BURN.02 limited edition

© Alisa Resnik



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(For volume purchases (over 10 copies) or countries not listed, please contact
Diego Orlando directly at diego@burnmagazine.org)

Some of you were on hand September 1 in Perpignan for the launch of Burn 02. By all accounts, the buzz on Burn and Burn 02 was palpable. In all my years in the business, I never saw quite this sort of “big warm”. Was it the slide show? Was it the new in print magazine? Perhaps those things helped. But it was way more than a function of display. It was about YOU. This audience. This audience who supported new and original work by Paolo Pellegrin and Alisa Resnik and Bruce Gilden and others to be seen now first in Burn 02.

Burn 02 is not a repeat of Burn online. Burn 02 is its own original work. A 1500 copy limited editon. Online is terrific, but when you hold 02 in your hand, you will know what photography is all about from our perspective. I am not published in it. I wish I was. The place to be published for sure.

Yes, 02 was a collaboration. But there is always one person who is THE driving force. Diego Orlando, our special projects editor, is that person for 02. Anton and I were in the background on this baby. Designed and printed and bound with loving care in Italy by the very best, you will quickly see why there is pride all around.

I am proud of this magazine/book…I can say this in a way I could never say with my own work. That requires silence. But I can say that this feels like my best effort so far  as the director/coach and not in it as a direct “player”…Yet  I made something happen..Put the talents of others to work..Gave them all the rope they could handle. Kept an eye out..Mostly to set a standard….And to push everyone just a bit further than they wanted to be pushed..I knew they would thank me later …laughing…I will say no more now. On the front flap I wrote:

We are the photo equivalent of the garage band. Can this last/should this last? No. There is a curve on any creative endeavor. We are not at the peak yet. When we get there, then we will do something else and start the whole process over again. Could be an evolution, or could be a revolution. So let’s enjoy this moment. Now is the time to appreciate what we have, seek out new ways of doing things, celebrate our mutual language and push it just as far as we can possibly go.



1002 Responses to “BURN.02 limited edition”

  • ************-CALLING ALL AUSSIES-************

    i am in communication with Diego. we can get BURN 02 for much cheaper (maybe as much 40%)
    by bulk shipping to Australia. don’t have all the answers yet but we are looking into it.

    please let me know if you are interested. either here on burn or e-mail me.

    ALL – have a great weekend!

  • Sidney, honestly I think it was the burrito not the earthquake. Pretty good little quake though, and fairly close, Seattle just barely felt it. I spent a little time with geologist Brian Atwater who did the groundbreaking work on the historical record of the last big subduction quake here, estimated 9 plus. Fascinating detective work piecing together tree ring data with Japanese tsunami records and sand layers along coastal river basins. Pinpointed the last big quake and subsequent tsunami to the year, day and time in 1700 and showed the pattern of regular such quakes going back millenia. We’re due for another any time now, or within the next couple of centuries. I’d rather ride out a hurricane.

  • Wow, coming back to BURN after a couple of weeks absent, I gotta say: this is fantastic!
    Congrats to everyone in and behind BURN 02 – really looking forward!

    PAUL, I don’t like the idea of “losing” the loft either; it has been such an influential, creative and inspiring place (besides all the fun) for so many of us – I would be in for 10$/€ per month to “share” the rent! Not sure if this would be an option? David?

    All the best from predawn Germany – have a great weekend everybody!

  • Tom,

    As I write this, the beautifully illustrated and well-researched bilingual monograph that Brian Atwater compiled in collaboration with one Japanese-American and 4 Japanese scholars, whose English title is “The Orphan Tsunami of 1700,” sits in front of me on my desk. A treasured volume among my books, and a class act. Are you still in touch with him?

  • Sidney!!! :)) Hmmm, I did not give full credit did I? Thank you for subtley pointing that out. It was an international team effort to be sure as Brian was always clear to point out on every occasion I heard him speak. He is every bit the class act. He spent two decades on that research, incredible commitment. I have not seen the book, didn’t know about, thanks Sidney … and … I just ordered one. Should arrive about the same time as my two copies of BURN.02 I suspect.

    No, I just did a few stories and quite a bit related to tsunami preparedness for the coast when the research was breaking in the journal Nature (wow, that was 1996!, I can’t believe it) and for a few years after. Haven’t seen him in years but had great fun digging through the muck of the Copalis River shoreline in the ghost forest with him once. I have never met a geologist I didn’t like. Some laid back and serious like Atwater, some with a burning desire to tell it like it is, like Duke’s Orrin Pilkey (don’t bring up his name on the Outer Banks).

    P.S. Thank you for not jumping on my bad pun in the previous post since I know you winced when you read it.

