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.
It is a short film made by Film Director Megan Lewis Director of Photography Darren McCagh and Producer Kevin Cooper that helps promote Fujifilm’s latest flagship camera the XT4. Clearly, when a short film as well crafted as this is, ‘it’ [the art] is as much about the film-making as it is about the photography. The two make a potent mix.
Hope it is engaging on one level or another for those like-minded visual souls, who love storytelling, photography and film-making [and cameras], the way I do.
Even though a reasonable amount of time has eclipsed since Fujifilm launched [2013]thex/100s I still find myself imbued with it. It is intuitive to use, produces technically superb files and is discreet. Here is a link to a shortvideo of me using it while in Burma or now as it is known Myanmar.
A mother cares for her son during a ferry crossing on the Irrawaddy River Yangon, Burma.
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 to modernity.
Secure a place with a US$500 deposit.
We will fast track your photography authorship to a higher aesthetic. This workshop is open to all regardless of your level of photography practice.
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: A special price of US$1,850 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.
Final deadline for registration is Thursday, Oct. 18th.
Application: Our workshops are strictly limited to 15 participants. Havana is a very popular workshop destination, so please do book early to avoid disappointment.
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.
Vice Magazinerecently published Gilden’s photoessay titled ‘Two Days in Appalachia’. Controversy followed the publication of Gilden’s photographs and Gilden’s modus operandi is yet again under question.
PhotoShelter’s Allen Murabayashi has published an interesting piece atPhotoShelter Blog that encapsulates all the protagonists involved in the ongoing controversy.
Gilden’s work has always had an element of ‘does the end justified the means’?
His work is raw and unforgiving not unlike the man himself.
Roger May’s questions if Gilden has empathy or indeed if that his work has a complete absence of empathy – is a good one. I hear some empathy in Gilden’s rhetoric in the way he speaks about the people people he photographs during the short filmlinked in the interview. Observing Gilden photographing on the streets of NY, I see him range from zero empathy and peak at a modicum of empathy. At one point he is telling a passing woman to put her scarf on so she won’t get cold then almost in the same breath commenting on another woman’s boots as “fucking ugly”. In part this displayed empathy or lack of it could be attributed to the random task at hand – street photography.
Harlan, Kentucky, Saturday, June 6. Destiny, Amber, and Serenity at the Harlan County Poke Sallet Festival.
I think the comments (in the comments section below the Vice interview) from retired Social Worker Sharon Hurley a native Appalachian are incredibly insightful. They remind us all as photographers about how credible or not our documentation of people can and isn’t once our pictures are published. Sharon says, “His work is not reflective of the softness and peacefulness of life but of the harshness. Technically, his work is excellent and evokes reaction. Obviously, he does not care that the images he presents is not representative of an entire community whether it is in Japan, Detriot , London or Appalachia”.
Back to thevideo featuring Gilden: Gilden is heard saying that he finds some of his photographs beautiful. Further that if he didn’t photograph these people they would go unnoticed. Indeed, he recounts a conversation with one of the women he has photographed in the most unforgiving way. He says that she says (after he shows her the photograph he made of her) that she thinks he made her look beautiful in the photograph.
So is his work devoid of empathy? As always the question is both complicated and subjective.
And within the preceding context of complexity and subjectivity — personally — I questioned whether Gilden’s photographs leave the people he has photographed with their dignity uncompromised? Of course, dignity is also a complex and highly subjective notion. Though and said objectively most people are innately aware when they have not treated another person with requisite respect.
Interestingly, dignity and empathy are at times interconnected. It could be suggested that it is difficult to leave the people one has photographed with their dignity intact without first showing them empathy.
The images in this gallery have all been made on the Hasselblad X-Pan 1 and the Fuji TX-1 essentially, they are exactly the same camera just branded differently.
Both these cameras are relatively small 35mm film cameras that can produce striking unbroken images across a full 71- degree field of view (the normal field of vision of the human eye, by contrast, is only about 45 degrees). The resulting photographs make concrete the concept of the panorama — quite literally, to “see all.”
I take these cameras with me everywhere I go. They are my, “I am taking my cameras for a walk” cameras. Pictures in this slide gallery are from Bangkok, Hong Kong, Macau, Bali, South Africa, Kenya, Sri Lanka, Kathmandu, Laos, Cambodia China and Australia.
The trick with using these cameras is not to rely too heavily on the actual panorama format in an effort to make your images more aesthetically interesting. This would be clichéd. It is really about using the panorama format in conjunction with compelling composition. If there is a confluence of both these variables it is possible to elevate your images to a higher aesthetic plane. The latter sadly, I have yet to achieve with the work here.
I am on a creative cusp! I am close I can feel it, Exciting!
The following events took place in ALEPPO, Syria – in September 2012
Tracey Shelton displays extraordinary courage under fire while documenting the ongoing conflict in Syria.
“On this morning, the men were relaxed and joking around as they cleaned their area from a tank attack the day before. That time, they had been prepared and the tank had fired too short. This time, the assault came with little warning”.
The New Territories is sometimes referred to as Hong Kong’s bedroom. It is large – larger then Hong Kong Island, Kowloon and Lantau Island combined. A large quotient of Hong Kong’s population live in The New Territories. What seems like, endless miles of high-rise housing estates – dominate the skyline. Often below these estates are thriving Hong Kong Chinese communities living out their lives in a vibrant way.
