marco casino – staff riding

Emerging Photographer Fund 2014 – Finalist

 

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epf 2014 – finalist

Marco Casino

Staff Riding

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Katlehong is one of the largest townships in South Africa and has played a key role in the history of the struggle against apartheid. This urban area has been for many years a dormitory-town for workers employed in the Johannesburg’s factories. Poverty is widespread, and there are still vast areas where houses are shacks. The unemployment rate is above 50%. Staff riding, the local slang for train surfing, is a widespread phenomenon in SA. The almost total majority of surfers are kids under 25. Amputations and death are really common. Train is historically the conveyance which accompanied workers from the township to Joburg. The Prasa Metrorail, the local train company, is one of the foundations of SA society. This connection between train and citizens remained very strong over time. Associated with economic stagnation, degradation and the logic of life on the road, led to the birth of train surfing as a social phenomenon. The spectacular and risky act of train surfing becomes the framework to tell the Katlehong’s young people social fabric. This place has been the epicenter of the antiapartheid’s guerrillas, and on the eve of the twentieth anniversary of the facts that we all know, the situation of segregation has remained more or less unchanged in daily life. In a context where violence, rampant poverty, abuse of alchool/drugs and infant birth/AIDS are the masters, the train surfing is configured as the search for a social redemption that will never come for the characters of this story. This work is part of a long-term project about the post-apartheid SA’s new generation and is designed to be a web platform halfway between the web-doc and a social network. Through the use of interactive maps, navigation will be driven between the Joburg metro stations, where each one of them will become the narrative device to tell a different aspect of the social life of the photographed subjects. The site will be online for the half of 2015 also thanks to the support of Lucie Foundation and Leica Camera.

 

Bio

Marco Casino is a multimedia photographer specialized in social reportage. In March 2012, with “The Death Of Italian Horseracing”, won the Leica Talent 24×36 contest, thanks to which start to collaborates with Vanity Fair Italy.
In April ’12 was honored by Y’art Project Association as winner of the full scholarship, sponsored by Hasselblad, for the Photo Workshop in St. Petersburg. Also in 2012, was nominated as first ambassador for Leica Camera in Italy. In the same year he founded the commercial agency Made In Milan. In 2014 was nominated as candidate for the annual Joop Swart Masterclass from World Press Photo. In recent years he is carrying out his vision of multimedia photography, trying to involve the biggest audience possible, developing new way to tell compelling story through the internet.
Since 2014 Marco is a member of LUZphoto Agency. He is 28 and currently based between Milan and Turin, Italy.

 

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max cabello orcasitas – chungui’s grief (the wedding of grief and carnival)

Emerging Photographer Fund – 2014 Finalist

 

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Max Cabello Orcasitas

Chungui’s Grief (The Wedding of Grief and Carnival)

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In the district of Chungui, Ayacucho, Peru, there’s a foundational myth that strikes people’s imagination the most. From the countless versions that exist, this is one of them: when Dominican monks arrived to the district during the first part of the Spanish Conquest, there was a drunken and insolent local chief ‘a curaca’ who irrupted into the church and threw down the chalice and the world descended into darkness. The curaca transformed into a jaguar and started chasing and devouring people. Only when the saints resurrected, the jaguar was dominated with lashes and fire. When peace was restored, survivors resettled.
Thirty years ago this myth adjoined reality.
Chungui is a distant district located in the region of Ayacucho, which was ‘according to the Truth and Reconciliation Commission?’ one of the most affected Peruvian villages during the political violence and armed conflict time, between 1980 and 1995. Chungi’s territory, of around 1000 square kilometers, was the scenario of multiple slaughters caused by both subversive organization Shining Path and Peruvian Policing Agencies (Army and Police forces). Currently, that same area contains 320 mass graves with the remains of more than 1,384 victims, waiting to be acknowledged by their families, mostly orphans and survivors of such harsh time.
Today, most of Chungui’s population lives in extreme poverty, and also trying to recover from the trauma that meant so violent in years past decades.
The restoration of celebratory expressions and life-death rituals is interrupted by the still slow exhumation process of the victims and disappeared people of those brutal years. Along with this restoration, Chungui’s population is concerned with recovering their relatives’ bodies.
Many of Chungui’s small hamlets do not have electricity or water supply, not even highways or healthcare centers. Since there are not highways, people have to make long walks of around 6 to 12 hours to move their products to a sales point.

