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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Amanuel Sileshi
Amanuel Sileshi
Amanuel Sileshi

Amanuel Sileshi

Country: Ethiopia

Amanuel Sileshi is a photojournalist based in Ethiopia currently working for AFP. He loves documenting the change and the effect that humanity brings with conflicts, wars, political reforms. photojournalism is a tool in which we can tell realities in one singular photo.
 

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Anka Zhuravleva
Russia
1980
Anka (born Anna Belova) was born on December 4, 1980. She spent her childhood with books on art and her mothers’ drawing tools, covering acres of paper with her drawings. In 1997 she entered the Moscow Architectural Institute deciding to follow in her mothers’ footsteps. But at the end of 1997 her mother was diagnosed with cancer and died in less that a year. Then her father died in 1999. After that Anka’s life changed dramatically. In attempt to keep sane, she plunged into an alternative lifestyle – working as a tattoo artist, singing in a rock-band, sometimes looking for escape in alcohol. In order to make a living while studying, Anka worked at several modeling agencies. Thanks to the drawing lessons she wasn’t afraid to pose nude, and her photos appeared in the Playboy and XXL magazines and at the Playboy 1999 photo exhibition. But she was not looking for a modeling career – it was just a way to make some money. In 2001 Anka was working in the post-production department at the Mosfilm StudiosThat same winter one of her colleagues invited her to spend a weekend in Saint-Petersburg with his friend, composer and musician Alexander Zhuravlev. In less than a month Anka said farewell to Moscow, her friends, her Mosfilm career and moved in with Alexander in Saint-Petersburg. Living with her loved one healed her soul, and she regained the urge for painting. She made several graphic works and ventured into other areas of visual arts. In 2002 Gavriil Lubnin, the famous painter and her husband’s friend, showed her the oil painting technique, which she experimented with for the following several years. During that period she made just a few works because each one required unleashing of a serious emotional charge. All those paintings are different as if created by different people. Anka’s first exhibition took place on a local TV channel live on the air - the studio was decorated with her works. Several exhibitions followed. Private collections in Russia and abroad feature her paintings and sketches. In 2006 Anka noticed that her inspiration often came from photos and decided to take up photography. Since that time Anka took part in numerous projects - magazine publications and covers, book and CD covers, exhibitions. She is engage in digital photo art and analog film photography as well. In 2013 Anka with her husband moves to live in Porto, Portugal. Source: anka-zhuravleva.com Interview With Anka Zhuravleva All About Photo: When did you realize you wanted to be a photographer? Anka Zhuravleva: "I always was about visual arts so I can't name exact date or year.. But I turned to photography completely in 2010." AAP: Where did you study photography? AZ: "I am self-educated. I took some individual workshops dedicated to analog processes but it was technical things." AAP:Do you have a mentor? AZ: "No." AAP: Do you remember your first shot? What was it? AZ: "I was 6 years.. I shot horses with small film lomo-camera." AAP: What or who inspires you? AZ: "Life, everything I got around me, my dreams, interesting people, my husband's music." AAP: How could you describe your style? AZ: "I have no special style. Different series in different styles." AAP:Do you have a favorite photograph or series? AZ: "No, I love them all!" AAP: What kind of gear do you use? Camera, lens, digital, film? AZ: "A lot... And they are changing all the time. Digital 35mm, film medium format, vintage cameras and cameras made by my husband. About 20 different lens, modern ones and vintage brass ones as well." AAP: Do you spend a lot of time editing your images? For what purpose? AZ: "It depends. I always edit digital a lot to reach exactly that tone and mood wich I need. And I also do analog process in darkroom without any computer at all." AAP: Favorite(s) photographer(s)? AZ: "This is a difficult question..." AAP: What advice would you give a young photographer? AZ: "To keep eyes wide open." AAP: What mistake should a young photographer avoid? AZ: "I don't know... Everybody make mistakes. I suppose it's important not "not making" mistakes, but learn after doing mistakes." AAP: The compliment that touched you most? AZ: "When people telling me that my pictures bring their mind, fantasy and soul to childhood or let them think about miracles.. Or making a good mood..." AAP: If you were someone else who would it be? AZ: "Hum... Maybe a baker? Just joking, I don't know..."
