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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Stefano Fristachi
Stefano Fristachi
Stefano Fristachi

Stefano Fristachi

Country: Italian

Italian photographer and photojournalist, lives in Barcelona. He currently works as a freelance with international magazines and works with production agencies. The interest in all social characteristics opens his vision to Anthropological Photography and Reportage, which allow him to better express the feelings of empathy and understanding of the world, and to deepen his interests in all issues of geopolitics and current affairs.

Humanidade
The warm humanity, the charm of the popular world of Bahia, of the island of Boipeba, and its characters that animate the colorful landscape with their daily struggles and hopes. Their original humor, the wealth that sweats through the adventures of their stories. They live, immersed in their smells, in their instincts, in contradictions and pains, immersed in the shade of palm trees, protected by the coral reef, among a thousand types of mango, fragrant, sweet to the point of redeeming at least in part the echo of the ancient colonialism.

The human race beyond all, that work of God conceived in a week, the human race always alive as a burning wound, a beauty, a rot. An eternal fire, death and resurrection, the human race like a diamond, a drop; the human race is the mine of loneliness, the human race is a scratch, a doodle, the face of desire. A great divine synthesis.

A subtropical tradition veiled by a flavor of realism with vivid tones, strong accents, a magical realism, a sort of intrinsic narrative power. Rapid images, sometimes suffocating, due to the temperatures, emotional images of poor morality but animated by a turgid variety, the same that populates the lush Bahia. Nobility of mind, baseness of every order and rank, hunger, thirst, disease, and sex, so much sex, that climbs wet everywhere.
 

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More Great Photographers To Discover

Alain Laboile
France
1968
I was born on the 1st of May, 1968, in Bordeaux. After an half-hearted schooling, I live of odd jobs until 1990, the year I met Anne. It was the time of my opening to art.I accompanied Anne, student in Art History, to her lectures.It is in the darkness of the crowded amphitheatres that I witnessed heatedly the dissection of the Italian Renaissance artworks. Drawing being my ally since childhood, I can let myself drift into this third dimension by making plaster portaits in a corner of the studio we share. Then came, through a random reading, my fascination for insects. Jean-Henri Fabres's Souvenirs entomologiques will inspire me and accompany me for several years.Plaster and stone slowly fade away to let the rusty iron turn into shaggy insects.On the top of a hill near Bordeaux ,in Gironde, our house fills up with kids.My activity is taking off, and I need to take some photos of my sculptures. That's precisely at that moment, in 2004, that I accidently dive into photography, or more accurately macrophotography, were insects are predominant.Three years later, insects went into hiding under the leaves, my six children are born, and we have left the hill for the stream on the edge of the world. My photo-diary was established without my really noticing, It now seems vital and everlasting. About "La famille" I'm a father of six. Through my photographic work I celebrate and document my family life:A life on the edge of the world, where intemporality and the universality of childhood meet. Day to day I create a family album that constitues a legacy that I will pass on to my children.My work reflects our way of life,revolving around their childhood. My photographs will be the testimony of that. In a way my approach can be considered similar to the one of an ethnologist. Though my work is deeply personal, It's also accessible,addressing human nature and allowing the viewer to enter my world and reflect on their own childhoods. Fed everyday and shared with the world via the internet, my photographic production has became a mean of communication, leading to a questionning about freedom, nudity, being and having. Exclusive Interview with Alain Laboile: All About Photo: When did you realize you wanted to be a photographer?I was working as a sculptor. In 2004 I bought my first camera to photograph my sculptures and my passion for insects drove me to practice macrophotography. After the birth of my last two daughters I raised little by little my lens towards my family. The passion was born and did not leave me any more since 9 years.Where did you study photography?I am totally self-taught. When I began, I had a very limited photographic culture, no technique. I learned by sharing my photos on forums on the web, by receiving critics which allowed me to progress.Do you have a mentor or role model?I met the famous American photographer Jock Sturges during the summer 2012. He became a good friend, a kind of spiritual father who accompanies me in my artistic route. I owe him a lot. Do you remember your first shot? What was it? I think It was a macrophotography showing a mating of slugs. What or who inspires you? My work is extremely