[photo credit: ©Marta Berens – finalist EPF 2015]
A FEW HOURS LEFT to apply to the EPF 2016!
Enter by TONIGHT May 2nd (6pm PST) and there will be time to complete, re-edit or change your submission till May 5th, 2016 (PDT).
burn is an online feature for emerging photographers worldwide. burn is curated by magnum photographer david alan harvey.
[photo credit: ©Marta Berens – finalist EPF 2015]
A FEW HOURS LEFT to apply to the EPF 2016!
Enter by TONIGHT May 2nd (6pm PST) and there will be time to complete, re-edit or change your submission till May 5th, 2016 (PDT).
This series is taken from ““Prypyat mon Amour”, essay we published on Burn Magazine time ago. Now it is a book, published by Distanz Verlag, just presented during these days of Chernobyl anniversary. The work is currently being exhibit in Kanya Berlin at Chorinerstr str 81.
Irina and Sergei met in August 1985. She was only 19, studying to be a teacher. He was fresh out of the army, 25 years old. They liked each other instantly, and it didn’t take long to fall in love. Where love existed, marriage followed – at least back then, in the Soviet Union.
Sergei was a member of the Komsomol – that’s where they came up with the idea to have an alcohol-free wedding for the young couple. After a moment of hesitation – what kind of party is without champagne and a drunk annoying uncle – Sergei agreed. Probably because he knew that his new father-in-law’s birthday was the day after the wedding.
And no one talked about an alcohol-free day after the wedding, right? Free tickets to a resort in the Baltic Sea and an immediate flat offer (a treasure for a young family expecting a child) sweetened the deal.
The wedding was planned on the afternoon of April 26, 1986.
The groom managed to buy a striped suit and an imported shirt and shoes, topping the ensemble with a bow tie. All these fancy clothes – so rare in the Soviet Union. Irina ordered a white dress from a local atelier, and bought a fashionable white hat instead of a veil.
The night before the wedding went peacefully enough, except for a weird thunder blast waking both the couple up some time after midnight. They accepted the possibility of be rain on their wedding day, and fell back to sleep.
On the morning of April 26, Sergei ran out to the market to buy roses for the ceremony.
By then, the town was already closed and no vendors from outside were let in. The only flowers he found in the town were yellow narcissus – a totally inappropriate gift to the woman with whom you are planning a long and loving marriage.
Meanwhile, the town started filling up with firefighters and soldiers in chemical protection suits. The rumor spread: an accident had happened at the station. No one knew the details.
Irina and Sergei proceeded with their wedding plans – they became the 7th and the last couple to be married that day, the last couple to be married in the town of Pripyat ever. A television crew from Kiev, which was supposed to attend the alcohol-free ceremony, didn’t come.
After the wedding, the newlyweds and their witnesses went to the Monument of the Unknown Soldier to lay flowers – a tradition of all Pripyat couples.
On their way they were stopped by soldiers who didn’t want to let them through. The young people didn’t take it seriously, joking and begging to be let through to lay the flowers and take some snaps. It was only later, that they found out that the radioactive wave coming from the burned reactor went exactly by that monument. The pictures they took there couldn’t be developed and the roses turned to dried herbs before the couple even returned to Pripyat.
Irina tried to revive them by putting them into a bathtub filled with cold water but that didn’t help. Years after, when they visited Pripyat for the first time, there were still the remains of the flowers in that tub.
Meanwhile a friend came from the station and told them what happened. After dealing with the initial shock, everyone, sober, frightened and unsure, went home.
The wedding night ended at 3 in the morning, when the witnesses urged Irina and Sergei to jump out of the bed, quickly change their clothes and run to the diesel train which was going to the city of Chernihiv.
Fire trucks were spread throughout the town, dosing the asphalt with the anti-radiation foam, and Irina, who blistered her feet in her new wedding shoes, had to run barefoot through puddles of radioactive water.
They jumped onto the train with hundreds of scared others. On the way to Chernihiv, the train passed the burning 4th reactor. Someone opened the door of the diesel a little to see what had happened. All they saw was the crimson glowing spot of a burning reactor in the distance.
This story might sound like part of a movie script, but it is a real story of real people, parents of my friend and classmate Katya, who might not have lived if her mother, three months pregnant on the day of the accident, would have been persuaded by the medical personnel to have an abortion.
The risk of having a sick, abnormal and even deformed baby was very high and a lot of pregnant women were almost forced to terminate their pregnancies.
Irina didn’t do it and now is a happy mother and – now already a grandmother to a beautiful and healthy girl Varya, Katya’s daughter.
