Jenesis, Model, Friend, Studio, Cleveland, Ohio, February 1, 2012

Before she arrives this evening for her session with me, Jenesis allows me to preview her wardrobe through images. Rather than selecting pieces and then advising me of her choices, she listens gently to my request for darker, timeless pieces and organizes her wardrobe to reflect my request.

In this image, Jenesis displays an outfit from her past and tells me the story behind it, giving the image that much more meaning. She moves from one pose to another effortlessly and changes her expressions at the same time. We make images with direct light and also include images like the one above with indirect light.

She arrives early in the evening and stays until early in the morning, going through my portfolio as well as selecting three images for us to print. Rather than being in a hurry to leave after the session, she engages me in a conversation regarding some of the people in my work, showing a sweet sensitivity to their stories.

She selects a print from my portfolio to also take home with her as a gift, and it is a print of a young Cuban girl, a selection made even more fitting due to the physical characteristics shared by both. She sees in herself this young girl and shares her love for her with me.

Her trust in me, and in my work, is exemplary and provides me with a serenity that comes with having photographed a beautiful spirit. We will collaborate once again and soon.

Ainsley and Julia, Studio, Cleveland, Ohio, January 27, 2012

Before we arrange for our session, this young model goes out of her way to send images of her outfits and of her vision for the collaboration. Rather than sending a few vague adjectives, she lays out the pieces of clothing and makes individual images for me to see.

She accommodates my schedule, is driven by a loyal friend named Julia from a great distance, and allows me to photograph her until quite late in the night. Upon being lost on the way up, rather than turning around and going back home without calling me, they drive for a considerable amount of time until they are able to get a hold of me. They maintain their composure and present with an enthusiasm that allows the session to proceed without a single issue.

She lays out her pieces once again for me to see, and changes from one to another without a single complaint. We listen to their choice of music, and make images along the way. In her first session with me a level of communication is achieved that at times takes several sessions. We finish the collaboration by sharing a few prints, then bid farewell until our next session.

Over the next two weeks or so, she maintains contact with me, shares our images through her social network, and does so proudly. She assures me that she would like nothing better than to perform once again for my camera, and is honored to be included in my family of portraits.

The fact is that she is a sister to those in my portfolio and has the humility to assume the honor.

We will be collaborating once again this Friday and I look forward to what she brings to the session.

Cassandra and Praxa, Collaboration with, Studio, January 30, 2012

In this work I was trying to convey the feeling of a sinister yet subtle erotic spirit, organic, geometric and serpentine. This was captured and expressed with precision by Cassandra.

Praxa Anebus

Young Student, School Now Closed, Humana People to People, Rajasthan, India, November, 2008

On the day this image was made, her school was open and girls walked in and out freely. A young girl from the village, barely older than her students, was the teacher. The classroom was provided by her own village. They took turns walking up to the wall and writing with the same piece of chalk.

On this day all of the girls gathered on the roof of the school, as the sun faded behind us over the mountaintop. For a minute, we talked back and forth about the impossibility of making portraits according to my needs. The girls and their mothers watched as we talked frantically about what to do, worrying that we might lose the chance to do what we had already done for the other schools.

I asked permission to move a bench and the women help me, laughing all of the way at my seemingly erratic thought process. We placed the bench in front of a stack of straw and ask the girls to sit upon it, facing the sun now set over the mountains. The softest of light caressed their faces and allowed me to make images for them.

In my mind the entire time was the promise of next year, and a return to this village with better plans.

Two years later the schools run by the foundation closed. She has nonetheless never been forgotten by me. A fruitful conversation has been initiated with the foundation and we have every intention of locating the funding and reopening her school, as well as nine other schools in the area.

Presently, with the help of Dolly, we are in the process of presenting this proposal to a list of corporations, foundations and schools. We hope that they also see the value in the education of a girl and join us in this worthwhile endeavor.

