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APERTURE PHOTOGRAPHY CONFERENCE 2018

In Photography, Photography News on December 22, 2017 at 4:38 PM

If you are passionate about photography then pen Australia’s APERTURE Photographic Conference for 28th & 29th of April 2018!

It is a meeting of like minded souls and kindred spirits sharing a wealth of knowledge and experience about the medium of photography.

Speakers include: 

ALEXIA SINCLAIR
MURRAY FREDERICKS
EUGENE TAN
KEN DUNCAN
GARY HEERY
KRYSTLE WRIGHT
MEGAN LEWIS

JACK PICONE

and more…

Where: International Convention Centre (ICC) Darling Harbour, SydneyTickets Available Now @apertureaustralia 
Speakers: @murrayfredericks@aquabumps @kenduncanphotos @garyheery@krystlejwright @jack_picone @meganlewis.com.au 
@raymondgmartin#photojournalism #documentaryphotography #aperture2018 #iccsydney #photography #sydney#photographyconference #behindthelens#photographer #artist #australia #darlingharbour#cityofsydney #aperture #lens #fineart#fineartphotography #alexiasinclair #intothegloaming #photos 

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Consternation Over Winning Photograph in the Olive Cotton Award in Australia.

In Photography News on July 26, 2017 at 3:58 AM

Consternation Over Winning Photograph in the Olive Cotton Award in Australia.

This is a provocative image. I surmise in amongst multiple reasons it was chosen to be the winner was to – provoke. Creativeness, diversity, innovation, and vision in photography should be without boundaries – this is without question. This photograph goes some way to pushing the creative boundaries of photography. You know ‘Space the last frontier,’ go where no man (should be woman as well) has been before stuff boundaries!

                                          © Photograph by Artist Justine Varga

Winner of the Tweed Gallery’s $20,000 Olive Cotton Prize for photographic portraiture was a controversial choice by judge Shaune Lakin [Senior Curator of Photography at the National Gallery of Australia, Canberra]. The photograph (above) is titled ‘Maternal Line’ and is by Justine Varga.

At this point, it is useful to ask a couple of questions; the first being, does this specific photograph succeed in doing that – being stellar? The second and more pragmatic for many here is the stinging question is, is this a portrait photograph? The answer to the first question lies with the individual viewer given the inbuilt subjectivity of photography itself. There is no x+y=z answer. The second question is also difficult to answer. It is though one needs first to ask what a portrait is? A portrait is defined as a painting, drawing, photograph, or engraving of a person, especially one depicting only the face or head and shoulders. No face, head or shoulders here? Though, more broadly a portrait is a representation or impression of someone or something in language or on film or television or in this case – photography. The latter is where we enter the twilight zone. It is plausible that this photograph ‘Maternal Line’ can loosely be defined as a portrait. I think especially because as I understand it, photographer Justine Varga lovingly collaborated with her grandmother in making it. It is a ‘representation’ of her grandmother, and representation can qualify as a portrait. In a very human way, I am touched by Varga’s collaboration with her grandmother in making ‘Maternal Line .’ Saying that I wonder if the final work is as compelling as the collaboration and methodology that produced it in the first place?
As mentioned earlier within the context of those ‘go where no man (or woman of course) has been before frontiers’ of photography; curators, judges, picture editors et al. at times could be more balanced in avoiding choosing photographs that are biased towards methodology and philosophical underpinnings. Yes, the methodology and philosophical underpinnings of a photograph are paramount but not at the expense of dumbing down the aesthetic, and emotion of a photograph. Equity of both methodology and aesthetic produces the most potent and powerful photographs. Any University first-year art photography student can write a three thousand word piece on why the close-up photograph of the wine stained piece of shag pile carpet s/he has photographed is ‘art’ with intellectual and philosophical justification and authority. This is basic 101 University art photography stuff. But the important question that needs to be asked is, is it an accomplishment as an aesthetically evolved and emotionally charged photograph? Does it question us and inform us, delight us and disturb us, make us laugh or cry, extend our understanding of what it is to be human and be part of humanity? Further, still, does it emotionally wound us and remind us what it is to be alive? I wonder? Perhaps in some way it does in a ‘quite’ way or is it that ‘the story’ of the methodology is more compelling in this case?
Could it be that the aesthetic of the ‘Maternal Line’ doesn’t equal the intellectual and philosophical maturity that went into making it? Perhaps this is at the core of the consternation concerning ‘Marternal Line’ winning the Olive Cotton award?
Provocative? Clearly so but at what cost? Generally put provocation at the cost of devolving an evolved aesthetic and emotion is narrow in vision and counterintuitive. Personally, am I provoked by the actual photograph? I I am emotionally moved when considering the intamacy and emotion surrounding the story of making the photograph. But and again, provoked by the actual photograph itself? No, a flat line. I don’t ‘feel’ anything, and that is a problem.

