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Many games feature invisibility in some form. An excellent moment I recall from my days in World Of Warcraft was necking an invisibility potion to run past a load of mobs I couldn’t fight, while my rogue friend stealthed his way through. (If only that game had more such emergent highs.) Anyway, the Invisible Bastard joy I want to talk about is probably only applicable to Eve Online, although I’d love to know about any parallels in other games. It’s a thing that stood out for me over the years and something I loved, because it spoke of persistence, human psychology, the value of patience and the delight in being a big meany. I would leave my laptop logged into Eve, with a character cloaked in various star systems, and do nothing, for weeks.

Why would I do that?
(more…)

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ESSAY CONTAINS EXPLICIT CONTENT

Elena Perlino

A Sea of Light

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essay foreword by Machiel Botman

“Let’s call it the yellow photograph for now: a street sign with half an arrow, a woman touching the sign and looking at where the arrow points. Behind it all a yellow sea of light, a colored landscape, cityscape that is too good to be true.

(who-ever said that things must be true)

Elena Perlino’s photographs are not carefully constructed images, all have the sensation of immediacy, as if she is passing by all the time. One might call what she passes by ‘little moments’ that, had she not been there, would have stayed unnoticed. In a world where everything is constructed, reality and fantasy, these ‘little moments’ escape us often, and when someone shows them to us we might not accept them.
Some make it easy for us, Richard Avedon’s Boy and tree in Italy is one of these beautiful floating moments, but all the same boy and tree are carefully orchestrated in a pose that we know, that we have come to accept. Perlino’s photographs are made of different stuff and at first glance one might say she does not make it easy on us.

The woman in the yellow photograph seems to accept reality as it is, by looking into the obvious direction where the arrow points. Someone who knows about clothes might tell us the woman is upper-class and waiting for a taxi. That’s where the truth begins and ends and begins again.
To me this woman is an immigrant, coming from yellow country, waiting to be collected to go somewhere else, somewhere where all is supposed to be better, where the sun always shines. Yellow country is still very much part of her, that’s where she is rooted, that’s where she is leaving behind those she loves, those she hates. Yellow country still follows her and I am afraid it always will.

Photographs like this always make me wonder. Where does the photographer come from, where does she go? Is Elena from yellow country, collecting proof some people are leaving? Or is she a future girl, pulling in people with invisible threads?
Good photography, like good writing, or good cinema, leaves the viewer free to do as he wants and in that way Perlino’s images, perhaps one more than the other, do not make it hard on us at all.
She has paved wide roads for us to walk on, with lots of light and exotic colors, with the presence of people, she is a people girl. There are gas stations staring at us with big eyes that look like lights, there is a man about to touch the cigarette to rid it of too much ash, there is a nude woman showing a muscle behind her skin, there are ghosts in the street, shit. But apart from what there is, we are free to make our own context, to decide what it all means. Until not very long ago, this would freak out the sensible world because this maker fits in no box. I hope dearly that by now we can accept these images as strong and beautiful gifts that need no explanation, that just need a little imagination.

My only worry concerns the messenger, the photographer if you like. She appears to be a lonely soul, detached from then and there – I hope she accepts these gifts as means to stop now and then, to get out and touch.”

 

Bio

Elena Perlino (b.1972) grew up in Piedmont, Italy. She graduated with a degree in History and Cinema from the University of Turin and attended at Reflexions Masterclass in Paris. Since 2003 Elena has been working on human trafficking and migration in the Mediterranean area. She was selected as a Nominee for Magnum Emergency Fund 2011.

Elena Perlino is currently running a photography project about Nigerian trafficking on Kickstarter.

 

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Elena Perlino

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John Delaney "Kazakh Golden Eagle Nomads"

We are now officially announcing the Emerging Photographer Fund award for 2012.

We will now award $15,000. as three different grants.  We are trying to spread the love a bit.

Burn will give $10,000. to one photographer,  and two smaller grants of $2500. each . Three awards instead of one.

Each intended to get a photographer going, and with efforts on our part to create more funding to finish an essay  depending on what the photographer produces.

The whole point of these grants is to support emerging photographers in our craft. All types of photographers. This is not a photojournalism grant, nor an art photographers grant, but could be garnered by either or both. We just want to support committed authored photography of any ilk. Please click here  and see who has secured this grant in the past and who our jurors have been.

The deadline for entry will be May 15, 2012. No extensions for any reason.

In 2011 we will have published here on Burn at least 50 of those who enter and feature in advance of the announcement of the recipient at least 20 finalists.

Our Burn finalists can be published in print via Burn 01 and Burn 02  and of course we have already Burn 03 as a limited edition magazine/book in our head.

Apply here.

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“When I take a photo, I try to show not simply what I see, but the way in which I see it.”

DOT COM

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Diarmait Grogan

New Way Home

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‘New Way Home’ incorporates autobiographical elements into a non-linear narrative on longing, loss, joy, intimacy and vulnerability. The result is a subjective reflection on the human condition. Disparate experiences coalesce in a body of work that is ultimately concerned less with an external reality than with highlighting ‘fragmentary moments of interior significance’.

