Victor Cobo – Remember When You Loved Me


Archival Chromogenic Print 30 x 40 inches (Edition of 5)

Victor Cobo

Remember When You Loved Me

When I was four years old my parents went through a torturous divorce. My father had been using all manner of drugs and was an acute alcoholic. The relationship had been abusive, often to the point of serious violence, and finally my mother had no choice but to flee with me. Eventually my father sobered up and retreated back home to a remote area of the Appalachian Mountains in Kentucky. Sadly, he is now so sick and delusional that he thinks nothing is wrong with him, that all the world’s evil and malice lie outside of him. He is a bitter and eccentric recluse.



As a child I was sent to visit him during summer breaks from school. Each day he would insist that we go out so he could take photographs of me. Years later I realized that the pictures he was making were illustrations of an imaginary relationship. One that he had created in his mind. The last time I saw him was twenty years ago. His mother had passed away and I had gone to her funeral where he lives in Manchester, Kentucky. To my surprise I discovered that he was still obsessed with our “imaginary” relationship. This delusion had become his secret universe, hidden away from the rest of the world. In most of the pictures of us he had scattered around his house, I was not smiling: proof that even at an early age I did not trust that this ‘relationship’ he as attempting to depict was in any way real. The pictures were fiction.

Much of my photography stems from these strained, unnatural years. In many ways the private universe that reveals itself in my work is my own mechanism of escape. As much as it is difficult to admit to myself, I know that I am like my father. There is a sense of ever growing isolation, thus photography has become my therapy. I am intrigued by life’s dark curiosities. Transfixed, my father’s gifts are an ambiguous burden of vast weight. They are what I have; what has me.




Victor Cobo was born in 1971 to a Spanish mother and an American father. His autobiographical pieces explore lurid and playful melodramas. His photographs are noted for their psychological penetration, and for their often discomforting examination of uncertainty and inexpressible fears. Cobo is a self-taught photographer who draws inspiration from Surrealism, Filmnoir and German Expressionism. Repeated visits to The Museo del Prado in Spain with his taxi-driving grandfather and seeing midnight thrillers with his poor and drug-addicted father as a child changed his life. In 2007 his works were included in “Masters of American Photography” at the Amon Carter Museum of American Art with William Eggleston, Robert Frank and Lee Friedlander. In 2010 Cobo’s works were included in “Hauntology” at the Berkeley Art Museum and Pacific Film Archive, alongside such artists as Francisco de Goya, Francis Bacon and Diane Arbus. The exhibition was curated by Scott Hewicker and Lawrence Rinder.

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Victor Cobo

Get Victor’s booklet here 

Chris Occhicone – Uman

Chris Occhicone


Uman, Ukraine – Rosh Hashanah During Soviet times a few devout Jews guarded the tomb of Rabbi Nachman of Breslov. A handful of pilgrims would make the trek to visit the city of Uman, Ukraine and pray at his tomb. The founder of the Breslov Hasidic movement promised to intercede on behalf of those who visit his grave at Rosh Hashanah, say the proper prayers, and make a charitable offering. In 1989,after the fall of Berlin Wall, 1000 visited. The pilgrimage has steadily grown. Now, despite the growing crisis in Ukraine, over 30000 Jews primarily from Israel and the New York area descend on the city for the holiday.

The Uman pilgrimage has developed into an industry. There are extra flights to Kiev, tour buses, and extra security provided in a joint effort between Ukrainian and Israeli police. Wealthy sponsors from New York organize food for thousands of people. The area around the tomb is cordoned off and Ukrainians need a specially issued ID to enter a district in their town. The pilgrimage is unique in that it attracts Jews from across the spectrum of religiosity; from the secular looking to be “born again”, to Israeli Zionists in track suits, to hippy Na Nachs in white robes, to the most devout Hassidim. In a rare instance of harmony across the spectrum of Judaism, politics are put aside and they pray, eat, and dance together. Relationships with the local are generally positive but at times strained. The unemployed and students flock to get day work shlepping luggage, working in one of the dining halls, or selling toys and souvenirs in a makeshift market. They express mixed feelings about their guests; at once happy to put a few dollars in their pockets, reflective about the long history between Ukrainians and Jews, resentful of the takeover of their city. However, most express pride in the overall amicable atmosphere. They are painfully aware that the pro-Russian separatists have portrayed them as Fascists and are concerned about their reputation, remaining vigilant against groups of neo-Nazis who have come to town to instigate trouble in past years.