personal because it concerns my family life and our little offbeat lifestyle. I try to be inspired by nobody. It is the spectators of my work, that sometimes establish comparisons. Sally Mann’s work is often mentioned. How could you describe your style? An Internet user compared one day my photographic style with street photography. I think that if indeed I lived in town I would practise street photography. But living in the countryside, I photograph my family in its close environment, on the deep. Do you have a favorite photograph or series? I like very much the work of joseph-Philippe Bevillard, His series of portraits of Irish gypsies is fascinating. What kind of gear do you use? Camera, lens, digital, film? I worked for a long time with a Canon 5 D Mark III camera and 35 mm f1,4 lens. I now own a Leica M monochrom which I use with a 35 mm f1,4 Leica lens. Do you spend a lot of time editing your images? For what purpose?I am very selective. I do not hesitate to delete all the photos which do not satisfy me totally. What advice would you give a young photographer?I would say to him that he should not focus on the equipment nor to be intimidated by the lack of technique, all this is secondary. It is necessary to let speak its instinct, accept the criticism. What are your projects?I will publish a book with Steidl Verlag in 2014. An exciting project! Your best memory as a photographer?My publication in the NY times in 2012. I had made several interviews before and I made a lot since but that this has a real symbolic value ! AYour worst souvenir as a photographer?In 2009, I had to stop photography for several months. I needed money and I sold my photographic stuff. A nightmare! The compliment that touched you most?One day Jock Sturges let this comment on one of my photos: "It's wonderful images like this that reinforce my realization that you are my favorite living photographer. Amen " If you were someone else who would it be?I am not certain to want to be somebody else but I would have liked to began to practise photography 20 years earlier. An anecdote?I won a big Canon competition. I left exploring the canopy in the rainforest of kakamega in Kenya. I was accompanied by a crew managed by Peter Webber the director of the movie “Girl with a pearl earring” and “Hannibal Lecter”. We ate spaghetti bolognese together in the middle of the jungle. Fabulous memories a little bit crazy! Anything else you would like to share?I published my first book "Waiting for the postman" in november 2012 . My next exhibition will take place in Santa Monica (California) at dnj Gallery from november 2nd ( 2013) to January 4 th( 2014)
Carlos Javier Ortiz
United States
Carlos Javier is a director, cinematographer and documentary photographer who focuses on urban life, gun violence, racism, poverty and marginalized communities. In 2016, Carlos received a Guggenheim Fellowship for film/video. His work has been exhibited nationally and internationally in a variety of venues including the Schomburg Center for Research in Black Culture; the Worcester Art Museum in Massachusetts; the International Museum of Photography and Film in Rochester, NY; the Museum of Contemporary Photography in Chicago; the Detroit Institute of Arts; and the Library of Congress. In addition, his photos were used to illustrate Ta-Nehisi Coates' The Case for Reparations (2014) article, which was the best selling issue in the history of the Atlantic Magazine. His photos have also been published in The New Yorker, Mother Jones, among many others. He is represented by the Karen Jenkins-Johnson Gallery in San Francisco. His film, We All We Got, uses images and sounds to convey a community's deep sense of loss and resilience in the face of gun violence. We All We Got has been screened at the Tribeca Film Festival, Los Angeles International Film Festival, St. Louis International Film Festival, CURRENTS Santa Fe International New Media Festival, and the Athens International Film + Video Festival. Carlos' current project is series of short films chronicling the contemporary stories of Black Americans who came to the North during the Great Migration. Beginning with his mother-in-law's story, Carlos is exploring the legacy of the Great Migration a century after it began. For Carlos, who moved back and forth between Puerto Rico and the U.S. mainland as a child, the story of a displaced people in search of stability and economic opportunity resonates with his own. Carlos' work has been supported by many organizations including: the University of Chicago Black Metropolis Research Consortium Short-term Fellowship (2015); the Economic Hardship Reporting Project (2015); the Pulitzer Center on Crisis Reporting (2013); the California Endowment National Health Journalism Fellowship (2012); the Richard H. Driehaus Foundation (2011); Open Society Institute Audience Engagement Grant (2011); and the Illinois Arts Council Artist Fellowship Award (2011). In addition to his photography and film, Carlos Javier has taught at Northwestern University and the University of California, Berkeley. He lives in Chicago and Oakland with his wife and frequent collaborator, Tina K. Sacks, a professor of social welfare at the University of California, Berkeley.
