The acclaimed photographer Paolo Pellegrin has documented many of the worlds most dangerous places, from Darfur to Lebanon, and Haiti to Iraq. On assignment for publications including the NewYork Times and Newsweek, he has dodged bullets on theWest Bank, fled a drunken gang in a moonlit Liberian cemetery, and witnessed the lynching of suspected spies in Israel. But Pellegrins photographs are more than historical snapshots. Possessing an almost poetic quality, many of his images are blurred, appearing almost unfinished. As Pellegrin has explained, I work a lot in low light so there are technical reasons for this. But there are also artistic motives. I see photography as a bridge between the subject and the viewer like a hand that comes out, or the beginning of a conversation. I like leaving something unsaid so that the viewer can fill in the missing piece.

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