Reportage

Archive for April 8th, 2011|Daily archive page

The Focus Project

In Photography News on April 8, 2011 at 11:57 PM

Former workshop participant and photographer, Cim Sears is made a Featured Photographer for her body of work ‘From the river to the roundhouse’ with The Focus Project.

Read more about The Focus Project here. A great opportunity for emerging photographers.

Congratulations Cim.

C 1

In Photography News on April 8, 2011 at 11:31 PM

Andrea Francolini friend and photograher passed this onto me.

For anyone making multimedia this will extend the pallet of tools to work with.

It is cutting edge.

Have a look at  Condition ONE

‘More Money On Fancy Equipment’

In Workshop News on April 8, 2011 at 10:47 PM

If you want to take a picture as beautiful as this image of this Nepalese child, you can either hope for some extraordinary fluke of light, timing, subject matter and hardware — or you can sign up for The Jack Picone Photography Workshops. Award-winning Australian documentary photographer Jack Picone — who took this shot — leads these intensive , one-week courses for dedicated amateurs hoping to take their photography to the next level. Held two or three times a year in various Asian cities (the next is scheduled for Kathmandu in July 2011), the courses have previously featured guest lecturers such as the legendary photojournalist Tim Page and celebrated war photographer Philip Jones Griffiths. There are no more than 12 to 16 participants at a time, and all are thrown in at the deep end — tasked with producing a professional-quality photo essay by the end of the week. To help them, there are robust discussions, sessions of one-on-one tuition and nightly show-and-tells, during which each day’s images are critiqued. Fees range between $2,400 and $2,700. It isn’t cheap, and does not include accommodation and flights — but, there are hobbyists and those obsessed with photography who spend infinitely more on fancy equipment but still can’t produce an arresting image.

Don’t be one of them.

For more information, mail Jack,  jack@jackpicone.com and visit http://www.jackpicone.com

Original article by Liam Fitzpatrick published in the Global Advisor section of TIME  magazine.

Interview with Livebooks

In Workshop News on April 8, 2011 at 10:44 PM

The Jack Picone Photography Workshops profiled in an interview with journalist Miki Johnson for Livebooks.

For a behind the scenes insight into the philosophies underpinning  The Jack Picone Photography Workshops please view here RESOLVE:

 

Guns and Medicine – The Nuba Mountains

In Ethics, Photography News on April 8, 2011 at 10:39 PM

 
                                                                                           Photograph: Photographer Jack Picone in Sudan en route to the Nuba Mts.
 
 
 
 

Interview with Jack Picone

by Nanne Op’t Ende

(Interview extracts from Nanne’s book, Proud to be Nuba)

Jack Picone, born in Australia, based in Bangkok, is an internationally renowned documentary photographer and conducts The Jack Picone Photography workshops (see his website www.jackpicone.com) He made two trips to the Nuba Mountains, in 1994 and in 1996. In an interview he tells more about his experiences in the Nuba Mountains, about his own work and about the role of photographers in general.

JP: I became fascinated by the Nuba after seeing Leni Riefenstahl’s photos. My research led me to SPLA commander Yousif Kuwa Mekki and we struck a friendship. In 1994 he was ready to give me permission to go in to the Mountains, but he wanted me to take guns for him. We would have these clandestine meetings in Thorntree Hotel and he would be in his room with his armed guards and he kept saying ‘but you have chartered a big aeroplane (DC-3); I have given YOU access: why won’t you take the guns for ME?!’

After explaining to him that this was compromising and leaning just a little to the side of unethical for me as a photojournalist, I suggested to him that I could take medicine for his people… When he finally agreed I was relieved, and at the same time I was a little disappointed that my first chance as a gunrunner would not get off the ground. Several days later on the apron of the airport my plane was ready to go but no shipment of medicine had arrived. I was forced to fly without it.

NE: What did you expect to find when you went in?

JP: My expectations of what I might see were a mixture of images from the past (by Leni Riefenstahl and George Rodger), and a more contemporary idea of what it would be like in 1994. I researched the area fairly thoroughly but it was still a ‘locked’ expanse of geography and had been for approximately fifteen years. There was a dearth of accurate information from inside the mountains.

In a story telling sense: the idea that a noble group of people living in a very remote region, which was a closed door to the rest of the world, fuelled my imagination. It gave me a powerful desire to go there; document their lives and tell their story. I so much wanted to see how their world had changed in the time that eclipsed since Riefenstahl and Rodger had been there.

