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Yesterday marked World Refugee Day, as the United Nations high commissioner for refugees, António Guterres, visited Jordan to highlight the 1.6 million registered people who have fled the ongoing conflict in Syria. The UN refugee agency, which was set up in 1950 to aid those still displaced after World War II, reports that there are some 10.5 million refugees worldwide. -- Lloyd Young ( 29 photos total)
Afghan refugee children, swim in muddy water created from a broken water pipe, on the outskirts of Islamabad, Pakistan, on June 17. Pakistan hosts over 1.6 million registered Afghans, the largest and most protracted refugee population in the world, according to the UN refugee agency. (Muhammed Muheisen/Associated Press)     

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Today marks World Refugee Day, which the United Nations uses to raise awareness of the plight of the estimated 42 million displaced people worldwide. A UN report released this week showed that 800,000 people were forced to flee across borders last year -- more than any time since 2000. In a message to mark the day, UN Secretary General Ban Ki-moon said, "Refugees leave because they have no choice. We must choose to help." -- Lloyd Young (30 photos total)
A Myanmar ethnic Rohingya child preparing for a midday prayer on April 23 inside a community school in Klang, a port town 30 kilometres west of Kuala Lumpur. Malaysia is observing World Refugee Day along with other countries of the world, there are over 98,000 refugees and asylum-seekers registered with UNHCR in Malaysia. (Saeed Khan/AFP/Getty Images)

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In 2008, photojournalist Alixandra Fazzina, who lives in Pakistan, began to stumble across stories of young Afghan refugees, children who were fleeing the country for Europe. Soon after she noticed the phenomenon, she visited a refugee camp in Afghanistan, where she witnessed the funeral of a boy who had died trying to cross from Turkey to Greece. Then, on the same visit, at a hospital, she met a boy who had lost his legs—not as she initially assumed, from a land mine, but as a consequence of having been kidnapped and tortured when trying to go west. “All the time he just kept saying he wanted to get the Europe again, despite the risks. He was just so convinced that there was absolutely no future for him as a young Afghan,” Fazzina says. The last time she saw him was in Greece, where he had again fled, the second time losing the prosthetic legs he had needed after his first attempt at emigration. “He was very lucky to survive that far, and he wasn’t done yet.”

The phenomenon that Fazzina observed first-hand was soon confirmed by statistics. The photographer noted a 64% jump in the number of underage Afghan refugees applying for asylum in Europe in 2010. With money that came that same year with her recognition by UNHCR (the United Nations High Commissioner for Refugees) as the first journalist to win the prestigious Nansen Refugee Award, along with the support of the Norwegian government, Fazzina began a project to document the hardships faced by young people making that journey from Afghanistan.

That project, Flowers of Afghanistan, is now about one-third completed; Fazzina is planning to continue her work in Iran, Pakistan and Italy in the coming months. “When the U.S. leaves, we’re on the brink of civil war,” she says. “It’s very important to me to be highlighting this at this point in time. It’s very important for people to realize that Afghanistan isn’t a success story.”

Although Fazzina had intended to follow the boys—and the very few girls who make the trip—along the road, photographing them, she has found that the journeys are rarely linear. Before they leave home, the boys hide their travel plans, often even from their parents; smugglers, Fazzina says, warn them that to tell will cast a jinn, a bad spirit, on their travels. And once they leave home, false starts are likely; kidnapping is frequent and deportation is a possibility even for children who seek asylum. Instead, Fazzina says she relies on networks and word of mouth, and perhaps the trust that is more easily won by a woman, to find the refugees at each stop along the way. She says that even smugglers, once they hear about her project, will reach out and provide information about their whereabouts. “Of course I want to see them traveling, but I’m not interested in photographing the smugglers themselves, so a lot of what I’ve been getting has been, in photography terms, very quiet pictures,” she says. Her photos from the series are often dark, capturing a moment of furtive rest or a person who must stay in the shadows, but stillness and gloom does not mean calm. “When I take a step back,” she says, “I often wonder if people really understand how dangerous it was.”

And the more time Fazzina has spent in that shadowy world, the clearer the patterns have become. About half the boys, she says, are fatherless due to war or sickness, thrusting them into positions of responsibility in their families. They are from the least stable provinces in the country. Recently, she met some children in Peshawar who had given up or been deported back to Afghanistan, and noticed another level of pattern. “I started to talk to them about the journey, and it was the same places, the same hotels they were held hostage in,” she says. “It’s very shocking and repetitive.”

Even though Fazzina has rarely been able to literally follow the boys she photographs, she has found that there’s a virtual way to keep track of them: through their own photographs, on Facebook. “I see a boy I’ve met and his pictures of himself in Athens, taken with fast cars and in tourist locations and in borrowed clothes, whereas the reality was he was living in a hotel, like a squat, that was being run by the smuggling mafia, full of prostitutes and drugs. It was a million miles from the pictures he showed,” she says. Unfortunately, that brave face can encourage others to try to make the dangerous journey themselves.

She once tried to make those photos that the boys take of themselves into something more true. One 16-year-old she met was passionate about photography. He was, she says, a “genius” at it. He wanted to be a filmmaker. After he survived for six days in a trucking container and arrived in Rome, Fazzina tried to get a camera to him through her colleagues in Italy. By that time he had left for Paris. They spoke by phone. He said that he had been told that he was too old when he went to a children’s home and that he was too young when he went to a refuge for adults. He was sleeping on the streets, in the winter, in the snow. She still hadn’t gotten a camera to him. He didn’t call again. “He just moved on. He disappeared. I have no idea what happened to him,” she says. “I am fearful what his fate is.”

