The acclaimed photographer Paolo Pellegrin has documented many of the world s 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 Pellegrin s 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.