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Episode #423: Ian Taylor is a Canadian photographer whose life shifted from the film industry to decades of work and travel across Southeast Asia. His first experience was with a government-sponsored Asian Studies program in the early 1990s. His early visits to Burma during the junta’s “Visit Myanmar Year” left a strong impression, and he became involved for a short time in advertising there.
By the late 1990s, Taylor had left advertising for photography, focusing on family portraits and NGO assignments across Asia. A formative volunteer trip to Bangladesh further deepened his commitment to humanitarian work, and led him back to Burma.
Taylor left the country in 2015, but reconnected in 2023 through the Thailand-based Border Consortium (TBC). He soon embarked on a volunteer photo project in five refugee camps, describing them as “an active, bustling town with everything.” His photography resists exploitative “poverty porn” and favors portraits that reflect dignity and agency. “Every portrait, in some way, it’s a collaboration.”
Critical of the tourism industry’s distortions, Taylor remains focused on authenticity, connection, and service. In his words: “If you could go to a holiday in the Maldives or something... well, I’d rather go [to a refugee camp]!”
By Insight Myanmar Podcast4.7
5151 ratings
Episode #423: Ian Taylor is a Canadian photographer whose life shifted from the film industry to decades of work and travel across Southeast Asia. His first experience was with a government-sponsored Asian Studies program in the early 1990s. His early visits to Burma during the junta’s “Visit Myanmar Year” left a strong impression, and he became involved for a short time in advertising there.
By the late 1990s, Taylor had left advertising for photography, focusing on family portraits and NGO assignments across Asia. A formative volunteer trip to Bangladesh further deepened his commitment to humanitarian work, and led him back to Burma.
Taylor left the country in 2015, but reconnected in 2023 through the Thailand-based Border Consortium (TBC). He soon embarked on a volunteer photo project in five refugee camps, describing them as “an active, bustling town with everything.” His photography resists exploitative “poverty porn” and favors portraits that reflect dignity and agency. “Every portrait, in some way, it’s a collaboration.”
Critical of the tourism industry’s distortions, Taylor remains focused on authenticity, connection, and service. In his words: “If you could go to a holiday in the Maldives or something... well, I’d rather go [to a refugee camp]!”

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