Author Archive for burn magazine

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arthur meyerson – the color of light

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Arthur Meyerson

The Color of Light

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I never planned on becoming a photographer. But just like a great photo, it was a matter of coincidence… a combination of, “right time, right place”. I was lucky. For the past forty years, I’ve been a commercial photographer. Those assignments introduced me to people that I never thought I’d meet and gave me the opportunity to see places and things I otherwise never would have seen. Since then I’ve traveled to over 90 countries and all seven continents. And while I diligently worked those client assignments, I continually made photos for myself documenting my travels. A photographer friend of mine reminded me that living a life in photography is like having a license to steal experiences! And those experiences allowed me to create a body of work that has now become my book, “The Color of Light”.
For me, this book represents an extended photographic project. The pictures presented in “The Color of Light” are what I consider my “personal” work.  That is, the non-commercial images… those I found interesting and shot for my own pleasure. They are photographs that are less about technique and more about a pure passion for seeing and capturing what I saw. While the subject matter and locations are diverse, the pictures are related to one another because they highlight the three themes that interest me the most in photography; light, color and moments. Light produces color. Light can be soft or intense… color can provoke or excite. It can also inform. At their best, light and color can come together at a moment in time and create an atmosphere, emotional response and/or a sense of place. For me, that is the power and joy of the color of light.


Arthur Meyerson is recognized as one of America’s finest color photographers. Since 1974, he has produced award-winning work for magazines, advertising agencies and major corporations. Articles and exhibitions of Meyerson’s photographs have been featured in books, magazines, museums and galleries. A photographer with a strong commitment to his profession, Arthur conducts workshops and leads photo tours throughout the U.S and abroad. In 2012, he published his highly acclaimed book, The Color of Light, a collection of some of his personal color images from the past four decades, spanning 90 countries and all seven continents.

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Arthur Meyerson

The Color of Light


Divided Country

Last photo for @burnmagazineI hope you enjoyed having me here. Thanks everyone for all the support, for reading my long stories and cheering me up. @burndiary reminded me how important is to keep sharing and talking in spaces like this one. My last photo represents a divided country. Each half calls itself unique and different, some are socialists, some are not, some are called fascists, and some are not. In the end we are all Venezuelans, living under the same sky, having the same love affair with the smells, food, landscapes, and tropical weather. Let’s hope someday we could unroll this flag and become just Venezuelans…. Please let’s keep the dialog!! Thanks so much! This was @dianarangel for week 34!!



The Price of Gas

The price of the gas in here: less than a bottle of water. (Just letting you know…) this is @dianarangel sharing from Venezuela

La Dolorita slum

Arriving from La Dolorita slum. I’m developing a NGO focused in preventing violence through participatory art. I’m totally inlove and inspired with this work. The slum landscape never tires me. Everyday I go to La Dolorita I find something new to see and to imagine from it. Long day I would like to end with a good meal and a few drinks! @dianarangel for @burnmagazine !!


Another thing I’ve been doing as part of my research project about the memory of petare is to open a free service to restore old images. Today I’ll work with five images. They belong to Domingo (his name translation in English is Sunday). He gave them to me in December and it is now that I can restore them, print them and give them back. Domingo is the gate keeper of Petare’s museum, he is very shy and it took him three months to talk to me. When he asked me for the service he couldn’t believe it was for free. Then he was to excited about it that he started to describe every person. His wife, strong and a fighter, she has a bad temper but in bed she is a sweetie. His son, now finishing university and the mother, the grandmother of all the family, also with strong character, tough, cold woman. “How do you describe yourself?” I asked, “Me? I’m an Angel! I am as happy as my name!” Says laughing. “Yes sure!!” Says ironically the cleaning lady that was just passing by.

Pixelated News World

I arrived home from Petare, where everything was as usual as always and logged in my “pixelated news world” Twitter and Facebook, (the only reliable source in Caracas right now), and sadly found out that the march went bad, there is strong repression in Central University, my university, the university I teach my elective of Art, psychology and social transformation. I wonder if we will have class this Friday…

Meanwhile in Altamira

Meanwhile in Altamira: the war is starting as usual. Altamira is five minutes away from where I live. My students are there, one of them was injured my a policeman. It is a month today since the protests began and life became something else, the routine is broken and the public news are disappearing. One half of Venezuela rely on twitter and Facebook, looking at pixelated pictures from protesters devices. The other half watch national TV, where the same soap opera is running as usual, nothing is happening, no one is talking about this in those channels. If you want to read more about this situation, here is a link from BBC :


I’ve been in Petare all day. I work in my personal and projects over there. Petare is the second biggest favela in South America. Around 400,000 people life over there. It is another universe, life another city, the cradle of violence in the capital.My project is about memory. How all this violence began. For that I’m making interviews and scanning old pictures from traditional families, making them tell their story and perspectives. Parallel to that I’m working with young communities, giving them cameras to also hear their story through the images and talk about their lives and concerns. The goal is to put together both communities, to make them talk to each other. To safe the tradition in a place all we can do is teach the next generation and the next one. This is not happening in Petare. To see more about this work you can go to: support us in Indiegogo and add us in twitter and Instagram! photo by @dianarangel @circulosdecultura for @burndiary

