Monthly Archive for June, 2011

Michael Hagedorn – Facing Dementia

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Michael Hagedorn

Facing Dementia – A New Approach

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Dementia is a rapidly growing social challenge in almost all societies of the world.  For most of us who are not directly involved, dementia seems to be synonymous with a uniform regression of mental abilities and a rapid loss of quality of life.

But quite contrary to this typical misconception, which is constantly being nurtured by undifferentiated and stereotypical media reports, dementia is not dementia. Aside from the fact that there are a number of different medical forms of dementia, the most common of which is Alzheimer’s disease, it should no longer be ignored that every person affected develops his/her own and very personal form of dementia and his/her very distinct way of dealing with the limitations and changes resulting from it.

During the time that I have spent photographing in retirement homes and private homes all over Germany I have met many people affected with dementia who not only enjoy life to the same extent as they did before or even more; moreover I have met people who only after their diagnosis of dementia discovered talents formerly unknown, such as Werner Leypoldt who practically has not stopped making art work for years. And due to a vanishing consciousness of societal norms and rules many people with dementia enjoy personal freedom never experienced before.

Every human being is destined to personally be affected by dementia – provided we will be getting old enough and depending on some kind of individual biological clock. Some people start developing symptoms of dementia as early as in their thirties, while others live to an age of 100 years or older without showing any significant signs of mental regression.

We still do not know what physiological mechanisms may cause or boost dementia. There are many question marks, but more important than the academic side of this subject, is to rid it from its societal stigma and to give back dignity to those people involved. This project which is overdue is aiming at raising people´s awareness for one of the most important social challenges we are facing – worldwide.

This long term photographic project has grown to becoming the largest visual documentation on dementia ever.
A lot of the photographs have become part of the awareness campaign “Konfetti im Kopf” (“Confetti in the Head”), that I initiated, and that travels through Germany and other countries.


Michael works for magazines and in advertising, now specializing almost exclusively in dementia and related disorders and phenomena.
His work has been exhibited in numerous single and group exhibitions.
Awards and nominations include a nomination for World Press Photo Joop Swaart Masterclass in 1996; Fuji Euro Press Award, 1st Prize News, 1998; two grants of VG Bild-Kunst, Germany, in 2001 and 2005; Swiss Press Photographer of the year 2006, Gold Award; POYi-Nomination for Best Portfolio, 2007; Nikon Reportage Photography Grant, 2008, amongst various others.

Related links

Michael Hagedorn

Konfetti im Kopf

ahh, Paris in spring…

Joseph Koudelka gives a winsome Martin Parr a pat on the back after the Paris portraits session

John Gladdy emerges from his Paris hotel executive suite, only to be met by the dreaded Burn paparazzi


Like most photographers, I have a bunch of ideas about half cooked….Only some very few of my many on going projects actually get finished…I write about finishing often on Burn because it is the one single element most holding most photographers back..They just do not finish..I have often described a one in ten “finish rate”, which sounds low, but might actually be high….In any case the above two pictures, along with hundreds of others will fit into my now 4th book in progress tentatively titled:   PHOTOGRAPHERS (I have known)..

You will have to use your imagination on the typography and layout, but you can probably imagine the scrapbook look that would contain all the pictures I have made of my colleagues over the last 40+ years. No not just now as in Paris with the Magnum crowd and a piece of the Burn crowd, but all the way back to my college days, newspaper days, NatGeo days and 15 yrs worth of Magnum days and from seminars and photo fests world wide and all of my students and on and on and on…

Yup, I have pictures of probably everyone reading this text right now…Right? Or pretty damned close to it. Everybody shoots these “extended family ” pictures , but I might just have been doing it longer and over a wider demographic of our photographic community than most…

This is not so unusual , for photographers seems to love taking pictures of each other. I saw it at Look3 and I see it at the Magnum meetings like the one we just had now in Paris.  Photographers will often say “don’t take my picture, I belong on the other side of the camera”,  then give a silly grin into the camera just like everyone else getting their picture made. C’mon let’s face it, we all like being in a “memory picture” …Not a good picture. Not an intentional picture. Just a snapshot for the memory book. Well, this memory book might just be a real book. So unselfconscious and so not “trying” that it might just have an authenticity to it that would give it some lasting value. A little piece of history. And of course I will sell a copy to all the photographers who are in the book! Hot sales figures right there. :)

Of course, the cynical response could be, and will be, “who cares about a bunch of pictures of photographers?”…. a fair question of course…Well, I would sure buy a copy if someone else did it..Assuming it was done in a really interesting way…Just a bit of text, a few identifying captions, and well ..done…

