Monthly Archive for February, 2013

Giuseppe Moccia – A Third Landscape?

Giuseppe Moccia

A Third Landscape?

The Alps form both a natural and a cultural landscape, place of a diversity which is not only biological but also cultural.

Back in the 60’s and 70’s, a widespread wealth along with the exploits of a group of Italian athletes, known as the “Italian Landslide”, set the basis for an economic development model which revealed it’s unsustainability.

Ski-oriented tourism was introduced as the unique solution to the depopulation and impoverishment process that took place around the alps. This model led to the construction of hundreds of facilities, many of which, for various reasons, are nowadays abandoned.

“A Third Landscape?” is a photo-essay on the region and on the consequences of the mono-culture of ski-tourism.
Beyond the direct journalistic value – related to the localization of these remote sites and the collection of their history – the approach and the synthesis of this research would suggest an open-mindedness between different points of view.On one side, the idealistic views of the contemporary citizen, re-educated to the principles of the green-economy, and, on the other side, the secularized views of the mountaineer who interacts with his environment in a natural resource-threat dynamic.

Within this confrontation Clement’s vision opens a third way, full of questioning, to an understanding of the forces which shape our landscape.




Giuseppe Moccia was born in Naples in 1978. He grew up in Rome and completed his studies in Milan with a Master Degree in International Economics.

Giuseppe started as a freelance photographer collaborating with some of the main international press agencies like Associated Press and EPA among the others.

In 2007 he started a personal project on people affected by down syndrome which received international recognitions such as the “Photoespana-Ojodepez Human Value Award” and the “Flashforward” for Emerging Photographers of the Magenta Foundation (Canada). “I Love too Much”, which followed up the photo-essay “The Wednesday Kid”, is his first attempt with cinematography. Giuseppe is now working on a  project on the changes of the anthropic landscape in Italy.


Best Photography Book


Hey we friggin won..again!
Sorry but i say so humbly..promise. But we just won Best Book POYi for (based on a true story).. and on the eve of our Burn meeting and Book Publishing workshop in New York. I am just happy for my team for this book was a collaboration if ever there was one. Here Candy Pilar Godoy, Diego Orlando, Eva-Maria Kunz and me in the mirror (of course) check it out.. POYi Best Photography Book

Amanda and Edith



I pretty much never leave home when I am home. From world traveler to stay at home recluse shut in is pretty much the way it is. Well I do have a lot of company. Mostly locals. Locals who do not come to see me because they want a portfolio review. Just my friends here who I just like.

Our family knew Amanda, above, before she married Scooter, who is absent from this picture because he is Scooter. On time? Are you joking? Never. Just because he has a new baby girl, Edith, does not mean he has been re wired. Amanda says goodbye to me in this photo. On her way home. Scooter went home without telling her. Hmmmm, bad boy. He did not mean to make a mistake, but of course he made a mistake. I love watching this stuff from a distance… :)

Scooter I have known since he was a kid in Richmond, Virginia. Grew up with Bryan, surfed around the world with Bryan, and they have been buddies ever since. Scooter shapes surf boards, can build any damn thing, and sails the Bahamas when he is in the mood. He has never had a “job” but has never been without a job of one kind or another. The boy is multi talented. He will be a great dad. 100%. Amanda might wish her surfer boy would be more on time, but alas well you know.

Scooter met Amanda at my son Erin’s wedding, so they have been together for I guess 10 years. My guess is that they will be together forever. Both scratching their head about the other, both a perfect match.

Little Edith proves it.

Letter from the Editor


Letter from the Editor                                                                                                                   photo by Frank Overton Brown III

Earl Grey often sits atop the hood of my truck in cool weather. Engine heat gives him a warm spot, and he has the upper perch to rule the property. He hates to come into the house and has, as you can see, a warm winter coat that often allows him to sleep comfortably even in the path of a cold wind from the north. Go figure. He could come in and sleep by the fire if he wanted. It was wood for the fire I was about to gather when my good neighbor Frank, keeper of my cats when I travel, snapped this casually with his phone.

