Reportage

Archive for August, 2020|Monthly archive page

Dzemil Hodzic | Bosnian Survivor

In Ethics, Photography, Random Moments on August 14, 2020 at 3:28 PM

‘A camera doesn’t lie’: Documenting besieged Sarajevo

25 years on, a Bosnian survivor is on a mission to keep memories alive with his Sniper Alley project.

Rewriting history has become commonplace within a contemporary context but not if Dzemil Hodzic is going to have anything to do with it.
Dzemil is using still photographs [ SniperAlley Sarajevo ] from photojournalists who covered The Siege Of Sarajevo to counter revisionists fictional writings that are masquerading as fact.
Read Mersiha Gadzo heartbreaking tale of two brothers here. One can’t not be emotionally wounded after reading Dzemil’s tale of his older brother Amel’s death at the end of a snipers bullet delivered squarely to his chest.
Dzemil’s and Mershia’s account is accurately written for posterity. It counters the revisionists’ versions that perpetuate untruths, and are drowning in political malfeasance.

 

The view from my room at The Holiday Inn. Sarajevo 1995.

Avoiding Serb sniper fire by taking the back streets to school. Sarajevo 1995.

[Jack Picone] DO NOT USE
Under Serb sniper fire, mother and child run for their lives along ‘Sniper Alley’ in Sarajevo in 1995 

 

 

 

IMAGINE: REFLECTIONS ON PEACE

In Ethics, Photography, Photography News on August 8, 2020 at 8:15 AM

For students of politics, history, philosophy, or anyone interested in a more comprehensive understanding of the opposing forces of war and peace and how peace can prevail; the book, IMAGINE: REFLECTIONS ON PEACE will be published on October 6th, 2020.

IMAGINE is an initiative by VIIF Foundation;


“This book is dedicated to those who are living in war while imagining peace, and those who are brave enough to build it.”
IMAGINE focuses on six distinct countries—Bosnia and Herzegovina, Cambodia, Colombia, Lebanon, Northern Ireland, and Rwanda—to illustrate the difficult work being done to break the foundational cycles of conflict and violence that have marked each’s immediate history.
IMAGINE provides a provocative and thoroughly insightful look at not only what the peace process means to each individual and community, but also (and maybe most importantly) the nuanced, hard-won lessons behind what it means to actually build peace.

Photographers

Gary Knight: Cambodia (Wartime and Post-War)
Stephen Ferry: Colombia (Wartime)
Ron Haviv: Bosnia and Herzegovina (Wartime and Post-War) Roland Neveu: Cambodia (Wartime)
Jack Picone: Rwanda (Wartime and Post-War)
Nichole Sobecki: Lebanon (Post-War)
Nicole Tung: Iraq and Syria (Wartime and Post-War)

Journalists
Jon Lee Anderson: Colombia Martin Fletcher: Northern Ireland Anthony Loyd: Bosnia
Jon Swain: Cambodia
Robin Wright: Lebanon

“These searing images and moving essays teach us much about the lessons of history, the costs of war, and the overlooked challenges of achieving lasting peace. The honesty and introspection of the contributors also reminds us that the gaps that exist between peoples can be bridged; wounds can be healed; hatreds can be dissolved; and the once unthinkable can become reality — if there is a willingness to pursue dialogue and embrace our common humanity. Imagine: Reflections on Peace is a timely and important call to action.”

— Madeleine K. Albright, former U.S. Secretary of State

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Fujifilm’s New X-T4

In Ethics, Kathmandu, Photography, Photography News, Random Moments, Street Photography, Workshop News on August 3, 2020 at 7:25 PM

A special collaboration with Fujifilm Cameras

Story from Australia’s Better Photography Magazine’s Editor, Peter Eastway.
All photographs were taken © by Jack Picone during
cremations at Pashupatinath Temple in Kathmandu.
JACK PICONE: FAST, FLUID AND INTUITIVE
Fujifilm’s Amazing New X-T4

What does it take to be a successful documentary photographer?

Apart from the skills required to find and capture the images, most of the better- known documentary photographers you’ll meet are also deeply-thinking individuals. For them, photography is only a part of their personal involvement with the world – how they interact with their subjects is equally

important.

