Author Archive for burn magazine

Page 3 of 26

kenneth o halloran – life after death

Hover over the image for navigation and full screen controls

Kenneth O Halloran

Life After Death

play this essay

 

Though now a more secular society, Ireland still has remnants and relics of the old religious faith, even if many of its devoted followers are typically advanced in age – part of what might be termed a dying generation.

The Catholic Church had been one of the country’s mainstays. Falling Mass attendances, declining priest numbers and various damaging scandals have shaken the institution and weakened its grip. Despite this, my father is a daily Mass-goer; his faith doesn’t appear to have flinched.

The house where I grew up in the west of Ireland is where my father now resides with his wife and their daughter Susan; all the rest of the family have flown the nest, some starting families of their own, one in New York where she has become part of the Irish Diaspora.

The religious paraphernalia located throughout this house gives God a central presence and status not uncommon in Ireland at the time. We prayed as a family, like when the Angelus bells struck at noon and six in the evening. We knelt at night to say the Holy Rosary. Many of our rites of passage as children were rooted in Catholicism – our first communion, our confirmation, and so on.

My father, who is 80, would not have seen anything remarkable in this. He was merely carrying on the tradition of his own father’s generation. Having spent half his life working, he recently retired, closing his drapery store. His undertaker’s business continues.

For me and others in the family it meant that death was never far away or overtly mysterious. We became accustomed to the dead of our parish being prepared for the final ceremonies before burial. We would often come home from school to see who had died that day. If we truly wanted to make our father proud, we would have mastered the game he followed all his life: hurling. This ancient Irish sport, requiring great dexterity, courage and speed, can still weave a spell on him.

Born in a rural community he has seen his own life change and now that of his children too. In recent years he lost a brother to whom he was close. Now I see him deriving great joy from his grandchildren. In their company he seems tranquil. At peace. His work done.

 

Bio

Kenneth O Halloran was born in the West of Ireland, and is a graduate of the Institute of Art, Design and Technology in Dun Laoghaire.

Based in Dublin, he is currently working on a number of long term projects, which include a personal portrayal of his family shot over 5 years.

His project ‘Tales from the Promised Land’ was shortlisted for the Terry O’Neill Award 2010 and a portrait entitled ‘Twins: Puck Fair’ was shown in The National Portrait Gallery in London, as part of the Taylor Wessing Portrait Prize 2010.

He has recently received third prize in the Portrait Stories category of the World Press Photo awards and is also the recipient of the Focus Project Monthly Award (March 2011).

He received an honorable mention in the Art of Photography show San Diego 2011 and a portrait entitled ‘Olive, selling dresses’ has been selected for exhibition at the National Portrait Gallery (Taylor Wessing 2011).

He received an honorable mention in Lens Culture International Exposure Awards 2011 and was winner of the Terry O’Neill/Tag Award 2011.

 

Related links

Kenneth O Halloran

 

andrei becheru – the fountain

Hover over the image for navigation and full screen controls

Andrei Becheru

The Fountain

play this essay

 

I think you come to grasp a place better when you spend a considerable amount of time there; by seeing and listening to everything around you, you develop a constant connection, you react to it, and then, in the end, you distil everything; in my case, with images.

But, first of all, it needs to be a place where everything is found in abundance. It must be a wild territory. A piece of land with a vast history, a land that still bears the mark of past colonizations. A land battered by the tumultuous feet of several generations who lived, fought and died in this place.

When I started (around 2009), I did not view this material in the form of a project. I was traveling in the South of the country where I live, Romania, I had been exploring photography for two years already when I begun to gradually discover this place called Dobruja.

I had read some material, I had seen some documentaries about the Danube Delta, about the hardships which the people inhabiting this area have become accustomed to, or not. I came to know the story of a mining town built in Romania’s Communist era, hidden behind sedimented hills used for copper extractions.

It is difficult to approach the topic surrounding the prosperity of this mining town in the Socialist era, at this point, but one can track down the drastic consequences brought about by the Post-Communist period, consequences mirrored in the people who remained here, on this land ravaged by the effects of industrialization.