Should you, the reader, have any ideas that could help, your message will be received with an open mind. A benefit is being planned for the schools with the guidance of a dear friend named Mike. As plans become clearer more information will be provided.

Willoughby School of Gung Fu, Master Joseph, Students, Suburb of Cleveland, Ohio, January 26, 2012

This evening a gift is handed to me by my dear friend, a master in the art of Gung Fu.

A week or so ago we discuss the thought of documenting his students, and his school. We talk about the details, and without a single hesitation this good man agrees to allow me to photograph the women in our first session. Diplomacy and kindness are displayed in every single one of his words.

We plan on an evening, and cancel once due to my schedule. We try again and this time my focus is completely on the school, on the students. I arrive before class begins and am enabled by the master to set up my equipment as I wish. I do so at the other end of the studio, while the rest of the students arrive. They begin the lesson while my lighting is set up.

We begin with the Master of course, making it a bit easier for the younger female students to begin. He is thoughtful, precise with his movements. He understands my needs as a photographer and holds his positions for me. He moves from one position to another effortlessly.

We then call our first student, the younger of the two women. We begin with simple gestures, then document various positions, movements. Her presence is incredibly poignant, and holds my attention through four or so rolls of film. She has never been in front of a lens before outside of her mother's, yet she is able to communicate with a clarity few possess.

We ask her to take a break and return after a little bit of time for her next session. She smiles ever so gently and goes back to her lesson. The next young woman comes over and leaves her hair up for the session. She is a seasoned student, both in Gung Fu and in ballet. With only the slightest of explanations, she places her body and arms in positions favorable to my eye.

Roll after roll are exposed in joy, and we celebrate by bringing students and Master together for a few portraits as well. We move the lights to a different position for more directional lighting, and make a series of the two students in various positions. Then we set the background up once again for the younger student. She knows that we have saved a few more rolls for her and seems to shine with happiness.

Her hair is up this time, beautifully scuplted while she waited for her turn. She once again displays an uncanny ability to both concentrate on her positions and to look directly at the camera. In the end she is made aware that my work with her will continue perhaps as early as next week, and through the rest of the year as well. This bit of news makes both young students quite happy, almost as happy as me.

Instead of walking to their cars, all of the students help me with my equipment, stand out in the rain next to my car and help me load it into the trunk. This evening they teach me the meaning of humanity, of respect. I will return next week perhaps to this beautiful corner of the world.

Session with Sylvia and Praxa, Electrical Cord, Hallway, December, 2011

Yet another image from our first collaborative set.

Even though Sylvia needs to be at work earlier than most in the morning, she gives her time without a single complaint. While many might resist the preparation necessary for this image, she gives of herself while being weighed down by an entire length of electrical cord.

We walk back and forth from my studio and to the end of the hallway. We attempt to remain quiet but often times burst out in laughter. She is an incredible spirit, and Praxa's creativity is infectious.

We use one source of light, and a reflector on the other side.

While Sylvia has rarely modeled, one could never tell from her portraits. She is a complete natural.

I look forward to documenting her spirit once again.

Vamptress LeeAnna, Model, Sister, Los Angeles, California, October, 2010

The new year begins with a sweet message from my dear sister, Vamptress LeeAnna.

People ask me about my trip out to Los Angeles: 'So what did you do out there, photograph models?'

There is a notion that perhaps models are different. While they may be so in certain instances, my experience out West taught me that they are very much like the women in my portfolio from Asia and Africa. They have their stories to tell, and can do so quite eloquently.

One such example is my creative sister, Vamptress LeeAnna. This young woman drove almost two hours just to meet me for an afternoon. She came out with an incredible man, and his support made this collaboration that much more meaningful.

The weather was misbehaving and rather than going along with the mood of the weather, they spoke only positive words and allowed me to lead them a bit further up the road, perhaps twenty minutes or so until we found an area full of sunshine just past the rim of the clouds. We exited the main road and then drove around looking for a spot, one that allowed for images made against a light wall and images made against the backdrop of the sky.

