Archive for the 'in the spotlight' Category

panos skoulidas – death in venice

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Panos Skoulidas

Death in Venice

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“I love the smell of urine in the morning, it reminds me of North Venice beach. The first place in America where a woman could wear a bathing suit in public, a man could go without a hat, where a person could pee in public without being arrested. The place where Kerouac, Burrows and John Wilber spoke while Charlie Parker played saxophone, where Morrison and Krieger pondered the doorway to the other side, where Charlie Chaplin built a ginger bread court for his mother, and W.C. Fields one for himself. Where you could get alcohol during prohibition, heroin during the fifties and sixties, crack in the eighties, and Meth in the new millennium. Where art meets crime. Where Arnold made pumping iron into Gold. Where you can see a man balance a stove on his chin while juggling chain saws. Break-dancing, roller-skating, and of course skate boarding. The slum by the sea, Dog Town.”

– Robin G. Brown




Sample spread from “Death in Venice” by Panos Skoulidas



“Panos did not go to Venice Beach to take pictures. He was already there. There was no escape. Locked down. Stuck. California dreaming.

Click click.

Narcissistic, sarcastic, irreverent, hedonistic, decadent, satiric, ironic, paranoid, and flat out soulful, Panos is at the center of his own photographs. This is a good sign, for he lives inside his own work. Bring the boy another beer.

Death in Venice is a collection, a kaleidoscope, a myriad of mirrors, a massive mind spinning vortex. Get a grip on it. Or not. He doesn’t care.

Click click.”

– David Alan Harvey / Magnum Photos


DEATH IN VENICE  by Panos Skoulidas – published by BurnBooks on May, 2015 in an edition of 1000 copies –  dimension: 28cm x 43.2cm, 68 pages.

DEATH IN VENICE can now be ordered here





Homer, Nietzsche, Zorba, Hunter, Theodoros, Harvey, Frida…. where do I start? EASY, DavId Alan Harvey, my mentor, brother, family 

BTW this book is dedicated to Scotty (vet) and all of the vampires and souls  that create the Venice vortex.

To all Pirates, you know who you are! Thanks for the couches, floors, Bong hits, love, etc..

Each of you are a part of every picture. Carry it with you, as I will forever!

EXTRA LOVE to: Vissaria~ You are the future!!!! Maria~ Strong as a bird, Mom & Dad biggest hug, Kim my awesome wife, and Meredith, my super supportive mother in law… (thank u ALL for endless support……) LOLA~ Not last by any means. My Ghandi, my Buddha, my  meditation, my companion. BURN MAGAZINE CREW~ Anton (THANK YOU FOR OUT OF THIS WORLD DESIGN), Diego YOU DA MAN,  Haik……no words… RYAN! Oh Ryan what would I be without you? and FRANCESCA Gennari the killer associate producer…

PEACE TO ALL!!!!!!! ENJOY!!!!!!!




DEATH IN VENICE can now be ordered here





Emerging Photographer Fund 2015


Photo ©Vivian Maier

Vivian Maier was a remarkable woman. She was 29 when she made this self portrait. An emerging photographer nobody knew. Vivian is to be admired for her self deprecation. She just took pictures. She worked from the heart.

In the spirit of Vivian, who worked unaided by any publication or commercial shooting, I set up the Emerging Photographer Fund in 2007 to support exactly this kind of person. Someone who could use the funding to work on a project built from the heart. Young photographers like Vivian are out in the world now struggling  to earn a living doing what they love to do. I cannot solve this conundrum. Yet by seeking funders who can donate to the EPF through the non-profit Magnum Foundation, I was able to at least support some emerging photographers through BurnMagazine. All of us at Burn are very proud to be able to do this. We have done it on our own all this time. It is our primary objective at Burn to be able to do this and other projects in order to shed light on new talent. Our track record for this is set in stone.

We have never sought sponsors. Yet this year Fuji came to us in good spirit. They wanted to add to our $10,000. grant which came from private donors and create a Fuji $5,000 grant (plus equipment) for a photographer 25 or under. No strings attached for Burn. We are very pleased that Fuji wants to give someone a boost through Burn, yet we would not have done it if there were any corporate policy stipulations that would in any way corrupt our grant. Clean deal.

So we have a grand total of $15,000. to support an emerging photographer.

We do not care about your citizenship, your sex, your age, your religion, or anything about you except your work. We have an esteemed jury this year who will decide on the recipients of these two grants. I. One photographer over 25 will get one, and another photographer under 25 will get the other.  A talented and astute 22 year old could take it all in theory. You do not enter for two different awards. You just enter.

So step right up. You have until MAY 1, 2015 to get your act together. Too late to go shoot I suspect, yet not too late to start putting a body of work together in a serious way. If you think you have an honest chance, give it a go. If not, wait til next year.

The grant recipients will be announced first at the Festival of the Photograph on June 13th, 2015. The whole Burn team will be at Look3.

We hope to meet you there.

-david alan harvey-


Enter the Emerging Photographer Fund 2015 here!


Previous EPF Winners


The 2008 Emerging Photographer Fund grant was awarded to
Sean Gallagher for his essay on the environmental Desertification of China.

The 2009 Emerging Photographer Fund grant was awarded to
Alejandro Chaskielberg for his 8×10 format essay on the Parana River Delta ‘The High Tide’.

The 2010 Emerging Photographer Fund grant was awarded to
Davide Monteleone for his essay ‘Northern Caucasus’.

The 2011 Emerging Photographer Fund grant was awarded to
Irina Werning for her essay ‘Back to the Future’.

In 2012 three Emerging Photographer Fund grants were awarded:
one major to Matt Lutton for his essay ‘Only Unity’ and
two minors to Giovanni Cocco for his essay ‘Monia’ and to Simona Ghizzoni for her essay ‘Afterdark’.

In 2013 four Emerging Photographer Fund grants were awarded:
one major to Diana Markosian for her essay ‘My Father The Stranger’ and
three minors to: Iveta Vaivode for her essay ‘Somewhere on Disappearing Path’,
Oksana Yushko for her essay ‘Balklava: The Lost History’ and
Maciej Pisuk for his essay ‘Under The Skin; Photographs From Brzeska Street’.

In 2014 three Emerging Photographer Fund grants were awarded:
one major to Alessandro Penso for his essay ‘Lost Generation : This is the Story of Young, Unaccompanied Migrants in Greece’,
two minors to: Birte Kaufmann for her essay ‘The Travellers – Ireland`s Biggest Minority Group’ and
Kiana Hayeri for her essay ‘“Jense Degar” (The Other Sex)’

 Past jurors include: Carol Nagar, Martin Parr, Gilles Peress, Eugene Richards, Maggie Steber, Fred Ritchin, Bruce Gilden, David Griffin, John Gossage, Susan Meiselas, James Nachtwey, Mauro Bedoni, Jim Estrin, Donna Ferrato, and Erik Vroons.


David Alan Harvey Rio 2015 Workshop, Student Slideshow


This is the work of my 11 students this month in Rio de Janeiro. You are seeing 11 different stories or essays all shot in 4-5 days of real time. Each student comes up with their own idea or theme. These themes can be journalistic or abstract and subjective. The whole point is to get photographers started into seeing photographs woven together as essays. All of them are beginnings of thinking. Something that can be taken further later on.