After more than a year of exploring this place and starting from a few “trigger” images which illustrate this scenery, I had the impression that I was beginning to discover and approach different subjects. I thought that these images made up a beginning of something that might subsequently crystallize into individual projects. I continued to photograph the day to day life in this scenery. I was conscious of the diversity of the images gathered, but I could not contain them; I felt the need to spread them out.

 

Bio

I, Andrei Becheru, was born in 1984 in Bucharest, Romania.

From early on I chose drawing and painting as means of expression. I completed my studies in the field of design at the National University of Fine Arts of Bucharest in 2007. Absorbed by a past aspiration, which, in the meantime, had become an inner necessity, I started taking photographs three years ago, first on film, and then adopting the digital medium.

One year into digital photography, I nostalgically returned to images on photographic film that had marked my memory.

Presently, I work as an art director for an online fashion store. In parallel with film photography, I began experimenting with moving pictures using an old video camera.

 

veronica daltri – amore mio di provincia

Hover over the image for navigation and full screen controls

Veronica Daltri

Amore Mio Di Provincia

play this essay

 

The project is focused on the province of Italy as a category of feeling.

In fact there is no interest in creating a physical amenability to a specific land; what I want is to convey the feeling of the province and that of living in the province.

As I was shooting the project, I understood that the sensation was the same in Marsala as it was in Ivrea or in Barletta or in Udine. That feeling brings to a kind of collapse of the 110 Italian provinces, into the biggest and unique province: Italy itself.

This work was done with slide films to resemble the color tones of films commonly used by Italian families in the 70s-80s, because sometimes in the province it is like if the time has been stopped at that time.

During my travel throughout the peninsula, I moved focused on the everyday lives of people. I went to common situations: friends chatting on a lawn, sunbathers at the beach, Saturday night in the disco. As if the pictures I took were my personal notes about the maxi country, my tale about todays Italy.

 

Bio

Veronica Daltri was born in Cesena in 1985.

During the university years she discovered her passion for photography. After the degree in Herbal Medicine, she won a grant at the San Lorenzo FotoFestival in Roma and she attended the courses at the Scuola Romana di Fotografia, taking the degree in 2011.

In 2011 she joined the Luz Agency in Milan and became one of the younger photographers represented by the agency in the ”Avant Guarde” section.

The project “Amore Mio Di Provincia” was published on RVM magazine and was shown at Officine Fotografiche in Rome in 2012, during the “Obiettivo Donna” Festival.

 

arnau blanch vilageliu – veneno

Hover over the image for navigation and full screen controls
ESSAY CONTAINS EXPLICIT CONTENT

Arnau Blanch Vilageliu

Veneno

play this essay

 

Veneno ‘Poison’ plays inside the Colombian jungle. Its essence are moments lived, towns, roads, skies and random sites inside the jungle, captured while passing, almost stolen.

It is the terrifying story about an encounter with the environment, which looks outward, but also inward. It bears witness to a scarcely glimpsed dark connection between the omnipresent exuberance all around and its deepest resonance inside of men.

In the jungle it’s impossible to be a simple spectator, to stay safe. The depth that governs implies penetrating in from the very beginning: penetrating into its most extreme depths, into its density and into its intimate abyss.

 

Bio

Born in Barcelona the 26th of Februrary of 1983, he grew up in a small village near Girona.

He moved back to Barcelona at the age of 21 to study photography at IEFC (Institut d’Estudis Fotogràfics de Catalunya) and absolved the entire three-year program and specialized in photo essay and writing about photography.

At the end of 2006 he went to New York to study at the ICP (International Center of Photography), where he specialized in documentary photography: taking the ‘Passion, Purpous and Personal Vision’ and ‘You, Your Life, Your World’ courses.

While he was in NYC he interned at the International agency WPN (World Pictures News). In 2011 he was preselected for the Joop Swart Masterclass of the World Press Photo.

He currently lives and works between Barcelona and Colombia.

 

thomas bregulla – five to nine

Hover over the image for navigation and full screen controls

Thomas Bregulla

Five To Nine

play this essay

 

4:30 a.m. the alarm rings. no, actually it is three alarms ringing. another day to meet a colleague in another country.

email and phone or videoconferences take you only so far. nothing beats a face to face meeting.

traveling and i have a love hate relationship. it’s part if my job and if i didn’t travel for a while, i’d miss it, however if the sequence is longer than 4-5 weeks, it’s tiring. the trips are usually 1-2 days, depending of the location; at max. 3 days.

the business trips give you a feeling of wealth. flying, taxis, hotels. the jet-set.

and then there are the repetitions. queueing everywhere. boarding, de-boarding, security, ID check, hotel.

sightseeing? yes, definitely in the taxi, in the tram or in the bus.

