Rangefinder Magazine
January 2005

Click Here for printable version of this article.

Profile: Jon Warren by Peter Skinner
Social Documentary Images That Make a Difference

Mozambique. A boy tries to recover at a feeding center, after the rest of his family died of starvation before they made it to the center. Nikon 8008, 85mm, Kodak Tri-X.

How many photographers can honestly say their images can, or do, make a real difference to people less fortunate whose lives have been devastated by natural or manmade disasters? Probably not many. It takes a special kind of person who willingly ventures into horrific situations and has the vision and empathy to create images that capture the gravity of the situation while respecting the dignity of its victims.

Powerful, evocative photographs play a huge role in supporting international relief efforts, and Seattle-based Jon Warren, a veteran of 20-plus years of social documentary photography in all corners of the world, is one of those dedicated few who specializes in focusing world attention where help is needed.

The average person, with international travel limited to a Mediterranean cruise or a backpack trip through New Zealand, would have their sensibilities shattered by the conditions Warren has worked in. He was raised in an environment that provided the ideal grounding for his profession. Growing up in India, in the Himalayas, where his parents were Protestant missionaries, he learned early that people born to poverty are not at fault, that there is no shame in it. These people have self-esteem and dignity. Warren’s childhood years instilled in him an understanding of third world countries combined with a fascination for and a love of other cultures.

Congo. After watching her family murdered, a Rwandan girl joined the throngs of refugees who flooded into the Congo. Nikon N90, 85mm, Kodak Tri-X..

After high school, Warren came to the U.S. for college, and about midway through college returned to India to visit his parents. About that time he had developed an interest in photography, and that became the focus of his return visit. “I wanted to show my college friends that India is a fascinating, diverse country full of wonderful people,” he says.

“Like many kids who have grown up in a different culture, there were aspects of American culture that surprised me when I moved here. There were many good things, but I was struck by how little some people here knew about other countries and cultures. Most troubling to me were the negative assumptions many people had, especially about people from poorer regions of the world like India. So my first serious photography was an attempt to communicate, to act as a bridge between cultures,” he says.

	Thailand. A Cambodian refugee girl sits in a hammock because there isn’t enough room on any of the beds in a tent clinic for Khmer Rouge fleeing Vietnamese troops. Nikon FE, 85mm, Kodak Tri-X. (Warren uses this photo as his logo).

That initial photography exercise built Warren’s first small “bridge between cultures,” and it has since grown. Along the way there have been a few interruptions, including marrying his high school sweetheart, Kim; backpacking and photographing through India, Nepal and England; and a pregnancy, which resulted in their pawning all Jon’s camera gear and returning to the U.S. to “get a real job.”

Freelancing on the side was quite successful for Jon; his unique images sold well as stock, while assignments supplemented income from his job as a sales manager for an oriental rug store in downtown Chicago. But he definitely was not happy as a rug salesman. Kim, a registered nurse, came to the rescue. She offered to work full time in the evenings if Jon agreed to be home by 2:00 p.m. each day to stay with two-year-old son, Dan.

“Within six months, I had a photography job offer from an international Christian aid agency in Seattle, World Concern. They wanted me in Beirut within two weeks. We wanted to move out West anyway and decided to give it a one-year shot. Twenty years later I’m still doing international photography, and my wife still loves me, even though I’ve frequently broken my promise to stay home with her.”

	Congo. Orphaned or abandoned refugee children huddle together under gunny sacks. Nikon N90, 24mm, Kodak Tri-X.

For five years Warren worked for World Concern, making about four trips a year to Africa, Asia and Latin America, photographing for the agency’s magazine. This was followed by a stint at the Seattle Times, a daily newspaper with one of the best staff of photographers in the country. From them, Warren learned a great deal. But, as valuable as the photography education aspect was, more important was another lesson—the immediacy and the one-shot aspect of daily newspaper photojournalism were not for him. “My style is to spend time with subjects, to come back a second or third day or even another season and to work on in-depth stories.”

