Mary Ellen Mark




Mary Ellen Mark: 801O-001-01X Santa Fe, New Mexico, USA, 1996 Photograph by Joshua Kogan

Mary Ellen Mark; Santa Fe, New Mexico, USA, 1996
Photograph by Joshua Kogan

 One day when I was in university, I picked up one of the photo magazines, and saw some pictures by a Mary Ellen Mark who had at the time a Ford Foundation grant to do work in Istanbul. The work blew me away. From that day forward, I kept my eye out for anything by Mary Ellen. For the next 5o years MEM continued to simply always be on to something special. Whether it was Street Wise, Falkland Road, Circus, Twins or those 20×24 Polaroids of high school proms, Mary Ellen never let up. Never. She was always working working working. I don’t know anyone who consistently produced amazing work over that time span more than Mary Ellen Mark. Her collaborations as well with Martin Bell both artistic and as life partner inspired us all. 

In short, Mary Ellen was a force. Rather IS a force. She inspired so many young photographers as a giving mentor in her workshops. I sat in the back go one of her classes in Oaxaca once in total admiration for the enthusiasm she was able to impart to her students. The last time I saw Mary Ellen she had so graciously come by to present work during one of my workshops. She was consummate inspiration.  

At times tough as nails and yet oftentimes sentimental and vulnerable , Mary Ellen suffered no fools. 

Great work Mary Ellen. You made it. Past, present, and future all with an MEM stamp.

A one of a kind woman. 

Mary Ellen Mark. A deep bow.




Mary Ellen Mark obituary, New York Times


Pinky and Shiva Ji with Laxmi in the Background, Great Royal Circus, Junagadh, India, 1990

Pinky and Shiva Ji with Laxmi in the Background,
Great Royal Circus, Junagadh, India, 1990

BurnBooks announces the release of “Tell It Like It Is” by David Alan Harvey


Tell It Like It Is 
by David Alan Harvey


Published by BurnBooks May 2015
Layout and Design: Anton Kusters and Diego Orlando
Image Color Correction: Paolo Lecca
Production: Michael Courvoisier, Kaya Lee Berne
Offset Printing by Grafiche Antiga, Treviso, Italy
15″ x 22.5″

Originally shot In 1967 when David Alan Harvey was just 23 and in graduate journalism school in Missouri. Tell It Like It Is was destined to be re-published. It is a photographic slice of another era, and a small piece of one family’s history in the U.S.



2015 Edition of Tell It Like It Is
76 pages, 46 Black & White Images
Symbol Tatami white 150 gr
10.5″ x 15″
Collector’s Edition Box Set
Signed silver gelatin print (hand made by the artist)
Ilford Ilfobrom Galerie Fiber-Based Paper, Grade #3, Glossy – 8″ x 10″

2015 edition of Tell It Like It Is
76 pages, Symbol Tatami white 150 gr – 10.5″ x 15″ 

Original 1967 edition (replica) of Tell It Like It Is
36 pages, binding stapled – 6″x 9″

Original 1967 Contact Sheets (replica)
38 sheets – 8.5″ x 11″

Edition of 150.




I went a little bit crazy publishing this book. Just like I did the first time. In 1967, Bryan was six months old and I was spending the last $400 of the family money to go buy film. This time around isn’t any different. I am all in on the publication of Tell It Like It Is.

I say this proudly, yet not boastfully.

My pride is based on giving a percentage of profits to the Liggins family and to set up a scholarship for a minority photographer.

We take the self-publishing idea very seriously around here. I spare no expense in the manufacturing of my work. I just want it right. This makes my books a little more expensive, yet if you look closely you will clearly see the value of a well thought out, well designed, well assembled photo book. We do our best to make each of our books a piece of art.

None of this is possible without my colleagues Anton Kusters and Diego Orlando on design and production; Kaya Lee Berne all around producer, darkroom assistant, and make me get shit done woman, Michael Courvoisier for scanning the original negatives, Michelle Madden Smith for creating our new BurnStore, and my son Bryan for making the book video (and Michelle for editing it) and my other son Erin for helping me find the Liggins family and doing video of the reunion. 

Tell It Like It Is is also a 25 print show, big 60”x40” silver gelatin prints at LOOK3, along with Haenyeo: Angels of the Sea (which is also a new book), along with NO FILTER, prints of some of my Brazil work. So I’ve got my hands full.

In short, we’ll be shipping as fast as we can, but cannot promise your package will go out until after June 15. 

But do come see me at LOOK3. It’s the best U.S. photo fest hang. Down home style. 