~ JP

External Link: ABC NEWS

External Link: Sydney Morning Herald

Sebastiao Salgado “The World Through His Eyes,” Exhibition In Bangkok

In Photography News on February 26, 2017 at 5:16 AM

If you happen to be in Bangkok at the moment, the venerable Brazilian documentary photographer Sebastiao Salgado has an exhibition at the Bangkok Art and Cultural Centre. It opened Feb. 9, 2017. Salgado is probably one of the most ethical and environmentally conscious contemporary photographers practicing in the world today.
The exhibition is titled “Sebastiao Salgado: The World Through His Eyes,” The expansive exhibition of 120 black-and-white images by Salgado at the Bangkok Art and Cultural Centre is Salgado’s first major exhibition in Thailand and will open to the public until March 8.
In parts, the work is both deeply moving and inspirational.
Paradoxically, No Photographs are allowed in the actual gallery space itself?

~Jack Picone

jackpicone_salgado_exhibition-lr-1A security guard enforces, “No Photo” dictate at  Salgado exhibition. © Photograph by Jack Picone

Poetry and Photography

In Photography News on October 1, 2016 at 3:04 AM

Recently, I have been collaborating creatively with the poet, Kit Kelen. I have been posting photographs and Kit has been writing poems to accompany my photographs. Seeing poetry and photography collectively, as opposed to singularly is a  journey into a new creative landscape.

Over coming days I will post a small random selection of Kit’s poems. You can also visit this link and below to view Kit’s blog for this project titled 365+1. You’ll find a plethora of great poetry and art from other contributors.  

Kit Kelen – Series with Jack Picone’s Photographs – #14 – the fire at dawn, the waiting 

 14

the fire at dawn, the waiting

is it the bones show through?

is it the where-they-are waking?

so sombre silent still

as if the sky were nothing

as if they were earth already

they compose themselves

for eternity’s frame

have they fallen from great heights to here?

are they stones sprung up in flesh?

I ask because

I just don’t know

what any of this means

                      © Photograph by Jack Picone

Young PNG Highlanders at the crack of dawn. Mt. Hagen, PNG.

In-Print | A Small Selection Of Magazine Tear Sheets

In Photography News on April 4, 2016 at 3:29 AM

The interaction between photographer and designer is an often fractious one. Competing agendas can ensue. Some designers view photographs as creative visual building blocks that are merely part of an end design.
Most photographers view their authored images as sacrosanct. They strongly object to their photographs being altered – in any way – to fit a preordained design.
Sparks can fly!
Below are several examples of where a confluence of design and photography have found a creative and aesthetic balance.

 

JackPicone_LE'Xpress_Mag_Web-0                                                                    • L’Express Magazine, France.

 

 
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                                • L’Express Magazine, France.

 

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                               • Dynasty Magazine, China.

JackPicone_GOODWEEKEND--MAG-SPREAD_-21                          • Good Weekend Magazine, Australia.