Some are exercises in thinking and some are projects ready to be taken further. My job is to inspire, to coach, and to help mostly to have those I mentor to start thinking in a non linear way.

In this particular workshop we had a very unusual situation where I was also shooting my own essay, BeachGames. This added an additional spark as we were all putting pictures up on the classroom wall each day. Needless to say, we bonded in a very special way. We had some great times together all around..A time never to be forgotten.

We put this show together for a live audience in Rio in just a few hours from the time the last picture was taken. Enjoy.




As you will see in the video above, Kathy Ryan, New York Times Magazine, and I are long time friends. We met teaching together at the Eddie Adams Workshop way back at the beginning.  Hmmm, maybe 25 years ago. I have no real sense of time. Anyway Kathy is a gem. Known forever as a picture editor, now turned photographer, now with a published book, and still Director of Photography at the NYTimes Magazine. Kathy became a photographer because of Instagram. Literally.

Instagram was Kathy’s  only platform. Changed her life by allowing her to shoot daily in her own office environment and that’s WHY I am showing her here on Burn now. Not because she is a friend, but because she has done what I tell all those I mentor to do..Shoot in your own backyard. This is quite literally the best example I have seen. I mean the woman is shooting in office cubicles…The least likely place most people would shoot. Many wannabe photographers are in their cubicles dreaming of McCurry’s India and won’t shoot til they get there…Anyway check out Kathy’s new Aperture book Office Romance produced by Chris Boot, the producer of so many great books over the years both at Phaidon and now at Aperture.

Take a page from Kathy’s book. Look at what is right around you. Everything is interesting if you have the right eye.

Happy New Year to all…



Buy Kathy’s book directly at Aperture:





                    Photo for BurnDiary by Diana Markosian, 2013 EPF Winner


This is week is number 52 for BurnDiary. Our anniversary. One year of weekly diary posts by 52 photographers from a multitude of countries within all five continents.. So many different approaches to daily life that after looking backwards is kind of impossible to imagine all in one place… But they are, here in BurnDiary; city life, love stories, landscapes and social issues and mainly many pictures about the record of a moment.
I write now not for the past but to announce that this diary will be turned into our third printed magazine, entitled Diary. Yes – life moments disappear while we are living them, but this is also about photography… these images, for the beauty, the pureness, the immediate feeling deserve the possibility to say something for longer. This is why BurnDiary will be a book.
The photographer this week is Diana Markosian, our 2013 EPF winner, announced when BurnDiary was at the very first steps. She continued her work all along 2014 showing very well how a grant can be important in a photographer ‘s life to have the freedom to develop a project otherwise hard to fund.  The current year edition is almost to its deadline, so Diana’s week is just the perfect coincidence for this anniversary, the perfect candle for this birthday.
We want to say once again the 52 photographers who have joined us this past year are with us as part of Burn’s enlarged family and surely they have been able to create one of the best family diaries ever!
Many thanks to all who have created this most amazing collective one year essay. Our team at Burn Magazine looks forward to seeing what the next year will bring. In the meantime, please join us in our excitement for the soon-to-be release of Diary..
Diego Orlando, Editor, BurnDiary

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A Conversation With Constantine Manos

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David Alan Harvey: So tell me how photography became a passion for you. At what age, and how did lightning strike you?

Constantine Manos: I grew up in Columbia, South Carolina, where I joined the school camera club at the age of thirteen. Photography became an instant passion for me, with an emphasis on the darkroom. I had a great teacher, who was a strict disciplinarian who taught me the fine art of how to develop film and make good prints. I fell in love with the darkroom, and this imparted a good sense of craftsmanship to all of my photography.

DAH: Do you make your own prints now?

CM: Yes, I make my own prints now. I worked in the darkroom most of my life and for the last four or five years I have been making what I consider to be beautiful digital prints, perhaps equivalent to darkroom prints – especially in black and white. Yes, I love making prints.

DAH: A lot of people get interested in photography at an early age, but what happened to make you think you could turn this into a profession, into a business, into a craft where you could earn a living? What made that happen?

CM: Well, almost immediately I realized I wanted to make a career out of it, and by the time I was fifteen I was doing picture stories that were being published in the Sunday magazine of the local newspaper, which was the largest newspaper in the state. At the age of seventeen I  discovered Henri Cartier-Bresson in a magazine article, and I found my mentor and the kind of pictures I wanted to take. I found out what camera he used, what film he used. I bought them and went to a little Island off the coast of South Carolina, and I made my first serious set of pictures – of which I am still proud. That was it. Cartier-Bresson was my long distance mentor for years. As soon as I got together a box of prints from the Island project I got on a Greyhound bus, went to New York, went to Magnum Photos and showed my pictures to whomever I met. I received a friendly but noncommittal reception. Cornell Capa was there, he looked at my pictures and said “lets go have a drink”. We went to a bar (I had never been to a bar in my life) and he sat me on the stool and said “what will you have”? I said “I’ll have whatever you have” and he said “Scotch”.  I’ve been a Scotch drinker ever since.

DAH: Well what was the island you photographed?

CM: It’s called Daufuskie Island; it was a little island that was inhabited by descendants of plantation slaves. It was very isolated. They were beautiful people, but that island is now a resort with golf courses and expensive houses. All of the original aspects of the island are gone, but I still have the pictures, and the negatives I processed are still beautiful after sixty years.

DAH: Yeah, that’s right. I forgot it was Daufuskie. I was on Daufuskie about twenty years ago and it was still pretty much like you photographed it. I photographed a one-room school house and that sort of thing, but yeah, I have heard that it is all resort now, so I can’t quite bear to go back there.

CM: And you know where the name comes from? All the little islands along the coast of South Carolina and Georgia are called keys, and Daufuskie was the first key in this string. In the Gullah dialect of the locals it was “Dau-fus-kie, the first key, and that is where the name comes from.

DAH: Well that is great. I think I used to know that fact, but thank you for the reminder. Now, you are a well known and very popular workshop teacher. At what point did mentoring other photographers become important to you and why did you do it?

CM: Well I have been doing workshops for about 30 years now and I did them because I reached a point where I felt I had things to say about photography in general, especially about the Magnum style, the Magnum spirit of photography in particular. In the process of teaching I learned a lot about my own photography because I had to articulate ideas that were useful for going out into the real world and approaching subjects very closely and being able to make pictures that went beyond just what things looked like, but were something special and perhaps unique.

DAH: Well the real world has changed obviously, as the real world does over time. Today, a young photographer has to look at the process of making it into the business much differently than when you or I did. Do you think what you have to say is still relevant to a young photographer today?

CM: I think what I have to say and what a lot of older photographers have to say is still relevant, especially the Magnum photographers who have embraced the Magnum spirit and the Magnum approach. I think it will be forever valid because the world is only changing superficially. We still have people, human beings, and it is really about the human condition which is the main subject of Magnum photographers. You can go back to the beginning and look at the work of Cartier-Bresson, who was a young poet, who began doing photojournalism, mostly at the urging of Robert Capa – a brave hardcore photo-journalist. George Rodger was the intrepid traveler going to exotic places like Africa, and David Seymour was kind of a mix of them all. Between these early founders you have in a way the beginning of the Magnum approach to photography – which is still very valid and will go on forever, as long as there is a world.  The Magnum archive is not the biggest in the world, but I feel it is most interesting and creative.