One day, Varya will be old enough to hear the story of how her grandparents got married on the day of the Chernobyl nuclear power plant accident in the now-deserted and abandoned town of Pripyat. And she will know from the beginning that the story has a happy end.
Where is our fate?
“Greetings to you, my Marys’ka,
Oh, if only you knew how sad I am here without you. Yesterday I went to Lesha and we drank a whole bottle of Fanta together out of despair (I saved it for a week).
We shared memories, and found out that we are for more than three years in Pripyat already and that the Moscow Olympic Games were four years ago!
It was so long ago. We even went to Shevchenko, and then to Chelyabinsk, and then Vysotsky died (really!? Already four years!?). Ah, indeed. We came to the conclusion that from the 1976 to 1980 thrice more time has passed than from 1980 until 1984.
And it is almost exactly four years since we first arrived in Pripyat with Vovik for our externship. It was September 20, the sun was shining in Moscow, in a dormitory (at Hospitalny Lane), we had a farewell with portwine and dry wine.
Vysotsky sang from the tape recording (he was already deceased for two months – a fresh wound):
“Where is our fate, – may be here, may be there
Where is our fate, – may be here, may be there
Where is our fate, – may be here, may be there.”
Later that song pounded in my head to the clanging of the dishes. I was thinking – maybe here, or maybe there?
It is crazy how young I was. And how wise I am now!
Pripyat, 07.10.84, Su. 17.35
Alina Rudya is a Ukrainian-born photographer, currently living and working in Berlin, Germany.
From Instagram post:
I’m teaching my granddaughter Lyla,2, how to look at life through a viewfinder. To have the eye of a hawk and the deftness of a deer. She gets it. I’m also teaching her the difference between the dozens of pictures she sees on the iPhone and the tactile nature of fine prints and finished quality books. She gets that too. She listens, she learns.
I’m training her to be the recipient of the Emerging Photographer Fund (EPF) grant in 20 years.
Right now in 2016 BurnMagazine is awarding $15,000. in grants for an emerging photographer through the Magnum Foundation, supported by generous private donors, and Fujifilm for the Young Talent Award for photographers under 25. I started this @burnmagazine fund in 2008 to aid worthy emerging photographers who needed a boost with projects of merit. We have an international jury of respected curators and editors to choose this year’s recipients. See BurnMagazine.org
The EPF recipients will be announced at LOOK @look3festival in Charlottesville,Va in early June. The deadline for your submissions is May 2, 2016. Lyla is growing up bombarded with images at the same time she’s learning to speak and write. Learning two languages at once. Maybe a little Spanish too.
In any case I will try to impart early for her, as I do with all those I mentor, the importance of finding her own voice, her individual authorship, and her precious special offering in an often chaotic world. Looking at life through a viewfinder is not myopic. Sorting moments and shapes and emotions in a ” frame” only opens a panorama of unlimited creative possibilities and high adventure. It’s all about the eye. Go Lyla!!🎈 -dah-
“Tokyo Unmasked” saw the light when, after days of wandering around the streets of Tokyo with the intent of meeting “real Japan”, I realized that the biggest challenge a foreigner has is to meet its inhabitants. Truth be told, one cannot avoid to notice how comfortable Tokyoites are in the surgical masks they wear in public. And even though hygiene seems to be the reason behind this habit, my gut told me this cannot be the case, not in all the circumstances. I returned to the streets of Tokyo with the intent of asking passers by to take off their masks and let me take a portrait of them. The great majority declined, but some showed trust, and accepted to unveil their face to me and to the audience. In the intimate process of getting closer with the lens to their naked face, while having them sitting on a stool at the edge of a sidewalk under the eyes of everybody, I realized what a big deal personal space is in Japanese culture, and how useful a mask can be to protect one’s own identity. In its race for technological supremacy, in all its methodical organization, meticulousness and politeness – the human Tokyo is happy to hide. All of the subjects are portrayed both MASKED and unMASKED, and displayed in a series of dyptics to be read vertically, as the Japanese language can be too. The exception is an old fisherman. He was wearing no mask and unmasked he was depitcted. Because he showed no fears, neither to the camera nor to life.
Ken Kamara is an English photographer active in the fields of art, fashion, music and advertising. After years of artistic search he found his voice in portraiture, as an unrivaled means to connect with humanity, unlock its hidden sides and make them visible to whom still cannot see. Like for TOKYO un MASKED, his portraits are all photographed using film and his beloved twin-lens reflex camera dated 1956.
Winner of EPF 2015 – Danila Tkachenko – Restricted Access
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.
In addition since 2015 FujiFilm is partnering with us to offer several prizes for our category “Young EPF Award”. It’s open to all photographers who are 25 or younger (born on Jan 1st, 1991 or later).
