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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Randy Bacon
Randy Bacon
Randy Bacon

Randy Bacon

Country: United States

Randy is an American photographer with an extensive history in portrait, commercial and documentary photography, both motion and still. Randy is also co-founder and artist behind all of the photography and cinematography of the nonprofit, people empowering story movement, 7 Billion Ones

Randy has pursued photography professionally since 1984 and is in high demand with a client base extending worldwide. He travels to destinations across the United States, as well as numerous countries for projects. At the core of Randy's photography is the ability to present emotive visual stories with an underlying sense of narrative. His unique style reflects elements of influential film noir and old masters in painting and photography - Randy is especially influenced by photographers such as Richard Avedon, Irving Penn, Diane Arbus, Ed Weston and others. Considering these influences, the connecting thread is the unending artistic mission to capture the art of people In their real, authentic, raw self. For Randy, this simple, yet complex, truth, "you were born an original", is still the creative seed that continues to grow his artistry for photography and film.

In 2011, Randy expanded into the motion picture arena. Almost instantly he secured multiple commercial film projects. In 2012, his film career exploded with the release of his directorial and production debut, "The Last Days of Extraordinary Lives". The movie garnered a significant amount of coverage and awards, including having the film being broadcast on PBS to rave reviews. "The Last Days of Extraordinary Lives" ran the film festival circuit and accumulated an impressive fifteen film festival official selections and won fourteen awards, including Best Documentary, Best Picture and Best Director. Shortly thereafter, Randy released his second full-length documentary, "Man Up and Go" which received official selection to nine national/international film festivals. Both films are signed to Academy Award winning film company, Earthworks Films, and are distributed nationally by Filmrise.

In 2015, Randy founded and launched the nonprofit humanitarian story movement, 7 Billion Ones, which documents lives, shares stories, connects community and empowers mankind. 7 Billion Ones is fully dedicated to using the art of photography, motion films, and written words to present people's unique stories in an artful, raw, impacting form, so that human transformation occurs exponentially. The story movement reaches a worldwide audience via sharing and connecting people through the enormous power of the world wide web. In consideration of Randycs ongoing work with 7 Billion Ones and other humanitarian projects, he was named as Presidential Social Change Artist in Residence at Saybrook University. In addition, Randy won the Award for Homeless Advocacy with the Alliance to End Homelessness.

The Road I call Home
For over 35 years I have explored the art of portraiture and I am still mesmerized by photography just like when I got my first camera at 15. It's a love affair that not only endured, but has grown as an essential part of my being. I am more in awe of photography as an art form each day.

As a photographer and filmmaker, I have always been intrigued by the fact that each and every person is a one-of-a-kind original - a never before created miracle. This simple, yet complex truth, "we are ALL original miracles'' is the creative seed that flames my passion for photography and represents the connecting thread with all of my work. Over the years, I have photographed thousands upon thousands of people, across America and around the world, propelled by an infinite fascination and commitment as a photographic artist to capture the miracle of each person - the 'ones' on this planet of over 7 billion. I am finding that after all of these many years, of tending to my relationship between me and this thing called a camera that I am artistically driven more and more by people and their stories. With my photography, no matter the walk of life, I strive to present each 'one' in an authentic, no frills manner as to truly relay their inherent beauty, uniqueness and value. With the narratives, I provide the accepting, safe place, so each person can truthfully share their raw, unfiltered story. In the end, I hope the work will punch people in the heart and help create positive change, new understandings of humanity and connection within our world. This is my mission.

The Road I Call Home is a powerfully direct extension of my mission - portraits that reveal their special qualities and dignity versus stereotypical attitudes and perceptions society commonly has of homelessness and often presented by the media. The impetus for this approach relates directly to my own life - I was guilty of being negative and uncompassionate towards the homeless. Yes, I judged the book by the cover; however as I opened the pages of each homeless person's life I saw the enlightening truth - homeless people are important 'ones' in this world of 7 billion and deserve love and compassion.

The Road I Call Home represents my most ambitious single project to date. What began as a small idea to photograph a handful of homeless people now stands at over 170 homeless lives recorded via portraits, stories and short films. The Road I Call Home continues its path as we push forward chronicling more of our homeless friends' lives. The project has been exhibited at numerous museums and galleries, including several states, with more being planned. A corresponding coffee table art book for The Road I Call Home was published in 2021.