DAH: You can never take away from that basic story telling and humanistic vision of the world and the way that the Magnum photographers do it. Certainly not the only way, but it does seem the way that has stood the test of time.

CM: When a young photographer asks me, “how do I get an assignment?” I reply that before you even seek assignment you have to produce a body of work that shows how you view the world and what you can do with your camera. In other words you have to have something very unique, a vision, a proof that you are capable of putting your own personal stamp on your pictures and can show us things we have never seen before and will never see again. I think every successful photograph is a surprise, often defined by a special moment. Think about the poet who writes poems for their own sake and then seeks a publisher. Photography has become so simple, particularly since the arrival of the digital camera.  I often start my workshops by saying any fool can take a picture, why don’t you try playing the violin? It is still very difficult, even though much easier technically with digital cameras. Everyone is taking pictures. Everyone is out there with a cell phone or whatever. When we were coming up, you had to at least know how to use a hand held exposure meter, set the f/stop, set the shutter speeds, focus… you had to have some skill and sense of craft, and then in high school there was usually one guy who had the professional camera and everyone else was just taking pictures with box cameras and a roll of film. Today there is a glut and because of the glut there is in a way a lowering of standards because so many people consider themselves photographers who have never gone through the ordeal of learning the craft, but have just picked up a camera and started pushing the button.  We are swamped in a sea of banality, even coming from some people who are professionals and make their living from photography

DAH: I think that is right. I look at it as a combination of a plus and a minus. In other words it is a plus that everybody is picking up the language of photography, that’s fantastic, but I think the reason workshops are so popular these days is because at some point people realize “well wait one minute, I can kind of speak the language, but I can’t really speak the language”, and so they start looking for the history of photography, they start looking at more sophisticated ways of doing it. So it is kind of a plus and a minus. I think it is probably more plus in the long run though.

CM: Yes, it is more plus.

DAH: Yeah, everybody is a photographer, and like we were talking about in the workshop in Texas, English is a language that everybody speaks but only a few people speak it really really well and I think that is maybe a good parallel. So that is a good segue into what we are doing now with Magnum in Provincetown. Can you explain that one a little bit? I think you have created a potential experience for people to pick up on some of the things you have just talked about. Can you explain the workshops in Provincetown and what it has to offer?

CM: Well, Magnum Days is going to be a photographic gathering in the small town of Provincetown, Massachusetts on Cape Cod. It is going to run from September 15th through the 21st. Bruno Barbey, Larry Towell, Olivia Arthur, and yea you will be doing workshops. Provincetown is a very artistic town, with sixty art galleries. Artists and art are revered here. Magnum is partnering with the Fine Arts Work Center,  a wonderful institution which is supplying us with ten studios and twenty student apartments which we will be using for this workshop. Provincetown is a wonderful place to take pictures. You can walk right out of the Arts Center onto the main street which is always bustling with all kinds of people. It is a seaside town so there is the whole nautical thing, and then there are the beaches, but mainly there is a lot of humanity here and great opportunities for photography. So it offers a great locale for our kind of photography if you are out there looking for a wonderful poetic moment of something happening between people, among people, in an interesting environment. I make my students all work with a wide-angle lens so that they have to get close and fill the frame and have a lot of information in the picture, and I try to teach them how to do that physically with their body, how to go out, find a picture, think about it and think about exactly what they want from this situation and go for it, and be able to get close without ever being seen.

DAH: Well nobody articulates better than you that process, and describing the elements of a picture. I kind of feel like taking one of your workshops myself, but because I have taught with you a couple of times I have caught some of your critique and you are amazing at being able to describe the process of seeing.

CM: It will be five days of workshops. Bruno Barbey, Larry Towell, Olivia Arthur, Eli Reed, and yea you…and me!!,  will be doing workshops. Every night there will be a slideshow by one of the workshop instructors in the evening, and then on the weekend (Saturday and Sunday) we will have a gala for visiting photographers, Bruce Davidson, Steve McCurry, Susan Meiselas and Peter Van Agtmael who is one of our fine younger members. They and the workshop instructors will be doing portfolio reviews for all who wish to partake of them, not only the registered workshop students. There will be an interesting symposium called “The State of Photography Today?” because we all know photography is going through a revolution right now. In the middle of all of this there is the Magnum tradition, which has gone on for almost 70 years. There will be continuous loop projections in one of the large studios titled The Magnum Legacy, a history in pictures of iconic images from each of the photographers from the beginning to today. There will also be a projection titled Magnum Film Clips showing clips of movies made by Magnum photographers.

DAH: Well we have a continuum. I think if we have gone on for 70 years through good times or bad times there has got to be something to it.

CM: That is right, absolutely. And so we are always looking for young photographers who believe in this Magnum tradition and would like to be a part of it. It doesn’t mean we are all taking pictures like Cartier-Bresson. We have some remarkable young people who are doing ground breaking work, like Jacob Aue Sobol…a young photographer who is doing very interesting black and white work which is totally new and fresh, but is still about people and the human condition.

DAH: Well, you can use HCB as an influence but it wouldn’t do any good just to copy. You are influenced by somebody and then you do your own thing.

CM: You are influenced by a lot of photographers! You are a combination of everything you have seen and liked and thought about and you should hopefully become a unique photographer, a unique individual. The greatest compliment a photographer can have is for people to recognize their style without knowing who took the picture, and it takes a lot of hard work and a lot of thinking and a lot of focusing to accomplish this.

DAH: Well, thank you. That is great.

CM: Thank you, David.


Constantine Manos was born in South Carolina of Greek immigrant parents. He attended the University of South Carolina, where he received a B. A. in English Literature. He is a member of Magnum Photos.

Manos’ photographs are in the permanent collections of the Museum of Modern Art, New York; the Art Institute of Chicago; the Museum of Fine Arts, Boston; the Bibliotheque National, Paris; George Eastman House in Rochester; the Museum of Fine Ars, Houston; and the Benaki Museum, Athens.

Manos is the author of five books: Portrait of A Symphony, A Greek Portfolio, Bostonians, American Color, and American Color 2. In 2003 he was awarded the Leica Medal of Excellence. Manos’ work may be seen at





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Constantine Manos

Magnum Days at the Fine Arts Work Center, September 15-21, 2014


A Letter From David…


Photo ©Michael Loyd Young

Ahhh, after a whirlwind spring and early summer, I am finally at home for a bit.  Summertime is exactly that, and for sure we all need a break at times. In this summertime spirit, we are going to extend the deadline for the Emerging Photographer Fund grant of $10,000 to September 02, 2014.  Our original deadline for the EPF/Magnum Foundation Grant was July 31, 2014.