Over the course of the week the atmosphere is always changing. In the tomb itself you will find the devout lost in personal prayer, men crying with both joy and sorrow, groups lost in conversation and study, pilgrims soliciting donations to pay for their next meal or their ticket home, music and dancing – all happening at once. A festive atmosphere leads up to the actual holy day. On Rosh Hoshanah itself, the atmosphere fluctuates from charged and frenzied, as 30,000 pray in unison in the street, to contemplative, as many wander off to pray in small groups in the forrest. The party picks back up once Shabbas is over. Then, the city explodes; expressing joy in the fact that Rabbi Nachman has interceded on their behalf and the knowledge that their sins will be forgiven on Yom Kippur, the day of atonement.



Based in New York, Chris graduated from the Documentary and PJ program at the International Center of Photography and participated in the Eddie Adams Workshop and the Missouri Photo Workshop. A regular contributor to Newsday, he has also done projects in Libya, Ukraine, Poland and Cambodia. His work has been featured on Time Magazine’s Lightbox, Al- Jazeera and LensCulture. His project Fringe was a finalist in the LensCulture Magazine Visual Story Telling Awards, was screened at the Visa Pour L’image photojournalism festival, and was featured in the 2015 alumni show at the International Center of Photography which he also co- curated.

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Chris Occhicone

The Day After in Paris

Alfredo Chiarappa

The Day After in Paris

Friday 13th november. As usual in this part of the year, I come to Paris to visit Paris Photo and meet colleagues and friends. Around 10 o’clock, after a book launch in a little bookshop close to Rue de Menilmontant, we decide to drink something before going to the next party. Suddently, the barman switches channels on the tv and we hear what’s happening in the city. One of the places under attack is close to our house, in the neighborhood of Goncourt. At first we try to take a taxi, but it is impossible to get one, so we decide to take the metro and get off on the next stop, in order to reach our home by foot, despite the police recommending us to avoid that area. Once at home we take our cameras and head to the places that have been attacked, but cops prevent us from doing so. Therefore my choice for the day after is to visit all the locations of the terrorist attacks and concentrate myself on the feelings of the people that showed up in the streets to commemorate the victims, despite a ban on public meetings.



Born in Melfi in 1982, Chiarappa graduated in Graphic Design at Politecnico of Milan. His work has been focusing on young generations in countries that have undergone strong political changes. Chiarappa started his professional carrier in 2011 with a project concerning how young Russian genera- tions spend their nights in St Petersbourg. The project name is “Crossing Leningrad” and was published on Burn Magazine; part of it was published in Italian magazines such as D – La Repubblica. Since then Alfredo has been working as a freelance photographer and film-maker for editorial and corporate works. Among his clients you can find Leica, Nikon, The Chamber of Commerce of Milan, Itinere (Trenitalia), Regione Abruzzo, Fujifilm, L’Espresso, D-La Repubblica, Gioia, Cafebabel. Chiarappa is currently based in Matera, Italy.

