All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Peter van Agtmael
Peter van Agtmael

Peter van Agtmael

Country: United States
Birth: 1981

Peter van Agtmael (born 1981) is a documentary photographer based in New York. Since 2006 he has concentrated on the wars in Iraq and Afghanistan, and their consequences in the United States. He is a member of Magnum Photos.

Van Agtmael's photo essays have been published in The New York Times Magazine, TIME Magazine, The New Yorker and The Guardian. He has published three books. His first, 2nd Tour Hope I Don't Die, was published by Photolucida as a prize for winning their Critical Mass Book Award. He received a W. Eugene Smith Grant from the W. Eugene Smith Memorial Fund to complete his second book, Disco Night Sept. 11. His third, Buzzing at the Sill, was published by Kehrer Verlag in 2016. He has twice received awards from World Press Photo, the Infinity Award for Young Photographer from the International Center of Photography and a grant from the Pulitzer Center on Crisis Reporting.

Van Agtmael was born in Washington D.C. and grew up in Bethesda, Maryland. He studied history at Yale, graduating in 2003. He became a nominee member of Magnum Photos in 2008, an associate member in 2011, and a full member in 2013.

After graduation he received a fellowship to live in China for a year and document the consequences of the Three Gorges Dam. He has covered HIV-positive refugees in South Africa; the Asian tsunami in 2005; humanitarian relief efforts after Hurricane Katrina's effects on New Orleans in 2005 and after the 2010 Haiti earthquake, the filming of the first season of TV series Treme on location in New Orleans in 2010; the Deepwater Horizon oil spill in 2010, Hurricane Sandy in 2012 and its aftermath, Nabi Salih and Halamish in the West Bank in 2013 and the 2014 Israel–Gaza conflict and its aftermath.

Since 2006 he has concentrated on the wars in Iraq and Afghanistan, and their consequences in the United States. He first visited Iraq in 2006 at age 24 and has returned to Iraq and Afghanistan a number of times, embedded with US military troops. Later he continued to investigate the effects of those wars within the US. In 2007 his portfolio from Iraq and Afghanistan won the Monograph Award (softbound) in Photolucida's Critical Mass Book Award. As part of the prize Photolucida published his first book, 2nd Tour, Hope I Don’t Die. With work made between January 2006 and December 2008, this "is a young photojournalist’s firsthand experience: the wars’ effects on him, on the soldiers and on the countries involved." The 2012 W. Eugene Smith Grant for Humanistic Photography provided $30,000 to work on his second book, Disco Night Sept. 11, which "chronicles the lives of the soldiers he has met in the field and back home."

Source: Wikipedia


 