I put my heart into Tell It Like It Is in 1967, and I’ve put my heart into it now as well.

– david alan harvey

IMG_4675David Alan Harvey and assistant Kaya Lee Berne in his Outer Banks darkroom, 
printing silver-gelatin prints for the Collector’s Edition. Photo by Frank Overton Brown III



Tell It Like It Is 
by David Alan Harvey





Published by BurnBooks May 2015
Layout and Design: Anton Kusters and Diego Orlando
Image Color Correction: Paolo Lecca
Production: Michael Courvoisier, Kaya Lee Berne
Offset Printing by Grafiche Antiga, Treviso, Italy
15″ x 22.5″

Originally shot In 1967 when David Alan Harvey was just 23 and in graduate journalism school in Missouri. Tell It Like It Is was destined to be re-published. It is not an epic. It is a photographic slice of another era, and a small piece of one family’s history in the U.S.







marta berens – dream chapter



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Marta Berens

Dream Chapter

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This is the Dream Chapter of my Fairytale story:

“It is out of reality that the most peculiar tale of all is born.
(…) Some call me the Elder Granny, others’ the Dryad, but my real name is Memory.
It is I who sits on a tree that keeps on growing, and growing, it is I who reminisces and tells stories.”*

This fairy tale is like a spell cast in an attempt to disenchant the past. It is an act of creating a new reality in which illusion is the truth.
They say that childhood is a time when one’s mind is asleep. Acting as a guide leading my daughter to consciousness I intend to implant in her a belief that ‘fairy tales are more than real, not because they tell us that dragons exist, but because they make us realize that they can be conquered.’**

* H. Ch. Andersen
** C.K. Chesterton



Born in Warsaw, Poland.
In 2012 graduated from the Documentary Workshop with Michal Luczak, at Academy of Photography in Warsaw.
September 2012 – June 2013 member of Mentoring Programme lead by Sputnik Photos collective with Adam Panczuk as a mentor.
Since October 2013 student of Institute of Creative Photography at Silesian University in Opava, Czech Republic.


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Marta Berens







lawrence sumulong – burying the lead


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Lawrence Sumulong

Burying the Lead

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Following Typhoon Haiyan, 60 Filipino families were forced to move into Leyte Provincial Jail after being left homeless and destitute. For close to a year, they lived alongside their incarcerated relatives, some of whom were accused of rape and homicide. I gained access to the prison and verified that families continued to live in the jail after 6 months.

Since this series was shot, the families have long since left the jail, but their fates are unknown to me. I began to question where these images fit into my own life as a result. It disturbed me how quickly news breaks and inevitably disappears while one’s images remain interred in the archive.

For an upcoming survey and exhibition of contemporary Filipino photographers in Manila, I was presented with the opportunity to show new work, but decided to move backwards, revisit this series, and create one of a kind ambrotypes (photographs on glass) using the 19th century wet-plate collodion process out of my original digital files with the help of The Penumbra Foundation.

Everything about this series is outdated or rather obscure from the aesthetic to the location itself. As captions, I’ve used traditional Filipino riddles in various dialects that I’ve collected.

As opposed to an exercise engaging in nostalgia, my decisions emerged from a need to consecrate and imbue these seemingly generic and direct images of Filipino faces with the fragility and unseen idiosyncrasies of that traumatic moment in time.



Lawrence Sumulong (b. 1987) is an emerging photographer based in New York City. He received his B.A. from Grinnell College in Iowa where he studied creative writing and won the James Norman Hall Aspiring Writer Award as well as the Lorabel Richardson American Academy of Poets Prize.

His work has appeared in The GroundTruth Project, a global journalism initiative supported by the Pulitzer Center on Crisis Reporting, Le Monde’s M Magazine, the Milk Gallery, The New Yorker: Photo Booth, The New York Times, NPR, and Verve: The New Breed of Documentary Photographers.

His postcard series for the publication, Abe’s Penny, is in the permanent collection of the Museum of Modern Art Library and the Brooklyn Museum Library.

He is the photo editor at Jazz at Lincoln Center.


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Lawrence Sumulong

greg kahn – the sleep of reason


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Greg Kahn

The Sleep of Reason

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The window on the high-speed train to Naples, Italy, frames an idyllic picture – rolling hills, sun-covered vineyards, and fertile farmland. But beneath the fertile soil of this region lies something insidious, an amalgam of industrial, hospital and nuclear waste that is spiking cancer rates and spreading alarm across Southern Italy.