Friend Barry Ison offered Warren the opportunity to work on a book about handloom weaving in Bangladesh. He jumped at the chance and has been freelancing ever since for clients from media conglomerates to humanitarian foundations. “My primary work, my cultural photography, is with international groups involved in social concerns—justice issues and similar. I’ve had assignments in over 60 countries covering famines, the AIDS crisis, child labor, small business economic development schemes, water supply, wars and other crises that affect the human condition. One particularly satisfying assignment, again with my Aussie mate Barry, was on the 13 traditional crafts in Bhutan, a small Himalayan monarchy. Photos from the project were used by museums in Europe and made into a series of postage stamps in Bhutan.”

	Chad. Portrait of a sweet little girl, outside a church in southern Chad. Nikon FE, 85mm, Kodak Tri-X.

For the past five years, World Vision—in particular, World Vision magazine—has been Warren’s major client. He has a contract for 25 weeks a year as photo editor, which consumes 50 percent of his time. He has also worked with U.S. News and World Report, the Gates Foundation, World Relief, Mercy Corp International, Food for the Hungry, Mennonite Central Committee, CARE, The Photo Project, UNIFEM and several ad agencies that deal with international topics. His stock photo sales, almost entirely international subjects, have been in a variety of publications and organizations in the U.S. and Europe.

“World Vision is one of the largest charities in the world, with offices in over 90 countries. They use photos for magazines in about a dozen countries, the Internet, brochures, educational material, books, newsletters, ads, reports—you name it. I’m one of the few freelancers they use. Each country has a communications staff, and I supplement what they already produce,” he says.

Malawi. Soon before her death, an HIV-positive woman prays during a visit from an AIDS support group. Nikon F100, 20–35mm, Kodak TMZ at 1600.

Warren has worked in over 60 countries—like Sudan, Mozambique, Afghanistan, Siberia, Cambodia, Colombia—even Canada. “My most recent assignments have been to Brazil, Peru, Guatemala, Malawi and Zambia. My next one, if current plans hold up, will be either Armenia or Lebanon,” he says.

Warren’s assignments and modus operandi are varied, complex and unpredictable. It’s often hard enough shooting sensitive subject matter in a photographer-friendly environment. Such an assignment in a foreign land where outsiders, particularly with cameras, can be received coolly or with outright hostility is even more daunting. For Warren the rewards of the end result, usually viewed after several weeks in the field, are measured in terms beyond financial returns. And, thanks to his diplomacy and experience working with other cultures, he rarely encounters dangerous situations—in his estimation at least. That does not take into consideration government officials who want to see all images made or having bullets whizzing overhead.

Congo. Children surround a woman who, along with several other refugees, took in dozens of abandoned or orphaned children. Nikon N90, 24mm, Kodak Tri-X, flash.

“In Somalia bullets were flying a bit too freely for my comfort. I landed at one remote airfield in the middle of a skirmish; the plane was held up and emptied of anything portable before it was allowed to return to Kenya. However, 99 percent of the time local people welcome me and are eager to share their lives, once I convince them I want to be their advocate, their voice. Often everyone in the area wants to be photographed, while I want to focus on just a few individuals.

“There are a few countries, however, where it is difficult to work. Some places don’t want women photographed—or any cameras at all, for that matter. Those situations require much more diplomacy and time to develop relationships. I can’t wander around openly with a camera, snapping grab shots—I have to get permission and work slowly,” he explains.

Mozambique. A boy jumps off of a termite mound. Nikon 8008, 80-200mm, Kodak Tri-X.

“My photos are just one piece of the package, along with all the other people who contribute to publications. Together we try to raise awareness of needs around the world and ways people with resources can help. So while I can’t claim that I alone have made a difference, I know I’ve played a part,” says Warren. “In Malawi, visiting the place we did a magazine story last year, I learned that the project funding has increased, and work to combat AIDS and help orphans and widows has increased significantly. After a story ran on an innovative agricultural project in Zambia, the magazine got several calls from other groups who wanted more information so they could duplicate the methods used. That was gratifying. Fundraising efforts linked to photos often raise a large amount of support. Many of us are involved in advertising photography. I’m happy to be ‘selling’ schools, clinics, clean water and improved nutrition for kids.”