All you need to do is enter into the EPF… and if you’re 25 or younger, you’ll be automatically eligible for the “Young EPF Award” as well. Fuji offers a cash prize of $5,000 to the winner of the “Young EPF Award”, and also adds a camera valued in excess of $1,000. Additionally, they’re offering 4 extra cameras as well (all also valued in excess of $1,000 each) for different runners up.
Of course we are immensely proud of this partnership… and hope in this way we can give back even more to the young emerging ones amongst us… who just might need it more than we can ever imagine.
This all gets added alongside our existing “main” EPF grant which is already $10,000… and both the EPF grant and the Young EPF Award are not mutually exclusive, so you could potentially win both… imagine that.
The EPF is accepting submissions until May 2st… submit your story… if ever there was a time to emerge, that time is now.
(in alphabetical order)
Monica Allende | Photo Editor and Cultural Producer
Enrico Bossan | Creative Director Editorial, Fabrica
Yumi Goto | Curator, Reminders Photography Stronghold
Jacob Aue Sobol | Photographer, Magnum Photos
Maggie Steber | Photographer, National Geographic Magazine & NGM Women of Vision
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 two Emerging Photographer Fund grants were awarded:
one major to Alessandro Penso for his essay ‘Lost Generation’ and
one minor to: Birte Kaufmann for her essay ‘The Travelers’.
In 2015 two Emerging Photographer Fund grants were awarded:
the EPF grant Danila Tkachenko for the essay ‘Restricted Areas’ and
the FujiFilm/Young Talent Award: Sofia Valiente for the essay ‘Miracle Village’.
The Emerging Photographer Fund was created and is directed by David Alan Harvey,
and curated by Anton Kusters & Diego Orlando, with Francesca Gennari.
I have photographed memoirs from my daughter’s childhood for nearly six years. I’m more interested in collecting snippets evocative of her, rather than documenting specifics. My daughter has asthma and I never know when a mild cold will turn into an emergency. Naturally, I’ve developed a pervasive concern for her health. I want to create images that help remind us of the space and time in between the intensity. Most of the images I have from my own childhood are in my memories. Maybe this also influenced my approach to photographing her—a desire to evoke a fantastical sense of childhood. I have shot and edited this series exclusively on my iPhone. The phone is convenient and allows for a less invasive, more immediate response to what’s going on around me. I also see shooting on mobile as being part of something bigger. Mobile photography has reshaped what information is readily accessible, thereby more profoundly impacting how people perceive the world. In sharing glimpses of this tiny person’s life, I feel that I’m contributing to a broader, collective story. I hope that over time this series of short stories will form a more comprehensive portrait of her early years, leaving room for her imagination and memory to fill in the gaps.
Gwen Coyne is a graphic designer by profession and manages a digital marketing team in San Francisco, California. She studied painting and psychology at the University of California, Santa Cruz, but after graduation found herself drawn mostly to photography. Before beginning her design and marketing career, she worked as a counselor for severely emotionally disturbed children, conducting art workshops. In her spare time, she enjoys chronicling time spent with her six-year-old daughter and capturing sights from her cell.
“The next day he woke me up at 4:30 in the morning to watch the sun rise over the Sea of Galilee – the most beautiful sunrise in the world, he assured me. We sat on the shore and waited. At five o’clock the sun came up. By 5:15 it was trying to kill me, at 5:30 it succeeded, and I’ve been dead ever since.” – Meir Shalev
Sunburn is a body of work which explores the effects of the warming climate on the human condition. Sunburn approaches the element of light not in a romantic manner, but rather through an approach that aspires to reflect the essence of its source. A sun that warms and burns, comforts and wounds, hurts and heals. “SunBurn” explores the relationship between the photographer and his country, Israel, through the narrative of heat. It is a regional story that also aims to raise awareness and questions regarding global warming, our dwindling resources and how the desertification in the region has influenced the global balance. Photographing throughout the country in the months leading up to the 2014 war in Gaza, during the war and in the months after, Tchetchik conveys the often contradictory effects of the Middle Eastern climate on the physical and metaphysical landscape – a sun that warms, nurtures and comforts, burns, strikes and scars. A source that disregards borders and without discrimination, affects us all.
Daniel Tchetchik is a staff photographer and the chief editor of the photography blog of “Haaretz” Newspaper. He has displayed his personal works in leading museums and galleries in Israel as well as on international stages in NYC, San Francisco and India. Tchetchik’s works are part of the collections of The Museum of Tel-Aviv, The Museum of Ramat-Gan, The Peter Blum Gallery, The Marc Rich Foundation, the French Institute, R2M Tchetchik divides his time between personal projects and documentary assignments, many times each approach provides inspiration for the other. His photographs have appeared in the New York Times , Frankfurter Allgemeine, National Geographic, Myself Magazine, Haaretz Newspaper and more.
