Author Archive for burn magazine

Hannes Jung – How is life?

Hannes Jung

How is life?

Death follows life. Always. A fact that unites all and everyone of us. As a young person I expect too die when I’m old, maybe when I’m sick, but definitely not now. So much still lies ahead of me. For the ones who are left behind, suicide always raises the question of life. Why did someone choose death over life?

The suicide rate in Lithuania is nearly three times as high as the average rate in the European Union. It is even among the highest in the world. Looking at the bigger picture, suicides occur more frequently in bigger cities. Whereas in rural areas, less people lose hope in life since social ties are still stronger. In Lithuania, on the contrary, more people commit suicide on the countryside. Especially men between 40 and 50 years of age are at a high risk to commit suicide. Alcoholism, unemployment, no perspective, and many other cases with reasons that are hard to find and even harder to understand.



The reasons for each suicide are different. They are not an expression of personal freedom, but often affected by hopelessness and diseases. Outer, social and environmental factors also play a big role among them. Since World War II and starting with the Soviet occupation the suicide rate for men, at times, grew from ten suicides per 100,000 inhabitants to 90 annually. Experts speak about a collective trauma and loss of identity – influenced among others by forced collectivization of the farms in rural areas through the Soviets. But the reasons for each suicide are always more complex and personal and can not mainly be related to the countries trauma.



My story “How is Life?” is not just about photography. I worked together with the protagonists and asked them to write down their personal story. These statements (see the captions) are an essential part of this project.

I photograph life not death because death cannot be seen. Maybe you can’t take pictures of the wind. But you could try to catch the consequences of the wind, bending trees and rolling waves.


Short Bio

Hannes Jung (b. 1986) is a freelance documentary photographer currently based in Berlin. He studied photography and photojournalism in Munich, Hannover and Valencia and attended the Eddie Adams Workshop. Hannes is represented by Laif photo agency.
His work was recognized with Gold in the categories Documentary and Interpretative eye by the College Photographer of the Year award (CPOY) and he recieved several prizes like the n-ost Reportage prize, Prix Mark Grosset, South Tyrol Media award or Canon Profifoto promotion award. His work was supported with several research grants from n-ost, the Robert-Bosch-Foundation and VG Bildkunst. Hannes work was shown in several exhibitions and festivals around Europe.


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Muhammad Hidayat – The Sounds Of Dream

Muhammad Hidayat

The Sounds Of Dream



In that dream they came like shadows, voices, songs, light and gasp, they were so close, even closer than the clothes I wore. I felt like I was back to the beginning where I was walking alone in the middle of a crowd and felt cold in the middle of the blazing heat. Those dreams were so real and so clear that it made me constantly think about them.

In those few days a word always came to my mind, the word was “intuition”. I tried to find out more about that word and finally I got that intuition is an ability to understand something without rational or intellectual reasoning, it’s more about an understanding that comes suddenly, out of the awareness. Intuition is also a whisper from the heart that feels like a push to do something that sometimes even out of the ordinary and awareness of our minds.



So in that time I tried to rethink about the dreams that came a few times and appeared clearly. By following the whisper in my heart, I tried actualizing those dreams into photographs because I was pushed by this feeling of thirst to reach pleasure even though pain is unavoidable. Was it just a dream that was impossible to reach or a time to pass through the phases in those dreams themselves?




This might be an emotion, but it was actually about feelings. There were sorrow, loneliness and even the most important one which was the pleasure of love that came from the Creator.

I started to think that photography was the best way to let go all of the things that were buried inside my mind. Fear, sadness, disappointment and the things outside my awareness.



Short Bio

Muhammad Hidayat (b. 1982) lives in Aceh, Indonesia. where he works as a finance section staf for a government sector. He began to pursue photography seriously in 2015 and is currently focused on expressionistic photography. His photographs are very personal, lifting the story from his life experiences. For him, photography is more than just pressing the shutter button, but a means for pouring out one’s feelings and imagination as well.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Irina Werning – Dear Long Hair

Irina Werning

Dear Long Hair

I search for them everywhere, I travel to forgotten towns

I put up signs

I organise long hair competitions

Till i find them



And i always ask them: why do you have long hair?