from Venezuela

Hello @Burnmagazine ! I’ll be sharing my life on @burndiary for the next seven days in this interesting country called Venezuela. I was looking at this image when I received the email to begin with burn this week. Lately I’ve been trying to find silence around here. It is not easy when outside my house people are burning the trees to create barricades as a protest. We have been in this situation for almost a month and nothing is happening. I’m concerned this will be forgotten… A little about me (@dianarangel): With a background on psychoanalysis I tend to have projects with social and psychological implications. I combine images from my subjects with the purpose of submerge the viewer and myself into the real experience and to give a voice to the protagonists of my stories. I believe that in order to really understand others, it is necessary to see through their eyes, therefore, their photographs. Although I will not post other people’s photos in here, it will be fragmented as life is in Caracas, highly fast and truly connected with people. Currently I am doing a project called @culturecircles, its a participatory art project in the slums of Caracas to transform armed violence through photography. To support this project click in here: work is in

david maurice smith – living in the shadows

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David Maurice Smith

Living in the Shadows

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In 1835 the town now known as Wilcannia, New South Wales, Australia was “discovered” by explorer Major Thomas Mitchell. Located far inland on the shores of the Darling river, the name originates from the largely disappeared language of the local Barkindji people and is thought to translate to mean either ‘gap in the bank where the floodwaters escape’ or ‘wild dog’. The polarity of this lost translation has come to reflect the identity of the Barkindji who have called the area home since long before Mitchell arrived.

The Barkindji are a people striving to rewrite a cultural story long ago torn from their grasp through historical wrongs. Simultaneously they face the challenge of adapting to external influences and living in the deep shadow cast by present day institutionalized racism. Despite being traditional keepers of one of the most prosperous countries on the planet they endure near third world conditions. Barkindji men have an average life expectancy of only 35yrs, the rate of domestic violence is 13 times that of other Australian communities and the infant mortality rate is 3 times higher than for non-aboriginal people. A dependency upon government subsidies for survival, overcrowding, violence, alcohol and drug abuse keep the community in a cycle of survival mode.

In plain view of these challenges, my work strives to reflect not only the scars clearly on the surface, but to also to shed light on the fabric of a people that although damaged, dysfunctional and flush with self-harm, carries on. There is rhythm, meaning and intention, despite the shadows cast on the Barlkindji. The fact that even shreds of their culture remain is a testament to the resilience.

A multimedia version of the story




David Maurice Smith began his working life supporting disadvantaged individuals as a social worker. It was this experience with those on the fringe of society that shaped a desire to explore personal stories and led him to documentary photography. Originally from Canada David has been based in Sydney since 2009. He joined Australia’s Oculi Collective in 2012.

In 2013 he was named Australian Emerging Documentary Photographer of the Year and his work has been recognized in the International Photography Awards, The American Photography Awards and the Anthrophographica Human Rights Awards.

His work has appeared in The New York Times, Geo, The Guardian, Le Monde, CNN, The Discovery Channel, Monocle Magazine, The Sydney Morning Herald, The Australian and The Huffington Post and has been exhibited at the International Centre for Photography, The Museum of the City of New York, The State Library of New South Wales and PHOTOVILLE.


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David Maurice Smith


Currituck County


road tr

On the Way to the Airport #3 Currituck County

PHOTO TIPS #4: A Choice of Weapons


Learn how Egyptian photographer Laura El-Tantawy covers conflict.

Good night

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Photo by  @lancerosenfield / @prime_collective

Filson Bag Design

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It’s a cold, windy, rainy day in the outer banks and totally a perfect time to test my new field bag design for Filson, outdoor/adventure clothier. The blowing sands of obx will for me tomorrow turn into the hot sands of Dubai. Stay tuned. Photo by Frank O. Brown III@obxhomepage

Silver Spring, MD

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Photo by @lancerosenfield / @prime_collective Silver Spring, MD: Chris Gregory stands in for today’s shoot.#onassignment

david ingraham – lost in the moment: an oaxacan journey

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David Ingraham

Lost in the Moment: An Oaxacan Journey

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“What then is time? If no one asks me, I know what it is. If I wish to explain it to him who asks, I do not know.” – Saint Augustine

As a professional drummer who’s title is that of time-keeper, I’m constantly challenged by the responsibility of holding the band together, making the music feel good, and all while “keeping time”. It’s expected of me to lay a solid-yet-continuously-flowing foundation on which the music can be built. Yet it all must be done “in time”, at a consistent tempo that is neither too fast nor too slow.

But if it is the drummer’s job to keep time, then it is the photographer’s job to capture it; to try and pin down a fleeting moment that has already vanished a split-second after the shutter has been released.

However, during a recent visit to Oaxaca, Mexico, I didn’t want to capture time so much as to just get lost in it; to stop looking at the clock and allow myself to be swept up in the current of this exotic place that I’d dreamt of visiting for so many years. A place full of rich color, soft light, beauty and mystery, as well as a certain sense of timelessness.

I’ve never considered myself the journalistic, story-telling type, preferring to capture a feeling rather than facts; a strong sense of place or a glimpse of that ineffable “something” that you can’t quite put your finger on.

My hope is that I was able to achieve that here: a brief glimpse into the heart and soul of this unique and timeless place that is Oaxaca.




David Ingraham is a Los Angeles-based musician who spends most of his free time pursuing and obsessing over photography. Though he can’t recall a time when he wasn’t interested in taking pictures, it wasn’t until his mid thirties that he began to take photography more seriously, immersing himself in the work of the masters as well as building a darkroom at home. But after years of experimenting with different styles, genres, and cameras in an attempt to find his own voice, something unexpected happened that would forever change the course of his photographic pursuits: he bought an iPhone. Being able to shoot, edit, and post his work all from the palm of his hand revolutionized his whole approach to photography and he’s shot with almost nothing else since.
As a member of the mobile-photography group Tiny Collective – a world-wide group of like-minded street iPhoneographers – he hopes to be able to play a role in the legitimization of mobile photography, viewing it as the latest chapter in the history of photography.



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David Ingraham


Tiny Collective