 

Bio

Thomas is a program manager for an internationally acting company across Europe. His first contact with burn magazine was in 2009.

This work is an interstage of the whole essay. The work continues, the focus may change. Working internationally since 2004, Thomas started to take pictures while traveling.

Since 2010, the idea came up to bring the pictures together as an essay – the idea was born, the pictures now followed the idea. During this time the traveling also changed – from one-day trips to four-day journeys to the same location. The continuing of this work has to reflect the new challenges and circumstances.

The work seen here is the first milestone and shows pictures from Vienna, Budapest, Bucharest, Athens, Frankfurt, Cologne, Prague, Zagreb. The location in fact does not matter. It could be anywhere.

Anybody who travels for business frequently recognizes the places and situations. They are anywhere and anytime.

Safe travels everybody.

David Alan Harvey motivated me to start this as an essay. The edit was supported during a workshop with Marcus Schaden and Wolfgang Zurborn.

 

filippo mutani – the backstage diaries

Hover over the image for navigation and full screen controls

Filippo Mutani

The Backstage Diaries

play this essay

 

Originally being a reportage photographer, I landed into fashion quite randomly, being assigned by an Italian magazine to follow Karl Lagerfeld in his 2009 Venice Chanel Cruise fashion show.

I was immediately more attracted in the before and after, in the work and humanity behind the fashion shows, than in the shows themselves. Assignement after assignement, fashion week after fashion week, “The Backstage Diaries” is now quite a body of work, collecting 3 years of fashion backstage shootings, mainly between Milan and New York City.

“The Backstage Diaries” have been widely published (A magazine, Vogue.it, Vanity Fair, Elle France, by the others) and have been awarded with international photographic prizes such as IPA, NPPA, and WPGA.

I hope that “The Backstage Diaries” will become my first photographic book in a very near future.

 

Bio

Filippo Mutani is based in Milan, he teaches reportage and communication at IED Institute and at Il Sole 24 Ore Master School.

He is a worldwide contributor for Getty Images, represented for licensing by Art+Commerce.

His work appears in T-The New York Times, Financial Times, Newsweek, The Guardian, Internazionale, Touring/National Geographic, Elle, Grazia, Cosmopolitan, Vogue Italia, Vanity Fair, IL, Max, A magazine.

 

Related links

Filippo Mutani

 

james robertson – off piste in afghanistan

Hover over the image for navigation and full screen controls

James Robertson

Off Piste in Afghanistan

play this essay

 

Bamian is situated at a six hour drive North of Kabul. Historically it has benefited from its location on a trade route and, subsequently, its resultant cultural tourism.

It is a long time since silk, spices and Buddhism crossed through Bamian and the last 30 years of turmoil in Afghanistan has all but destroyed tourism in the area.

However, in 2008, the Aga Khan Foundation launched a project to encourage ski tourism in Bamian. Since then several groups of Western tourists have travelled to the area to experience skiing in virtually untouched mountains.

While there is a recent history of skiing in areas close to Kabul, this does not exist in the more rural and mountainous areas such as Bamian. Having seen Western skiers enjoying the snow, the local youth have fashioned their own skies from wood and metal.

While the Aga Khan Foundation actively supports the training of local guides and local skiers in general, these young Afghanis don’t want to wait for equipment and instruction to be provided for them.

 

Bio

James Robertson is a photographer working in Edinburgh, Scotland.

Having won the Guardian Student Photographer of the Year 2008, whilst studying physics at university, he now divides his time between working as a photographer for Bonhams Auctioneers Edinburgh and producing his own documentary and sports photography work.

 

pete marovich – shadows of the gullah

Hover over the image for navigation and full screen controls

Pete Marovich

Shadows Of The Gullah

play this essay

 

The Gullah people are direct decedents of slaves who were brought to the islands from West Africa. After arriving in America, the Gullah created their own community steeped in religion and African traditions. They are known as Gullah in North and South Carolina and Geechee in Georgia and Florida.