Peter van Agtmael's Video

Selected Books

Inspiring Portfolios

Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Claudio Allia
Italy
1962
Claudio Allia (1962), is an Ophthalmologist, jazz and classical music producer, and an amateur awards-winning photographer living in Sicily. Music and photography have always been his main passions that he has cultivated all his life since childhood. Fascinated by fine art and conceptual photography, at early 90's Claudio began to devote himself to the creation of photographic projects and series trying to transfigure and filter most disparate social themes, even the most crude and brutal, through his personal sensitivity and imagination. Since 2005, started to experiment with new visual and creative approaches into his photographic world, exploring and developing as well his knowledges in the digital editing field and spacing his body of work from fine art to surrealistic or conceptual photo collections/series up to pure social/documentary photography. Slum Glam series Despite the harsh living conditions I have recognised the high level of dignity shown by the Mathare residents and my Slum Glam series attempted to depict this. A hand painted, makeshift wooden chair rests in front of a multi coloured shack wall that the women have decorated using brightly coloured designs wearing their best clothes to pose for my camera. Flower Pots series (Mathare Valley Slum - Nairobi) "Now we go into the vulnerable realm of an impossible privacy, constantly threatened and modified by all that's happening outside; rooms as decorated trenches of a never-ending battle; 9 square meters where to try a claustrophobic but worthy independence, where to keep dignity at low cost. Now focus in the flowerpots; the picture is a transparent flowerpot allowing you to check every corner of these rooms... look again: the dwellers are the flowers." --Claudio Torres Remote Control series (Mathare Valley Slum – Nairobi) For the Remote Control series some of the children of Mathare joined me on a photo shoot, turning up well dressed and carrying a favourite, or only toy. As they walked through the area of corregated dwellings I handed them a remote control i had brought withme in preparation and they instinctively grasped the significance and started pointing it towards areas that they wished to see change to improve their existence.
Giovanna Aryafara
I am a photographer deeply drawn to the authenticity of human connection and the beauty of cultural resilience. My work is rooted in natural light—I never use flash or artificial setups, as I believe less gear creates a more comfortable and organic experience for my subjects. This allows me to connect with them deeper, capturing their essence without intrusion. Occasionally, when I have the time, I incorporate a black backdrop—particularly when camping—creating an intimate space to balance both environmental and portraiture elements. However, my process always begins the day before a shoot. I explore the area, searching for the best natural light (“chasing the light”) and ensuring the background complements the subject without distractions. Just as important is observing and connecting with the people, and understanding who is comfortable with my presence behind the lens. My photography is defined by its relaxed, immersive style—capturing joy, beauty, and quiet moments of connection in a subject’s natural environment. Whether it’s the strength of Ethiopian tribes or the spiritual devotion in Bali, I strive to document cultural narratives with honesty and warmth. I shoot primarily in Africa, particularly Ethiopia, but Bali is home. My husband is Balinese, and my connection to the island runs deep, especially in the villages where tradition, Hindu rituals, and daily resilience are ever-present. When I’m not travelling, I work from my Photography Gallery & Coffee House in Bali, where my small, dedicated team understands and shares my passion for storytelling through images. For years, I exclusively used Canon gear, but three years ago, I transitioned to Sony Alpha R5 (two bodies), paired with my go-to lenses: • Sony G Master 24-70mm • Sony G Master 70-200mm • Sony 50mm Prime • Sony 16-35mm However, I only carry what is necessary for each shoot, ensuring I remain as mobile and unobtrusive as possible. The two series I have submitted—Ethiopia and Bali—reflect my deep appreciation for culture, beauty, and resilience. Whether in the remote Omo Valley or the heart of Bali’s spiritual traditions, my focus remains the same: to honour the people I photograph and to share their stories with the world. About the Myanmar Collection "Myanmar is one of my favourite places on Earth—it feels like time has stood still. The ancient pagodas, temples, and deep history make it so special, but Bagan is truly breathtaking. The monasteries, the monks, and their quiet way of life have always drawn me in. There’s something about the early morning light, the sound of chanting, and the simplicity of daily rituals that feels unchanged for centuries. Through my photographs, I want to capture that feeling—the beauty, the stillness, and the deep sense of tradition that makes Myanmar so unique." Awarded Photographer of the Week - Week 09
Rosa Basurto
Spain
1972