“One morning my father woke me up and told me, We will prepare you for the pelazón. First I was afraid, and I didn’t want to do it. They took me to my grandmother and started preparing everything.”
The Tikuna, an indigenous group of about 9,500 people, live in the Colombian Amazon, near the Peruvian and Brazilian borders. Life in this part of the world is geographically isolated. Although one can only reach this area by boat, globalization has found a way to leave its mark on the traditions and ways of life. One of the visible examples of acculturation is the transformation to the practice of one of the more important rituals of the Tikuna. The Yüüechíga (pelazón) is a female initiation ceremony, where young women are isolated from men and their community during their first menstruation. They remain isolated for up to one year and sometimes longer. Despite isolation, this ritual is not about loneliness. It is a time when girls are prepared for their role as a woman. In the time between childhood and adulthood, tradition and globalization oscillates in the world of these young women. Their stories and their dreams are affected by the impact of modern ways of life. Surrounded by the Amazon jungle, these women live between realism and surrealism. What is real and what is unreal in this world is left to our imagination.
Lena Mucha (b. 1983, Germany), is a freelance photographer based in Berlin. In 2011 she graduated with a Master of Arts in Social Anthropology and Political Sciences from the University of Cologne, Germany. Lena had lived several years in Latinamerica and Spain, working on research projects about gender violence and civil resistance and covering assignments for NGOs (Doctors without Borders, Peace Brigades International). Besides working in the field she also gives participatory photography workshops. Lena has been awarded with different international prices as the Photo Annual Awards 2015, selected as finalist at the Athens Photo Festival 2015 and the Moscow International Photography Award. Recently she was also nominated for the Unicef Photo of the Year Award and won the Reporters in the Field Scholarship for her upcoming research project in Azerbaijan in 2016. Lenas work has been exhibited and published internationally (El Pais, Nido Stern, 6mois, Lensculture, VICE Colombiam, Private Portfolio Review and emerge – german magazine for young photojournalism amongst others).
Tokyo is a place like no other. A city from the future, bathed in neon and awash with cartoon-like symbols of all things ‘kawaii’. Fascinating, beautiful, sometimes strange. To wander Shinjuku at night, with its futuristic sounds and childish electronica filling the air is pretty mind blowing and presumably what an acid-trip feels like. Its also a little at odds with how Japan is often seen; a conformist, inhibited society that works hard and keeps itself in check. Kabukicho – Shinjuku’s red light district – feels like the antidote to that, where the paradox shines brightest. For the hedonistic, the thrillseekers, the lonely or the bored. An edgy, seductive, cartoon-like fantasy world loaded with possibilities. A lot is said about Japan’s population crisis and its ever increasing numbers of singles. Often avoiding relationships, marriage and kids, for a life less compromised. For some it makes this a lonely city, and much is made of that. Maybe others thrive on it. But in that context, somewhere like Kabukicho prospers. In a lot of ways, its business is to sell dreams, and then keep those dreams alive. Keep them coming back. For women as well as men, a chance to escape the mundane and peer down the rabbit hole. See what or who else is out there and make life interesting. As I photographed the city over several months, I was drawn to two sides of Tokyo; everyday life in the real world – the monotony but also beauty of it. And then that other side, the side that sells dreams. It was shot part documentary, part fiction, the everyday and the fantasy world.
I’m a photographer from the UK, currently living in Australia after a pretty nomadic few years. I shoot both editorial and commercially, and over the last few years my personal work has focused on long term stories in Rio, Tokyo, Shanghai and Burma. For those stories I tend to start shooting what I find most visually striking about a place and obsessively fine tune the idea as I go along. That could be an aspect of the everyday which is deeply ingrained in a culture, like football in Rio de Janeiro’s favelas. Or some place within a place that just intrigues me, as was the case with Electric Dreams.
One of the biggest issues in Brazil is the heavy social inequality and all the prejudice that comes along with it, a bad heritage we have incorporated from the colonization period. Middle and upper class Brazilians frequently use a depreciative term to refer to the lower income beachgoers: “farofeiros”. This term comes from the word “farofa”, a typical food made of toasted manioc flour and other ingredients that may include bacon, onion, parsley, eggs, bananas or vegetables. It may be considered trivial for some, but as tasty and well-known as any other Brazilian gourmet dish for others. In order to have fun without spending much, people usually bring to the beach food from home: “farofa” and fried chicken. Most of the time, these “farofeiros” are not hanging out in the same areas of the beach as the rich people. Brazilians have a way of defining people based on their status and clothing, so if you don’t belong to the high end of the social pyramid, you are smaller and treated with prejudice. The main idea of this project is to take us, viewers, to a place we don’t wan’t to go, to show us a reality we don’t want to see, and then make us start questioning our own prejudice.