“because i like it, cause my dad looks after it…”

but the true reason is invisible

and passes from generation to generation

its the culture of Latin America,

where our ancestors believed that cutting hair was cutting life, that hair is the physical manifestation of our thoughts and our souls. 



Short Bio

Irina grew up in Buenos Aires. She studied a BA in Economics and an MA in History. She began to travel in Asia and Middle East and ended up in London where she studied an MA in Photojournalism and lived for 7 years. She’s now back in Buenos Aires and focuses on personal long term projects. She loves to build sets and invent stages for her subjects. She can spend hours in a tool shop. 


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Alfonso Fonseca – It Could Have Happened Here

Alfonso Fonseca

It Could Have Happened Here


“It Could Have Happened Here” is a project where I find crimes that have occurred in the Phoenix, Arizona area; Research them, Photograph the places they have occurred at, and then create a narrative with those photos along with archival photos and others I find. This lets me explore time, place, narrative, and the relationship between all three. The crimes I research usually take place before the 1980s, some of the events are well known, while others are crimes that not many know about. The photos depict crime scenes as they are today often with no trace of the crime that was committed and any deviation from the original site will be indicated through handwritten text on the photographs. The photographs will function as signposts for invisible histories. Then the series of photos will be sequenced for a book, each crime being it’s own volume.



The photos are shot in similar ways that forensic and newspaper photos were shot. High contrast black and white photos shot usually with some kind of flash. This creates images similar to Weegee and other newspaper photographers. I then write on the prints in a similar fashion influenced by Jim Goldberg and Bill Burke’s work. I also do this to the archival photos I find online, using the handwritten text as a way to share more information. I then try to create a narrative with all this. I try to create a sequence that makes the viewer feel like they are discovering this information, as if they stumbled upon it. I use the information from my research to create a compelling story about what happened.




Short Bio

Alfonso Fonseca was born in Palm Springs California and lived in the Coachella Valley for most of his life. As a child of Mexican immigrants he had an understanding of culture and place, as frequent trips to Mexico to see his family helped him to start seeing how one place and its history can be drastically different from another. As an artist he began to be interested in how someone can document with photography, whether it has to do with everyday occurrences or finding interesting sub-culture to investigate. Influenced by photographers like Bruce Davidson, Alec Soth, Jim Goldberg, Alex Webb, and many more he began shooting in a formal documentary style to then investigate the connection and conflicts between past and present. Sometimes a historical or even personal past, either way he documents these through landscapes, portrait, and sometimes even uses archival materials. Alfonso currently studying for his B.F.A in photography with a minor in film at Arizona State University.


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The Fujifilm/Young Talent Award is supported by Fujifilm



Snezhana von Buedingen – Meeting Sofie

Snezhana von Buedingen

Meeting Sofie


In my series “Meeting Sofie,” I depict the life of a 19 year old girl with down syndrome born into a German emigrant family in Denmark. For the last eight years Sofie has been living with her family on a small farm in east Germany but grew up in the care of a successful Antiques dealer.



Since completing school Sofie spends most of her life on the farm. She enjoys being alone as well as with the few people with whom she has built close relationships –– her family, the farm animals, and her boyfriend Andy. The series gives the viewer a glimpse into the life of Sofie and her family. It shows Sofie’s emotional world, which may be akin to ours.



Short Bio

Snezhana von Buedingen, born in 1983 in Perm, Russia, studied Photography at the Fotoakademie Cologne, finishing her Diploma in 2016. Characterized by her international background, Snezhana focuses on documentary and portrait photography.
Snezhana lives and works as an independent photographer in Cologne/Germany.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Emerging Photographer Fund 2019 – call for submissions


Emerging Photographer Fund 2019


call for submissions



The Emerging Photographer Fund 2019 is now open for submissions!

This year we are proud to offer two awards: the Emerging Photographer Grant for $10,000 and the Fujifilm Young Talent Award (25 or under) for $10,000. For more information, follow the link below.


