Brazil print sale

Brazil Print Sale

It’s Carnaval right now in Brazil. In celebration of this special time and of a country where I’ve photographed with deep conviction over the last 10 years, we are offering a 5 DAYS ONLY small print, out-of-print book, and large collector print sale. (Ends midnight February 9. No exceptions.) These signed photographs are limited by both time and size. I won’t ever print any of these again in this size. One time deal. Many of you have tracked my Brazil work over the years, the photo essays in NatGeo magazine on both Bahia and Rio, the book.

The concept of low priced prints has been controversial for some. We had big discussions about it at Magnum as well, prior to the Magnum 6×6 online sales. Like everything else in life, new concepts always create ire for those who want to stick with what has always happened before. From my view, and I got this concept from Henri Cartier-Bresson himself, photographs should be available for all, not for only those with enough income to get into the collector market. HCB never did limited editions, hence his print prices were relatively low during his lifetime.

For young people wishing to think about collecting in the future, this is a good way to start. As for the actual value of a small print? Well all I know is that the Magnum staff and photographers themselves jumped on collecting each other for such a low price. Sure the bigger prints have more value. No question about it. Yet they cost ten times as much for twice the size…I have no doubt that the small prints will not only retain value but increase in value quickly.

I have Michael Courvoisier doing our printing. I have been working with Mike on exhibition and collector prints for 10 years or more…He personally cares about everything he produces for me. It’s the key reason my prints are just a bit more expensive than the Magnum small prints. They cost more to produce, they are also larger (a 6×9 image size on 8.5 x 11 inch paper)…And, at Burn we have decided to offer you Free Shipping in the US and $15 Flat Rate Shipping for the rest of the world.

Yet enough biz talk. Even with Burn and my workshops and all the other stuff that flows in my front door, at the end I only really do one thing. Make photographs. I am a photographer only. I have not stopped shooting since I was 14. There is a mountain of work never seen. Anyway, the work here represents what I did in Brazil. Some of it in the last book , some of it will be in the next book. My legacy as a photographer is all I care about. Not how I earned a living. So the Brazil “era” will have a place I think. Something special happened to me in Brazil. In the  zone. Right mood right time right collaborators. Ahh Rio, ahh Bahia. Big love.

– David


  • You may choose from 22 of my images from Bahia and Rio- for just $125 US ($14o for the Rest of the World) including shipping. These signed photographs are limited by both time and size. I won’t ever print any of these again in this size. One time deal.
  • To be eligible for Free Shipping in the US, please use code FREESHIPBRAZIL upon checkout.
  • To be eligible for $15 Flat Rate Shipping for the rest of the world, you can select that as your shipping option upon checkout.
  • Our collaborative book (based on a true story) set in Rio will end up as the best book of my career (and we have 5 copies of the long sold-out original hardcover folio available in the sale)I’m working hard on my next book, worked hard on other books too, yet the Rio book is the ONE.
  • We also have a few collector prints, and a few sets of books and print sets to round out the offering. 

All available here:

BRAZIL. Ipanema, Rio de Janeiro. 2015.

BRAZIL. Ipanema, Rio de Janeiro. 2015.

Felipe Jacome – Lord of the Mangrove

Felipe Jacome

Lord of the Mangrove

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.

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Felipe Jacome

Irina Popova – Welcome to LTP

An inmate washes his hands before dinner, under the sign "Save the water, close the tap". Life in LTP is surrounded by signs, instructions, regulations and rules. Labour Treatment Profilactorium for alcohol addicted in Belarus. LTP is a part of the penal system and Belarus is the only country in the world that still practices the punishment of obligatory incarceration for addicts. There are 5 LTP in Belarus, about 1600 inmates each. One LTP is for women, the other ones are only male. The main treatment is labour, and camomile tea.


Irina Popova

Welcome to LTP

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:




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; 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.

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Irina Popova

Gaia Squarci – Broken Screen

Collin Watt climbs a rope in his backyard. He is karate teacher for the visually impaired and waiter at the restaurant Dans le Noir, in midtown Manhattan. Queens, New York, July 10, 2012


Gaia Squarci

Broken Screen

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. 

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Gaia Squarci

Aji Susanto Anom – Recollecting Dreams

- Indonesia (27)

Aji Susanto Anom

Recollecting Dreams

“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.

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Aji Susanto Anom


Sarah Pabst – Reclusive


Sarah Pabst


“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.

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Sarah Pabst


Camilo Ramirez – The Gulf



Camilo Ramirez

The Gulf

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.

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Camilo Ramirez





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.




BRAZIL. Bahia. 2002. New Year's Eve revelers watch fireworks as flashes are reflected in the tide.