This is an extension of 4 weeks – all of August. We are receiving a lot of requests to extend it for one or two days, one week… No point to do that, so let’s have a real extension. The grant winner official announcement will be on October 7, 2014 , directly on BURN.
IF you have already entered and wish to add more to your essay or change your entry with this new deadline, then you may do so easily. Simply send an email to:
The next two weeks I will be at home. Working with my Burn team of Diego Orlando, Kaya Berne, Anton Kusters, Panos/Kim Skoulidas and Haik Mesropian to make BurnMagazine and BurnBooks as good as we can make them. Burn is an extension of my general mentoring. We produce workshops and books, yet Burn remains an independent entity. It is just us. We are not owned nor managed by any company nor beholding to anyone. This audience supports Burn through voluntary funding.  We pay back by publishing your work when appropriate and trying to give a good educational experience.  The EPF is only one part of it.
One of the incredible spinoffs from Burn is that I  have had the opportunity to meet so many people from this audience in person in various parts of the world. Matter of fact, wherever I travel, there you are!
In about three weeks I will go to Cologne, Germany where Markus Schaden’s Photobook Museum will open. One of the books featured in this spectacular showing of photo books will be BurnBooks (based on a true story) my book set in Rio. Many thanks for your support on this project from the beginning.
Then to our workshop in Venice, Italy in early September where my students will produce a small book printed by Antiga Press from their week of work .
Soon after that I go to Paraty Em Foco photo fest in Brazil where some of my Rio work will hang and I will have a chance to do a short workshop. And of course drink caipirinhas with my Brazilian amigos where my relationships run deep.
I will end my shooting year in Jeju Island , Korea with a one month intensive shoot on the lady shellfish divers of Korea, producing a b&w book on this soon to be extinct cultural phenomena.
So, if you are anywhere near any of these locations, come see me. I will take the time to meet you if at all possible. I always do.
Let us know please if you have any questions about the EPF, or submitting to Burn, or getting a week of BurnDiary or whatever. We will do our best to answer.
Please enjoy the rest of your summer. Take some time. Shoot some “lazy” pictures. Often the best. If you are around the Outer Banks, come sit on my porch and have a cold beer.  Good ideas pop , and real things get done when the vibe is right. That is the whole point of BURN.

danube revisited – the inge morath truck project

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The Inge Morath Truck Project

Danube Revisited

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“Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from the beginning; result of a special chemistry of background and feelings, traditions and their rejection, of sensibility and voyeurism. You trust your eye and you cannot help but bare your soul. One’s vision finds of necessity the form suitable to express it.”

–Inge Morath, Life as a Photographer, 1999


Danube Revisited: The Inge Morath Truck Project

By Jennifer Gandin Le

Where we are born leaves an indelible mark on our bodies. The space where we first take air into our lungs is where language meets our ears, light meets our eyes, and the sensation of skin begins. No matter what follows, the place stays with us.

For pioneering Magnum photojournalist Inge Morath (1923-2002), born in Graz, Austria, the place that captured her imagination and vision was the Danube region in Eastern Europe. For nearly forty years (1958-1995), she made trips along the full length of the river, from the Black Forest to the Black Sea, and photographed the people and landscape along the river through generations of social and political change. She made her first trip along the Danube in 1958, traveling to Germany, Yugoslavia, Austria, Czechoslovakia, and Romania. Politics made Hungary, Bulgaria, and the Soviet Union inaccessible to her until the 1990s, after the fall of the Iron Curtain. In 1995, she exhibited her “Donau” project and published a book, but she continued to return to the region; the last trip she took before she died was to the land of her birth.

This July, Inge Morath’s photos of her beloved Danube region will return home.

Nine photographers — all of whom have received the Inge Morath Award, an annual prize given by Magnum Photos members to a woman photographer under 30 — will convert an 18-wheeler into a mobile gallery of her work and drive it along the Danube River, exhibiting the work in the very communities that Morath photographed.

Along the way, the women will create new work, collaborate with local female photographers in the region, and amplify the voices of existing local artists by inviting selected photographers to travel with them. “While we’re trained to be perceptive and pick up things with culture and people and photograph critically, essentially, we’re just visitors,” says Claire Martin of the project’s express mission to “support the under-represented female voice in documentary photography.” “We want people with the real voice of the region to participate in the project.”

“When I started here twelve years ago, the attention was on Inge and her history,” says John P. Jacob, director of the Inge Morath Foundation. “About halfway in, we changed the tone of the website to focus on her legacy. We asked, what can we do for those who feel her influence? It has been incredibly rewarding for us to see this project flow from that change in perspective.”

Danube Revisited’s numbers are impressive: nine photographers, three of their children, one documentary filmmaker, 24 cities and villages, 10 countries, 1,777 miles of river, and all in 35 days — especially when you consider that Morath completed her version of this journey across nearly 40 years.

“I’ve tried to put together group projects with friends before, but it’s never worked,” says Kathryn Cook, who won the Award in 2008. “This is different. There’s a lot of glue between those who have received the award.” Lurdes R. Basolí, 2010 winner, agrees. “I wouldn’t be doing this project without what we have in common — sharing this grant.” Despite the administrative challenges of organizing this project across four countries and over two years, Basolí’s faith in the project never flagged. “We built this ourselves. It was never an option to give up — we all had such deep commitment.”

A unique collaboration in a field known for its solitary work, these nine photographers will spend five weeks sharing ideas, informing each others’ work, pressing each other to grow and evolve, and supporting each other along the way.

“I’ve done collaborative projects like this with my students before, and it’s always been exciting to shoot similar situations, then look at our images together afterwards and see how our eyes are different. I’m excited to do this with these great photographers,” says Emily Schiffer, 2009 award winner. Schiffer and Cook will be traveling with their children, which was another important priority for the organizers. Their Kickstarter page drives the point home: “We are all between the ages of 31 and 41 and would love to prove that there doesn’t have to be an age or a period when women can’t create or take part in an adventure.”

Despite being the namesake for a high-profile award for female photographers, Morath herself was dismissive of the gender issue, emphasizing her photography as the important discussion. However, she and her Magnum colleague Eve Arnold were also proud of their prominence as women photographers, especially in a time when there were obvious gaps in the diversity of not only Magnum, but also the entire industry.

Claire Martin says, “We’re trying to correct the balance from the historical white male bias in documentary photography, and trying to bring it back a bit. Inge was a pioneer that way, and that’s why we’re so inspired by her. She was one of the first to put a woman’s print on work and have it publicly validated and recognized.”

Most of the award winners knew little about Morath when they applied. But through the last two years of planning Danube Revisited, Morath’s legacy has come alive for them in a new way. “As you talk with everyone who knew her, you realize that they created the award out of deep respect and love for her,” says Martin. “In creating this project, she’s become really influential to me. I think of her being the one of the first women, breaking the barriers of entrenched gender roles at the time. How challenging that must have been. How ballsy she must have been to be so defiant, such a powerhouse.”

Jessica Dimmock wonders about Morath’s own perception of her trajectory in the field. “Did she think her career would change things for women, or did she feel isolated by being a solo woman in a field driven by men? Based on the changes she was seeing in her lifetime, did she think the nine of us could exist? Would she have an idea that this many women would be drawn to this craft?”


Jennifer Gandin Le is a writer and photographer based in Austin, TX. When she’s not telling stories with words or images, she’s saving lives through her company Emotion Technology, which works with social web companies to prevent suicide and promote mental health online. When she was just 24, director Francis Ford Coppola commissioned her film adaptation of the best-selling novel The Girls’ Guide to Hunting and Fishing by Melissa Bank. Her non-fiction writing has been published in Wired Magazine, Time Out New York, BUST Magazine, and The Village Voice. Her short film, Small Changes, won the Grand Jury Prize in the 2009 Intelligent Use of Water film competition, and was screened at The Getty Center in Los Angeles. Gandin Le graduated with honors from New York University’s Tisch School of the Arts.