Enter here


The deadline for entry is June 5th, 2019 (6pm PST)




Burn Magazine revolves around the EPF. It is 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. With the support of the non-profit Magnum Foundation, $10,000 is given to the recipient of EPF to move forward in their work. Our previous winners prove this is not in vain.

In addition, Fujifilm is partnering with us to offer an award, open to all photographers who are 25 or younger at the time of the deadline. All you need to do is enter into the EPF… and if you’re 25 or younger, you’ll be automatically eligible for the Fujifilm Young Talent Award. Fujifilm offers a cash prize of $10,000 to the winner.

Of course we are immensely proud of this partnership… and hope in this way we can give back to the young emerging ones amongst us… who just might need it more than we can ever imagine.





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’.

In 2014 two Emerging Photographer Fund grants were awarded: one major to Alessandro Penso for his essay ‘Lost Generation’ and one minor to: Birte Kaufmann for her essay ‘The Travelers’.

In 2015 the Emerging Photographer Fund was awarded to Danila Tkachenko for ‘Restricted Areas’, and the Fujifilm Young Talent Award to Sofia Valiente for ‘Miracle Village’.

In 2016 the Emerging Photographer Fund was awarded to Annie Flanagan for ‘Deafening Sound’, and the Fujifilm Young Talent Award to Aleksander Raczynski for ‘Views’

In 2017 the Emerging Photographer Fund was awarded to Antoine Bruy for ‘Outback Mythologies’, and the Fujifilm Young Talent Award to Aleksey Kondratyev for ‘Ice Fishers’

In 2018 the Emerging Photographer Fund was awarded to Shadman Shadid for ‘No Quarter’, and the Fujifilm Young Talent Award to Tabitha Barnard for ‘Cult of Womanhood’


Entries are now open


The Emerging Photographer Fund 2019 is now open for submissions!

The deadline for entry is June 5th, 2019 (6pm PST)

– Enter here –



Editor’s note:

Many thanks especially to my EPF team Anton Kusters, Diego Orlando, and Mallory Bracken. 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.


Special thanks also to Michael Loyd Young, EPF funder and BURN Magazine board member.






A heart felt thank you also to Fujifilm for the Fujifilm Young Talent Award… making it possible for the EPF to keep focus on the future generations, the young ones, the ones with a vision already making a mark now… and just might make another jump soon…




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

Marius Ionut Scarlat – From East to West

Marius Ionut Scarlat

From East to West


Romania generates the greatest migratory flow of the European Union. After the revolution of ’89 and the death of Ceausescu, the Romanians were anxious for an immediate improvement. However this improvement did not happen and everything was even worse. The opening of the Schengen area and the entry of the country into the European Union, there has been a process of depopulation with serious consequences for the country. Romania has around 20, 000,000 million inhabitants and almost 4 live abroad.



This is a documentary project that talks about the emigration of my parents from Romania to Spain. This project talks about the experience or the new meaning that acquires everything that has been left behind. For me, this series of images means to get closer to that past. And also means to rediscover latent past which is still present in my house, in my family, in the landscape, in those objects that still decorate what it was my home and rediscover, through the camera, all the emotions and memories that, apparently, no longer existed. What was my childhood place, my home, my family… that comfortable and happy place had suddenly become a much more raw reality.



Short Bio

Marius I. Scarlat is a photographer who was born in 1993 in a village in Romania, where he spent his childhood. At the age of 11 he moved to Spain with his family. He studied a degree in Audiovisual Communication at the University of Alcal? and a master’s degree in Art Photography and Narrative Documentaries at the TAI School. His work seeks to reflect on concepts such as the passage of time, the trace and memory.

During this last year he has received several awards: La maquina grant 2018, 1st prize; selected to participate in the Students Canon 2018 program at Visa pour l’image; selected in the open call of exhibition proposals HACER organized by the Community of Madrid to produce and exhibit his project From East to West during the festival PHotoEspa?a; Roberto Villagraz grant 2018, finalist; talent scholarship from the TAI School (2018).