Above are just two of the many I took around the Magnum annual gathering of the tribe. The first is of an unusual moment when Martin Parr arrived at the HCB Foundation cocktail party after photographing dozens of Parisians who had been lined up around the block to have a Parr Portrait as part of a Paris office fundraiser. Who could be more different than Parr? Koudelka, that’s who…Yet this is classic..Two photographers who see the world so so differently, and who might disagree on some issues, yet blend in a family way in the long run of our cooperative..This is the extended family of photography that I have always seen since my youngest days. Here played out on the same time stage with a late night Burn crowd reunion in the room of John Gladdy who decided to show us work at 3:30am after a diet of champagne, red wine, and tequila…All of this is part of my photo mix. What I have seen since starting to shoot this sort of thing during my grad school days.

That old famous line “if you remember the 60’s you were not there” is pretty much true. Same for a lot of these gatherings. I sure would not remember 90% of the stuff I see in my contact sheets. So good thing I made a few snaps to trigger the memories. Good ones, great ones,  to be sure..

Next time you see me, smile..You just might end up in the book…

bruce gilden – haiti, 15 months later…

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Bruce Gilden

Haiti, 15 Months Later…

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Haiti, a land of great spirit and tremendous hardship occupies a special place in my heart. My first visit to Haiti goes back to 1985. Then, for ten years, I made a total of 19 trips, and my work culminated in the publication of the book “Haiti” that earned the European Publishers Award for Photography in 1996.

I thought I was done photographing in Haiti, but when the earthquake struck, I felt the urge of going back. Last February‐March 2010, in Port‐au‐Prince when I saw the enormity of devastation, I feared that once the media attention would shut off, Haiti would fall into oblivion again, so I decided that I had to keep the light burning.

All of the familiar sites I knew had been destroyed. Instead, I found rubble, chaos and homeless people sleeping on the streets, in their cars, in tents and makeshift shelters. For all of that, when I looked around at the improvised shelters that people had built out for themselves out of scavenged material, it seemed to me that the Haitian spirit was alive and shining on the decorated flimsy walls of these tiny huts.

The “residents” of these encampments had recreated all the elements of Haitian life as if they knew right away that this temporary settlement would be their long term home: a one-seat barbershop, a two-pot restaurant, and families taking bath buckets in the open, women ironing and watching TV, courtesy of the diverted electricity from the Presidential palace. The first time I stepped into one of these encampments, it felt awkward, as if I were invading people’s privacy, stepping into an open living room without being invited. But this was the street, this was Port-au-Prince post earthquake last year.

Unfortunately, when I returned, last April, 15 months later, I did not notice much improvement. The encampments were still there, with more small huts built and decorated. The walls display all kinds of statements, personal, religious, and political, and once again I was touched by their poetry, proving that the vibrant and unique Haitian spirit could fall through the cracks of the worst possible living conditions. During this last trip, I was able to capture the mood around, and I felt that I am today even closer than before to the people of Haiti: Older ones distressed by the emotional impact of the earthquake, and younger ones in need of work and leadership to human development.


editor’s note: these photographs were shot on exclusive assignment from Burn…dah


Bruce Gilden, a native New Yorker, has received acclaim for his black and white portraits and street scenes. Gilden has won multiple awards including the European Award for Photography, three National Endowment for the Arts fellowships and a Japan Foundation fellowship. He has published many books. His work, exhibited widely around the world is part of numerous permanent collections.
In 1998, Bruce Gilden joined Magnum Photos.
While another early essay focused on the famous “Mardi Gras” in New Orleans, Gilden worked from 1968 until the late 1980’s on his first long-term project on Coney Island. It was published in his book Coney Island, in 2002.
In 1984, Bruce Gilden began to work in Haiti where he returned nineteen times. The book Haiti concluded this work in 1996.
Since 1981, Bruce Gilden had been working on his on-going project, the streets of New York City. It culminated in the publication of Facing New York in 1992, and later in 2005, in A Beautiful Catastrophe.
His next project explored rural Ireland and its passion for horseracing. After the Off juxtaposes Gilden’s photographs with text by the Irish writer Dermot Healey.
Published in 2000 Gilden’s next book, Go, is the result of Gilden’s immersion in Japanese culture, with images of Yakuza (the Japanese Mafia), the homeless, and Bosozoku or young biker gangs.
After years of worldwide travel, in 2008, Bruce Gilden felt the need of photographing his own country and draw a social portrait of America in this time of great recession. Gilden has just completed an extended personal project on foreclosures, in Florida, Detroit and recently in Fresno, California.
In February 2010 and April 2011, Bruce Gilden returned to Haiti a country that occupies a special place in his heart. He is passionate about dedicating a second opus to the people of Haiti and continuing to raise awareness on their everyday life struggles.