The Inge Morath Award was established by the members of Magnum Photos in tribute to their colleague, who was associated with Magnum for more than fifty years. The annual Inge Morath Award is given to a woman photographer under thirty years of age, to assist in the completion of a long term documentary project. The winner and finalists are selected by the photographer members of Magnum Photos and a representative of the Morath Foundation at the Magnum annual meeting. The photographers participating in Danube Revisited are nine of the past Inge Morath Award winners, who have benefited and grown as a result of the award, and wish to honor the legacy of Inge Morath by retracing her Danube journey. Each photographer brings to the project both a unique personal vision and a common appreciation for the challenges facing women photographers today.

WE ARE: Olivia Arthur, Emily Schiffer, Claire Martin, Lurdes Basoli,  Kathryn Cook, Mimi Chakarova, Jessica Dimmock, Claudia Guadarrama, and Ami Vitale.


Related links

Danube Revisited: The Inge Morath Truck Project

Kickstarter Campaign


David Alan Harvey Interviews Magnum Legend Elliott Erwitt

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“It’s about reacting to what you see, hopefully without preconception. You can find pictures anywhere. It’s simply a matter of noticing things and organizing them. You just have to care about what’s around you and have a concern with humanity and the human comedy. ” – Elliott Erwitt

Born in Paris in 1928 to Russian parents, Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research.Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France.While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh.In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier’s, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits.

In the late 1960s Erwitt served as Magnum’s president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum.


Up from the Sands



It has been a long time since I have written here. I have been shooting and teaching and teaching and shooting like crazy. Oaxaca, Rio, and now Dubai. Like a madman. Yet all of it my passion , all of it fun, and all of it just what I DO. Yet of course I just run out of time. Can’t do it all. Want to. Just can’t.

The above picture from Dubai is my most recent, shot a few days ago just before I left Dubai. Not a  likely place for me to shoot, or so I thought before I went there last year. Something bit. I came back again. There was a fascination for me in a new age city where the people of the land went from the poorest on the planet to the richest. Overnight. Allah Akbar. Hence the title of my upcoming magazine : Up from the Sands.

Those of you who know me know that I love books the most as the ultimate resting place for fine work. Books are where I want my work to be. Books are my nourishment from colleagues, those I admire, my students,  and those who are unknown to me., I simply love fine work regardless of source. Sure I want you to be interested in BurnBooks. You have acquired all that we have offered so far. Thank you. Yet for sure I will promote any day the fine work of great publishers like Steidl , Aperture, Phaidon, Trolley, Taschen, etc etc. and anyone else who makes a great book.

I am a Magnum photographer and I will promote Magnum anytime. My company. I will also interview for Burn fine photographers from VII and from Noor and from any other agency where I see fine fork. Why would I promo the competition?

I will tell you why. There just are not that many good ones out there. I will assemble any time all the great producers of any kind. We need each other. To keep the level high. Buy a Taschen book today, buy a Phaidon book tomorrow and get a BurnBook while you are at it. Competing? Sure. Only keeps the level high.

I will be introducing in a couple of weeks Michael Loyd Young’s new book:  Beer, Bait & Ammo. Our latest BurnBooks offering. A work of art, a work from the heart. Mike flipped his life around. A former student, Mike turned his camera on his own world, something I implore all of my students to do.

We will be announcing  soonest our upcoming lineup of books , and zines. Some mine. Mostly others.

It was Kelly Lynn James  who has always been fully credited by me for the name BURN. Thanks Kelly.

So as we did for the title Burn , I am throwing this one out there for you to help choose (no money in this for you)

I wrote above that the title for my upcoming zine on Dubai was gonna be Up from the Sands. Yet I have also thought simply:  Sand …what you think?

(a) Up From the Sands

(b) Sand

(c) your best title…



Photo Tips #5

PHOTO TIPS #4: A Choice of Weapons


Learn how Egyptian photographer Laura El-Tantawy covers conflict.

Photo Tips # 2: NatGeo Editor Speaks

Check this out. No way you won’t get something out of this short preview of a longer conversation with Susan Welchman, a Photo Editor at NatGeo. This is a one time chat like I never had before with a colleague with whom I have collaborated on at least 10 major essays at NatGeoMagazine.

falling into place: self portraits by patricia lay-dorsey


Patricia sings as her husband Ed plays in a nightly ritual in their home in Detroit. Photo by David Alan Harvey


Conversation with Patrica Lay-Dorsey

Author of Falling Into Place: Self Portraits


Detroit-based artist Patricia Lay-Dorsey was diagnosed with chronic progressive Multiple Sclerosis in 1988. Twenty years later she turned her camera on herself and began taking self-portraits with the intention of showing from the inside the day-to-day life of a person with a disability.

The photographs chronicle the struggles and achievements of the artist as she learns to accept the limitations of her body and celebrate her abilities rather than her disability. Taken together, the images build a compelling narrative about the artist’s daily life over five years that is inspiring, deeply moving and offers a fascinating insider perspective. The story highlights Lay-Dorsey’s energetic lifestyle, and unconventionally for a woman of her age, a love of Detroit electronic dance music which led its aficionados to bestow on her the nickname ‘Grandma Techno’.

Published by Ffotogallery in Cardiff, Wales and designed by award-winning book designer Victoria Forrest, the hardback book includes 50 colour images, an artist statement and biography, and texts by David Alan Harvey, Magnum photographer and Burn Magazine Editor, and David Drake, Director of Ffotogallery.


David Alan Harvey: Patricia, I think you are the first Burn commenter who has actually done a book on their own. Is that right as far as you know? Who else has done one?

