The last week in Myanmar has been a worrying development for its people – and the region. 

The military is now back in charge and has declared a year-long state of emergency. At first, it was a challenge to find compelling visuals to highlight this developing story – together with the possibility of an Internet shutdown.

But as the days passed, the need to tell the world this story becomes evident. 

Besides the Myanmar story, we decided to launch our first Field Notes profile – fireside chats with visual professionals to reflect on their latest assignments. Have someone in mind? 

Presenting the first week of The Brief – our visual report on Asia.

We are testing this publishing format as well as having the weekly on a weekday morning. Any thoughts? Hit reply!

- Zakaria, Editor

PS: What is your superpower? Are you always updated on the latest visual stories? Or are you a social media maven?  We'd like to invite you to co-create and help us shape our future. Let's keep this conversation going!

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On the ground

For an up close look at developments in Myanmar's coup, you can look no further than Hkun Lat and Nyan Zay Htet's work. You truly get a pulse on the ground from thousands gathering on the streets or the feel of Yangon residents beating pots and pans to protest agains the coup.  

Zoom out

Often with a developing story, you are looking for visuals that tell a story with a different perspective. Reuters Poppy McPherson, Myanmar bureau chief, reflects how these protests are not just happening in Yangon but all over the country. Meanwhile Reuters photographer Soe Zeya Tun highlights using Maxar's satellite images the scale of these protests.  

That Coup Video

Almost anyone interested in Myanmar last week has seen this – we think. With a visual information vacuum, news outlets and Myanmar watchers were keen to share something, anything when news of the coup broke. 

And then video this surfaced.

Àngel Marrades was one of the first with this video. Reporter Vincent Bevins verified this with other Facebook videos taken at the same location as proof. 

From Cape Diamond's Vice report, we now know that the fitness enthusiast is identified as on Facebook as Khing Hnin Wai. From around 730am, she just assumed there was tighter security from a new parliament session. The rest is history.      

"When they fell in love, they had to keep it to themselves,” he said. “They have lived a life of restraint in every way."

This moving work by photographer Debsuddha on the Kolkata sisters Swati and Gayatri Goswami left us thinking about love, loss and the connections we keep.

Documentary photographer Ore Huiying, on assignment for The New York Times, set sail for 72 hours on a cruise to nowhere, which departs Singapore two to three times weekly. Every week Visual Stories Asia chats with visual professionals to reflect on their latest assignments. This interview has been condensed and edited for clarity. Here are her notes:

What was your assignment brief?

One to two weeks prior, the photo editor emailed that their journalist was going to take a trip on The World Dream – and that it’d be great if you can go with her. Of course, I was very excited. I mean, it is not travel but at least it is some kind of getting out of the country. The scope of the brief: how was it like to travel and be on a cruise during such a time? Also, what lessons can the US learn from this experience and how the cruise was being managed.

And they published thirteen compelling photographs to showcase that. What were the visual challenges you faced?

The first challenge was the restrictions. For example, we had to do the swab test twice – once before we board and the second time when we alight from the cruise. I felt this test was a critical part of this experience because it showed how much precaution the Singapore government took to make this happen. Unfortunately, I couldn’t photograph that. Besides restrictions, visually I was concerned: how many people will be on the cruise? (Note: 1700 from the article) I understand that it was at half capacity. There may be less activities and a lack of human interaction. Am I just going to get empty facilities and empty spaces? So that was the two biggest challenges for me.

What surprised you during this assignment?

I was surprised at how efficient and how well everything was organised. I was afraid there would be a long queue and a long waiting time – meaning you had to wait for the test results before you could board. I’ve seen people and the discomfort in their faces when taking these tests. I’m afraid my tolerance for pain was quite low.

Ouch.

But it was a different type of test and was not painful at all. Then there was an area to wait for 15 to 20 minutes. The test results came out and we boarded. There were social distancing ambassadors, reminding people to keep their distance and to put on their masks. You also had this token which everyone had so that they can monitor your movements and, your proximity with people, in case something happens.

And that also meant negotiating access in some areas?

We had documents from a press conference that included safety measures. I went through that and I had an idea what to shoot, and what would be visual. I had to communicate that to the PR team, so they could make arrangements for us. For example, photographing temperature screening for all their staff on the cruise, twice a day. But areas open to guests, or the public, I could roam around.

What was something you discovered?

Once I was in the ladies which had a window, and you could see the infinite horizon and a ship. With lounge classical music in the background, and seeing the ship moving slowly in the distance, it was liberating. After many months of not being able to travel, you see this wide expanse of horizon, sky and sea. We took travel for granted. At that point, I understood why people are willing to take the risk of going on a cruise. And, you know what, it was my first time on a cruise ever.

Ore Huiying is a documentary photographer from Singapore. Her practice revolves around storytelling, which she believes is basic to human beings. Apart from working on personal projects, Ore does commissioned work for publications like Bloomberg, New York Times, Le Monde newspaper and Getty Images, as well as for NGOs and corporate clients.