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Hoang Long Ly
Hoang Long Ly
Hoang Long Ly

Hoang Long Ly

Country: Vietnam
Birth: 1965

Ly Hoang Long was born in 1965 in Dalat, a city located on the high plateaus of central Vietnam. Since childhood, the photographer has been fascinated by colours and images and began his professional career as a graphic designer. He discovered photography in 1993 through a friend, bought his first analogue reflex and two years later, made a dark room in his apartment. One thing led to another and he definitely abandoned design in order to devote his time to his images. With over twenty years experience to his name and 310 international prizes, including that of best travel photographer in 2014 (TFOTY). Several of his pictures also won awards in the same year at the CBRE Urban Photographer of the Year and from National Geographic.

Mud wrestling
Mud wrestling with a ball was a traditional game organized every four year in Van village, Bac Ninh province, the north of Vietnam.

Like basket ball, but instead of the baskets hanging up, here there were two holes (like a goal) and the playing ground was filled up with wet mud, there were 16 players divided into two teams, they competed vigorously to score by putting the heavy wooden ball in their competitors's hole.

The audiences supported all the teams, they were screamming and laughing because the game looked so amusing; it was not easy at all to seized a ball, keep it in arms and run on the slippery surface and cross a barrier of competitors.

After three day-competing, the both teams would gather in the courtyard of the temple to worship their ancestors, the game completely ended in peace and happiness.
 

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Paul Strand
United States
1890 | † 1976
Paul Strand was born in New York City. As a teenager, he was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School. A visit to Gallery 291 (owned by Alfred Stieglitz) proved to be a strong influence on Strand, who began to take photographs of his own. He experimented with abstraction but also used his camera as a means to promote social reform. Alfred Stieglitz praised these early efforts and featured Strand's work in his gallery and in his magazine Camera Work. In the early 1920s, Strand began to work in motion pictures as well as still photography. In June 1949, Strand left the United States to present a film in Czechoslovakia, an event which marked the beginning of his self-imposed exile overseas due to the prevailing climate of McCarthyism in America. He settled in Orgeval, France and in the ensuing years photographed extensively, and also produced six book "portraits" of places: Time in New England (1950), La France de Profil (1952), Un Paese (1955), Tir a'Mhurain / Outer Hebrides (1962), Living Egypt (1969) and Ghana: An African Portrait (1976).Source: Robert Mann Gallery Strand married the painter Rebecca Salsbury on January 21, 1922. He photographed her frequently, sometimes in unusually intimate, closely cropped compositions. After divorcing Salsbury, Strand married Virginia Stevens in 1935. They divorced in 1949; he then married Hazel Kingsbury in 1951 and they remained married until his death in 1976. The timing of Strand's departure to France is coincident with the first libel trial of his friend Alger Hiss, with whom he maintained a correspondence until his death. Although he was never officially a member of the Communist Party, many of Strand's collaborators were either Party members (James Aldridge; Cesare Zavattini) or prominent socialist writers and activists (Basil Davidson). Many of his friends were also Communists or suspected of being so (Member of Parliament D. N. Pritt; film director Joseph Losey; Scottish poet Hugh MacDiarmid; actor Alex McCrindle). Strand was also closely involved with Frontier Films, one of more than 20 organizations that were identified as "subversive" and "un-American" by the US Attorney General. When he was asked by an interviewer why he decided to go to France, Strand began by noting that in America, at the time of his departure, "McCarthyism was becoming rife and poisoning the minds of an awful lot of people." During the 1950s, and owing to a printing process that was reportedly only available in that country at the time, Strand insisted that his books be printed in Leipzig, East Germany, even if it meant they were initially banned in the American market on account of their Communist provenance. Following Strand's move to Europe, it was later revealed in de-classified intelligence files, obtained under the Freedom of Information Act and now preserved at the Center for Creative Photography at the University of Arizona, that he was closely monitored by security services.Source: Wikipedia
Julie-Anne Davies