Armineh Johannes
United States/France
I was born in Tehran, Iran and studied in England where I obtained a Journalism Diploma, and later in France, where I obtained a B.A. in History and a B.A in English. I started my photography career in 1986 with my first assigned in the Atlas Mountains in Morocco. My work has been mainly on the Middle East and ex- Soviet Union countries. I started working on various assignments in Armenia since 1989 and continue to do so up to this day. In 1989, a year after the earthquake in Armenia, I went there for the first time. I am Armenian born and raised in Iran. Setting foot on the land of my ancestors for the first time brought great emotion for me. Since that first trip to Armenia and the deep connection I felt with the people and the land, I have continued to make regular trips to all corners of Armenia and Artsakh, depicting the lives of my fellow Armenians. In 1989-1990, I made my first trip to Artsakh (Nagorno-Karabakh) and photographed the first Nagorno-Karabakh conflict; I was one of the few photojournalists who managed to travel to the village of Getashen and the villages of the Shahumyan/Shahoumyan region (northern Artsakh) just before Operation Ring in 1991. I continued to travel across Armenia for decades and my humanitarian photo stories have been widely published in magazines and newspapers around the world, such as Los Angeles Times (USA), Washington Post, Newsweek, Le Monde, Peuples du Monde, Libération, L 'Express, Révolution (France), Photo Reporter, France - USSR, UN Multimedia, Foto Pratica (Italy), l'Autre Journal, Marie Claire (Italy), Pop Eye (Japan), Asahi Graph (Japan), Asahi Magazine ( Japan), AIM (USA), Photography (England), etc. In 1997 I decided to go to Armenia and stay there for one year in order to have a more profound understanding of their lifestyle and customs. That period was one of the most enriching and interesting experiences of my life… During the past thirty years I has been documenting the life of Armenians in Armenia, in Karabagh as well as in the Middle East and around the world. I held several exhibitions in France in Portugal and in the United States. In 1990, the prestigious French Newspaper “Le Monde” organized a solo photo exhibition of my work in its halls in Paris. I currently work as a freelance documentary photo-journalist but also collaborate with “Les Nouvelles d’Armenie Magazine”, an Armenian magazine published in France. I am working on having a photo book published of my work on Armenia and Artsakh (Karabagh). I started travelling to Armenia since 1989. I am of Armenian origin (born in Iran) and have continued to travel there on regular basis depicting the lives of Armenians. I travelled to Artsakh (H. Karabagh) several times starting in 1990 and covered the first conflict with Azerbaijan which ended in 1994. During my travels to Artsakh I also photographed moments of their daily lives.
Ali MC
Australia
A former touring musician and producer, Ali MC is a photographer, writer and lecturer in law and criminology. He is also a regular contributor to Al Jazeera and has had his work featured extensively in a variety of publications internationally. Recent photographic projects include Rohingya refugees in Burma and Bangladesh, Khasi stone labourers in India, marginalised groups in Timor-Lesteand street scenes in Iran. In 2023 he launched H: A Love Story, a long form analogue ‘photographic audiobook’ and AV installation about homelessness and heroin addiction in his home city of Naarm (Melbourne, Australia). His portrait of Indigenous singer Archie Roach was selected in the 2021 national Bowness prize and a portrait of esteemed Indigenous actor Jack Charles shortlisted in the 2022 Australian Photography Awards. A collection of his protest photography was also recently acquired by the State Library of Victoria archives. Working predominantly in 35mm and medium format, Ali's work is grounded in research and academic study, holding a Bachelor of Arts with Honours in History and a Masters in Human Rights Law. Statement Ali MC’s creative and academic practice aims to elevate the voices of marginalised and criminalised peoples globally and tackle social and political issues through extensive, long-term engagement. Using a variety of film and camera combinations, Ali’s often-experimental practice seeks to push the boundaries of documentary photography and photojournalism, often exploring ways to evoke a mood, emotion or experience as much as documenting people and places. Themes of trauma, marginalisation and criminalisation permeate his work, taking him deep into the darkness of the human psyche and experience. Not content to remain an armchair narrator, Ali MC has travelled to countries such as Haiti, Ethiopia, Iraq, Rwanda and Syria (and many more) to meet people first-hand, build relationships and develop the close collaborations that drive his stories. H: A Love Story
Dorothea Lange
United States
1895 | † 1965
