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Posts Tagged ‘Camera’

A Near Perfect Encapsulation For What a ‘Good Picture’ Should Do.

In Ethics on November 5, 2016 at 12:19 PM

“If it makes you laugh, if it makes you cry, if it rips out your heart, that’s a good picture” ~ Eddie Adams

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Gen. Nguyen Ngoc Loan (above), chief of the South Vietnamese national police, firing his pistol into the head of a Vietcong prisoner, Nguyen Van Lem, on a Saigon street during the Tet offensive on Feb. 1, 1968. (Eddie Adams/Associated Press)

PHOTOGRAPHER, ASSOCIATED PRESS

A combat photographer since the Korean War, Eddie Adams joined the Associated Press team in Vietnam in 1965. He became famous for his 1968 photograph of Gen. Nguyen Ngoc Loan, chief of South Vietnam’s national police, shooting a Viet Cong prisoner in the head. Adams later regretted the picture’s notoriety, preferring to be remembered for his images of Vietnamese refugees after the war.

Adams’s time covering the war and the searing photograph above marks fifty years since the start of America’s first televised war and is symbolic of how dramatic stories authored by photojournalists and journalists brought news about the war to the rest of the world.

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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.

Fujifilm x/100s

In Street Photography on August 13, 2016 at 7:14 AM

Even though a reasonable amount of time has eclipsed since Fujifilm launched [2013] the x/100I still find myself imbued with it. It is intuitive to use, produces technically superb files and is discreet. Here is a link to a short video of me using it while in Burma or now as it is known Myanmar.

 

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A mother cares for her son during a ferry crossing on the Irrawaddy River Yangon, Burma.                                                                                                                           

        Photograph by © Jack Picone

 

When The River Runs Dry

In Ethics, Random Moments on March 7, 2016 at 9:16 AM

Twenty years ago, Jack Picone photographed Nancy just after she was beaten. He wonders what has changed since.

JackPicone-AboriginalWoman-LR-0Nancy was bright and engaging. We spoke about the things that connected us – our family, friends and where we came from [Jack Picone/Al Jazeera]

The heat was oppressive and crushing; the kind that has claimed countless lives in Australia’s dead heart...read more

Reinterpretation

In Random Moments on February 27, 2016 at 4:35 AM

Interesting to see one of my iconic photographs [Novice Monks, Golden Horse Monastery] in a copy artists shop in central Bangkok being reinterpreted as a painting.

It is unfinished, and the artist was nowhere to be found. As a photographer, it is odd to see one of your photographs morphing into another medium. Odd — good — so far.

I am curious to enter into a dialogue with the artist and intrigued to see what it will look like when finished.

Exciting.

JackPicone_GHM_Painting-1                                                                                                            Photograph by © Jack Picone                       

        Above, work-in-progress painting of “Novice Monks, Golden Horse Monastery”.

 

 

Thai/Burma Border                                                                                                            Photograph by © Jack Picone   

        Above, the original black and white photograph made on the Thai-Burma border.

Random Street Portrait

In Random Moments on February 7, 2016 at 5:08 AM
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                                                                                         Photograph by © Jack Picone


The people you see on the way back from the launderette.‘You Need Eyes In The Back Of Your Head’.

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

Cuba 2018 Workshop

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

Havana, Cuba Workshop: Nov. 18th – 22nd, 2018

Register for our Havana, Cuba Workshop!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 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.

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.

 

The Controversial Mr Gilden

In Ethics, Street Photography on August 15, 2015 at 5:43 AM
Gilden has always been a controversial figure.
Vice Magazine recently 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 at PhotoShelter 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 film linked 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.
two-days-in-appalachia-0000687-v22n7-600-1435773723-size_1000Harlan, Kentucky, Saturday, June 6. Destiny, Amber, and Serenity at the Harlan County Poke Sallet Festival.
© Photograph by Bruce Gilden 
I think the comments (in the comments section below the Vice interview)​ from r​etired 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​”​.

two-days-in-appalachia-0000687-v22n7-765-1435773764-size_1000Saturday, June 6. Tammy at the Harlan County Poke Sallet Festival. © Photograph by Bruce Gilden

​Back to the video 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.
~JP