 

 

 

 

Jack Picone

Australian-born Jack Picone shoots editorial, corporate, architectural and street photography professionally. Over the past three decades, he has covered wars and social issues in Australia, Asia, Africa and Europe, and his work has won several international awards, including World Press Awards, the U.S. Photographer of the Year Awards (POY) and the Mother Jones/IFDP Grant for Social Documentary Photography. Professor Picone is also passionate about educating new generation photographers, passing on his experiences and ideas, but after all, this, what continues to drive Jack are his personal projects.

“Generally, my personal work is street photography and currently I’m working on ‘The Other Chinatown’in Bangkok and a surreal shopping mall rooftop zoo, also in Bangkok, called ‘Pata Zoo’.“

While Jack acknowledges challenges that all documentary photographers face – finding stories, access to subjects, engaging with subjects and obtaining permissions, it’s the nature of the interaction that is most important to him.

“I find it challenging to achieve an ethical balance with the people I document in longer-term documentary photography projects.” In other words (and at the risk of over-simplifying the issue), a wealthy first-world photographer documenting a poorer or disadvantaged subject creates an immediate bias, no matter how genuine the project is.

Collaboration

“I have partly surmounted this challenge by collaborating with the people I photograph”, explained Jack.

“I once read that it is impossible (without getting into the subject’s skin) to share an identical purpose. That said, and as Sarah Pink (in Doing Visual Ethnography, 2007) observes, working in close parallel can help to offset the unequal power relationship that often exists between a subject and a practitioner, resulting in a body of work that is more ethically balanced.”

Unobtrusive

Readers looking at Jack’s work (and that of other great documentary photographers), often wonder what cameras and techniques were used and while these aspects are important, the strength of the images usually results from addressing other issues, such as ethics.

Having said that, how does Jack work when he’s out in the field? Does he walk up to his subjects and shoot with a wide-angle lens, or shoot from an unobserved distance?

“It depends on the genre of photography I am working in”, answered Jack. “If it is street photography, I make photographs that avoid ‘disrupting’ the original moments unfolding. If documentary photography, then I meet people, spend time with them and invite them to have a say in their documentation.”

However, whether street or documentary photography, Jack believes the smaller and less obtrusive the camera, the better. “Some people are intimidated by cameras and house- brick size DLSRs only amplify any intrusion or intimidation.”

And in a nutshell, Jack is explaining why he is a keen advocate for the Fujifilm X-series cameras.

“The Fujifilm X-T cameras are small and

unobtrusive. Their retro design also makes them less intimidating and I think it is this combination that creates potent and positive psychology when photographing people, especially those in fragile situations.”

Before its release, Jack tested the new Fujifilm X-T4 in Kathmandu, Nepal on an assignment.

“Like Kathmandu itself, the X-T4 has a dual personality: On the outside, it resonates retro with classic design lines not eclipsed by time. On the inside, it is all twenty-first-century space-age technology. It’s a compelling combination.

“Nepal is a spiritually multi-dimensional and creative place. Much of its creativity is rooted in Hinduism. In Kathmandu, Hinduism is omnipresent in life and death. In fact, Hinduism is a conversation between life and death and it is reflected in Nepalese culture with its religious iconography, art, writing, graffiti, music and even the cremations on the banks of the sacred Bagmati river.”

Extreme Edge

“Unlike most Western countries, the Nepalese people are unconcerned with the documentation of their dead. They are inclusive of it because it is an intrinsic part of the Hindu religion, to share life’s experiences and to promote a culture of understanding between people everywhere.

“Hindus believe we are all the same and we are all in this life together. Sharing death is

part of that philosophy.
“Even so, photographing the ritual of death

is mostly about respect, unobtrusiveness and speed. There can be beauty in pathos and poetic and sorrowful photographs can be made or lost in microseconds.

“I found while documenting the cremations at Pashupatinath Temple in Kathmandu that the Fujifilm X-T4’s fold-away LCD screen in combination with the large dials and controls on the top deck allowed me to work fast, stay in the moment and learn about the Nepalese peoples’ conversation with death. I can’t imagine working with a camera that requires you to scrolling through endless menu pages!

“I push my cameras to the extreme edge of their capabilities. Having six and a half stops of image stabilisation, lighting fast autofocus, lots of film simulation modes and extra battery life, keeps me on that ‘edge’ where most of the potent photographs happen.

“The Fujifilm X-T4 is intuitive, fast, fluid and a natural extension of me and my creativity.”

For more information on the Fujifilm X-T4, visit fujifilm-x

+ All photos also used the Bleach Bypass film simulation mode.