  • federico agostini
    September 10, 2011 at 12:50 am

    in regards to your last tweet… i am so curious to see your long lens pic… what you do with an iphone is just amazing…

    cheers, federico

  • David,

    Did you see Cristina Garcia Rodero’s last pictures from Cuba? Wow, masterpieces. in style I like most. Remind me yours style.
    I regret I am not able to work this way with people to take such a lifefull photos.

    Anyway, Cuba is my favorite place. I hope to return someday.

  • EricG..

    we’ll work it out :)


    no, never thought of taking screenshots.. but then, I don’t have the DVDs either.. might have to change that, thanks for the idea.. thing is, to me the screen is there to SKIM through pictures, the book to LOOK at photographs, and the exhibitions to ABSORB them, not only see them but get them inside (not all of course, I’m a tad selective there).. and best thing to me is a print I can hold.. I can spend hours at an exhibit but get annoyed and tired very easily looking at the monitor.. my limit, I know..

  • civi ~ Nice to meet you! And thanks, burn does feel a bit like home. :)

    eva ~ Thanks again, let me know when you need anything.

  • Marcin…

    I saw Cristina Garcia Rodero’s pictures on Cuba last October and I agree WOW!! Saw them at a conference she gave here where I live. She’s been working on it for ages at least 15 years I think. I asked her last June at the Magnum party if she was ready to publish a book and she said she still felt she needed more images.
    Marcin all of it is shot with film :))

  • Eva, I wasn’t suggesting it as an optimal solution, merely a way to see many more photographs. The screen shots are not anywhere near the quality of a regular digital image, nothing remotely like a fine art print. I had always wanted to get the Nat Geo dvd’s for the fact that they contain 100 years or so worth of National Geographics, but was spurred to do so when I first started interacting with David on-line and he expressed interest in seeing my photographs. It’s basic politesse, you know, to make oneself familiar with someone’s work when they show interest in yours. At the time, I had been out of photography for so long that I only new David as a publisher and a writer and, as you mentioned, the defaced little images at Magnum don’t do justice. So I did the screenshots and made a little slideshow and spent many hours contemplating the work. Although the quality is bad, it’s a very good little exercise. Technically, it gave me a deep appreciation of David’s compositional skills, use of color, and mastery of artificial light. But the attitude of being the most knowledgeable person in the room and shooting loose shows through as well. You can sense that most of those are not “just photos.” They mean something.

  • Oh, and btw, although I generally enjoy looking at photos on the computer screen, in no way do I mean to imply that everyone should share my preferences or that they are in anyway superior. I think a lot of it is general laziness. With a slideshow, there’s no effort involved in turning to the next photo. One can lounge however one likes and light is typically not much of an issue. And there’s no danger of spilling beer on the screen or setting it on fire. Although I did manage to spill hot red wax on it once, I’m sure that was a one time thing. But I think the biggest difference is exactly that. One of size. I’d much rather look at a beautifully crafted large print than the computer screen, but the images in a book are much smaller and I find the computer screen much more akin to the large print. What I’d really like to do is cut up the fine books and scan the photos, but that requires entirely too much time and effort. I figure someday I’ll buy a little flatbed and pay my kid $5 an hour to do it. Pity about the book though. The best solution would be for photographers to sell apps with hi-def images. I understand the belief that the possibility of the internet being flooded with one’s work will devalue it, but am not sure that’s actually true. Quite possibly, greatly expanding the number of people who are aware of and enjoy one’s work would increase its value.

  • mw…

    big misunderstanding then.. I wasn’t looking at a way to study DAH’s work (done that BEFORE interacting with him, out of interest for his body of work, because it resonated with me, getting to know the photographer behind came only later, by chance first, and curiosity shortly after.. my approach to photography seems the opposite of yours).. I’m looking for a way to have the best possible quality to really enjoy the photographs..

    You say the images in a book are much smaller.. got a chance to look at Anderson’s ‘Capitolio’ (the book, not the app), or Koudelka’s ‘Zingari’, Anton’s ‘Yakuza’.. just to name a few.. not small..

  • my approach to photography seems the opposite of yours)..

    Yea, that’s been evident for some time now. But it’s fine. If everyone were like me, I’d flee in horror and become something else. A hermit muttering inanities, probably. Anyhoo, each to their own way, many paths, all that… I just like seeing other people’s stories that I never thought of and I see stories I want to tell that no one else seems to have noticed. No big thang.

  • Paul,

    I am quite surprised Rodero still working with film. If you meet her again, please pass her she have big fan in Poland.

