Author Archive for burn magazine

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Shadman Shahid – No Quarter


Shadman Shahid was the recipient of the 2018 Emerging Photographer Fund and was granted $10,000 for this essay. Burn Magazine revolves around the EPF and it is our most important curatorial contribution to the oftentimes chaotic landscape of photography today. Most importantly, our mission is to give recognition to the finest emerging authors out there and to provide some funding to keep going and to continue making a mark.


Shadman Shahid

No Quarter

[ EPF 2018 WINNER – $10,000]

87% of the women in Bangladesh are victims of domestic violence in Bangladesh. The numbers tell us that the Bangladeshi society, including the victims, take it as a normal part of life. In many cases, the couple stays in such abusive relationships for years. The victims remain silent, enduring throughout the time and the abuser stays unpunished and unchanged.

No quarter is a story of such a couple, Alo and Sagor, who have been in an abusive relationship for more than 20 years now. It is a Docu-fiction created based on the many interviews that I have taken of Alo. During the interviews, she shared the memories that have left the deepest marks, like sharing snapshots from a family album except these snapshots are not as biased to happy memories as most family albums are.



During her interview she told me, while growing up, she was a bright child and how she was her father’s favorite among all her siblings. She liked the Thundercats and she liked to make dolls. She told me that it was normal for a girl to get married when they were nine, but she herself got married when she was 15 to a man who was 30. Right after their first daughter was born, the abuse started. Her husband would beat her up every time she disagreed with him, if she complained about anything, if she talked to another guy and sometimes just for existing. There was a period in their life when she was accused of being pregnant with her brother’s child. During that time, she was forced to get an abortion of a child that was three months old in her womb. She told me about her suicidal tendencies and how she takes blood out of her own body with a syringe to paint the walls with it. It was her favorite pastime for a while. I have tried to visualize her story by making a Docu-fictional family album using images from their actual family album and staged images that were created based on the memories she shared with me. – Names have been changed and faces hidden to protect the identities of the people involved.



Short Bio

Shadman Shahid is a freelance documentary photographer born and raised in Dhaka Bangladesh. He has completed a three-year course in photography from Pathshala South Asian Media Academy. After enlisting for a basic photography class in 2011, in order to improve his filmmaking skills, he got enchanted by the medium’s allure and has been practicing photography passionately since then. He likes to work on small isolated communities and personal stories. He has participated in workshops conducted by Gary Knight, Munem Wasif, Abir Abdullah, Jodi Haines, Gael Turine, Swapan Parekh, Ian The and Kosuke Okahara. He has been selected for the 2017 Joop Swart Masterclass. He is currently based in Rotterdam in Netherlands where is he is working on his personal projects as well as studying in the Master at Photography and Society program in The Royal Academy of Art in Hague.


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

Magnum Foundation

The Emerging Photographer Fund 2018 – The Recipients

The Emerging Photographer Fund 2018


Shahid Shadman, No Quarter

Shadman Shahid

No Quarter

EPF 2018 RECIPIENT – $10,000

No quarter speaks about the victims of domestic violence in Bangladesh. It takes the form of a docu-fiction about Alo and Sagor, a couple who have been in an abusive relationship for more than 20 years.

Stay tuned for the full essay.



The EPF Fujifilm/Young Talent Award 2018


Tabitha Barnard - Cult of Womanhood

Tabitha Barnard

Cult of Womanhood


Cult of Womanhood explores religion and the community Tabitha created with her sisters, revealing a theater of eternal youth and femininity during their transition to womanhood, while escaping from repression in the forests and seascapes of rural Maine, USA.

Stay tuned for the full essay.


The Fujifilm/Young Talent Award is given every year to an emerging photographer who is 25 or younger.



The Emerging Photographer Fund 2018 –  Finalists


Liza Ambrossio

Tabitha Barnard (winner Fujifilm/Young Talent Award 2018)

Felipe Romero Beltran

Rosie Brock

Sanja Jugovic Burns

Ronghui Chen

Hajime Kimura

David Molina

Annalisa Natali Murri

Tommaso Protti

Shadman Shahid (winner Emerging Photographer Fund 2018)


The full essays of the winners and shortlisted entries will be published here on BURN magazine.