Julie-Anne’s earliest memories consist of lying on the carpet of her childhood home scouring through the pages of her father’s prolific National Geographic collection. Her mind was shaped at a young age by visuals of exotic far off lands, cultures completely unlike her own and wild creatures her imagination barely yet had the capacity to comprehend. On her 10th birthday she received her first camera and recalls a distinct sense of ‘knowing’ from that moment that photography was going to play a central and defining role in her life. In love with her rural home in the mountains of Western Canada, but unable to suppress her nomad heart, Julie-Anne has spent the past several decades traveling the world, often with her two young children in tow. She leads cultural photography tours for UK based Wild Images and is an expedition photographer and ‘Adventure Specialist’ (yes, this is her real job title) for the world’s largest outdoor female adventure company, Wild Women Expeditions. Her heart is drawn to remote and challenging to access corners of the world and in particular to regions where lives are still intricately and intrinsically tied to the land on which they depend. The human condition and how it is shaped by its relationship to nature drives an endless curiosity in Julie-Anne and forms the backbone of her photography work. Fascinated by cultural, religious and ethnic diversity, she is often driven by a sense of urgency to document within these remote parts of our planet ‘what still is’ before it becomes ‘what was’. In doing so, she hopes to play her part in contributing to a visual archive of the beautiful but rapidly vanishing cultural diversity among humanity. She is a five time exhibitor in the prestigious Atlas of Humanity project, an ethnographic showcase of the world’s diverse cultures in Paris, Milan and New York and has been featured in many international publications. At home, her energy is spent, other than with family, in photographing the stunning Canadian landscape and most recently shifting towards documenting our changing natural environment through film and storytelling. Wild Images Photo Tours Wild Women Expeditions
Sabiha Çimen
Turkey
1986
Sabiha Çimen was born in Istanbul, Turkey in 1986. She is a self-taught photographer, focusing on Islamic culture, portraiture and still life. Çimen graduated from Istanbul Bilgi University with a Bachelor's Degree in International Trade and Finance, and a Masters Degree in Cultural Studies. Her Master's​ thesis on subaltern studies, which includes her photo story titled ‘Turkey as a simulated country’, was published by Cambridge Scholars Publishing in 2019. Çimen has worked on her project entitled Hafız: Guardians of the Quran Çimen since 2017, traveling​ to five cities in Turkey to produce ninety-nine portraits on medium format film. With this project,​ she participated in the World Press Photo Foundation’s Joop Swart Masterclass in 2018 and was awarded 3rd prize in PH Museum's​ Women Photographers Grant. Çimen became a Magnum Nominee member in 2020.Source: World Press Photo About her project: Hafız: Guardians of the Quran Sabiha Çimen’s project, Hafız: The Guardians of Quran, is an ongoing series of medium format portraits shot in conservative Quran boarding schools for young girls in five cities in Turkey. It shows the daily lives of the girls and their hidden emotions as they try to memorize the sacred texts while still retaining the humble dreams of any young woman their age. “I attended Quran school with my twin sister when I was twelve years old, and with that experience I am now able to reveal a world unknown till now,” Çimen wrote in her submission to the Smith Grant. “This story is a rarely seen glimpse into this world, normally hidden and forbidden to most others. My project is about these young women, about me and my twin, the memory of the Quran, and an investigation and portrayal of the hidden power within them acting out with small forms of resistance to find their individuality.” The W. Eugene Smith Grant is presented annually to photographers whose work is judged by a panel of experts to be in the best tradition of the documentary photographic practice exhibited by W. Eugene Smith during his 45-year career in photojournalism. This year, the grant was presented to five recipients with each receiving $10,000 to continue their projects. Smith Fund board member Daniella Zalcman was this year’s lead juror for the Smith Grant, along with judges Teju Cole, a photographer, critic, curator, author, and former photography critic at The New York Times Magazine; and Yukiko Yamagata, the curatorial and deputy director of Culture and Art for the Open Society Foundation.Source: W. Eugene Smith Memorial Fund
Jill Greenberg
United States
1967
Jill Greenberg is an American photographer and Pop artist. She was born in Montreal, Quebec, Canada, and grew up in a suburb of Detroit, Michigan. Greenberg began photography when she was 9 years old. According to a 1998 New York Times article, Greenberg's mother was a computer programmer and her father was a doctor. Greenberg took classes at Cranbrook Academy of Art and the Detroit Institute of Arts. In 1984, she attended the Photography Summer Session held by Parsons School of Design in Paris. In 1985, she won a Traub Memorial Scholarship Travel Fund from Andover High School in Bloomfield Hills, Michigan. In 1988, Greenberg completed coursework on Semiotics in Media with Mary Ann Doane at Brown University. In 1989, she graduated with honors from the Rhode Island School