I have been here at home now for a whole month. The longest stretch of time at home for over a year. 2012 brought a lot of excitement, rich rewards, and a whole lot of time on the road. So to just hang out and chill a bit was the vacation of a lifetime. Yet vacation is about to be over as I prepare to leave for Dubai. Never been. So this will be a whole new experience for me in a part of the world I have never visited nor worked.

If you happen to be in Dubai or in the area, please come to see my show opening on February 28th at Gulf Photo Plus Gallery and/or join me for a workshop at GPP 2013. I will stay in Dubai for the entire month of March to do these events and then simply shoot freestyle. To see what comes of it. All of it happening during Art Dubai and the International Horse Fair, which are also of special interest to me.

Before I leave for Dubai, I will meet with most of the Burn team in New York this week. Eva-Maria Kunz and Diego Orlando fly in from Italy, Kaya Berne buses it up from Charlottesville, and Candy Pilar Godoy comes by subway from Manhattan to my loft in Brooklyn. We have a book publishing workshop to do along with the Burn meeting, so a very nice blend indeed. We all work 95% by remote control, by Skype, by text, by email, so it will be nice for a bit of persona a persona.

Among other things we will be discussing how to manage BurnDiary, the building of a BurnStore, and how we will move forward with BurnBooks. We will also be discussing how to best manage the 2013 Emerging Photographer Fund grant we give every year through the Magnum Foundation.

One key discussion will be exactly how much time I devote to Burn, how much to teaching, and how much to creating my own new work. So while I have lots of energy to do it all, I don’t want to spill any wine on the ground. The super crew listed above helps me get it all done.

Thanks to support from this audience, we rocked it in 2012. We especially thank those who supported the EPF through tax exempt contributions to the Magnum Foundation and for those of you who contributed to Burn directly. Because of your support we can carry on at all to show as wide a variety as possible the work of photographers you may not know. Because of your support, our limited edition books have been distributed through BurnBooks right here on this site.

Anton Kusters “Yakuza”, “Burn.01”, “Burn.02”, and my own “(based on a true story)” all made available through our own little distro center here. With our success with these books, we are exploring publishing the works of both iconic photographers and emerging alike. Nothing happens until it happens, but this most likely will happen.

For sure we will stay small, boutique, specializing in limited editions. Building books of superior technical quality, sparing no expense in quality printing and binding, and making these books available at the lowest possible cost for the quality built in.

Our appeal for the photographer is of course that the photographer gets exactly the book they want. No compromises. If we like a book, we will do it. Our track record speaks for itself. All of our books have increased in value to collectors from the original price. We want our books to be investments for those who purchase should they see it that way.

As a consumer, I buy books that I think have an intrinsic value as objects of art. Not simply collections of pictures. I do not think I am alone in this quest at a time when the plethora of images becomes daunting, and discerning buyers want something super special in print. So we will build books that fit this niche market.

In some cases, we may partner with long established publishers for a wider distribution, and we already have our books in specialty book stores. Again, we do not want to be big, just good.

BurnDiary, a concept for uploading some of your work on Burn on a daily basis is coming. We just have to decide this week how to best make this happen in a way that makes sense. No, we will not become a photo sharing site. Yet I do think our readers are interested in showing their daily single photographs, so we will give it a try.

BurnStore is simply a logical thing to have. Everybody asks us all the time why we don’t have one. Again, this store will include things we build and perhaps others that you build. All items reflecting the quality we want inherent in the goods we market already which at the moment are only books and workshops. Both things that will hopefully last a lifetime.

Burn was started with audience participation as its mantra. So we welcome ideas and suggestions as always. One thing I have learned is that there is no shortage of good ideas, yet good ideas that can be practically implemented is something else. Every idea takes another person or two to make it happen. I work for free, but the young people around me need jobs. So any support you give to Burn helps them, helps you to have a potential platform for your work etc etc.

By the way, I hope you have taken a look at our new Archive in the right hand column. Eva and Haik worked very hard to make this happen. Eva had to go back through every single essay and prepare for this. Days and days of work. Haik made it happen technically. A quick skim through this archive gives you a real sense of what we do here. It is also very easy to search.