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Juan Pablo Bellandi – The Tale Nobody Tells

An officer points his finger as a capture signal of another individual during a night patrol in one of the slums in the city of Merida/Venezuela.

Juan Pablo Bellandi

The Tale Nobody Tells


My job as a Photographer of the pólice in Venezuela for more than two years has taught me through crude lessons to see myself as a policeman, with the particularity that I possess a camera.

Venezuela faces an extremely deep crisis; absurd and improbable situations occur. In a collective language we constantly repeat to ourselves and to others: how can one live like this?



But Venezuelan reality has other shores, tales that nobody tells. It is very difficult for the police to maintain public order. The government has diminished to almost zero all the supplies for the proper functioning of the department. There aren’t working tools, protective equipment, basic goods or spare parts for their vehicles. There aren’t any police cars or motorcycles for tracking and surveillance.

In addition, the poor salaries of the police officers worsen the situation, promoting a vicious cycle of corruption. Therefore, extracting money from citizens through non-legal practices becomes more profitable and necessary for police officers to achieve their survival and to provide for their families. This is considering a country where a day of work is not worth a single dollar, when converting to our currency.



After documenting crime on a daily basis, which is one of the main problems of my country I realized that there is a background story to which I have belonged and to which I owe as a photographer. It is the story of the uniformed people who stay behind the conflict, who are often called guilty, who have a life that we do not know and that are a fundamental part of the disaster in which we find ourselves.



What does it mean to be a policeman in a country as Venezuela? A country with a comatose economy, a destroyed health system and a sunken education system. Bluntly a country living a humanitarian crisis. Families, pressures, obligations, acting evilly, stealing, saving or not saving their own lives.


Short Bio

Juan Pablo Bellandi born in Mérida, Venezuela in 1990. Studying photography at the Escuela Argentina de Fotografía in Buenos Aires, majored in photojournalism. The political situation in his homeland is the theme of his long-term projects: ‘En la Intimidad con el Levantamiento’ (Intimate with the Uprising) documents the demonstrations of Venezuelans against their government. The serie was short-listed for the 2015 Ian Parry Scholarship, and was exhibited in London. In 2016 Juan Pablo was one of the 12 photographers as a finalist in the Leica Oskar Barnack Award with his work Chasing HAMPA. Also he won the mentorship grant of the first masterclass organized by MeMo Agency. In 2017 have been a nominee for the Joop Swart Masterclass of World Press Photo,his work have been published by The Sunday Times Magazine, Photonews Germany, Lensculture, LFI, Doc!Photomagazine, Sueddeutsche Zeitung among others..


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Ignacio Colo – At the Same Time

Ignacio Colo

At the Same Time


Eduardo and Miguel Portnoy are two 50-year-old twins from Buenos Aires, Argentina. They live together, they have never been apart since they were born, and today they are all alone in this world. Their family passed away with time: their parents, their only brother, also their uncles. They don’t have any close friends. They do everything alone. But they are never alone, because they have each other. The only support they have, their last safety net, is the Jewish community, that gives them employment, helping them materially but also, to a certain extent, emotionally. But, all in all, their main support is the love they have for each other and that symbiosis so typical of twins. The two of them are their only shelter, built upon love, loneliness and vulnerability.



Short Bio

Ignacio Coló is a photographer and photo editor born in Buenos Aires, Argentina, in 1980.

He lived in Paris, where he specialized in Photography History at the Sorbonne University. Back in Buenos Aires, he completed photography studies at the Escuela Argentina de Fotografía (EAF) and studied Cinematography at SICA, the union of filmmaking professionals.

He currently works at the Sunday Magazine of La Nacion, a major Argentinian newspaper, as a photographer and photo editor. His photographs are regularly published in media such as Financial Times (UK), Le Monde (France), L´Equipe Magazine (France), France Football (France), Society (France), El Mundo (Spain), Papel (Spain), de Volkskrant (Netherlands), Art Magazine (Germany), among others.

