Hello! This is day 3 to @burndiary from @margauxhelleu, enjoy the ride xx]]>
Let’s travel a bit and I’ll see you tomorrow in Barcelona, have a good evening ! To @burndiary from @margauxhelleu]]>
Day 2: to @burndiary from @margauxhelleu]]>
Day 2: to @burndiary from @margauxhelleu]]>
Day 2: to @burndiary from @margauxhelleu]]>
I take my work seriously and at the same time I am a serious beach dog. I’ve earned a good part of my living and put my kids thru college shooting pics at the beach. Next book: BeachGames.Last book: in Rio. Love a sunny summer day. Yet my main attraction to the outer banks are the storms. Potentially dangerous guaranteed thrill seeker stuff. The power of the sea is our birth. Deep connect. .#outerbanks]]>
Hello everybody I will be in charge of the 88th entry in BURN DIARY. My name is Margaux Helleu @margauxhelleu, I am half Dutch and half french. Currently a SCAD student in HongKong, where I am majoring in photography. For a very long time now I have been traveling, which I love more than anything and though that through street photography I will be able to show and bring something different to the world. This diary will be based on the summer, nature and the people surrounding it. Thanks a lot to @diegorlando, @davidalanharvey and @burndiary for this amazing opportunity and I hope you enjoy the ride ! Best, MH]]>
We have a rectangle in which we keep reassembling the world. It’s a fantastic tool; it fixates what’s in front of the camera and also what’s behind the camera. It is an objective picture in subjective viewfinder. Through photography we are re-framing our memories, fantasies, thoughts and our reality.
I try to find a new shape, which will be more accurate and fitting to the time because photography keeps changing and constantly crosses a new pain threshold, because the world changes; especially nowadays, when we get a huge number of diverse visual information.
I increasingly inclined to think that the only document that can enclose the realistic feeling it is emotion, a pain that comes to being through some conflict in frame.
In this series I create some conditions without a special event, without specific time and place. This space aimed at the creation of pure sense, where less important to understand, but more to feel. I perform a kind of ritual and this ritual creates a basis for a conditional reality.
People in this series are in their rented apartments. I see them as kind of inconspicuous survivors of today, torn apart by typical modern reality, where they are between livelihood and studies, banks and dreams, trends and personal style, fashion, news and war, and so on.
It is unclear whether they are awake or going to bed. There is state of sticky enveloping sleep and insomnia. What is life? Is it a dream, an illusion or a long jump from nowhere to nowhere? This series it’s like a song that’s about the beauty and drama that can be noticed in everyday routine life; poetics of enclosed spaces.
With all the strangeness of the picture, for me it feels familiar and real, more natural and alive. I wanted the weirdness of the image would resonate with the weirdness of the world. It’s like understanding what’s beautiful only after viewing what’s ugly.
Originally, I’m from a small town Pyatigorsk in the North Caucasus of Russia. From the first meeting with the world of photography, I felt that the reality and the image in the photograph are very similar and at the same time different, the world in the viewfinder seemed like mine. At the age of twenty I moved to Israel. The type of photos I’d shoot back then was very different from today. I took many nice photos whose only essence was formative aesthetics, and maybe a little surreal. Another pretty picture and another pretty picture? I had a feeling I’m going over the same mistake and every time I felt that I’m missing some important element. The change of view on photography came during my studies in Bezalel Academy. One of the interesting things I learned is the understanding that, with time, photography changes, that the view towards photography as a media changes, as well as its value.
“The voyage of discovery is not in seeking new landscapes but in having new eyes.” – Marcel ProustThis is my last post for @burndiary. It was really amazing to be here. Thank you everyone who followed for 10 days my diary from my city. If you want to be in contact you can find me on fb or twitter.Portrait of person who survived sending to Siberia during II World War. The whole project “Children of Siberia” you see on my website. Photo to @burndiary by @tomaszlazar #poland #szczecin #bw #portrait #documentary #childrenofsiberia]]>
We all know intensive farming, which uses industrial and scientific techniques to get the maximum amount of product at the lowest cost and using minimal space. A practice widespread in all the developed countries.
Yet we know much less about how intensive farming actually works in reality regarding the huge business of animal skins destined to the high fashion market. I show you the sacrifice hidden behind the ruthless values expressed by this hellish trade, and its cultural trend dominated by remorseless standards of beauty.
The business volume amounts to several millions of Euros and although the breeding of animal skins has long been opposed by animal rights movements, which led to massive campaigns against this practice especially in the eighties and nineties.We have to wonder if there is a need of new laws, or just a cultural awareness.
For example, most of the intensive farming of furry animals are concentrated in the northern hemisphere in Europe, where at the first positions we find Denmark, Finland and the Netherlands. At the same time, looking at east, China is the world leader in the manufacture and in the southeast side, we find countries such as Cambodia, Laos, Thailand and Vietnam which represent the main market of snakes and many species of reptiles. At the other side, in the western hemisphere, Canada and the United States are the largest producers of furs and reptile skins, but for what concerns the crocodile skins production, in South America we have strong competitors such as Venezuela, Brazil and Colombia.