Inge Morath
Austria/United States
1923 | † 2002
Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth. Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist. In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London. Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961). Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002). Inge Morath died of lymphatic cancer on 30th January 2002. Source: Spartacus Educational Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments." Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays. Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects. During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
Annie Leibovitz
United States
1949
Annie Leibovitz is an American portrait photographer best known for her engaging portraits, particularly of celebrities, which often feature subjects in intimate settings and poses. Leibovitz's Polaroid photo of John Lennon and Yoko Ono, taken five hours before Lennon's murder, is considered one of Rolling Stone magazine's most famous cover photographs. The Library of Congress declared her a Living Legend, and she is the first woman to have a feature exhibition at Washington's National Portrait Gallery.Source: Wikipedia Annie Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. While studying painting at the San Francisco Art Institute, she took night classes in photography, and in 1970, she began doing work for Rolling Stone magazine. She became Rolling Stone’s chief photographer in 1973. By the time she left the magazine, 10 years later, she had shot 142 covers. In 1983, she joined the staff at Vanity Fair, and in 1998, she also began working for Vogue. In addition to her magazine editorial work, Leibovitz has created influential advertising campaigns for American Express and the Gap and has contributed frequently to the Got Milk? campaign. She has worked with many arts organizations, including American Ballet Theatre, the Brooklyn Academy of Music, and the Mark Morris Dance Group, and with Mikhail Baryshnikov. Her books include Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970–1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer’s Life: 1990–2005 (2006), Annie Leibovitz at Work (2008), Pilgrimage (2011), Annie Leibovitz: Portraits 2005-2016 (2017), The Early Years, 1970–1983 (2018), and Wonderland (2021). Exhibitions of her images have appeared at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery, in Washington, D.C.; the International Center of Photography, in New York; The Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Centre National de la Photographie, in Paris; and the National Portrait Gallery in London. Leibovitz has been designated a Living Legend by the Library of Congress and is the recipient of many other honors, including the Barnard College Medal of Distinction and the Infinity Award in Applied Photography from the International Center of Photography. She was decorated a Commandeur in the Ordre des Arts et des Lettres by the French government. She lives in New York with her three children, Sarah, Susan, and Samuelle.Source: Vanity Fair Leibovitz became Rolling Stone’s chief photographer in 1973, and by the time she left the magazine, she had amassed 142 covers and published photo essays on scores of stories, including the 1975 Rolling Stones tour. Moments of freedom and an unyielding imagination fed the evolution of Leibovitz’s photography. The monumental body of work taken during her thirteen-year tenure at Rolling Stone blurred the lines between celebrity and civilian, interviewer and interviewee, artist and subject, dissolving the boundary separating Leibovitz from those captured in her photographs. Documenting fellow reporters and photographers in addition to their subjects, Leibovitz highlighted those hidden behind the camera and brought them to the forefront. Leibovitz recorded major political moments of the Seventies in the United States, including the 1972 presidential campaign, which she covered with the writer Hunter S. Thompson. In a haunting photograph taken when President Richard Nixon resigned, on August 9, 1974, Leibovitz’s camera records his helicopter as it takes off from the White House lawn. Her immersion within the political landscape extended to photographs from the 1976 election, when figures such as Jerry Brown and Jimmy Carter seized national attention. The artist photographed the Democratic National Convention in New York City, showcasing candid moments with Dianne Feinstein and journalists such as Sally Quinn and Dan Rather. Leibovitz’s unobtrusive lens implicates both the photographer and her colleagues as significant actors and contributors to cultural moments. When traveling with the Rolling Stones to document their tour of the Americas in the summer of 1975, Leibovitz entered the band’s world to such a degree that only her camera served as a reminder of her identity. It was Leibovitz’s distinct ability to immerse herself in varying environments that enabled a direct engagement with her subjects, revealing their true, honest, and perhaps most vulnerable selves. Leibovitz began using a medium-format camera that produced square photographs and was appropriate for shooting set-up portraits with a strobe light. The planned portraits were based on a straightforward idea often stemming from a deeply personal collaboration with her subjects. Evidencing a level of uncanny intimacy and an uncommon depth of engagement, this relationship can be seen in one of her most celebrated photographs, in which a naked John Lennon clutches Yoko Ono. The portrait, made on December 8, 1980, was meant to serve as an intimate emblem of the couple’s relationship. When Lennon was killed just hours after the photo was taken, the image became a powerful visual memorial. In 1983, when Leibovitz joined the staff of the revived Vanity Fair, she was established as the foremost rock-music photographer and an astute documentarian of the social landscape. