annalisa natali murri – then the sky crashed down upon us

Emerging Photographer Fund – 2014 Finalist


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EPF 2014 finalist

Annalisa Natali Murri

Then The Sky Crashed Down Upon Us

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“Give me water, I beg you – give me water – I heard a girl near me imploring for water – We were a few blocked under the ruins. Some of us died, I’ve seen them dying. It had been about three days since the collapse, we were still trapped there. We didn’t know if we would all have died down there. Then I saw the girl trying to bite the neck of a corpse at her side, with her last strength, to suck and drink its blood. I have no words to describe what I saw. When I was rescued, after 4 days, she was dead”. Imran Hossain, 48, sewing operator for Phantom Apparels at the 3rd floor of Rana Plaza, tries to bring his mind back to last year, April 24th, when everything changed for him and nearly other 2500 survivors. One year has passed after the accident, but that hell keep reliving relentlessly in the memory of those who entered the building that black morning.
The trauma is overwhelming and is having a long-term impact on psychological well-being of these people. Still hundreds of people suffer from invisible, intangibles wounds. Many are no longer able to sleep at night nor can hear the slightest noise. Many others suffer panic attacks, memory losses, hear continuously mourning voices imploring help or even see dead workers laying beside them.
The tragedy and pain are far from over.
The intention of the project was hence to draw out the invisible, psychological aftermath of the disaster, focusing on PTSD affectd victims and their struggle to conduct a normal life. Portraits of survivors, relatives of the victims and rescue workers try to give shape to their fears and memories in a chaotic and disorienting merge of their own ghosts, derived from the trauma, which everyday and night threaten their minds.



Annalisa Natali Murri (1982), freelance photograher, approached for the first time to photography at age 27, while attending Architectural and Urban Photography School in Valencia (Spain).
After completing her studies in engineering, soon she began to alternate her work to photography, focusing on personal research works and documentary projects, mainly inspired by social issues and their psychological consequences. Her works have been awarded in several international contests, including 70th and 71st POYi. In 2014 she was selected as an attendee for LOOKbetween mentorship program. She’s currently based in Bologna, Italy.


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Annalisa Natali Murri





alejandro cegarra – the other side of the tower

Emerging Photographer Fund – 2014 Finalist


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EPF 2014 finalist

Alejandro Cegarra

The Other Side Of The Tower

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The tower of David is a skyscraper located in downtown Caracas, Venezuela. The structure is 195 meters high, consists of two towers, and contains 46 floors. Construction began in 1990, but after a devastating economic crisis hit Venezuela in 1994, construction was abandoned. The building was 60% complete. 13 years later, in 2007, construction began again. This time however, it was not for its original purpose. Instead of office spaces, approximately 2,000 families invaded the space illegally.

According to the latest census taken by the inhabitants, there are around 1,300 families currently living there. The Tower of David has become an emblematic symbol of the city of Caracas. It represents the hopes of Caracas to remain a major economic center, and the failure to do so.

In this same way, the Tower of David has come to represent Venezuela as a whole. The Tower has a reputation for harboring the most dangerous of criminals; ironically, the inhabitants are drawn to the Tower due to its security. For them, the Tower is their part in the Bolivarian Revolution. Their way of life is a fight against the social parameters in which they are viewed as a dysfunctional community.

The Tower remains a closed society, as they are afraid of being discriminated against, because of their living arrangements. While the take over of the Tower, and their way of life remain controversial, the reality is that the inhabitants are simply people who are searching for a sense of belonging, and a place to call home.



Alejandro Cegarra was born in 1989, in Caracas, Venezuela, which is the city he still calls home.

In 2012 he started filling in for other photographers at the largest newspaper in Venezuela, ‘Ultimas Noticias’ or ‘Latest News’.  Since November of 2013, Alejandro has been working as a stringer for Associated Press, also works with Vice news and Al Jazeera magazine.

In early 2014 he was selected to exhibit in the PhotoEspana Festival, and chosen by the Magnum Photo Agency as part of the ’30 Under 30′ contest.

His series ‘The Other Side of the Tower of David’ won 3rd place in the Sony World Photography Awards in the ‘Contemporary Issues’ category, winner of the Leica Oscar Barnack Newcomer Award and the winner of the Ian Parry Scholarship 2014.