The setting is Campania, Italy, and the Naples coastline, former playground of Roman emperors. The region’s natural beauty has been spoiled by the trash on its streets. Piles of garbage line the highways, farmland, and playgrounds. Heaps of waste under overpasses, filled with industrial by-products, are torched in large fires with billowing poisonous black smoke, a practice perfected by organized crime. Now, after decades of these practices, the consequences are emerging – reports of tumors, scientific studies suggesting links, testimony of mob turncoats pointing to millions of tons of dumping. Everyone is scared, inhabiting what feels likes a living graveyard.



Greg Kahn (b. 1981) is an American documentary photographer. Kahn grew up in a small coastal town in Rhode Island, and attended The George Washington University in Washington D.C. In August of 2012, Kahn co-founded GRAIN Images with his wife Lexey, and colleague Tristan Spinski.

Kahn’s work concentrates on issues that shape personal and cultural identity. His clients include, The New York Times, Nike, stern, The Wall Street Journal, and Washington Post Magazine. In 2011, Kahn was a finalist for the Pulitzer Prize for his work on the foreclosure crisis in Florida and in 2014, with The Sleep Of Reason, he was shortlisted for the Emerging Photographer Fund.


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Greg Kahn

jill corona – creature of the west


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Jill Corona

Creature Of The West

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There is a creature that dwells in the warm desert of the West, one with searing red eyes that blink slow & steadily like a long hot drag of a cigarette burning in the night. It’s tentacle-like arms are generations of families that have lived and died in a rusty basin where copper runs deep, Saguaro is plentiful and the summers are blistering hot. It is a pulsing, living (and dying) congregation of community and people, with both despair and hope strengthening it’s strong-reaching roots. Within it’s clutches are stories of life and survival, as well as death, decay and environmental deterioration.

The images and work in Creature of the West are an attempt to capture and preserve what’s left of a dying American smelter town.



I am a photographer currently living near Phoenix, but was born & raised in the small mining community of San Pedro near Hayden, Arizona. I have been documenting the crumbling presence of my hometown as it struggles with environmental issues (high cancer rates and toxic clean-ups) as well as social, community and economic obstacles (drugs, crime, destruction). I travel from Phoenix to San Pedro as often as possible endeavoring to record (with photographs) the deterioration of the people, environment and community spirit of this beloved, mostly Hispanic barrio as it faces a questionable future.

 This work was shortlisted for the Emerging Photographer Fund 2014.




For me this is a lazy Sunday afternoon. Seems I don’t get many lazy Sunday afternoons. Yet I am cherishing this one. It’s cool outside, I have a fire going, and I’m just talking to my cats. They do not seem to be listening, which is fine.

I have been shooting quite a bit in Rio since 2010. First with a NatGeo piece on Rio. Straight up documentary photojournalism. Then with my book, (based on a true story), which does not mention “Rio”  at all. Why? Because my personal life was mixed in the with pure documentary and I did not want anyone to think (based on a true story) was a “report” about Rio de Janeiro. It was all documentary, but it was not journalism.

Now with the upcoming BeachGames zine (photos here) I went all out and didn’t make any attempt at mixing a reportage coverage with the life I was living. So BeachGames is on the same stage as (based on a true story) except that it is a true story. Again, not journalism at all, yet a personal diary of my 3 months of shooting within the last year. Black & white. Conventional wisdom told me not to go back to the same well. Suicide creatively? Trying to do the same thing twice?  Yet I felt like doing it, so I did it. No other justifications. I will take the critique.

Yet now I am done. Finished with my photographic romance with Rio. Will I return to Rio? Sure I will. For vacation, for workshops, to see my good Carioca friends. Yet I know when I am finished shooting something. In this case, it took two books to finish. Both with different moods, both with different things to say. Both taking me away from conventional reporting and closer to the novella mentality, where I think I will stay. In the end, novelists interest me more than reporters. I see a type of truth in fiction. All barriers lifted. Nobody really makes things up. You cannot write  about or photograph something well if you have not lived it. I will leave straight reportage for others who do it so well.

After years of using one place as fodder for work, when its over there is some sort of post shoot nostalgia. A sweet exhaustion. The way we all feel after we have put everything into something. Knowing we did all we could do, yet always wondering if we could have done more. Yet I feel I really squeezed the lemon. No more juice left. Time to move on. Cuba? Cartagena? or just my own Outer Banks world? I cannot know right now.

Ok time to go take a hike in the dunes. Late afternoon light beckons. My cats will follow me. Rio seems far away. Yet always always near.

-david alan harvey-