 

 

Bio

Max Cabello Orcasitas. Born in Lima, Peru, 1974. Founding member of the group of documentary photography Supayfotos. Since 1999 he has worked asa freelance photographer for newspapers and agencies. In 2004 he received The Eugene Courret National Photography Award. In 2011 he received the first place in Latin America POYi Award for the series “Girls want to be singers” in the category Identity Nuestra Mirada. In 2013, his series “Happy Days” (still under construction) reached the honorable mention in the 2013 PHOTOGRAPHIC MUSEUM GRANT OF HUMANITY.

 

 

 

 

 

 

 

 

jordi pizarro – disappearing lands: the “human face” of climate change in the sundarbans, india

Emerging Photographer Fund – 2014 Finalist

 

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EPF 2014 – finalist

Jordi Pizarro

Disappearing Lands: the “Human Face” of Climate Change in the Sundarbans, India.

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‘Disappearing Lands’ sets out to capture the ‘human face’ of climate change. The delicate balance that has for many centuries existed in the Sundarbans between land, air, and sea, is today under threat, and in certain areas, the effects have been disastrous.
‘Disappearing Lands’ is an attempt to explain how the Sundarbans is changing through the voices and images of the people who live there. It is also a call for urgent action to all, to address the very issue of survival of the landscape we call the Sundarbans, the animals and people who live within it, and the preservation of the worlds largest mangrove forest.
Within the space of the last 25 years, 6000 families have been rendered homeless with 4 Sundarban islands sinking into the sea.
As ominous predictions by climate change experts begin to unfold, the seas around the islands in the Bay of Bengal that support the world’s largest mangrove ecosystem are rising faster than anywhere else on Earth, placing the lives and livelihoods of those who live in the Sundarbans at risk.
Every year during the monsoon season, the waters of the rivers Ganges and Brahmaputra, which empty into the heavily populated and low lying delta region constituting the Bay of Bengal, inundate and erode the riverbanks and islands which millions of subsistent farmers call home.
Professors at Kolkata’s Jadavpur University estimate that as much as 15% of the UNESCO-protected Indian Sundarbans region will be submerged in the next six years. Sites of cultural heritage and farmlands relied on by peasant farmers, has been irrevocably lost in both India and Bangladesh.
Indeed, the riverbank erosion has caused more human and economic disasters in these areas than most wars. Sadly, only limited efforts have been made by the Bangladeshi and Indian governments for effective erosion control measures. There is limited political will to either help the displaced, or to prevent future climate-related disasters.

 

Bio

Barcelona, 1985.
I am a freelance documentary photographer currently based in India.  I’m covering breaking news and stories in  South East Asia, the emphasis of my work is largely focussed on current social and environmental concerns that affect different communities, most of them unadvertised by the big media. In addition to this, I have my long term project entitled “Believers” which looks at traditions, cultures and religions from a more anthropological perspective in many different regions globally.

My main goal is to aid and increase awareness of issues affecting people and their environments in the world we live in. I hope that with my photographs to contribute in some small way towards creating a critical reflexion of this world and also to try to understand us better as humans beings.

My work has been published in many international magazines around the world including Time, Sunday Times, Le Monde, Spiegel, Forbes, El Pais among others.

 

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meeri koutaniemi – taken

Emerging Photographer Fund – 2014 Finalist

 

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Meeri Koutaniemi

Taken

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Taken is a long term work aiming to a book, which has a diversity of stories from circumcised women who share their struggles in daily life resulting from an incident that caused irreversible mental and physical consequences for the rest of their lives.

Female genital cutting has been widely judged as a procedure against human rights and as a serious violation against women’s sexual independence. It reflects deep-rooted inequality between the sexes, and constitutes an extreme form of discrimination against women.

The World Health Organization estimates that there are more than 140 million mutilated women in the world. Female genital mutilation is a tradition practiced worldwide in 28 countries. As a project Taken aims to offer information about the dangers and horror of female genital mutilation and will be done together with female activists around the world for seeking a concrete change to stop the tradition of FGM.