We found one, in the middle of a new development, and parked our cars. Vamptress took a few minutes to get ready while we set up for images against the yellow wall at first. The image above is from this series. The range of her expressions was indescribable, she went from the expression of a stranger to that of an old friend, within a few frames, from sultry to familiar within seconds.

Tomorrow will be spent in the darkroom printing these images, along with her selections. Rather than being photographed and walking away, this young woman has become my sister and continues to inspire me.

Another Image from Collaboration with Sylvia and Praxa, Hallway, December 19, 2011

Step by step Praxa adds layers to the presentation, and allows me to document each step. While many others would only want the final product photographed, he allows the construction of the image to be shown as well as his technique.

Working with studio lighting for the first time, I make attempts to move Sylvia into positions emulating my traditional work, raising her above the camera and placing the light to her side. She is asked to look down and away from the light, allowing her eyes to relax and focus on the lens rather than the light.

With this image another world opens up for me, allowing me the possibility to work indoors and yet attain a sense of connection between this work and my work from around the world. Today I experimented with a few more options and look forward to our next session, hopefully the first week of the new year.

I share my deepest gratitude with Sylvia and Praxa for this gift.

Collaboration with Sylvia and Praxa, Hallway, December 19, 2011

We meet after work and arrange a session in the hallway of my building.

Within a span of three hours, perhaps four themes are presented seamlessly and a dozen rolls exposed. Even though Sylvia needs to work early the next morning, she gives of herself as she has before and allows Praxa the time necessary to bring his vision forth.

Over the next few months we will collaborate further, allowing me a chance to bring into my portfolio images unlike those already present. My hope is that my lens will do justice to Praxa's vision.

Blindfold, The latest creation by John Mikhail Asfour, December 25, 2011

I have been blessed to have been surrounded by genuine people throughout my life. One such person is my dearest cousin, John Mikhail Asfour. He has always shown me an immense ability to love and to ask for little in return.

Through tragedy as a young man he found purpose. In a conversation earlier this morning, I was informed by John of his most recent publication. It is named 'Blindfold' and can be found on websites ranging from Barnes&Noble to Amazon.

The following is quoted from McGill-Queen's University Press, and includes his poem 'Silver Threads.'

'Blinded by a grenade in Lebanon as a teenager, poet John Asfour came to Canada armed with James Joyce's words, "For the eyes, they bring us nothing. I have a hundred worlds to create and I am only losing one of them." Blindfold investigates the ways in which disability influences our lives and is magnified in our minds. In a series of thematically linked poems, Asfour draws the metaphor of the blindfold across the eyes of sighted citizens who are impaired by estrangement, emotional complexity, and social pressures.

 A sense of exile and belonging dominates the poems, following the journey of a blind man whose life in his new land has been hampered by prejudice and barriers to communication. Exposing the rich and surprising possibilities of a life that has undergone a frightening transformation, Blindfold relates feelings of loss, displacement, and disorientation experienced not only by the disabled but by everyone who finds themselves separated from the norm.

 Silver Threads


He recalls

the absence of sound, the impossible silence

the disappearance of light.



He is only aware of

the movement of his

mother's hand inside

her purse, looking



for her handkerchief.

He recalls her

warning not to play

with unknown objects

the type that explode on impact. Later,



he lies in the dark remembering

how she pointed out

the silver threads of the morning light

just the day before

and he sparkles

with guilt.




Review quotes


"Asfour provides readers with a deeply moving glimpse into the frustrations and disorientation of physical loss, as well as the heroic effort to find the language and metaphors that will translate his experience into poetry." Harold Heft, The Montreal Gazette



John Mikhail Asfour is a translator and former professor of literature. The editor of the landmark anthology When the Words Burn: An Anthology of Modern Arabic Poetry, he has written four previous books of poems.