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Alfredo Chiarappa

Paolo Marchetti – Requiem Child

Paolo Marchetti

Requiem Child

In Nicaragua the economic and social precariousness often induces parents to definitive and extreme choices. The illusion of a better future means that they leave their children to be subjected to various forms of violence, thus forcing them to give up schooling and pushing them into the heart of harsh experiences. In Central America and especially in Nicaragua, although compulsory education is planned up to 12 years, according to World Bank estimates, around 10% of children under 18 years living and working on the street. According to recent studies, approximately 320,000 children and young people between 5 and 14 years of age are forced to work. Three out of five Nicaraguan children working in agriculture. Others roaming the streets of Managua, cleaning the windshields of cars for a couple of pesos. In Managua nearly 1,000 children live on the largest garbage dump in Central America, “The Chureca” where rummage in search of food or recyclable materials, which can later resell on the streets of the city. Thousands of homeless children roam the streets without food, without the possibility of education and without the support of a family. Most of them sniff glue. Rampant is the phenomenon of “pandillas”, gangs made up of boys who often end up killed or detained in various prisons in the country. But Nicaragua only represent a small slice of pie, in fact in all the world this phenomenon is huge. For instance the estimation of working children aged 5 to 17 years amounts to 215 million, 115 million are involved in the worst forms of child labor (Source: ILO).
 Many suffer harassment, physical violence, psychological and sexual abuse inflicted particularly by “employers”. For 2011, the ILO (International Labour Organization) will also focus on the most dangerous forms of work, those that would seriously damage the health, safety or the psyche of children. The United Nations estimates that every year between 500 million to one billion and a half of children all over the world are subjected to some kind of violence, from the obligation to work enslaving, to the most various forms of exploitation and abuse, such as recruitment into gangs , prostitution or worse the experience of detention in prisons, devoid of rehabilitative programs and reintegration into society. 150 million girls and 73 million children are forced into sexual intercourse. In the world about 215 million children have to work to help their families of origin or survive. Children under the age of 14 who work are 176 million. 1 million children are detained in prison, this estimate is probably much lower than it is in reality, since often are not available informations on juvenile detainees awaiting trial.



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.

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Paolo Marchetti

Magnum Square Print Sale

Magnum Square Print Sale

I was planning to write a story this morning on the Rise and Fall of National Geographic Magazine. Yet let me think about that one. I’ll write it later. Requires some thinking.

So the story I am writing instead is a bit different. And easy. The Amazing Continued Survival of Magnum Photos.

Magnum has outlived all of heretofore photo platform clients. All the big picture magazines where Magnum photographers cut their teeth, have now gone by the wayside. Yet Magnum photographers thrive and survive doing things their way.  70th Anniversary upcoming.

Sure, stories of Magnum‘s demise too have been out there in photoland since the beginning. Every year I hear rumours that Magnum is over…Yet…..

It’s a new day and Magnum is still here. Deservedly so. After all in a helter skelter world of visual noise in photography, Magnum alone stands tall. Even the other respected cooperatives like VII and Noor pay homage to Magnum. Our roots are their roots. Sure everybody grumbles especially the Magnum photographers, yet only Magnum stands for authorship, authorship and authorship.

The new Square Print Sale now going on at Magnum ( is a new business model that works for everyone. Spend a hundred bucks and get an archival signed print by Davidson or Parr or D’Ágata and you’ve made a good investment. This is our 4th flash sale to great success. Why? Well this is a very very good deal and literally gives art value for those who may not be able to afford our full sized collector prints. Power to the people.

Some who may have bought at each sale now have 3 signed prints for $300. Unbelievable actually. Sure it works for Magnum too, yet this is just one of those symbiotic ventures where everyone comes out ahead.

The Magnum photographers themselves and staff are buying these prints.

Does selling inexpensive prints undervalue Magnum? I don’t think so.The power collectors will still invest in our larger prints. This is simply a different market. Yet will I think have even the more heavily pocketed collectors taking a look at the collector box. None of these prints will do anything but go up in price. Most likely people won’t re-sell their prints, yet everyone likes knowing their art purchases grow in value.

By the way,if you are a young photographer, aspire to Magnum. This will take some doing on your part. Do your homework and you will see there is nothing else quite like it. If you have something to say as a photographer, Magnum is the place to say it.



