Reportage

Posts Tagged ‘Photojournalism’

Imagine: Reflections on Peace

In Photography News on September 10, 2020 at 12:55 PM
Imagine: Reflections on Peace, is a book, exhibition and short film initiative that I and other photographers, journalists and authors contributed to in the hope to encourage conversation around peacebuilding and ending conflict.

The rewards of peace are elusive for the men and women who live in the post-conflict societies of our time. Why is it so difficult to make a good peace when it is so easy to imagine?

That is the question behind; Imagine: Reflections on Peace.

Here is a link for purchasing this visionary and compelling book; Imagine: Reflections on Peace.:

Dzemil Hodzic | Bosnian Survivor

In Ethics, Photography, Random Moments on August 14, 2020 at 3:28 PM

‘A camera doesn’t lie’: Documenting besieged Sarajevo

25 years on, a Bosnian survivor is on a mission to keep memories alive with his Sniper Alley project.

Rewriting history has become commonplace within a contemporary context but not if Dzemil Hodzic is going to have anything to do with it.
Dzemil is using still photographs [ SniperAlley Sarajevo ] from photojournalists who covered The Siege Of Sarajevo to counter revisionists fictional writings that are masquerading as fact.
Read Mersiha Gadzo heartbreaking tale of two brothers here. One can’t not be emotionally wounded after reading Dzemil’s tale of his older brother Amel’s death at the end of a snipers bullet delivered squarely to his chest.
Dzemil’s and Mershia’s account is accurately written for posterity. It counters the revisionists’ versions that perpetuate untruths, and are drowning in political malfeasance.

 

The view from my room at The Holiday Inn. Sarajevo 1995.

Avoiding Serb sniper fire by taking the back streets to school. Sarajevo 1995.

[Jack Picone] DO NOT USE
Under Serb sniper fire, mother and child run for their lives along ‘Sniper Alley’ in Sarajevo in 1995 

 

 

 

Fujifilm’s New X-T4

In Ethics, Kathmandu, Photography, Photography News, Random Moments, Street Photography, Workshop News on August 3, 2020 at 7:25 PM

A special collaboration with Fujifilm Cameras

Story from Australia’s Better Photography Magazine’s Editor, Peter Eastway.
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.”

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.


 

The XT4 “Photography in Motion.”

In Kathmandu, Photography, Photography News, Street Photography, Workshop News on May 2, 2020 at 6:17 AM

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.
Stay safe during these surreal times.

Perfect for you?!

In Photography, Photography News, Workshop News on September 26, 2018 at 2:57 PM

If you can, pick up a copy of Australia’s contemporary and clever photography Magazine – [capture]. It is available in both print and online.

 

I am featured along with several noted Australian photographers [contacts below] concerning what our perfect camera would be.

Novel idea.

Below is an extract from the feature article inclusive of my thoughts about what my perfect camera might look like.

News Flash! We still have some places remaining on our up coming photography workshop in Havana, Cuba. If you are interested in going us view the details here and ping me an email  with any questions you might have.

 

 

 

~ Ends

 

 

Aperture

In Photography, Photography News on May 17, 2018 at 8:54 AM

The wee figure on stage is me during the recent Aperture Conference at Sydney’s International Conference Centre. It was an inspiring and affirming weekend. I was inspired both by my co-speakers:
ALEXIA SINCLAIR
MURRAY FREDERICKS
EUGENE TAN
KEN DUNCAN
GARY HEERY
KRYSTLE WRIGHT
MEGAN LEWIS

…and also the audience. The audience’s insightful questions was a highlight and a catalyst for further thinking surrounding what is philosophically and politically important concerning still photography. Glenn Mckimmin the brainchild behind Aperture is going to do it again. This time in 2019 stay tuned for destination and date.
News Flash!
Also, a reminder that Stephen Dupont and myself are taking bookings for our Cuba 2018 and workshop. Please visit Reportage [here] https://reportage.xyz or further details and/or direct message Stephen and myself on Instagram.

 

APERTURE PHOTOGRAPHY CONFERENCE 2018

In Photography, Photography News on December 22, 2017 at 4:38 PM

If you are passionate about photography then pen Australia’s APERTURE Photographic Conference for 28th & 29th of April 2018!

It is a meeting of like minded souls and kindred spirits sharing a wealth of knowledge and experience about the medium of photography.

Speakers include: 

ALEXIA SINCLAIR
MURRAY FREDERICKS
EUGENE TAN
KEN DUNCAN
GARY HEERY
KRYSTLE WRIGHT
MEGAN LEWIS

JACK PICONE

and more…

Where: International Convention Centre (ICC) Darling Harbour, SydneyTickets Available Now @apertureaustralia 
Speakers: @murrayfredericks@aquabumps @kenduncanphotos @garyheery@krystlejwright @jack_picone @meganlewis.com.au 
@raymondgmartin#photojournalism #documentaryphotography #aperture2018 #iccsydney #photography #sydney#photographyconference #behindthelens#photographer #artist #australia #darlingharbour#cityofsydney #aperture #lens #fineart#fineartphotography #alexiasinclair #intothegloaming #photos 

Katoomba Photography Workshop: 8th-12th Dec. 2017.