Joao Castellano was born as Joao Paulo in the early 80s. Joao didn’t come from a family of artists. He never aimed being a professional photographer, his childhood dream was to become a professional soccer player. After giving up that goal, he decided to be a soccer photographer. But he realized that in order to become a soccer photographer, he would need to become a photographer first. Since 2010 Joao has been working as a staff photographer at Istoe, one of the largest news magazines in Brazil. Nowadays, Joao splits his time between personal projects and assignments for the magazine. Joao has collaborated with some international publications such as Reuter and El Pais.
Over the period of the past seven years, almost as a form of therapy, I’ve been working on a visual diary, Rayuela. Self-portraits and portraits go along in an uninterrupted flow with nature and animals, life and death. Being born and raised in the countryside of a small village in northern Italy, those elements were part of my childhood’s playground, which I try to recreate by designing an imaginary world. It represents the process of growth, the feminine element of nature, the acceptance of the organic decay. My work lies in a concept of photography as a vital experience. The camera allows me to explore the relationships between humanity and nature, the individual and the cultural, the real and the psychological. I’m obsessed by the vertigo that happens when we perceive the usual order is undermined. A slight laceration in the texture of our visible world. It’s an aged world, with cracks and fissures, dust. There are parts thin as glass-plates, too eerie to walk upon. And finally, there’s the ambiguity of objects : life and death, dream and reality, face and mask blur. What moves appears stiff, what is still seems possessed by an unsettling life.
Since 2006 I work on on long-term documentary projects concerning women’s condition. My first essay Odd Days, talks about Eating Disorders in Italy and the long path to recovery. In 2010 I received a commission to work on Iraqui female refugees in Jordan, where I produced my first short documentary ‘Lie in Wait’ ( 8? / 2010 / Ita-Jordan). From then on, travelling became a fundamental aspect of my practice, and I have produced several chapters of ‘Afterdark’, my latest work about the consequences of war on women’s psychological life in the Mediterranean area: Jordan, West Bank, the Gaza Strip, and Western Sahara. In Western Sahara I produced my second documentary, thanks to The Aftermath Project (63′ /2013/ Ita-Algerie). At the same time, almost as a form of therapy, I’ve been working , over the period of the past seven years, on a visual diary, Rayuela, on my everyday life.
The northwestern corner of Ecuador is home to the tallest mangrove trees in the world. Amidst the trees´ towering, almost fantastical, roots, people of nearby Afro-Ecuadorian communities gather black shells as their form of livelihood. In local parlance shell pickers are known as concheros. Concheros start young. Children as young as 10 years old are expected to pick shells to contribute to their families’ income. Children make good shell-pickers because they are agile and light, allowing them to navigate around the infinite spider web of mangrove roots. Picking shells is a tremendously arduous task. Everyday concheros trudge through the knee-deep mud and endure the inclement environment of the forest to discover small crevasses within the buried roots. When they are lucky, they find shells. When they are unlucky, they might be stung by the poisonous toadfish or bitten by a watersnake. Yet the concheros endure because the black shells are considered a culinary delicacy in Ecuador. Even so, a conchero will be lucky to get 8 cents per shell. On average, a good conchero can find between 50 and 100 shells in a day’s work. Although community leaders do their best to encourage children to go to school, a large percentage drops out at an early age to become concheros. These environmental portraits explore the relationship between childhood, manual labor, and this unique ecosystem.
Felipe Jácome is a documentary photographer born in Ecuador. After finishing his studies at the Johns Hopkins University and the London School of Economics, his work has focused on issues of human mobility and human rights. In 2010 he won the Young Reporter Competition of the International Committee of the Red Cross (ICRC). Jacome’s photos have appeared in publications such as National Geographic, The Washington Post, Foreign Policy Magazine, The Guardian, Vice Magazine, and CNN.
In 1967, during the cold war, the Soviet Union introduced the system of labour treatment profilactoria which was actively used for the forced isolation of persons suffering from alcoholism and drugs addiction.
