Working with local activists and human rights defenders, Hinsch gathered this information from the people he photographed. Despite the international companies operating around their homes, they told him that attention to their situation had been minimal and, as such, they were keen to share their thoughts. It is perhaps this openness from his subjects that makes Hinsch’s portraits so emotive.
This emotiveness is heightened by Hinsch’s atmospheric style. Toppling homes, blackened landscapes and rusting metal, photographed often on different continents, are linked by what the photographer describes as a colour space. “For this particular work, it was important for me that it’s difficult to make a difference between the here and there,” he explains. “This is already the unpleasant reality for some, but it will be for all of us, in the end.”
Through this unpleasant reality, Hinsch highlights the complex and global mechanisms employed in the extraction of fossil fuels. Before many of us can drive that walkable distance, or leave the heating on that little bit longer, these often violent narratives must play out in the Niger Delta, Jharkhand and many other such places. Throughout his new book, the photographer’s meaning is clear: the climate crisis remains everybody’s wahala.