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Posts Tagged ‘Jack Picone and Stephen Dupont Photography Workshops’

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

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Workshop In Motion – Upcoming Sept. 3rd-7th, 2017 Workshop in Kathmandu, Nepal.

In Ethics, Kathmandu, Workshop in Motion on March 31, 2017 at 10:36 AM

Stephen Dupont and Jack Picone give an overview of what to expect on our upcoming Sept. 2017 in Kathmandu, Nepal.                                                                                               © Photograph by Jack Picone

A young deceased woman (above) is carried to the burning ghats by family members at Pashupatinath Temple, Kathmandu.

View the short video here and be transported to the kaleidoscopic streets of Nepal.

~ Jack Picone

 

Kathmandu September 3rd-7th, 2017

In Workshop News on March 9, 2017 at 2:26 AM

KATHMANDU

September 3rd-7th 

2017

                                                                                                      © Photograph by Jack Picone

Reportage Photography Workshops will hold its second roving workshop in Kathmandu. Kathmandu is one of the world’s most atmospheric cities. Even as urban chaos encroaches, this “city at the top of the world” retains its unique aura of magic, mysticism, and tradition. Over the last decade its roughly one million inhabitants, who are squeezed tightly into the Kathmandu Valley, have also been experiencing a period of major social and political turmoil – from a fierce Maoist insurgency, government curfews, and censorship to mass demonstrations against royal rule and killings of protesters. Democracy was restored in 2006 amid jubilation, and the Maoists have since joined an interim government. Today, many Nepalis believe their country has entered a new era of hope and peace.

What the Travel Guides say:

“Draped along the spine of the Himalaya, Nepal is a land of sublime scenery, time-worn temples, and some of the best hiking trails on earth. It’s a poor country, but it is rich in scenic splendor and cultural treasures. The kingdom has long exerted a pull on the Western imagination. Kathmandu is really two cities: a fabled capital of convivial pilgrims and carved rose-brick temples, and a frenetic sprawl of modern towers, mobbed by beggars and monkeys and smothered in diesel fumes. It simultaneously reeks of history and the encroaching wear and tear of the modern world.” – Lonely Planet

Workshop Overview: Award-winning documentary photographer Jack Picone will work in tandem with workshop partner Stephen Dupont, the acclaimed photojournalist, and filmmaker. Both Stephen and Jack will be there to critique and edit participants’ work one-to-one, and also take part in evening projections and discussions.

An introductory get-together will be held on the evening before the workshop’s formal start. Like any working documentary photographer, you will be given an assignment brief to interpret as you wish. (The brief will be announced before 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. Tutors will hold individual and group sessions to supervise and edit the assignments, and dialogue intensively on topics such as photographic composition, portraiture, basic camera techniques, how to research ideas and tell an original story, how to market a body of work, and how to hone your personal style. The workshop is very project based as opposed to technically driven.

The workshop’s schedule will be demanding but highly rewarding. Tutors and field assistants will be on hand constantly to help navigate any areas of difficulty and discuss all your photographic concerns. Interpreters can also be arranged where necessary.

Traditional Photo Essay and Multimedia: During the workshop participants will have an option to produce a completed photo essay within the documentary tradition or in a more contemporary context, a multimedia. In both cases, tutors will be on hand to guide you through the respective process.

Application: The workshop is strictly limited to 12 participants. A $500 deposit will be required at the time of booking to secure a place. This is one of our most popular workshops, so book early to avoid disappointment.

Cost: US$1,950 includes all workshops sessions. Workshop cost does not include travel costs to Kathmandu and accommodation.

To receive further information or to request a registration form, please contact: Jack Picone: jackvpicone@gmail.com or Stephen Dupont: stephendupont1@me.com

 

Links:

Jack Picone

http://www.jackpicone.com

Stephen Dupont

http://www.contactpressimages.com/photographers/dupont/dupont_bio.html

 

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

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’.

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.

 

TEN MUSEUM FINE ART BLACK AND WHITE PRINTS

In Random Moments on October 10, 2014 at 3:51 AM

TEN MUSEUM FINE ART BLACK AND WHITE PRINTS: PRINTED ON FUJICOLOR CRYSTAL ARCHIVE TYPE C PAPER: BOXED AND OPEN EDITION #NEW

Introducing a collectors’ box set of 10 of my favorite photographs for lovers of fine art black-and-white photography. The images are printed on museum-quality paper and presented in a beautiful handmade box crafted from archival materials.

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The images selected from my archive span 25 years of documentary photography on four continents, and have been chosen on the basis of their aesthetic appeal to those passionate about the black-and-white medium.