Ok, I leave my front porch. Goodbye to cats. To beach, to bike rides. Off to New York, and Dubai and well maybe a stop in Europe on the way home.

Many of us have met in person, I hope to meet more of you. My favorite thing is discovering new work, new photographers. So please show me. I am ready when you are.



Nicola Taylor – Tales from The Moors Country

Nicola Taylor

Tales from The Moors Country

I have always loved being told a story and my series “Tales from the Moors Country” takes inspiration from tales and folklore of the North Yorkshire Moors, told to me as a child.

Those stories of witches and ghosts, spirits and fairies, lost loves and obscure protagonists are part of a rich tradition of exploring our relationship to place through the stories we tell, a tradition that informs my work.

My images use the environment and the character to suggest a narrative but they are deliberately ambiguous because I want the viewer to explore their own relationship to stories. I want them to notice the stories they create within their imagination.



Nicola Taylor is a photographic artist from rural North Yorkshire.

Her career began at the age of 33 when she took a course at the London College of Communication, after leaving her job as a stockbroker. She uses herself as a model and captures her images with a remote control.

Nicola has received international recognition and her work has been sold in Europe and the USA. She appeared in Series Two of the BBC2 television programme, “Show Me the Monet” and is featured in a short film on creativity in the UK, shot by BAFTA award winning filmmaker Martin Smith for Stolichnaya Vodka.


Myrto Papadopoulos – The Attendants

Myrto Papadopoulos

The Attendants


At the beginning my natural necessity was to enter the world of the sex industry and talk to the women that are involved in it. It has taken me a really long time and effort to reach out to some of these women, to gain their trust and get finally the access today to document their lives. Also my intensive research (i.e. approaching NGO’s, doctors and expertise from the ministry of foreign affairs) has helped me to understand more the issues and the difference between prostitution and trafficking. Throughout the year I will be working voluntarily with the “Salvation Army”, in Greece, in order to provide support to these women. I will also be teaching photography lessons in one of the new “safe houses” that will be opening in Athens, within the next year.




Your support will enable me not only to continue this project but mostly it will help me gain more insight into the understanding of how and why prostitution is constantly evolving. My deep personal interest in these women, make me want to record their struggle but also their strive in search of a better life. It is also one of my fondest heart’s desires, to be able to share with these women my experiences through photography, because I believe photography can be an effective tool of building self-esteem.

The financial support will provide me the time and tools that I need to be able to accomplish and document this very difficult topic.

You can support the project on




Myrto Papadopoulos (b. 1978, Athens) finished her studies in 2003 after completing a five-year Fine Arts degree in painting and photography. In 2006, she applied for a photojournalism degree at the ICP (International Centre of Photography) in NYC where she was granted a scholarship. In 2007 she participated at the Eddie Adams workshop in NYC.

She has won various awards and nominations and has taken part in several exhibitions including the Mois Off de la Photo 08 in Paris, the PHOTOQUAI 2em Biennal du Monde 09 at the Museé Quai Branly in Paris the New York Photo Festival 09, the Biennale of young artists of Europe XIV bjcem 09, the LOOK3 Between Festival 2010, the DUMBO Arts Festival 2011 in Brooklyn NY, the Athens Photo Festival 2011, 2012 and more. Today she works as a freelance photographer and filmmaker and is represented by Redux pictures in NY.

Her clients include TIME Magazine, Le Monde, GEO, Corriere della sera, EL Mundo, La Stampa, Neue Zuger Zeitung, Vision Magazine, DAS Magazine, Diario magazine, National Geographic Magazine (Greece), K magazine (Kathimerini), among others.


Related links

Myrto Papadopoulos

The New Plastic Road


Chris Bickford – Scenes from a Venetian Carnival

Chris Bickford

Scenes from a Venetial Carnival

This week the world’s most ancient and wide-ranging bacchanal kicks into high gear, as millions of revelers across the globe celebrate the ancient rite of Carnival.

