Reportage

Posts Tagged ‘Photojournalism’

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
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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).

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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.

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

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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.

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(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

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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.

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

 

In-Print | A Small Selection Of Magazine Tear Sheets

In Photography News on April 4, 2016 at 3:29 AM

The interaction between photographer and designer is an often fractious one. Competing agendas can ensue. Some designers view photographs as creative visual building blocks that are merely part of an end design.
Most photographers view their authored images as sacrosanct. They strongly object to their photographs being altered – in any way – to fit a preordained design.
Sparks can fly!
Below are several examples of where a confluence of design and photography have found a creative and aesthetic balance.

 

JackPicone_LE'Xpress_Mag_Web-0                                                                    • L’Express Magazine, France.

 

 
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                                • L’Express Magazine, France.

 

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                               • Dynasty Magazine, China.

JackPicone_GOODWEEKEND--MAG-SPREAD_-21                          • Good Weekend Magazine, Australia.

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                        • (Above and below) The Financial Review Magazine, Australia.

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                                       • The Financial Review Magazine, Australia.

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                        • Above (2x) Foreign Policy Magazine, USA.

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                       • The Saturday Independent Magazine, UK.

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                                       • (Above 3x) Mare Magazine, Germany.

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                       • Marie Claire Magazine, Australia.

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                                       • The Independent On Sunday Magazine, UK.

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                                               • (Above 3x) TIME Magazine.

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                                                              TIME Magazine.

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                                       • (Above 2x) ‘COLORS’ Magazine

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                        • L’Express Magazine, France.

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                                         • Kultur Magazine, Germany.

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                                        • The Observer Magazine, UK.

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                                        • (Above 2x) TEMPO Magazine, Germany.

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                                       • Al Jazeera Magazine, Qatar.

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                       • HQ Magazine, Australia.

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                                       • Al Jazeera Magazine, Qatar.

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                                                                                        • TIME Magazine.

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                                                                                        • Worldview Magazine, USA.

Turning The Tide

In Random Moments on March 7, 2016 at 10:07 AM

Thailand’s village of Samut Chin: Turning the tide

The Thai village of Samut Chin is drowning in an invading sea, with little stopping the advancing destruction....read more

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The local village shop acts as a meeting area for Ban Khun Samut Chin village community © Jack Picone

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The local village shop acts as a meeting area for Ban Khun Samut Chin village community © Jack Picone

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Bamboo breakwaters that were built several years ago to ‘break’ the power of the surf and protect Ban Khun Samut Chin village have only been partially successful. Submerged trees and mangrove saplings that have drowned in the advancing seawater are clearly visible. © Jack Picone

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Submerged telegraph poles tapering off into the distance. These poles act as visual markers for where Ban Khun Samut Chin village was located before it was claimed by the sea.  © Jack Picone

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Fishing and shrimp farming are the mainstays and principal sources of activity and income for Khun Samut Chin village. Even small rises in sea level throws out the delicate environmental balance of shrimp farming.  © Jack Picone

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 Fishermen motor out to sea past the breakwaters that were built several years ago in an effort to “break” the power of the surf and protect Ban Khun Samut Chin village © Jack Picone

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Three of the five monks remaining at Samut Trawat temple suspend Thai flags to poles along the entrance walkway.  © Jack Picone

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The principal Buddha statue at Wat Khun Samut Trawat faces the advancing sea.  © Jack Picone

 

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At twilight, a resident Monk from Wat Khun Samut Trawat gazes out to sea and says, “That is where our village once was”.  © Jack Picone

~ Ends.

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.

Exclusive book signing at Ballarat International Foto Biennale, August 22.

In Photography News on August 11, 2015 at 5:30 AM

Stephen Dupont will be signing copies of his new book published by Steidl titled Generation AK: The Afghanistan Wars 1993 – 2012. This will be a first time signing of the book. Go along to the Art Gallery of Ballarat on Saturday August 22nd between 2pm and 3pm to purchase books. Stephen will also have some of the last limited edition copies of Piksa Niugini available and more of his books. 1510687_117759638564598_746103430785015757_nAlso Stephen and myself are taking bookings for our next workshop event in Havana, Cuba Dec 6th – 11th. Click here  for further details.  All enquires to jack@jackpicone.com and stephendupont@bigpond.com

 

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

 

 

 

 

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.