Patricia Lay-Dorsey: What about Michael Loyd Young?
DAH: I am talking about somebody who was an avid Burn commenter and who sort of came out of the Burn crowd, so I don’t see Mike in quite that role. I mean, Mike looked at Burn, but he wasn’t a Burn commenter in the way you were. I mentored Mike out of workshops. You just from Burn itself. Mike by the way is my next interview with his upcoming Beer, Bait & Ammo.
PLD: Yes, I was quite active on Burn.
DAH: That’s right. Mike is actually on his second or third book, but I think you’re certainly one of the first people that we published originally for a Burn essay. Do you know where Falling Into Place came onto Burn there at the beginning?
PLD: It was right before the new year, so it was the end of December 2008.  It was either the second or third essay published.
DAH: Yeah, that’s what I was thinking. Certainly one of the early ones.
PLD: Right at the beginning.
DAH: Now refresh my memory on exactly how Falling Into Place started getting shot. What happened?
PLD: Okay, actually you had a lot more to do with it than I think you realize. I was scheduled to go to Look3 in 2008 for the first time and take your essay class.
DAH: Yeah, Nachtwey and I were teaching an essay class, and you did take that class.
PLD: No, I didn’t, because my husband Ed ended up with a bad back, had to go to the hospital and then was on a walker. I couldn’t leave him.
DAH: Oh, that’s right. I was just teaching a class by myself and you were going to do it, then I remember now something happened and you couldn’t do it.
PLD: Exactly. So I was very conscious of the fact that your workshop was going on that week in June. And it occurred to me that I could do an essay on my own at home at the same time, just as if I were in the workshop. So I was conscious of that. On the morning of June 11th, 2008, I was sitting on the toilet and looked down at my nightgown and saw this puddle of light, of sunlight, in my lap and it interested me. I had my camera right there, and so I took a picture of it. Then I looked down a little farther and I saw my bare foot with a lattice-like shadow on it, and I took a picture of that. So that wasn’t unusual because I would take random shots, but what was unusual was my next thought, which was “I think I will go into the shower and take a picture in there”. Now, when I thought that, it was a little above and beyond the norm. And I did it. I did go in there, and I took maybe four or five frames of my legs and feet in the water with the shower pouring down. Obviously the water was not on me. I have a shower chair, so I pushed that back and didn’t get wet. But when I came out of that shower I knew I was serious about this and that I was starting a self-portrait project. So that’s how it started.
DAH: Okay, now wait a minute. Are we sure we’ve got the right year there? Because you said June of 2008, but that was before Burn.
PLD: Oh yeah, I was on Road Trips!
DAH: Oh yes!
PLD: When I signed up for your workshop, I had found you on Google, I had found Look3 on Google. I thought it was time for me to go to a photo festival so I Googled “photo festival” and there it was.
DAH: Okay, now I’ve got it. I can’t remember life in sequence. Thank goodness for photography just for memory. I mean, I look at my Instagram and that’s my only calendar. I think “Oh yeah, I was there and there and there”. Okay, so that’s how it happened. That’s right. That’s why you had the essay a few days after Burn started, because you had already been doing it for six months.
PLD: Exactly.
DAH: I get it, okay.
PLD: And with you mentoring me for those six months. Because when you saw the first twelve images…you know in those days on Road Trips we would put up a link to portfolios that we had started…and when you saw the first twelve, you immediately said, “Well my dear this is a book and I’ll mentor you on it”, and you did.
DAH: Yeah, I don’t remember the years, and I don’t remember a lot of the details, but I do remember that when I first saw the pictures I thought it would be an incredible book if you could keep going with me. Now, we’re talking five years later and here we have it?
PLD: Five and a half years, yes.
DAH: Now, does that seem like a really long time, or does that seem like a reasonable time to you? Does it seem like it has taken forever, or does it seem kind of fast in retrospect?
PLD: I think it feels reasonable. It wasn’t like that was the only project I was doing for five and a half years. I did eight other serious projects and I still have some that are ongoing projects. If it was the only thing I had been doing, it would have been forever. But, to be honest, looking at it realistically, I think I was fortunate that it came so quickly. After all I consider myself the oldest emerging photographer on the planet! It isn’t like I’ve been doing this for a long time.
DAH: That’s right. Well, you’ve been an artist. You were an artist.
PLD: I’d been an artist for 30 years but I had only gotten serious about photography in 2006.
DAH: That’s right. I remember that you were writing to me in the first place, telling me that you were an artist and were going to take my class, etc. So that’s how it happened.
DAH: Of course to those of us on the outside it seems like you did the book relatively fast, but of course five years to me looking at your life goes by quicker than five years to you. I know that. It takes a year just to kind of get your act together and then some things work and some things don’t work. But anyway, you got the book and I think I know how you feel, but tell me again how you feel having this actually here.
PLD: I pinch myself. I pinch myself to see if this is real or if I am dreaming. You know, I was thinking about how I feel about the book. First of all I am extremely grateful that it exists, that I can hold it in my hands, that it’s here. And I am very pleased with how it turned out, and I have my publisher David Drake of Fotogallery to thank for that. I mean he was the one that took a chance on this. He first saw my prints and my Blurb book in March 2012 at FotoFest in Houston. Within two days he said he wanted to publish my book, so that was just amazing. David was just marvelous to work with, and then he knew Victoria Forrest, a book designer he had worked with before. Both David and Victoria are in the UK, and he recommended that we hire her and we did. I just think Victoria’s way of presenting this narrative was way more lucid and concise than I could ever have done on my own.
DAH: Yeah, you want to have a good collaborator, and you obviously had great collaborators here all the way around, and you know, you even got new pictures in here that I hadn’t seen before. So yeah, I agree, the sequence and the juxtaposition of pictures is just right. I think it’s the right size. I think it came out really terrific. You should be proud.
PLD: Thank you.
DAH: So this works and I think when a book works, you want to sell the book mostly because you want the publisher to be happy with their investment, right? Yeah, you want it to get out there.
PLD: I want it to get out there and you knew from the beginning this was more than just a photography book because of the subject, so it doesn’t fit into any real defined niche. There is a broader audience than for most photography books, and luckily David Drake was also very conscious of that from the beginning, and so was Victoria, my book designer. So all of us were conscious of attempting to create a document that would not only work in the photography world…where we hoped it would…but also in the wider world. I mean I really intend for this to go to university libraries…which is already happening…and to health care professionals and disability organizations. I’m already getting presentation and exhibition opportunities at universities and I love that! Now a bank is asking me to talk about disability to their employees. Unbelievable things are happening.
DAH: Yeah, I can see no limit to that and I think that the photography world is no longer the photography world anyway. The photography world encompasses all things. It’s a universal language and so it goes out beyond where people would just buy a book of photographs. And it does absolutely have a wider audience because for sure you are an inspiration to people and people are always looking for inspiration.
PLD: Well I have to say, it always makes me a little uneasy when people say I am inspiring to them. I guess maybe that’s partly why I did the project in the first place. When I would see essays or films or books on persons with disabilities, or articles in newspapers, they were often pushing this idea that she’s so brave or she is so inspiring and it kind of turned me off. These were by non-disabled folks, a way different perspective from mine.
DAH: Yeah, I can see how that would be.
PLD: You know, I am not brave or any such thing. What I am doing is dealing with what came my way. This is what my life has become, so I am either going to curl up in a ball and spend my life moaning about it, or I am just going to get on with my life, which is what I do. So I am the one who is inspired. I’ve been inspired by you and what you do. I think the model that you offer is an amazing model of don’t sit back and be satisfied with what you’ve already done. Your model is to keep pushing the boundaries. Keep moving on to new things, keep expanding your horizons, keep learning more. I remember when you were changing from Road Trips to Burn. We were a little uneasy because we loved Road Trips, it was very intimate, and yet you were so right about that.
DAH: Well, you do things, and you don’t know if you’re going to be right about anything, but you do it anyway. If it feels right then you have to do it because you can’t stay in the same place. But I can kind of understand that discomfort because, for example, I absolutely do not think of you as a woman in a wheelchair. That is not how I see you and if I don’t see you that way, then I doubt that you see yourself that way. In other words, you deal with this, you deal with that, but it’s not the main thing on your mind so I can see where you might be slightly uncomfortable with being inspirational when you are just doing your thing.  But at the same time you are, so you just have to accept your fate.
PLD: Thank you, I accept it.
DAH: Well listen, even if in your own head you see it in a slightly different way, your book is out there, you’re going to be talking to young people…well, people of all ages I guess…so if you’re inspiring then don’t worry about it so much for youself, just think about what you’re giving to them, right?
PLD: Well, what I have come to with this book actually…because I have now taught some university classes on disability…and what I am finding from these young people who are teaching me so much, is that this book is not about disability and it’s not about me. If this book has a message, the message is that everybody has something to deal with and usually it’s invisible. My issue is visible which in many ways is easier to deal with. I have asked many young people, “How many of you have dealt with a tough issue that was invisible?” Almost all hands go up. And what this says is that you go ahead, you go ahead with your life, you live as full a life as you can, no matter what, and that to me is the message, so it’s not really about disability at all.
DAH: No, you’re absolutely right. Because as you may recall from the class that you finally did take, I always try to get people to look in the mirror. Now you literally are looking in the mirror in a very obvious way, but I try to get everybody to do that. Mostly it’s a psychological thing rather than a physical thing, so in that sense, yeah, it’s easier to understand what it is you’re talking about in this book. Somebody can pick up the book and immediately figure out what Falling Into Place means. So it is comprehensible in that sense, whereas a psychological thing that somebody might be dealing with would perhaps be more difficult.
PLD: Yeah, some people wanted me to have text. Some people wanted me to tell the stories of the different images and I resisted that from the beginning.
DAH: Yeah, that would have been a bad idea.
PLD: This is not my story. I want people to look at the pictures and see their own stories in it. Tell themselves their own story, not mine.
DAH: Yeah, that would have been a mistake to have text on every page and to tell every story because the picture tells enough of a story and then you’re done. You do that and then you’re done.
PLD: I hope so. That’s what we wanted.
DAH: I think the beauty of Falling Into Place is that its manageable, it’s something you want to pick up over and over again. You can flip through it, you can go through it in sequence, go through it not in sequence. You know we look at books backwards half the time, most of us from the middle back. But I think it reads really well in every direction, from front to back, back to front. I can start in the middle and go backwards and it still has power that way.
PLD: Thank you, David. Well I am sure you noticed that it begins with your Foreword. What you wrote…and this would have been in 2009 for my first Blurb book…I reread that over and over and to me, that is inspiring, what you wrote as the Foreword, because it was like you got it. You absolutely got it from the beginning and I felt so seen and heard and understood in terms of what I was trying to do and say. And you articulated it in a very personal way and very professionally too. I am really very grateful to you for that.
DAH: Well, I really didn’t do anything. The only thing you can do as a mentor is two things…you look at the work they’ve done and then you try to just say something or do something that will inspire somebody to do something. You can’t tell somebody how to do it. I mean, it’s not a how-to process.
PLD: In terms of your mentoring though, one of the things I learned from you, a really important thing, was about editing because that was the main function that you served for this book at the beginning. It wasn’t that I was so much a part of the process, it was seeing how you did it that has served me so well and that was my hands-on learning. It was almost by osmosis that I was able to learn.
DAH: And then you learned how to edit yourself and then you learned how to see how other people edited. I remember because we had the pictures all spread out on the table under the Williamsburg bridge there one time. So anyway, it has been a process. How much do you think the fact that you’re a long distance runner had to do with you being able to finish this?
PLD: That came to me all the time. I say that five and half years wasn’t a long time, but when you’re in the middle of it and you don’t know when the end is going to be, it can seem like a long time. There were moments where I really doubted myself and the project and doubted that anything would ever happen with it. But I am not kidding, it did remind me of when I had decided I was going to run a marathon. I saw these people run in front of my house during the Detroit Marathon at about the five hour mark. At that time I had only run six miles, but I looked at some of them and said to myself, “I am in better shape than them, I can do this”, and so I worked for a solid year and I was obsessive about it. I read the books, I ran every day, I did the alternate hard day/easy day, all of that. Well, after I ran my first marathon…I ran two of them…I said to myself, I now know I can do anything I set my mind to.
DAH: Yeah, once that sets in, once the idea clicks into your head, then you’ve got it made for life in general, don’t you think?
PLD: Oh, I do.
DAH: Once you realize that eventually, somehow, someway, if it’s the right thing to do, you can figure out a way to do it.
PLD: And you just stick with it. You become a bulldog. I figured that was one of my best qualities in working on this, just being a bulldog.
DAH: Yeah that’s right, just sticking with it, getting back up on the horse and riding again, that’s right. Because there are going to be so many times when there is self doubt or a variety of impediments. It’s really simple when I talk to young people, I tell them the same thing, I say’s two things, just deliver what you say you are going to deliver to people, and then be a bulldog on it. If you have talent and everything else that’s all great, but like Darwin said, its not the strongest or the best that survive, it’s those that can adapt. Those are the species that went forward. Not the biggest and strongest ones, they didn’t make it.
PLD: That’s interesting. Actually I found that in the process of turning the camera on myself…and I mean I have pictures of me on the toilet, I have pictures of me in the shower, getting dressed, it’s very intimate, things that no one else had ever seen except maybe my husband, and things I was ashamed of, that I didn’t know I was ashamed of until I put my camera on it and saw the pictures. What this whole process did was help me come to terms with being disabled in a way that I had never come to terms with it before. Because it was in my face. I could no longer ignore any part of it because I was taking pictures of it all. And before, what I had tried to do was wear blinders and just bull straight ahead, but now I was always looking for photo opts. So, I was seeing everything very differently. It helped me.
DAH: Well there you go, that’s the perfect kind of project. You helped other people and you helped yourself, so what’s not to love about that, right?
PLD: Exactly, that’s win/win.
DAH: It absolutely is.