Rosa Basurto is a self-taught photographer from Spain who, within a short frame of time, has been widely recognised for her work. Despite no formal training, Basurto demonstrates an impressive command of photographic skill, producing images that are poetic in style and imitating a dream-like world, within the reality of landscape. Though each image includes quite life-like subjects, such as trees and birds in flight, the spaces they occupy within Basurto’s photographs bring about a very intimate and almost mysterious atmosphere. By capturing a suspension of time, Basurto’s particular style allows the viewer to notice what would have normally been taken for granted. It is exactly this element that gives each picture its dramatic dimension. It emerges when we view a space that seems tranquil, bringing in to question what habitation would have normally occupied such land. Furthermore, the sense of frame, the cleanliness, and the geometric lines give the image an undeniable modernity. Basurto’s work has been exhibited in various group shows as well as having been displayed in solo exhibitions around Spain, Portugal and France. Her work has been widely recognised and received various awards. Some of these include; the Jury Prize for the “Historia de invierno”, PhotoEspaña, 2010, First Prize for the Bienal Internacional SICAFI, Argentina in 2008, the IV Concurso de Fotografía de Naturaleza Vila-Real prize in the category of Flowers, Castellón in 2007. She has also won First Place for the EPSON Digital Photography Contest in 2006. In 2008, Basurto’s work was shortlisted for various awards including Descubrimientos, PhotoEspaña in 2008, Trierenberg Super Circuit, Austria in 2008, the X Biennal Internacional AQÜEDUCTE, 'European Wildlife Photographerof the Year' in the category 'landscapes' in 2007, as well as the “XXXV Trofeo Guipúzcoa Internacional” prize in 2007. Source www.milimgallery.com
Stig Marlon Weston
Carmen Winant
United States
1983
Carmen Winant is a writer and visual artist who explores representations of women through collage, mixed media and installation. She is the Roy Lichtenstein Endowed Chair of Studio Art at The Ohio State University and a 2019 Guggenheim Fellow in photography. Winant utilizes installation and collage strategies to examine feminist modes of survival and revolt. Her recent projects have been shown at the Museum of Modern Art, Sculpture Center, The Columbus Museum of Art, and The Wexner Center of the Arts. Winant’s artist books — My Life as a Man and My Birth — were published by Horses Think Press, SPBH Editions, and ITI press; her forthcoming artist book will be published by Printed Matter Inc. Winant’s work has been written about in The New York Times, The Wall Street Journal, BOMB, The Guardian, and Art in America. In 2019, Winant published with Printed Matter the book Notes on Fundamental Joy; seeking the elimination of oppression through the social and political transformation of the patriarchy that otherwise threatens to bury us. She lives in Columbus, OH, with her partner Luke Stettner and her two and four-year-old sons, Rafa and Carlo. About My Birth In the final spread of Carmen Winant’s book, My Birth—a moving interplay of collected photographs and personal writings on the confounding process of labor—a black-and-white image shows a new mother gazing into a hand mirror. On the opposite page Winant offers her own reflection: “By the time you are reading this, cracked open and flimsy, I will have birthed again. I am no closer to understanding who takes possession of this process, or locating the words to make it known.” The first part is true: Winant delivered her second son two months ago. But the rest? After a yearlong dive into the subject—combing for vintage pamphlets, sourcing materials from “OG midwives,” and reading Margaret Atwood, Sylvia Plath, Adrienne Rich, and so many others—the artist seems to have come as close to grasping the unknowable as one can get, thanks to twin projects that have debuted this week. If the book skews intimate (snapshots of her mother’s own home deliveries weave in a rare thread of autobiography), Winant’s debut installation at the Museum of Modern Art is monumental. Part of “Being: New Photography 2018,” the collage, also titled My Birth, takes over two facing walls in a narrow 20-foot-long gallery. There, Winant has taped up more than 2,000 found images of women careening through the full, uncensored continuum of birth. “I’ve never been inside of a project in quite the same way,” Winant says by phone from Ohio, where she is an assistant professor at the Columbus College of Art & Design, referring to the way that real-life experience blurred with the flood of images taking over her studio: women weeping into pillows, collapsing into partners’ arms, submitting to medical devices (bane or blessing of modernity?), and bringing bodies out of their bodies.Source: Vogue
Iwao Yamawaki
Japan
1898 | † 1987
Iwao Yamawaki, born Iwao Fujita, was a Japanese photographer and architect who trained at the Bauhaus. Born in Nagasaki, Yamawaki studied architecture at the Tokyo School of Fine Arts (now the Tokyo University of the Arts) from 1921 to 1926. After his graduation, he worked as an architect for the Yokogawa Construction Company and began to take photographs, which he submitted to the publications and competitions of Kenchiku Gakkai (the Society for Architectural Research). He was active in theatre circles as a costume and set designer and in 1926 he founded the Ningyō-za theatre in Tokyo with Koreya Senda (1904–1994) and others, and became involved with Tan'i Sanka, an avant-garde artists' group, where he met the Bauhaus student Sadanosuke Nakada (1888–1970), and where he later became friends with Takehiko Mizutani (1898–1969), the first Japanese student to study at the Bauhaus. He was formally introduced to Michiko Yamawaki (1910–2000), an heiress and the eldest daughter of a wealthy businessman, whom he married in 1928. He was asked by her father to adopt her family name, which he did in return for is new family-in-law financing the opportunity for both of them to study at the Bauhaus. In May 1930 Iwao and Michiko left Japan for New York, where they spent two months, before traveling to Berlin, where they were reunited with Koreya Senda, who had already been living in Berlin for about two years. Senda, a politically active socialist, was involved with underground theatre in Berlin, and with the Japanese artistic community in the city, to which he introduced the Yamawaki to. They often gathered in decadent bars, such as the El Dorado, a famous gay, lesbian and trans venue. In 1930 Yamawakis, together with Senda, the