Reporter and former Green Beret Michael Yon is an unabashed supporter of troops in Afghanistan and Iraq.  A divisive figure, he is openly critical of the management of the war but remains very popular with both servicemen and those at home in the US.

Where are you now and what’s happening with your embeds since your last one was cut off?

Today in Singapore but recently was covering the serious fighting in downtown Bangkok in which about 86 people were killed and about 1,900 wounded.  Insofar as embedding with the U.S. military in the future, I do not envision that happening again. I will go back to the war but unlikely to be embedded.

Is it likely you can get embedded with British forces again?  What about other different countries – does the attitude differ country to country towards embedded reporters?

The British invited me several times when news broke of my disembed with U.S.  I had planned to go with them this summer, but after what happened with U.S. (and disembed with U.K. last year), it makes more sense to go alone.  U.S./U.K. will not hesitate to waste your time and money.  No longer makes sense to embed.  Not with so much censorship creeping in under McChrystal and the unpredictable, moody nature of senior public affairs officers such as Admiral Gregory Smith.

What made you take up being a photographer?

Photography is fascinating.  Insofar as communications, I would argue that still photography is by far the most powerful and versatile communications vector for reaching large audiences quickly and powerfully.

You’ve previously said that you initially used the camera as a notepad for your writing – when did it start to kick in as a proper creative tool?

In the earliest days, I just liked taking photos so I bought a new Nikon FE2.  This might have been 1983.  I shot mostly plants, birds, weather, whatever interested me.  But for years I hardly picked up a camera.  Then I started writing in about 1996 and eventually bought a cheap digital as a note pad.  I shot thousands of images mostly as notes and finally photography started taking a life of its own.

What were you writing about when you first started out then?  How do you feel that has developed over the years alongside your photography?

My first book is called “Danger Close” and you can see it on Amazon.com.  My other writing projects are still somewhat confidential as have had to put them on hold during the war.  Insofar as the relationship between writing and photography, the more you do both, the more they meld into one.  Writing and photography used to seem like completely different art forms, and on some level they are, but on another level they are the same thing.

What sort of gear do you use – how much do you have to hump about?  How robust does equipment have to be to work in the desert?

For the first few years, I was a minimalist.  Not because I was truly a minimalist but because my skills were not sufficient to warrant buying top of the line gear.  I went to Iraq in December 2004 with a Nikon D70 and a cheap 50mm prime.  I made a readers’ choice Time photo of the year with that camera and lens. (Dispatch title: “Little Girl.”)  For probably the first couple years of work, nearly all of my images were made through 50mm prime.  In mid-2005, I bought a Canon Mark II 1ds and on nearly the first mission, shot some of my most well-known photos during a firefight.  (Title: “Gates of Fire.”)  These days I shoot with only the best bodies and lenses available, using everything from fisheye to 400mm f2.8.  The gear has no serious problems in the desert but often you need to bag it up from the dust.

I read an article recently which detailed other photographers using their iphone to get smaller, more intimate pictures in a war zone – is that anything you’ve been tempted by?  Are you also thinking about making more use of video?

Had planned to use more video this year until the disembed.  Have not heard of photographers using their iPhones for smaller, more intimate pictures, but I did buy a phone with a good camera.  When you walk in with a Canon Mark IV, everyone notices and it changes the situation which is bad for writing and for photography.  Few people pay attention to the small cameras.

Does your approach differ on reporting from a small, tightly compacted conflict like in Bangkok to one spread over a wider time and space in Afghan/Iraq?

The fighting I saw in Bangkok was very localized.  You could walk to everything or take a motorbike.  Fighting in Iraq and Afghanistan is/was spread over vast distances and requires far more logistics.  In Thailand, the fighting was happening near the base of my hotel (which hotel was hit with a grenade while I was talking on the phone).  At times at night the fighting was so close that I could crawl onto the balcony or just walk downstairs and watch.  It was odd.  I would eat breakfast and walk straight out into the mix by walking across the street into the Red Shirt camp.

How do you find a balance when writing or shooting delicate moments?