George Rodger was in the Nuba Mountains in 1949; Leni Riefenstahl first came there in 1966. Both felt they were documenting a vanishing world. Did you have a similar feeling in 1994?

Absolutely. I knew things were changing at a hyperbolic rate in the Sudan and by extension the Nuba Mountains. And even though I would only be able to spend an insignificant amount of time there, it would be valuable in terms of making a visual record of things as they were at that precise time and as they actually changed. It can be arrogant to act as an ethnographer, but it is several generations later, when people are trying to remember what the actual cultural norms of a particular ethnic group were, that photographs with accurate text and captioning become an invaluable resource for the current and future generations. I call them visual footsteps.

NE: I appreciate the intimacy of your Nuba photos: you are close to the people and they are all right with that.

Your observation is correct: I was close to the people I photographed – as much as someone like me, from a completely different world and culture, could be. I took a lot of time with the people, and in general worked hard at getting a rapport with the elders of the tribe, and showing the appropriate respect. I enjoyed sitting down and talking to the people and hearing their stories. Mind you, some of it got lost going from English to Arabic to their tribal dialect, and back again!

I went very slowly with them. Each trip was for a month and on each trip I was ill. The first time with infections on my feet, so I could not walk and hence quite a few images are shot from a low angle. The Nuba made some wooden crutches for me to get around on. Some days they would just take me out and plop me down in the middle of the village, where I would shoot images of their daily routines.

On the second trip I contracted malaria, high up in the mountains, and I believe I almost died. I was delirious for a week and incredibly ill. I had all the right anti-malarial drugs but sadly none worked.

I did not have to pay anyone to take their photographs. Most of the images were just gentle, subtle scenes of the Nuba going about their daily 
life. The shots of the girls dancing, were made during a ritual rain dance.

What was really interesting was how Islamic the Nuba were in the lowlands. But the higher I trekked up the mountains the more, ‘original’ they became. The Tochjo were particularly unaffected by introduced religions and philosophies. They said that they had not seen a white man ever before. There were some funny scenes at first including the young girls with their elaborate tattoos who ran away screaming when they first saw me. When I enquired to the elders as to why? It transpired that they had said, ”where did you find him in the river?”, because to them, I had no pigment in my skin and the river had washed it a way.

Another interesting dynamic was that they had never seen a camera before. They were not frightened by me taking a picture; they just saw me putting this black box in front of my face, and could not understand why I would do this?

NE: You were fascinated by Riefenstahl’s photos of the Nuba. What do you make of her iconography in her relationship to her work as a film maker for Hitler?

JP: There are similarities between the two. Photography is very subjective, so it is open to individual interpretation, but in both bodies of work I feel that there is an iconographic style imposed by Riefenstahl. I don’t feel her pictures are reflective of the Nuba and their unique way of life. The images can be beautiful at times, but they are almost sculptural, and seem heavily romanticized in composition; turning the Nuba into an artwork, an object of curiosity.

The images to me are not intimate; I don’t see a personal connection between her and the Nuba; I don’t see this empathy, which is usually evident when a photographer has established a rapport with his/her subject. On both trips I had some confirmation of this from different older Nuba, who expressed an unhappiness about the way Riefenstahl had got them to do things over and over again, until it looked perfect in the lens. One elder said she had made the entire village go out and do a rain dance in the wrong season, because she would not be there at the time it was usually performed.

Photographers tend to be divided into two camps about this practice: those who don’t see an issue with – as Susan Sontag put it – ‘falsifying reality”, and those who consider it deeply unethical. I fall into the latter group.

Several years later Riefenstahl, after seeing my images published, sent me a letter inviting me to Germany, so I could meet her and tell her about my experience with the Nuba. I declined the invitation, much to the confusion of journalist friends of mine, who were saying it would be such a great chance to be in dialogue with the woman who it was suggested aws Hitler’s lover. I just felt uneasy of the prospect of being in the same orbit of an woman who was that close to Hitler… in retrospect it was probably a mistake not to go.

Nuba women return to the village of  Tochjo, Nuba Mountains Sudan.  © Photograph by Jack Picone

NE: In your brief accounts of your trips you mention seeing a lot of violence, wounded people, burnt huts etc. I have not seen many images capturing this reality; at least you haven’t selected any for your web galleries. Why?

