Alexander Mendelevich – Planning The Emptiness

Alexander Mendelevich

Planning The Emptiness

[ EPF 2015 Finalist ]

We have a rectangle in which we keep reassembling the world. It’s a fantastic tool; it fixates what’s in front of the camera and also what’s behind the camera. It is an objective picture in subjective viewfinder. Through photography we are re-framing our memories, fantasies, thoughts and our reality.

I try to find a new shape, which will be more accurate and fitting to the time because photography keeps changing and constantly crosses a new pain threshold, because the world changes; especially nowadays, when we get a huge number of diverse visual information.
I increasingly inclined to think that the only document that can enclose the realistic feeling it is emotion, a pain that comes to being through some conflict in frame.

 

 

In this series I create some conditions without a special event, without specific time and place. This space aimed at the creation of pure sense, where less important to understand, but more to feel. I perform a kind of ritual and this ritual creates a basis for a conditional reality.
People in this series are in their rented apartments. I see them as kind of inconspicuous survivors of today, torn apart by typical modern reality, where they are between livelihood and studies, banks and dreams, trends and personal style, fashion, news and war, and so on.
It is unclear whether they are awake or going to bed. There is state of sticky enveloping sleep and insomnia. What is life? Is it a dream, an illusion or a long jump from nowhere to nowhere? This series it’s like a song that’s about the beauty and drama that can be noticed in everyday routine life; poetics of enclosed spaces.
With all the strangeness of the picture, for me it feels familiar and real, more natural and alive. I wanted the weirdness of the image would resonate with the weirdness of the world. It’s like understanding what’s beautiful only after viewing what’s ugly.

 

 Bio

Originally, I’m from a small town Pyatigorsk in the North Caucasus of Russia. From the first meeting with the world of photography, I felt that the reality and the image in the photograph are very similar and at the same time different, the world in the viewfinder seemed like mine. At the age of twenty I moved to Israel. The type of photos I’d shoot back then was very different from today. I took many nice photos whose only essence was formative aesthetics, and maybe a little surreal. Another pretty picture and another pretty picture? I had a feeling I’m going over the same mistake and every time I felt that I’m missing some important element. The change of view on photography came during my studies in Bezalel Academy. One of the interesting things I learned is the understanding that, with time, photography changes, that the view towards photography as a media changes, as well as its value.

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Alexander Mendelevich

Paolo Marchetti – The Price of Vanity

Paolo Marchetti

The Price of Vanity

[ EPF 2015 Finalist ]

We all know intensive farming, which uses industrial and scientific techniques to get the maximum amount of product at the lowest cost and using minimal space. A practice widespread in all the developed countries.

Yet we know much less about how intensive farming actually works in reality regarding the huge business of animal skins destined to the high fashion market. I show  you the sacrifice hidden behind the ruthless values expressed by this hellish trade, and its cultural trend dominated by remorseless standards of beauty.

The business volume amounts to several millions of Euros and although the breeding of animal skins has long been opposed by animal rights movements, which led to massive campaigns against this practice especially in the eighties and nineties.We have to wonder if there is a need of new laws, or just a cultural awareness.

 

 

For example, most of the intensive farming of furry animals are concentrated in the northern hemisphere in Europe, where at the first positions we find Denmark, Finland and the Netherlands. At the same time, looking at east, China is the world leader in the manufacture and in the southeast side, we find countries such as Cambodia, Laos, Thailand and Vietnam which represent the main market of snakes and many species of reptiles. At the other side, in the western hemisphere, Canada and the United States are the largest producers of furs and reptile skins, but for what concerns the crocodile skins production, in South America we have strong competitors such as Venezuela, Brazil and Colombia.

At date, I accomplished the first two chapters, in Colombia, where I told the destiny of crocodiles and in Poland, working inside a minks intensive farm. I’ll tell you this ruthless process with an unprecedented document on this terrifying phenomenon, a monstrosity in accordance with law that is perpetrating from decades, the extermination of animal species destined for the market of high fashion.

 

 Bio

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

Sebastian Liste – An Intimate Pandemic

Sebastian Liste

An Intimate Pandemic

[ EPF 2015 Finalist ]

Many say that violence is the social pandemic of the century in Latin America. Yet everyday life and social change in the region has never been immune to violence. The conquest, the slavery system, the independence, land acquisition, expropriation of natural resources and political revolutions have been violent. The threat of violence continues to be a common denominator in the region, although now manifested in different ways. Today, the issue of violence and crime is not a result of politics, but devoid of any ideological end. Violence has become familiar and intimate, a trivialized routine in the region, while targets of violence have become so blurred they cease to make sense. The loss of social dialogue has made it so that acts of violence seem the only way to resolve conflicts within these societies.