Emerging Photographer Fund 2018 – Judges:

(in alphabetical order)


Adam Broomberg | Artist, professor of photography at HFBK in Hamburg and teacher at KABK in The Hague

MaryAnne Golon | Assistant Managing Editor and Director of Photography at The Washington Post

Sohrab Hura | Photographer, Magnum Photos

Azu Nwagbogu | Founder and Director of African Artists’ Foundation AAF

Fiona Rogers | Global Director of Business Development for Magnum Photos



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’



Editor’s note:


I cannot express my thanks enough to MaryAnne, Sohrab, Fiona, Azu and Adam. They worked together to finely tune their choices, looked at the finalists from every angle and awarded the EPF grants to the photographers they felt most deserving. Of course, once it got down to the finalists, choices became extremely difficult, but that is a given… and they did an admirable job. Thank you.
A heartfelt thank you also to Fujifilm for making it possible for the EPF to keep the 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.




Burn Magazine revolves around the EPF. Our most important curatorial contribution to the oftentimes chaotic landscape of photography today. By choosing a jury whose lifetimes have been spent in looking at photographs and making photographs, we try to give our Burn readers a distilled version of the best work of all that flows before their eyes every day.


Most importantly our mission is to give recognition to the finest emerging authors out there and to provide some funding to at least a few to keep going and to continue making a mark. Our previous winners prove this is not in vain.


Many thanks especially to my EPF 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.




The Emerging Photographer Fund is a yearly award given to an emerging photographer, supporting the development of his or her work.
In tandem, the Fujifilm/Young Talent Award is given every year to an emerging photographer who is 25 or younger.
The Emerging Photographer Fund was created and is directed by David Alan Harvey, curated and produced by Anton Kusters & Diego Orlando.

Sima Choubdarzadeh – Fear

Sima Choubdarzadeh


I was seven years old when I got scared for the first time. I was getting back from school when my friend told me: “Did you know that if you reveal your hair out of your scarf, God will punish you by hanging you from it?” When I was 26, after all those fears and tragedies, I decided to stop saying my prayers and fearing God and Hell.



One day my husband locked me up in the house to stop me from reading books, going to the university, seeing my family, and involving with society. It was the same day when an earthquake hit our city and I was locked up in a house on the 10th floor. The thing that I was most worried about was finding the safest place to stand on, but at once I felt an empty space beneath my feet and now that is how I am afraid of people and events like quakes. However these fears have worn out and whenever they hit me, I take a step back and hide. Even not being scared comes from being scared. Within people’s silence and their eyes I can find fear. As if “fear’ is the other name for me.



I must have been treated and relieved of this pain. Talking about these issues with people not only diminished my fears but expanded them; therefore I started photography and taking photos of my fears made them curdle in my blood.


Short Bio

My name is Sima Choubdarzadeh. I am 32 years old and from Iran. When I was a little girl my father bought me photography books. I remember that I looked at them most times and they remained in my back of mind. Because I did not take photos in that time seriously and I did not want to be a photographer, I was a girl who thought always and because of that I studied philosophy at university in MA degree. Though I love philosophy, I have to relate it in my life and make it practical and concrete. It is really difficult for me to find a way: I concluded that art is the solution of my dilemma. I tried some art classes like music, dancing and woodcarving but none of them cured my mind’s engagement. Finally I discovered my childhood remains of mind and soul. I have been doing photography for three years. Now I am really pleased. I can make balance between my rationality and emotion. They dance with each other.


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Oded Wagenstein – Like Last Year’s Snow

Oded Wagenstein

Like Last Year’s Snow

inside Siberia’s isolated community of forgotten women

In the remote village of Yar-Sale in Northern Siberia, lives a group of elderly women. They were once part of a nomadic community of reindeer herders. However, in their old age, they spend most of their days in seclusion, isolated from the world they loved and their community. While men are usually encouraged to remain within the migrating community and maintain their social roles, the women often face the struggles of old age alone.