Patricia Lay-Dorsey was born in 1942 in Washington, DC. She received her MSW from Smith College School for Social Work in 1966 and ten years later studied fine arts at Detroit’s College for Creative Studies. Patricia and Ed Dorsey have lived in the Detroit area since they married in 1966.

Patricia’s book of self-portraits, Falling Into Place, was published in November 2013 by Ffotogallery in Cardiff, Wales. It is available at the ICP bookstore in NYC and on Amazon globally. This award-winning project has had solo exhibits at the Griffin Museum of Photography in Winchester, MA and Fovea Exhibitions in Beacon, NY. It has been featured in Newsweek Japan and New Mobility Magazine, and online on Burn Magazine, the NY Times Lens blog, The Daily Mail (London), ABC News, CBS News and Slate Magazine’s Behold blog. Patricia is currently giving slide presentations and facilitating discussions about disability & creativity in universities, disability organizations, corporations and community groups.


Related Links

Patricia Lay-Dorsey

Falling Into Place Book Info

Burn Essay, 2008


marco vernaschi – biophilia

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Marco Vernaschi


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BIOHILIA, a newly born NGO based in Argentina, is currently developing a set of programs with different Communities throughout the Country. The photographs featured in this essay are part of a developing work in progress that will keep growing through the next four months.

In particular, BIOPHILIA is supporting a diversified set of projects in the heart of the Quebrada de Humahuaca, Province of Jujuy, fostering the culture and economy of the Quechua people inhabiting the Andean Atiplano. BIOPHILIA is implementing a number of projects with a selection of local farmers that contribute in the development of a sustainable, local economy, taking into account the cultural and territorial values and reflecting such richness into their products. Traditional culture and rural economy are at the core of BIOPHILIA’s initiatives; in particular with the Samilantes Communities of Chalala and Huichaira, as well as with the vibrant and colorful community of Tilcara that shines through the Diablos, during the traditional Carnival.

With the same philosophy and criteria, BIOPHILIA is developing a sustainable program with the Guarani Community of Jasy Pora, in the Province of Misiones, up in the North East region bordering with Brazil. The main goal is to develop a flow of responsible Eco-Tourism, which is currently the main possible source of income for the Guarani people inhabiting this portion of the region.