The causes of female genital mutilation include a mix of cultural, religious and social factors within families and communities. The tradition stems from the belief that woman’s sexual organs are considered to be impure. FGM is often motivated by beliefs about what is considered proper sexual behavior, linking procedures to premarital virginity and marital fidelity.

The project includes stories of FGM survivors from 10 different countries. As a book Taken works as a platform to bring the tabu of mutilation and female sexuality into a more deep public discussion.

 

 

Bio

Meeri Koutaniemi, 26-old freelance photographer, was born in Lapland and lives currently around the world. Koutaniemi started as a photojournalist through her independent projects abroad. Koutaniemi does documentary photojournalism on issues concerning human rights and minorities, and combines her work with political activism.

Koutaniemi has worked as a photographer and a journalist in over 30 countries and filmed documentary movies in Bolivia and Mexico.

In 2014 Koutaniemi won the FreeLens Award in Lumix photo festival in Hannover with her exhibited documentary work Taken. Koutaniemi was selected as a participant to Joop Swart and VII Masterclass in 2014.

Koutaniemi is a founder member in an Italian Photo Agency Echo and belongs to Finnish Collective 11. In 2012 Koutaniemi received the Memorial Award of Tim Hetherington in United States and the Memorial Award of Carina Appel in Finland 2013. In 2012 and 2013 Koutaniemi was selected in Finland as the Photographer of the Year.

 

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EPF 2014 – the winners

 

 

 

 

EPF 2014 WINNERS

 

Alessandro Penso, winner – $10,000

Birte Kaufmann, runner-up – $3,000

Kiana Hayeri, honorable mention

 

 

EPF 2014 FINALISTS

 

(in alphabetical order – out of a total of 1135 entries)
Laia Abril
Dominic Bracco II
Max Cabello Orcasitas
Marco Casino
Alejandro Cegarra
Stephen Dock
Ditte Haarlov Johnsen
Meeri Koutaniemi
Justin Maxon
Annalisa Natali Murri
Jordi Pizarro
Valerio Polici

 

 

The full essays of the winners and finalists will be published here on BURN over the next few days and weeks,
as well as the list of the shortlisted selection. Stay tuned!

 

 

EPF 2014 JUDGES

 

(in alphabetical order)

Mauro Bedoni | Photo Editor, COLORS Magazine

Jim Estrin | Editor, New York Times LENS blog

Donna Ferrato | Photographer

Erik Vroons | Editor-in-Chief, GUP Magazine

 

 

Judge’s statement:

 

The amount of excellent work that we viewed made this an extremely difficult judging process.
Many entrants were worthy of recognition, but our job was to pick only a few.

Alessandro Penso brought new insight, and a sense of intimacy, to an important topic.
His story goes beyond what others have done on migration. The well composed images
reflect his commitment and the time that he has put into the story.

Birte Kaufmann gives us a look into the daily life of The Travelers,
an indigenous Irish nomadic group. The images are lyrical, yet also direct.
Her vision is pure and tender.  We hope this beautiful body of work will be developed further.

Kiana Hayeri was born in Iran but went to high school and college in Canada.
Her work has focused on  Iranians both in her home country and her adopted one.
She goes well past the stereotypical representations of Iran and brings us both an insider and outsider perspective.

 

 

Previous EPF Winners

 

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’.

 

 

Editor’s note:

 

I cannot express my thanks enough to Donna, Jim, Erik and Mauro.
This very fine EPF jury worked collectively so hard and so thoroughly to finely tune their choices…
They thought this through very carefully from every angle to award this grant to the photographers most deserving.
Of course once it gets down to the finalists, the choices become extremely difficult. This is where they really went to work.
Lots of back and forth discussion and yet consensus reached.

 

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.

 

Many thanks especially to my EPF Burn team of Anton Kusters, Diego Orlando, and Kaya Berne.
First off , they must deal with me!! Never easy. In all seriousness, they all show amazing dedication to the spirit of
doing something which just feels good. To provide a platform for the up and coming.

 

Special thanks to Susan Meiselas of the Magnum Foundation. Nobody on the planet is more dedicated to allowing new talent to develop.

 

-dah-


The Emerging Photographer Fund was created and is directed by David Alan Harvey,
and curated by Anton Kusters & Diego Orlando, with Kaya Lee Berne.