(* Like Last Year’s Snow is a Yiddish expression – referring to something which is not relevant anymore)



I am using photography to explore the relationship between Aging, Longing, and Memory. I took a flight, a sixty-hour train ride from Moscow and a seven-hour bone-breaking drive across a frozen river to meet them. I immersed myself in their closed community and for days, over many cups of tea, they shared their stories, lullabies, and longings with me. On this series, the memories of the past, represented by the images of the outside world, are combined with the portraits of current reality. By doing so, I tried to give their stories a visual representation. One that could last after they are already gone.  

Why aging? After losing my grandfather, who was a majorrole model in my early life, I became both interested and frightened by the subject of Aging. Not long after, I discovered the power of photography and I was fascinated by the ability of the photographic image to freeze time and thereby, overcome its influence.

Over the past five years, I have been on a journey where I have met elderly people from different communities around the world. I wanted to hear their stories and memories, longing and fears. I am not sure this journey helped me to overcome my fears, but it allowed me to explore them.


Short Bio

Born in the Middle East to a family of migrants from the Balkans, Oded Wagenstein (1986) uses the photographic medium to explore the relationship between Aging, Longing, and Memory. 
Graduated in Sociology, Anthropology and in Film, from Tel Aviv University. His work has been published in the BBC, National Geographic, The Guardian, National Geographic Traveler among other platforms. He published three books. He is also a senior lecturer at the Galitz School of Photography, based in Tel Aviv, where he teaches thousands of students, both Jews and Muslims to use their cameras as a bridge, connection and exploration among them.

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Alfio Tommasini – Via Lactea

Alfio Tommasini

Via Lactea

The dairy farmers of Via Lactea are part of a story that began with a genetic mutation in their ancestors, shortly after the first agricultural settlements in Switzerland. A change that allowed them to tolerate lactose even at an adult age, thus facilitating their survival in these harsh mountainous lands, often cold and covered in snow.



Although the consumption of milk is not a matter of survival anymore, breeders and producers, convinced of the goodness of their product and worried about the decrease in consumption and incomes, make sure that their own people (among the most lactose tolerant in the world) aren’t going to lose this characteristic based on an enzyme that stays active only if continuously stimulated.



In a context of modern agriculture, I wanted to interpret the character of something apparently ordinary but strongly related with the identity and continuous transformation of these lands and the habits of their inhabitants. In the long winter months I travelled across my country, to observe the people who earn their living from milk production, trying to find in them the reflections of that mysterious enzyme they preserve, as a characteristic of their nature. Switzerland (2015-2018)



Short Bio

Alfio Tommasini is a photographer born in a very small village south of the Swiss Alps. He’s particularly interested in the relationship, adaptation and transformation that people have with the territory where they live. He decided to start to narrate human stories with images when living for some years in Mexico and Central America working on social and environmental issues. He  studied in Madrid, Spain (a Masters at EFTI) and has published and exhibited his works internationally.  Recently, with the project Via Lactea he has been awarded the 3rd prize in the Sony World Photography Awards contemporary issues category, and he was a finalist at Prix Photoforum Pasquart, Switzerland and Head On Photo Awards, Australia.
He conceived and co-founded Verzasca FOTO Festival, for which he’s in charge of the artistic direction. He’s currently based in Ticino, Switzerland working as a free-lance.


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Cole Barash – Grimsey

Cole Barash



Set on the remote island of Grimséy, twenty-five miles north of mainland Iceland and bordering the Arctic Circle, this series focuses on the lives of a small, insular fishing community in one of the most unique locations on earth. Taken on multiple visits over the course of two years, these images capture the idiosyncrasies of life in a region with a remarkable blend of influences: an Icelandic-Island culture, fixated as much by the prevalence of maritime commerce as it is unbounded by its unique remoteness. Imitating a documentary style, my photographs are heavy with the emotional pull of real lives, yet they embody an especially uneasy sense of familiarity: a product of building upon established traditions in landscape and portrait photography, while also incorporating formal elements of abstract-modernism.




