A special collaboration with Fujifilm Cameras
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.”
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.
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A Small Selection Of Testimonials
In Ethics, Photography, Photography News, Workshop News on August 14, 2018 at 5:29 PMCaption: Photoshop is “OK” but undeniable magic is experienced when a confluence of moment, aesthetic, light and emotion is delivered to the photographer in the form of a poetic photograph by the universe.
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Below is a small selection of testimonials from former participants who have attended Reportage 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 honour 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 workshop 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 learnt a lot from the workshop, a totally 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 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 was, to the point of experimenting with a different medium”.
Ian Flanders
“The Reportage 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 during 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 the 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 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 two (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, Jack’s work on the 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 holistic view when it came to image selection, editing and presentation were 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 around made for a great week. I think I was on a high all week… I thoroughly recommend it!!’
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