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                        • (Above and below) The Financial Review Magazine, Australia.

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                                       • The Financial Review Magazine, Australia.

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                        • Above (2x) Foreign Policy Magazine, USA.

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                       • The Saturday Independent Magazine, UK.

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                                       • (Above 3x) Mare Magazine, Germany.

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                       • Marie Claire Magazine, Australia.

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                                       • The Independent On Sunday Magazine, UK.

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                                               • (Above 3x) TIME Magazine.

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                                                              TIME Magazine.

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                                       • (Above 2x) ‘COLORS’ Magazine

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                        • L’Express Magazine, France.

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                                         • Kultur Magazine, Germany.

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                                        • The Observer Magazine, UK.

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                                        • (Above 2x) TEMPO Magazine, Germany.

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                                       • Al Jazeera Magazine, Qatar.

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                       • HQ Magazine, Australia.

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                                       • Al Jazeera Magazine, Qatar.

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                                                                                        • TIME Magazine.

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                                                                                        • Worldview Magazine, USA.

THE GIRL ON THE POSTCARD

In Photography News on October 9, 2015 at 1:04 PM

The Girl On The Postcard – Al Jazeera Magazine.

Words and Photographs by Jack Picone.

 

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JackPicone_Kayan-LR-7                 © Photograph by Jack Picone. Portrait of Ma Da. Nai Soi. Thai – Burma Border.

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JackPicone_Kayan_LR-9               Portrait of Ma Da. Nai Soi. Thai – Burma Border. © Photograph by Jack Picone.

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A souvenir stall at Nai Soi village. The diagram shows how the collar bone and rib cage are pushed down by the rings to create the illusion of a long neck.A souvenir stall at Nai Soi village. The diagram shows how the collar bone and rib cage are pushed down by the rings to create the illusion of a long neck.  © Photograph by Jack Picone.

JP-PhD_KAYAN-LR-13This Spanish tourist took the brass ring from a Kayan woman and put it over his head. He thought it was funny and so did his friends. Few tourists who visit the village of Nai Soi really understand that it is in fact a refugee camp they are visiting and that the Kayan people they are photographing, videoing and gawking at are effectively imprisoned. Mae Hong Son, province Thai-Burma border. © Photograph by Jack Picone.

JackPicone_Kayan_Women-LR-1A Kayan woman baths wearing her brass coil. The coil is made of heavy brass weighing around 10lbs it takes significant effort for her to support her neck as she bathes. Nai Soi, Mae Hong Son, Thailand. Mae Hong Son, province Thai-Burma border. © Photograph by Jack Picone.

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Reflection of Kayan woman. The small triangular mirror is used by the Kayan woman as they groom themselves. Mae Hong Son, province Thai-Burma border. © Photograph by Jack Picone.Screen Shot 2015-10-08 at 6.07.10 PM

Ends.

Postscript: For accuracy sake please be aware that Ma Da, the young female subject in my earlier photographs, died in the Nai Soi camp at the age of 22 from a stomach illness caused by the insanitary conditions at the camp. Mae Hong Son, province Thai-Burma border.

HOPE | A PHOTOGRAPHIC EXHIBITION by PATRICK BROWN in BANGKOK

In Photography News on September 28, 2015 at 2:45 AM

The American Photographer Lee Friedlander {b. 1934} once said he was mostly interested in photographing ‘people and things’, but it could be suggested that he expressed those interests in the depiction of places. A photograph can transport the viewer to the street corner of the town they live in, to the next city or the edge of the earth.

A photograph is created by a photographer standing in a particular place at a specific time. Amongst the many reasons for a photographer initially making the photograph one that is paramount is that the photographer wishes to ‘take the viewer there’.

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Patrick Brown’s polaroid landscapes of Australia’s ‘Never Never’ (As Indigenous Australians sometimes refer to the Outback) exhibition titled, HOPE and on show at The Jam Factory in Bangkok Sept. 17 – Oct. 17th succeeds eminently in ‘taking the viewer there’.