Alixandra Fazzina is a British photojournalist. She is represented by NOOR Images and is the 2010 recipient of the UNHCR Nansen Refugee Award. More information about Flowers of Afghanistan is available here.

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German photographer Peter Bialobrzeski’s new book “The Raw and the Cooked” stakes out territory midway between the sweeping poetics of Sebastião Salgado and the surgical precision of Andreas Gursky. Here is a world of contrasts in Asian megacities–the rich and the poor, the old and the new in harsh polarity. It is a world of reversals where artificial light has turned night into day. Time exposures reveal skyscrapers are haloed by lighted cranes circling at night as the buildings are erected, and see-through people rush through the streets like ghosts. Mr. Bialobrzeski writes in a recent email, explaining the book’s title:

“The title ‘The Raw and the Cooked’ describes a journey from the raw and poor settlements of the underprivileged of a modern megalopolis to the sophisticated 40-story settlements of the new urban elites. In a way the book describes a fictional history of the civilization and cultural shape of a city of the 21st century. ‘The Raw and the Cooked’ is also chosen as a reference to the thoughts of Claude Lévi-Strauss, the famous French anthropologist who used the phrase first to name one of his books.”

Mr. Bialobrzeski’s urban landscapes leave you blinking, dazed at the spectacle before you. Culture, in the form of concrete and glass and advertising, has become nature, where skyscrapers sprout like trees and concrete runs in rivers. The world will never be the same again.

Singapore 2008

Hanoi 2007

Manila 2008

Manila 2008

Shanghai 2010

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NBC News producer Baruch Ben-Chorin just returned from Turkana, a remote region in northwestern Kenya badly hit by the drought that is afflicting parts of East Africa.  While the international community has focused largely on suffering in Somalia, relief workers say close to 40 percent of Turkana's population is suffering from hunger and malnutrition. 

While concentrating on his main task of producing, Ben-Chorin took pictures for himself and his friends and family.

Editor's note: These images were altered by a software application that uses filters to mimic the effects of shooting with an antique plastic film camera, even though they were taken with a modern digital phone camera.

Baruch Ben-Chorin / NBC News

A hut in the village of Kalapata, Turkana region, Kenya. Most of the people in Turkana live in small villages like Kalapata, depending on their herds for their livelihood. But the drought has killed most of their animals, and left them with nothing. Their traditional way of life may not survive.


Baruch Ben-Chorin / NBC News

A boy, foreground, receives food for the first time in two weeks at a Red Cross feeding point at a school. His father died in the famine in Loitanit, North Turkana. The drought over the last five years has devastated this region. In some parts the the region close to 40 percent of the people are malnourished.

Baruch Ben-Chorin / NBC News

A child collects maize grains from the ground.

 Ben-Chorin wrote the following upon his return from the region:

I've used my iPhone to take pictures while on assignment or on the road for a while, and discovered the Hipstamatic application while playing around with it.  I find the low-tech, old-fashioned look appealing, and there is always a sense of mystery in the resulting picture.  This technique adds an interesting dimension that allows me to focus beyond the immediate, which a regular camera doesn’t.

These photographs were taken during a three-day trip to the remote Turkana region, which has been badly affected by the long drought in the Horn of Africa. Because it is so remote, and to some extent ignored by the Kenyan government, there is little reporting about widespread hunger and malnutrition in Turkana. But it is bad, very bad. We visited a number of communities and witnessed these proud and beautiful people who have maintained their traditional way of life for thousands of years struggle to survive.

Baruch Ben-Chorin / NBC News

Turkana women waiting for food distribution in the village of Kalapata. Five people have died of hunger in this village alone over the last few months.

Baruch Ben-Chorin / NBC News

Turkana women. The people of Turkana are beautiful, proud and gracious, living a traditional life that dates back thousand of years.

Baruch Ben-Chorin / NBC News

Not far from the worst famine stricken areas, the USAID-sponsored Morulem project offers a sign of hope. The simple irrigation project has created vast green fields of maize and sorghum that feeds 3,000 households in the Lokori area. People here have a surplus of food that they can store or sell.


Watch an NBC News report from Turkana:

Rohit Kachroo reports from Turkana, in north-western Kenya, where famine is spreading deeper into the country causing many Kenyans to turn their attention away from the crisis in Somalia and work towards relieving the hunger within its own borders.

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Their homelands are torn by war, economic distress, political strife, or environmental collapse. They choose to leave, or have no choice. They're called migrants, refugees, or internally displaced people. The labels are inadequate as often circumstances could allow all three descriptions, or some combination of them. Once in their new countries, they face difficult transitions, discrimination, or outright hostility. Host countries are burdened with the economic and political repercussions of the arrivals, while home nations are sometimes saddled with a "brain drain" of their most important human resources. Immigration is a hot-button issue in the American presidential race, and a wave of new arrivals from Libya to Italy has left the European Union struggling with decisions over the Schengen policy of borderless travel between member nations. Gathered here are images of some of the estimated 214 million people worldwide in the process of redefining what "home" means to them. -- Lane Turner (47 photos total)
Rescuers help people in the sea after a boat carrying some 250 migrants crashed into rocks as they tried to enter the port of Pantelleria, an island off the southern coast of Italy, on April 13. Italy is struggling to cope with a mass influx of immigrants from north Africa, many of whom risk their lives by sailing across the often stormy Meditteranean in makeshift vessels. (Francesco Malavolta/AFP/Getty Images)

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