His work ‘The other side of the Tower’ has been exhibit in England, France, Germany, Spain, Brazil and Venezuela.


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Alejandro Cegarra





dominic bracco ii – aqui vivimos

Emerging Photographer Fund – 2014 Finalist


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EPF 2014 – finalist

Dominic Bracco II

Aqui Vivimos

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My interest in Honduras started nearly seven years ago when I found a Honduran woman laying under a mesquite in South Texas near where I grew up. She’d been separated from her group and was lost out there. She’d been traveling for three months. The rancher told me to back away from her because she was sick while he dialed the Border Patrol. She begged me to help her, but I didn’t know how I could. I was already a journalist. My uncle had been in prison for trafficking. I thought to myself, “What kind of place would drive someone to come all this way risk death here in this desert?” Seven years later a friend and I took our savings and finally went. What we found was as beautiful as it was terrifying.

The tiny country of 8 million is the world’s most violent country. Gangs control entire cities. Campesinos war with corporate funded paramilitary groups in the east. Warring cartels massacre entire villages in La Mosquita. In the capital Tegucigalpa violence has become more sporadic and faceless. Random crime has increased. Car jacking, robberies, and assaults are a daily occurrence. San Pedro Sula, the country’s industrial center, sees an average of 19 murders a day.

The normalcy of violence in current Honduran society is extremely troubling and yet it is understandable. As a journalist who has covered violence for five years, there is something unnerving in its consistency.

Honduras is one of the most under reported stories of our time. Those stories that are done often ignore the root causes: deep political rifts that mimic those of earlier Central American wars, widespread poverty, extreme gloves off capitalism, private foreign interest, and the extreme corruption it produces. Aqui Vivimos explores these ideas and looks at daily life, the contrast between beauty and horror, and the often-surreal landscapes, and personalities it produces.




Dominic Bracco II explores the effects of global economics on local communities. Although he works internationally, Dominic’s work often returns to document the effects of Mexican and North American policies on the Texas / Mexico border region where he was raised. He has degrees in journalism and Spanish literature from The University of Texas at Arlington. Past clients include The New York Times Magazine, Smithsonian Magazine, The Wall Street Journal, and The Washington Post. Dominic is also a founding member of the collective Prime. He is based in Mexico City.


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Dominic Bracco II







ditte haarlov johnsen – maputo diary 2000 – 2013

Emerging Photographer Fund – 2014 Finalist


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EPF 2014 finalist

Ditte Haarlov Johnsen

MAPUTO DIARY. 2000 – 2013.

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I grew up in Mozambique. My parents moved there just after independence, drawn by an atmosphere of hope and confidence in the future. At my kindergarten I would stand on the roof shouting long live Frelimo, the liberation party, and down with the armed bandits. Already then the civil war was catching on.

My childhood was spent roaming around the streets with friends; there were no cars driving as fuel was impossible to get. I was just as good a dancer as any of the other kids on my block, but still I longed to belong for real. Unlike the others, I didn’t have a family member that had been killed in the war. My parents had chosen to come there; and they could just as easily choose to leave again.

As a teenager I moved back to Denmark with my father. My mother and youngest sister stayed in Maputo. Since then I’ve spent summers in Maputo. It was one of these summers when I took my first photo course.
In 2000 I met two young men on the street. They were clearly homosexual, and it was the first time in my life that I had seen it so openly out on the streets of Maputo. The next two weeks were spent with Ingracia and Antonieta, and their intimate circle of friends. I scratched the surface of their lives; the Sisters, they called themselves. It became a photo series; and without me knowing it at the time, it was also the start of Maputo Diary. Over the years I returned and kept on photographing the Sisters. We became part of each other’s lives. Many have died along the way. And the pictures became more and more about my own life in Maputo.

Since its vulnerable and innocent beginning, Maputo Diary has become a monument over life lived between different cultures, friendships and people that are no longer here. With my pictures I get under the skin of people who live their lives in hardship. With my camera I insist on intimacy in the pain. When death is omnipresent life shines sharp and intensely.
Maputo Diary consists of approximately 80 images and text.



