Archive for February, 2011|Monthly archive page

Hotel Vajra

In Workshop News on February 22, 2011 at 4:15 AM

The Hotel Vajra is the venue for our upcoming workshop in Kathmandu

Please view the Vajra’s website here:

For participants attending our next workshop in Kathmandu 11th July-16th July 2011 and wanting to stay at the venue,  please mail the Vajra direct to book  your accommodation:



Random Moments-The Volga

In Random Moments on February 22, 2011 at 1:38 AM

Russian holiday makers take the sun sailing down the Volga River, Russia.

© Photograph by Jack Picone

Old News

In Photography News on February 17, 2011 at 10:54 PM

Some friends and colleagues who missed this asked me to re-post it.

So here it is:

‘Is it OK to shoot foreigners and journalists?’

Street Picture Kathmandu

In Street Photography on February 15, 2011 at 4:09 AM

© Photograph Jack Picone
The man, the dog and the pigeon. Kathmandu Nepal.

Jodi Beiber wins the World Press Photo of the year 2010.

In Photography News on February 12, 2011 at 2:45 AM

Friend and colleague Jodi Beiber wins the World Press Photo of the year  2010.

Her image of Bibi Aisha is confronting and shocking.
It reminds us of the important roles that photojournalists worldwide play in giving ‘voice’ to people like Bibi that otherwise may remain mute and subject to further gross injustice.
You can view Jodi’s image and those of additional winners here:


In Photography News on February 11, 2011 at 1:54 PM

Photojournalist who has died aged 70.

Penny Tweedie was an award winning photographer who covered conflicts around the world. She narrowly escaped death on the Golan heights and was thrown out of Uganda whilst covering the expulsion of the country’s Asian population by Idi Amin. Penny also produced a number of books documenting the culture of Australia’s Aboriginal people; she took photos for press and advertising campaigns for the charity Shelter in the 1960s and was in demand for portraits. Penny felt that she was defined by her work – and when commissions dried up as she entered her seventies, she decided to end her own life.

Penelope Anne Tweedie was born 30 April 1940 and died 14 January 2011.

Random Moments-Stilettos

In Random Moments on February 11, 2011 at 1:29 PM

Hotel Room, Stilettos. Aftermath Tsunami Khao Lek, Thailand. © Photograph by Jack Picone


In Workshop News on February 5, 2011 at 10:56 PM
For an insight into The Jack Picone Photography Workshops please view this profile below by designer, photographer, writer and workshop participant Tim Anger.

The Beauty and the Darkness

by Tim Anger


In Ethics on February 5, 2011 at 2:40 PM
Now in an era of magazines and newspapers that are heavily laden with a content of commercialism and lifestyle… are we also transforming our visual story telling and subjects into mere commodities?

Amongst photographers in Australia and internationally the idea of ‘setting up’ images is a contentious one. The camps are clear, those ‘for’ and those ‘against’.  The question being asked is, “Is it ethical to be setting up photographs that are part of a journalist pursuit?”


Dignity is a rather formal word-perhaps not one we would even apply to ourselves very often. In the dynamic between myself as a photographer and the subject of my photograph, I take it to mean the essence of being human-an equality that is shared by both the photographer and the person in the image. If the photographer understands – an equality that he shares with the subject, however dire the circumstances surrounding the subject, it can be reflected in the image. This is not so much about empathy, or sympathy (which can be impossible in some cases or sentimental in others), but about respect. There is a degree of detachment to respect: the eye of the photographer is able to work and to interpret without projecting emotion onto the subject. Even though the photographer may feel revulsion, shock or pity for the subject, none of these emotions has a place in the image. If the humanity of the subject is appreciated, observed and captured, it will speak to the viewer. Thus the photographer isn’t working to convey his own emotions as somehow more important then the subject. Neither is he working to ‘give’ the subject dignity, which is a patronizing concept in itself. The honesty of the image simply allows the subjects to speak for themselves, and in giving the subject a voice, the photographer gives space to their dignity.

When the photographer fails to respect the integrity of the subject, there arises say, as by example the temptation to move, manipulate, enhance or otherwise alter the subject in their situation in order to serve the interests of the photographer. The photographer may think he is doing the subject a favor by presenting them in a certain way, but this approach is simply dishonest and deprives the subject of their dignity of simply being as they are. We have to understand the difference between being deprived of dignity in the situation and looking undignified in the image. It isn’t always obvious in the image that someone’s dignity has been compromised during the shoot. If a starving person is asked by a photographer to hold out their hand for food, the image will be effective and show desperation and hunger, but the dignity of the person has been abused during the shoot. Even with a dead person-if you move the body to make a better shot-maybe no one will ever know but you have abused the dignity of that person. Respect and dignity are the private contract between photographer and subject at the time of shooting, so in the end it is up to the conscience of the photographer as the whether he carries with him the intention to respect the integrity of the subject.