of Design with a BFA in Photography. She is known for her portraits and fine art work that often features anthropomorphized animals that have been digitally manipulated with painterly effects. Her photography of animals is regarded for its capability to show a wide range of expressions and feelings that are comparable to that of a seasoned actor or actress. Some of the primates she has captured on film are actually celebrated in their own right, having been featured in different TV shows or movies. She is also highly recognized for her distinct, and stylized photography of celebrities including well-known performers such as Gwen Stefani, Arnold Schwarzenegger and Clint Eastwood. She is also known for inserting her own strong opinions into her work. In reference to her work, Greenberg states "They're portraits and they're personal but there's a little twist going on. An edge." In 1992, Greenberg began working for Sassy magazine, doing commercial photography while working on getting her artistic career off the ground. Greenberg is known for celebrity portraits, using painterly effects that are drawn using computer technology. 2011's Glass Ceiling series involved shooting underwater, using scuba gear. She hired professional synchronized swimmers and photographed them in a pool in Culver City. The Glass Ceiling series was featured as a billboard installation in Los Angeles, on the northwest corner of Sunset Boulevard at Fairfax (viewable while driving east). In October 2012, Greenberg published a book of photographs called Horse that features images of horses. Greenberg built photo studios within horse rings to take the photographs. The shooting took place in Los Angeles in an area called Walker's Basin and also in Vancouver at Danny Virtue's ranch, a man who supplies horses to the film industry. In January 2014, Greenberg had an exhibition in Canada of images from Horse In August 2008, The Atlantic asked her to photograph John McCain for the magazine's October 2008 cover. Greenberg said they didn't have enough money to pay her so she gave them a license to use one of her photos for the cover (while she retained ownership of the photo) for free, for one-time use. Greenberg decided to make some personal images of the pictures. "I really didn't want there to be another Republican in the White House, so I decided to put my McCain pictures out on voting day." Saying she saw the work as political cartoons. "I thought it was the Artist Jill Greenberg appropriating the work of the Commercial Photographer Jill Greenberg." Greenberg's End Times, a series of photographs featuring toddlers, was the subject of controversy in 2006 (April 22 – July 8). The work featured stylized hyper-real closeups of children's faces contorted by various emotional distresses. The pieces were titled to reflect Greenberg's frustration with both the Bush administration and Christian Fundamentalism in the United States. The children were either professionally hired or were the children of friends (and included her daughter). All were accompanied by their parents, who assisted in getting the children to cry. The series resulted in active, often heated online discussion and news coverage, and resulted in hate mail which continued for several years. The images, meanwhile, have been imitated and used without permission for unrelated campaigns.Source: Wikipedia
Rosita Delfino
I started getting interested in photography in 2009 and since then I have been emotionally struck by the picture's power of communication. Photography is a dimension where pictures enhance the words and become means of expression of our inner world, through the filter of our eyes they have the power of changing the reality. It is a never ending dialogue between appearing and being, a wonderful journey in the female dimension, where the body is no more bound to space and time but opens to a dreamlike atmosphere. I often think of a sentence by Francesca Woodman, 'you'll get excited when looking at an image but you'll never know what's behind it'.Rosita DelfinoAll about Rosita Delfino:AAP: When did you realize you wanted to be a photographer?In 2009 I realized that the camera has a big power for communicating the feelings of my soul. So I decided to start taking pictures. When I take picture I feel free.AAP: What or who inspires you?I bought a lot of photographic books and I was amazed by Francesca Woodman, Christy Lee Rogers, Alexei Vassiliev's pictures and so on. They express the concepts of their soul through a non-objective representation of the reality, where the time is hanging and feelings, fears, desires are mixed. I find myself through the style of these photographers.AAP: Do you spend a lot of time editing your images?I usually work with a photographic project. Using digital editing I feel in front of a painting and I create the pictures depending on my state of soul and it takes a lot of time.AAP: An idea, a sentence, a project you would like to share?I imagine myself in this Francesca Woodman's sentence: "Ti ecciterai osservando un'immagine ma non saprai mai cosa vi è dietro". ("You will be excited seeing a picture, but you'll never know what is behind that.")