Tough to do sometimes.  Especially with a big camera which changes the situation.  It’s all judgment.

Does people’s behaviour and attitude towards you in those moments vary between countries?

Yes, much.  Was just in heavy fighting in Thailand and they were letting people photograph anything under the sun.  U.S. or U.K. troops would never have allowed photographers to shoot some of the gore they were shooting.  I am not in for shock photos but some were and they were getting plenty of shock photos and nobody was stopping them.  Every culture is different.  Some are camera hams, some are the opposite, and there is everything in between.

Some of your best photography work is outside of the actual conflict, things like the Kopp-Etchells effect and the glowing star field pictures.  Apart from probably being relatively relaxing to shoot, what do you feel you get out of this particular aspect of photography?

That is pure enjoyment!  That’s why I love photography.  Photography can be like that box of chocolates.  You know there is a great shot, but are not sure what you are going to get.  This is especially true of low light shooting.

What other photographers, writers or artists do you like?

No particular favourites because there are so many great ones.  There is no shortage of outstanding photographers, writers and artists.  It’s like sampling food across Asia or Europe.  Don’t force me to pick a favourite because I don’t have one but get to enjoy widely.  That said — when I think of art, Italy often comes to mind.

Is this something you see yourself doing in 10/20 years time?  Could you see yourself reporting on a different area or subject?

Exploration has been a lifelong passion.  Writing and photography are also passions, and I like to combine these things with something worthwhile.  Something that benefits mankind and the planet.  Something that promotes peace while recognizing reality.

See more of Michael dispatches, go to http://www.michaelyon-online.com/

For more background on Michael, see http://en.wikipedia.org/wiki/Michael_Yon

My photographs of Alison, because of the nature of our relationship, are very much a father-daughter collaboration-Alison permitting me access to private moments of our life, which might, under different circumstances, be off-limits to a parent. The camera, early in her life, became part of our relationship, necessitating in me an acceptance, a quietness. We’ve never had long photographic sessions, but rather moments alone or with friends.

Photography below from Wayne Levin.

It started back in 2001, constructed by Bob Nanna with Brian Shortall. The concept is simple – take a picture of someone on you Polaroid camera, wait for the image to develop, then pass the portrait along to the next person. That person is then photographed holding the previous portrait – thus creating the ‘Never Ending Polaroid’.

To add more interest, the project also delves in the world of 90’s/early 2000’s indie rock, capturing artists such as Shirley Manson, Dismemberment Plan, Jets to Brazil and many more.

Take a look at the rest of the photostream here.

Squidge Magazine: Can you tell us a bit about how HEL LOOKS got started?

Liisa Jokinen: We started in July 2005. We were on a summer holiday in Stockholm, Sweden, when we realized how colourful and diverse the streets of Helsinki are. As soon as we came home, we started taking pics. What especially inspired us were young glam rockers who were hanging outside Kiasma art museum in the centre of Helsinki. We thought they were worth documenting. And because we wanted to show the looks of Helsinki to the whole world, we published them online. We have continued doing HEL LOOKS because of the great feedback and simply because it’s a lot of fun! Meeting new people, taking pics, running the website.

SM: You mention that the site is a tribute to ‘the pioneers of street fashion photography’. Anyone in particular?

LJ: Shoichi Aoki in particular!

SM: The images have a real feel of documenting Helsinki sub-cultures. was this the plan from the outset of has it evolved over time?

LJ: Yes, the plan was and is to document the Helsinki street scene. We know there’s something worth documenting and showing to the rest of the world.

SM: So how do you go about getting the images? How do people react to being asked?

LJ: I usually always carry the camera with me. It’s nice to be surprised – to see something “hel lookable” when you really don’t expect it. Helsinki is a small city with only 500 000 inhabitants in it.

SM: So what about you two? Tell us about yourselves?

LJ: I’m freelancing, writing and photographing for lifestyle and fashion magazines. Sampo is working as a creative director at Sulake, the founder of teenager online game Habbo Hotel.

