The black sheep usually doesn't follow the crowd because every once in a while, the crowd is literally going the wrong way in mass

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 The black sheep usually doesn't follow the crowd because every once in a while, the crowd is literally going the wrong way in mass   The black sheep usually doesn't follow the crowd because every once in a while, the crowd is literally going the wrong way in mass  It takes a black sheep to stand out and say, 'Hey, I think we're headed off a cliff here!' They may be labeled as outcasts or rebels, but in reality, they're the ones who are brave enough to challenge the status quo and forge their own path. Let's celebrate the black sheep in our lives - the ones who inspire us to think differently, to question the norms, and to embrace our individuality.
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‘WHO IS THE ENEMY HERE?’

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 ‘WHO IS THE ENEMY HERE?’



Who is the enemy here? The soldier, seen from the back, facing a Vietnamese woman hugging a baby, with a half-naked boy by her side? Or is it the young woman and her two children being confronted by an American GI? Are there not always two sides to a coin?

We are in a small hamlet near Dakto late in 1967, barely two months away from the Têt Offensive. The turning point of the five-year-old war, the offensive by elusive Viet Cong and North Vietnamese forces failed in military terms but constituted a political victory in the arena of international public opinion. America was losing the war at home; David was defeating Goliath.

Gilles Caron’s atypical vertical image of a face-to-face encounter exposes deep cultural divide and distrust. Fear, tension and uncertainty are visible in the contained defiance of the mother and the awkward posture of the young warrior clutching his automatic rifle. Other locals and American military are nearby; the anxious glance of the child indicates as much. The contact sheets from that day reveal that the straw roofs would be set ablaze and the hamlet burnt down because of the suspicion that the villagers were harboring communist guerrilla forces by night.

In 1970, Caron would be captured by the Khmer Rouge, in neighboring Cambodia, never to be seen again. He had just turned 30.

Still images rarely give straightforward answers but they do offer illuminating clues for those who take the time to delve into them. Caron’s career in photography was very short — 1966 to 1970 — but his exceptional talent, intelligence, commitment and ubiquity leave us with an unmatched visual legacy.

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