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

Photography below from Wayne Levin.

Simple, beautiful and engaging. This series from a project title ‘Orbs’ by the photographer Carlo Van de Roer. You can see more of his work here.

Squidge Magazine: Tell us a little about the ’100 Abandoned Houses’ project, how did it all get started?

Kevin Bauman: I had really started shooting the decay of Detroit back around 1995 as a creative outlet after a stressful first job out of college that required no creativity what so ever. Initially I photographed anything and everything. I used a lot of black and white and would process the film, and make the prints in the local community college darkroom.

Eventually I started to see several series begin to emerge. Certain subjects such as industrial buildings, abandoned houses, and small churches were very common themes in my piles of contact sheets. The abandoned houses, in particular, were very representative of the state of the area. Abandoned houses had, for years, been a problem for the city, with arsonists lighting them on fire frequently, students being abducted near them on the way to school, and drugs being dealt out of them. At one point the estimates were that Detroit had over 12,000 abandoned houses. After a few years I had a small catalog of abandoned house images, and figured I should decide how many the series would contain. 100 seemed like a good number. I have, though, gone well over 100.

SM: The series portrays a ‘forgotten’ part of Detroit. Is it important to you that these images are displayed and archived?

KB: I think so. At least to me. It’s the Detroit I grew up with. The houses will continue to be abandoned, and burned, and demolished. Near the city center, new “loft developments” are replacing old mansions. Meanwhile further out, whole areas of the city are being cleared, with fields taking the place of neighborhoods. Detroit’s been in decline since the 1940′s, but it’s current decline is arguably it’s worst. It almost seems like the end of the city as we all knew it. And while somewhat sad, it’s also an incredibly interesting transition that is, at this point unavoidable. What Detroit will look like when it finally bottoms out is hard to say. But it will most likely never be the same.

SM: Do you feel your photography is influencing social change? Is this something you set out to do, or did this come with the progression of the project?

KB: I had no agenda when I first started the photographing in Detroit. I simply wanted a creative outlet, and was fascinated by the decay of the city. I don’t have any expectations about what photography can do for the city, or it’s citizen’s. If it gets people thinking about what can be done, or how change can be achieved, I’d certainly be happy.

SM: Considering the ’100 Abandoned Houses’ project and the current economic ‘crisis’, have you noticed an increase of abandoned buildings and poverty in Detroit?

KB: There has definitely been an increase in abandonment. Unemployment in the city is 22%, and by some estimates almost 1/3 of the city is already abandoned. With the decline in American manufacturing, and in particular, the Big Three, Detroit is not likely to get much better any time soon. Detroit’s only hope is to change expectations. A big company is not going to come into the city and hire the unemployed workers. The days of spending one’s life working for one large company, and retiring with good benefits are gone. Detroit will have to remake itself into something new.

SM: What steps do you feel the authorities have taken on this issue, and is it enough?

KB: Detroit’s political leadership has been truly dysfunctional for a long, long time. Corruption, apathy, mistrust, and mismanagement have all plagued the city for decades. Any steps that have been taken by any city or regional authority has not been enough. At this point, I doubt anything can be done to stop the decline. Detroit will have to bottom before it can be rebuilt into something new.

SM: How did you first get into photography?

KB: Throughout high school and college I had been into ceramics. After graduation I had no creative outlets, and eventually after a year at a very stressful new job, I decided it was time to find a new creative hobby. I just decided that photography would be fun, and simple. No need for clay mixers, kilns, or anything else. Just me and a camera. Or so I thought. I really had no idea at the time.

SM: Do you have any major inspirations? Have any photographers influenced your style of photography?

KB: I have plenty of inspiration, including architecture, design, art and music. I am really into clean and simple architecture, design and photography. Some favorite photographers would be Edward Burtynsky, Michael Kenna, Bernd and Hill Becher, Robert Polidori, and too many others to list. Of course after starting on this series, it was pointed out that it was very much in the vein of the New Topographics, and I have since become a fan of photographers such as Stephen Shore, Robert Adams, Frank Gohlke, and others.

SM: So what’s next for you? Any exciting projects on the horizon you would like to share with us?

KB: I think Detroit’s story is not done, so I’ll continue to document the city for a long time to come. I’ve got a series on Detroit’s small churches. The number of small churches in Detroit has always fascinated me. They are often in structures not traditionally used for places of worship, such as gas stations, store fronts, or banks. And they have very intriguing names such as “The Souls for Christ Deliverance Center” or “The Ascending Church of the Cosmic Christ.” The buildings themselves, and the role of religion in a place like Detroit is very interesting to me.

Also the continuing decline of manufacturing, urban farming, and the, hopefully, new role of artists in the city are all themes I am either interested in, or have already started on.

Many thanks to Kevin Bauman for the interview, and we look forward to seeing his future projects. You can see more of the series ’100 Abandoned House’ by clicking here, or visit his portfolio here.