Related links

Bruce Gilden on Magnum Photos

Maurizio Cogliandro – Lidia, The Sky is Falling

This selection of photos is part of a work that I have created together with my mother during the last two years of her life.
My mother passed away on the 14th February 2005.
After being diagnosed with an ovaries tumor in the Spring of 2000, she spent her days composing with me a diary of images. The saying goes that a photo speaks a thousand words, but this reality is so intimate that both words and images lose all their value.
These photos aim to be the most truthful and essential, not a social allegation, but a testimony of our bond.
The one who is approaching death longs for life, a life lived with his own family until then, when his status changes and is therefore unknown… illness catapults us in a new condition, these are the days of those who are drawing near death, but who are not necessarily conscious of the fact that it is going to happen.
The ones who really suffer ask, dream to live and invent something, because they don’t know where else to take refuge.
Hope and awareness blend into each other in their mind, and the feeling that is generated enriches each and every one of their daily actions.
My mother made herself completely available to me, she fully trusted my vision to tell people not only about her illness, but also her pain and her abandonment.
I hope I have helped her to understand herself.




Maurizio Cogliandro was born in Bracciano (Rome) in 1979. He studied photography at Leeds College of Art and Design (Leeds, UK) and then at the Scuola Romana di Fotografia (Rome). His works have been displayed at a number of museums and national and international galleries. In 2010 he publishes Lidia, the sky is falling an intimate and private diary about his mother’s last years. He joined Contrasto Agency in 2010.


Related links

Maurizio Cogliandro


father by kerry pane


by Kerry Payne


I adored you.


Fiery red hair, flashing blue eyes, and a laugh that engaged your every cell.

You were electric.


I feared you and your heart that moved from tender to cruel with each drink you took; learning early to tiptoe through eggshells, not knowing when they’d crack, only sure that they would.


Twelve when you became the man of your house; your own special dreams withered on the vine.  Like your father before, you were no match for family life.


Is that why you drank?  To remember, to forget?

Is that why you roamed, your spirit restless, always searching, always searching?


The fights, the tears, the sacrifice, the life I vowed I would never repeat.

Dreams set aside for the sensible path; my head faced one direction and my heart in another.


Your suicide ripped my heart into a thousand tiny pieces I stuffed deep into my pockets and never examined, for fear it would undo me.


For seven years, your photos hidden so they wouldn’t mock me, I did not mourn you.  To do so then would be to admit we’d failed, both you and me.


You jarred me into awareness of the passing of time, of the danger of living with untested dreams.


I see you now.  You were brave and vulnerable, certain and confused and filled with hopes and regrets.  The best of you is what I like most in me and I wish I had not wasted a moment angry with you, in your life or after you died.


Your gypsy ways turned me from my camera, and your death brought me back to it. What a gift you left behind.


Now when I learn somebody chooses to live because of the stories I’ve shared, it gives meaning to the journey we’ve traveled together.


I could not save you, but you may have saved me.  With your picture in my camera bag, and your lessons in my heart, together we’re saving others.


Kerry Payne, June 12, 2011.

anton kusters – odo yakuza tokyo LIMITED EDITION (SOLD OUT)

Nitto-san, Souichirou's direct boss, in the back of the car, while driving to Niigata prison to go and pick up two members of the family that are being released from prison that morning, after being incarcerated for several years - 2009

Anton Kusters

Odo Yakuza Tokyo


Below is an excerpt of my conversation with Anton Kusters, talking about the birth of his first book. We are sitting on my front porch during a beautiful sunrise. Somehow appropriate. Even more appropriate is that today is Anton’s birthday.



DAH: Well, the bottom line is, Anton, you have your first book… Tell me, a first book is comparable to what?

AK: It’s… It feels like I actually did something for the first time. I mean, it’s not that the book was more work than the project itself, but… it does feel like I took a step in some way, like a kind of achievement in some way, for myself, personally. It really feels like a personal victory. And whatever that victory, that achievement, will mean to the outside world, I would almost say, that is out of my hands. I mean that in the best possible way. I love seeing cutting my book “loose” into the world, let it go, beyond my control.

DAH: So… Validation?

AK: Validation… a little bit a sense of pride deep down inside… that I could actually pull something off, because for some reason, it always feels like nothing is really complete, or at least this project could not be complete, without the validation of a physical object, like a book, an exhibition… like Massimo Vitali said at LOOK3 a couple of days ago… “I’m looking at the picture as that unique physical object, impossible to see separate from the plexi it is printed on”

DAH: …Yes… I don’t know if everybody feels that way…. I certainly feel that way also, if there’s no physical object then there is nothing, actually.