Cécile Menendez – Rapid Eye Movement

cecile menendez-31

Cécile Menendez

Rapid Eye Movement

Rapid Eye Movement is the paradoxical phase of sleep: only when we let go completely can we free ourselves from all social or moral proprieties. Images seem to flash by in a chaotic or incoherent yet significant order; through this stream of images our subconscious shows us the very core of who we are. Although I observe and explore the fragmented memories of dream sequences,  I’m not looking to reproduce them, but just to impulsively and sometimes accidentally take photographs of  those who are close to me. Through this way of working I would like to find release from the control inherent in intellectualised photography, like a way of life in which emotions have a more important role. This photographic series comprising 30 polaroïds, ektakrome, digital and analog photographs was put together during a period of two years, it  integrates the necessity to take pictures of  human relationships.




Born in 1970 in Belgium, Menendez lives and works in Arles, France. Her work has been presented in galleries (du Tableau, le lac gelé, Arena, Voies Off), festivals (festival Voies Off, Arles, PhotoEspana, Encontros da Imagem, Portugal), museums (Musée des beaux arts de Liège, Belgium, Museo de Arte Contemporaneo, Madrid), art fairs (Drouot, Leclerc, Supervues, foire d’art contemporain, festival Apart). She graduated from the French National School of Photography (Arles, France) in 2015 (master 2 level). She founded the collective “In The Kitchen”.

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Cécile Menendez

Christopher Nunn – Ukraine 2013-2015

Christopher Nunn

Ukraine 2013-2015

This on-going series began in February 2013 when I travelled to Ukraine following a thread of family history to the sleeper town of Kalush, the birthplace of my then-ailing grandmother. She left at 14 before arriving in England as a displaced person after World War II. Never intending to document my own family history, I simply used this geographical starting point, together with its inherent themes of histories, shifting borders, displacement and memory as a framework in which to explore Ukraine. Over time my journey shifted from west to east Ukraine, where I found my self by chance in early 2014 during the early stages of unrest, and where I continued to work as the region plummeted into all-out conflict. The majority of my work over the following 15 months was made within the conflict zone but took a more measured approach to the mass media reporting and focused on the periphery of Ukraine’s crisis in a wider sense. This project became a naturally evolving piece of work and a deeply personal journey that was shaped by the people I met whilst traveling, and ultimately by the country’s decent into chaos.




Christopher Nunn is a Yorkshire based photographer who divides his time between England and Ukraine. He graduated from Bradford College in 2004 with a degree in photography. Chris’ photographs have been exhibited throughout the UK and internationally, and recent press includes It’s Nice That, Business Insider, CNN Photos and Esquire Russia.

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Christopher Nunn

Lianne Milton – Song of the Quetzal

Lianne Milton

Song of the Quetzal

This project explores the complexities of post-civil war recovery and the struggle to find peace and security from the Guatemalan Civil War among the indigenous populations, who suffered the most violence. Guatemala is the only country in the western hemisphere that experienced genocide in the 20th century. During the country’s 36-year civil war (1960-1996), about 200,000 people were killed, and another 50,000 ‘disappeared’ and buried in mass graves throughout the country. This left a brutal legacy of violence on the social fabric of this highly indigenous country. 93% of human rights abuses were attributed to the military. The Mayans in the western highlands of Guatemala have been largely forgotten by the state for decades until the 2012 genocide trials for former military dictator and president, Efrain Rios Montt. During his term, the military under his command, terrorized the Ixil Mayan population between 1982 and 1983. He was quoted in 1982 as saying, “The guerrilla is the fish. The people are the sea. If you cannot catch the fish, you have to drain the sea.” The military systematically tortured, raped and killed the indigenous population who were accused of supporting leftist guerrillas, Guerrilla Army of the Poor. There were over 600 massacres in the highlands, the mountainous region which suffered the greatest violence in Guatemala. Today, although deprived of basic services to education, health, access to clean water and sanitation, the Mayan people have continued their traditional way of life as farmers and weavers even after the war. Rios Montt has largely enjoyed immunity for years as a member of Congress, but in January 2012, his 14-year term ended, and charges against him were allowed to proceed, but still has yet to be formally charged because of the country’s failed judicial system. I starting photographing this project in 2012. With the opportunity to return, the intention with either film or digital format will be more defined.




Lianne Milton is an American editorial and documentary photographer based in Rio de Janeiro, Brazil. Her work focuses on the effects of politics on people and their environments, in places such as, SE Asia, Latin American, as well as the U.S. Lianne began her freelance career in 2009, after working as a newspaper photographer for three years. She is a member of Panos Pictures. Lianne is also a recipient for the 2013 PDN Photo Annual in documentary and 2012/2013 Latin American Photography Award for her project in Guatemala: La Vida No Vale Nada. After receiving her BA in Photojournalism from San Francisco State University in 2004, Lianne worked for a newspaper for three years but was laid off in 2009 due to challenging economic circumstances – a blessing in disguise which enabled her to pursue stories she deeply cares about. Lianne currently lives in Rio de Janeiro, Brazil, where the City meets the Ocean. When she is not photographing, she’s out there surfing.

