In the lead-up to and aftermath of the Euro 2020 final (held in 2021), England’s football players were subjected to a wave of racial abuse — much of it online. I went to Trafalgar Square to photograph the screening of the final, not just as a witness to the event, but as a way to counter that negativity. What I saw — and chose to focus on — was the cultural diversity of the crowd. People of all backgrounds came together to support the team, share in the emotion, and celebrate a moment of national unity. While racism sadly remains present among a minority of supporters, this project aims to spotlight the majority — fans who embrace inclusivity, especially in urban communities like the one I grew up in. This series is deeply personal. Through these images, I want to show that football — at its best — transcends racial and cultural boundaries, offering a space for solidarity, identity, and shared joy.

On 10 August 2024, Sheffield’s city centre became the site of a powerful act of resistance. Organised by Stand Up to Racism, the gathering was part of a national day of protest in response to planned anti-immigration rallies and far-right mobilisation across the UK. In Sheffield, over 800 people assembled — the largest turnout in Yorkshire — to take a visible stand against racism, xenophobia, and hate. These photographs capture the strength and unity of the anti-racist crowd: banners held high, chants echoing through the streets, and a shared determination to reclaim public space for inclusion and justice. While the focus was firmly on peaceful protest and solidarity, a small number of far-right individuals appeared at the edges of the event. Some displayed provocative body language and voiced racist sentiments. A few were physically confronted — moments that appear in the photographs as reminders of the tension that can arise when public space becomes contested ground. This work documents not only the spirit of those who came together to challenge hate, but also the fragile boundaries between protest, provocation, and confrontation. It serves as a visual record of a city choosing to stand together — and the social dynamics that make that choice necessary.

On November 11, 2024, I captured a significant pro-Palestinian march in London that brought together hundreds of thousands of people from all walks of life. The diverse crowd—spanning different ages, ethnicities, and backgrounds—gathered in a peaceful demonstration to advocate for a ceasefire in the ongoing Israel-Gaza conflict. Organized by groups like the Palestine Solidarity Campaign and the Stop the War Coalition, the march began at Hyde Park and proceeded to the U.S. Embassy in Vauxhall. The atmosphere was one of unity and hope, with chants of “Free Palestine” and “Ceasefire now” echoing harmoniously through the streets.

The King Abdulaziz Camel Festival has its roots in traditional Bedouin gatherings, where tribes would showcase their finest camels with pride and ceremony. These early displays evolved into a formal celebration of heritage, first established in 2000 under the King Abdulaziz Mazayen al-Ibil Award. In 2017, the festival expanded significantly to align with Saudi Arabia’s Vision 2030 — broadening its scope and drawing international attention. Held annually near Riyadh, the festival now features a vibrant mix of events: camel beauty contests (mazayen al-ibil), races, cultural exhibitions, and spirited auctions. It honours the deep cultural and historical significance of camels in Saudi, Arab, and Islamic traditions. In 2018, the event even made international headlines when several camels were disqualified for Botox injections — a surreal but telling example of how seriously authenticity is taken. Today, the festival stands as a dynamic intersection of tradition and modernity — a place where heritage, identity, and spectacle converge, drawing visitors from across the region and beyond to witness the enduring legacy of the “Ship of the Desert.”

The camel auctions at the King Abdulaziz Camel Festival are a lively and captivating spectacle. Traders, handlers, and spectators gather around pens filled with camels, each animal inspected with a discerning eye. Some camels are carefully lifted into their enclosures by cranes, a unique and practical solution to managing the bustling activity. The air is filled with the sounds of bartering and the occasional calls of camels, as buyers evaluate their potential. Captured for Aramco Life, these images reflect not just the energy of the auctions but also the deep cultural connection to these remarkable animals. They reveal moments of quiet observation and the dynamic rhythm of an age-old tradition thriving in a modern setting.

These photographs were taken during a protest in London in August 2014, organised by the Stop the War Coalition in response to Israeli military actions in Gaza. The demonstration called for an immediate ceasefire and demanded accountability for the civilian lives being lost. A decade later, the violence has escalated to levels that many once thought unthinkable. Entire communities have been devastated. The scale of loss, the targeting of civilians, and the lack of meaningful global intervention raise urgent and painful questions — not only about this conflict, but about the world’s tolerance for prolonged suffering. This series stands as a record of public resistance — a moment when thousands raised their voices in solidarity with Palestine, and in defence of humanity. Today, it is a reminder that those voices were not only justified — they were prophetic. And the need to listen has never been more critical.

On 8 June 2013, Sheffield faced a direct provocation as members of the English Defence League (EDL) marched through the city and gathered at the cenotaph in Barker’s Pool — a space symbolic of remembrance, unity, and shared sacrifice. In response, a wave of counter-protesters mobilised to challenge their presence and defend the values of an inclusive city. These photographs capture a more confrontational moment — one defined by defiance, symbolism, and contrast. The EDL, visibly posturing for the camera, embodied a brazen effort to occupy civic space with messages of division. The counter-protesters, though varied in voice and approach, shared a clear resolve: to resist, to challenge, and to push back. This body of work documents a charged day in the city’s history — a community refusing to stay silent in the face of hate, captured in moments that are as uncomfortable as they are necessary.