AK: Yes

DAH: There’s instruction, there’s information, it’s up there on the screen, but it’s meaningless without the physical object…

AK: … things remain fleeting until something physical is made.

DAH: and even though you reach fewer people, it doesn’t matter –

AK: Yes… You reach so many less people… I mean, the internet is like multiple, you reach multiples of the audience of the book… but… I think the feeling it will never change as to what it must have been before the internet… it must be still exactly the same, that kind of feeling… the internet adds to it, but the feeling of selling the book, making the book, is… is something… is a different category. at least it feels like that. And seeing friends and strangers, complete strangers, hold that book, and look at them while they are looking at the book. that’s the thing that completes the circle for me.

DAH: You don’t see that on the internet, you don’t see that with an international magazine either… occasionally you do by accident, at the airport you see somebody looking through one of your articles, and of course they flip right through it.


Let me go back on a couple of basic things: so… it’s fun to have a book out there.

AK: Absolutely.

DAH: I remember, Sam Abell said one time, to me, “David, when you do your first book, life will change”. And he was right about that: after your first book, life does change.

AK: Yea… I feel it does… I mean, I don’t know, I obviously it’s too soon to say because it’s only hitting the stands right now, I mean “the stand”, singular, being here on burn, so I don’t know what the actual impact will –

DAH: – Oh I predict that, I think this book will, I think this, your limited edition of 500 copies, of a very well priced book and a very high quality book, and a very heart felt… done book, I think that this book will sell out in less than two weeks. That’s my prediction. I think it’ll be gone in ten days. Something like that, I really think that.

I think that people will, people will feel that this is a one of a kind object, as you described, there are people who get more out of photography than seeing, to flick a page, or even on burn or anything, anything that’s online, and will go for that physical object. and they’ll see it the same way that they saw Alec Soth’s “Sleeping by the Mississippi”, and they’ll want to be one of the ones to have an original, first edition, from the first five hundred.

AK: Yea… and it’s, it’s almost like I wish there was this tactile… extension to the internet where you could make people reach into the screen and pick up the book to be able to feel it, that they can feel what the object is like, because I feel that that’s such an important aspect.

DAH: Your book is a physical object, it’s a beautifully done physical object, and the printing and the binding and the making of this book are clear, and speak to the subject… So tell us a little bit about… the making of the book in relationship to the subject of the book.

AK: That’s of course pretty crucial, as I regard the book as an integral object of what the project is about… I mean, I’ve been fortunate enough to have worked at a printer a long time ago, and that opened a whole new world to me back then. But it wasn’t until last year that I realized was using all that knowledge for this book.

I completely did the process all by myself, I designed the book, I found the right papers and the right printer, prepared for print, went to press, and oversaw the binding…. I learned obviously a lot during the process, but… it’s such a fun thing to do, it’s a lot of work, you gotta follow up everything personally, but you’re basically taking up the role of, of…producer

DAH: OK, so we’ve covered the thrill of having the book… and the physical production of the book. But I think the word of mouth on the physicality of this book will quickly get out there, and I think that, you and I are of like mind of what Burn does, and our basic philosophy is a quality one.

AK: Yes… whatever the case, quality comes first, and that’s why I was so happy that you were willing to endorse and write the foreword for the book, because I knew that you would never, ever, even as a close personal friend, you would not do that if you wouldn’t be very sure about the quality of the work.

DAH: No, I would not do that. Of course I’m expecting a hell of a kickback from this book, I’m expecting a lot of money into my my bank account [laughing]

The thing is… photographers do want to do books, and I think everybody knows, that books are not how we make money, but you will, even if this book is a raging success, you won’t be paying your home bills with this book, no matter how successful this is….

AK: I might break even on some aspect of the printing, and I’d be really really happy if that happened, but I’m pretty sure I can forget about trying to pay for all the trips I took.

DAH: Now tell me a little bit about how the subject of your book.  Any way you look at it, is going to be controversial, inside Japan, outside Japan, all around the town. I mean, you’ve turned into a physical object of photography, a crime organization. So. justify that for me please.

AK: Justify…

DAH: I mean, don’t justify it for me, because I understand it…. Justify it to those who might be reading this.

AK: I think it goes back to the fact that I’ve always taken aback by… prejudice. I’ve always been taken, really taken aback by blanket statements, I’m taken aback by the judging of people and things… Personally, I’ve always asked questions instead, being inquisitive, at least in my mind ask questions, trying to understand things…

I do not want to be a judge in my photography. I want to be a witness in my photography. A faithful witness of my own vision. A vision which I know is shaped and skewed by my upbringing and my life’s experiences.