Brown’s dark and brooding polaroids not only ‘take the viewer there’ they also act as a kind of emotional trigger. On viewing the polaroids a yearning to travel to where Brown painstakingly made his photographs follows. The want to explore the places and understand the secret of their beauty beckons.

As with Brown’s polaroids, compelling photographs always ask more questions than they ever answer. Questions similar to, what is my relation to these vast ‘forever’ spaces? Where do I or not fit in?

What is unique about this exhibition is that Brown has answered some of the questions photographs like these often ask. He has been successful in reading the visual signifiers’ and messages thrown at him by the natural (and at times the manmade world) which is busy in an endless cycle of creation and destruction. He has given their indicators shape and context. He puts the viewer and by extension — man the protagonist — squarely ‘there’. It becomes evident that man is not just standing on the edge of these landscapes. Man is center stage. He has ideologically, historically, economically, agriculturally, spiritually interacted and finally appropriated these vast spaces. Harmony, discord, fruitfulness, barrenness, utopia and destruction amongst a myriad of others have followed. Man’s interaction is burnt into landscapes not unlike the burnt landscapes themselves documented here. Perhaps the most important question these photographs solicit from the viewer is; will man protect these spaces for future generations or exploit and destroy them as he has done since time immemorial?

Each photograph in HOPE responds to the viewer in the form of a contemplative experience and potently compels the viewer to – question everything. ~ JP

Last Call for Cuba

In Photography News, Street Photography, Workshop News on September 4, 2015 at 12:03 PM

Havana, Cuba Workshop: Dec 6th – 11th, 2015

Last chance, to register for our Havana, Cuba Workshop!

Deadline for registration is Monday, Sept. 14th.unnamed               © Photograph by Stephen Dupont

 

Don’t miss this special opportunity to join us in Havana before it all changes. This is the last opportunity to document and experience Cuba before it transitions into modernity.

Secure a place with a  US$500 deposit.

We will fast track your photography authorship to a higher aesthetic.

Documentary photographer Jack Picone will work in tandem with workshop partner Stephen Dupont, acclaimed photojournalist and artist. Both Stephen and Jack will critique and edit participants’ work one-on-one, and also take part in evening projections and discussions.

An introductory get-together will be held on the evening prior to the workshop’s formal start in Havana. Like any working documentary photographer, you will be given an assignment brief to interpret as you wish. (The brief will be announced prior to the workshop to give you time to research possible subjects before you arrive.) The aim is to produce a documentary photo essay with a striking visual narrative, to be shown on the final evening of the workshop.

Cost: US$2,650. Includes all workshop sessions. Workshop cost does not include travel costs to Cuba and accommodation. A US$500 (non-refundable secures a place on the workshop) with the balance to be paid no less then one month before the workshop starting date.

Application: Our workshops are strictly limited to 15 participants. Havana is a very popular workshop destination, so please do book early to avoid disappointment.

To receive further information about Havana or to request a registration form, please contact: jack@jackpicone.com and/or stephendupont@bigpond.com

Links:

Jack Picone

http://www.jackpicone.com/

Stephen Dupont

http://www.stephendupont.com/

Please Note: We advise that all participants take out medical/travel insurance for the Cuba workshop. Also, due to unforeseen circumstances workshop dates can be subject to change. However, this is rare.

 

Exclusive book signing at Ballarat International Foto Biennale, August 22.