The first Labour Treatment Profilactoria appeared in the USSR in 1967 within the territory of Kazakhstan. In the future, the system of LTP was actively used for the forced isolation of persons suffering from alcoholism and drug addiction, or those who were disturbing public order and rules “of the socialist way of life.” Citizens were sent to LTP by order of the regional courts for a period of 6 months to 2 years. Their decision was final, with no right to appeal. Human rights activists in the Soviet Union called LTP part of the Soviet “punitive psychotherapy” system. On October 25th, 1990, the Committee of Constitutional Supervision of the USSR adopted a conclusion, according to which certain provisions of existing legislation were declared inconsistent with the Constitution of the USSR and international norms of human rights. The Constitutional Oversight Committee came to the conclusion that, under the law, obligatory treatment in LTP (i.e. restriction of freedom, which is close to a criminal sentence) had been applied to persons who have not committed any crimes. After the collapse of the USSR the LTP system was abolished in most former Soviet republics. In 1993, at the Decree of the President of Russia Boris Yeltsin, Labour Treatment Profilactoria were eliminated in Russia (with later discussions in the state duma to revive the system).
At present, LTP exist only in Belarus, Turkmenistan and the unrecognized Pridnestrovian Moldavian Republic. LTP is part of the system within the internal affairs agencies of the Republic of Belarus, established for the forced isolation, and medical and social rehabilitation of citizens through the obligation to work. It is directed towards citizens with chronic alcoholism, drug addiction and toxicomania, and those citizens obliged to reimburse the expenses paid by the state on the maintenance of children in public care, in the event of systematic violations of labor discipline by these citizens because the consumption of alcoholic beverages, drugs, psychotropic, toxic or other intoxicating substances.
The book “Welcome to LTP” can be purchased here: http://dostoshop.tictail.com/product/irina-popova-welcome-to-ltp
Born in 1986 in Tver, Russia, Irina Popova is a documentary photographer and curator. A graduate of the Tver State University School of Journalism, Popova studied photography at FotoDepartament, St. Petersburg, in 2007. In 2008-2010, she studied documentary photography and mixed media at the Rodchenko Moscow School of Photography and Multimedia. Popova worked as a staff writer and photographer for Ogoniok Magazine in Moscow from 2008-2009. In 2010, she moved to the Netherlands, and was artist-in-residence at the Rijksakademie van Beeldende Kunsten, Amsterdam from 2011-2012. In 2013, Popova co-founded the Dostoevsky Photography Society collective. In 2013-2014, she curated an exhibition FFABRU/Foreign Fotographers About Russia, as part of the Open Border Festival, Amsterdam; subsequently the exhibition toured to ten Russian cities. Irina Popova has participated in numerous exhibitions and photography festivals in Russia, Ukraine, the Netherlands, France, Italy, Spain, Burma, and Lisbon, including the Photoquai Biennale, Paris and the Noorderlicht and Breda Photo international festivals in the Netherlands. Her work has been published by Lenta.ru; Afisha Mir; Russian Reporter; Ogoniok; the Guardian; Geo International; the New York Times; Gup Magazine; and Lens Culture. Popova’s work is included in the collections of the Russian State Museum; Musée du Quai Branly, Paris; and the Rijksakademie Amsterdam. In 2014, Popova published the photo books Another Family and If You Have a Secret. She has received numerous awards and nominations, including Delphic Games of Russia (2006, 2007, 2008); Young Photographers of Russia (2008 and 2010); Best Photographer of Russia (2009); the UNICEF prize honorable mention (2009); Award of Fund of Development of Photojournalism, Russia (2009); and nomination for the Marie Claire Photo Award (2012). She teaches photography in Moscow at the Rodchenko Moscow School of Photography and Multimedia.
When you’re losing sight, the world starts to appear fragmented, like through a broken screen. Then you stop understanding where light comes from.” Dale Layne
The blind live in a sighted world. They function in a system constructed on the rules of seeing. Many of them could once see, but after going blind they were forced to reinvent themselves, and their quality of life became deeply affected by disability law, support in the private sphere, and the level of awareness in the society around them. I asked them to guide me into their lives. I’m interested in the disconnect between the concept of blindness as a metaphor and its reality. Stripped of its mysterious aura, the blindness of daily life, the one that’s not heard of in the words of a song, often turns out to be disquieting, and kept at a distance.This project has become a way for me to explore our universal needs. I imagine myself in the position of someone who turned blind, forced to reinvent my relationship to the world after years of a sighted life. When filtered through blindness, the core questions of identity, love and independence feel to me even more resonant.
“Broken Screen” is currently displayed at STILL gallery in Milan, Italy, till January 28, 2016.
Raised in Milan, Italy, she studied Art History at University of Bologna and photojournalism at International Center of Photography (ICP). In 2014 she attended the Eddie Adams Workshop and was nominated for the Joop Swart masterclass in the same year. In 2015 her work has been selected for the exhibition reGeneration3 about new approaches to photography at Musée de l’Elysée in Lausanne.
