I have been widely criticized for commercializing photojournalism and
war photography since I appeared in the Warner Brothers television
show "In Harms Way." Since then I have been working hard on
ways of making my work even more commercial.
The bottom line is that for photojournalism to do any good, it must be seen — and seen by as large of an audience as possible.
Photojournalism has become a rigid and stagnant industry. It is obsessed with rules, hiding behind "ethics" in order to produce nothing but formulaic, generic press photography and generally forgetting about the fact that it is our job to use our ART to educate the world and bring about awareness. My personal mission is to go beyond what others are doing in hopes of creating works that are completely new and fresh, instead of mimicking the work and career paths of others.
Several years ago I went from covering the conflict in Gaza straight to New York to shoot Fashion Week. My entire time in Gaza I did not see one other photographer, yet at fashion week I was packed in with 50 or more shooters during runway shows. I was distressed by this in the beginning, but soon I began to see possibilities.
What if you could use the glamor and sex appeal of fashion and celebrity photography along with the messages in photojournalism? What if you could create works of art that would not only stun people visually, but also educate people about a subject that they may otherwise ignore or find too depressing to pay attention to?
Years ago when I did my work using film and darkrooms I fell in love with a process called "Negative Sandwiching" or "Sandwich Printing" or "Multiple Printing." This process involved actually placing two negatives on top of each other before exposing the image (alternately you could expose using one negative and then again with a second). The same process can be done digitally now with much more accuracy and detail.
I would like to announce that I am beginning to take my career in a new direction. I am not now, nor will I ever give up photojournalism, but it is time to go far beyond the limits of the profession.
Six months ago I began shooting models and celebrities to work on
creating composite images of beauty, sex and fame mixed with conflict,
crisis and disasters. I am in the process of making a book as well as
an international exhibition of this work. All of the models and
celebrities involved in this project have donated their time, as have
I, and the proceeds from this project will benefit refugees of