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Lianne Milton

Mariano Silletti – Ludovicu

Mariano Silletti


Ludovicu’s disappearance. Ludovicu arrived in Montescaglioso (Italy), with his family, from Romania. Ludovicu was 57 years old and he was suffering from Alzheimer. One day in December 2013, he went out from his home and never came back. Veronica, his wife, waited for him for hours. She then finally came to our police station. Ludovicu’s story has touched my heart. I am a police officer, I have a passion for photography and I did not want this story to be forgotten. In wintertime it becomes dark very early. Ludovicu’s home is located in the town center. Everything there was silently screaming poverty. The walls were damped with peeling paint. Veronica was very heartbroken and tired. We needed her husband’s clothes: she slowly gave us his trousers and some of his underwear. The dogs had to sniff them so as to find a trace of the man. We would like to give some hope to Veronica. We would like to fight the evil premonitions and try to find her husband. We tried to find him in the countryside, we entered the abandoned cottages. Where we found other stories, we came across other women and men’s lives. It was such a melancholic winter. While we were trying to find him, we stumble in so many different lifestyles. We came across other emigrants, the shepherds, the peasants and the citizens from our town. I looked at them with different eyes. Our search was persistent, my goals were out of focus. I had come across a mystery and suddenly I realized it. I saw fear and pain. A man suddenly disappears without any trace. I was surrounded by shadows and I wanted them to vanish. After winter, spring came. I wanted to find some encouragement even in these obscure months. Until now, no traces have been found of Ludovicu’s disappearance. 




Mariano Silletti was born in Pisticci in 1972 and currently lives in Matera (Italy). He joined the Carabinieri Forces at a young age, in 1991. In 1997 he studied and attended a photography course in Bari. His photography captures scenes of ordinary life, stories of men and women he has come across during his duty as a Carabiniere. His photography is emotive, full of feelings and strength.

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Mariano Silletti

Cyril Marcilhacy – The Village

Cyril Marcilhacy

The Village

Brann du Senon, former homeless, former biker, ex-con and eternal rebel, decided to change his life two years ago. After an eventful existence and several heart-attacks, he became a housing rights activist, bought a field in Fontainebleau forrest, 80 kilometers away from Paris, some old caravans he accommodated, and organized a community to host homeless people. Since then, men – and some women – thrown into the streets, come relax in this improvised village. The aim is to provide them with shelter and food to enable them to consider more serenely reintegration.

In order to communicate about his initiative, Brann owns a website and a Facebook page giving contact information to homeless so that they can reach the village. But the website is as well a platform putting into direct relation homeless people with individuals ready to help with a shower, a meal, a job or a temporary bed.

Independent of any structure, the community has its rules. No addiction, and everyone has to give a hand : feed the animals (pigs, chickens…), maintain the garden, fetch water in the the neighboring wells, general repairs, retrieve of daily unsold goods given by supermarkets nearby…

Every week, the members of the community cook a big soup and go to Paris or elsewhere to share it with people living in difficult conditions, talking about housing rights.

Life conditions are not that easy (no shower, no tap water, electricity 8 hours a day), and community life does not fit everyone. Turnover is high; sometimes the village has only 3 or 4 people living in it, sometimes 15.

I’ve been documenting the daily life of this community since August 2013, spending one week per month in the village. Even if this community is not changing the lives of the tens of thousands homeless in France, it shows that locally, with little means, some things can be done.




Cyril Marcilhacy was born in Roubaix, France, in 1981.
After studying Finance and spending two years in an audit firm, he traveled for a year and a half along the Panamerican highway, from Seattle to Ushuaia. It is then that he was sure of his passion for reportage and decided to switch to photojournalism. From 2009 to 2010 Marcilhacy joined a photojournalism training at EMI-CFD in Paris and then started working as a freelance photographer. Since then he has made two web-documentaries on various classes of age for of which excerpts were screened during the festival “Photographic Night” in Paris in 2012. Cyril first worked on social issues in France, then focused on the Voodoo in Benin, the plight of the civilian populations in the Colombian conflict, and the consequences of the Libyan revolution a year after the fall of the regime. He regularly works for newspapers and magazines such Le Monde, VSD, Le Parisien Magazine, Neon, Geo Voyages, l’Obs.
Marcilhacy joined Cosmos photo agency in 2012.
He currently lives in Paris.

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Cyril Marcilhacy

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.