  • yes!!! i ordered it! i spend that amount of money for going out for two months ……. :))

  • spreading fear again…hmmm ..distraction…seems like more recession coming…

  • P… tomorrow should be even more intense. Will check it out and report back.

    MW… funny!

  • its funny how things get twisted:
    when we say , for example: “think as a child, see the world as a child we do not necessarily mean that we should pretend that volcanoes do not exist..they do exist..they do erupt..so do tsunamis, earthquakes etc..all do exist..fire from lava is just the result though…in other words when we cling on the illusion of “security” all we really do is increase our stress levels anytime we come down from the “high” fake security provides in the end..Everything moves constantly…by instill fear to the mass all we achieve is hatred and feelings of revenge towards an invisible, unknown enemy..we ended up fighting with ourselves..human against human..hmmmmm, whats new?

  • im sure that MASS HYSTERIA was not “invented” in America, but it definitely seems like its been “perfected” here!

  • whAt if..hypothetically speaking ..what if ,that Osama been Laid guy is not dead..what if it was a decoy, an arab actor we will never know his name in that movie…what if he attacks me tomorrow? 9/11? while im riding my mountain bike up in sexy MALIBU? what about my neighbors brand new PORSCHE 9/11 CARRERA?
    I dont know, i worry too much!
    what if he bombs HOLLYWOOD?????????????????
    do u know that TOM CRUISE lives there? MEL GIBSON? think twice stupid terrorists before you attack MEL GIBSON because then the WRATH OF GOD ..will strike you back!
    (juuuuuuuuuuust kiddin! big hug y’all , have a good light if u shooting..if you are NOT SHOOTING then stay home and feel guilty about it..biggest hug)


    Cristina is a good friend of mine…and i introduced her to Magnum and presented her and her work…she is such a lovely person and one of the most prolific photographers i know….always always working…yes, she does prefer film…i think i prefer film as well, now only doing Family Drive with it, yet i end up shooting a lot of digital (i.e. all of RIO) as well..now experimenting with digi capture and then darkroom print…iPhone to platinum print for example…anyway, i digress..so pleased you like the work of Cristina…she is worth admiring…

    cheers, david

  • MK – thanks for the instgrams from DC. Look scary, hazy and smokey (I know, the haze and smoke are special effects).

  • Frostfrog… yeah, that’s kind of how it felt. Still cannot get used to seeing such armaments, weaponry in this city. Serious business.

  • Panos, given that most of the Hollywood movies about the war Osama been Laid wanted to happen so much have been bombs, I don’t think anyone there will notice one more. I could be wrong about that, though.

  • digital capture -darkroom prints is IMO a bit of a dead end street. You pretty much have to contact print, which means making a digi-neg big enough( try it with a 35 6×6 or even 5×4 inkjet neg and you will see what I mean…utterly unuseable, which means 12/16 or 16/20 at least, which means vacuum easels…which are a pain in the ass, which still leaves you ALL the hard developing and toning work to do……
    Why not just do a B/W conversion in potato shop? Lab color luminance channel stripping/silver effex/ exposure 3/Duo,Tri, or Quadtone seperations ….many many ways…and print onto a baryta clone paper such as Hahnemuhle fine art pearl or harmann FB AI. Better quality print by far ( we are talking rivalling ANYTHING you can make in a darkroom). Less hassle. Stay digital all the way through. Easy.

    That said, and having done it myself just to see what it was like, I think you should, and probably will, do it anyways…..but platinum printing iphone jpegs??….gimme a break.

  • David,

    I think magnum is powered by many talented women now; Allesandra Sanginetti, Cristina Garcia Rodero, Olivia Arthur, Lise Sarfati.

  • ALL:

    just a quick chime in (yes Wendy, i think of Chime in as a doorbell rather than an interruption! ;)))…

    I’d wanted to write this earlier, but now’s a good a time as any….

    Those of you familiar with my work and also my support of david/anton/diego and BURN, also know that Japanese photography has had a big influence on both my ideas of what photography can aspire to, but also Japan’s understanding of both the Photography book and Photography Magazine. I can’t imagine living without Moriyama, Akaki, Tomatsu, Hosoe’s, Nakahira, Ken, Ohara, Yutaka Takanashi or Fukase’s books near me….Moriyama, Takanashi and Fukase my favorites…..above all the photobooks I continually return to, other than Giacomell, Koudelka, and Frank, the Japanese photographers of the Provoke era are the ones most thumbed and stained and bent on my bookcase, tables, toilets and floors….but there is another reason…


    for those not familiar, PROVOKE magazine was the short-lived Japanese magazine that ushered and published the work of these extraordinary photographers when they were young and unknown…Moriyama and Tomatsu…for those who know neither the magazine or the extraordinary Japanese photogrpahy books (so many brilliant ones), I want to recommend Aperature’s survey of Japanese Photo books of the ’60’s and 70’s….a great beginning….anyway, about PROVOKE…

