- To be administered by Brendan Bannon to buy gear to support the continued photo work of two Syrian refugee teenagers, Fatima and Hany, who have been his photo students and who have begun documenting the lives of Syrians in refugee camps.
- Conflict photographer Stanley Greene returned to the Caucasus - a region he had covered as a war photographer - to explore the question “Can one rebuild the soul of a people the same way way one can rebuild a country?”
- Terry went to Bosnia to cover the aftermath of war – to try to capture the images that are the all too often forgotten companions of the vivid pictures of war itself. She went with the conviction that war is only half the story. She believed, and still believes, that what happens in the aftermath of war is as newsworthy, if not more so, than the destruction and horror of war. This early work in Bosnia led Terry to start The Aftermath Project.
- Pep Bonet’s project about young people rebuilding their lives in post-conflict Sierra Leone focuses on those most affected by the war — amputees, the blind and the traumatized.
- Rodrigo spent five years as an AP Photographer producing images that tell part of the story of the thousands of skeletons that have emerged from the mass graves all over Guatemala. He visited the communities to document part of the process. He still feels part of the story is missing that would give a more complete picture of the process of reparation, justice and restoration of dignity to the victims.
- An exploration of the aftermath of the 19th century Wounded Knee massacre in South Dakota and of the 1973 stand-off between the American Indian Movement, which occupied Wounded Knee for 71 days, and the US government. Wilcox examines the plight of the Lakota Indian people who are still fighting for disputed lands.
- A long-term project about the aftermath of conflicts being waged nightly on the streets of Chicago, Philadelphia, Los Angeles and Boston. Ortiz seeks to educate the public about the effects of youth violence on young victims, their families and society as a whole.
- A series of landscape photographs of important historical sites across America that are startling in their exploration of memory and conflict, and the intersection of the past and the present. At the core of Lichtenstein’s work is his belief that “the first step towards healing a deep wound is acknowledgement. Without that, it is impossible to move forward.” Among the many photos in Lichtenstein’s work-in-progress that impressed the judges was a photo of three women in Confederate-era dress seated on a bench at the exact bus stop where Rosa Parks began her historic ride in 1955, launching the American civil rights movement (the women were participants at a recent Confederate Flag rally in honor of the 150th anniversary of the inauguration of Jefferson Davies, the Confederate leader). The judges found Lichtenstein’s project to be a highly original take on aftermath issues, and also found his images to be sophisticated and thought-provoking.
- Kathryn Cook’s project Memory Denied: Turkey and the Armenian Genocide explores the memory of the Armenian massacres that occurred during the decline of the Ottoman Empire in the early 20th century. Recognized as “genocide” today by more than a dozen countries, Turkey still vigorously rejects that claim. Cook’s work follows the remains and traces of an ambiguous, dark history — the definition of which is still being fought over nearly a century later.