Despite months of widespread reports about the humanitarian crisis in Gaza, it took shocking images that recently emerged for the world to truly take notice – and that comes as no surprise to veteran photographer Steve McCurry. As someone who has dedicated much of his life to documenting the human condition, McCurry has witnessed firsthand the profound impact that a single image can make in awakening the world's conscience.

"I believe these images resonated with so many people across the globe because they remind us of our shared humanity," McCurry explains. "We are always saturated with information, and a photograph, by capturing a moment, is something hard to scroll past or ignore. It's right there, visible to all, and impossible to unsee."

McCurry knows well the staying power of a great picture – something he has learned through five decades as a photographer. Speaking from Japan ahead of exhibitions of his work in Melbourne and Sydney, the American photographer says he remains obsessed with taking pictures. He compares becoming an expert in photography to mastering a musical instrument.

"Picking up a violin doesn't necessarily make you a concert violinist," he says. "Learn the basics and practice. And look at pictures – look at a lot of photographs."

McCurry's most famous shot, featuring Afghan refugee Sharbat Gula – known at the time simply as "Afghan girl" – focused the world's attention on what was happening in Afghanistan after Russia's 1979 invasion. In 1984, McCurry documented people living in the Nasir Bagh refugee camp, and the image of Gula was subsequently published on the cover of National Geographic magazine.

"Afghans were desperate to have their stories told because they were being overwhelmed by the Russians and were desperate to get their story out," McCurry recalls.

Two decades later, in 2002, he photographed Gula again. "We were all curious about who she was and what happened to her. And then, of course, once we found her, we tried to help her every way we could. That was a long saga," he reflects.

When asked about the ethics of photography, McCurry suggests it comes down to whether you care about the world. "If the answer is yes, then how the hell did you learn about that? Did you rely on your government to learn that? Probably not – there was probably some journalist who put their ass on the line."

He emphasizes the importance of respect in photojournalism: "Everyone needs to respect each other – I think that starts and ends the conversation. If you point your camera up someone's nose and it pisses them off, that's probably not a good start."

Despite the challenges inherent in his profession, the 75-year-old photographer says he never feels like giving up, "never for even a nanosecond."

"I love it too much," he explains. "It would be like saying to your partner or your best friend: Ever thought about breaking up?"

McCurry's work spans decades and continents, capturing moments of human drama, beauty, and resilience. His photographs from Kuwait in 1991 during the Gulf War, including images from Al Ahmadi, and his documentation of children dragging a boat to safety before the monsoon in Australia's Northern Territory in 1984, showcase his ability to find compelling human stories in diverse circumstances.

The photographer's philosophy centers on the belief that visual storytelling remains one of the most powerful tools for creating understanding and empathy across cultural and political divides. In an era of information overload and digital saturation, McCurry argues that photographs possess a unique ability to cut through the noise and create lasting emotional connections.

"A photograph captures a moment in time that becomes impossible to ignore," he notes. "While people can easily scroll past text or tune out spoken words, a powerful image demands attention and stays with viewers long after they've seen it."

McCurry's upcoming exhibitions, titled "In Conversation: A Photographic Dialogue Between Steve McCurry and Jessie Brinkman Evans," will showcase his work alongside that of contemporary photographer Jessie Brinkman Evans. The exhibitions will run at Leica Gallery Melbourne on Little Collins Street starting August 1, and at Leica Gallery Sydney in the Queen Victoria Building on George Street beginning August 9.

Throughout his career, McCurry has consistently demonstrated that photography serves not just as documentation, but as a catalyst for social awareness and change. His images have brought global attention to conflicts, humanitarian crises, and human stories that might otherwise remain unseen by the wider world.

The photographer's continued passion for his craft at age 75 reflects his unwavering belief in photography's power to bridge divides and foster understanding. As he prepares for his Australian exhibitions, McCurry remains committed to using his camera as a tool for storytelling and social consciousness, proving that even in our digital age, the fundamental power of a well-crafted photograph to move hearts and minds remains undiminished.