When slavery was abolished in 1863, the Gullah people of the Sea Islands remained on the land after slave owners abandoned the area. They continued their traditions – making sea grass baskets, burying their dead by the shore, farming vegetables and fruits and living life simply. Having lived this way for decades, the Gullah are believed to be one of the most authentic African American communities in the United States.

But development is now taking over these once isolated lands and consuming the Gullah way of life.

The Gullah/Geechee Coast extends for hundreds of miles between Cape Fear, N.C., and the St. Johns River in Florida. In 2004, the National Trust for Historic Preservation named the Gullah/Geechee Coast one of the 11 most endangered placed in the United States. “Unless something is done to halt the destruction, [the] Gullah/Geechee culture will be relegated to museums and history books, and our nation’s unique cultural mosaic will lose on of its richest and most colorful pieces,” states the National Trust Website.

I moved to Beaufort, S.C. with my family in 1974 when my father, who was in the Marine Corps, was transferred to Parris Island.

At age 13 I was quite unaware of the challenges of the Gullah/Geechee people. What I did see were the changes that were going on in nearby Bluffton and Hilton Head Island. I witnessed firsthand how the development of high-end residential communities known as plantations where taking over the land. I was just not conscious of the effect this was having on a community.

Since the late 1950′s the Gullah/Geechee people of the Sea Islands have been losing their lands due to sharply rising property taxes caused by resort development. They have struggled to prevent their culture, which is rooted in the land, from being assimilated.

In accord with Kickstarter’s guidelines, I have a set number of days to raise all the funds, or the project receives nothing. Marovich’s project has an 40-day fundraising window, from start to finish.

When completed, the photography will be presented as a traveling exhibit and a book. A portion of the funds raised on Kickstarter will cover the cost of framing the exhibit which will be made available to Gullah/Geechee organizations free of charge except for the cost of shipping and insurance.

To learn more and see images from the project, readers can visit the project’s fundraising page here: www.kickstarter.com/projects/1957876924/shadows-of-the-gullah.

 

Bio

Pete Marovich is an award-winning photojournalist based in Washington, D.C. He covers the White House and Capitol Hill for numerous media outlets.

 

michal solarski – hungarian sea

Hover over the image for navigation and full screen controls

Michal Solarski

Hungarian Sea

play this essay

 

The Hungarian Lake Balaton is the largest in Central Europe.

As Hungary is landlocked, the lake is often called the Hungarian Sea. From the 1960′s onwards, Balaton became a major destination for ordinary working Hungarians as well as for those from the Eastern side of the Iron Curtain, who were rewarded for their work in building socialism with a permit to travel across the border.

As we could not dream of traveling to Spain, Italy or Greece, Balaton was the closest and most achievable destination for ordinary Poles to see what’s out there. My family and I were among the lucky ones who could go and spend holidays in what appeared to us as a paradise. Equipped with government-issued food vouchers and some little amount of pocket money in local currency, we were heading South to a warm, colourful and pleasant place. For us, coming from sad, cold and almost monochromatically grey Poland it was like a window to the world.

Twenty-odd years later, going through the pages of my family album, I found only one photograph of Balaton. It was a blurry picture of me, my sister and my parents, that was taken somewhere on one of the lake’s piers. This snapshot was the only reminiscence of six subsequent summers spent by the lake.

The photographs below are my attempt to create what my parents failed to do. I try to see the world through the eyes of a little boy who used to holiday there with his parents and sister over twenty years ago. Strolling among ruins of the glamorous (back in the day) concrete villas of Castro, Brezhnev and Honecker, the memories start to flood back.

Balaton has hardly changed, it is almost exactly the same as when I left it. Perhaps a bit more rusty, but the atmosphere remained the same. Only now for me it is no longer a paradise. I have grown and changed.

‘Hungarian Sea’ is a part of the bigger body of work about the summer holiday resorts in post-communist countries. It will be continued in the region of the Black Sea and the Baltic Sea.

 

Bio

Michal was born in Poland. After graduating from University, where he got a distinction for his studies, he decided to go to London to pursue his career as a photographer. After a few years doing odd jobs, he finally established himself as one.