I guess that’s why the Yakuza project actually quickly turned into something different than I expected, I started to feel that it’s a way of life more than anything else… and that’s where I latched on. The bad part or the good part for that matter, very quickly became irrelevant after that. The subtle shades of grey are the key.

Who am I… can it ever be my right to say about someone that he is “bad”? about anyone?

DAH: So your essay, your book is, how would you describe what it is in relationship to a crime organization? is it a revelation, is it an exposé, is it a behind-the-scenes? what is it exactly? what are you telling us with this book?

AK: Well… that’s a good question. I might have to find that one out as we go along, because I actually just want to show, I think, basically what I just said, I started feeling that that Yakuza is many shades of grey, and not simple black vs white.

DAH: so is that your, your…mission?.

AK: It’s the subtlety of the story that hit me, I think it would be kind of easy, or cheap, in a way, to show the Yakuza and what they do, instead of what they are, because I would, in a way, stereotype them, and that is something I don’t want to ever do to anybody.

DAH: yeah… do you want me to get you another coffee?

AK: yes, sure.

DAH: you drinking it black?

AK: as always

DAH: OK. Here, think about this question: what do you think the Yakuza are going to think about this book? What are they thinking that this book is? You’re thinking that it’s a revelation of some sort, what do they think it is? Everyone wants their thing out of it.

[DAH gets a cup of coffee]

AK: Interesting question… The thing is, I think, and I have the feeling, that they want to have, kind of a chronicle of their family, of sorts, a chronicle of what they are about.

DAH: When I look at the pictures, I  don’t see them doing anything bad… If I weren’t reading about the Yakuza, or know about the Yakuza, your pictures here do require text, and context, which, I think, only adds to the texture and to the feel of these photographs. Is that correct? They seem here to appear as traditional Japanese businessmen.

AK: Yeah… Though you can’t really misinterpret the tattoos, covert training camps, prostitutes and severed fingers.

DAH: So aside from the fact that people who buy this book are going to receive a physical object, and a lot of visual stimulation, on a topic that you have decided was worth photographing, what do you, what do you think that people will get out of this book, or should get out of this book, besides the fine object aspect of the book? Because it is a documentary. it is not a conceptual thing.

AK: Actually, I would like to describe this as a conceptual documentary, because I have no intent, to tell the truth, but rather I have the intent of telling the Yakuza story as I personally experienced it, me, Anton Kusters, the person and character that I am, with all my flaws and shortcomings, and I will most probably see things in a completely different way and therefore be sensitive to, and concentrate on, the things that strike me or touch me… the shades of grey i see, the realization that being Yakuza is a way of life more than anything else. I hope others will see that too.

DAH: So in that sense you are being very documentary, mission oriented documentary. In that sense.

AK: Yeah. in that sense. I could even consider that a mission in life in general.

DAH: I know exactly where you stand on this. Personally, for me, I find any topic interesting, if a someone, if a photographer, if a writer, or a film maker is telling me that they are interested in whatever the topic is, whether it’s the sinking of the Titanic, as a piece of history, or Restrepo, a war story by Tim Hetherington, or your story on the Yakuza. I don’t really care, I mean, somebody who is a storyteller, or a visual artist, if they have decided that they’re going to do this particular thing…. i’m not ranking subject matter by some subject matter being more important, or right, than others. It becomes important by the fact that this particular storyteller is going to tell it.

AK: Yep. About Tim…. I met Tim only a couple of times, and the last time we talked at length about the Yakuza project, which was then only halfway, and he was the one who also told me, like you had always told me too, David, because there was one particular picture, when he saw that one he stopped in his tracks and said “this is the one” and that was the picture of the empty table with empty glasses and cups and a burning cigarette and the two empty chairs, the full ash tray, and he said “right there, that’s the kind of image, that’s the image you have to have in there, because there you are saying that you are personally telling that story that is your story, and that you are not just ‘covering’ the Yakuza”… and I hope I have taken that to heart.

DAH: well I think there is no doubt that you’ve done that. The only thing left I wanted to ask you is… you will now probably spend the next year working on the film, on the same topic.

AK: I hope that works out, yes. There is… we’re starting, my brother Malik and I are starting to, because obviously film is way more complex than photography from a production point of view, my brother will be doing sound, I will be doing video, the moving image…. I hope that works out… we’ve got a good story. And the book, offering the book to the Yakuza bosses now, tomorrow I’ll be flying over to Tokyo to, you know, present the book to them, give copies as a gift, which will hopefully open gates.