JP: There are several reasons for this, but the one which was of greatest importance to me was that I really wanted to photograph the extraordinary culture of the Nuba, i.e. stick fighting, wrestling, body scarification, tribal dancing, music and animist practices. I knew these cultural practices were changing for a raft of reasons. One of the most obvious at the time, was that the Islamic Khartoum government found the culturally complex practices of the Nuba primitive and barbaric. They were on a fast track to Islamize them and modernize them. I wanted to see how far they had got with this policy, and record what the Nuba were still doing within this context of cultural practice, as a record for posterity – as idealistic and ambitious as that may sound.

The policies that the Khartoum government was imposing at the time, were implemented through intimidation: attacks by the Khartoum government soldiers; burning down of villages; raping women and sending men to ‘peace camps’. In my opinion it was tantamount to genocide.

On a pragmatic level: when I was trekking into the Nuba Mountains, we moved between the warring sides of the Khartoum government troops in the north and the SPLA forces mostly in the south. In a practical way, if we wanted to make it into the mountains we had to avoid the fighting in the lowlands. We achieved it, although at times we walked through villages that had been destroyed, and in darkness in the early hours of the morning we were forced to flee, when one village was riddled with gunfire.

The last reason there are few images of death and destruction, I am afraid, is a more personal and indulgent one. I had spent years covering war in different countries in former Yugoslavia, Africa, and Soviet Central Asia. I had seen too much death of local populations; friends I had worked with. I was very disillusioned, especially about African wars-were mostly things never got better. I would see corrupt dictatorships get toppled, and for a fleeting time there would be hope, but soon the previous sadistic dictator would be replaced by yet another corrupt dictator and the ordinary people would continue to suffer and perish.

I really wanted to photograph something positive about Africans and Africa. And even though the Nuba were in a hard place, I saw this amazing resilience and beauty in them. I wanted to photograph them that way, to illustrate their extraordinary ability to endure and strive to survive under such diabolical circumstances. In my opinion they have a unparalleled spirit of perseverance. In short I wanted to photograph hope – not very objective I am afraid but I believe in hope.

NE: In 1997 a German doctor, when asked what he thought of the situation in the Nuba, just said, “Goma was worse”. You have been to so many areas of conflict what did you think about the situation in the Nuba Mountains?

JP: ‘Goma was worse’: what does that mean? Every area of conflict is different, with its own inherent pathos; destruction; danger; political and social complexity. How does one measure which one is worse? Should I say: ‘when I was in Rwanda when the genocide was actually taking place: that that was worse then the attrition of what is happening in the Nuba Mountains?’ Is a short dramatic war with great human cost and suffering worse then a long forgotten insidious war as was taking place in Sudan?

It seems to me to be pornographic to make that comparison in the first place; it is almost suggesting it is a competition. In either situation, I would not like to hazard a guess. I just feel in either situation that on a micro level, the suffering and human loss for the ordinary person, especially for women and children, is immeasurable and is not quantifiable in human terms.

NE: You often document violence, death, poverty, disease…did you ever feel that you couldn’t take it anymore – that you had to quit?

JP: All the time… Photographers and journalists go to areas of war zones for a raft of reasons. When I first went to a war zone, it was because I had read too many novels about war. A book by the author Laurie Lee, was the final catalyst for me going; it was a true story about the Spanish civil war, called: ‘I walked out one mid summers morning’. The way he wrote about his experience seemed so essentially romantic in terms of adventure and experience.

A month later I was lying in a ditch high on a mountain in Armenia during the civil war, with a sniper on an opposing ridge doing his best to kill me. I remember being face down in a concave hole on the side of a mountain, listening to the sickening whirl of well placed high velocity bullets. I thought I was going to die any second but felt oddly calm. I escaped and felt invincible, and went on to cover that war and a further eight wars several times over. I had other near death experiences in far away places and lost friends and colleagues along the way.

I later developed a more passionate belief in wanting to document the cost of war; the innocents of war: women and children. This still remains important to me today; to keep telling their stories and giving them a voice, seems imperative. I don’t believe photographers or journalists can change or stop wars, but they can create awareness of the people caught up in wars. We still have the ability to remind society that these people are in distress and in need of help. People are fragile, human fragility concerns me.

It seems to me that your appreciation of human resilience is growing with the years. Is there some sort of turning point, a moment when people cease to be victims?

I think my appreciation of human resilience has always been there; it is probably just a little more evolved now then before. I have always been completely humbled by the way many people in unimaginable circumstances in conflict zones, show such extraordinary courage, stoicism, adoption and resilience. I often pondered that with my relatively privileged middle class background in tow, if I would be able to behave in such a dignified and comparable way? Sadly, the answer is quite clearly ‘no’. It takes a special courage and fortitude that I know I don’t have.