Get your print here:

Sam Harris – The Middle of Somewhere

Sam Harris

The Middle of Somewhere

Sam Harris is an uncommon man. He’s at home more than most. Taking care of his family and photographing his two daughters growing up along the way. His latest book “The Middle of Somewhere” is a visual testament to his family dedication. This is Sam’s second book on his family, the first being “Postcards From Home”. Both essays were featured here on Burn prior, so yes we are proud.

Like all of us , Sam needed help.

Our previous post on Kerry Payne Stailey is not the end of the Lucie Awards story. ceiba just became the Lucies “Publisher of the Year” and Sam’s “Middle of Somewhere” was the chosen title. ceiba is a book publisher starting 18 months ago in collaboration with Eva-Maria Kunz. This is the second book from ceiba, having published Zun Lee‘s acclaimed “Father Figure” last year. Eva teamed up with picture editor Candy Pilar Godoy for both collaborations. Eva and Candy got their start in the publishing business with my book “(based on a true story)” , BurnBooks 2012. Eva as producer and Candy as a “character” and picture editor. I am forever grateful. The two also played roles at BurnMagazine, so it’s clear the Eva/Candy team can rock the house down. Branches off the tree. Applause. 

Naturally we at Burn are pleased with all of this. After all the stated goal of Burn since Anton Kusters and I got it rolling in 2008 was to provide a platform for heretofore unknown talents at a time when traditional outlets were dying. 

Good on you Sam Harris. The book looks and feels terrific. The work in it poignant and sublime. It is at the end a true family affair.





Sam Harris is a photographer and educator. As a teenager he taught himself photography, turning his London bedroom into a makeshift darkroom. Throughout the 90’s Sam photographed portraits and sleeve art for numerous recording artists. He also worked as an editorial photographer for publications such as The Sunday Times Magazine, Esquire, The Sunday Telegraph Magazine and Dazed & Confused. The over commercialization of the music industry during the late 90’s was the catalyst for a change in direction, both personal and photographic.

Sam’s photobook Postcards from Home (a self published limited edition) has received several awards including the Australian publishing industries Galley Club Award ‘Australian Book of the Year’ 2012.

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The Middle Of Somewhere book

Follow Sam Harris on Instagram: @samharrisphoto

Sam Harris

Kerry Payne Stailey – Left Behind

Kerry Payne Stailey

Left Behind




Kerry Payne won a coveted Lucie Award this week for this essay Left Behind on suicide,  and also for her The Children I Never Had. A remarkable two story validation for work that came from her own personal pain in both cases. Kerry is by all accounts a joyful woman. I never met anyone so optimistic. Yet she digs deep. Deals with her personal tragedies by using photography to heal herself and to help others. Brave. Noble. Both of her essays were published first here on Burn. So naturally we are very proud of Kerry. 

What is even better? I know for sure that Kerry will only use this award as a springboard. She will not stop here. The woman knows no bounds. I am already looking forward to where she takes us next. For sure she will take us someplace we have never been before.




Kerry Payne Stailey is an Australian photographer based in New York City. She is drawn to the healing power of photography – a tool she uses for exploring and acknowledging emotions as guides to the path of happiness. Her long term project “Left Behind” probes the complicated grief facing those left behind when somebody they love dies by suicide.


The Children (I Never Had)

‘The Children (I Never Had)’ explores the bloody battle of infertility, of hope and loss, played out monthly by women everywhere in their fruitless quest to become mothers. Our year of reproductive discontent was poetic and confronting and bittersweet, so like the melancholy I carry for the babies I did not. These are the children I imagined would be ours, and the menstrual blood that defied us, every twenty eighth day.


I was not called to be a mother
all the years I might have been.

now there is him
and in his eyes I see them,
the children I never had.

calendars turn
a battle of wills

forgive me, love
my body has won.

so quietly
we grieve
the babies I bleed.