painter Osuke Shimazaki, lacquer artist Kotaro Fukuoka and photographer Hiroshi Yoshizawa, founded the design studio Tomoe in Berlin. The studio produced posters, gift-wrap paper, and leaflets, and undertook window dressing and interior design for Japanese restaurants. In October 1930 the couple began Josef Albers' first semester preliminary course at the Bauhaus in Dessau. In April 1931 Michiko went on to study in the weaving workshop and Iwao initially studied architecture, but a few months later he changed to the photography course taught by Walter Peterhans. Iwao developed a close friendship with fellow student and later Bauhaus teacher Kurt Kranz. Kranz was interested in photomontage and introduced Yamawaki to it. Iwao Yamawaki had a strong interest in architectural photography and took many photographs of the exterior and interior of the famous Bauhaus Dessau building complex, as well as of buildings in Berlin, Amsterdam and Moscow. His photographs are strongly influenced by the Neues Sehen (New Vision), an avant-garde movement of the 1920s and 1930s espoused by Bauhaus teacher László Moholy-Nagy, which encouraged photography of ordinary scenes using unfamiliar perspectives and angles, close-up details, use of light and shadow, and experimentation with multiple exposure. Senda and his wife, Irma, returned to Japan in January 1931 on the Trans-Siberian Railway. They stayed for a time in Moscow on their way back, and Yamawakis and several others in the Berlin Japanese artistic community joined them for a week, visiting the theatre and seeing the sights. The couple remained in Germany until the Bauhaus Dessau closed at the end of August 1932, when they returned to Japan. On his return to Tokyo, Yamawaki taught photography for 6 months at the Shinkenchiku kōgei (New Architecture and Design College), which was known as the 'Japanese Bauhaus'. He exhibited some of his work, but was dissatisfied with the Japanese photographic scene and gave up photography altogether. He became a successful architect and designed houses for the wealthy, developing a hybrid Japanese and Western design style, with architects such as Mies van der Rohe and Le Corbusier as his influences. Yamawaki also worked as an architectural journalist and was widely published. He designed a modernist villa for himself and his wife in 1934 and they furnished it with pieces that they imported from Germany, such as the Wassily Chair. He established his own architectural office in 1939 and designed the interiors of the Japanese pavilion in the Government Zone at the 1939–1940 New York World's Fair. The Yamawakis had two children in the late 1930s – early 1940s. Although they had mixed in a socialist milieu in Germany, during World War II they collaborated with the ruling Japanese fascist regime. In 1953 Yamawaki designed the Haiyūza theatre for his old friend Koreya Senda, and in 1954 and 1971 Iwao and Michiko Yamawaki brought Bauhaus exhibitions to Japan. However, in the post-war years, they both largely fell into obscurity.Source: Wikipedia
Amy  Heller
United States
Award-winning artist Amy Heller, originally from Washington, DC, lives year-round on Cape Cod in Massachusetts with her husband. Amy earned her B.A. in fine art at Hampshire College in Amherst, MA, and her M.F.A. in photography at George Washington University (GWU) in Washington, DC. She has been an exhibit specialist for Smithsonian Museums and National Gallery of Art, and a photo editor/researcher/curator for U.S. News & World Report, National Geographic, Microsoft, and the Newseum. Her work has been exhibited and collected internationally and this includes: Provincetown Art Association and Museum, Cape Cod Museum of Art, Dimock Gallery at GWU, and many private collections. Statements: Here are statements for three of my portfolios of my lens-based, mixed-media artwork. In every instance I am always experimenting, playing, stretching the boundaries of the medium, and sometimes breaking the rules. Happy accidents occur along the way and I embrace the journey as much as the outcome. Time/Motion Study Multiples I have always loved dance and movement. As a child I was constantly in motion, dancing to the Beatles or pretending to be a ballerina. Even when seemingly at rest I "moved." I would lie on the living room couch, staring up at the cathedral ceiling, dreaming of the world upside-down. As an adult, I still have a fascination with motion and time: I am a child at heart, evidenced by my large collection of wind-up toys. I fell in love with the late 19th century human locomotion photographic experiments of Etienne-Jules Marey, Eadweard Muybridge, and others and started experimenting with the moving film stroboscopy technique of shooting motion. After many "happy accidents" I came up with my own version of Time/Motion studies, using the nude figure as a subject as well as a foil. I love the implied motion, the stopping of time, and the liminal spaces with abstract patterns created by photographic alchemy. I have examined the idea of motion and reality and seeing the unseen: what exists and yet cannot be perceived by the naked eye. Through the use of multiple imagery, the photographs reveal images that display surreal, dreamlike themes and moods, explore time, and produce on a flat surface, multi-dimensional creations in time and space. There are virtually limitless visual possibilities inherent in these techniques. My new series of reimagined Time/Motion Study Multiples combines the old (analog) with the new (digital) spanning three centuries of photographic exploration. The first time I shot the photos with black and white film and printed panoramic images. Now the second time around I am collaging and layering those earlier analog images in the digital world, creating new works of art. I am always experimenting with different ways of making art, and feel like I'm an artist in search of a medium that hasn't been invented yet. Maybe I will invent it?! Cyanotype