who had endured more hardship and trauma than most Westerners even read about, and they ploughed on. I often openly cried during interviews, unable to process this violence and hatred towards women I was witnessing.
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