SM: Any other projects going on?

LJ: I’m planning an “non-profit social travel agency” with my friend Ulla-Maaria Engeström. A travel agency promoting local, high-quality, low-carbon services and travel destinations. Our aim is to re-define the meaning of luxury! Then I’m also planning to take the HEL LOOKS exhibition to Brussels next year (it has been on show in Copenhagen, Berlin, St Petersburg, Tallinn, Riga and Vilnius). Oh and one more thing: I’m one of the curators of Art Diamond art exhibition taking place next summer in Pori, Finland.

I found these pictures Cyana trend land, you can see that there has always been a fairly stock format for photography lips, make them full, make it close up, if you can get something protruding from the mouth, be it soft fruit or a wisp of cigarette smoke. And keep them on a blank canvas, the paler the skin the better, alabaster cheeks and chins from which a glorious full pout appears.

I have to say there is nothing quite like a woman wearing lipstick well, I have a friend who has one of the most glorious pouts know to man or beast.  She went through a wonderful stage of wearing rich red lipstick covered with red glitter. It was one of the most captivating sights. You couldn’t take your eyes of her lips.

It isn’t one of looks you can keep going all night, lips are all about first impressions, the entrance. Those looks when some ones gaze flicks from your lips to your eyes. A heavily lipsticked mouth is a statement makeup, halfhearted just doesn’t cut it.

Now you’ll have to excuse me while I go and blow a ridiculous amount of money on lipstick. Here are some of the most wonderful pouts fashion has to offer.

The Light Art Performance Photography Project (LAPP) creates beautiful images using one-time long exposures whilst opening and closing the shutter. You can see the full website here.

Kubicki’s work is without a doubt dark and creepy, and would scare even the bravest of souls on a dark night! But there is something magical about the way these images are created that lures you into them. Despite the horrid monsters and bottomless pits of darkness, you can’t help but admire his obvious talent, with carefully drawn teeth and piercing eyes they are so beautiful you wish they were real (except for the fact that they’d probably eat you alive…) This monstrosity has to be one of my favourites – I love the irony of the long elegant limbs and the soft lines of their bodies in comparison to three snarling heads. As gruesome as they are, I know children would love to see these in storybooks as the bad guy’s pets.

Graduating from the Fine Arts Highschool in Gdynia – followed by the Academy of Fine Arts in Gdańsk – Kubicki’s work is a mixture of contemporary photography and traditional painting techniques, which fit beautifully together within the digital space. Despite working mainly in monochrome, every image is bursting with life, whilst the subtle use of textures within his work gives the feel of an extra dimension that is rarely found in computer-generated art. This image comes from a series of nudes, elegantly covered by layers of beautifully draped fabric.

Kubicki is an extremely talented artist and a dedicated designer within the gothic arts. Over the years, Kubicki has designed some amazing websites, such as the Gothic Art portal and the official website of Agonised by Love, and won a number of prestigious awards in the process. He has also designed numerous music album covers for the likes of Moonlight, Agonised by love, and Artrosis. Without a doubt this is one to note down in the old bookmarks section of your browser. For more examples of Kubicki’s work check out his website.

This post was written by our lovely friend Tigz here is a little bit about the lovely lady:

Tigz Rice has just graduated from Westminster University with a first in illustration, where she specialised in digital design and animation. Her work is often described as dark and creepy with a kinky edge, taking inspiration from the work of Dave McKean, Andy Hixon and FSC. She loves exploring textures within design and can often be found wielding her camera around the back streets of London. You can find out more about her work on her website.

via LOUdreams. The images are created with water based paints placed on top of speakers. The paint reacts to the sound, and the artist captures the results using a high-speed camera. The result is beautifully colourful, abstract photographs. You can see more of the artists work here, and the full set of these images on the Flickr page.

I came across this set of images via FFFFOUND, and they made me smile, so I thought I’d share them with you guys. The artist assures us that these images are real (as opposed to composed in Photoshop), and that these are wild chipmunks from his back garden…. You can see the full set on Flickr here. Enjoy.