creative and inspiring photography from around the globe

Brendan Burden: Sharing A Sense of Place


Brendan Burden is an editorial and commercial photographer based in Ontario, Canada. Specializing in travel photography, Brendan has the good fortune to fly around the globe for work and explore cool places like Cuba, Brazil, Israel, and Italy to name a few. He is passionate about exploring and sharing a sense of place. His captivating travel photos have been published in numerous publications. Brendan hopes to work next on a personal project on the Great Lakes and the St. Lawrence River. This week atlas speaks to Brendan about what draws him to travel photography, which photographers inspire him the most, and how he captured these stunning photos from Israel.

The vast majority of your work is travel photography. What about travel photography resonates with you?

Brendan Burden: I would have to say it is two things. First, I love to explore, whether that be through travelling or the inside of a building. I want to know what is around the next corner in a compulsive sort of way. So with or without a camera, I want to see things I have not seen before just to satisfy my curiosity. Second, which is more specific to creating an image, is that I want to share a sense of place with viewers. I am essentially trying to convey my feelings about a place, the atmosphere, culture and very often a sense of scale. I find travel photography a good way of doing this and it allows me to create bigger stories than some other subjects allow for. Travel photography is also my favorite kind of photography as a viewer. Nadav Kander’s Yangtze series which is not necessarily “travel photography” in every sense, but to me, is about a sense of place. Similarly Rüdiger Nehmzow’s work, much of which is industrial, does an excellent job of translating what it feels like to be in a space or location and I like that in a visceral way.


How did you first become interested in photography?

I had always had an interest in photography from a young age. When I went off to summer camp with my disposable camera, I would come back mostly with pictures (not great ones) of sunsets and rocks and lakes rather than a bunch of group photos of the other campers which is typical. I did not actually get into photography until high school when I attended Sudbury Secondary School in Northern Ontario, which is an arts school. I was enrolled in the arts program in Voice and sort of on a whim took photography as an elective in grade ten, at which point I was hooked. Luckily for me my father was always into taking photographs as well so there was a bag of gear in the closet to play around with. My first cameras were the school’s Pentax k100 and my father’s Nikon F3HP, which I still own and use on occasion. My mother was also pretty supportive of my hobby and was happy to buy me film and, when I started shooting slides, pay for developing.

Are you self-taught or do you have a formal training in photography?

I studied photography in high school and partially completed a college program in photography. I am not a great student so it is a mixed bag in terms of training. Much of what I know beyond the basic technical aspects has been a result of a great deal of practice and a lot of looking at art and photography. I do somewhat lament not having studied fine art when I was younger which I think would have been valuable.


If you look at Facebook, Instagram, and Twitter, it seems like everyone is posting travel photos. How do you create images that set yours apart from all the rest? 

I do not think about it too much. I mostly just post whatever appeals to me and try not to worry about what anyone else is doing. The only consideration I make is usually in regards to whether or not something fits into a series. I will usually post stand alone images to social media and save the larger stories for my blog or website which I think are both more appropriate spaces for that kind of work. I do not know if there is any other way to approach social media which is so saturated and fickle.

Tell us a bit more about these gorgeous images from Israel. What inspired you to travel to Israel? What was your experience like in this country? What did you hope to capture while you were there?

Israel was never a place I had planned to visit, but an opportunity came up and I took it and brought my camera. I wish there was more to it than that but it was about that simple. I had no preconceptions of what I might shoot when I arrived. I was just kind of flying by the seat of my pants, which isn’t necessarily the worst way to see something. Israel ended up being a lot more scenic and geographically diverse than I anticipated. The Golan Heights are wildly different from the Galilee just a few hours south, and the coast is a lot different than the interior a short drive away. It was also a completely new experience, being a North American, to be surrounded by such rich and ancient history. To walk on stones with dips worn into them over thousands of years or see settlements that predate Christianity. Visually Israel is fairly stark and monochromatic. It was a completely new and pleasurable experience to work with that kind of palette. That is why so many of the images focus on the punctuations to that relatively uniform backdrop.