The landscapes and interiors in Grimséy are noticeably self-contained. Small artifacts of life are found everywhere in the series – seagulls, children’s toys, traps and fishing gear – each isolated within one of the island’s immense vistas: stark plaster walls, pastel curtains, grassy fields undulating into cliffs and sea, everywhere united by angular elements of perspective and color. Any individual element of life on Grimséy, perhaps familiar to the audience by itself, somehow resists assimilation in the larger unity of the images.





The feeling of resistance found in the series is a testament to the authenticity of the island’s sub-culture, a sense that is completed by the portraits of the denizens themselves, who in their candid humility are, nevertheless, impenetrably distant and wonderfully remote.



Short Bio

Cole Barash (b. 1987) is a visual artist based in Brooklyn, NY. Working in the mediums of digital, analog, and archival photography, his work often focuses on the conversation of color and composition between two objects or moments. His photography has been featured in numerous publications including, Time Lightbox, Rolling Stone, Vogue, and Relapse Mag, among others. His book, Grimséy (2015) was published by The Silas Finch Foundation and subsequently recognized by TIME as one of the top photobooks of 2015. Images from Grimséy have been displayed in a solo exhibition at the National Museum of Iceland in 2017. Barash’s most recent book, Smokejumpers (2017) presents a vision into the truly inaccessible world of wildland firefighters and was shortlisted for the 2017 Anamorphosis Prize becoming part of the Franklin Furnace Archive as well as the collection at the MoMA Library.


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Margaret Lansink – Hesitation

Margaret Lansink


Visual investigation of the relationship between humans and their (physical) environment is the main focus of my’s work. Who we are is often determined by our social environment and (family) history. How we build our self-esteem, often determines how we look to the outside world and how we react to the other. For me, I often feel a spectator of a play; looking from the outside in to what happens, how and why the other and I interact like they do. In my work, I’m exploring these relationships, trying to bridge the personal and universal. The way I photograph is purely intuitive; my images present an open and honest reflection of my own inner emotions at a certain time, space and interaction.



This intuitive way of photography also favours a different way of experiencing my work; not as a reflection of a reality but more as an open, artistic interaction between the personal and the universal. Providing an invitation to embark on a journey through your own intricate web of memories, emotions, expectations, fears and desires. All with the intention to ultimately give meaning to your life from your own source; your true self. Therefore I use different cameras, mostly analogue, to capture the different atmospheres of my inner emotions. And giving the images the freedom to act as an overflow from reality to dream.



Hesitation is about that universal feeling in an intimate human relationship of giving yourself emotionally to the other person. This series mirrors my own inner feelings of deep fear when not having the control anymore. With no place to hide and no other way forward than to truly open up to this other person. Showing my bright as well as my dark side, my own good and bad. By doing so putting my trust completely in the other person; the scariest thing I’ve ever done.


Short Bio

Margaret  received a BA from the PhotoAcademy in Amsterdam. She also participated the year-long program of LeMasterklass of Klavdij Sluban and Nestan Nijaradze in Paris. In the past years she has exhibited her work in Amsterdam, Rotterdam, Leiden, Vancouver, New York, Arles, UK, Lithuania, Japan and in her old hometown of Oldenzaal. Her work has been awarded the Dutch New Talent 2013, the Big Print Photo contest Amsterdam in 2015, Bronze Star Award for fine art book at ND Awards in 2016. In 2018 her series ‘Borders of Nothingness was part of @FOTOFILMIC18 Shortlist show and of Reclaim Photography Festival Wolverhampton UK. In 2016 she has been rewarded with an AIR of the Kaunas Gallery in Lithuania and in 2017 of Shiro Oni Studio in Japan; both for her ongoing project ‘the Art of Empathy’, which book will be released in 2019 in collaboration with Kaunas Gallery. Since 2018 Lansink is member of FemmesPHOTOgraphes Paris. Additionally, she often coaches young photographers in developing their signature and portfolio.