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes, and political and business figures, as well as fashion photographs. Leibovitz’s portraiture reflects a signature technique she developed early in her career, as she consciously and consistently fit style to subject through collaborating with her subjects, photographing them in their homes or in a location that meant something to them, where friends, lovers, children, and other personal markers might appear. Annie Leibovitz’s prolific output and her inventive approach to photography itself position her distinctly within the traditions and trajectory of American portraiture during the twentieth century. Her unique photographic language dovetailed with – and advanced – the medium’s evolution as a force for art making. The singularity of her vision, which included combining portraiture with photojournalism that captured historical and cultural touchstones throughout the United States and abroad, places her within a lineage of some of her personal heroes – artists like Andy Warhol and Richard Avedon, both innovators of their mediums. Influences such as Robert Frank and Henri Cartier-Bresson inspired Leibovitz to turn the tide on photography’s reception. Combining Frank’s highly personal and emotional style of photographic reportage with Cartier-Bresson’s Surrealist and even sculptural art photography, Leibovitz embraced her own inclination toward personal journalism. The artist’s large and distinguished body of work encompasses some of the most well-known portraits of our time.Source: Hauser & Wirth
Callie Eh
Malaysia
1972
Callie is a Switzerland-based Malaysian. Her travels ignited her love for photography, and what started as a hobby has now become an integral part of her life. Callie’s works mostly refer to life “In the moment”. Emphasizes the honesty and authenticity of people through her unique perspective and optimistic outlook on life. She aspires to convey the beauty she sees in the world and share it with others through her photography. For Callie, photography is not just about creating memories but also about connecting and communicating with others. Callie's work has received recognition through exhibitions, awards, and publications in international magazines and books. The Door to a Brighter Future My time at Sambhali (NGO) has taught me a lot and opened my eyes to the inequalities in this world. In this male-dominated country - India, most of these women have no social value and they are expected to be a housekeeper. Many women are still trapped in the veil - Ghoonghat, a symbol of identity is observed by Hindu women across castes, classes, and walks of life, in and outside Rajasthan, they have been worn for decades. Sambhali Trust, whose focus provides underprivileged Rajasthan women and kids with an education in English, Hindi, Math, and social skills, to support them in developing confidence and self-esteem and help them work towards financial independence. The majority of the girls and women at the centers are from low castes and some have difficult backgrounds. These women are so hungry for knowledge and have to fight so hard to get it, most of the Sambhali women were so bright and naturally intelligent. I’ve come away with a better understanding of real lives and society in India, as well as the freedom and responsibility that comes with it. These women live in a world where their every move is dictated by men, and to break that tradition by pursuing an education and skill. You may look at this a simple sewing machine and education, but is the door opening up to these women and children to fulfill their dream to be able to change their life in the future. Awarded Photographer of the Week - Week 41
Pieter Henket
The Netherland
1979
Pieter Henket is a Dutch photographer living and working in New York City. His notable work includes shooting the cover of Lady Gaga’s debut album The Fame, and photographing National Congolese acting out their mythologies in the Congo rainforest for the book Congo Tales published by Random House / Prestel Publishing in 2018. He is known for a photographic style that takes inspiration from the 17th-century Dutch Golden Age of painting. Henket was born in Geldrop, Netherlands. He is the son of the Dutch architect Hubert-Jan Henket and the nephew of the Dutch photographer Bertien van Manen. After high school in the Netherlands, Henket moved to the States to take a three-month film course at the New York Film Academy, followed by a documentary-film-making course at the NYU film school. Shortly after, Henket got his start by interning for director Joel Schumacher. In 1999, he worked on the set of the film Flawless, starring Robert De Niro and Philip Seymour Hoffman. He had a long-time collaboration with recording artist and producer Ryan Leslie. He has worked with celebrities such as Anjelica Huston, Mary-Kate Olsen, Sir Ben Kingsley, Kristen Stewart and Lady Gaga for whose debut album The Fame Henket shot. In 2010, the iconic image was presented at the American Woman exhibition at the Metropolitan Museum of Art in New York. In 2015 Henket was commissioned by Tales of Us in Berlin to photograph Congolese from the Mbomo District acting out their mythologies in the Odzala Kokoua National Park for the book Congo Tales. Source: Wikipedia About Congo Tales In the deep heart of Africa lies a tropical rainforest second only in size to the Amazon – the Congo Basin. It measures 500 million acres, spans 6 nations, and is home to some of the largest swaths of intact tropical rainforest in the world, with the pristine Odzala Kokoua National Park as the crown jewel. Known to ecologists as the world’s second lung, the Congo Basin is the Earth’s other Amazon – as vital to preventing runaway Climate Change as the Brazilian rainforest and as vulnerable to deforestation and abuse. Yet the Congo Basin falls far short of the Amazon when it comes to the world’s awareness of it as a major player in the global environment, a cathedral of nature’s treasures, and a stopgap against looming ecological catastrophe. Published in 2018 by Prestel, Congo Tales is intended to help solve this lack of awareness, and help create a conservation infrastructure for this critical pillar of the world’s fragile ecological balance. Upturning the traditional conventions of fear-based environmental messaging and the portrayal of Africa solely as a place of plague and war, Congo Tales takes a completely different approach to communicating the urgency of conservation efforts in this region. Channeling the primal heartbeat of one of the world’s most powerful ecosystems and the people who call it home, the mythological tales of the Congolese – of supernatural forces in control of life and death, of ritualistic initiations into adulthood, of the laws of nature that lie outside the laws of people – are revealed as a treasure trove of universal wisdom that is both existential and pragmatic, with the unspoiled Odzala Kokoua National Park as stage and actor.Source: The Independant Photographer