In Photography News on August 11, 2015 at 5:30 AM

Stephen Dupont will be signing copies of his new book published by Steidl titled Generation AK: The Afghanistan Wars 1993 – 2012. This will be a first time signing of the book. Go along to the Art Gallery of Ballarat on Saturday August 22nd between 2pm and 3pm to purchase books. Stephen will also have some of the last limited edition copies of Piksa Niugini available and more of his books. 1510687_117759638564598_746103430785015757_nAlso Stephen and myself are taking bookings for our next workshop event in Havana, Cuba Dec 6th – 11th. Click here  for further details.  All enquires to jack@jackpicone.com and stephendupont@bigpond.com

 

Vintage Prints

In Photography News on October 29, 2014 at 5:50 AM
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“Exit”. Vanessa, Oxford St, Sydney. 2000

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“Monks and Garlic”. Cambodia, 2006.

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“Taxi Boat”, Lamu, Kenya. 1998.

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“Sun Bathers”, Coogee, Sydney. 1984.

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“Wylies Pool”. Coogee, Sydney. 1984

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“End Of Shift”. Shearer, outback NSW. 1995

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The Shearers’ Cook and The Cooks Husband. Outback NSW, Australia. 1995

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“Trees and Pregnant”. Southern NSW, Australia. 1999

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“The Back Of Beyond”. Outback NSW, Australia. 1995

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“Month Five”. Bondi, Sydney. 1999

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“Month Nine”. Bondi, Sydney. 1999

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“Town Tower”. Broken Hill, NSW. 1999

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“Broken Hill”. Broken Hill, NSW. 1999

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“Sign Language”. Broken Hill, NSW. 1999

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“Letting The Clients Know”. Kalgoolie, Western Australia. 2001

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“Barmaid”. Kalgoolie, Western Australia. 2001

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“Sex Workers”. Kalgoolie, Western Australia. 2001

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“Circus in Town”. Orange, NSW, Australia 1983.

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“Levitation”. Orange, NSW, Australia 1983.

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“The Big Top”. Orange, NSW, Australia 1983.

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“Club 181”. Sex Worker, Kalgoolie, Western Australia. 2001

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“Voyeur”. Kalgoolie, Western Australia. 2001

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“Back Stage”. Drag queens warm up. Oxford St, Sydney. 1999

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” Hair Spray”. Drag queen performance. Oxford St, Sydney. 1999

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“Vanessa”. Drag queen, Sydney. 1999

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“Andrew Is Dispatched”. Sydney, 1999.

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“Andrew And Family”.Minto, Sydney, 1999.

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“Housewives”. Broken Hill, NSW. 1999

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“By A Nose”. Races, Kalgoolie. 2001

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“Rites Of Passage”. Ballinsloe, Southern Ireland. 2002.

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“Dichotomy”. Beijing, China. 2005.

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“The Winner”. Bethnal Green, London. 1996

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“Revolving Door”. Businessman, Beijing, China. 2005.

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“Insurance”. Phonsavan Airport, Laos. 2007

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“Repose”. Phonsovane, Laos. 2007

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“Cruising”. Main road Phonsavan, Laos. 2006

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“House of God”. Mando, Sulawesi. 2002

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“Freedom Fighter”. Thai-Burma Border. 2007

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“Raining Rice”. Rice Harvest, Thai-Burma Border. 2007

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“Between Two Worlds”. Thai-Burma Border. 2008

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“Landmine Victim”. Thai-Burma Border. 2006

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“Before The Frontline”. Thai-Burma Border. 2007

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“Bathing”. Thai-Burma Border. 2005

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“Horse Monks”. Thai-Burma Border. 2007

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“Cocoon”. Cremation Ritual, Thai-Burma Border. 2007

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“Island Hopping”. Lamau, Kenya. 1999

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“At Sea”. East Coast, Kenya. 1999

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“Mooring”. Lamau, Kenya. 1999

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” Riding The Wind”. Lamau, Kenya. 1999

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” Homeward Bound” . Lamau, Kenya. 1999

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“The Captains Daughter”. Lamau, Kenya. 1999

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“Bringing In The Dhow”. Lamau, Kenya. 1999

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“In between War”. Liberia 1995.

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“Genocide”. Rwanda. 1994

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“Trade Routes”. Luang Prabang, Laos. 2007