The box includes:

+ 10 impeccable and beautifully printed museum-quality Type C archival prints. Signed (“en verso” in pencil), dated and embossed, and including a brief description of each individual photograph. Print size is 17 x  11 inches.

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“Nuba Mountains”, Sudan. 1994

1200 MILES LIFE AND DEATH ON THE THAI/BURMA BORDER

“Golden Horse Monastery”, Thailand. 2006
 
JackPicone-ART-BOX_SET-9     “Kayan Woman”.  Mae Hong Son Province, Thailand. 2005

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“Swallows”.  Manado Bay, Sulawesi. 2002
 
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“The Morning After”. Outback New South Wales, Australia. 2001

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“River Crossing”. Rangoon, Burma. 2013
 
 
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“Banks Of The Buriganga River”.  Dhaka, Bangladesh. 2013

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“Inclement Weather”.  Shibuya Crossing, Tokyo, Japan. 2013.

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“The Letter”. Sydney, Australia. 1999

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” Riding the Wind”. Zanzibar, Tanzania. 1997

+ Prints are archival quality in detachable cream colored mounts.

+ A certificate of authenticity.

About the Artist

Jack Picone is the recipient of several of photography’s most prestigious international awards. These include the World Press Awards, the U.S. Photographer of The Year Awards (POY), the Mother Jones/IFDP Grant for Social Documentary Photography and a UNESCO Documentary Photography Award. His work has been exhibited in major galleries and venues worldwide, including the National Portrait Gallery in Australia and at the prestigious Visa d’Or Reportage Festival in France.

For the past 25 years Picone has covered wars and major social issues in Asia, Africa and Europe. He is a co-founder of Australia’s REPORTAGE photography festival, the founder of Communiqué (a series of documentary photography workshops in Asia) and a member of the collective SOUTH. He completed a PhD in Documentary Photography at Griffith University in Queensland Australia, and lectures in photography at universities in Australia and Hong Kong.

His work is held in collections at the National Portrait Gallery in Canberra, The Australian War Memorial and The State Library of New South Wales, Australia.

Picone’s training in photography was in using black and white film and mastering traditional darkroom print-making. It is a passion that has never faded thanks to the medium’s unrivalled capacity for both subtlety and drama. As legendary photographer Robert Frank expressed it in 1951: “Black and white are the colours of photography. To me they symbolise the alternatives of hope and despair to which mankind is forever subjected.”

Born in Australia, Picone is currently based in Bangkok.

Print Sales

Boxed Open Edition Fine Art Black and White Prints. Box contains 10 beautiful museum-quality prints priced at:

US$5, 495 (exclusive of shipping).

Contact

With over 30 years of knowledge and experience as a photographer, I am committed to advising and supporting anyone wishing to buy my photographs or develop a photography collection.

Contact Jack Picone on +66894880508 or jack@jackpicone.com

______________________________________________

Al Jazeera Magazine | War Veterans | August 2014

In Photography News on August 3, 2014 at 5:17 AM

Reflections of a war photographer.

© Words and photos by Jack Picone
jack@jackpicone.com

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I have never felt more intensely alive than I did in the moments before I was certain I was about to die.

This is how war can make you feel.

War. Even the word is ominous.

People sometimes assume that photographers go to war zones because they are adrenaline junkies. This was not the case for me. Obviously, war zones can be adrenaline-charged places, and by helping you to think clearly when faced with danger, that adrenaline can keep you alive. But my motivation for documenting war has been more layered and nuanced than a need to feed some adrenalin craving or an inclination towards voyeurism – another accusation sometimes directed at war photographers.

In my experience, people rarely do extreme things for a singular reason. And willingly entering a war zone is an extreme thing to do. My grandfather had fought in Papua New Guinea during the Second World War and I’d read extensively on the topic; all of which had helped to form the nagging question in my own mind of whether I had the resourcefulness and courage to document such events. At the time I was a staff photographer on a major daily Australian newspaper; a job I found repetitive and unchallenging. So, when the picture editor of that paper asked its 20 staff photographers whether any would be interested in covering the first Iraq War, my response was immediate. I was the only one to say ‘yes’.

But my first war proved anticlimactic as my time in Baghdad was short-lived. I was arrested by Iraqi secret police for transmitting photographs of Iraqi troops crossing the border into Kuwait, put on an empty plane and deported to Jordan.

My first ‘real’ war experience came some after, and it couldn’t have been more different. The Nagorno-Karabakh War had been raging in Armenia since the mid-1980s. I arrived in 1992, aged around 30 and ready to answer the question I’d carried around with me for years: could I keep my head, literally and metaphorically, as I documented an exchange of gunfire between warring soldiers?

