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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Zak van Biljon
Zak van Biljon
Zak van Biljon

Zak van Biljon

Country: South Africa
Birth: 1981

Red turf is the homeland of Zak van Biljon. The South African photographer, born 1981, spent his childhood and teenage years in both Johannesburg and Cape Town. In 2003 he graduated as best student at the National College of Photography. With a study of black & white printing – ironically, for someone who grew up under the colorful impressions of the Rainbow Nation.

In 2004 he left the country and emigrated to Europe. It was in Rome, where he discovered another sunlight and in London, where he scored himself on top of booking lists for prestigious underground labels. He continued his career as a part-time commercial photographer in Zurich, Switzerland, exerting his mastery to his fine art projects.

His work range from digital to analog with skills in contemporary advertising and modern art photography. His main focus is the directorial handling of light – as shown in his recent art work, capture the world in infrared. The world seen in red and pink colors provides a new and impressive insight to reality as we know it.
 

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More Great Photographers To Discover

Sonia Melnikova-Raich
Russia/United States
1947
Sonia Melnikova-Raich was born in Moscow in 1947 and has been living in San Francisco since 1987. She was trained as an artist and architect, with a Master's degree from the prestigious Moscow Architectural Institute. Her approach to photography is shaped by her background in painting and architecture. Influenced by the vision of Russian Constructivists of the 1920s and the photography of the Bauhaus movement, she is interested in exploring the abstract in the material world, drawing the viewer's attention to the inner geometry of the photograph and its compositional structure. Her Light+Shadows series, which revolves around the mystery of perspective and geometry created by light and darkness in the architectural image, was inspired by the words of the famous American architect Louis Kahn: "The sun never knew how great it was until it hit the side of a building." Distinct from her high-contrast architectural photography, many of Sonia's other works (Within My Sight, Råbjerg Mile Dunes, Waking Dreams, and other series) explore the poetry and mystique of low-light environments, capturing fleeting moments, barely visible, ambiguous or disappearing things. She feels a strong affinity with the Japanese philosophy and aesthetic of wabi sabi, with its reverence for the subtle beauty in old and simple things, and focus on transience and impermanence. She believes that photography is the best medium to express these concepts, as each photograph is inherently an image of disappearance, a reflective connection to the past forever stamped by time. Since 2005, Sonia's photography has been exhibited locally, nationally, and internationally. In addition to three solo gallery shows in San Francisco, her photographs have been exhibited at LoosenArt Gallery in Rome, Fotogalerie Friedrichshain in Berlin, and various venues in the USA, with some of her works in the permanent collection of the Lafayette Public Library in California. She has been among the winners in many juried competitions, had her works featured in professional photography journals, and was listed in 100 Hot Photographers of 2022 and 2023 by YourDailyPhotograph.com, the project by Duncan Miller Gallery in Los Angeles, an internationally recognized gallery specializing in 20th and 21st Century fine art photography. Winner AAP Magazine #30 Shadows
Karine Coll
France
1973
Madly in love with the arts in the broad sense, greedy for words, stories, eager for esthetic experiences, passionate about theater, writing, full-time professor of letters, photographer-poet in my spare time, human being forever, Woman above all. For me, photography is the medium that allows me to get down to the essence of things, a three-step frenzied waltz in which scenography, esthetics and text all come together to create a powerful message. Driven by a desire to delve deep into the possible, i see the photo as responding to a need to go straight to the soul, with all its diversity of approaches, a way of looking at the body as a sculptured tool, a fragment of a human being, as a dreamlike narration, pictorial reality, the shots linked but not all alike, a perpetual exploration of the possible, malleable according to my desires, giving rise to sensation, to hypersensitivity. Fragments The hands, the hands as witnesses of a too long forgotten body, metonymic fragments of a neglected soul, given as food to the monster lurking in the shadows. The hands which twist in silence, those which counter blows, which protect themselves, those which heal wounds in the half-light without ever daring, cruel pantomime smothered in the hollow of a fist. A black and white, dark, realistic series featuring hands, in close-up, the body is erased, the hands alone carry the message. The image is soiled, a grain comes to invade the cliché, to soil it, drowning all humanity, all femininity. Silence, taboo, shut up! Suddenly, the hands are there, referees of the last chance, standing up timidly in a final attempt, the last ramparts against hatred ... do not lower your guard, stand up, the hands finally come together, ally because together they make sense. A glimmer of hope that seeps through clenched fingers, gradually the woman regains body, the fist crushes in an act of assumed resistance, an unexpected force at hand, carried by a desire to wake up the sorority of all . Peaux d'ombre Because the body is only a conception of the mind, a fantasy projection of our eye, erotic or plastic mass, the body dissolves in the image, becomes a play of curves, a chimera. It is in the shadow of time that the male body reveals its power, sublimating our shadow areas.