Dorothea Lange was an American documentary photographer, who studied photography at Columbia University and worked as an assistant to Arnold Genthe before beginning a photographic trip around the world in 1918. When she ran out of funds in San Francisco, she remained, opened a photographic studio, and during the early 1930s began photographing homeless rural people flooding into the city from the Dust Bowl exodus. Her photographs brought her to the attention of Paul Taylor, an economist at California University, who hired her to create a documentary record to accompany his report on agricultural conditions for the California State Relief Administration, and subsequently married her. When Roy Stryker saw these images, he hired her as a staff photographer for the Farm Security Administration (FSA), for which she worked sporadically as Stryker's budget allowed 1935-9. During this period, she made many of her best-known photographs, including the image known as Migrant Mother (1936). She later also photographed for the San Francisco branch of the Office of War Information, 1943-5, recording the internment of Japanese-Americans and the founding of the United Nations. In 1954-5 she was a photographer for Life magazine, afterward travelling extensively and producing photographic essays on Ireland, Egypt, and Asia.Source: The Oxford Companion to the Photograph In 1945, Ansel Adams invited Lange to teach at the first fine art photography department at the California School of Fine Arts (CSFA), now known as San Francisco Art Institute (SFAI). Imogen Cunningham and Minor White also joined the faculty. In 1952, Lange co-founded the photography magazine Aperture. In the mid-1950s, Life magazine commissioned Lange and Pirkle Jones to shoot a documentary about the death of the town of Monticello, California, and the subsequent displacement of its residents by the damming of Putah Creek to form Lake Berryessa. After Life decided not run the piece, Lange devoted an entire issue of Aperture to the work. The collection was shown at the Art Institute of Chicago in 1960. Another series for Life, begun in 1954 and featuring the attorney Martin Pulich, grew out of Lange's interest in how poor people were defended in the court system, which by one account, grew out of personal experience associated with her brother's arrest and trial. Lange's health declined in the last decade of her life. Among other ailments she suffered from was what later was identified as post-polio syndrome. She died of esophageal cancer on October 11, 1965, in San Francisco, at age seventy. She was survived by her second husband, Paul Taylor, two children, three stepchildren, and numerous grandchildren and great-grandchildren. Three months after her death, the Museum of Modern Art in New York City mounted a retrospective of her work that Lange had helped to curate. It was MoMA's first retrospective solo exhibition of the works of a female photographer. In February 2020, MoMA exhibited her work again, with the title Dorothea Lange: Words and Pictures, prompting critic Jackson Arn to write that "the first thing" this exhibition "needs to do—and does quite well—is free her from the history textbooks where she’s long been jailed." Contrasting her work with that of other twentieth-century photographers such as Eugène Atget and André Kertész whose images "were in some sense context-proof, Lange’s images tend to cry out for further information. Their aesthetic power is obviously bound up in the historical importance of their subjects, and usually that historical importance has had to be communicated through words." That characteristic has caused "art purists" and "political purists" alike to criticize Lange's work, which Arn argues is unfair: "The relationship between image and story," Arn notes, was often altered by Lange's employers as well as by government forces when her work did not suit their commercial purposes or undermined their political purposes. In his review of this exhibition, critic Brian Wallis also stressed the distortions in the "afterlife of photographs" that often went contrary to Lange's intentions. Finally, Jackson Arn situates Lange's work alongside other Depression-era artists such as Pearl Buck, Margaret Mitchell, Thornton Wilder, John Steinbeck, Frank Capra, Thomas Hart Benton, and Grant Wood in terms of their role creating a sense of the national "We". In 2003, Lange was inducted into the National Women's Hall of Fame. In 2006, an elementary school was named in her honor in Nipomo, California, near the site where she had photographed Migrant Mother. In 2008, she was inducted into the California Hall of Fame, located at The California Museum for History, Women and the Arts. Her son, Daniel Dixon, accepted the honor in her place. In October 2018, Lange's hometown of Hoboken, New Jersey honored her with a mural depicting Lange and two other prominent women from Hoboken's history, Maria Pepe and Dorothy McNeil. In 2019, Rafael Blanco (artist) painted a mural of Lange outside of a photography building in Roseville, California.
Jaclyn Cori
United States
1968
Cori is a lens-based storyteller. With a B.A. in English and an M.F.A. in Photography she combines the two specializations to create visual narratives. Fact, fiction and poetry intermix to address the evolving nature of self and family. Dreams and nightmares coexist. As the participant observer she balances on the tightrope between seeing and being. Living and working in Savannah, Georgia, she is the mother of fraternal twin daughters and a Professor of Photography at The Savannah College of Art and Design. Cori teaches Lightroom, Darkroom, Portfolio Building and Book Making. She is included in Who's Who Among American Teachers and quoted in ''Teaching Photography: Tools for the Imaging Educator''. Selected publications include ''The View Project'', F-Stop magazine, Art Ascent, Art Square New York, and ''Eye Mama: Poetic Truths of Home and Motherhood''. Born on the Same Day Born on the Same Day reflects the separation and interdependence of fraternal twin girls. By the taking on and discarding of roles, it is the discovery of their world through free play and fantasy. They embrace the life-long process of understanding themselves and each other. Every morning they open their eyes and there is ''the other one'', their twin, their castmate. Everything around them began the same, yet they are entirely unique. Snow White, draped in Rapunzel's hair, cascades down the stairs. The other child, who refuses to wear clothes, sits on a stool examining a wounded knee. Snow White, donning a veil like Mother Teresa's, twirls towards her twin to get a glance. Her gesture, the transition of separateness to closeness is her own, but also an empathic gift to her sister, and a serendipitous moment for her mother photographer. They weave a tale of drama, comedy, and tragedy. They dance together, push apart, run away and always return to dance together again. One moment they hate each other and the next they are giggling behind a closed bedroom door. Their story began with me soothing their booboos, providing costumes, and always being the safe haven. As princess costumes turned into gymnastics competitions and pointe shoes, simply kissed wounds have been replaced with the joys and sorrows of fantasy falling away. They sob, they scream, they triumph and fail, creating a space in a bigger world and turning to each other to be understood and accepted. Sometimes I cry. Often, I laugh. I console. I advise. I feel their suffering and strength, working to lessen the former and develop the latter. And all the while I make photographs, having also become the archivist of their childhood, creating a lyrical, vivid family album as unique as each twin.
Martin Schoeller
Germany
1968
Martin Schoeller is one of the world's preeminent contemporary portrait photographers. He is most known for his extreme-close up portraits, a series in which familiar faces are treated with the same scrutiny as the unfamous. The stylistic consistency of this work creates a democratic platform for comparison between his subjects, challenging a viewer's existing notions of celebrity, value and honesty. Growing up in Germany, Schoeller was deeply influenced by August Sander's countless portraits of the poor, the working class and the bourgeoisie, as well as Bernd and Hilla Becher, who spawned a school of photographic typology known as the Becher-Schüler. Schoeller's close-up portraits emphasize, in equal measure, facial features, of his subjects - world leaders and indigenous groups, movie stars and the homeless, athletes and artists - leveling them in an inherently democratic fashion. Schoeller studied photography at the Lette Verein and moved to New York in the mid-1990s where he began his career. Producing portraits of people he met on the street, his work soon gained recognition for its strong visual impact and since 1998 he has contributed to publications such as National Geographic, The New Yorker, Vanity Fair, TIME Magazine,The New York Times Magazine, Rolling Stone and GQ, among others. Martin's print and motion work has appeared in many major advertising campaigns ranging from pharmaceuticals, cars and entertainment. His work has won many awards, but most recently he received praise for his Colin Kaepernick image in Nike's “Just do it” campaign which won a prestigious D&AD black pencil and the outdoor Grand Prix at Cannes. Some other advertising clients include: KIA, Chevron, Allstate, HBO, Coca-Cola, AT&T, Mercedes, DreamWorks, Southwest Airlines, GE and Johnnie Walker. Schoeller's portraits are exhibited and collected internationally, appearing in solo exhibitions in Europe and the United States, as well as part of the permanent collection of the National Portrait Gallery, Smithsonian Institution, Washington, DC. Martin lives and works in New York City Must Read Articles 75 Portraits of Holocaust Survivors Photographed by Martin Schoeller Martin Schoeller exhibits with 'Holocaust Survivors' in Maastricht A native of Germany, Schoeller, who now lives and works in New York, honed his skills by working with Annie Leibovitz. “Watching her deal with all of the elements that have to come together—subjects, lighting, production, weather, styling, location—gave me an insight into what it takes to be a portrait photographer,” he explains. Equally important for Schoeller was the photography of German minimalists Bernd and Hilla Becher, who “inspired me to take a series of pictures, to build a platform that allows you to compare.” Schoeller’s portraiture brings viewers eye-to-eye with the well-known and the anonymous. His close-up style emphasizes, in equal measure, the facial features, both studied and unstudied, of his subjects—presidential candidates and Pirahã tribespeople, movie stars and artists—leveling them in an inherently democratic fashion. Schoeller’s photographs challenge us to identify the qualities that may, under varying circumstances, either distinguish individuals or link them together, raising a critical question: "What is the very nature of the categories we use to compare and contrast."Source: National Portrait Gallery Websites martinschoeller.com @martinschoeller @martinschoellerstudio.com Agency August Image Galleries Camera Work A Gallery Exhibition Death Row Exonerees
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AAP Magazine #54 Nature
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