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Kerry Payne Stailey


Broertjes Geert – 1 Year

Broertjes Geert

1 Year

I have a strong desire to photograph everything that’s happening around me. I do it for myself as a diary but also to translate my reality into images. And finally to create a new reality with those images, a fictional story with events that really happened. The mood shown in my photography is mysterious, melancholic and dark. This has to do with my view on the world, I love the intensity of life. I am fascinated by the world. If I walk in a city, I sometimes feel like walking in a strange theatre play, the play “of life.” All those different people, in all those different cities are in their way, no matter how different, surviving. Nobody knows what we are doing here, what our task is or where we are going. So we try to create the best conditions for ourselves. With photography I can explore that world. But I am not interested in the reality of things, because I do not think it exists. My reality is different than that of a friend or family member. And is completely different from someone who grew up in a different culture. For me, photography is the tool to create my own reality. To show how I look at the world. This project shows the process of the loss that happened to me. In a very short time I lost my aunt , grandmother and mother. Photography was an unconscious reflex. I shared my grief with my previous girlfriend so she became a recurring theme in this series. The moments that we shared together show the beauty , intensity , pain but also the joy after a series of painful events. 




Born in 1987, Amstelveen. I’ve always been fascinated by photography. My mother always took pictures all the time of holidays, birthdays and everything else with family and friends. So it was not in a professional way she did it, but for me my interest in photography was born. After working at a photo shop at the age of 15 I knew it, I wanted to be a photographer. I started to make photographs myself with the old camera from my grandmother, just playing around nothing really serious. When I became 19 I went to college. The photography was in the background because I had other things on my mind…having fun and being young! I finished the study Media & Information Managemnt in 5 years and after that I finally went to the Photo Academy in Amsterdam. After 4 years, at the age of 26, I graduated. Since 1 year ago I’m working as a freelance photographer. I have some nice commercial clients to pay the rent. But if I’d have a bit of money I’d pack my stuff and go photographing everywhere I can.


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Broertjes Geert

Michael Weintrob – Instrumenthead – The Book

Michael Weintrob

Instrumenthead – The Book

INSTRUMENTHEAD is a photographic series created to tell the story of the musicians without showing their faces. You’re invited to be a part of the making of Instrumenthead – a fine art hardcover book that presents musicians in a way you’ve never seen before. “Exhibiting my Instrumenthead portraits has been a dream come true.” says Weintrob “With your help, I hope to publish a full color fine art book. A portion of the proceeds will benefit the Music Maker Relief Foundation, a non-profit organization that preserves and promotes the rich musical traditions of the American South. Also, non-profits, Tipitina’s Foundation, New Orleans Musicians Assistance Foundation, and Rock the Earth will share in a portion of the proceeds and 5 percent of the money raised will go to charity.”

New Orleans music icon Allen Toussaint says about InstrumentHead: “When you mix art and music together like you’ve done here, it’s just phenomenal. It doesn’t get much better than this.”



To purchase the book and prints and other crowdfunding perks visit:

For more info contact:




Photographer Michael Weintrob has been taking photographs of celebrated musicians around the world for over 20 years. His images have been featured in a number of renowned publications, including Rolling Stone, SPIN, Jazz Times and Newsweek. From traveling the world to shoot bands and artists performing live for thousands of fans to intimate portrait shoots in his Brooklyn studio, Michael brings his love of great music and artistry into his photos. Michael Weintrob has also createdInstrumentHead, an ongoing series of photographs that convey a sense of magic and mystery. InstrumentHead features a glimpse into the psyche of renowned and emerging musicians and bands.


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Michael Weintrob


Probal Rashid – Climate Crisis in Bangladesh

Probal Rashid

Climate Crisis in Bangladesh

Bangladesh is one of the countries most vulnerable to the effects of climate change. The regular and severe natural hazards that Bangladesh already suffers from – tropical cyclones, river erosion, flood, landslides and drought – are all set to increase in intensity and frequency as a result of climate change. Sea level rise will increasingly inundate coastal land in Bangladesh and dramatic coastal and river erosion will destroy lands and homes. These and the many other adverse effects of climate change will severely impact the economy and development of the country.
One of the most dramatic impacts will be the forced movement of people throughout Bangladesh as a result of losing their homes, lands, property and livelihoods to the effects of climate change. While it is impossible to predict completely accurate figures of how many people will be displaced by climate change, the best current estimates state that sea level rise alone will displace 18 million Bangladeshis within the next 40 years. The vast majority of these people will be displaced within Bangladesh – not across international borders – presenting the Government with enormous challenges, particularly when it comes to finding places to live and work for those displaced.