And what is a key personality trait to be effective in this kind of work? “The key personality traits that I think help me are patience, love and respect for people; a willingness to listen and learn; a sense of global citizenship; and a passion for the message I want to share. I think it helps most to really like people, to care about them. Travel photography is hard work—it isn’t like vacationing. I rarely get to see tourist sites; I work long hours, have to eat whatever is given to me, sometimes stay in uncomfortable situations. Worst of all, I get taken away from my family more than any of us would like. I miss them terribly. So if I didn’t enjoy being with people of other cultures, it would be tough.”

	Somalia. Refugee children in front of a wall of war grafitti, in the abandoned library of what used to be the American School. Nikon 8008, 85mm, Kodak Tri-X.

While it might sound like fun, aspirants shouldn’t have misconceptions about the nature of social documentary photography. “The competition for this type of work is stiff. I get at least one call a week from someone who wants to do what I do. Yet, even after years of establishing a reputation, winning awards, etc., I struggle financially. There are limited opportunities to do my kind of work. But, as with all professional photography these days, if you are passionate, hardworking, flexible, conscientious and able to deliver good images, there will always be a place for you,” says Warren. Another vital aspect of his success has been retaining copyrights and restricting usage to what the original client would be happy with.

Until recently, Warren still used film—chromes (Fujichrome Velvia/Provia) for most his work, plus some 800-speed color negative film for tricky indoor situations—using Nikon F100s, a range of lenses from 20mm, mid-range zooms to occasionally a 300mm f/4.0, small strobes (SB-28 and SB-26), small reflectors, umbrellas, light stand, tripod and filters. While working on a story in East Washington, he used a Nikon D100 for the first time, and he is now shooting all digital.

	Somalia, a mother and her starving son; Nikon 8008, 80–200mm, Kodak Tri-X.

Regardless of the medium, Warren knows the impact images can have. “I think photography is one of the strongest tools we have for communication, especially in our increasingly visual society. I try to bring readers into the places I’ve been, put them in the scene, to have as little presence as a photographer as possible. I know many readers would support people I’ve spent time with if they met them personally and heard their stories firsthand. I hope my photographs help bridge the gap.”

Judging by the impact Jon Warren’s images have had worldwide, there is little doubt that his photography has indeed helped bridge the gap between cultures.

Freelance writer/photographer Peter Skinner, who has recently relocated to his native Australia, has more than 22 years experience in the photo industry in public relations, media liaison, corporate communications and workshop production and coordination. His magazine articles and photography have been published internationally and he has co-authored books, including a book with the late Don Blair on Portrait Photography: The Art of Seeing Light (Amherst Media). prsskinner@bigpond.com

Black and White by Jon Warren
For much of my career, black-and-white work dominated—I did almost no color work for many years. Black-and-white photography is still my first love. But for the past three years I haven’t gotten to do any professional black-and-white work. Now that I’m shooting all digital, everything is color unless I convert it back to black and white.

The last story I shot completely in black and white was on a child-headed household in Rwanda. It was for a magazine story, and I felt color would be a distraction. I believe the more abstract nature of black and white helps readers focus completely on the subject and conveys more emotion.

We often talk about “finding the essence” of a subject, “clarifying our vision” so the photograph’s message is clear and unambiguous, and “simplifying content”—all photography clichés that are repeated often because they work. I find black and white makes these goals easier, particularly when photographing people in Third World settings where color can be a huge distraction. With color the viewer has a preconceived idea of what is right and wrong—fresh grass is green; the midday sky is blue. We talk about correct skin tones or bemoan a horrible green cast. Black and white is nothing like reality. Everything is reduced to shades of light and dark. There is no color to tell us what is right or wrong about the image. We have the first step to distilling the subject to its essence, and a better chance for clear, powerful communication.

I see much differently when shooting in color or black and white. On assignments where I’m asked to do both, I try to carry two kinds of camera bodies, so I can switch my thinking when I change mediums. I’m not comfortable shooting first in color and then converting the image later on. Even if I do digital work, where I’ll convert the images to black and white in the computer, I shoot with black and white in mind, seeing in black and white. I love the freedom digital technology gives to “use filters” in the computer to alter tones, etc., but I prefer to try to preconceive those moves when I’m photographing. There is something about how black-and-white tones tell a story that is much different than the way color does, and I need to think in those terms right from the start.