As individuals we have this desire to relate everything to ourselves.  I’m always looking for new images to replace the ones I’ve already made, to express the same feelings more succinctly or more accurately. This is why there is a certain anxiety present in my work, alongside a sense of melancholy. Perhaps it’s about my own fear of disappearance. The camera is an extension of my longing, a yearning for associations, for meaning and for stability in the face of mortality. But the images are made with the understanding that any such stability is a phantasm. Any truths expressed in the work are always partial and contingent.

Authenticity is what I’m striving for. I only want to work in a territory that I’m intimately familiar with. The raw material of the work is natural, but as soon as an image is made it becomes a kind of fiction. I find that tension between truth and fiction, objectivity and subjectivity, to be endlessly fascinating.

 

Bio

Diarmait Grogan was born in Ireland in 1983. He studied photography in the Institute of Art, Design and Technology in Dun Laoghaire, graduating with first class honors in 2008. His work has been exhibited internationally, including an exhibition as part of the ‘Exposure’ program of Format09 International Photography Festival in Derby, UK. He recently presented his first solo show in his home city of Dublin.

 

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Diarmait Grogan

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I have been trying to get this job done for about 7 years. Get my archive, that was stored in a garage in downtown Washington, a bit closer to my home.  A long but rollicking ride from D.C. to OBX with an old friend and a multi media intern ended with getting all my stuff in one place.

I took pictures and found old pictures. My excuse for little heavy lifting.

An old case I had not seen for about 40 years was opened. Not by me, but by one of my helpers. Gold. The picture on the right, shot when I was 19 or 20 and accepted to a juried show at the Va. Museum of Fine Arts, and what I considered to be my first successful picture was found today along with a “second”. Yes, to the left here, my first print of the situation. Later changing my find for the mounted photo above. You can see the same boy far left in the tattered picture with four children.

An even more truly serious find. My original fiber prints from Tell It Like It Is. I did not even know these still existed until today. Thought these prints were lost. 40 years lost. Yes, I must say beautifully carefully printed by me in the darkroom set up not far from where I was shooting. Back in 1967. As Bruce Davidson himself pointed out to me were shot 4 years before East 100th Street.  I was shooting by day and printing by night. Obsessed.

 

I am not sure how many times I moved as a kid, but it was a lot. My stuff has been packed up and moved from one space to another so many times that I honestly would have to spend some serious time thinking about it to come up with a number. Sometimes multiple moves even in the same city. So since I starting accumulating negatives, slides, prints, you know pictures I wanted to keep, I have moved dozens of times. Somehow from those earliest years until today everything is intact. Sort of. It is all there, but where is it? This is the problem. Lots of hasty moves. Cardboard boxes full of treasure in some cases, and marked on the outside with magic marker “selects” or “look again”. Nightmare. Yet today , as seen in the sequence above , treasure. Not for anyone else , but for me.

We just got everything moved in. I plan to rent a small house at the beach. Get all my stuff there. And offer work/study programs to say 5 young photographers, to come an help organize my archive in exchange for a great place to live at the beach and a full on career workshop for them. Evaluate their portfolios, get them going on projects, help them edit, and generally mentor as I most often do.

Road Trips was my personal diary. Burn has been set up to feature this audience. Yet many from this audience have asked me to jump in with my own work just a bit more. Yet when I decided to take an online audience with me while I shot in Rio last month  www.theriobook.com   I took that effort away from Burn and on to its own site. The good vibes and karma were so good with riobook that I thought I might try  a bit more mix and match here on Burn. Just more of what most folks are asking for. Solid photography from emerging photographers and insights into process. This is what worked so well on riobook.  If you were not there, honestly you missed something. Matter of fact , many are signing up now even though they know the day by day is finished, it still stands as a unique experience. An authentic experience. No way to manipulate they way it all came down.

Yet the emphasis here on Burn is still you. Burn 01 and Burn 02, our print magazines, will be followed by Burn 03. You should try to get your work in 03, the place to be.

We are also in the dreaming planning stages for SURFING WORLD. Yes, the art of the art of surfing. A book about surfing for surfers and non surfers alike. Martin Parr will shoot some of it. Top notch surf action photographers will shoot some of it. Maybe one of you can convince me to let you shoot part of it. Show me what you can do and I am up for anything.

We are also planning  a handsome book SOUTH AMERICA, a group essay shot by 80% South American photographers. It will not be what you imagine. I will be looking at portfolios soonest.

In the wings for new books are Laura El Tantawy for  IN THE SHADOW OF THE PYRAMIDS, Panos Skoulidas for DEATH IN VENICE, and an epic by Jukka Onnela and few nice surprises to be announced soonest.

Our Emerging Photographer Fund grant of $15,000. will be announced soonest. The new emphasis on the EPF grant will be to do work for Burn. Rather than a reward for past work, the shift will be to create new work , then to be  published on Burn. More of a commission than a award.

This coming May , Burn  Magazine will have an exhibition at the HeadOn Festival in Sydney, Australia alongside my own One Night in Rio. I will be doing a workshop at Bondi Beach at the same time, and I have asked Imants Krumins to curate a small show featuring young Australian photographers under 18.

So I am trying to keep things interesting for all of us.  It is only the right frame of mind and the right karma and the right space and the right place and the right mood that well makes things right…feel good, feel right….be right.

We will never get there, but we will always be on our way….

Peace, dah

 

 

 

 

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