Did you feel uninhibited as a photographer as your explored Jerusalem and other cities?

I did not have much concern in Israel, no. There is a great deal of security in Israel and I felt safe throughout my trip. The only thing I found sort of off-putting, and it was really just because it was unusual to me as a Canadian, was the casual gun carrying by young people serving in the military. I remember one occasion being behind two young guys at a checkout in a grocery store as their assault rifles dangled over their backs a few inches from me. This was something I had never seen before. I think one of the only places I have felt a little on edge was Rio de Janeiro, where violent muggings are fairly common and carrying around any kind of valuables is ill advised. I used a Jansport bag to carry my gear and only took out my camera when I needed it. This made shooting a little difficult but I think it was a necessary precaution to try not to draw attention to myself. Generally speaking though, most common travel destinations are fairly safe with minimal precautions and in my experience reports are overblown.


What is your dream photography trip?

That is an almost impossible question to answer. There is so much of the planet I have yet to see. I’d really love to visit Iran and maybe one day Afghanistan and the Karakoram Highway in Pakistan. I would also really like to photograph some of the more remote areas of the far north. The Torngat Mountains in Labrador, Faroe Islands, the Aleutian Islands. A lot of remote places.

Are there any photographers whose work inspire you?

For sure. I really love Nadav Kander’s landscape work and Rüdiger Nehmzow as I have mentioned. I am also a big fan of Edward Burtynsky whose images are pretty awe- inspiring. The sense of scale and place that all three bring to their work is really impressive. I also really enjoy the work of Kamil Bialous, Grant Harder, and Alexi Hobbs, all fellow Canadians who are producing some amazing photo stories. It is hard to narrow the list too much. There is so much great work out there – I just have a bunch of books and a giant bookmarks folder dedicated to it and I spend a fair bit of time just enjoying it.


What is your next project?

I just got back from Germany and Switzerland with a short stop in northern Italy so I am working on putting together some edits from those trips. After that, I head off to Pittsburgh and Virginia Beach for some assignments. In terms of personal projects, it is hard to say. I have been thinking a lot about creating a story focused on transport in the Great Lakes and St. Lawrence. It is logistically a very difficult project so it is difficult to say whether it will come to fruition or not, but I would like to produce some more stories focused on Canada. There are a lot of remote places in this country and a lot of stories to be told about the landscape and people so it would be great to tell some of them through photography. It is just a matter of finding the time to do it.

Thanks for being our featured photographer of the week, Brendan!

For more information about Brendan, visit his website.  All images © Brendan Burden.

Andrew Gold: Chasing Waves


Andrew Gold is a San Francisco based photographer with experience in digital and traditional methods of photography. He is a master at capturing spectacular and magnificent images of the ocean, which inspires him to wake at sunrise to witness. Andrew’s works have been exhibited at Rayko Photo Center in San Francisco and may also be found in residential high-rises around town. He teaches darkroom photography and printing at Rayko and also serves as mentor at First Exposures, a local, nationally-recognized youth mentoring program that makes a difference in the lives of underserved Bay Area youth.  This week Andrew speaks to atlas about how he got his start in photography, his deep passion for the ocean, and how photography changed his perspective on what is important in life.

The majority of your photography involves the ocean. What about the ocean appeals to you?

Andrew Gold: On a more superficial level, the ocean is beautiful. It morphs into formidable shapes and textures and reflects light in ways that respond amazingly to photography. That is the answer I tell people I don’t know that well or are satisfied with a light but tangible answer.

The truth is that at my core, I am a scared, nervous, and anxious person. But when I’m in or around large bodies of water (this doesn’t work in a sink or tub), I feel a range of emotions that immediately snap me out of my fearful state. I feel free. I feel spacious. I feel connected to something greater than me. And being in San Francisco where the swell can get to be 20-25 ft, I am constantly in awe and humbled by its power. It is something so amazing to me that I would cancel any and all plans to wake up at sunrise and go witness time and time again.