Probal Rashid is a documentary photographer working in Bangladesh, represented by Zuma Press, USA. He has studied a Post Graduate Diploma in Photojournalism through a scholarship program of World Press Photo at the Konrad Adenauer Asian Center for Journalism (ACFJ) at Ateneo De Manila University in the Philippines. He also holds an MBA.
His works have been published in many national and international newspapers and magazines such as The National Geographic, Forbes, GEO, New York Post, Days Japan, Paris Match, The Wall Street Journal, Stern, RVA, The Telegraph, Focus magazine and The Guardian. Moreover, his photographs have been exhibited in Bangladesh, Germany, Indonesia, Japan, Thailand, Malaysia, UK, USA and some of his works selected by the Kiyosato Museum of Photographic Arts for their permanent collection.
Probal is the recipient of numerous awards for his work including the Pictures Of the Year International (POYi), Days Japan Photojournalism Award, International Photography Awards (IPA), China International Press Photo Award (CHIPP), NPPA’s Best of Photojournalism Awards, Yonhap International Press Photo Awards, KL International Photo award, FCCT/OnAsia Photojournalism, “Zoom-in on Poverty” Global Photo Award, CGAP microfinance photo award, International Year of Biodiversity Award.

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Probal Rashid

Kesteleyn An-Sofie – A Lamb named Beauty

Kesteleyn An-Sofie

A Lamb Named Beauty

A Lamb named Beauty shows the life of two twin sisters Kimberly and Gwendolyn. The series started in 2007, when the sisters were 10 years old. They live in a Flemish village in Belgium, close to where I grew up.



I tried to give a candid impression about how the twins take care of each other, and the many animals that are gathered around them. The twins seem to live in a domain all of their own, taking strength from their love from one another. I got to know the girls when they were ten years old and have continued to photograph them off and on ever since. As the twins grow up, carefree play makes way for increasing self-consciousness.
In December 2014, they turned eighteen.



An-Sofie Kesteleyn was born in Oudenaarde, Belgium, and took up photography when she was 18. In 2011 she gained a master’s degree in photography from the Royal Academy of Fine Arts in Ghent (KASK). After that, An-Sofie started working as a freelance photographer for the Dutch daily de Volkskrant, de Standaard and Vrij Nederland. She also works on independent photo-essays, focusing mainly on people and the ways they live. In 2011, she was a finalist for the Ian Parry Scholarship as for the Magnum Expression Award. In 2013, she was a participant of the Joop Swart Masterclass and got an honorable mention for the Unicef Photo of the Year Award in 2014.

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An-Sofie Kesteleyn

Pablo Piovano – The Human Cost of Agrotoxins

Pablo Piovano

The Human Cost of Agrotoxins


The first survey of areas affected by glyphosate spraying in Argentina revealed that 13.4 million people — one third of the country’s population — are affected.

In 2012, 370 million liters (98 US million gallons) of agrotoxins were used over 21 million hectares, which represents 60 percent of the country’s cultivated land area. This meant that in a decade, cancer cases in children increased threefold and malformations in newborn babies went up 400 percent. So far, in spite of the weight of the formal complaints, there has not been any official systematized information.

The turning point occurred in 1996, when the Government approved the commercialization of transgenic soybeans and the use of the herbicide glyphosate. From then on, the arable lands of the country became an experimental field where dozens of scientific studies and medical surveys speak of the sanitary disaster.

Argentina approved the GMO (genetically modified organism) without conducting their own studies, taking as scientific evidence only the works published by the Monsanto Company. The transgenic soybean cultivation was authorized in only three months through an administrative procedure.