This distinction between visual dignity and private dignity is very important because in many extreme situations of poverty, disease, war or drug addiction, people appear to have no dignity left at all. You can’t make them look dignified however hard you try. The act of turning a camera on people is inherently invasive. In the real world there is no road map or instruction manual for working in these situations. Best intentions can be compromised because you are not in control of the moment you are recording. Unfolding stories can often be multi-layered, complicated and fast moving but the least you can do is have the intention of not aggravating the situation of the subject.

I have observed where the situation allows, approaching people with respect and building a rapport with them is part of the process that leads to maintaining dignity. On a micro level being aware of the culture and customs of the people you are working with is sound methodology-understanding breeds respect.

Time can be your most precious commodity. The lack of time in the increasingly hectic schedule of news photographers is one of the greatest enemies of excellence and integrity in reportage images. Lack of time can compel photographer’s to construct images because they cannot wait around for them to arise naturally. While the causes of these situations are well understood, the net result is that the photographer pre-conceives the image and executes it accordingly. The subject becomes a mere commodity, and the truth of their situation is overridden by an artificially dictated scenario. This scenario may be essentially harmless, it may even be an accurate representation but it isn’t a true moment, and as visual journalism it is essentially meaningless. It is the equivalent of a journalist writing an interview without actually interviewing the subject. It’s basically dishonest and disrespectful to the subject.

There is a growing culture amongst editors locally and globally to commend photographers for setting up shots that do a great job of illustrating stories. This is especially true when the subject of the story is seen as ‘boring’. Regardless of the debate over ethical issues, this approach actively works against excellence in documentary photography and completely misses the point of the fundamental brilliance of being able to freeze a moment in time with a click of the shutter. No matter how banal a real moment may appear it carries inside it a profound seed precisely because it is original and will never happen in quite the same way. It is the central challenge of the photographer’s art and craft to be able to find that originality and translate it onto film or in a digital file, in a way that is not boring.

To avoid the moment in favor of a constructed moment deprives the photographer of the practice of developing insight. Without insight, a photographer’s work will never lift above the mundane. The practice of ‘setting up’ images discourages the cultivation of insight and instead cultivates the attitude that the subject is a commodity or prop to be used in achieving a pre-conceived result. This in turn works against the realization of the subject’s dignity.


In Ethics on February 5, 2011 at 2:25 PM

Below is a response to a question I field often from student photographers and emerging photographers. My answer is personal and everyone has a different interpretation of the question. I hope it is useful on some level.

THE QUESTION: Should I pay for taking photographs?

MY ANSWER: To pay or not pay for a photograph is a big philosophical can of worms. Many of the answers to the question posed here also depend on the context in which the image is being made. Note, I say, ‘made’ I think a photographer ‘makes’ an image she or he does not ‘take’ a picture. As a professional photojournalist and documentary photographer, I personally do not pay a subject for a photograph. It is unethical for me to do so. It reduces the act of photographing to a mere commercial transaction, the bold exchange of commodities. I somehow feel photojournalism and documentary photography should transcend that. It has the potential and at times has indeed been a powerful medium in creating awareness and effecting change in an advantageous way for people in challenging circumstances. Paying, also creates a culture of when an important social issue needs to be documented by a photographer that it turns into a ‘pay as you go’ dynamic that not only stunts any creative process but also beckons the question, well if these images were paid for what is their integrity in terms of their content being truthful? Yet another big philosophical can of worms.

My personal approach in photographing in socially sensitive situations is to shoot candid moments first (because I am well practiced people often don’t know I have photographed them but it is more then that – it is also that this is where the most uncorrupted and beautiful moments can be documented) and this is where some of the most poetic images are to be found. I don’t feel like it is stealing something or deceiving anybody, I simply feel I am making a photograph and documenting social history, something we are all part of and something I have not objected to when I have had the camera turned in my direction. I will shoot first, then I will join people, strike a rapport with them and wait until they are comfortable with me being there and continue to make images in a fluid way. Sometimes this can happen vice versa as well. One has to remember there are many situations where people really want you there to document their lives which sounds great but often this has its own layers of disadvantages as well.

In short, a photojournalist or documentary photographer can find themselves in morally complicated situations and there is not always a definitively right or wrong answer. What I do is always have the ‘intent’ to leave my subject absolutely intact with their dignity. This way I keep my integrity. It works most of the time but sometimes, in complicated situations it backfires.

Are there crooked lawyers who will do anything to take you to the cleaners? Sure. Are their human rights lawyers working for little money with the utmost of integrity trying to improve the lot of challenged and compromised people in the world? Sure. It is the same with photographers; it is the same in all professions – it is the big bad world we all live in.

Postscript. I can count the number of times on one had in a twenty year career that I have paid for photographs. I know how hard it is not to pay, if you are a caring human being it is natural to want to help. Recently, when I was photographing a young Burmese sex worker I went out afterwards and bought her food, cloths and toys for her little boy. I am human.