His photographs have been exhibited in individual and collective shows.


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The Emerging Photographer Fund is supported by generous donors to the Magnum Foundation

Magnum Foundation

Massimo Nicolaci – I Carusi

Massimo Nicolaci

I Carusi

Sicily, for its past history and for its multiple influences and contaminations, is a place that preserves and sends forward a long tradition of faith, linked to Christianity, which has a large pagan and theatrical part connected to the populations that live there.

The man, the Sicilian, needs a hold on something extra terrain. He needs something that goes beyond everyday life. This manifests the theatricality of a people, shows its traditions and highlights its popular culture.

It is a physical manifestation, a staging, made of flesh and sweat, of cyclical rituals and appointments. Where the individual, together with his own community, detaches from the everyday, leaves his social situation and becomes something else, where he comes close to something higher, even for just a moment.

It is a great excuse to seek one’s own redemption on earth.

From 3rd to 5th of February, Catania dedicates a great celebration to the Saint, a mixture of faith and folklore. According to the tradition, when the news of the return of the Saint’s relics arrived in 1126, the bishop went out in procession through the city with bare feet and a night robe, followed by the clergy, nobles and the people. The origin of the traditional dress that devotees wear in the days of the festivities is controversial, the Sacco agatino: white coats and gloves with a black skullcap on their head. A deep-rooted popular legend is related to the fact that the citizens of Catania, awakened in the middle of the night by the sound of the bells when the relics were returned to the city, poured into the streets in a nightgown.

Other typical elements of the feast are the silver reliquary where the relics of the Saint are placed in turn on a chariot or Vara, also this one in silver.

Tied to the vehicle are two cordons of over 100 meters to which hundreds of “Devoti” cling, who untiringly pull the cart until the 6th of February. The reliquary is carried in procession preceded by the twelve candelore or “cannalori” each belonging to the corporations of the city craftsmen.

Everything happens between the wings of a crowd waving white handkerchiefs and shouting “Cittadini, cittadini, semu tutti devoti tutti”. It is considered one of the three most influential Catholic festivals worldwide.

Since many years out to Sicily, I was back in Catania, in the city where I was born, to take pictures at the sant’Agata festival.

There are many legends around this festivity, which are the “Candelore”,  the votive candles that precede the Saint in the procession.

It is said that there is a use of money from the mafia around this celebration, that the bearers use drugs to support the effort and that there are clandestine bets around that.

I had the possibility to be put, in natural way, near the butchers candelora (à cannelora ri chianchieri) arround 2011.

My intention is to narrate the human world, i Carusi (the guys), that keep moving around this big candle. Is a material ritual, bodies, fisicitys, a men’s world, that have eyes only for one woman, the lovely, Agata.

This project represents the reconnection to my origin and to the culture that I left, to then return to Sicily and try to understand some parts of me.

I found myself in everyone of them, in every single Caruso.

Short Bio

Massimo Nicolaci (Catania, 1989), since 2006 attended several workshops by Obiettivo Granieri: Lorenzo Castore (2006/2007), Michael Ackerman (2007/2008), Morten Andersen (2011). In 2008 he moved to Rome from Sicily. On 22 June 2009, one of the young photographers chosen to participate in the “First Impression” portfolio reading organized by Magnum Photos in collaboration with the Photography Gallery in London. In March of 2010 he moved to New York. At that time, built a small photographic project called NYCIt prefers the work of wide-ranging, including: Catania (since 2006), Rome (since 2008), Paris (2015 / 2017), Berlin (since 2009), New York (2010). In 2013 he photographed the Conclave with Christopher Morris (VII agency) for Time Magazine in Rome. In 2015 he is still photographer in the new film by Alessandro Comodin, “Happy time will come soon”. Since 2008 collaborates closely with Lorenzo Castore.Since 2010 collaborates with Michael Ackerman (Camera Obscura Gallery – Paris). In July 2017, he released his first book LA CERVA BIANCA – La Biche Blanche published by LUCE and Shellac Sud. Now he lives in Berlin.

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massimo nicolaci