But again, this will be way more complex, also financially… so, I will be using the potential success of the book as a gauge for myself, if it’s viable to continue on that path or not. But I obviously feel I should do it no matter what. so I hope it will work out.

On the other hand, photographing daisies is great fun too.


(the limited edition sold out on July 21, 2011)


Anton was born in Belgium. He grew up in Australia, Saudi Arabia and Belgium, and has been visiting Japan ever since his brother moved there a decade ago. The long term YAKUZA project started out three years ago, and the first major step now has been taken with the book “ODO YAKUZA TOKYO”.
Anton feels that life should be about going deep down rabbit holes as much as you possibly can.


Related links:


think tank…

Burn editors Diego Orlando, DAH, and Anton Kusters on beach Carolina - photograph by Bryan Harvey

sorry i have not been around here for comments etc…nevertheless i HAVE been doing all things Burn …both at LOOK3 and now at my home…the whole Burn staff and a few crashers and hangers-on did manage to get to my house after the three day non-stop marathon that was LOOK3…Burn  officially started off the final day of Look  with the slideshow leading to the announcement about Irina being our new EPF recipient…i am so proud of all of the jury for selecting Irina…thanks Maggie Steber, Narelle Autio, Trent Parke and Barbara Stauss…these jurors added  to our repertoire of photojournalists like Davide and Sean winning our award but also more conceptual artists like Alejandro and Irina as recipients as well……Burn 02 coming soonest and the reason for the meeting at my home,  the book is going to rock it bigtime…we will launch with a special Burn slideshow in the arena at Perpignan this year…an honest too cool European opening of Burn.

anyway, i cannot stay long now, but i just wanted you to know that yes i am having fun and still working all the time to make this an educational hangout for all of you…Anton just left for the airport…next story up will be his Yakuza book official announcement…after all Anton is a former student and Burn colleague who listened and then went and did it with his own special talents…so damn right i will help to sell his book on Burn prior to Burn 02….later i will also do my own RIO, but in early 2012 with a free tabloid for all of you and a book for sale if you choose…all books and printed objects of any kind coming from Burn will be built around their limited edition appeal…Burn 01 has already proven this…as will Anton’s book, and 02,  and maybe maybe YOUR BOOK….yes, we will be looking all around the town…for things that will make sense…for things that just MUST be published…Diego is your go to book guy. Bryan, who shot the short film for our upcoming book JOOK is going to be selecting a few new short videos for our attention…we want to start featuring more short films…

anyway, this is the conversation on my front porch…as you all know by now if i am anywhere near you, everyone is always invited into the discussion…we plan to do Burn meetings in Warsaw, Rome, Bangkok, etc. meet more of you, to look at your portfolios, to consider your work for Burn. we will have to charge something for this but just enough so we can get to you…plane tickets, meeting space, etc., etc…anyway, we can all figure this out….we are thinking of more ways for all of you to participate, starting with a call for self portraits…yes, just like i did for Road Trips…only this time for possible but not guaranteed use in Burn 02…as a portfolio of a hundred or ten…we would have to see…not silly gratuitous gimmicky use of self portraiture, but something totally sophisticated yet edgy…yes, looking nice for 02…anyway, we are working it all out…fun stuff…creative stuff…education stuff…only things we like and care about…figuring we are pretty much on the same page with whomever is here…no pandering to an audience who will never like the way we think but assuming a nice connection with a significant number of like minded folks who just appreciate the visual image…and with photography as a way of living life….hard to knock the combo…

ok nuff said…

Mike Courvoisier, Diego Orlando, Maya Joseph Goteiner, Michelle Madden Smith and Bryan Harvey

EPF 2011 Winner

Emerging Photographer Fund – 2011 Recipient

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Irina Werning

Back to the Future

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I love old photos. I know I’m a nosy photographer. As soon as I step into someone else’s house, I start sniffing for those old photos. Most of us are fascinated by their retro look but to me it’s imagining how people would feel and look like if they were to reenact them today… A year ago, I decided to actually do this. So, with my camera, I started inviting people to go back to their future.

It starts when I get together with my subjects and we choose the old picture. I go through their boxes and albums looking for an image that speaks about them. Next comes a bit of a photographic investigation: studying the lighting, the angle, the type of camera and lens it was shot with, etc. Then, from there, the search begins: internet auction sites, second hand stores, borrowing from friends wardrobes, cutting, dying, sewing, attaching, adapting, assembling, gluing, coloring, painting, renting rare and hard to find objects. This project requires a lot of improvising on the run and it involves searching endlessly for stuff in the streets of Buenos Aires. I guess I really like finding things. If I cant find something, then I make it.