At date, I accomplished the first two chapters, in Colombia, where I told the destiny of crocodiles and in Poland, working inside a minks intensive farm. I’ll tell you this ruthless process with an unprecedented document on this terrifying phenomenon, a monstrosity in accordance with law that is perpetrating from decades, the extermination of animal species destined for the market of high fashion.
Paolo Marchetti is based in Italy. He has worked for thirteen years in the cinema industry. In his photography he pays particular attention to political and anthropological issues. He has covered stories in Brazil, Central America, Cuba, Eastern Europe, India, the United States, Haiti, China, Central Africa, Colombia etc.
He publishes his work in international magazines such as L’Espresso, Vanity Fair, 6MOIS, Sunday Times, British Journal of Photojournalism, The Guardian, Geo, Der Spiegel, Newsweek, CNN, New York Times, Time etc.
Marchetti has received several awards such as 5 times the NPPA – Best of Photojournalism, 4 times the PDN’s Award, the Sony WPO Award, the Getty Images Grant, finalist at the Leica Oskar Barnack Award, 4 awards at the POYi, the American Photography Annual Book, the ANI Pix-Palace, the Leica Photographer Award, the SDN – Social Documentary Network, the Alexia Foundation Grant and the World Press Photo etc.
Photo to @burndiary by @tomaszlazar #documentary #szczecin #poland #bw #street #portrait]]>
Day 10: “Doubting, dreaming dreams no mortal ever dared to dream before” – Edgar Allan Poe Photo to @burndiary by @tomaszlazar #szczecin #poland #documentary #bw #quote]]>
Tomorrow starts my last day at @burndiary. It was really amazing time to be here. Photo to @burndiary by @tomaszlazar #documentary #szczecin #poland #bw #philharmonic #people]]>
Photo to @burndiary by @tomaszlazar #documentary #poland #szczecin #bw #dog #street]]>
Day 9: Photo to @burndiary by @tomaszlazar #documentary #szczecin #poland #bw]]>
Many say that violence is the social pandemic of the century in Latin America. Yet everyday life and social change in the region has never been immune to violence. The conquest, the slavery system, the independence, land acquisition, expropriation of natural resources and political revolutions have been violent. The threat of violence continues to be a common denominator in the region, although now manifested in different ways. Today, the issue of violence and crime is not a result of politics, but devoid of any ideological end. Violence has become familiar and intimate, a trivialized routine in the region, while targets of violence have become so blurred they cease to make sense. The loss of social dialogue has made it so that acts of violence seem the only way to resolve conflicts within these societies.
This new kind of violence mostly affects young, second generation urban dwellers, who are exposed to high consumer expectations fueled by advertising and mass media contemporaries. Most of these young people are not able to meet these expectations by conventional means prescribed by society and therefore turn to force.
As a sociologist and documentary photographer, I have been conducting in-depth research on the growth and transformation of violence in Latin America for the past six years. I have since developed some chapters of my project. It was a long trip from the favelas of Brazil to the ungoverned territory of the Amazon forest; witnessing the continent drug production and its impact in local communities in Mexico and Peru or the growing violence during the Bolivarian Revolution in Venezuela and its corrupted penal system. Now I’m very near to finish this long term project. With a little bit more time I can better understand the roots of crime, punishment and security in Latin America; and to close the project in form of a book that will alert political and media leaders on this important issue.
I was born in 1985, and I spent my life between two families in both sides of the Atlantic Ocean, in Spain and Uruguay, the origins of my family. When I was a teenager I discover hundreds of pictures, my grandfather took while working in different communities in the continent. After days of looking them in a slide viewer I become inspired by creating a visual map of Latin America and I decided to become a photographer to document a region with bloody and open veins, as Eduardo Galeano described in the several books that become my inspiration. I studied Sociology, Political Sciences, Anthropology, Photography and Poetry before feeling ready to start my long term documentary project in 2009. Since then, the chapters of this ongoing life project have been recognized, published and exhibited worldwide.
Legs. Photo to @burndiary by @tomaszlazar #szczecin #bw #poland #documentary]]>
Les Misérables (Victor Hugo)
This project is based upon the relations between food and literature through photography. Starting from specific passages from fiction literature, I aim to recreate the symbolic and emotional strength of literary food scenes.
Being a feature of relevant human behaviour and psychological events, the meals within literary texts are meaningful insofar as they deeply fulfill physical needs as well as they provide psycho-emotional nourishment.
Giving life to a story, the motif of food may also be a landmark in the storytelling or defines a character, relates him to a social or cultural identity.
Holder of the European Bachelor of Photography, Charles Roux attended a Paris photography school (Icart Photo) and graduated as “head of the year” as well as “best end-of-studies portfolio.” Also graduated in Anglo-American and Hispanic Literature and Civilisations, his world is widely influences by literature, cinema and painting. All he endeavours to create is atmosphere above all, epxloring realities and their underlying stories. He is currently living and working in Paris, France.
The FujiFilm/EPF Young Talent Award is an additional grant for photographers under 25. Using David Alan Harvey’s words “A heart felt thank you also to FujiFilm for making it possible for the EPF to keep focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon…”
Little stars. Photo to @burndiary by @tomaszlazar #documentary #szczecin #poland #bw #moment #street]]>