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Hannah Villiger
Switzerland
1951 | † 1997
Capturing the essence of self, frequently in sensual sequences, Hannah Villiger employed her own body as both material and subject. She played a pivotal role in the artistic emancipation of women in the 1980s. Born in 1951 in Cham, near Zug, Villiger earned a diploma in sculpture from Lucerne’s Schule für Gestaltung at the age of twenty-three. Her early work swiftly garnered attention from critics, including Jean-Christophe Ammann, whose support catapulted her to recognition. Seeking her own artistic language, Villiger gradually transitioned to exclusive work in photography. Initially using a reflex camera and producing black-and-white images, her early work retained the influence of Land Art and Arte Povera. In 1980, she exclusively embraced Polaroid film, shaping her photography around a singular subject—her own body. Over a period of seventeen years, Villiger approached her body in a novel way, avoiding personal anecdotes and the allure of the flesh. Shamelessly and without narcissism, she focused solely on the volume and forms of her anatomy, manipulating and contorting it as one would with clay or a sculptor's chisel. The considerable size of these Polaroids, enlarged to be larger than life, imbued the images with a commanding physical presence. Yet, unlike some of her contemporaries associated with the Body Art movement, Villiger imposed no voyeurism on the viewer. In 1986, she settled in Paris, participating in the Venice Biennale in 1991 and the São Paulo Biennial in 1994, where she exhibited alongside Pipilotti Rist. Despite her premature death at the age of forty-six, Villiger left behind a bold and distinctive body of work, featured in public and private collections in Switzerland and abroad, notably in the United States. Institutional exhibitions featuring Hannah Villiger's work have been held at various venues, including the Centre culturel suisse, Paris (1986); Museum für Gegenwartskunst, Basel (1988); Kunstverein Frankfurt (1991); and the 22nd Bienal de São Paulo (1994), where she showcased her art in the Swiss Pavilion alongside Pipilotti Rist. Posthumous solo exhibitions have been organized at Kunsthalle Basel (2001); Kunsthalle Bonn (2001); nGbK Neue Gesellschaft für bildende Kunst, Berlin (2002); MAMCO Musée d'art moderne et contemporain, Geneva (2007); Museum für Gegenwartskunst, Basel (2008); and Centre culturel suisse, Paris (2012). Additionally, in 2020 and 2021, Villiger's work was featured in group exhibitions at Kolumba, Cologne, and the Museum zu Allerheiligen, Schaffhausen.
Jim Ferguson
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Edward Henry Weston
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After working briefly as a surveyor for San Pedro, Los Angeles and Salt Lake Railroad, he began working as an itinerant photographer. He peddled his wares door to door photographing children, pets and funerals. Realizing the need for formal training, in 1908 Weston returned east and attended the Illinois College of Photography in Effingham, Illinois. He completed the 12-month course in six months and returned to California. In Los Angeles, he was employed as a retoucher at the George Steckel Portrait Studio. In 1909, Weston moved on to the Louis A. Mojoiner Portrait Studio as a photographer and demonstrated outstanding abilities with lighting and posing. Weston married his first wife, Flora Chandler in 1909. He had four children with Flora; Edward Chandler (1910), Theodore Brett (1911), Laurence Neil (1916) and Cole (1919). In 1911, Weston opened his own portrait studio in Tropico, California. This would be his base of operation for the next two decades. 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After moving back to California in 1926, Weston began his work for which he is most deservedly famous: natural forms, close-ups, nudes, and landscapes. Between 1927 and 1930, Weston made a series of monumental close-ups of seashells, peppers, and halved cabbages, bringing out the rich textures of their sculpture-like forms. Weston moved to Carmel, California in 1929 and shot the first of many photographs of rocks and trees at Point Lobos, California. Weston became one of the founding members of Group f/64 in 1932 with Ansel Adams, Willard Van Dyke, Imogen Cunningham and Sonya Noskowiak. The group chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. 1936 marked the start of Weston’s series of nudes and sand dunes in Oceano, California, which are often considered some of his finest work. Weston became the first photographer to receive a Guggenheim Fellowship for experimental work in 1936. 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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.
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AAP Magazine #54 Nature
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