Australian INfront

Stephen Dupont was born in Sydney, Australia, in 1967. Since beginning his photographic career in 1989, he has produced photo essays from dozens of countries, including some of the world’s most dangerous regions: Afghanistan, Angola, Burma, Burundi, Cambodia, Congo, East Timor, India, Iraq, Israel, Rwanda and Somalia.

A documentary filmmaker as well as a photographer, in 2001 Dupont made his first film, which concerned a solo trek across Afghanistan’s Hindu Kush Mountains by horse and foot. In 2005 his footage of U.S. soldiers burning the bodies of dead Taliban sparked international outrage, a criminal investigation, and changes to U.S. military policy.

http://www.stephendupont.squarespace.com

When starting out, what did you photograph before you found photojournalism?

I shot bands and concerts and a little fashion.

Your work finds you regularly in dangerous areas. Do you become accustomed to that?

I never really become accustomed to dangerous places, every place is different, every war is unique and I approach every project or assignment with open eyes, caution and respect. This philosophy is not just beneficial for my survival, but allows me to be more creative and original with my work.

I understand you keep copyright of all your images - Is this hard to control and have you ever felt pressured not to?

I always have kept copyright and always will. I don't feel pressure to give away my copyright at all. If a client pressures me about the issue I would prefer to not work with them.

The "Axe Me Biggie" exhibition put a human face to a country that was otherwise faceless for most Australians. Is there a role for art to change public perception and political opinion?

Always! I think at this time more than ever before there is a strong place for creative art in political story telling. We are so saturated by digital imagery and more people today are unsure about what the press and our governments tell us. People switch off after seeing the same kind of images over and over again. I think something like Axe Me Biggie, as you say, puts a human face to a country at war which is otherwise faceless in a way. I think seeing the faces of all these Afghan men says more about their suffering and hopes than much of the sensational imagery out there. The pictures can be presented in not just a press media platform, but in a gallery and in books. It allows the audience to spend time with them, to think and reflect and feel.

Read any good books lately?

I am always reading. Right now I'm reading Steve Coll's "Ghost Wars" about the history of the CIA  in Afghanistan.

You narrowly escaped a suicide bomb in Afghanistan. Post-bomb footage shows you in shock and conflicted about your role as a photojournalist. How often in your work are you faced with the question of helping or documenting?

Thankfully these kinds of situations are rare, but I would always try and help if that was needed.

Some of your subject matter has included traditional fighting and war. Do you see battle, conflict or aggression as themes in your work?

I'm drawn toward subjects of war and violence, and I try and document the humanistic side of everything I see, to present the truth be it in a breaking news story or on a gallery wall.

What's a standard day at the office Stephen Dupont?

Research, editing and making books, preparations for future projects.

Is photojournalism reportage, art or both?

It's whatever you want it to be.

Stephen began his portion of the conference by giving us a sneak peak into his latest project – a box set of 6 books and a short film that encompass his vast experience in Afghanistan.

We were shown the recently completed short film portion of the project. An 18 minute documentary featuring narration over still photography and animations of Dupont’s work, pieced together by creative agency Pholpo from Berlin.

Having wanted to go to Afghanistan “even when the Russians were there, but I was too young”, he eventually entered the country for the first time at the start of its civil war in 1993.  With turmoil erupting around him Stephen reflects that “as a photographer you take so much from people. I did risk my life many times, but that’s my choice. The people that live their - it’s not their choice”.

Flying back and forth to the country for more than 17 years, Stephen’s photography is shot with love, compassion and an always questioning eye. Looking at one of his portraits feels like reading the subject’s life story. Although not showing a bias in his photography you can still feel anti-war sentiment, something that he confirms after the film’s completion. Dupont has a close affection towards to the people of Afghanistan and the country itself. He felt he needed to try and bring back pictures that represented what was going on in that time and place. News services weren’t providing the full story.

The creative side of this and Stephen’s other work comes into play with exhibitions and handmade books of his work. The books look amazingly crafted, opening not as standard 2 page stitching, but folding open to four page view. Hand scratched lettering on the covers and some amazing photography.

One book and exhibition shown through a replaying of an ABC feature on Dupont, was “Raskols” – a series shot during Stephen’s time with the gangs of Port Moresby, known worldwide as potentially the most dangerous gangs in the world. Stephen was the first person to be welcomed into the world of these gangs.

With these sort of endeavours Stephen sees his craft changing directions. Although still focussing on real people and situations, he is now bringing it into an art world as a way to both entertain but still inform.

Another feature is in the works that complements the book & film set. This will be a full length doco on 2 brothers in Afghanistan that are addicted to heroin titled “Stoned in Kabul”.

Stephen’s closing Q&A with the audience revealed that times have changed for journalism in Afghanistan since America’s involvement.
In earlier times he could move from one rival force to another photographing each side of the conflict. But now journalists are seen as the enemy. No longer neutral, but a target.

His passion for his work and his subjects is undeniable. It was a real inspiration to see someone that has dedicated such a large portion of his life to his work and passions.