2003 – 2007 – Director for Documentary Film, The National Film School of Denmark.
1999 – 2000 – Fatamorgana, Danish School of Art Photography.
1998 – 1999 – School of Image Arts, Ryerson University, Toronto.
1998 – Centro de Formacao Fotografica, Maputo.
1997 – 2001 – BA in Communication Studies, Roskilde University, Denmark.

2013 – ‘Maputo Diary’, Fotografisk Center, Copenhagen.
2012 – ‘Maputo Diary’, Galleri Image, Aarhus, Denmark.
2011 – ‘Maputo Diary’, ARS11, Kiasma Museum of Contemporary Art, Helsinki.
2010 – ‘Maputo Diary’, FotoFestiwal, Lodz, Poland.
2007 – ‘International Womens Art Festival’, Aleppo, Syria.
2006 – ‘Sisters – Video Me’, NGBK, Berlin.
2006 – ‘African Diary’, The Odense Photo Triennial, Denmark.
2003 – ‘Making Eyes’, Fotografisk Center, Copenhagen.
2003 – ‘Manas’, A.M.F. Gallery, Maputo.
2003 – ‘Sisters’, Witwatersrand University, Johannesburg.
2002 – ‘Play Works’, Fotografisk Center, Copenhagen.


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Haarlov Johnsen, Ditte





EPF 2014 – the winners







Alessandro Penso, winner – $10,000

Birte Kaufmann, runner-up – $3,000

Kiana Hayeri, honorable mention





(in alphabetical order – out of a total of 1135 entries)
Laia Abril
Dominic Bracco II
Max Cabello Orcasitas
Marco Casino
Alejandro Cegarra
Stephen Dock
Ditte Haarlov Johnsen
Meeri Koutaniemi
Justin Maxon
Annalisa Natali Murri
Jordi Pizarro
Valerio Polici



The full essays of the winners and finalists will be published here on BURN over the next few days and weeks,
as well as the list of the shortlisted selection. Stay tuned!





(in alphabetical order)

Mauro Bedoni | Photo Editor, COLORS Magazine

Jim Estrin | Editor, New York Times LENS blog

Donna Ferrato | Photographer

Erik Vroons | Editor-in-Chief, GUP Magazine



Judge’s statement:


The amount of excellent work that we viewed made this an extremely difficult judging process.
Many entrants were worthy of recognition, but our job was to pick only a few.

Alessandro Penso brought new insight, and a sense of intimacy, to an important topic.
His story goes beyond what others have done on migration. The well composed images
reflect his commitment and the time that he has put into the story.

Birte Kaufmann gives us a look into the daily life of The Travelers,
an indigenous Irish nomadic group. The images are lyrical, yet also direct.
Her vision is pure and tender.  We hope this beautiful body of work will be developed further.

Kiana Hayeri was born in Iran but went to high school and college in Canada.
Her work has focused on  Iranians both in her home country and her adopted one.
She goes well past the stereotypical representations of Iran and brings us both an insider and outsider perspective.



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’.



Editor’s note:


I cannot express my thanks enough to Donna, Jim, Erik and Mauro.
This very fine EPF jury worked collectively so hard and so thoroughly to finely tune their choices…
They thought this through very carefully from every angle to award this grant to the photographers most deserving.
Of course once it gets down to the finalists, the choices become extremely difficult. This is where they really went to work.
Lots of back and forth discussion and yet consensus reached.


Burn Magazine revolves around the EPF. Our most important curatorial contribution
to the oftentimes chaotic landscape of photography today. By choosing a jury whose lifetimes have been spent in looking
at photographs and making photographs, we try to give our Burn readers a distilled version of the best work of all that
flows before their eyes everyday.


Most importantly our mission is to give recognition to the finest emerging authors out there and to provide some funding to at least
a few to keep going and to continue making a mark. Our previous winners prove this is not in vain.


Many thanks especially to my EPF Burn team of Anton Kusters, Diego Orlando, and Kaya Berne.
First off , they must deal with me!! Never easy. In all seriousness, they all show amazing dedication to the spirit of
doing something which just feels good. To provide a platform for the up and coming.


Special thanks to Susan Meiselas of the Magnum Foundation. Nobody on the planet is more dedicated to allowing new talent to develop.



The Emerging Photographer Fund was created and is directed by David Alan Harvey,
and curated by Anton Kusters & Diego Orlando, with Kaya Lee Berne.