I am on the Star Ferry shooting pictures at twilight while crossing Hong Kong Harbour. The sun retreated hastily and out rolled a piercing black and blue sky. Iridescent. I love this time. I love this light. A time where day transitions to night and just for a fleeting moment – it is neither. It is exciting and ambiguous. Given the consternation concerning the performance of the auto-focus of its predecessor, the x/100, I was keen to test the X Pro 1’s focusing ability. As a photographer you are aware that you need to work in nano-seconds because light and color is on the wane and what is so beautiful now, soon will vanish. So I did work fast, two of the authored images are in this short slide show (click on post heading to see images larger if you like) above. One is the Asian girl wearing a faux polar bear head (hat) and the other is a picture where I focused on a thick translucent plastic sheet rendering a cruise liner that it framed, soft and dream like in the background. The ferry pitched from side to side in challenging low-light conditions and I took a score or two of images during the crossing from Kowloon to Hong Kong. The X-Pro 1 did not miss a beat in terms of responsiveness and the auto-focus locking onto the subject. This performance was repeated with several early morning walks photographing Hong Kong waking up to a new day as well. During my early morning wanderings I purposely sought out scenarios to make images that involved shooting through glass, against highly reflective surfaces, in shadow zones and at times in low light. This is apparent in the image of tea being poured by a waitress, shot through a heavily steamed coated window. Again, the camera did not miss a beat. It was smooth and seamless with the autofocus doing what I expect autofocus to do – focus accurately in minimal time. None of this searching searching – help me – I am lost! No whirring in and out. It focused with conviction. Similarly to the X/100, I suggest that one of the great advantages of this camera is its classically beautiful and understated retro-design. It is not (although often wanted to be) a high end DSLR. I am personally very happy that it is not a DSLR.
Said objectively, the Hong Kong Chinese are known to be just a little (it is infinitesimal really) gruff about having their picture taken but I did not encounter any negative reaction to working on the streets with this camera, in fact I was completely ignored. This camera is not great for your ego I am afraid. Get used to being ignored. If you want to make a statement swinging a house brick DSLR around your neck that in turn broadcasts that you are a photographer then this camera is probably not for you. And this is where we get to the core of what the X- Pro 1’s psychological advantage is. Because it does not solicit the unwanted reaction that comes with shooting pictures with a DSLR, I am left to document people in original moments. Sounds like visual small change but for me this is super significant in terms of access and time that otherwise may be stunted or stymied by using a DSLR. When I am on the street with the X PRO 1 I feel a synchronicity similar to that I have enjoyed when shooting black and white film with my Leica M6. Both cameras feel like a natural extension of me. Specifically, the X PRO 1 allows me to arrive at the creative conclusion, I want.
So the proceeding is what I think is attractive and important about the X-PRO1 but there are a few fixes that Fuji could consider in their continuing evolution of this ground-breaking camera. None of the following are hugely significant and nor did they compromise me while shooting pictures on this weekend in Hong Kong. It is more about a little fine-tuning needed.
They are:
The exposure compensation dial can still be in inadvertently moved to +1 or -1, -2 Stops (or similar) this needs a locking mechanism.
The Q button is easily activated when not wanted. Again, this needs a rethink in terms of design. As with the exposure compensation dial above this seems to happen by simply diving into my shoulder camera bag to retrieve the camera.
The clicking chatter sound as the aperture blades automatically adjust during exposure would benefit in being less audible.
The 60mm F2.4 lens appears to search significantly while focusing and in general takes longer to achieve focus.
In conclusion, similarly to the x/100, the X – Pro 1 is a result of a forward thinking Fujifilm company who have displayed significant creative courage in bringing this camera to photographers. The things that make this an advant garde and ground – breaking camera far outweigh the few minor fixes (cited above) that need to be made. Within this context a suggestion I do have for Fuji is; instead of going the compact camera route of sales thinking/marketing i.e. pack as many features as possible into a smallish camera in an effort to be competitive in selling as many cameras to as many people as possible, perhaps this could be rethought with the idea of reducing the X-Pro 1’s many features? Thereby edging the X-Pro 1 closer to a digital version of a Leica M4, M6 or a Voigtlander Bessa R2A. This I suggest, would be enormously attractive to professional and serious amateur photographers alike. Simplicity is still a much sought after desire. Just a thought?
The fact that Fuji have brought this hybrid camera to us from inception to reality in such a short window of time is extraordinary.
Something tells me that Leica must feel like they have had their cage rattled a little?
Fujifilm have a habit of wooing us and thrilling us. Hang on for the fast ride it is only going to get better from here.
Reportage Photography Workshops is a series of photography workshops on location in the most fascinating cities and outposts of Asia and further afield. Interacting closely with world-renowned photojournalists with long experience in the region, participants take on assignments aimed at advancing their photographic skills and vision. The intensive dawn-to-dusk courses involve challenging fieldwork, formal and informal critiques, editing sessions, evening projections and open discussion. In a stunning Asian setting, participants fully engage with the local culture and environment and learn how to create photographic reportage to the highest standard.
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Life and Death in Aleppo
In Ethics, Photography News, Street Photography on November 10, 2012 at 10:05 PMThe following events took place in ALEPPO, Syria – in September 2012
Tracey Shelton displays extraordinary courage under fire while documenting the ongoing conflict in Syria.
“On this morning, the men were relaxed and joking around as they cleaned their area from a tank attack the day before. That time, they had been prepared and the tank had fired too short. This time, the assault came with little warning”.
View Shelton’s report here:
© Tracey Shelton