Once I have everything I need, we are ready to go back to the future. I dress them up and put them either in the set I built for them or, when possible, back in the real location. Once I get the light right, I ask them to do that thing they were doing in the original photo. I am always amazed that they do it.

Its funny how what you do can show you who you are. I always thought of myself to be the opposite of perfectionist as I live in complete chaos most of the time. However, when I now look at these pictures and see the attention to detail in them, I have to question my self image…

This story has been published in Sunday Times Magazine (Spectrum).

Editor’s Note:

Irina will receive $15,000. from Burn Magazine through the Magnum Cultural Foundation to continue her project.

The EPF 2011 judges:

Trent Parke – photographer, Magnum Photos
Narelle Autio – photographer, Agence VU’
Maggie Steber – photographer, editor, teacher
Barbara Stauss – photo director, Mare magazine, Germany



Born in Buenos Aires
BA Economics, Universidad de San Andres, Buenos Aires, 1997
MA History, Universidad Di Tella, Buenos Aires, 1999
MA Photographic Journalism, Westminster University, London, 2006
Winner Ian Parry Scholarship 2006
Gordon Foundation Grant 2006
Selected for Joop Swart Masterclass (World Press Photo Organization), 2007

Related links

Emerging Photographer Fund – Finalists:

Dominic Bracco II
Michael Christopher Brown
Zhe Chen
Laura El-Tantawy
Daisuke Ito
Tushikur Rahman
Benjamin Rusnak
Daria Tuminas

Emerging Photographer Fund – Honorable mentions:

Walter Astrada
Victor Cobo
Maurizio Cogliandro
William Daniels
Marc Davidson
Alvaro Deprit
Rian Dundon
Matt Eich
Ryan Gauvin
Robin Hammond
Tom Hyde
Sebastian Liste
Alberto Lizaralde
Nicola Lo Calzo
Guy Martin
Gabriele Micalizzi
Karen Mirzoyan
Jane Moriarity
Isabelle Pateer
Emily Schiffer
Valerio Spada
Andy Spyra
Anastasia Taylor-Lind
Munem Wasif

chris anderson – capitolio

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Chris Anderson


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The word ‘capitolio’ refers to the domed building that houses a government. Here, the city of Caracas, Venezuela, is itself a metaphorical capitolio building. The decaying Modernist architecture, with a jungle growing through the cracks, becomes the walls of this building and the violent streets become the corridors where the human drama plays itself out in what President Hugo Chavez called a ‘revolution.’

Originally published as a traditional book in 2010 by RM, “Capitolio” is an intimate journey through a time of revolution in Hugo Chavez’ Caracas, Venezuela. This series was photographed between 2004 and 2008.

“Capitolio” is the first authored monograph photography book for the iPhone and iPad.


DAH – Chris Anderson Interview

This is an excerpt of a recent skype conversation with Chris Anderson, talking about how the iPad application of his most recent book, Capitolio, came to be. This conversation has been condensed and edited for clarity.


David Alan Harvey: …tell me in your own words a little bit about where you got the idea [to make an iPad monograph out of Capitolio] and what you did.

Chris Anderson: Basically, the book was starting to sell out, and I started thinking, only a certain number of people can actually get this book, and the ultimate expression of what I did in Venezuela really comes together in a book. You know, a slideshow on the web doesn’t really capture the whole thing, seeing a print doesn’t really capture it, it’s in this book form, and the way I put the pictures together, and the way the pictures come one after another, the relationship between the other one…this final book form that we think of, that’s what this book was. Not just a collection of pictures. And, I sorta think, well, there’s only 3000 copies of this book printed, so there’s only a certain select people who are actually going to experience that book, and because it’s an expensive book, only a certain number of people with the money to buy the thing. So, I started thinking, you know, it was kind of the confluence of a lot of things. Thinking about the finite audience of a printed book at the same time that I’m sitting here holding this new technology in my hand, an iPad and an iPhone, and thinking,

“a ha!”

Maybe this is a way to have an in-finite audience. And, that really I could, even though my first love is the printed book, I could still kinda get this experience and get across what I was trying to say to a much larger audience than I ever could with the printed book. And the applications of that in terms of reaching audience and what does that mean, even in an academic setting with students, you know? Think about a university classroom that’s teaching photojournalism, or that’s teaching book making, or even in the case of this book, you know, political science or something. And being able to have that book, which you could never have in a college curriculum, you could never have everyone in the class buy the printed book, but here’s a way that in an academic setting…

DAH: Everyone could be sitting there with their iPads looking at it.

CA: Exactly.

DAH: The quality, you know, it looks amazing. The quality is kind of better there than…I mean, in terms of there’s a certain texture or quality to it that you see on the iPad that kind of beats everything, don’t you think?