    Provoke was shortlived….i don’t know, maybe 4 editions (if that), all called PROVOKE 1, PROVOKE 2, etc…..but the influence that magazine was and has been extraordinary…not because it lasted (it was pretty brief in its blaze) but because of the guts of the work….and its commitment to publishing work that celebrated the range of photogrpahy, not what the photoworld thought warranted publication…

    in a sense, as i once told david over drinks on a bar patio one afternoon, i see BURN as that….the magazine may end in a year (i hope not) and i hope it gets at least to BURN03, but viewers and photographers and collectors should see it in that context….a copy of PROVOKE now could keep my son drinking for a year in college…..

    but PROVOKE also meant something else to photographers then, and much much later to me, a fledgling photographer addicted to messy images and messier words…possibility….not for fame or recognition or entrance into a pantheon, but the possibility that the same gestures that ignite the tipping of things could indeed provoke the desire and the embrace of them…..

    for me, BURN is not inspired and inspiring because david is with Magnum (and Magnum photographers are represented in 02) but because it celebrates the act of a group of people stirred by the imagination can provoke others, and an industry, to open its fucking wearied and jaded eyes…..


  • Bob, you remind me that however much we live in the light, we live even more in the dark. Or at least I do. I am unfamiliar with all these photographers… though perhaps I might recognize some of their work if I were to see it.

  • Bob it is that sensitivity to technique, object and media that is impressive with the Japanese artisans whether it be tactile, visual or in text.

  • Frostfrog,

    I don’t think you are any more in the dark about significant Japanese photographers than most people outside East Asia… it has always somewhat amazed me how deep and vast the world of Japanese photography is, and how little of it is known by the outside world. I suppose it stands to reason that a country that supplies most of the world’s cameras, and has since the late 1960s, would also be photography-obsessed… I can attest to what Bob B. says about the prevalence of photo magazines and photo books in Japan, something that goes back to well before the Second World War. There are huge photobook sections in the major bookstores in the big cities, with a bewildering array of new titles every month, and many of these tend to be one-man or one-woman photo monographs. There are as well a number of photojournalism magazines, both serious ones and the paparazzi variety, and huge monthly enthusiast photo magazines like Asahi Camera with hundreds of pages of high quality photo essays… unlike most of the American photo magazines, these are not mostly about reviewing (and selling) gear, but are for people who really want to look at photographs. Of course, there are plenty of gearhead and consumer mags as well, and lots of soft-porn model shoots, etc. There is a whole genre of fairly commercial work that follows trends but is put out by individual photographers, a cross between a magazine and a photo book, that are called “Mook”s. This stuff wouldn’t be published in such volume or variety if somebody didn’t buy it… there is a huge market for all kinds of photography in Japan.
    So why haven’t more people outside heard about and seen many of the genres and practitioners of Japanese photography? The simple answer is that Japan is in many ways still a closed nation… not so much legally (although there’s still plenty of that) but culturally, and above all shut off from much of the world by language. While the Japanese absorb culture from everywhere and are far more interested in and well informed about the world outside their borders than say Americans are, they export surprisingly little culturally… this has changed somewhat in the last 15 years or so in certain areas… anime and manga, karaoke and Hello Kitty… but that tells the world little about what has been going on in the sphere of either popular or artistic culture in Japan. Japan until recently has been a large enough domestic market to support their xenophobia, which is real and deeply rooted (unlike for example smaller South Korea, just as xenophobic as Japan, but which must export culture in the form of pop music, films, and above all TV soap operas in order to survive as a nation of cultural industries).
    I don’t in any way wish to steal Bob’s thunder… the ‘Provoke’ photographers and the ‘Provoke’ movement certainly occupy an important segment in the history of photography in Japan, Tomatsu Shomei in particular, whose influence is still strong today… and they dominated the art photography dialog of the 1960s… but they are only one group in a much larger and more complex photographic culture of which there are many different threads and lineages… need I add, these were not the Japanese photographers whose works impressed me so deeply when I was studying the language and history in the 60s, or living and working there from the late 70s to the late 90s? Not to denigrate them at all… but I drew inspiration from an older and very different generation of photographers in Japan, prominent in the 1950s, though some of them had been active since back in the 1930s: Hamaya Hiroshi and Kuwabara Kineo were two giants of their era, but these names also deserve looking into: Hayashi Tadahiko, Kimura Ihee, Watanabe Yoshio, Tokiwa Toyoko (one of very few Japanese female photojournalists working then), and Ueda Shoji. Never heard any of these names, either? It wouldn’t surprise me, but I think you would be rewarded by the effort to see some of their work. A good place to start is this book: “The history of Japanese photography” By Anne Tucker, Museum of Fine Arts, Houston.
    The photo books of a Japanese photographer of rural landscapes and traditional culture named Midorikawa Yoichi (who started as a dentist), active from the late 1960s through the 1970s. were actually the catalyst causing me to switch from painting to photography in 1972. (One book of his was published in North America, “These Splendored Isles” and I have seen it in some used bookstores in the US in recent years).
    Closer to home… your home… you have probably heard of the Alaska-based Japanese nature photographer Hoshino Michio… some of his books on Alaska were published in English… he was all the rage in Japan in the late 80s and early 90s… until he “got too close” and was killed by a brown bear on the Kamchatka Peninsula in 1996, still quite young. The last roll of film in his camera showed the bear approaching him… I never met him personally, but saw him on TV several times in Japan and owned or gave as presents several of his books, and I remember the shock and dismay among my Japanese photographer friends when we heard the news of his death which was a major news story in Japan.
    I lay all this out not to show off or try to emphasize anyone’s ignorance, but merely to suggest that there are worlds and worlds to be discovered within the history of Japanese photography for anyone with the curiosity to pursue it… Bob’s taste and my own may (do) diverge widely, but I think we can agree on that much.