I think the turning point, where people stop being victims, is when, because of the extreme situation they are in, the only choice left is an instinct to survive. To be a victim in an extreme situation of upheaval, conflict or oppression, is confirmation of resignation and defeat. Giving up is paramount to dying.

NE: Is a photographer ever more than a witness?

JP: I feel it would be delusional and naive if a photographer thought his or her photographs would or could change the world. But to have an impact at times: I believe this is still alive and well. I have many stories on a micro level where my images/reportage have had a positive impact on people, both in the short term and the long term. One of them is the result of my trips to the Nuba Mountains.

After several weeks of living with the Nuba, and documenting their lives, I was forced to leave, because I had contracted malaria. The Nuba had been driven into extreme poverty by the Khartoum government, who oppressed them. They were living in a very original way: no roads, no electricity. On my one hundred and twenty mile walk out, I passed village after village with poverty stricken people who had also contracted malaria; many where dying of the disease.

Back in Nariobi, I went to see various NGO’s, one of whom was Medicins Sans Frontiers (MSF), and told them of the dire circumstances the Nuba people where in. This resulted in MSF flying emergency supplies (especially anti-malarial drugs) into the area, and soon after they started implementing a long term project in the region.

There is a lot that can be done on a micro level to have impact, indeed a positive and rewarding impact on people we photograph that can be profound. Everybody looks at the top of the mountain but at times it is good to look at the foot of the mountain, things can be found there as well.

Anyone who has gone to the Nuba Mountains agrees that it is a special place, with special people. How are the Nuba special to you?

I first learnt about the Nuba because they are depicted in hieroglyphics on tombs in Egypt. They were taken there as slaves, and were guards to the pharos in life and death (they protected the pyramids that the pharos were interned in). Although there are fifty-odd different sub groups, who vary physically, they tend be aesthetically striking people. Their customs and folklore are varied; elaborate and complex. They are proud and noble people, with a strong sense of community and they have a natural affinity with the land that they inhabit.

On a personal level: they were warm, curious, generous (although they had little) and caring. I witnessed their stick fighting, wrestling, dancing, scarification and harvest festivals. But probably my most enchanting experience was an old woman explaining the elaborate tattooing of women, and why it was they did it. She said the tattoos were made at three stages: when a woman forms breasts (on her arms); when she first menstruates (on the back and shoulders), and finally when she gives birth (on her stomach). For me, just that this idea exists is extraordinary, and that its importance is confirmed in such an elaborate ritual, suggests a complex and special culture in the first place. Each woman was tattooed differently, which was a statement of adornment as well. Each woman was a walking, living, breathing canvas of abstract art.

NE: You said you would like to return to the Nuba Mountains; is it an unfinished story?

JP: Yes, I would like to return. I felt an affinity with the people there. I have friends there and I would like to take images back to them to see and have. I felt an affinity with the landscape, the light and space. In many ways it felt like a very spiritual place. From the point of view as a documentary photographer it is very important to keep going back to groups of people you are documenting, delving deeper into their lives; trying to understand their concerns, their needs and their hopes.

The Nuba Mountains was a very difficult place to access on a regular basis, so it is still an enigma for me. I want to learn more. The story is very much unfinished; my visits were only the beginning of a dialogue. There is so much more to be told about the Nuba.

To see more of Jack’s work and find out more about The Jack Picone Photography Workshops please visit his website: www.jackpicone.com

Random Moments-Battery Operated

In Random Moments, Street Photography on April 8, 2011 at 10:36 PM

Battery operated American toy soldier, pavement, Puerto Vallarta Mexico. © Photography by Jack Picone

Workshop Testimonials

In Workshop News on April 8, 2011 at 10:34 PM
T E S T I M O N IA L S
Below is a selected edit of testimonials from former participants who have attended The Jack Picone Photography Workshops.

“For me, the Kathmandu workshop has been an unforgettable and very inspiring event in my life. Now after one week, looking back, I have only one word to summarize this experience: … wowww!!! It was a pleasure and honor to participate. Apart from the very professional instructions and guidance on photography from Jack and Stephen, it was amazing to discover that it is not only a great photo that counts, but also the passion, vision, social/cultural involvement and messages of a great person behind all the work that was shared with us”.
Merci beaucoup!
Steven Van der Kruit