Nick Brandt
United Kingdom
1964
Nick Brandt is an English photographer whose themes always relate to the disappearing natural world, before much of it is destroyed by mankind. From 2001 to 2018, he has photographed in Africa. In his trilogy, On This Earth, A Shadow Falls Across The Ravaged Land (2001-2012), he established a style of portrait photography of animals in the wild similar to that of the photography of humans in studio setting, shot on medium format film, attempting to portray animals as sentient creatures not so different from us. In Inherit the Dust (2016), in a series of panoramas, Brandt recorded the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erected a life-size panel of one of his unreleased animal portrait photographs, placing the displaced animals on sites of explosive urban development, new factories, wastelands and quarries. This Empty World (2019) addresses the escalating destruction of the natural world at the hands of humans, showing a world where, overwhelmed by runaway development, there is no longer space for animals to survive. The people in the photos also often helplessly swept along by the relentless tide of 'progress'. Each image is a combination of two moments in time, captured weeks apart, almost all from the exact same locked-off camera position: A partial set is built and lit. Weeks follow whilst the wild animals in the area become comfortable enough to enter the frame. Once the animals are captured on camera, the full sets are built. A second sequence is then photographed with a cast of people drawn from local communities and beyond. Brandt has had solo gallery and museum shows around the world, including New York, London, Berlin, Stockholm, Paris and Los Angeles. Born and raised in England, he now lives in the southern Californian mountains. He is co-founder of Big Life Foundation, fighting to protect the animals and ecosystem of a large area of Kenya and Tanzania. On this Earth: The first book in the trilogy, On This Earth (Chronicle Books, 2005) constitutes 66 photos taken 2000-2004, with introductions by the conservationist and primatologist Jane Goodall and the author Alice Sebold. The photographs in this book are a unadulterated vision of an African paradise, deliberately contrasting with what is to follow in the subsequent books. Elephant with Exploding Dust, Amboseli 2004, the photo on the book's cover, has since become one of Brandt's best-known images. Critical response to the book, heralded Brandt's photographic achievement. Black and White magazine called his photos "heartbreakingly beautiful". A Shadow Falls: The second book in the trilogy, A Shadow Falls, (Abrams, 2009) features 58 photographs taken 2005-2008. It is generally regarded to be superior to "On This Earth". In additional introductions, philosopher Peter Singer, author of the groundbreaking Animal Liberation, explains why Brandt's photographs speak to an increasing human moral conscience about our treatment of animals. The photography critic Vicki Goldberg places Brandt's work in the history of the medium. As the title of the book implies, this book, although replete with images of ethereal beauty and poetry, is a more melancholic interpretation of the world he photographs. Indeed, critic Vicki Goldberg writes: " A Shadow Falls, taken in its entirely, is a love story without a happily ever after." The photos in the book are deliberately sequenced: the opening images are of an unspoiled lush green world, filled with animals and water ("Wildebeest Arc, Masai Mara 2006" ). As the book progresses, the photos become gradually more stark, until towards the end, the trees are dead, the water gone, the animals are vastly reduced in numbers, until the book closes with the final ambiguous image, of a lone, abandoned ostrich egg on a parched lake bed. "Abandoned Ostrich Egg, Amboseli 2007". In addition the Artist's Edition book, entitled, On this Earth, a Shadow Falls, (Abrams Books/Big Life Editions) was published in 2010, combining the best 90 photos from the first two books, in a larger volume with much superior printing to the first two books. Across The Ravaged Land: The completion of Nick Brandt’s trilogy: “On This Earth, A Shadow Falls, Across The Ravaged Land.” Release date, September 3, 2013 (Abrams Books, 2013), documents the disappearing natural world and animals of East Africa. This is the third and final volume of Nick Brandt's