He divides his professional career between advertising and documentary photography, traveling extensively between the UK and Eastern Europe, where he produces his documentary work. Most of it is strongly based on his own background and experiences.

He is the winner of 2012 Flash Forward UK, and his work has been published in GQ Magazine, The Mail on Sunday, and Finch’s Quarterly Review.

 

Related links

Michal Solarski

 

kir esadov – the house that kir built

Hover over the image for navigation and full screen controls
ESSAY CONTAINS EXPLICIT CONTENT

Kir Esadov

The House That Kir Built

play this essay

 

This is not a reportage type project, although much of it was taken while I was doing reportage work.

You can rather name it a fairytale than a rough veracity of life, although, again, in the heart of any fairytale lays the truth.

Some of it appears as a proof of existence of marvelous events, some of it is just a digital modified shot that has nothing to do with serious documentary type of work. Ultimately, this was not a planned out unified series.

I feel that I can never do consistent photographic series. My goal is to create a massive and complete view of my tiny and immature inner anxiety. Very slowly, step by step, this micro world is forming from pieces, fragments, shards of the physical world.

The house that Jack built. The circus stage that Kir built.

In the course of the story I’d like to take the opportunity and say hello to my mother. Dear Ma, things are going pretty smoothly, though I look worse. Boris has developed metastases, intestines will be removed. Adah already has lost her breast, but do not worry, it is unnoticeable under her clothes and we have been promised to stew a new one soon, we just need to save up a little first.

Rustam has AIDS. Marta also doesn’t seem very well, but she is always a pain in the s. Neither of them wants to take their pills. Galya has spread her arms and is waiting for applause. A grave has spread its legs and is craving love. Music is starting.

Nevertheless, this story is not about social issues, this story is about the egocentrism of the author who creates some kind of refuge where it is possible to shelter, to forget, so that all our grudges, all our fears would not seem so significant.

A music is starting. A fever is rising. Strike the violin, touch the lute. To wake yourself and to hop into dense weekdays. To give blood for some tests and to leap into a magic world right away. We are invincible while we jump.

 

Bio

Kir Esadov was born in 1988 in Moscow to a circus family.

He received a B.A. in social pedagogy in 2008. After graduating, he worked at a special orphanage for children with severe speech disorders.

In 2011 he graduated from the Rodchenko’s Art School. He had three solo exhibitions in Russia and he also had several group exhibitions in Moscow, Saint Petersburg, Kiev, Zrenjanin, Belgrade.

He has participated at QueerFest 2011 in St. Petersburg and Fotofest 2012 in Houston. At the moment he works as freelance theatre photographer.
Related links

Kir Esadov

 

aaron vincent elkaim – fort mckay: sleeping with the devil

Hover over the image for navigation and full screen controls

Aaron Vincent Elkaim

Fort McKay: Sleeping With The Devil

play this essay

 

For thousands of years the Cree and Dene people of the Athabasca River in Northern Alberta have watched, as the tarry sands along their banks oozed into the river and stuck to their feet.

In the 1950s Premier Earnest Manning was devising a plan to detonate an atomic bomb underground, in an attempt to extract these difficult deposits of oil. At that time the Reserve of Fort McKay, situated 63 km North of Fort McMurray, had no roads connecting it to the rest of Canada. They lived from a traditional lifestyle of hunting and trapping, but as 83-year-old elder Zackary Powder says, it’s not like it used to be, everything has changed.

Today the worlds largest and most environmentally destructive oil extraction project, the Alberta Oil Sands, surround them. Where trappers cabins once stood are now toxic lakes of mine tailings, and endless moonscapes that have been stripped of their bitumen-laced sand with electric shovels five stories high.

Aware to the futility of resistance, the people of Fort McKay decided to partner with industry in 1986. Entrepreneurial endeavors, employment and industry compensations have provided economic prosperity the likes of which few Canadian First Nations have experienced. It is said to be the richest reserve in Canada, but the people here know their prosperity is not without consequence. As elder and former Syncrude electrician Norman Simpson says, sometimes you have to sleep with the Devil.

