Photographing the Iraq the World Doesn't See
It began as therapy, but it will always be an art form: Abbas Raad uses photography as a tool to restore the truth and promote dialogue between religious groups. “The situation in Iraq is evolving, but it still faces major challenges.”
For four decades, Iraq has been shaped by a series of blows: the war with Iran in the 1980s, the invasion of Kuwait and the embargo in the 1990s, the U.S. occupation in 2003, and the rise of the Islamic State in 2014. Each episode brought destruction, but also distorted the country’s very image, its traditions, and its ambitions.
While the West still views Iraq through the lens of war and extremism, artists like Abbas Raad are rewriting the narrative. Iraq is not just being rebuilt; it is being retold. Photography, the 34-year-old photographer asserts, is a tool for “restoring the truth.” On social media and beyond, there is a new generation of creatives challenging rampant Islamophobia with the truth—which helps an entire society heal from the West’s gross misrepresentation.
Iraq: Time has distorted the narrative. Can photography help restore the truth?
Photography is not merely a means of capturing moments in time, but a tool for restoring the truth—or, at the very least, offering an unbiased view of events. Over time, historical narratives become distorted, intentionally or not, due to differing interpretations or a lack of accurate documentation. This is where the image comes into play: it possesses a documentary power that goes beyond words, as it captures reality as it is, without distortion or manipulation. I try to present photos that embody the truth at their core or, at the very least, open the door to a reinterpretation of history free from narrative manipulation. Perhaps a photo cannot be completely neutral, but it offers a visual dimension that helps build a deeper understanding of what actually happened.
How did you decide to use photography as a tool?
I started taking photos in 2012, learning from friends and websites after dropping out of school due to difficult circumstances I faced. This led me into a state of psychological isolation, and my camera was my only form of therapy. The main reason I went out to take photos was to escape the psychological distress caused by dropping out of school.
What are the biggest challenges when photographing religion?
One of the biggest challenges is respecting the sacredness of the moment. When people are in a state of worship, they are in a world of their own, spiritually connected to God. As a photographer, I try to convey those feelings and emotions without interrupting or affecting those moments. The challenge lies in balancing the capture of an image that reflects the spiritual atmosphere without interfering with the person’s experience. Sometimes, the solution is to photograph from a distance or wait for moments that capture the essence without causing distraction.
How do you balance cultural and religious sensitivities with artistic expression?
This balance is the central challenge in my work. I believe that art should be able to innovate and express itself in non-traditional ways, but without losing respect for cultural and religious contexts. I address this by thoroughly researching the subjects I photograph, understanding their religious and social dimensions, and seeking artistic angles that highlight their essence without conflict. Sometimes, innovation lies in how the image is presented, not in pushing boundaries. Change does not always mean confrontation; rather, it can be a rediscovery of beauty in new and culturally aligned forms.
Can photography foster dialogue between different religious groups?
Absolutely! Photography can be a powerful tool for fostering dialogue between religious groups. It transcends linguistic and cultural barriers, capturing genuine human moments that everyone can relate to, regardless of their background. When I photograph religious rituals, I focus on the human aspect—the emotions, the faith, and the practices that express the need to connect with something greater. This type of photography helps foster mutual understanding, reduces stereotypes, and creates space for dialogue based on empathy, not prejudice.
How does your faith influence your work?
My faith does not define my work, but it guides it toward a deeper understanding of the human spiritual experience. I see photography as a tool for exploring the meanings and emotions of religious practices, regardless of my personal beliefs. The most important thing is to approach the subject with humility and respect, documenting religious moments with an open mind that allows others to see the world from new perspectives. Ultimately, photography is a means of understanding the human experience, and faith—in whatever form—is a fundamental part of it.
Has there ever been a moment that left a deep impression on you as a photographer?
Yes, a trip to document a community in another country. I found myself in an unfamiliar environment, getting to know people and cultures through my lens. It was a huge challenge; it taught me to be more open to others and to seek out the stories hidden behind faces and places. I felt the power of photography to build bridges between cultures, and that had a profound impact on my photographic style.
How do you view the photography scene in Iraq today?
The situation in Iraq is evolving, but it still faces major challenges. There are many talented young people with profound artistic visions who seek to portray Iraqi identity from different perspectives. Social media has made it easier to share work and reach a wider audience, but it has also led to an overload of images that sometimes lack depth or meaning.