work which reveals the darker side of his vision of East Africa’s animal kingdom and the juxtaposition of mankind. The trilogy marks the last decade of a stunning world of the beauty of East Africa’s Serengeti, Marsai Mara, Amboseli, and ends with a dark and well-known unhappy ending. “Across The Ravaged Land” introduces humans in his photography for the first time exhibiting the cost of poachers, killing for profit. One such example is Ranger with Tusks of Killed Elephant, Amboseli 2011. This photograph features one of the rangers employed by Big Life Foundation, the Foundation that Nick Brandt started in 2010. The ranger holds the tusks of an elephant killed by poachers in the years prior to the Foundation's inception. Brandt captures the trophies in these epic landscapes and the images of perfectly preserved creatures calcified by the salts of the Rift Valley soda lake. In both instances, the creatures appear in an ethereal animated state seemingly posing for their portraits. Big Life Foundation: In September 2010, in urgent response to the escalation of poaching in Africa due to increased demand from the Far East, Nick Brandt founded the non-profit organization called Big Life Foundation, dedicated to the conservation of Africa's wildlife and ecosystems. With one of the most spectacular elephant populations in Africa being rapidly diminished by poachers, the Amboseli ecosystem, which straddles both Kenya and Tanzania, became the Foundation's large-scale pilot project. Headed up in Kenya by renowned conservationist Richard Bonham, multiple fully equipped teams of anti-poaching rangers have been placed in newly built outposts in the critical areas throughout the 2-million-acre (8,100 km2) + area, resulting in a dramatically reduced incidence of killing and poaching of wildlife in the ecosystem. Source: Wikipedia Must Read Articles Exclusive Interview with Nick Brandt Big Life Foundation This Empty World, Inherit The Dust
Massimo Vitali
Massimo Vitali was born in Como, Italy, in 1944. He moved to London after high-school, where he studied Photography at the London College of Printing. In the early Sixties he started working as a photojournalist, collaborating with many magazines and agencies in Italy and Europe. It was during this time that he met Simon Guttman, the founder of the agency Report, who was to become fundamental in Massimo's growth as a "Concerned Photographer." At the beginning of the Eighties, a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. He began working as a cinematographer for television and cinema. However, his relationship with the still camera never ceased, and he eventually turned his attention back to "photography as a means for artistic research." His series of Italian beach panoramas, starting in 1995, began in the light of drastic political changes in Italy. Massimo started to observe his fellow countrymen very carefully. He depicted a "sanitized, complacent view of Italian normalities," at the same time revealing "the inner conditions and disturbances of normality: its cosmetic fakery, sexual innuendo, commodified leisure, deluded sense of affluence, and rigid conformism." (October Magazine 2006, no. 117, p. 90, How to Make Analogies in a Digital Age by Whitney Davis) Over the past 22 years he has developed a new approach to portraying the world, illuminating the apotheosis of the Herd, expressing and commenting through one of the most intriguing, palpable forms of contemporary art - Photography. He lives and works in Lucca, Italy, and in Berlin, Germany sometimes. Vitali’s work has been collected in four books: Natural Habitats, Landscapes With Figures, Beach and Disco, and Entering a New World. His photographs have been published in magazines, newspapers, and other periodicals around the world. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporain in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris, and the Museo Luigi Pecci in Prato.
Martin Munkácsi
Hungary
1896 | † 1963
Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City. Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above. On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops. Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire. Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.Source: Wikipedia
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AAP Magazine #55 Women
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