Covering immigration issues can prove challenging for photographers – and not because access can be, at times, tough to obtain. Instead, image-makers such as Emanuele Satolli have to find new ways to depict immigrants’ hardship in a saturated visual landscape.
In 2007, when the Italian photographer lived in Guatemala, he realized that immigration affected the large majority of people he encountered. “Some are saving money to go North, others are enjoying their new houses after spending a few years in the U.S., while many women have to take care of their families after their husbands left for the U.S.,” he says. “I was impressed to see that immigration had such a strong [impact] on life there. And that’s why I wanted to dig deeper into this topic.”
Yet, he didn’t want to produce yet another series that depicted immigrants “crossing rivers or jumping on trains in their attempt to reach the American dream,” he says. “I had to try to find a new way to talk about this.”
And that new take came after reading a recent TIME LightBox article. “I was really inspired by [TIME’s International Photo Editor] Alice Gabriner’s post where she talked about how photo editors and photographers should work together to overcome visual challenges. In that post, she explained how [photographer] Alexandra Boulat tried to find a new way to talk about the Palestinian tragedy.”
That was in 2006, when Boulat, who had documented wars since the 1990s, had grown frustrated of “photographing endless scenes of violence in the same way she had for years, fearing that these pictures had lost their impact,” Gabriner wrote. “As a result, she began taking different kinds of pictures, focusing on the ordinary and details of normal life.”
The ordinary and the details can be found in Satolli’s images of Central American immigrants. “I was interested in the few things these immigrants bring with them on this perilous and long journey,” he says. One man carried with him a small Virgin Mary statue, hair gel and toilet paper, among other objects. Another brought an extra pair of shoes, a bible, toilet paper and a cell phone, while another traveled with only one pair of glasses so “he’d look like a local,” says Satolli.
The 35-year-old photographer met most of his subjects at La Casa del Migrante, a refuge run by Scalabrinian missionaries in the border town of Tecún Umán in Guatemala where immigrants can get help and rest for two or three days.
Now, Satolli, who continues his work on immigration, hopes that his simple, yet powerful images will help humanize undocumented immigrants. It’s an especially important goal he says, at a time when we’re inundated by images that are just the opposite—“in which [dramatic scenes] become ordinary”—and when immigration is likely to take a central role in U.S. politics this year and in 2016.