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Cristina Vatielli – Le Donne di Picasso

Cristina Vatielli

Le Donne di Picasso

(opening picture: Françoise Gilot was a French painter and best-selling author. She was a young painter when she met Picasso in 1944, was his lover and muse until 1953. Picasso and Gilot never married, but they had two children together, Claude and Paloma. After spending ten years with the painter, she was the only one who, sick of Picasso’s relationships with other women, decided to leave him. She is the author of the book Life with Picasso)

How much pain can a woman bear? How much of herself can she renounce for love?
Cristina Vatielli’s work delves deep in the sickness and suffering of the women who have loved Pablo Picasso, and ultimately reveals a feeling common to all women have loved badly.
The artist’s research is an outcry denouncing physical and psychological abuses, and at the same time, an historical, biographical account of one of the absolute protagonists of twentieth century painting.

The work provides an inclement analysis of the pyschology of women who are protagonists in devastating relationships, seeking with brutal sincerity the fine line between suffering as victims and as silent accomplices. After years of careful research to document the stories of Olga Khokhlova, Eva Gouel, Fernande Olivier, Marie Thérèse Walter, Dora Maar, Francoise Gilot, Gaby Depeyre and Jacqueline Roque, the author has chosen to represent them through theatrical identification in a series of self-portraits to respond to the urgency of dressing them in their own clothes and giving them a new voice.

Living in the shadow of a powerful and seductive mind, and nourished by the pride of being inspirational muses, all the women ask for is the atrocious compromise of giving up their freedom for the privilege of being “Women of Picasso”, before being Women.  
These images tell with powerful sadness the beauty imprisoned by morbid attentions and the talents crushed by the obsessive jealousy of a man who has betrayed, deluded and ruined many young women from destiny, and in most cases, they are marked by loneliness, depression and suicide.  
Victims or accomplices, condescending or rebels, faithful wives or concubines, the eight women of Pablo Picasso are heroines without a story clamoring to be told. 
One eye on the forehead and one on the cheek, the nose split in half by a vertical wound,
the mouth bruised a shade of blue that transmits pain. 
Asymetric, disrupted, fragmented, discomposed, torn apart,
not only in the images imprinted on the canvas,  
They are the Women of Picasso. 
(text by Veronica Gabbuti)

Short Bio

Cristina Vatielli was born in Rome in 1983. She graduated at Scuola Romana di Fotografia. Since 2004, Cristina has been collaborating with Paolo Pellegrin, Magnum Photos photographer. In 2006, she worked at Magnum Photos digital department in the Paris office. Since 2006, she has worked as a photographer in various fields, advertising, portraiture, and documentary. Her works have been published in main international magazines and her projects have received recognition by IPA, MIFA and Sony awards, among others


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Jost Franko – Farming on the Frontline

Khalil Zaanin and his cousin Jamila are walking on their farmland in Beit Hanoun, northern Gaza, on Oct. 28th 2014. Jamila’s home was bombed and completely destroyed during the war in 2014. Her family was forced to move to her relatives.

Jost Franko

Farming on the Frontline

[ EPF 2017 – SHORT LIST ]

In the land from where the eyes can see the Israeli border, Palestinian farmers try to make their living producing agricultural goods such as strawberries, oranges, grapefruits, olives, etc. The war in 2014, that lasted almost two months, has left the majority of Gazan farmers living in the buffer zones with their houses demolished or their land bulldozed – in worst cases, both. In 50 days long war that Israel called “Operation Protective Edge” more than 2,200 Palestinian lives were lost and about 17,200 homes totally destroyed, after 20,000 tons of explosive had been dropped on Gaza.

After the war, I decided I should return to Gaza, to work with the same farming families I’ve worked with in 2013, and the comparison was devastating. Some neighborhoods were unrecognizable, leveled to the ground. Almost all of the families I knew have lost their home. They were forced to move to United Nations schools and live in overcrowded classrooms, or other shelter homes. “I’ve been through dozens of wars, I’ve witnessed everything. Our home was always affected, but not to this dimensions,” Mohammed Abu Daqqa recalls. “But when I hear stories from others, I’m just thankful my family is alive,” he says.