Through BIOPHILIA Experience we will shape a comprehensive map of rural farmers, eco-projects and innovative initiatives that are contributing to foster a sustainable model of development, involving local communities and ethnic groups, reflecting the cultural values within each territory. BURN is BIOPHILIA’s main media partner. Starting from now, we will develop a variety of original formats and contents, and we will soon feature a dedicated BURN-Biophilia page.  The journey began in Iguazù, on the border with Brazil, developing through the North Western region and then through a long trip descending the legendary Ruta 40. The itinerary stretches from the Argentinian Amazon to the surreal Andean Altiplano, all the way to the Austral South, in the heart of Patagonia.



Marco Vernaschi was born in Italy, 1973. He lives in Buenos Aires since 2005. Through 2006 and 2008 he worked in Bolivia, following the early stages of President Evo Morales’ new policy on coca crops and the fratricidal war among miners in Bolivia’s Altiplano. In 2005 he covered “The Bitter Taste of Salt” on the daily struggle of the Quechua salt-miners living in the northwestern salt flats of Argentina. In 2009 Marco began working with the Pulitzer Center on Crisis Reporting, documenting the major illegal activities behind narco-terrorism. In the Project West Africa’s New Achilles’ Heel, Marco focused on cocaine trafficking, in Guinea Bissau, documenting how criminal networks led by Hezbollah and Al Qaeda control drug trafficking in Africa, giving insight on the aftermath of this phenomenon at a social and political level. Again for the Pulitzer Center, in 2009, Marco started an international campaign on maternal mortality, with the project Dying for Life, focusing on the dire situation of maternal health in the Sub-Saharan African region. In 2010 Marco worked at his third project with the Pulitzer Center documenting child sacrifice and organ trafficking in Uganda. His last work, Placebo, was exhibited in 2011 at the 54th Venice Biennale at the Italian Pavilion, in St. Petersburg at the Karl Bulla Historical Photography Foundation and at Rome’s MACRO-Testaccio, among other exhibitions.

Marco’s personal work has published in several major fine art magazines, including EYEMAZING, La Lettre de la Photographie, DIENACTH, GUP, etc. His documentary work has been featured worldwide by STERN, TIME Magazine, National Geographic, GEO, Newsweek, The New York Times and Sunday Times Magazine, among others. He has receives several award including World Press Photo 2010  (1st Prize – GN Stories), PGB Photo Award 2010  (Best Picture of the Year – Picture Story of the Year – 1st Prize), finalist on ASME Award 2011,  Lens Culture International Exposure Award 2009  (1st Prize), nominee at ICP Infinity Award in Photojournalism 2010, SONY PHOTO AWARD 2010 ( finalist on Current Issue), finalist ODP Award for Human Values 2009 (Finalist)

BIOPHILIA is a newly born NGO, of which Marco Vernaschi is President and founder. The organization’s mid-term goal for 2014-15 is to work closely with a number of selected communities, local producers and farmers through Argentina, on a series of synergetic and diversified projects that will allow such communities to develop a solid, local economy. The model they have in mind, takes into account the cultural values of each region and ethnicity, the unique features of each territory and of course the demand in terms of global markets, which is important to make the project successful.


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Beach Games Tabloid


I have very little time to write. I am shooting. In the mode. In the zone. After all of the day to day things we must do constantly just  to “maintain”,  it is those moments when we can actually feel and shoot and live and breathe the work that are the most rewarding. I am on it now in Rio. Again.

I cannot remember ever coming back to the same “well” twice. Yet Rio has me again. For a totally different essay than (based on a true story). Not only a switch to black & white, but a whole different storyline….In the back of my mind , I am wondering if Rio is all of it, or only part of it. This I do not know yet.  Beach Games has been on my mind for about a year. The double meaning will hopefully be obvious in the final result. Right now I am simply sketching and playing and absorbing “the games”….Doing little layouts and sequences in my mind, yet not quite ready to “go to the wall”with prints for another few weeks….And of course I could drop the whole idea entirely. I often drop projects where I have spent lots of time. I have no fear of rejecting weeks and weeks of work if I see it is not happening in the way I may have imagined.

I tell those I mentor and I tell myself, be ready to throw it all away at any time. Start over. I throw most of my work away. I only finish some thing , not everything. Never marry an idea until that point when you just know it is what you wanted to say.

Rio will be behind me in a few days. Ahhhh , the weather will be hard to leave!  Freezing New York is out there ahead of me.  Then off to Dubai to finished or not finish the essay I stared there last year at this time and was cut short because of the passing of my mother. The Burn team of Diego Orlando and Kaya Berne will be joining me in Dubai for a workshop associated with GPP and then I will shoot again for a couple of weeks and see IF Dubai becomes a tabloid/zine as is my intention for Beach Games.

Ok, that’s it. I must roll now into the one thing I know how to do. I must forget all else, and concentrate. A zen sort of concentration that is pure pleasure and somehow “work”at the same time.

THE place to be, whenever you can get there, and any way you can get there.


THE MAGAZINE of (based on a true story)


federica valabrega – daughters of the king, the book

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Federica Valabrega

Daughters of the King, the Book

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In my photographs, I have sought to avoid the common stereotypes frequently attributed to Orthodox Jews. I have attempted to show aspects of these women, their most spiritual ones, those that transcend their religion and its strict rules governing the sanctity of their bodies. I chose to delve into a deeper dimension of my subjects’ holiness–one of femininity accompanying every gesture, every moment of their daily lives as religious women. In my images, head coverings, longsleeved dresses, modest skirts, and shoes ceased to be barriers to unwanted eyes, but instead became vessels, unveiling a deep, emotional access in the search for meaning as a woman.

“Daughters of the King” reveals the subtlest gestures of feminine beauty within moments of the daily lives of these women: The preparation for a wedding ceremony, the moment a mother and a daughter light candles before the beginning of Shabbat, or choosing a dress to wear for a particular occasion and combing their hair for an evening outing.

“Daughters of the King” began four years ago in New York in the streets of Crown Heights, the Lubavitch Orthodox neighborhood in Brooklyn, continued within the Breslov and Dati Lumi communities in Israel and the Sephardic Jews of Paris the next year and carried onward to Morocco and Tunisia within the old Jewish community of Casablanca and the folkloristic community of religious women in Djerba.

“I do not choose the women I photograph. They choose me. These women have not only ‘lent me their stories,’ they have also opened my heart to my own spirituality, revealing to me what it means to be a true Bat Melech beyond the limits of religion.”

Daughters of The King will be showing in Rome at  ETG until January 15, 2014


DAUGHTERS OF THE KING by Federica Valabrega – published by BurnBooks on November, 2013 in an edition of 1000 copies –  dimension: 300mm x 200mm (12 ” x 8 “), 88 pages plus 24 pages booklet with texts in english and italian –  – $ 40.00 – € 35,00 (excl. shipping)

Author: Federica Valabrega

Publisher: BurnBooks, 2013

Art Direction, Book Concept, Photoediting: Annalisa d’Angelo and Diego Orlando

Image Color Correction: Paolo Lecca

Book Design: Valeria Semenzato

Production manager: Diego Orlando for BurnBooks

Printing and Binding: Grafiche Antiga, Italy


DAUGHTERS OF THE KING  can now be ordered here


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Daughters of the King

Federica Valabrega