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Posts Tagged ‘Jack Picone Documentary Photographer’

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.

 

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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

Bangkok Weekend Photography Masterclass | Nov. 28th – 30th | 2014

In Workshop News on November 20, 2014 at 7:02 AM

General Overview of Bangkok Masterclass

by Nic Dunlop and Jack Picone

JackPicone-BKK_Masterclass-0Street photograph on Silom Road, Bangkok © by Jack Picone 

Documentary photographer Jack Picone will work in tandem with masterclass guest tutor Nic Dunlop , acclaimed photojournalist and filmmaker. Both Nic and Jack will work closely with participants critiquing and editing their authored work.

An introductory get-together and projection will be held on the evening of the 28th (Friday) at, The Jam Factory. Also, on the first evening and just like any working photographer, you will be given an assignment. In this case, the assignment will be a ‘Word’ to interpret as you wish.

The aim is to produce a short photo essay with a striking visual narrative, to be shown on the final evening of the masterclass.

Nic and Jack will be on hand constantly to help navigate any areas of difficulty and discuss all your photographic concerns, 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 and how to hone your personal style. The masterclass is very project based as opposed to technically driven and open to all regardless of level of photography. We explore art, travel and traditional social documentary genres.

The masterclass schedule will be challenging, fun and highly rewarding.

Date: November 28th – 30th (Friday evening to Sunday)

Location: The Jam Factory, Bangkok.

Address: 41/1-5 เจริญนคร Khlong San, Bangkok 10600

Phone: 02 861 0950

To Bring: A laptop computer. A digital camera (size and format not important). If you would like to use a cell phone camera – it is okay.

Skill Level: Open to all.

Registration: The Masterclass is strictly limited to 10 participants. Places will be awarded on a first-come, first-served basis.

Cost: $US495.00 Includes all Masterclass sessions. Masterclass cost does not include travel costs to Bangkok and accommodation or travel insurance.

This Masterclass will be particularly popular and will fill fast, so please don’t leave making your full payment to the last minute to avoid disappointment.

For further details and/or to request a registration form please mail Jack Picone: jack@jackpicone.com and Nic Dunlop: nic@nicdunlop.com

 

 

 

 

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.

JackPicone-BoxArtPrints_LR-0

JackPicone-BoxArtPrints_LR-3

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.

JackPicone-ART-BOX_SET-7

“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

JPB

“Swallows”.  Manado Bay, Sulawesi. 2002
 
JP-PhD_SHEARERS-11
“The Morning After”. Outback New South Wales, Australia. 2001

JackPicone-ART-BOX_SET-3

“River Crossing”. Rangoon, Burma. 2013
 
 
JackPicone-ART-BOX_SET-5
“Banks Of The Buriganga River”.  Dhaka, Bangladesh. 2013

JackPicone-ART-BOX_SET-6

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

JackPicone-ART-BOX_SET-8

“The Letter”. Sydney, Australia. 1999

JP-Art-Dhow-CarDoor-LR-154

” 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

image002

 

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.

Boko Haram – Kidnappers

In Ethics, Photography News on May 9, 2014 at 1:11 PM

Boko Haram 

Boko_Haram_leader__Abubakar_Shekau_916127537(Above) Leader of Boko Haram, Abubakar Shekau, gloatingly threatening to sell the girls as “slaves”.
 
Despairingly, when you ask yourself quietly can the world get any more screwed up then it already is, then something like Boko Haram confirms – that indeed it can.
Boko Haram is holding 276 girls from a raid on a school in Chibok on 15 April and a further eight, aged between eight and 15, taken in an overnight raid from their village.
Boko Haram literal translation is – Western learning is forbidden – it is a is a Nigerian Islamist militant group made up of dispersed cells and factions mainly in the northeast of the country. There main objective to make northern Nigeria an Islamic state. What this has to do with kidnapping innocent young school girls we may never really now. Drum roll…….dut da da dut.. da da… meet (see attached pix + video) the clearly charismatic, urbane, erudite and visionary leader of Boko Haram, Abubakar Shekau, gloatingly threatening to sell the girls as “slaves”.
What a fine specimen of manhood – a luminary. I despair.
View in full deranged rant here

Hong Kong Panoramas: Boxed Edition Fine Art Black and White Prints

In Photography News on November 29, 2013 at 6:56 AM

Hong Kong Panoramas: Boxed Edition Fine Art Black and White Prints

Jack Picone

The burgeoning international interest in “fine art” traditional black and white photography has been a positive by-product of the revolution in digital technology that has occurred in recent years.