on Fabric Mannequin Sculptures + Egg Sculptures I have been making cyanotypes for many years and have always loved the idea of mixing this 19th century process with 21st century digital technology and printing on non-traditional/unexpected surfaces such as fabric (cotton, dyed cotton, silk, velvet, etc.). "Still Lives" began as a series of figurative cyanotype photographs on fabric of classical sculpture from museums and art spaces. The sculptures are frozen in time/static, literally "still lives," revealing little else but their forms. The blue of the cyanotype adds to their "cold" stillness. "Still Lives" evolved into a series of three-dimensional, collaged mannequin sculptures, using the figure as a subject as well as a foil. The figures are collaged with cyanotype photographs of miscellaneous objects, and along with the collaged cyanotypes, the mannequins are veritable pin cushions stuck with decorative pins, acupuncture needles, wrapped with rope, etc. They are more narrative, exposed, and cerebral in nature and explore subjects such as astronomy, self-portrait, psychological themes, etc. The mannequins "wear" their stories on the surface, inviting the viewer to experience their own interpretation. Sculptural "Still Lives" morphed into explorations of time, motion, and dreams, first using manual turntables and then motorized turntables. A veritable "back to the future" for me, re-examining earlier themes used in my time/motion studies and combining my love of motion and cyanotypes. The cyanotype egg series is another exploration of my cyanotype sculptures. The eggs are collaged with cyanotype on fabric images of classical sculptures, everyday objects, etc. The egg form suggests renewal and rebirth, and at the same time is a simple, beautiful shape that is universal. LED Mixed-Media Cyanotypes on Silk Currently I have been making LED mixed-media cyanotypes on silk, exploring the theme of light as a metaphor for truth, revelation and understanding. The light reveals the multiple layers of collaged and sandwiched negatives, positives, and cyanotypes on silk, similar to an x-ray. The work is constantly evolving, and my creative process is somewhere between a stream of consciousness and a waking dream. Earlier LED mixed-media cyanotypes were smaller, multi-themed pieces and these newer ones are much larger. I am experimenting with wet cyanotypes in my new series "Sea/Me" using aquatic subject matter including prehistoric looking sea creatures (squid, octopi, skates, jellyfish, etc.), seaweed, and algae. Climate Change is something that is seen and felt firsthand on Cape Cod and is always on my mind. This series illuminates the flora and fauna and brings these often-hidden things to light. It is also a nod to Anna Atkins, and is inspired by fond childhood memories of beachcombing and swimming with my mother in Provincetown, Massachusetts.
Debbie Fleming Caffery
United States
1948
Debbie Fleming Caffery grew up along the Bayou Teche in southwest Louisiana and still lives in the area. Early on in her career, she was inspired by the work of Dorothea Lange and many of the artists working within the FSA and Federal Arts Project of the WPA during the Depression. Like these forbears, she is interested in telling stories with her pictures, but unlike those earlier photographers, her work is as much artful as it is documentary. Her rich, and dramatic prints are the result of the deep relationships with the people and places she photographs, a visual corollary to the reverence she has for her subjects. Caffery has photographed the sugarcane industry and its community in Louisiana since the late 1970s. She has also photographed in rural villages in Mexico for many years, creating works that draw connections between those communities and the ones in Louisiana that were so familiar to her from her own upbringing. In 2005, Caffery was the recipient of a Guggenheim Fellowship for the work she made of women working in brothels in Mexico. In 2006, she received the Katrina Media Fellowship from the Open Society Foundations to continue to photograph the aftermath of Hurricane Katrina. Recently Caffery received a commission from the High Museum in Atlanta for their Picturing the South photography initiative. Her monographs include: Carry Me Home (Smithsonian, 1990), The Shadows (Twin Palms Press, 2002) and Polly (Twin Palms Press, 2004), The Spirit & The Flesh (Radius Books, 2009) and Alphabet (Fall Line Press, 2015). Source: Gitterman Gallery
Advertisement
AAP Magazine #54 Nature
Win a Solo Exhibition this January
AAP Magazine #54 Nature

Latest Interviews

Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
Exclusive Interview with Guillaume Bonn
With his latest book Paradise, Inc., celebrated documentary photographer Guillaume Bonn takes us deep into the heart of East Africa, where the promises and failures of wildlife conservation collide. Far from offering a romanticized vision of nature, Bonn’s work confronts us with urgent realities: the tensions between local communities and conservation policies, the sacrifices of rangers on the frontlines, and the long-lasting impact of human activity on fragile ecosystems. Spanning more than two decades of fieldwork, the project blends powerful imagery with investigative depth, raising difficult but necessary questions about transparency, accountability, and the Western-led models that dominate conservation. Enriched by the voices of those too often left out of the conversation—including a preface by Maasai leader Ezekiel Ole Katato and an introduction by journalist Jon Lee Anderson—Paradise, Inc. is both a stunning visual journey and a call to action. In the following interview, Guillaume Bonn reflects on the making of Paradise, Inc., the ethical dilemmas at the heart of his work, and the urgent need to rethink our approach to conservation in East Africa and beyond.
Exclusive Interview with Sander Vos
Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes