Dharma On the Playa

The Spring 2014 issue of Tricycle magazine features several of my photographs from Burning Man paired with an insightful and beautifully written piece by contributing editor Allan Badiner. The article describes Badiner’s first experience at Burning Man in 2013. It was a journey he had avoided making for many years, he says, but reluctantly agreed to in 2013 in order to accept a speaking invitation. Once there, he was taken in by the event and struck by the curious parallels between Burning Man some of the core practices and rituals at the heart of Buddhism:

Traveling the playa, experiencing scenes from the fantastic to the crudely immature and everything in between, I found more improbable resonance creeping into my awareness between this artsy hi-tech desert ritual and Buddhist ways of being. From the generosity, nonjudgment, and eightfold path-like principles practiced by Burners to the sacred geometry of the city’s layout to everyone’s acceptance that it would all disappear in a matter of days, the playa was permeated with a Buddhist view of life.

And while Burning Man is of an entirely different character, it did have its similarities to a Zen retreat: attendees are hoping for a shift in their perspectives; people are, for the most part, on their best interpersonal behavior; and they take on new names, sleep less, and have amazing insights. Unlike the program at a Zen retreat, many people simply come to dance all week, make love, or blow their minds open with psychedelics. But everyone has permission to follow their dreams and pursue what makes them happy, without judgment. And while some found happiness in pursuing sense pleasures, others took solace in yoga, meditation, and intellectual inquiry. The vast variety of intentions and possibilities don’t seem to separate Burners from one another; rather, it unites them.

Check out the complete article here: Dharma On the Playa

Here’s a peek at the spreads:


Art Cars

In addition to ephemeral art installations, Burning Man is famous for its art cars and tricked out “mutant vehicles.” These are often wildly creative contraptions designed as much to impress and amaze as to have a rockin’ good time. Think party platforms, stripper poles, flamethrowers, full service bars, disco balls and flashing lights, cushioned interiors covered in velvet and faux fur, obnoxiously loud sound systems and pretty much anything else you can think of. The bigger and more outlandish the better. The only rule is that the vehicle shouldn’t look too much like a vehicle.

MSN has gathered a collection of 48 of my photos in a slideshow that captures some of the best and most brilliant art cars from the last ten years. You can view it here or click on the photo below.

MSN Slideshow


Burning Man 2012

The Man Goes Up in Flames at Burning Man 2012

I’m back from an enchanting week at Burning Man 2012. It was a year of wind and dust and even some rain, which made for some interesting photography but was physically quite challenging. I took almost 3,000 pictures over the course of 8 days.

This year I shot on assignment for Rolling Stone. You can view 25 of my images here: “Burning Man 2012: Magic Mushrooms, Nude Dancers, Wild Infernos and More.” You’ll find two additional sets as well: “More Scenes from Burning Man 2012,” and “Faces of Burning Man 2012.”

I’m now busy putting together my customary set of 100 photos from the event. I hope to have that up very soon. (See below.)

In the meantime, my photography has appeared in a number of recent publications:

  • The October issue of Outside Magazine features a lengthy piece about Burning Man titled, appropriately enough, “Hot Mess.” Written by Brad Wieners, the article includes images from photographers George Post, Steward Harvey, and myself.
  • The current issue of Gateway Magazine, the in-flight magazine of China’s largest airline, includes an 8-page spread featuring my work. A photograph of artist David Boyer’s installation “School of Blue Bottle Noses,” which I took in 2009, appears on the cover. You can view the full issue online here (my photos start on page 218).
  • The Santa Cruz newspaper Good Times ran a terrific cover story by Elizabeth Limbach recently with photos by Kyer Wiltshire and myself. The piece is called “Beyond Black Rock City” and is available here (the online version doesn’t have all of the images from the print edition, I’m sorry to say).
  • The South African magazine One Small Seed has a 7-page spread about Burning Man in its current issue with 10 of my photographs. You can view the story in PDF format here.
  • Popular Mechanics ran a feature back in May called “10 Wild Art Cars from Burning Man” using my images. What’s nice about this piece is that they assigned a writer to it who cobbled together interesting and detailed captions about how each art car was built.
  • I also have a spread in the current issue of Marie Claire Brazil, but I haven’t managed to get copies of it yet and it doesn’t appear to be available online.

UPDATE (September 11, 2012): My 2012 photos are now online — view the set here.

Icon Magazine

Eight of my photos from Burning Man appear in this month’s issue of Icon, the British architecture and design magazine, together with a nicely written piece by Charlie Hailey titled “Burn After Building.” Read more about the issue here. Here’s a preview of the spread:

Aerial View of Black Rock City

Photos from Burning Man 2011 by Scott London

Photos from Burning Man 2011 by Scott London

It’s Nice That

Earlier this week I was interviewed by It’s Nice That about my Burning Man photography. It’s Nice That is a beautiful and well-curated art magazine and website based in London. The interview appeared along with about a dozen of my photographs. Since it was edited for length, I’m including the complete exchange below.

Neverwas Haul - A Photo from Burning Man by Scott London

You’ve been documenting Burning Man for the last eight years. Why do you find it so compelling to document?

Burning Man is one of the most interesting events in the world, in my experience, but also one of the most difficult to describe. It’s not quite an art festival, not quite a desert rave, and not quite a social experiment, but something of all three. What’s remarkable about it is that it’s organized around creativity and self-expression. The idea is to fully immerse and express yourself in some creative capacity — through building installations, making art, playing music, dressing up, walking on stilts, spinning fire, or simply being beautiful. It means that it’s an endlessly fascinating place where you never know what to expect and surprise awaits you at every turn.

The scale and the ephemeral nature of the event must be hard to communicate to people who haven’t been there.

Yes, there is no way to convey the sheer immensity of Burning Man to someone who has never been there. There is also something rather dreamlike and enchanting about the way it rises out of the open desert for a few brief days only to vanish again after the event is over. Toward the end of the week, much of the infrastructure — including the 40-foot effigy from which Burning Man takes its name — goes up in flames.

Have you noticed it changing and evolving over the years?

When the event got its start 25 years ago, it was little more than a bonfire on a beach in San Francisco. It moved to the Black Rock Desert in northern Nevada some years later but was still relatively small and unstructured. For many participants, the appeal of the desert was that there were no rules. If you wanted to shoot guns, play with fire, or blow up cars, there was no one to stop you. But as the event grew, so did the need for order and safety. Today the event attracts over 50,000 people from all over the world. It’s highly organized and tightly run, and perhaps a little less fun. Old-timers complain that the anarchy and lawlessness of the early days has been lost.

Do you recognise people when you go back each year?

Yes, a lot of people return to Burning Man year after year. I’ve developed some quite special and enduring friendships there. It’s also allowed me to explore the anthropology of the event — the way people’s perspectives change over time. This is reflected in some of my photographs of artists and their installations, for example, which show how their creative vision has evolved and transformed.

Would you describe yourself foremost as a photographer or a journalist/writer?

I would say that my journalism takes different forms depending on the nature of the project. I started my career in radio and still think that’s the best medium for conversation and storytelling. Over time I shifted to print and devoted myself more to writing articles and books. Print excels as a medium for presenting facts, analysis, and ideas. In recent years I’ve been exploring the possibilities of photojournalism. Though I learned photography as a kid and studied it in college, it’s only recently that I’ve discovered how powerful it can be.

Burning Man has helped me in that process. When I first attended the event, I was struck by the sheer inadequacy of words. Photography seemed like a more powerful medium for documenting the experience. Photographs convey but don’t interpret. At their best, they are very intimate. They capture the imagination and speak to the heart, but without saying a word.