From Bulgaria to Brazil, from Haiti to India, from Colorado to Trinidad, from Alabama to Australia; in a thousand cities, towns, and villages on six continents, everyday people will don outrageous disguises and step out into a world of of mutually suspended reality.

They will set aside their workaday personas to strut their stuff in a mind-boggling array of parades, masquerade balls, and street parties. Swept up into an annual celebration of collective mayhem, the participants of Carnival will lose themselves in a world of fantasy and revelry.

Office clerks will become Roman gods. Secretaries from the suburbs will become Amazon queens. CEO’s from uptown will don Harlequin suits and play the Fool. Construction workers from the backstreets will transform into fantastical  gangs of Mardi Gras Indians. These dramatis personae and many more will participate in a ritual that has been celebrated every year for over a thousand years, and whose roots reach back deep into the mists of human prehistory. 

Call it the anti-Christmas if you will, for Carnival celebrates the devil in us all. It upends all traditional roles and realities, and allows our pent-up dreams and fantasies to breathe the sweet air of carnal existence for a brief period of time.

From a psychological point of view, Carnival is often described as a period of sanctioned insanity, when unconscious archetypes and alter-egos are summoned from the dark corners of our souls and given a license to roam free. From an anthropological view, such rites are practiced in a vast diversity of cultures all around the world: fixed expanses of time wherein traditional hierarchies, taboos, and conventions are upended, and the Fool in all of us is permitted a day in the sun.

Or so it should be, in an ideal world. In reality, the spirit of Carnival is often hijacked and controlled by corporate sponsors, private event coordinators, profiteers, and civic restrictions. In its most famous locations, Carnival is big business, and millions of dollars are exchanged for thousands of metric tons of beads, feathers, sequins, and plastic masks. Parade routes are controlled, barriers are erected, police officers enforce order, and street hawkers do brisk business in cheap China-made costumerie. 

It is the same story the world around: as deep as the urge is to unchain Dionysus and let him dance his wild dance in a mosh-pit of collective ecstasy, even stronger is the heirophantic directive to contain, to control, and to profit from the dark strange energy that he represents. Witness the corporate takeover of rock and roll. The sexualization of advertising. The backfire and bootlegging of Prohibition.  We wage constant battle in society between order and chaos; and the pendulum swings back and forth, back and forth, in perpetual motion, in perpetuity.

Carnival as we know it was unofficially adopted by the Catholic Church in the Late Middle Ages, as part of Christianity’s endless campaign to absorb, transform, and co-opt the pagan religious practices of the conquered and converted. In its earliest years, Carnival was actually celebrated inside churches and cathedrals; bishops would dress as women, paupers would be crowned Pope, all of the ecclesiastical establishment would be mocked and lampooned, and unspeakable acts of lechery and debauchery would be committed in plain view of all. Even as holy a temple as Notre-Dame Cathedral in Paris was, during the weeks of Carnival, turned into a den of iniquity.

As the centuries wore on, Carnival evolved into a more secular and civic celebration, and each town and country developed its own traditions and rituals. As European explorers sailed the seas and conquered far-off lands, the rite took root on many a foreign soil, where it grafted itself upon indigenous and imported cultural practices to produce ever-more diverse incarnations and permutations. 

As Carnival settled into a rut of quaint traditions in Europe, it flourished in North America, South America, and the Caribbean, drawing on the irresistible power of African and Amerindian spiritual practices. Carnival was King in Louisiana, Cuba, Haiti, Trinidad, Brazil. In the Old Country, Dionysus began to hide himself away from the sweeping fascism of the Protestant Reformation, the Catholic Inquisition, and the rise of nation-states.

But one city in Europe continued to celebrate Carnival with ever-more elaborate and decadent enthusiasm: the floating Republic of Venice, gateway to the East, queen of the Adriatic sea. As Venice devolved from the greatest sea-power in the Mediterranean to the most decadent pleasure-den of Europe, its Carnival grew bigger, longer, and more extravagant.  At its apex in the eighteenth century, Carnival lasted all winter long, and half the city wore masks in public at all times. Canals would be drained and turned into gardens of earthly delights, and all of Europe’s aristocracy would converge for weeks of masquerade balls, secret trysts, and public spectacles.