Hugo Thomassen
Netherlands
1972
Shadow of Truth In his search for shadow, Hugo Thomassen found light. It is not the play of light that intrigues, but the richness of shadow. The bottles are what they are, yet they inadvertently evoke associations. Are we looking at a nocturnal cityscape with figures? Are we witnessing a chance encounter, a moment frozen in time, or simply an elegant composition with one or more bottles as the photographic subject? The bottle as a shape. In actual fact, the bottle has been constructed down in minute detail. Although the associations may suggest coincidence, the composition itself makes no such assumption. After all, it was built layer by layer. Painstakingly so. It is rich in its simplicity. No expense is spared. Each line is deliberate, considered. So much is expressed through so little. Without warning, this piece sends you soaring into the void - at least it had that effect on me. The void in which there is no time, and the severity of silence reigns. From a compositional standpoint, you have no reference point for space and time. As such, you go on your instincts and create a story yourself. Or you experience it in a meditative sense. What am I feeling? Is it abandonment, bottomless loneliness? Or am I experiencing silence, light, and intimacy? The image is poetic, still, melancholy, and harmonious. Reassurance emanates from the strict imposition of order. Coincidence is out of the question. The meaning of the work is hidden in the order that it projects. The interplay of lines formed by light and shadows never becomes a labyrinth, instead forming a guide pointing out the right direction. The photo has a reassuring effect on me which does not indicate a lack of thought. It makes me wander off in my mind’s eye while deciding my own perspective. This piece puts me outside of time. I can find no links to a memory, something which photography usually excels at. The image is new, though I believe I see a shade of art history through which the influence of Giorgio de Chirico, Morandi, and Night Shadows by Edward Hopper subtly shine through. The photograph distils the bottle to its purest form. It lays bare its essence. An idea. Is it truth that we see? Reality being exposed? Or are these simply shadows created by shapes? It is this that Thomassen plays with. Is it a single photograph or a picture composed of several images, a multitude of shots? In a sense, the photographic image is attempting to transcend the flatness of the paper. Photography is the means by which Thomassen explores the world. He exposes order in chaos or reveals an event through an ordering. He is the author of a visual story. His work is a narrative without words. It is excitement without something taking place. It represents an ode to emptiness, silence, and form. The bottle as the bearer of meaning. Everything has been translated into a language that one does not necessarily need to understand, but that one feels. He finds beauty in the composition of things, of objects. Naturally, a bottle is just a bottle, but in a composition and in relation to other bottles, by sheer coincidence a story is created. Thomassen brings light and shadow as nuances to that composition. He does not impose hierarchy onto the image. The background, the negative space, is just as important as the bottle. This piece is so streamlined that there are no secondary subjects. Light and shadow are of equal importance, because they need one another. Hugo Thomassen provides a context to the bottles. It is up to the viewer to make a story out of them - or not, of course. Because what is simply a charming image to one may appear to another as a story about existence and appearances. Ludo Diels
Willy Ronis
France
1910 | † 2009
Willy Ronis was a French photographer best known for his photographs of life in postwar Paris and Provence, who spent his career roaming the Parisian streets capturing people in love, at work, and at play in lyrical black-and-white images, claimed an interest in "ordinary people with ordinary lives." He was a central figure in the "humanist photography" movement, alongside colleagues Robert Doisneau, Henri Cartier-Bresson, and George Brassaï, celebrating the poetry in the everyday in warm, witty images. I have never sought out the extraordinary or the scoop. I looked for what complemented my life. The beauty of the ordinary was always the source of my greatest emotions. -- Willy Ronis Working in his parents' photography studio, Willy Ronis honed his sense of proportion and composition. Ronis was born in Paris; his father was a Jewish refugee from Odessa, and his mother was a Lithuanian refugee who had fled the pogroms. His father established a photography studio in Montmartre, and his mother taught piano. The boy's first love was music, and he aspired to be a composer. When Ronis returned from military service in 1932, his violin studies were put on hold because his father's cancer forced him to take over the family portrait business; His love of music can be seen