Edward Burtynsky
Burtynsky was born in St. Catharines, Ontario. His parents had immigrated to Canada in 1951 from Ukraine and his father found work on the production line at the local General Motors plant. Burtynsky recalls playing by the Welland Canal and watching ships pass through the locks. When he was 11, his father purchased a darkroom, including cameras and instruction manuals, from a widow whose late husband practiced amateur photography. With his father, Burtynsky learned how to make black and white prints and together with his older sister established a small business taking portraits at the local Ukrainian center. In the early 1970s, Burtynsky found work in printing and he started night classes in photography, later enrolling at the Ryerson Polytechnical Institute. From the mid-1970s to early 1980s, Burtynsky formally studied graphic arts and photography. He obtained a diploma in graphic arts from Niagara College in Welland, Ontario, in 1976, and a BAA in Photographic Arts (Media Studies Program) from Ryerson Polytechnical Institute in Toronto, Ontario, in 1982. Burtynsky's most famous photographs are sweeping views of landscapes altered by industry: mine tailings, quarries, scrap piles. The grand, awe-inspiring beauty of his images is often in tension with the compromised environments they depict. He has made several excursions to China to photograph that country's industrial emergence, and construction of one of the world's largest engineering projects, the Three Gorges Dam. His early influences include Ansel Adams, Edward Weston, Eadweard Muybridge, and Carleton Watkins, whose prints he saw at the Metropolitan Museum of Art in the early 1980s. Most of Burtynsky's exhibited photography (pre 2007) was taken with a large format, field camera, on large 4×5-inch sheet film and developed into high-resolution, large-dimension prints of various sizes and editions ranging from 18 × 22 inches to 60 × 80 inches. He often positions himself at high-vantage points over the landscape using elevated platforms, the natural topography, and more currently helicopters and fixed-wing aircraft. Burtynsky describes the act of taking a photograph in terms of "The Contemplated Moment", evoking and in contrast to, "The Decisive Moment" of Henri Cartier-Bresson. He currently uses a high-resolution digital medium format camera. Source: Wikipedia Edward Burtynsky is known as one of Canada's most respected photographers. His remarkable photographic depictions of global industrial landscapes are included in the collections of over sixty major museums around the world, including the National Gallery of Canada, the Museum of Modern Art and the Guggenheim Museum in New York, the Reina Sofia Museum in Madrid, the Tate Modern in London, and the Los Angeles County Museum of Art in California. Burtynsky was born in 1955 of Ukrainian heritage in St. Catharines, Ontario. He received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto's art community. Early exposure to the sites and images of the General Motors plant in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we've imposed onto natural landscapes. Exhibitions include Water (2013) at the New Orleans Museum of Art & Contemporary Art Center, New Orleans, Louisiana (international touring exhibition); Oil (2009) at the Corcoran Gallery of Art in Washington D.C. (five-year international touring show), China (toured 2005 - 2008); Manufactured Landscapes at the National Gallery of Canada (touring from 2003 - 2005); and Breaking Ground produced by the Canadian Museum of Contemporary Photography (touring from 1988 - 1992). Burtynsky's visually compelling works are currently being exhibited in solo and group exhibitions across Canada, the United States, Europe and Asia. As an active lecturer on photographic art, Burtynsky's speaking engagements have been held at the National Gallery of Canada, Ottawa; the Library of Congress in Washington, D.C.; George Eastman House in Rochester, NY; The Canadian Center for Architecture in Montreal; the Art Gallery of Ontario, the TED conference; and Idea City and Ryerson University in Toronto. His images appear in numerous periodicals each year including Canadian Art, Art in America, The Smithsonian Magazine, Harper's Magazine, Flash Art, Blind Spot, Art Forum, Saturday Night, National Geographic and the New York Times. Burtynsky's distinctions include the TED Prize, the Governor General's Awards in Visual and Media Arts, The Outreach award at the Rencontres d'Arles, the Roloff Beny Book award, and the Rogers Best Canadian Film Award. He sits on the board of directors for CONTACT: Toronto's International Photography Festival, and The Ryerson Image Centre. In 2006 he was awarded the title of Officer of the Order of Canada and currently holds seven honorary doctorate degrees. Burtynsky is represented by: Nicholas Metivier Gallery, Toronto; Paul Kuhn Gallery, Calgary; Art 45, Montreal; Howard Greenberg Gallery, and Bryce Wolkowitz Gallery, New York; Sundaram Tagore Gallery, Hong Kong & Singapore; Flowers, London; Galerie Springer, Berlin; Von Lintel Gallery, Los Angeles; and Weinstein Gallery, Minneapolis, Minnesota. Source: www.edwardburtynsky.com
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