Khalil Zaanin’s farm was bulldozed and hit several times by F-16 missiles. His water well was ruined and it took him a month to repair it. During my 2013 visit in the same time of the year, Khalil and his workers were already harvesting the plants. This year, they had nothing to harvest. “It’s a life with no guarantees what so ever… whether you have plans or not, it doesn’t matter,” says Khalil.

During this period of a year (November), it’s olive harvesting season. This year, instead of harvesting, Samir Al Daberi from Rafah, had to hire workers to help him cut and remove the completely destroyed olive tree plantation from his land.

Farmers from Gaza, are an example of the collateral damage of every conflict – civilians trapped in between the two fighting sides.



Short Bio

Jost Franko is a young documentary photographer born in Slovenia in 1993. His work is mostly focused on long-term projects exploring domestic and international social issues, and his themes often touch on the loss of traditional values in the modern world. After reaching his legal adult hood, Franko started travelling to conflict and post conflict zones to examine and document the impact and consequences of war on civilian population.
Franko’s work has been, among others, published by TIME, Newsweek, The New Yorker, Sunday Times Magazine, Washington Post and Al Jazeera America.

By the age of 16, Franko won the Slovenia Press Photo reportage of the year award and later on joined VII Mentor Program, as the youngest member ever to be affiliated with VII.

In 2014, Franko was awarded a Watchdog prize (special achievements in journalism) for his work by Slovenian Association of Journalists. He was also selected as a 2015 TED Fellow, as one of the 20 change-makers from all over the fields.


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

Magnum Foundation

Terje Abusdal – The Forest Finns

Terje Abusdal

The Forest Finns

[ EPF 2017 – FINALIST ]
Finnskogen – directly translated as The Forest of the Finns – is a large, contiguous forest belt along the Norwegian-Swedish border, where farming families from Finland settled in the early 1600s. The immigrants – called Forest Finns – were slash-and-burn farmers. This ancient agricultural method yielded bountiful crops but required large areas of land as the soil was quickly exhausted. Population growth eventually led to a scarcity of resources in their native Finland and, fuelled by famine and war, forced a wave of migration in search for new territories. 
The Forest Finns’ understanding of nature was rooted in an eastern shamanistic tradition, and they are often associated with magic and mystery. Rituals, spells and symbols were used as a practical tool in daily life; that could heal and protect, or safeguard against evil. 
This photographic project draws on these beliefs while investigating what it means to be a Forest Finn today, in a time when the 17th century way of life is long gone, and their language is no longer spoken.


Many of the settlers ventured northwest and tried their luck in the Nordic wilderness. At that time, much of the land had been reclaimed by nature following the Black Death, which wiped out more than half of the population. Throughout the next decades, the Forest Finns spread across Scandinavia in a constant search for new soil to sew. The journey was an essential part of their existence, as mobility was an integral consequence of slash-and-burn farming. Furthermore, the Forest Finns’ understanding of nature was rooted in an eastern shamanistic tradition, and they are often associated with magic and mystery. Rituals, spells and symbols were used as a practical tool in daily life; they could heal and protect, or safeguard against evil.



In its original form, the Forest Finn-culture no longer exists, and yet more and more people feel a connection to it. Today, the Forest Finns are considered an official minority in both Norway, and yet there are no statistics on their numbers. In fact, the only official criterion of belonging to this minority is that, regardless of your ethnic origin, you simply feel that you are a Forest Finn.



Short Bio

Terje Abusdal (1978) is a visual storyteller from Norway working on independent projects in the intersection between fact and fiction. In 2017, his story on the Forest Finns – Slash & Burn – won the Leica Oskar Barnack Award and the Nordic Dummy Award. Two years prior he published his first photographic book Radius 500 Metres on Journal. His work was recently exhibited at Jaipur Photo Festival in India, Fotogalleriet in Oslo and FOTODOK in Utrecht. Abusdal lives in Oslo.


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

Magnum Foundation