CA: Yeah, oh yeah. And actually, I just saw it recently on the iPhone for the first time, and that’s actually where I really liked it.

…I think it has something to do with being able to have something to say. You know, nice pictures photographers want to look at or people who like pictures want to look at, but to reach that other audience, you have to have something to say to them…We as photographers, we’re going to have to find a way to then become a writer and also a filmmaker, and also a radio producer and everything like that…maybe that’s one path to it. But it’s also just about having something to say about the world, even purely through pictures…somehow that voice of whatever you want to call it, authorship or whatever, is really important.

You know, I think about Paul Fusco’s Chernobyl Magnum in Motion, which is something I show my students a lot, it’s really, it’s pretty simple, there’s not really any whistles and bells. It’s him talking and showing his pictures. But it’s so powerful because he really has something to say, you know what I mean? And, it’s not about having fancy music as the background track, it’s not about slick jump cuts, it’s really about having something to say. I have a feeling that in the future, you know, I imagine…this app that I did is pretty basic in the end. There’s a pdf, a digital version of the book pdf style, to look through, theres some extra pictures, there’s a video interview, pretty basic. There’s not too many bells and whistles. I can imagine though that in the future, people are going to do things that will really be amazing in terms of how to use this medium, how to use this technology to tell stories, or to offer the public things that a printed book can never do.

DAH: Oh yeah, you can imagine that if you had 10 or 15 or 30 or 50K to spend on building the app, yeah, you could imagine…you’ve got directors cut, you’ve got the video component, you’ve got the about, you’ve got those kinds of things, but you could go even further, right? You could even go back there and have a 5 minute movie on there, or on some other topic….but you can imagine having an incredible thing. Are you guys gonna have that for Postcards [From America]?

CA: Well, we don’t have an app version yet, but we want to try and incorporate as much as we can in terms of like…

DAH: You don’t have anybody shooting video or anything though?

CA: I’m going to try and shoot a lot of video.

DAH: Yeah, I was gonna say, that would be, that would always be an interesting component for any app. How long is your interview in your app?

CA: It’s ten minutes.

DAH: ..You’ve already reached I don’t know how many people with it, but we’ll just, we want to just promote the app, but in the best possible way. And to get it on some Facebook pages, like people who are interested in political science in Venezuela, and see what happens, outside of your fan club. You know, your fanclub is gonna buy the app. But, you’re right, you want to see if you can sell it to other people as well.

CA: Yeah, that’s the real test, if you can find a way to break out of that.



Christopher Anderson was born in Canada in 1970 and grew up in west Texas. He first gained recognition for his pictures in 1999 when he boarded a handmade, wooden boat with Haitian refugees trying to sail to America. The boat, named the Believe In God, sank in the Caribbean. In 2000 the images from that journey would receive the Robert Capa Gold Medal. They would also mark the emergence of an emotionally charged style that he refers to as “experiential documentary” and has come to characterize his work since. Christopher’s photographs often explore themes of truth and subjectivity, and his subjects range from war to fashion to his own family.

Christopher is a member of Magnum Photos. He is the author of two monographs: Nonfiction, published in 2003 and CAPITOLIO, published in 2009 by RM and named one of the best photography books of 2009/10 at the Kassel Photo Book Festival in Germany.

Related links

Capitolio on iTunes

Chris Anderson


daisuke ito – losolmo gym

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EPF 2011 Finalist

Daisuke Ito

Losolmo Gym

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“More than the development of the muscles of the body, there is the development of the muscles of the soul. It is not only task of the athletes but task of instructors, of trainers, and of all?”
– Fidel Castro, 10 July 1996

Losolmo gym is in Cuba’s second city of Santiago. The boys here train barefoot, dressed in little more than rags. The equipment is decrepit. The boxing ring floor is unevenly patched together, the ropes are frayed and there is barely enough equipment to go round and it has produced four Olympic champions. Each of these impoverished Cuban boys carries the dream of becoming a champion. I think it is not for the money, not even for the fame, but for these boys to be a boxer is the noble and heroic pinnacle of human aspiration.

There has been an exhibition “LOSOLMO GYM” in the Zen Foto Gallery, in Tokyo, 2010, and in Beijing, 2010


Daisuke Ito was born in 1976 in Japan. He had studied photojournalism for two years in 2000-2002 at IDEP in Barcelona, Spain. He had wandered around Central and South America for seven years in 2002-2009. He started his career as a photographer in 2007 in a slum named Chapeu Mangueira in Rio de Janeiro, Brazil. His work has been published by magazines in Brazil and Japan. He moved to Tokyo in 2009.