Her clients include the New York Times, the New Yorker, Time Magazine, Vogue, the Wall Street Journal, MSNBC, VICE, The Guardian, Newsweek and L’Oeil de le Photographie. Her work has been exhibited in the United States, Italy, France, Switzerland, Mexico, Ireland and China.
“Not all who wanders are lost” J.R.R Tolkien
Question about home, dream and everything between, photography is my emotional escape, I use it as something to express what I feel in my boring life. 2014, I moved from my hometown and started to live in another city for a study, it affects my life in unknown way that I don’t understand but I can feel it. Photography is my mundane poison that haunted my life, my new space gave me little bit a “surreal” things since it hold the same boring feeling, how could be? Its a new boringness apparently. My boringness lead me to escape and destroy my reality and become my own dream-land. Recollecting Dreams is a poet like stories, feels like dreaming, happen so fragmental and scattered.
Aji Susanto Anom (b.1989) is a photographer based in Solo, Indonesia. He is now still studying in Indonesian Art Institutes of Yogyakarta (ISI Yogyakarta). His work is basically explores all his personal question about the darkness of his deeper life. He has published three photo-books independently called “Nothing Personal”, “Poison” and “Recollecting Dreams”. In 2015, he was selected as one of the participant of “Angkor Photography Workshop” under the mentor: Antoine D’Agata and Sohrab Hura. His works can be discovered through his featured publication on Lens Culture, The Invisible Photographer Asia, Top Photography Films, Monovisions, Dodho Magazines, Sidewalkers.Asia and more.
“And in the end, we were all just humans… drunk on the idea that love, only love, could heal our brokenness.” — F. Scott Fitzgerald
When we met we were immediately drawn to each other, but we didn’t have an easy start. There was love and passion, but also addiction and pain. Out of an inner need I turned the camera to what was close to me, to have something to hold on to if things threatened to fall apart. So I started photographing us, him, me and what surrounds us — intuitive moments I felt the need to capture. I tried to find out who he is and who I am. We are afraid of the darkness in us, but, “in love the dark confirms that we are together“ (John Berger).
Sexuality becomes an affirmation of life itself. In nature I find my way back to my childhood self — to memories mixed with happiness and doubt. Upon these memories, 12000 km away from my native country, I try to build the future. Nature turns into a gleam of hope, a happy outcome of troubled times. This imagery is my journey, my intimate diary as I search for the answers to the vertigo of everyday life and the torments of my heart and soul. It’s about my life, my feelings, about us.
Because, in the end, we are all just full of hope to put back together those broken pieces.
Sarah Pabst is a German-born (1984) documentary photographer and painter and lives since 2013 in Buenos Aires, Argentina. Besides her personal intimate work she mainly focusses on women and identity topics. Her work has been exhibited both nationally and internationally. She was awarded with the 3. Prize in the ‘Women in Society’ Category of the Picture of the Year (POY) LATAM 2015, the Canon Profifoto Förderpreis (Grant) in 2014 and her work was published in Vice, Lensculture, Le Monde Diplomatique, Profifoto, Burndiary, Zeit Online, Frankfurter Allgemeine Zeitung, Revista Pecado, Brigitte Young Miss, Deutsche Welle and the Max Planck Journal, among others. She’s a featured Instagram photographer since 2015. From 2012-2015 she worked as an adjunct lecturer for photography at the Bergische Universität Wuppertal, Germany, where she also writes her doctoral thesis on Documentary Photography in Argentina. After university she continued her education in workshops and courses with Antoine d’Agata, Leo Liberman, Mariana Maggio, Christian Rodriguez, Nicolas Janowski and Carlos Bosch. She is currently working on her first self-published book and took workshops on photobooks with Gonzalo Golpe, Julieta Escardó and recently with Veronica Fieras of Riot Books and Martin Bollati. Sarah studied Spanish, Painting and Photography in Germany at the Universities of Köln and Wuppertal and graduated in 2011. In 2005 she travelled to Latin America for the first time which was a turning point in her life. She went back to the continent many times and started photographing social issues in 2006.
