Slung between bombed-out buildings in a street in Aleppo, Syria, are what look like washing lines. The sheets hanging from them seem incongruous amid the rubble but serve a crucial function. "They allow people to cross the streets without being seen by the snipers," explains conflict photographer and Canon Ambassador Jér?me Sessini. "Some of the materials are bedsheets, some are curtains, some are plastic covers – anything that can be used to hide behind." They have a strange echo of the domestic that feels at odds in a war zone, reminding us of life before the Syrian conflict began.

The image, like so many from Jér?me's series The Streets of Aleppo, tells an incredible story about the Syrian civil war, without bringing any people into the frame. Shot in February 2013 and exhibited at Visa pour l'Image photojournalism festival later that same year, the series is quite unlike most coverage of the conflict seen in the mainstream media. Instead of focusing on the fighters, it focuses on the city streets.

Jér?me is no stranger to telling stories from streets. From documenting drug-related violence in Mexico through to the Euromaidan civil unrest in central Kiev, Ukraine, the Magnum photographer shines a light on conflicts across the world. Here he shares how he took a different approach when photographing the streets of Aleppo.

Showing more by showing less

Jér?me had the idea for the project after his first trip to Aleppo in 2012. "A lot of people were photographing the fighting or the hospitals. I wanted to do something different," he says. "It can be hard to keep audiences' attention on a conflict like this. So instead of wounded fighters, I took pictures of the streets. Sometimes you can show more by showing less. You leave space for viewers to form their own ideas, to use their imagination."

These cityscapes reveal in forensic detail the scale of destruction on the eastern side of the city. By showing market squares or shuttered-up shopfronts – the types of places that you see in cities the world over – Jér?me's images make viewers reflect on how it might feel to see the cities they know under these circumstances. "Most people live in cities – it's universal," he says.

While the shattered bricks and mortar work as a kind of metaphor for the impact of war on Syrian society, they also tell an authentic story about the reality on the ground. "When the city is under siege, it becomes like a ghost town," says Jér?me. "People don't go on the streets because of the danger of snipers."

As with the hanging sheets, the fighters have repurposed materials they have found in the buildings and streets. An ornately decorative wooden-framed mirror is being used as "an anti-sniper mirror", for example. "It's a very simple, very efficient trick the fighters use to see if there's a sniper around the corner of the street," Jér?me explains.

Robust yet discreet kit

Working in hostile environments can be testing on gear, so it was important to Jér?me to use a camera that was "solid" but also, knowing he wanted to exhibit the series, rendered colour with the utmost precision. "The colours on the Canon EOS 5D Mark II are very close to reality. They're soft, not too flashy, not too much contrast."

His kitbag contained two lenses – a Canon EF 24-70mm f/2.8L II USM and a Canon EF 50mm f/1.2L USM. Although he praises the sharpness of the 50mm prime, he tended to use the zoom 90% of the time because of the flexibility it offered in the field. "I didn't want to carry a lot of lenses. I wanted to travel light because I already had the tripod, so I had one lens, and a second one in case."

Working with unobtrusive kit also meant that Jér?me was able to conceal his identity when required, such as one day when he had to pass through one of the Islamist militia checkpoints that at that time were just starting to spring up around the city.

"If they had seen me with a camera it would have been a big problem, but they didn't notice I was a photographer," he recalls. "That was the last week of the trip. My fixer told me, 'I think it's time for you and all the press to go now. We cannot protect you against those guys.'" He left Syria the same way he'd entered, across the border with Turkey. Just months later, a group of fellow photojournalists were kidnapped by militants while travelling into Aleppo on that same route. Years later, Jér?me's photos remind us of what the people of Syria still face every day on the shattered streets of Aleppo.