  • Come on, DAH. This instagram stuff is already so July. How about some 1990’s retro?

  • a civilian-mass audience

    ALL MY favorite ACADEMIANS…gathered here…in BURNLAND
    they just came to Provoke me…;)
    oime…I wanna be an academian(don’t start PANOS):)))

    MICHAELK…thanks for reporting

    this is a special day …The Universe has changed 10 years ago…hmmm…
    I don’t think so…

    The Universe is Evolving…
    cause we are the Universe!
    respect to ALL our people
    whatever doesn’t kill you…
    will might kill you later
    BUT I am an optimist

    LIFE goes on
    we have to move on
    Circle of Friends
    BE STRONG !!!

    May the spirits of Forgiveness and Peace…be with Us…ALL of US!

    BURN 01 beer on me
    BURN 02 beer on YOU…
    BURN 03 …let’s wait and see !!!

  • a civilian-mass audience

    are we sold out yet? are we, are we?

  • Bill..

    Kiyoshi Suzuki also worth to explore.. and if you ever have a chance to see/listen to a talk by Eikoh Hosoe, go, even if you do not know or like his work, he himself is a work of art in a way!

  • Here’s some amateur photography from 9/11/2001. I was working four blocks from the World Trade Center. After going outside and seeing the first tower burning, I went into a drug store and bought a couple throw away cameras. The first picture is from about two minutes after the second plane hit. It’s probably a good thing I wasn’t a photographer back then and also that I didn’t have my regular camera with me. Although I might have gotten famous, it quite possibly would have wrecked my health. As is I stuck around long enough to see some truly gruesome sites and my lungs have never quite been the same. The second picture is a bit later on the Brooklyn Bridge. Rather than hanging around and get in the way of the rescue teams, that plus it looked like the tower could fall in my direction, I walked across the bridge to pick up my 9 year old daughter from school. Turned out she had a direct view of the proceedings from her classroom and the teacher let them watch until the first tower collapsed. The third pic is from an assignment I did on the fourth anniversary. Although I was moving in that direction anyway, I think 9/11 provided a big impetus for me to return to photography.

  • And speaking of amateur photos, here’s some walking around pics from yesterday. I’ll call it the “sick of stupid 9/11 remembrances” edition. Though the original title before I realized what day it was was “sick of taking pictures of people” edition.

    But the real reason I share these harkens back to the ongoing gear thread. Shot these with my new toy camera, the Fuji x100. It’s a strange camera but I’m starting to see why so many people are in love with it.

  • I’ve got this nearby neighbour who’s a commercial pilot and his female Great Dane is friends with my Pitbull, so we sometimes bump into each other on our walks and we let the two dogs round around and play together. So last night I bumped into him and of course the subject of 9/11 came up and he mentioned the fact that any pilot knows how difficult it is make a large airplane turn and aim to crash into building. It’s not something you learn piloting a little Cesna for example…
    Anyway he told me loads of technical things I sort of understood whilst listening to him but it’s virtually impossible for me to recall it all and write it out…
    but of course it made me stop and think.

  • MW…

    That first image from 9/11 is so striking, you really managed to capture the shock and fear of what it probably must of been like being there.

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