The ocean can often be unpredictable and challenging to photograph. What is your approach to shooting the ocean?

It is definitely true — the ocean can be very unpredictable. I first found it to be quite challenging.  But, over time, I started to realize its consistent inconsistency.  Instead of projecting what I wanted to happen on any given day I began to leave all expectations at the door and simply be open to what ways I can make compelling image.  I think a lot of the images I make that fall flat are ones I made on days where I had plan for how a certain day of shooting was supposed to go.


Some of your ocean photography was recently exhibited at Rayko Photo Center in San Francisco. What did you want your viewers would take away from your work?

Ultimately, through the images I show, I hope to recreate the sense of awe and wonder I experienced as I originally made the image.  Some of the moments I have witnessed as I have been photographing have been truly extraordinary. To be able to capture them and bring to the attention of people who may not have experienced something like that is truly an honor.

Additionally, all of my work is analog.  I use a manual film camera and make my prints in a color darkroom.  So, even though there is an intensity and power to some my images, making them required an incredible amount of patience, timing, and stillness. I hope that viewers of my work find that same sense of quiet that I needed to evoke during my process.

Tell us a bit more about these gorgeous ocean images here. 

The top image is great example of the unpredictability of the photographing the ocean. The majority of film I have from that day is not particularly visually stimulating.  But, two consecutive frames on one roll of film, capture this five minute period where the tide was just right, the wind was blowing steadily offshore, and the light was hitting the water just beautifully. This particular image does not really show the scale, but this was not a small wave by any means. It always amazes me gentle and soft something with so much power and ferocity can have.

About the second image above, as I mentioned before, there are many images of mine that have a certain intensity to them, through the power of the wave, the vibrancy of color, etc. But, I have also been experimenting with creating images that still have enough umph on their own, but evoke a greater sense of quiet in the viewer.  I find these images have their own power through subtlety. The second image above is inspired by a painter Claudio Bravo. He paints objects like tissue paper or wrapping paper that appear almost three dimensional. I like the play of navigating between 2-D and 3-D in a 2-D image.


This image above and the one directly below are similar to one another in that they both highlight this really unique, fleeting moment that happens as waves break during sunset (or sunrise depending on the coast).  For only a second or two water will reflect the rays of the sun with this bright, vividly golden color.  It happens so quickly that it is only through a still image that we can see and appreciate the beauty of the moment.  It’s just too fast to register in our system.  Personally, I love the idea of taking a moment that holds little importance in reality and giving it a new level of significance as an image.


Finally, the last image at the end is probably the most significant in terms of the origin of this project. Prior to that day, I had been photographing the ocean with some frequency but in a different way. It was really the first day I started to separate from a more traditional landscape to just focus on the texture, movement and light reflecting on the ocean.  As I peered into the viewfinder I felt as if I was onto something, but it did not sink in until I received the film back. This particular roll was shot on slide film.  Seeing the entire roll of film illuminate on the light table was a truly magical experience.  After seeing the results of shooting that day (two years ago now), I felt a fire in me to experiment with capturing the ocean in as many ways and at as many places I could.

How did you get started in photography?

For me, there really was not anything initially cathartic about picking up a camera. Since as young as I can remember, I loved messing around with point and shoots and disposable cameras. I liked documenting places I’d go to, liked having photos of friends, girlfriends, pets etc. I would take way more pictures than other people I knew, but never really thought much of it.

My apathy had little to do with photography, though. Until a few years ago, I was pretty much completely consumed by my image, status, materialism and ways to get ahead in life. Basically, I thought more money equaled more happiness and was always focused on the next thing I needed to do achieve that. It is ironic the one thing I’d naturally do without thinking or analyzing was capture a moment to savor an experience. It is like my upbringing, surroundings, conditioning were all telling me to act a certain way but my subconscious kept alive how I really wanted to exist.

If you could go on a photo shoot with any photographer (living or deceased), who would it be?