This new kind of violence mostly affects young, second generation urban dwellers, who are exposed to high consumer expectations fueled by advertising and mass media contemporaries. Most of these young people are not able to meet these expectations by conventional means prescribed by society and therefore turn to force.

 

 

As a sociologist and documentary photographer, I have been conducting in-depth research on the growth and transformation of violence in Latin America for the past six years. I have since developed some chapters of my project. It was a long trip from the favelas of Brazil to the ungoverned territory of the Amazon forest; witnessing the continent drug production and its impact in local communities in Mexico and Peru or the growing violence during the Bolivarian Revolution in Venezuela and its corrupted penal system. Now I’m very near to finish this long term project. With a little bit more time I can better understand the roots of crime, punishment and security in Latin America; and to close the project in form of a book that will alert political and media leaders on this important issue.

 

 

Bio

I was born in 1985, and I spent my life between two families in both sides of the Atlantic Ocean, in Spain and Uruguay, the origins of my family. When I was a teenager I discover hundreds of pictures, my grandfather took while working in different communities in the continent. After days of looking them in a slide viewer I become inspired by creating a visual map of Latin America and I decided to become a photographer to document a region with bloody and open veins, as Eduardo Galeano described in the several books that become my inspiration. I studied Sociology, Political Sciences, Anthropology, Photography and Poetry before feeling ready to start my long term documentary project in 2009. Since then, the chapters of this ongoing life project have been recognized, published and exhibited worldwide.

 

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Sebastian Liste

Charles Roux – Fictitious Feasts

Les Misérables (Victor Hugo)

Charles Roux

Fictitious Feasts

[ FUJIFILM/YOUNG TALENT AWARD 2015 Finalist ]

This project is based upon the relations between food and literature through photography. Starting from specific passages from fiction literature, I aim to recreate the symbolic and emotional strength of literary food scenes.

Being a feature of relevant human behaviour and psychological events, the meals within literary texts are meaningful insofar as they deeply fulfill physical needs as well as they provide psycho-emotional nourishment.

Giving life to a story, the motif of food may also be a landmark in the storytelling or defines a character, relates him to a social or cultural identity.

 

 

Bio

Holder of the European Bachelor of Photography, Charles Roux attended a Paris photography school (Icart Photo) and graduated as “head of the year” as well as “best end-of-studies portfolio.” Also graduated in Anglo-American and Hispanic Literature and Civilisations, his world is widely influences by literature, cinema and painting. All he endeavours to create is atmosphere above all, epxloring realities and their underlying stories. He is currently living and working in Paris, France.

 

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Charles Roux

 

FujiFilm/EPF Young Talent Award

The FujiFilm/EPF Young Talent Award is an additional grant for photographers under 25. Using David Alan Harvey’s words “A heart felt thank you also to FujiFilm for making it possible for the EPF to keep focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon…”

 

 

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Jacob Aue Sobol – Arrivals and Departures

Jacob Aue Sobol - Arrivals and Departures

Jacob Aue Sobol

Arrivals and Departures

Arrivals and Departures chronicles Jacob Aue Sobol’s travels across the Asian continent by train during 2012-2014, with stops in Moscow, Russia; Ulan Batar, Mongolia and Beijing, China, and numerous rural communities along the way. During three separate month-long trips, Sobol photographed the changing landscape from his window seat, as well as encounters with inhabitants of the locations where he disembarked. Using the camera as a tool to create contact, closeness and intimacy, Sobol’s approach to photography is personal. His voyage along the Trans-Siberian Railway was, he says “an investigation of the emotional states that control us, inspire us, and keep us moving.” The images capture life’s complexities: people, places and the relationships between them.

 

 

Sobol shoots in black and white, creating stark visual and emotional contrasts. Using a digital camera for the first time, but retaining the tight cropping and grainy imagery that characterize his Sabine and I,Tokyo series, the photographs are intense and immediate records of his subjects. Young couples in bed, animals traversing icy fields, stark corners of temporary lodgings are all depicted without reference to a specific place or time, reflecting the inter- connected, universal story that Sobol strives to tell.