I was making my way towards Armenian soldiers positioned in trenches by the side of a mountain when I got my answer. The mountain suddenly reverberated with the sound of gunfire and exploding mortar shells. Ink-blot black clouds snaked their way eerily towards the sky. A shallow hole – a perfect ready-made grave – provided my only cover from the incoming bullets and cluster bombs. I remember thinking as I lay there, that while this was too picturesque a place to be the scene of war, it was certainly a beautiful place to die.

Then I looked up and saw an Armenian soldier signal for me to run to him. His trench was only about 80m away, but that short run seemed to go on forever. I took some shrapnel in the lower back and head but I was alive. My heart pounded, adrenaline surged through my body and I felt that kind of affirming, edifying euphoria that comes with escaping death.

On reflection, I can conservatively estimate that I should have been killed at least five times over by now: once at the hands of a mob in Rwanda, another time in southern Sudan, when a Sudanese government soldier put his pistol to my temple and screamed that he was going to pull the trigger. On both occasions, only a chance intervention helped me cheat death.

I have worked in some of the most dangerous places on the planet: Angola, Rwanda, Somalia, Sudan, Liberia, Sierra Leone, the Gaza Strip, Israel, Soviet Central Asia and the former Yugoslavia. It could be argued that most of these were unconventional wars, where armed groups and rebel factions took each other on and where it was possible for a photographer to cover both – or indeed multiple – sides of the conflict. Far from being embedded with one side or the other, as you might in Iraq or Afghanistan, a photographer in less structured conflicts can cross enemy lines, evading censorship and propaganda. But these wars also pose their own challenges – leaving you open to accusations of spying and making it much easier to ‘disappear’.

During many of the African conflicts I covered, photographers and journalists were killed at roadblocks by bored soldiers, who were often stoned, drunk or both. It’s no mystery why they were targeted. War photographers can carry more money and equipment than a rebel soldier in an underfunded rag-tag army can hope to earn in years.

Having escaped death several times, I gained a new-found confidence that I could document the ‘bang bang’, as seasoned war photographers sometimes refer to it, and stay alive. But with this came the realisation that documenting war really ought to involve more than simply photographing soldiers. What seemed exponentially more important was telling the stories of the innocent people – the children, women and elderly men – caught in its crossfire. I shifted my focus from the frontlines to the ordinary people on the edges of war.

Apart from the inbuilt danger of working in a war zone, photographing war is a philosophical, emotional, ethical and moral minefield (pun intended). On many occasions, I have found myself questioning what I was documenting. But the decision about whether or not to press the shutter has to be made in a micro-second and is fraught with responsibility.

I haven’t always made the right choice. During the famine in Somalia in 1992, I photographed an infant cradled in the arms of an aid worker. “You can stop taking pictures now Jack,” the nurse told me in her thick Irish accent. “The baby just died.” The thought that the last thing that child saw was me photographing it, has haunted me ever since. The fact that the aid agency had asked me to photograph them at work in order to help publicise the desperate plight of the Somali people offered no consolation. I was inconsolable.

A photographer has a role to play in a war zone: to bear witness, to make the invisible visible, the unheard heard and to create a visual history. For me, these tenets have acted as a filter for all but the most horrific situations I have encountered in the theatre of war. But the emotional torment often followed me home. In denial, I told myself, my friends and my family that I was unaffected by what I saw. But then the nightmares began. The emotional hangover from witnessing and documenting violence too dark to describe exacted its toll. I self-medicated with alcohol and drugs, which only worsened my problems. I still haven’t come to terms with what I’ve witnessed, but I have stopped trying to use substances to control my emotions and am instead simply trying to co-exist with the discord.

War is many things, most of them barbaric. But what disturbs me most about it is its repetitiveness: the same play, just with a new cast. That being said, nothing seems more important to me than documenting the plight of those caught up in it. Right at this very moment, human beings are frenetically killing each other in countries across the world. All we can really do is bear witness; to hold up a mirror to man’s inhumanity to man in the scant hope that future generations will succeed where we have so conclusively failed and break the cycle.

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Note: You can download the Al Jazeera App — for free — to view and read Part 1, in its entirety. I really recommend downloading the App for a dynamic experience including still image galleries, moving 3D images and brilliant layout.
Click here to download the latest issue via iTunes: aje.me/magazine and on Android devices: aje.me/ajemagazine 
Compatible with iPhone (5, 5S and 5C), Android tablets and phones.

BIO:

Jack Picone is an Australian, Bangkok-based photojournalist and documentary photographer who has been covering war zones since the early 1990s. He has travelled from the Middle East to Eastern Europe and multiple countries on the African continent documenting the fall-out from war.