Would I advise friends to do this workshop? YES
Would I do it again?
YES overseas to live a different experience and see a new place
Did I get out of the class what I expected?
YES a lot more than what I expected.
Andrea Francolini
“I had a very enjoyable time at the workshop and feel that I accomplished what I set out for – that is to hone my skills, learn new skills and become better able to take pictures of life here.  It was a wonderful experience and I think I took some of the best pictures that I have ever taken, so I’m completely chuffed”.
Luke Stephens
Just wanted to say a big thank you to Jack for saying and insisting, “what’s your narrative about – tell me – I want to know”. To David for pushing me to explore things and persisting when I had a mini crisis about it. To Steve for your artistic sensibility, sharing of your work and for questioning the suitcase shot. To Ed for your patience, encouragement and contemporary eyes for things. I was lucky to be part of it. Cim Sears
I thoroughly enjoyed the Masterclass experience. All four mentors offered sensitivity, encouragement and insight and were able to see the possibility of my work and push me to my strengths. Even though the critiques were casual the comments were direct and informed. After each critique the bar was set that bit higher, as a consequence I was pushed into unfamiliar territory and subsequently into getting more interesting shots. The mantras “1 in 15” and “you don’t know until you go” keep me shooting and persisting. As a result I built my confidence, resilience and stoked my photographic fire.
Skye
“I have to say that I really enjoyed the week (even though it was hard work!) and felt that my photographic eye and technique improved significantly…I benefited greatly from the session with Jack and Steve in putting together my final selection for the showing on the final day – and the group praise from the panel afterwards was reassuring”.
Kieron Crawley
‘’I think what the Workshop is doing great is to give a different perspective to those pictures we “usually see without seeing”… and this is great and very refreshing! And also the Workshop has 100% fulfilled its expectations for me in terms of “inspiring people”! Great job!
I’ve learn’t  a lot from the workshop, a total new experience and can’t wait to go in the street taking pictures again’’.
Cecile Ducreux
“Don’t miss the opportunity of learning photography with photojournalist Jack Picone. He is a unique combination of professional photographer, local guide, and best friend. Work at your own pace. Have Jack review your images on a daily basis, discuss your shots in-depth, or shoot eight hours a day. He will let you know what to look for in a scene and be able to gain access into intimate situations. Jack is a photojournalist on a Magnum and National Geographic level with a passion for teaching. Take your photography to the next level and enjoy a memorable travel experience too”.
Jeffrey Jue
“Without a doubt the most inspiring six days I’ve ever experienced. I was inspired to develop my own style and to follow what I believe to be true to me, and more importantly, to go out and have fun! Thanks again for a fantastic six days. I went out to Kings Cross and I’m confident I’ve taken some of my best shots for my project immediately following the workshop… oh! and I’m shooting in film now. That’s how influential Jack, Stephen and the guest speakers where, to the point of experimenting with a different medium”.
Ian Flanders
“The Jack Picone Photography Workshop” was an extremely valuable experience. It was an immense help to me to hear Jack and Steve both talk about their work, the changing world of photojournalism, and what it takes to be a photographer in this day and age. Not only that but their expert advice in relation to photographic techniques, equipment and critique was immensely beneficial. It was also a great opportunity to meet other talented photographers within the workshop. I highly recommend this workshop to anyone with the desire to extend their documentary/photojournalism photography. It was a very inspiring few days.”
Zoe Morley“I attended the Sydney Workshop even though I don’t necessarily want to specialise in photojournalism. I found that the learning was applicable across all photographic disciplines. I came away with more knowledge and confidence about framing, composition and storytelling – what makes a great shot. But possibly the greatest thing I took away from the workshops was inspiration. To hear the stories and see the pictures made by world class photographers like Jack Picone and Stephen Dupont renewed my energy to shoot and my passion for photography. The range of other presentations from legends of the industry like Tim Page and others only value added and widened the appeal and scope for me. I found Picone and Dupont to be frank and honest in their critique of my work and yet sufficiently gentle in their suggestions and friendly nature not to crush my spirit.  I’ve found it very difficult to get honest and considered feedback on my photography over the years – but I found it at the workshops. I would encourage anyone who was thinking about attending one of their workshops to do so.  The more you put into it, the more you’ll get back.”
Tim Anger
“This was an excellent workshop, with some outstanding international photographers coming in to show us their work, and to tell us their story. It was very inspiring. For me the best part was absolutely the critique of the images being taken, as it is very hard to get good honest critique, and to have the photos that you have just taken really given a working over was a very good experience and offered good insight into what other people are looking at and experiencing with the photos. The theme of photographing ‘Hope’ was also very interesting, as this was the first time I had been given such an assignment, and it was very helpful to see my thought processes that I went through.“At 21 I was probably the youngest person in the workshop, possibly with the least experience, but this was no barrier; everyone was an equal, everyone has constructive criticism, everyone had a story to tell, it was really lovely being in such a group. Given the opportunity, I would not hesitate to recommend this on to others, or to participate in the workshop again.”
Mitchell Mathieson
“The workshop was a chance to get up close and personal with 2 (Picone and Dupont) outstanding members of the professional photographic community as well as the guest presenters who were all amazing in their own right. I especially enjoyed the opportunity to meet, discuss and interact with the other students in an open forum. I will be using my experience as a foundation for my photographic style which will no doubt benefit from the valuable guidance I received”.
David Gross“I shot a lot of photos and I gained enormous insight into the editing process in regard to how to tell various stories from the one body of work. I also greatly appreciated the guidance in refining my shooting techniques. The relaxed environment was surprisingly conducive to learning and the opportunity to listen in on critique sessions of other participants was particularly insightful”.
Trish Macris
“For me the Sydney workshop was really valuable, not only in the obvious ways, but also in the quiet moments of conversation, discussions and image reviews.  Spending time with photographers actually successful in their vocation was something that made it all very tangible. It was truly valuable to see portfolios of work by high quality, significant photographers and their personal commentary as they presented their own work…  Stephen’s work on PNG and increasing focus on the anthropological aspect of his art, Dean Sewell talking about his influences from the moment of that first image of the girl in a park terrified by a barking dog, his work in Redfern and motivations etc.  Jack’s work on he Thai-Burma border and pearls of wisdom throughout the week, Tim Page’s extraordinary body of work during the Vietnam war, and documenting the impact of agent orange since then.  I found the reviews of my own work and the work of my colleagues really helpful. Tim Page’s brutally frank reviews were really helpful and an eye-opener.  Jack’s thoughtful insight into what makes a good and interesting photograph resonated deeply.  Stephen’s eye and wholistic view when it came to image selection, editing and presentation was excellent.  I came away with a great appreciation and respect for the photographers we spent time with and more clarity for my own path ahead”.
Kate Baker
‘I learned a lot. The shooting assignment was a brilliant idea… scary, but brilliant. Not only did it provide a platform to be critiqued by Jack and Steve, but I personally felt really encouraged to push myself. I found Jack and Steve’s passion for photography, encouragement and aiming for excellence very contagious. Having additional visiting photographers share their stories as well as just being really inspired by the creative energy of the other participants in the workshop all round made for a great week. I think I was on a high all week… I thoroughly recommend it!!’