This work explores the entire length of the U.S. Gulf Coast and the way its varied history, economics, environment and culture intertwine to reveal a simultaneous reverence and abuse of its fetishized natural resources. As I photographed along the southern edge of the Gulf Coast states most affected by the oil spill during the BP oil spill of 2010, I saw the contradictions in the economic, environmental and social landscape of the area as it coped with the negative impact of events created by an industry on which it depends. As I travelled across state lines, I saw the land and people change along with the concentration of the major industries in the region. Whether it was fishing, energy, agriculture or tourism, I discovered each place has a specialized industry and a character driven by a simultaneous dependency and exploitation of the land and sea. At the height of the disaster, millions of people who made their living from the ocean and live along the coast were impacted when the U.S. government declared a ‘No Fishing Zone’ closing thousands of square miles of open ocean as well as coastlines in Louisiana, Mississippi, Alabama and my home state of Florida. In the Summer of 2014, I returned to the area, this time slowly covering the entire US Gulf Coast from Naples, Florida to the southern point of Texas over six weeks and crossing more than 5000 miles. These latest photographs further explore the nuances of the region and also include the broad use of land, animals and natural resources as they pertain to industry and recreation. It was my intent to find and photograph the most prevalent emblems and that are perpetuated throughout the region. In my view, the traditions, attitudes and livelihoods that are passed down through multiple generations are wound tightly into the fabric of the place and are often visible as evidence of the history, political attitudes and lifestyles of those who live there.
Camilo Ramirez was born in Santa Monica, California and raised in Bogota, Colombia as well as various cities throughout California, Texas and in Miami, Florida. He holds a B.F.A. in Photography from Florida International University and an M.F.A. in Photography from the Massachusetts College of Art and Design. His work has been exhibited nationally and internationally and is currently on view at the New Hampshire Institute of Art, and in a solo exhibition at the Bromfield Gallery with upcoming solo exhibitions this year at Roxbury Community College, ArtsWorcester and the Vermont Center for Photography. He was awarded a Massachusetts Cultural Council Fellowship Grant in 2009 and an Emerson Faculty Advancement Fund Grant in 2014. This year he was awarded an Emerson Consumer Awareness Project Grant, a ArtWorcester Biennial Juror’s Prize, a Review Santa Fe 100 invitation, a Lensculture 50 Emerging Talent Award, and is the winner of the BOAAT Press Photography Competition. His work has been featured on CNN, The Boston Globe, Aint-Bad Magazine and in an upcoming limited edition monograph to be published by BOAAT Press in 2016. Camilo currently lives and works in Boston, MA where he serves as SPE Northeast Regional Vice-Chair and Assistant Professor of Photography at Emerson College.
Just about the time I got used to 2015 it was over. The year ripped right on by before giving me a chance to digest it. I am sure most feel the same.
BURN now rocks right into it’s 8th year. Many photographers who got their start right here on BURN and BurnDiary in the last 7 years have gone on to publish books, have exhibitions, get assignments from major magazines, join agencies, get grants, and generally end up with a presence they did not have before. Sure the Emerging Photographer Fund winners might be the obvious who perhaps benefit most, yet all the things I just mentioned have been done by photographers who have simply had essays published here.
Coming up in 2016 the power of BURN to discover new talent will only increase. Soon BURN will be a part of Apple News an app built into every iPhone. Right now Apple News is only available in the U.S., the U.K. and Australia. This will change since Apple is still rolling this new app out. This puts BURN photographers seriously in touch with a large audience and alongside all the top international magazines. For a small boutique blog site this is a big jump.
Just to keep things in perspective, when BURN started in 2008 the iPhone, or any smartphone, just did not play the role they play now. There was no Instagram. What? A world without Instagram? Who can remember that far back?
Now the smart phone is indispensable for most of us. People get their news, their pictures, their purchases, their banking, and find their way home with the GPS on their phones just to name a few necessities. We are married to our phones. Can’t live without them, and the primary way we see most pictures and take most pictures most of the time. Actually at this point the phone is the way we communicate with most people most of the time. Ironically no more phone calls. Texting rules.
So no surprise, technology rules our times. Yet not really. The reason BURN will be on Apple News is not because we have any special technology. Ha ha. We are operating on a cobbled together website that is in great need of repair or remodeling . Nope, Apple wants us for only one reason. Content. Our stories, our pictures.
The machines alone are sterile. They need content to be of any practical use. So technology will roll ahead as usual and great storytellers will rule. Authorship will be prized more than ever. Authored personalized content will be the only content seriously regarded by editors and curators and yes by the so called mass audience as well. The “mass audience” is really at this point small audiences garnered by authors. Photographic authors among them.
Is this you? Do you have something to say? Or do you just want to sit back, relax, and watch what comes in? Either way is fine.
Happy New Year to all of this BURN audience. Some of you have been here since the beginning. Some of you only see us on FaceBook or Instagram. No matter. We will try to give you a good ride in 2016. Stay tuned.
“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.
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.
– 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
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!!!!!!!
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)