The reasoning of collectors is simple: the ability to produce traditional black and white photography is becoming a rarity, and the genre is being elevated into a more specialised, valuable form of artistic expression. Prudent collectors have gained from the opportunity to purchase unique works of photographic art with a potential financial upside.

These considerations have shaped the thought behind the creation of these exquisite prints. Each beautiful tailor-made box contains seven hand-crafted black and white silver gelatin prints. To ensure the highest possible standards, prints displaying the appropriate mood and quality were individually selected. The rich fibre-based paper adds to the quality and ensures exacting gallery standards.

The photographs were authored between 2005 and 2012 during several visits to Hong Kong by award-winning documentary photographer Jack Picone. They were taken using the legendary Hasselblad X Pan 11 Panoramic film camera which allowed Jack to extend his reputation for capturing nuanced, lyrical images in the finest tradition of the genre.

Each photograph invites interpretation and captures fragments of life in one of the world’s most vibrant, and most vertical, cities. Together they ask the viewer to reflect on the past, present and future of Hong Kong as the cityscape is placed under a sharp focus and reflected through the highest photographic standards.

The hand-crafted and individually signed prints are on archival gallery paper and each measures 24 X 8 inches, inclusive of a two-inch white border. They are presented in a stylish box made of the finest acid free paper and archivally sound materials.

 

JackPicone-PanoBox-Edition-01 JackPicone-PanoBox-Edition-2 JackPicone-PanoBox-Edition-3 JackPicone-PanoBox-Edition-4

JackPicone-PanoBox-Edition-5

Hand made with the finest archival materials © Photographs by Jack Picone.
 

The Box includes:

+ 7 fastidiously and beautifully hand-crafted limited edition prints. Singed (“en verso” in pencil), dated and inclusive of a brief description of each individual photograph. Print size is 24 X 8 inches.

+ A certificate of authenticity.

Hong Kong

Hong Kong

Hong Kong

Hong Kong

Hong Kong

Hong Kong

Hong Kong

 

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 recently completed a PhD in Visual Arts at Griffith University in Queensland Australia, and lectures in photography at universities in Australia and Hong Kong.

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 and Hong Kong.

Print Sales

Hong Kong Panoramas: Boxed Edition Fine Art Black and White Prints is limited to 10 box sets containing 7 beautifully hand crafted prints priced at US$10,000 (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

Censorship

In Photography News on August 18, 2013 at 8:28 AM

Reportage Festival Director Stephen Dupont and photographer Jack Picone discuss how censorship by Tourism NSW, impacted on Reportage Festival.

Screen Shot 2013-07-24 at 3.31.30 PM

View here:

For an more in-depth report concerning censorship during Reportage’s documentary festival and censorship in general in the Arts in Australia; Please read this report by RICHARD PHILLIPS: Photojournalists, artist censored by Australian authorities.

Documentary Photographer Jack Picone Interviewed In Vice Magazine

In Photography News on August 18, 2013 at 8:02 AM

JackPicone_Conflict_Cropped-2010-3

 Photograph: Jack Picone at work in Bangkok during Thailand’s political discord in 2010.

JP-BOOKMASTER-33 copy

                                  Angolan civil war © Photograph by Jack Picone

Documentary photographer Jack Picone interviewed by Vice Magazine Jack  about working in the short term in conflict zones and working in the long term as a documentary photographer on social issue based subjects. Read the full Q & A here.

Kathmandu Workshop July 9th – 14th 2013

In Kathmandu, Workshop News on February 27, 2013 at 3:51 AM

Kathmandu

Mourners wait for the cremation of a family member – who has passed  – Kathmandu’s holy Pashupatinath ghats. © Photograph by Jack Picone

For all enquires about our next amazing workshop event in Kathmandu July 9th – 14th email Jack Picone here: jack@jackpicone.com