Stories of moose hunts and life in the bush are told with enthusiasm and pride, but, as industry grows, the land succumbs. The rivers and fish are poisoned, their tap water is no longer potable, the animals are keeping their distance, and the quality of wild meat is in question. Cancer, respiratory disease, drug addiction and other illnesses plague the community. In a country where the norm for reserves is high poverty, unemployment and dismal housing, Fort McKay is marketed as a success story, but the people here know the truth is much more complicated.

 

Bio

Aaron Vincent Elkaim (b.1981) is a documentary photographer, whose work has earned international recognition.

Aaron received a BA in Cultural Anthropology and Film Studies in his hometown of Winnipeg, Canada, before he found photography.

Currently based in Toronto, Aaron approaches his subjects through an anthropological lens with a focus on cultural and historical narratives that reflect and inform his own sense of the world. Though born of individual experience, Aaron’s work seeks to provide its audience with new and varied perspectives on the complexities of humanity and its environment.

His work has been exhibited at Fotographia International Photography Festival in Rome, Voices Off Rencontres d’Arles, the NY Photo Festival, and the Reportage Photography Festival in Australia. His Clients include the Globe and Mail, The Canadian Press, and the Wall Street Journal.

Aaron is a founding member of the Boreal Collective.

 

Related links

Aaron Vincent Elkaim

Boreal Collective

 

massimo berruti – pakistan: fade into dust

Hover over the image for navigation and full screen controls
ESSAY CONTAINS EXPLICIT CONTENT

Massimo Berruti

Pakistan: Fade Into Dust

play this essay

 

Pakistan is considered to have had a key role in the start of the war on terrorism, as probably it will have a main role in the history of its end.

Pakistan is “the country” on the front line of the War on Terror, the most directly involved and afflicted, with the military operation launched in Swat Valley in may 2009 and the subsequent one in South Waziristan, which together have caused 4 million of evacuees. But the involvement shown so far is not yet sufficient for the U.S. Administrations.

After the announcement of Osama Bin Laden’s killing by the hands of a US operative commando on Pakistani soil, the relations between the two countries seem doomed to crash.

More than during the past Musharaff regime, Pakistani developement is connected and subordinate to the international policy. Its economy is fully financed by the US and the IMF, even though Pakistan is a country that by the richness of its soil could be mostly independent.

The fast and constant rise of taxes is at the root of the impoverishment of its society.

Meanwhile, wealth more and more concentrated in the hands of a few, is creating available ground for ignorance and extremism to grow, fertilized by the rising rage of the poor against their governors.

If on one hand Pakistanis, through examples like the lawyer movement, are showing their awareness and their will to contribute to a better society, fighting for their rights, on the other hand the same people has fallen under a heavy physical and psycological pressure of terrorism and recession.

The purpose of this project is to look through the changing society of Pakistan and the upward spiral of violence this country has fallen into since September 2001. A spyral that is driven by something invisible, its first target being the people. Something that risks to invest us all.

 

Bio

Massimo Berruti was born in 1979 in Rome, Italy, where he actually lives.

In 2003, after a short course of photography, he stopped his studies in biology to go deeper in photography. Freelance photographer, from 2004 he started to work in Eastern Europe, and mostly in Italy. Here he worked on immigration, suburbs and the industry crisis: parts of his work was published in a book called “Made in Italy”.

His professional career began when working with the most important Italian and European magazines such as l’Espresso, Internazionale, D la Repubblica delle Donne, Le Monde2 and The Independent.

In 2008 he began traveling to Central Asia, particularly to Pakistan and Afghanistan, where he is documenting the changing society. He won two World Press Photo: in 2007 (Second Prize Reportage in “Contemporary issue”) and in 2011 (Second Prize Stories in “General news”).

 

Related links

Massimo Berruti

 

christopher capozziello – a state of mind

Hover over the image for navigation and full screen controls
ESSAY CONTAINS EXPLICIT CONTENT

Christopher Capozziello

A State Of Mind

play this essay

 

This story began two years ago at a funeral home in the center of my hometown in Connecticut.

I stood in a line of a thousand or so people, with my good friend Laura, and her mother Bea. As we mourned the death of our friend Vinnie, a recovering drug addict, who relapsed and died of a heroin overdose, Bea told me how Vinnie had helped Monica, her youngest daughter, detox from heroin 5 months prior. She explained how afraid she was that his death would put Monica into a tailspin. Unfortunately, that is how this story goes.

