MPB Meets: Humanitarian Photographer Raphael Schumacher

Photographer Raphael Schumacher has worked for SOS Humanity, the maritime rescue NGO, covering its search-and-rescue missions in the Mediterranean. 

After studying at Folkwang University of the Arts, Raphael Schumacher built a career as a photographer working for brands including Adidas, Ford and Siemens. In June and July 2023, Raphael joined SOS Humanity as their onboard photographer, using camera gear provided by MPB. 

SOS Humanity’s goal is to ensure that no person drowns while fleeing at sea and to protect the dignity and human rights of migrants and refugees. 

In this interview, Raphael Schumacher shares his experiences on board the rescue ship Humanity 1 and discusses the role of photography in crisis situations. Read on to learn more and discover Raphael’s powerful images.

MPB: How do you see the role of photography in documenting crises?

RS: I once wrote a paper on ‘Photography as a Medium in Crisis Areas’, in which I dealt with photography as a compressed image of reality. I remember that text because that is what I want to create. The ‘freezing’ of the rescue process, the interaction between people or life on board. 

My collected photographs can connect with others or serve as a symbol of recollection, which can help to make the world understandable in the image. My mental images migrate into the technical medium of the camera and are saved permanently.

MPB: Can you describe your time on board as a photographer?

RS: I took on the role of eyewitness and was driven by the idea of taking the place of a reporter. As Susan Sontag describes, "photographs of an atrocity may give rise to opposing responses. A call for peace. A cry for revenge. Or simply the bemused awareness, continually restocked by photographic information, that terrible things happen." 

It is perhaps naïve thinking, but I was trying to trigger precisely this compassion. A feeling that is transferred to an action. Could it possibly be compared to a characteristic of war photographs? That looking at these photographs leads one to reflect on certain states of affairs? 

Every morning, I woke up with a vision of how my photographs should look. I wondered when I would capture the first image that matched this vision. An image that will not need any explanation to be decoded. A motif that is not too complicated, but that also does not seem too striking. An image that shows my current reality and takes the viewer on board.

MPB: What camera setup do you use? 

RS: Long before the mission, I thought about a possible setup. A setup that can cover everything. 

So I decided on a Sony FE 24-70mm f/2.8 GM for my Sony A7R III as my main camera. Fortunately, MPB helped me out with a second camera. Here, I decided on a Sony A7 III with a Sony FE 135mm f/1.8 GM—a great combination that I no longer want to do without.

I also shot a lot of my portraits with the old Mamiya Sekor C lenses, which create an interesting and unique look.

MPB: What was it like working with the crew?

RS: Life on a ship follows fixed rules, any disregard of which can lead to problems. Not only for you or the crew, but for the whole organism.

That's why it’s important to put together a good team. A team consisting of the most diverse characters who have to function like a well-oiled cogwheel within a few days. 

Each crew member has a specific task that needs to be followed up and given the utmost attention, especially during and after a rescue. However, cleaning the ship every morning, the morning meeting and keeping to the fixed meal times are also a must. One ship, everyone helps.

MPB: Who is part of the rescue ship crew?

RS: On board Humanity 1, there are professional crew members who know every screw on the ship and, above all, can quickly identify mechanical problems and try to solve them even faster. Their expertise is remarkable, especially for a person with two left hands like me!

The other half of the crew, including myself, are volunteers. Alongside me were a number of people who also bought their profession with them. For example, there was doctor Mirko, paramedic Isa, external journalist Anupam, midwife Marion, human rights observer Ana, interpreter Alex, psychologist Alice, and RHIB lead Thomas. [RHIB stands for Rigid-Hulled Inflatable Boat, the speedboats used for rescues.]

MPB: Can you tell us about the rescue operations?

RS: Sure. One day, we spotted a pointy metal boat with one of our high-powered beacons around midnight. The RHIBs, loaded with hundreds of red-light life jackets, were lowered onto the water.

The tension rose the moment the RHIBs touched the water. The swell had increased enormously in the meantime. While checking our life jackets, helmets and other utensils, we asked ourselves how much time we had left to save everyone from this boat, which was threatening to sink. 

Next to me, my team consisted of an RHIB driver, RHIB lead, RHIB support, interpreter and journalist. We climbed onto the RHIBs and immediately felt the force of this sea. Waves whipped around.

On contact with the boat, the first thing I noticed was the eyes of the people who needed help.  A wisp of a thought came up, and I immediately tried to analyze it. "How voyeuristic is it at this moment to put my camera in the faces of the people in front of me? Am I doing the right thing? Should I avoid creating images that simply show fear and panic?"

I decided intuitively to document the panic. After all, the images are for people who cannot imagine having to cross the Mediterranean in the middle of the night. Anyway, there was no time for philosophical debates..

Due to the strong swell and the poor condition of the metal boat, we literally ran out of time. Josh, the captain, decided to move the mothership in order to protect us from the oncoming waves. This gave us stability, and we were able to rescue the first people, women and children first.

How do you deal with such impressions? I don't know the answer to that question.

MPB: What did the morning after look like?

RS: Every morning, I made tea for 200 people. I spoke with some of the survivors, who shared their stories with me. 

After lunch, we took part in activities like board games, dancing, singing or painting together. The mood was exuberant.

Even just observing this positive mood boosted my morale and confirmed my feeling: you are in the right place.

Thank you, Raphael.

Read our Sony A7R III model overview or our extensive Sony A7 III review. Read along with cityscapes photographer Douglas Jubic as he reviews the Sony A7 III. Watch our video where James Popsys reviews the Sony 135mm f/1.8 GM. For more interviews, visit the MPB Content Hub.