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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Pascal Mannaerts
Pascal Mannaerts
Pascal Mannaerts

Pascal Mannaerts

Country: Belgium
Birth: 1978

Pascal Mannaerts is a freelance photographer based in Brussels. Blessed with an artistic bent and wanderlust, he discovered photography during his student years. Sharing and recording his travel adventures became a priority. A first visit to India in 2000 revealed a deep admiration for the Subcontinent. This is the first of many return engagements. Travelling to Asia, Africa, Latin America, North Africa and the Middle East during the last 10 years has given Pascal the opportunity to portray humanity in its strongest forms. In the process of total immersion in every culture he discovers, he places the human being as the main focus in his photographic work, through photographs which tend to open dialogues, arouse emotions and questions.

Pascal has publication credits in National Geographic, BBC, Geo, The Guardian, Le Guide du Routard, Lonely planet, Médecins Sans Frontières and in many newspapers and magazines worldwide. Several exhibitions of his pictures were held in Paris, Belgium, Brazil and India by, among others, Alliance française, Amnesty International and Les Maisons du Voyage.
 

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More Great Photographers To Discover

Terri Gold
United States
1955
Terri Gold is a photographer known for her poetic infrared and color imagery of people from the remote corners of the globe. Her ongoing project "Still Points in a Turning World" explores our universal cross-cultural truths: the importance of family, community, ritual and the amazing diversity of its expression. As the timeless past meets the imminent future, indigenous cultures that still follow their traditional way of life are rapidly disappearing. At risk is a vast archive of knowledge and expertise. What is the value of ancient practices? What will be discarded and what will be treasured? If we share our stories and appreciate the mysteries of every realm, we may gain a deeper understanding of that which lies both behind and ahead of us. Her work has garnered many awards, is shown in galleries internationally and published extensively. Recent publications of her work include articles in the BBC Picture Desk, The Huffington Post, aCurator, and Featureshoot. She had a solo show at the Salomon Arts Gallery in New York in 2018. Her work won the Grand Prize in Shadow and Light magazine competition in 2019 and in The Santa Fe Photographic Workshops’ "Diversity" competition. She has received recent awards in the International Photography Awards, Prix de la Photographie, Paris (Px3), Humanity Photo Awards, and the Black and White Spider Awards. She is always happiest with a camera or three in her hands. Statement In the Sahel desert in Chad, the nomadic Wodaabe people spend months apart, searching out pastures for their herds and shelter for the families. When the rains are good, the clans celebrate with an extraordinary courtship ritual and beauty contest called The Gerewol and it's the men who are on parade. The sweltering desert region of Chad seems an unlikely place to be so concerned with beauty yet it is an integral part of the Wodaabe culture. They consider themselves to be the most beautiful people on earth. They display their beauty as a spiritual act, full of dignity and honor. Each person is an artist and they are their art. A living canvas. The intensity rises as they dance all night in their technicolor dreamcoats, a surreal line-dance. Many different arrangements are made at the festival, some for the night, some for a lifetime. All is possible at the Gerewol...
Yves Marchand & Romain Meffre
Marchand (b.1981) and Meffre (b.1987) live and work in Paris. Initially pursuing photography individually, they met online in 2002 and started working together with the beginning of their Detroit project in 2005. Steidl published The Ruins of Detroit in 2010. A second printing is planned for later this year. They are currently completing their Gunkanjima book, also to be published by Steidl, and they continue to work on a project documenting American theaters that have either fallen into decay or been transformed entirely. Their work has been exhibited extensively throughout Europe and has been featured in the New York Times, The Guardian, The British Journal of Photography, TIME Magazine, amongst others.Source: Edwynn Houk Gallery About Theaters (2005-Ongoing) In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums. From the 60's, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished. About Gunkanjima (2008-2012) In the South China Sea, 15 kilometers off the southwest coast of Nagasaki among the thousands of verdant landmasses that surround Japan, lies a mysterious island. With the geometric silhouette of a dark gray hull, perforated by hundreds of small windows, the island resembles a battleship. As one moves closer, approaching by sea, the figure takes shape again and the ghost ship turns into a block of concrete surrounded by a high wall on which waves crash - the island looks like a Japanese version of Alcatraz. Only 40 years ago, this tiny island was home to one of the most remarkable mining towns in the world and maintained the highest population density in the world. During the wave of industrialisation in the nineteenth century, a coal seam was discovered on the tiny Hashima island. In 1890 the Mitsubishi Corporation opened a mine on the island. For decades coal production sustained Japan's modernisation and helped establish its position as an industrialised nation and imperial power. Workers settled on the island and the population increased. Mine slag was used to expand the surface of the colony; piling up on itself like an ant hill. The small mining town quickly became an autonomous modern settlement (with apartment buildings, a school, hospital, shrine, retail stores and restaurants) which mimicked the other settlements on the Nippon archipelago. One multi-storied concrete apartment block with its brutal and rational style followed another, until the tiny island became the most densely populated place in the world per square meter with over 5,000 inhabitants in the 1950s. About The Ruins of Detroit (2005-2010) At the end of the XIXth Century, mankind was about to fulfill an old dream. The idea of a fast and autonomous means of displacement was slowly becoming a reality for engineers all over the world. Thanks to its ideal location on the Great Lakes Basin, the city of Detroit was about to generate its own industrial revolution. Visionary engineers and entrepreneurs flocked to its borders. In 1913, up-and-coming car manufacturer Henry Ford perfected the first large-scale assembly line. Within few years, Detroit was about to become the world capital of automobile and the cradle of modern mass-production. For the first time of history, affluence was within the reach of the mass of people. Monumental skyscapers and fancy neighborhoods put the city's wealth on display. Detroit became the dazzling beacon of the American Dream. Thousands of migrants came to find a job. By the 50's, its population rose to almost 2 million people. Detroit became the 4th largest city in the United States.
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Hungary
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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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