Growing up, Andreas Gursky was one of the first photographers whose work I really resonated with.  As I look at his pieces now at SFMOMA, I am still inspired by them.  It would be great to see him at work.


You are actively involved with an organization called First Exposures in San Francisco. Can you tell us about First Exposures and how you got involved?

First Exposures is great. It is a one-on-one photo mentoring program that teaches at risk youth both analog and digital photography.  It is a great opportunity to give back and also get more connected into the photo scene in San Francisco.  I originally got involved through my neighbor who is also a photographer.

Thanks for being our featured photographer of the week, Andrew!

For more information about Andrew, visit his website.  All images © Andrew Gold.

Ricardo Silen: Behind the Lens in Turkey


Ricardo Silen is a freelance photographer from Northern California. Originally from Pennsylvania, Ricardo has lived and worked in the Bay Area for many years. One of his biggest passions is travel so at least once a year, he flies to a different country to explore and learn about its history, its culture, and its people. He has traveled throughout Asia and Europe but never stepped foot in Turkey. Earlier this year, Ricardo brought his camera and flew to Turkey. This week Ricardo speaks to atlas about his impressions of the people and the culture, his first balloon ride, and his photo essay on this history-rich country.

What inspired you to travel to Turkey?

Ricardo Silen: I have traveled to many places in Europe and East Asia so now I have to connect the Northern Hemisphere dots between those places. Iran and India are next.


What were your impressions of Istanbul?

Istanbul was great fun. I usually do not spend much time in big cities but I did in Istanbul because I read it was worth it. While I thought I would see people hiding from the troubles there, it was actually very lively.  Below are some of the places that I particularly enjoyed:

Beyoglu district, south and west of Taksim Square, was full of lively outdoor cafes or open-air restaurants in the winding narrow streets that branched off from Istiklal Street, the main closed-to-cars shopping street. On weekend nights, hundreds of folks flooded that area to eat or smoke or drink tea or raki (an Ouzo-like drink).


Kadikoy district, a short ferry ride across the Bosphorus on the Asian side of Istanbul, was also a popular spot for the same kind of fun, and seemed to have a much better beer selection in its cafes.

The Bosphorus itself was spectacular. One morning I stood on its western shore and watched the sun rise over Kadikoy. Then on one evening I stood on its eastern shore and watched the sun set on the Old City. I also took a fun and inexpensive ferry cruise one afternoon along the length of the Bosphorus — from about where it meets the Sea of Marmora to about where it meets the Black Sea.


One of the coolest things of my trip was probably my balloon ride in Cappadoccia which is several hundred miles east of Istanbul. Millions of years ago it was a very active volcanic region. There is still a large dormant volcanic cone visible in the area. That volcano covered the region in ash, which eventually became a soft rock called tufa. This type of rock is relatively easily eroded or carved out, which is what accounts for the interesting rock formations and valleys. Throughout the centuries, people have also carved homes in the rocks. And there are also a number of old underground cities in the area; I visited one called Derunkuyu that goes back to at least the 8th century BC. There is also plenty of good hiking through the tufa valleys near a small town called Goreme where I stayed.

Can you tell us more about these photos you captured from your trip?

The best pics from my trip were the ones from the balloon ride, which is odd because I took them while I had one arm wrapped around one of the basket’s support poles so that I would not fall out and die. I wish that I could take good pictures of ordinary street scenes when I travel because, more than the famous sites, it is seeing people go about their everyday life slightly differently than we do in the U.S. that is my favorite part about traveling. But I am a bit uncomfortable about turning other people into unwitting props for my photos. And when I do selfishly break that rule and sneak a photo, it never captures the feeling that I experienced being there.


What was the highlight of your trip?

The highlight of my trip was having baba ghannouj (mashed eggplant). I have always loved mashed potatoes but never I never imagined that there was mashed eggplant.

What did you take away from your trip?

The biggest thing I took away from the trip is that Turkey is not dangerous. The locals want people to come and visit.

Thanks for being our featured photographer of the week, Ricardo!

All images © Ricardo Silen.