When Monica was a young child, the pastor of the church she and her family attended, allegedly molested her over a 5-year period. When she was 18, she told her family what happened. Her accusations have never been confirmed and since the offense took place so long ago, Monica’s parents cannot bring suit against the pastor. Her parents believe this explains her many years of drug abuse.

Last year, Monica became pregnant with a man she met in rehab in Florida. Monica and Kyle stayed clean for 7 months before they both relapsed; just two months before the birth of their daughter Juliette. Following the birth, they both continued to intravenously use opiates.

When the baby was born, Bea traveled to Florida to help her daughter’s transition into motherhood. While Bea was there, Kyle became extremely volatile one night, and threatened to kill Monica, yet they remain a couple. Before Bea left for Connecticut, Monica told her to take Juliette, ‘I can’t raise her like this, not while I’m using.’

Today, baby Juliette is safe with Bea and her husband Don, in Connecticut, while Monica remains in Florida. I plan to investigate deeper into the molestation allegations.

 

Bio

Christopher Capozziello (born 1980) is a freelance photographer and a founding member of the AEVUM photography collective.

His work is primarily about inviting the viewer into personal stories in order to understand different facets of life. His projects often make unpleasant realities beautiful, not by misleading anyone, but by allowing the viewer to stop and look more deeply at the subject.

Christopher’s work has been honored by World Press Photo, Pictures of the Year International, the Alexia Foundation, the Aftermath Project Grant, PDN Photo Annual, Photolucidas Critical Mass, Review Santa Fe, American Photography, Communication Arts, National Press Photographers Association, among others.

He currently lives in Milford, Connecticut, where he accepts assignments and works on long-term personal projects.

 

Related links

Christopher Capoziello

 

bill kotsatos – oh lonesome’s a bad place

ESSAY CONTAINS EXPLICIT CONTENT

Bill Kotsatos

“Oh Lonesome’s a Bad Place”

 

Lonesomeness. Family.

Each word depicts contrasting images, however, each is often found in the other. This slideshow, “Oh Lonesome’s a Bad Place”, shot over the span of five days which began in San Francisco and ended in Winnemucca, Nevada on a workshop that took place during David Alan Harvey’s ‘Off For A Family Drive’ project, is titled from a line in the Kenneth Patchen poem “Lonesome Boy Blues”.

Workshops, like assignments, are meant to challenge but this workshop experience has been unique in that not only did I instantly become a member of a family drive, but was also tasked with producing a piece by time’s end. My on-the-road family for the past week proved to be as nuclear as it was non-traditional, as were my bar families. In each instance, communication was key, which, to me, threads any group of individuals living under one roof, or in this case, a Christmas light adorned, hand painted RV.

Here now in Salt Lake City I peel away with the gained knowledge that lonesomeness is a place where you can check-in or -out of at any time but families, like ‘em or not, remain.

Long live the open road.

 

Bio

Bill Kotsatos is a New York based documentary photographer and photojournalist whose images have appeared in Businessweek, Time, The New York Times Lens blog and The New York Daily News and featured in Newsweek Japan’s 2011 Pictures of the Year issue. He contributes to Falcon Photo Agency and Polaris Images, as well as various newspapers.

 

Related links

Bill Kotsatos

 

Thanks Bill for being a great student. Bill shot the above essay while we were driving down this road. -dah-

 

lisandre st-cyr lamothe – transplanter

Hover over the image for navigation and full screen controls

Lisandre St-Cyr Lamothe

Transplanter

play this essay

 

Fugitive beauty is everywhere, given to those who can grasp it.

“Transplanter” is the result of living four years in the countryside where I have observed life as it is and not as it should be. I search for delicate light on still life, humans and landscapes, so as to materialize a feeling of peace.

Today, the majority of humans live in cities but there is still a land that we cultivate and which, in turn, sustains us. With this project, I wanted to praise this natural beauty and invite people to consider and recognize the fragility of the land.

 

Bio

After having studied Photography in CEGEP de Matane in 2007, Lisandre St-Cyr Lamothe became acquainted with the mountain pastures of Switzerland where she worked as a shepherdess.