in his photographs. When his father died in 1936, the business collapsed, and Ronis went freelance, with his first photographs appearing in Regards. Willy Ronis met David Szymin and Robert Capa in 1937 and did his first work for Plaisir de France; in 1938-39, he reported on a Citroen strike and traveled in the Balkans. Ronis, like Cartier-Bresson, was a member of the Association des Écrivains et Artistes Révolutionnaires and remained a leftist. Ronis was inspired to start exploring photography by the work of photographers Alfred Stieglitz and Ansel Adams. After his father died in 1936, he closed the studio and joined the photo agency Rapho, where he worked alongside Brassaï, Robert Doisneau, and Ergy Landau. Most of my photographs were taken on the spur of the moment, very quickly, just as they occurred. All attention focuses on the specific instant, almost too good to be true, which can only vanish in the following one. -- Willy Ronis Willy Ronis was the first French photographer to work for Life magazine. In 1953, Edward Steichen curated a show at the Museum of Modern Art called Five French Photographers, which featured Ronis, Henri Cartier-Bresson, Robert Doisneau, Izis, and Brassaï. He was also featured in the Family of Man exhibition in 1955, and received in 1957 the Gold Medal from the Venice Biennale. Ronis began teaching at the School of Fine Arts in Avignon, Aix-en-Provence, and Saint Charles, Marseilles in the 1950s. The Minister of Culture awarded him the Grand Prix des Arts et Lettres for Photography in 1979. In 1981, Ronis won the Prix Nadar for his photobook Sur le fil du hasard. Marie-Anne Lansiaux (1910-91), a Communist militant painter, was the subject of Ronis' well-known 1949 photograph, Nu provençal (Provençal naked). The photograph, which was taken in a house that Marie-Anne and he had just purchased in Gordes, showed Marie-Anne washing at a basin with a water pitcher on the floor and an open window through which the viewer can see a garden; it is notable for its ability to convey an easy feeling of Provençal life. "The destiny of this image, published constantly around the world, still astonishes me," Ronis said of the photograph. Ronis spent the 1960s and 1980s in Provence and photographed Marie-Anne, who was suffering from Alzheimer's disease at the time, sitting alone in a park surrounded by autumn trees.
José Ney Milá Espinosa
José Ney Milá Espinosa, of Cuban nationality, was born in Havana on March 4, 1959. He is a self-taught photographer, recognized within documentary photography and auteur photography since the mid-1980s. Initially trained as a technical drawer, artisan artist, civil designer, and finally abandoned his career in architecture for photography. He received several awards in his country in drawing, painting, applied arts and photography, but his greatest achievements were from the early 90s, in international photography salons, achieving numerous awards and distinctions throughout his career. Much of his work is in permanent collections such as the Southeast Museum of Photography Daytona; Palmer Museum of Art, Pennsylvania; Houston Museum of Fine Arts; Lehigh University Art Galleries / Museum Operation, Bethlehem, PA; Inés María Galerie, Houston; Mother Jones International. Fund for Documentary Photog, San Francisco; Fotofest, Houston, USA; Museum of Fine Arts of Santo Domingo. Dominican R.; Toscano Photographic Archive, Italy; UNESCO / ACCU, Tokyo. Japan; World Press Photo Foundation. Holland; University of La Rabida, Huelva. Spain; Media Library, INAH, Mexico; Galerie Bilderwelt Reinhard Schultz. Berlin Germany; National Museum of Photography, Pachuca, Mexico, and Fototeca de Cuba among others. His dedication and innovation in the chemical processes of analog photography led him to develop new formulas for film development that surpassed the results and practices of the Black and White laboratory, of the avant-garde of the time such as Tetenal, Ilford, and Kodak. . He presented his inventions at the Spanish Patent and Trademark Office and marketed them at Casanova Profesional (specialized store in Barcelona) in partnership with Luis Casademunt (photographer) in 1997 and later in 1998, with Isaac Donoso (businessman in Madrid) to guarantee industrial production by a commercial contract signed with the international company JOBO, well known for its laboratory instruments (Labortechnik, GmbH & Co. KG. Gmbh) of Cologne, Germany. His new formulas were published in the catalog of the year of JOBO products as New fine art line “The new generation fine art B / N chemistry” Page 70 and back cover, presented during the International Festival "FOTOKINA 2000" Kolonia, Germany, with the technical support of various specialists on the subject, such as the English John Tisley and the North American, John Sexton among others. In addition, various tests were published in various specialized magazines of the time, such as SCHWARZWEISS 27 (Das magazin für fotografie) "Auf anderer Wellenlänge", November, Germany. 2000; F.V. Nº 149. “Jobo: new Classic Line products”, Spain. 2001; Super Photo. No. 67. "Diary of a personalized development" Spain. 2001 and Super Photo. No. 70. "Diary of a personalized development (II)", Spain. 2001.
Elizabeth Bourne
United States
1964
I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle. About the work: In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet. My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.
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