 

 

Arrivals and Departures, as exhibition of nearly sixty 20” x 24” gelatin silver prints from the artist’s most recent body of work, will open today Thursday, July 16, and close on Friday, August 28 with a reception for the artist on Thursday, July 16, 5:00 – 8:00 pm at Yossi Milo Gallery in New York.

 

 

Bio

Jacob is a member of Magnum Photos. Yossi Milo Gallery in New York, Rita Castelotte Gallery in Madrid and RTR Gallery in Paris also represent him.

Jacob Aue Sobol was born in Copenhagen, Denmark, in 1976. He lived in Canada from 1994-95 and Greenland from 2000-2002. In Spring 2006 he moved to Tokyo, living there 18 months before returning to Denmark in August 2008. After studying at the European Film College, Jacob was admitted to Fatamorgana, the Danish School of Documentary and Art Photography in 1998. There he developed a unique, expressive style of black-and-white photography, which he has since refined and further developed.

In the autumn of 1999 he went to live in the settlement Tiniteqilaaq on the East Coast of Greenland. Over the next three years he lived mainly in this township with his Greenlandic girlfriend Sabine and her family, living the life of a fisherman and hunter but also photographing. The resultant book Sabine was published in 2004 and the work was nominated for the 2005 Deutsche Börse Photography Prize.

In the summer of 2005 Jacob traveled with a film crew to Guatemala to make a documentary about a young Mayan girl’s first journey to the ocean. The following year he returned by himself to the mountains of Guatemala where he met the indigenous family Gomez-Brito. He stayed with them for a month to tell the story of their everyday life. The series won the First Prize Award, Daily Life Stories, World Press Photo 2006.

In 2006 he moved to Tokyo and during the next two years he created the images from his recent book I, Tokyo. The book was awarded the Leica European Publishers Award 2008 and published by Actes Sud (France), Apeiron (Greece), Dewi Lewis Publishing (Great Britain), Edition Braus (Germany), Lunwerg Editores (Spain) and Peliti Associati (Italy).

In 2008 Jacob started working in Bangkok and Copenhagen. 

 

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Jacob Aue Sobol

 

Erin Geideman – I can see right through you

Erin Geideman

I can see right through you

[ FUJIFILM/YOUNG TALENT AWARD 2015 Finalist ]

During the summer following my last year of high school I started documenting the lives of my closest friends. We grew up in Cincinnati, Ohio, a sprawling city in decline. Unable to afford anything else, we entertained ourselves by partying excessively in our friends? small two-bedroom apartment.

On August 20th, 2010 my best friend Ian was shot in the stomach on the stoop of that same apartment building. He still suffers occasional pain from the scar tissue within his body. His crippling anxiety and other psychological maladies are further exacerbated by an abusive father, and alcoholism.

 

 

Michael, Ian’s older brother, has mostly, moved on in his life. He works as a hospital cook and married Heather, the mother of his children. His mangled left hand however, which he broke that chaotic evening remains as a constant reminder of the night he almost lost his only sibling.

Heather acted as a caregiver to Ian when he was first out of the hospital. As a nurse?s aid she had no problem changing Ian?s bloodstained bandages. Ever since their friendship has been in decay despite her marriage to his brother. On April 2nd, 2013 Heather and Michael welcomed their second child, a son Deavon Ian Connor.

I have photographed my friends for the past four years. Within this time I have watched, as they?ve gradually grown apart, fighting circumstances and personal traumas that have renders them depressed but not hopeless. I have created a family album that is laden with themes of intimacy, alienation, and pain.

 

 

Bio

Erin Geideman is a graduate of Syracuse University where she received a BFA in Art Photography with a minor in Art History. For two years she has worked as an assistant to The Canary Project under its founders, Susannah Sayler and Edward Morris. She has also completed a one year internship at Light Work, an internationally known art photography organization, where she has assisted artists including Valerio Spada, George Gittoes, Jason Eskenazi, and Alexandre Demenkova. Geideman is currently based in Cincinnati, Ohio.

 

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Erin Geideman

 

FujiFilm/EPF Young Talent Award

The FujiFilm/EPF Young Talent Award is an additional grant for photographers under 25. Using David Alan Harvey’s words “A heart felt thank you also to FujiFilm for making it possible for the EPF to keep focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon…”

 

 

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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)

 

THANK U NOTE:

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!

 

EXTRA LOVE: 

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

 

 

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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

order

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.