Since then, she has and continues to renew these experiences by trying to “transplant” herself into the countryside where rain and sun punctuate the seasons and the daily work. She searches for scenes of life among the peasants and in people living a simple life, bringing to mind bucolic Dutch paintings.

In the meantime, she has done a three-month internship at the Digital department of Magnum Paris and participated in numerous group exhibitions in Quebec, the United States, France and Spain. In January 2012 she has also completed a one-year artist residency in photography in Spain, allowing her to further the research away from cities while staying in touch with the contemporary photography world.

 

nadia sablin – two sisters

Hover over the image for navigation and full screen controls

Nadia Sablin

Two Sisters

play this essay

 

In 1952, my grandfather began to lose his vision as a result of being wounded in World War II.

Wanting to return to the place where he grew up, he found an unoccupied hill in a village in the Leningrad region of Russia, close to his brothers, sisters and numerous cousins. He took his house apart, log by log, and floated it down the Oyat river to its new location and reconstructed it. This house, with no running water or heat, is the place where my father and his siblings grew up, all moving to the big city after finishing school.

Now, more than half a century later, the house still stands, occupied by two of my aunts in the warmer months. Having never married, the two women have had to rely on each other for support and companionship throughout their entire lives. Together they plant potatoes, bring water from the well, and chop wood for heating the stove. Aleftina cooks the food, while Ludmila makes their clothing.

I have been spending my summers in the village as well, photographing my aunts quiet occupations, and the small world surrounding them. Their life spent in the routine of chores, handiwork and puzzles seems untouched by the passage of time.

In the series “Two Sisters”, I record the stories of their present-day life, and explore the childhood memories I have of them. Their house remains virtually unchanged in the twenty years I’ve been away. My remembrances play a large role in the images I record now, following the rituals that have come down from several generations and which are becoming lost in much of Russia.

 

Bio

Nadia Sablin was born in the Soviet Union and spent her adolescence in the American Midwest.

After completing an MFA degree at Arizona State University, she now lives and works in Brooklyn, NY and St. Petersburg, Russia. Her photographs have been shown at the Griffin Museum of Photography, Wall Space gallery and Jen Bekman gallery among others.

 

Related links

Nadia Sablin

 

misha friedman – tuberculosis in the former soviet union

Hover over the image for navigation and full screen controls

Misha Friedman

Tuberculosis In The Former Soviet Union

play this essay

 

Tuberculosis is still a very deadly disease – especially in the former Soviet Union.

The number of patients with very difficult to treat forms of tuberculosis is growing steadily in that part of the world. Officials from health organizations say it is an epidemic and it is not slowing down. More and more patients are found to have the non-treatable form of tuberculosis – XDR (extensively drug-resistant).

Though Ukraine, Russia and Central Asia are very different, they have one thing in common – people are not treated properly, and people are not aware that tuberculosis does not have to be so deadly, if only more time would be spent on educating the population, thus preventing the disease from spreading. Instead, those who become sick also become stigmatized, relatives turn away, neighbors stop speaking to them. They spend months in prison-like clinics, where equipment is outdated and medical and nursing staff are just as poor as their patients. Many leave without finishing their treatment and many come back again and again.

In that part of the world, unemployment levels are high, most young people are left jobless and spend their time taking drugs, using the same needles and having unprotected sex. Many end up HIV positive. But they do not die from developing AIDS, they die much quicker – from tuberculosis. Most of them do not even know they are sick, till it is too late.

I have been working on this story since 2008. It first started as an assignment from Doctors Without Borders in Chechnya, and quickly grew into a much larger project, involving several countries, dozens of hospitals and clinics, and hundreds of doctors and patients. I have seen very little change in the past few years, but I hope that now, when my project is complete, any attention it receives will bring some change at least to the people involved.

 

Bio

Misha Friedman is a documentary photographer who has worked for various NGOs, including Médecins Sans Frontières, documenting the humanitarian crisis in Northern Uganda, urban violence in Nigeria, Kala Azar in India, and civil war in Darfur.

Recent projects deal with the tuberculosis epidemic in the former Soviet Union, and corruption in Russia.

 

Related links

Misha Friedman