Mikhael Subotzky was born in Cape Town, South Africa in 1981 and is currently based in Johannesburg. In 2004 he graduated from the University of Cape Town, and his final-year project, ‘Die Vier Hoeke’ (which translates literally as ‘The Four Corners’), won him widespread international acclaim. The series was part of an in-depth study of the South African prison system, which led him to run workshops within the prisons, to teach inmates the basics of photographic theory and practice. The results of these workshops can be found on his website.

His work offers an amazing insight into the underbelly of life within the South African prison system. It shows prisoners not as inmates or criminals, but as human beings, living within a sub-culture that represents the unknown. We witness the moment that “Jonny Fortune climbs out of the industrial washer after taking a bath in the laundry … (because) he dislikes the communal showers”, instead choosing to use his time on shift to bathe.

These images show us the ‘norm’ for a prisoner within this community. Which of us would choose to bathe in an industrial washer? The photographs represent a society that has created its own set of cultures and traditions within an institutionalised environment.

We see what appears to be prolific drug use in a prison community that is extremely over-crowded and under-funded, and the use of strip-searches enforced to counter this. We watch as inmates perform “pasvang”, scrubbing the prison floors in rhythm to the song that they are singing – an activity which was performed on slave ships which arrived in South Africa during the 17th Century.

Most importantly, we see documentation of an overcrowded, and what must feel like, an overbearing situation for a community which is paying the price for wide-spread poverty and crime. Like many before him, Subotzky is providing the viewer, and the people of South Africa, a window into moments we are not meant to witness; and by doing so, a unique insight into the lives of the ‘other’.

You can see more work from Mikhael Subotzky at his portfolio here.

via: americansuburb x

In many ways, “The Americans” by David LaChapelle reminds me very much of the Richard Billingham series, “Ray’s a Laugh”. The style of the images seem to allow the viewer a unique insight into the lives of the people in front of the camera.

These images have been collected together and published by Vogue Homme, as they have re-opened old family albums from the 4th of July. The images offer a dramatic alternative to LaChapelles’ hyper-stylised style, and are at some times quite shocking and worrying (just see the young girl, with the drinking adults, standing next to the hand-grenade and gun).

You can see more work from David LaChapelle here.

If you don’t know the work of Richard Billingham, then it’s about time you did. I first came across the series ‘Ray’s a Laugh’ whilst I was doing research for a photography project in my first year at Uni, and I’ve loved it ever since.

The series is based around the photographers dysfunctional family, who are torn apart by alcohol and poverty. The book depicts his alcohiolic father (in images such as him sitting by the tioet after just being sick, below), squalid surroundings and violent interactions between the family members. It is raw footage of Billinghams’ closest family members, that shows a sometimes uneasy portrayal of their lives.

However, the images are contrasted with moments of love and happiness, and when i first went through the book from cover to cover, I was brought almost to tears of joy with the image of his grinning father lying in bed. This book takes you from despair to happiness with only a turn of the page, and is one of the most compelling photo-stories I have ever read.

You can buy the book on Amazon by clicking here.

Squidge Magazine: Can you tell us a little about yourself? Where you live/work, how long you’ve been a professional photographer for…

Alexandra Carr: I live in Hoboken, NJ and work mostly in NYC, Brooklyn and this area.  I’ve been a professional photographer for about 4 years.

SM: Can you also tell us a little about who you’ve worked for?

AC: Some clients I’ve worked with include:A4, Nylon, Nylon Japan, Celeste, Squint, Dooney & Bourke, Zac Posen and some record companies

SM: When did you first decide you wanted to be a fashion photographer? What first sparked your interest?

AC: I’ve always loved magazines, especially fashion magazines and was riveted by them from an early age. I came to photography as a career later because at first I was not sure that I wanted to do something I loved so much for commercial purposes.

SM: Shooting fashion, especially on location, is full of potential problems/issues/hazards. Got any horror stories?

AC: Not really any horror stories, apart from few run ins with perverts and crack heads. A shoot was disrupted once because someone called the police and said we were holding down a girl.  A couple of police cars showed up and it took a bit of time to convince them that nothing extraordinary was going on. It was pretty weird considering that the crew was mainly female with a couple of effeminate looking guys. They didn’t even ask if we had a permit (which we did not have).

SM: The classic question; digital or film? What do you typically carry with you on a shoot, camera equipment etc?

AC: I used to shoot medium format but lately I have been shooting 35mm. I have a Nikon Fm2 and a Nikon 300 D. The other stuff I bring really depends on the location but I usually have a couple of stands, a scrim jim and lights.

SM: And who are your favourite photographers?

AC: Many… Nan Goldin, Juergen Teller,  Inez and Vinoodh, Venetia Scott, Steven Meisel, Ed van der Elsken, Guy Bourdin, Helmut Newton…

SM: There is a constant debate around how important education is in relation to photography, and wether college/university is a waste of time compared to hands on experience. What’s your opinion?

AC: I am self taught but I don’t have anything against formal education. I think that the primary learning experience comes from practice. Everyone has their way of finding their own voice and methods.

SM: And for all the budding fashion photographers out there, any words of advice?

AC: Trust your instincts.

Many thanks to Alexandra for the interview. You can check out her portfolio here.