This work has been driven by my love and tribute to Mother Nature. A critical view of bad use of knowledge and technology that over time drags the “civilization” into losing memory on our ancient sacred relationship with nature.

Important media enterprises have perversely hidden the outrageous numbers of affected population, and became accomplices of those directly responsible like Monsanto, politicians, important landowners and seed pools.

That is why I decided to work to take evidence on this situation, spending long days by my own, travelling over 6000km on my own 20 years old car, and my camera as my contribution to stop this to continue.




Pablo Piovano was born in Buenos Aires on September 7, 1981. He has been a staff photographer for the Pagina/12 newspaper in Argentina since he was 18 years old.
In 2005 and 2014, he received scholarships from the Garcia Marquez Foundation.
During 2001, he documented the tragic events occurred during the social and political crisis in Argentina, and in 2002, he published the book Episodios Argentinos, Diciembre y Despues.
From 2004 to 2008, he coordinated a photography workshop for children and teenagers at risk at Isla Maciel neighborhood in the City of Buenos Aires.
Since 2006 until the present, Piovano has exhibited every year at the Palais de Glace at the ARGRA (Photojournalists Association of Argentina) Annual Exhibition.
In 2014, he presented an individual exhibition, “Portraits 2004-2014” at the Documentary Photography Biennale of Tucuman, featuring portraits of many influential figures in the country’s politics and culture.

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Paolo Piovano

Raffaele Petralla – Mari People, a Pagan Beauty

Raffaele Petralla

Mari People, a Pagan Beauty


There is a population with Finnish ancestors living in a rural area near Joshkar-ola, in the Republic of Mari-El, Russia. They are called Mari, speak a language belonging to the Ugro-Finnic and use a modified version of the Cyrillic alphabet. They settled in this area around the fifth century a.C. The current population is about 600,000 people.
The Mari are the last pagan population of the West. They live in symbiotic relationship with nature, which is celebrated as the basis of their existence. Nature exerts a magical religiosity on people. It is the mother who protects man, beneficial as long as he does not try to destroy it. The cyclical nature of the land merges with the ancient pagan practices. The faith of the Mari worships the gods of the four natural elements.



In the sixteenth century, Christianity was imposed on them by Ivan the Terrible and their territory was annexed to the Russian Empire. However, the religious subjugation was never fully accepted, they in fact retain their beliefs in a significant amount of pre-Christian elements. In the twentieth century, with the rise of the Soviet Union, it was officially forbidden to celebrate rituals and sacrifices. During the Cold War many prominent personalities of the Red Army, fascinated by their magical power, turned in secret to the Mari spiritual guidance looking for answers on the possible outcomes of their military strategies. In the 90’s the economy of the Mari, which was based on agriculture and livestock, entered a crisis with the dissolution of the Soviet Union. Poverty and unemployment led young people to migrate to the big cities in search of a stable future, abandoning their villages and their ancient traditions.
In this journey back to the origins of man, in search of languages and cultures not yet disappeared, i came across this peasant ethic not yet affected by time. Among dances and forests, a pagan beauty emerges from this forgotten people.




Raffaele Petralla (33) is a documentary photographer. He graduated from the School of Roman Photograph with a three-year master in 2007. His research focuses on environmental issues and socio-anthropological. Winner of awards and honorable mentions of international level. His works have been exhibited in several important European galleries and published in many magazines.

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Raffaele Petralla

Panos Skoulidas – Death In Venice

Panos Skoulidas

Death in Venice

[ The Book ]



“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



“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
edition of 1000 copies
dimensions: 28cm x 43.2cm, 68 pages


Order “Death in Venice” here

Panos Skoulidas - Death in Venice (book cover)

Panos Skoulidas – Death in Venice (book cover)



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!



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!!!!!!!

– Panos


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


David Alan Harvey

Tell It Like It Is

[ Published by BurnBooks ]


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




David 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 a photographic slice of another era, and a small piece of one family’s history in the U.S.