X/100

In Photography News on April 8, 2011 at 10:29 PM

Fuji have given me their latest inspired piece of thinking the X/100-well to give my thoughts on.

I feel privileged.

Fuji are different.

Clearly they can’t compete on the same level as the mega giants like Canon, Nikon and the other big boys.

But every ten years or so in a stealth like way, they appear on the horizon with a camera that clearly eclipses the competition. The last one was Fuji TX-1 Panorama film camera. A superb camera.

My initial reaction on ‘taking this camera for a walk’ and seeing the images that it delivers, is one of unbrilded and unfeted excitement.

Seemingly, the X/100 is the nexus between style and substance.

Niether a flawed compact, nor a ‘house brick’ DSLR it is simply unto itself.

Already, I feel (for me) it is filling a void that has long been present since the introduction of digital cameras.

As I experience more with this camera I will be back with some images and my thoughts.

Jack

Positive Lives

In Ethics on April 8, 2011 at 10:25 PM

Positive Lives was a global photographic project documenting the AIDS crisis.

This chapter (I completed multiple chapters world wide) was based in Thailand and traces the personal stories of HIV-infected and affected individuals facing social ostracism.

I hope that my photographs serve as a tragic record of the stigmatization of HIV/AIDS in Thai society, as well as a testament to the perserverance, compassion, and courage that sustain the human spirit. I took my camera into hospices for dying, Buddhist temples run by HIV-positive monks and an AIDS museum.

I worked in collaboration with the people who appear in my images.

I hope that my essay confronts and questions the fears and prejudices in Thailand that are associated with HIV/AIDS. Via the universal language of images, my intent was to make an appeal not only to the collective conscience of the Thai people and their government, but also to the global community at large.

Please view my reportage here: Positive Lives

Random Moments-The Longest Paddock

In Random Moments on April 8, 2011 at 10:21 PM

© Photograph Jack Picone

Sheep graze on the verge during a time of drought. Outback NSW, Australia.