Eventually, however, imperialism got the best of the thousand-year Republic. In 1797, Napoleon’s army marched into Venice, looted its most precious talismans, and sold the island to the Austro-Hungarian Empire. Carnival withered into nothing under the disciplinarian rule of Venice’s northern neighbor, and in time it was banned outright.

Carnival slumbered for over a century in Venice, until in 1979 an enterprising coalition of artists, students, and business owners staged a revival. The first few years saw a surge of enthusiasm and growth, as the people of Venice embraced their heritage, unearthed dusty books describing the old celebrations, and created a new Carnival: a strange combination of Italian commedia dell’arte, Roman mythology, eighteenth-century foppery, hand-made ornament, and pure fantasy. Those who played a part in the revival speak of he early days as glory days, full of unbridled creativity, a rediscovery of Venetian identity, and some truly memorable parties.

The rest of the world soon took notice, and within no time the Venetian Carnival once again became host to the European aristocracy with lavish balls in ancient palazzos. Along with them came the Eighties jet-set, as well as hordes of college partiers and make-believe enthusiasts from around the world. In the space of ten years the Mask of Carnevale went from virtual non- existence to coronation as the iconic and ubiquitous symbol of Venice.

Nowadays you can’t throw a stone in Venice without hitting a street vendor or window-shop hawking cheap plastic imports of La Maschera;  and higher-end boutique stores vie for the title of the “original” mask- makers of Venice. Tourists parade around in nylon clown suits bought earlier in the day for thirty euros; and the coordination of the festival, once run by the city, has now been farmed out to an event-planning company in Milan. Corporate control is ubiquitous: giant ads and massive video screens take over Piazza San Marco, dwarfing the human celebration below. Dionysus has, once again, been bought and subdued.

But still, underneath all the commercialism, crowding, and plastic waste, the spirit of Carnival lives on. It exists in a netherworld between the real and the unreal, and one need only cock one’s head, breathe deeply, and give in to the spirit of mischief and fantasy to find it in Venice. The kids are still holding drum circles under ancient colonnades; the city’s young beauties are still being paraded through the streets and alleys borne on pallets held up by the city’s Gondoliers; and the Angels still fly all over Piazza San Marco, communing with their human consorts over birdseed and stale pastries. Rich internationals still arrive at the water-entrances of ancient palazzos to take part in elaborately-staged balls. And somewhere in an alleyway, a young couple is exploring love, or something close to it. You can find Carnival, if you seek it. You just have to use your imagination.

This photographic series is a fantasy, created from moments of reality wherein fantasies are enacted. It is not so much a document of what Carnival is, as much as a vision of what Carnival dreams itself to be; or, perhaps, what I dream it to be. The images were constructed from a collection of three year’s worth of photographs taken in Venice during the weeks of Carnival. Each image merges a scene from Carnival with a texture from an old wall, a canal reflection, a window display, or perhaps an old church.  The visual effect is to marry the make-believe scenarios enacted by contemporary Carnivaliers with the long arm of myth, memory, and history sealed within the weather-worn stones of Venice, creating a dream-like drama that straddles the bookstore categories of historical fiction and fantasy.



In Venice, as in any ancient city, history is etched upon the walls and the walkways. Centuries of the slow creep of decay–a history of floods, storms, deep freezes and crackling summer heat–have painted abstract passion-plays upon the stone and stucco of the city’s architecture. These walls have seen the rise and fall of the Venetian Empire, the flowering and decline and rebirth of Carnival, the countless dramas of one of the world’s most unusual cities being played out on the streets, along the canals, and in the shimmering lagoon that has always been her greatest treasure. As they say, if these walls could talk, well they’d probably speak Italian…

When I first began compositing images together in this way, I had no real intention or understanding of what I was doing.  It was simply one of those ideas you get, lying in bed, waiting for Morpheus to take you across the bridge of consciousness. But as the first few images began to take shape, I sensed that I was on to something, and I have continued on, somewhat giddily, combining images and blending them in various modes and levels of opacity, just seeing what happens. Some combinations work, some don’t. Some to me seem utterly sublime, whereas others are more gateways, storytelling devices, ways of filling out the picture. You will notice that some of the images border on the abstract and surreal, whereas others merely add a painterly texture to a more or less realistic image. Towards the completion of a series for presentation, my aims have been geared mostly towards consistency, flow, and color balance, as I have worked to create a kind of a journey that has cohesion as well as variety, and which moves in and out between the sacred and the mundane, between the real and the surreal.