In Photography, Workshop News on October 7, 2017 at 4:30 AM

We are taking bookings for Reportage Photography Workshops next workshop in Katoomba, Australia, 8th-12th Dec. 2017.

Update: We are happy to announce this workshop is now priced in Aus$ representing a discount of Aus$520!

Join Stephen and I (Jack) for an unforgettable experience in photography, place, and space.
         © iPhone Photograph by Jack Picone
View from a graffitied train window in the Blue Mountains en route to Katoomba. ‘Graffiti’ is based on the Italian word graffio (which means ‘scratch’).
Entrancing Katoomba is 110 kilometers west of Sydney at an altitude of 1,017 meters. It is situated in the Blue Mountains. The Blue Mountains, including Katoomba, is the traditional land of the Gundungurra people and indigenous habitation of the Blue Mountains dates from around 22,000 years ago. The name ‘Ka-toom-bah’, is thought to have emanated from local indigenous people and when translated is said to mean ‘place of many waterfalls.’
It is a popular destination for day-trippers from Sydney and international travelers both lured there by its country town main street, cafes, galleries, and antique shops. But for a photographer, Katoomba is much more than that.
Katoomba is a spiritual and visual mother lode; palpable indigenous peoples ancient history, white man’s recent history, a kaleidoscope of architecture from Federation to now. Local people, who have ‘creativity’ as an in-common gene, bewitching light, impossible mountain landscapes, old trees that reach for the sky, all of which make your heart miss a beat and ask, ‘why has it taken me so long to be here.’
Workshop Overview: This workshop is open to photographers who practice any genre and are at any level. We promote, support and are all inclusive of female photographers.
Award-winning documentary photographer Jack Picone will work in tandem with workshop partner Stephen Dupont, the acclaimed photographer, and filmmaker. Both Stephen and Jack will critique and edit participants’ work one-to-one, and also take part in evening projections and discussions.
Individual and group sessions are held to 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 style. The workshop is very project based as opposed to technically driven.
The aim is to produce a photo-essay with a striking visual narrative, to be projected on the final evening of the workshop.
The workshop’s schedule will be demanding but highly rewarding.
Application: The workshop is strictly limited to 12 participants. A AUS$500 deposit will be required at the time of booking to secure a place. This will be a popular workshop; please book early to avoid disappointment.
Tuition Cost: AUS$1950
Cost includes all workshop sessions. Cost is not inclusive of travel and accommodation.
To receive further information or to request a registration form, please contact: Jack Picone: jack@jackpicone.com or Stephen Dupont: stephendupont1@me.com
Links:
Jack Picone
Stephen Dupont

One to One Tuition 10% discount (between 1st – 31st March, 2017 only)

In Workshop News on December 4, 2016 at 2:21 AM

One to One Tuition

10% discount (between 1st – 31st March 2017).

JP_SandyEdwards-LR_0

One – to – one participant Sandy Edwards during her tuition in Bangkok © Photograph by Jack Picone.     

“Thank you for a wonderful, informative, learning, fun, Buddhist, photography week in Bangkok”.

~ Sandy Edwards

Join Jack Picone for one – to – one photography tuition designed to address your photographic needs! It will be an extraordinary experience!

What I teach you can’t be found on YouTube!

Tuition Costs  $US445 per day & $US335 per half day

What I teach can’t be found on YouTube

With discount: Now $US400.50 and US$301.50

 

*Discounts apply for couples and groups and for sessions five days and longer.

*Concerning cost: Cost is below my day and half day rates that I bill editorial clients as a professional photographer. I have been working in excess of thirty years as a professional photographer for the world’s leading media publications. I have a Masters in Visual Arts and  a Ph.D. in Documentary Photography.  What I impart during one-to-one tutorials cannot be found on a YouTube video. What you take away is; knowledge that you will be able to apply over and over again to your own photography, elevating the aesthetic of your authored images – hyperbolically. 

Reportage Photography Workshops tutor Jack Picone delivers one-on-one tuition to individuals and groups (up to four) in Thailand and neighboring Asian countries. One-to-one tuition is for people who are interested in fast-tracking their photographic skill and vision.

Tuition can be individually structured to accommodate photographers learning requirements.

Jack is a working photojournalist and documentary photographer with extensive experience as a photography educator.

jackpicone-one-to-one-lr-1

(Above and below) One-to-one participants at work in Bangkok’s urban slum area, Khlong Toei.

jackpicone_one-to-one_-2

Includes

On location shooting instruction, intensive post-shooting editing, critiquing, sequencing and basic Photoshop.

When?  

On a rolling basis 2016-2017. Book early to secure your ideal dates.

jackpicone-jeffjue-1

(Above) Jeffrey Jue with local Nepalese photographer Sailendra Kharel, during a one – to – one tutorial in Kathmandu in Nepal.

Contact

To receive further information about one – to – one tuition or to request a registration form, please contact: jack@jackpicone.com 

Links:

Jack Picone

http://www.jackpicone.com/

Please Note: We advise that all participants take out medical/travel insurance for travel to Asia.

 

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

news_podcast_pulitzer_1969-e1431460840302

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.