It is my sincere hope that you enjoy these images as a gateway into your own imagination, and that something within them stirs something within you, as I in turn have been stirred by the whole project, from its uncertain beginnings all the way up to its present incarnation. I’ve already written too much but I’d be remiss if I didn’t at least mention the friends I encountered who made me feel welcome in a strange city and whose generosity and connections opened doors that otherwise would have been closed to me. I also haven’t touched on the preparation, process, and logistical hurdles that go with the territory on a project like this, nor have I spun any tales of the fun and the stress and the half-lies I told and the journalistic lines I crossed to bring you this little collection of vignettes. There are a few stories on my Travelogue if you are interested, but most of them are half-told too; it seems always as soon as one conflict comes to resolution, a new progression invariably begins, the infinite playlist of a life lived in half-lives, which knows that the only way to keep traveling through the jungle is to grab the next vine as the one you are holding reaches its apex…

Anyway, enough with the metaphors and the flowery language. If you’ve read this far I thank you for your patience and participation. Perhaps it will inspire you to find Carnival in your own time, in your own place, in your own mind. Many adventures to you, and may you keep your dreams alive.




Chris Bickford is a freelance photographer based on the Outer Banks of North Carolina.

He has worked as an assignment photographer for National Geographic Traveler, The New York Times, The Daily, Milepost Magazine, and Captain Morgan Rum, among others. His photographs have also appeared in Time, Newsweek, Outside, and Surfing magazines, as well as a number of foreign and in-flight publications.

His photographic work on the surfing culture of the Outer Banks made its debut on Burn in 2009 under the title After the Storm. His work-in-progress on death, rebirth, and ritual in New Orleans was also featured here in 2011. He has exhibited in solo and group art shows in North Carolina, Virginia, DC, Michigan, Miami, and New York City.

He is available for assignments worldwide, and also does the occasional speaking presentation at high schools and colleges. He is currently working with a number colleagues in an effort to form a new style of interactive photography workshop.


Related links

Chris Bickford




Waterfront property Outer Banks, Rodanthe, NC style…


This vacation house is to be moved to higher ground on Tuesday. As you can see from the waves in the background, the wind is whipping offshore pushing out even this morning high tide…I now have a short NatGeo assignment to document this house move in Rodanthe for a story upcoming on rising sea levels..If this wind clocks around and comes onshore, then there may be no house to move since it is already sitting low on a truck bed now buried in the sand. Nature’s way, man’s folly. Stay tuned.

Barbie Doll….


I now have a two day shoot for NatGeo on a story about rising sea levels. My assignment in Rodanthe NC is very specifically to shoot a house being moved off the fast eroding beach and down the road to higher ground. I will do this in the next few days. Yet here just down the way lays princess Barbie tucked comfy in the pine needles. She is from the childhood Barbie doll collection of Denise Halminski, local resident, who had 4 feet of water rushing around  her house during hurricane Sandy. Barbie is lying now exactly as Sandy left her. Small details often tell bigger stories.



I rarely shoot a straight up portrait like this. However, this time it just seemed right. Not as an iconic image, and not my style, but simply as an appreciation for this exquisite face. I made many photographs of the rather shy Dasha , from the Ukraine,  shooting pool, playing with her friends on the beach etc., yet for some reason this straight up shot in broad daylight on the Avalon fishing pier seems to stick..Dasha worked at a miniature golf course, Galaxy Golf, in the outer banks as part of a foreign student exchange  summer work program. I think Dasha will return this summer. I hope so. Miniature golf anyone?


Galaxy Golf  clubhouse closed in winter