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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Rico X.
Rico X.
Rico X.

Rico X.

Country: Grenada
Birth: 1986

"I am not great with words. I am a visual person and a straight shooter aka talker and not a fan of descriptions or bio's things that alienate many artists like me who aren't wordsmiths.

So we will keep it short and sweet.

I take photos, some will like them, some will not.

The End!"
 

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More Great Photographers To Discover

Marco Sanges
Italian
1970
SANGES is an imaginative and innovative photographer who has exhibited worldwide and published extensively. Clients and art projects include: Agent Provocateur, Cutler & Gross, Vogue, National Opera Munich,Dolce & Gabbana National Opera Stuttgart, Dario Argento, Stash Klossowski de Rola and Gunther Von Hagens' Body World. Academy of Art New York. Magazines include: Sunday Telegraph, Silver Shotz, Photo, All About Photos, Musee, Katalog, Lomography, Normal, Elle, Esquire, The Times, Independent, Fault , Aesthetica , Shoot, Harpers Bazar, L’œil De la Photographie. Wonderland Some of his short films include : Sugar, Meet me in Winter, Circumstances, Music Sound Machine, Sonnambula, Wunderkamera. His books include : Circumstances, Venus, Wild, and Erotic Photography, Love Lust Desire, Dolce & Gabbana Animal, National Opera Munich, The Cutting Room. Mefistofele Opera Stuttgart by Arrigo Boito. A multi-disciplinary artist, his film 'Circumstances' won Best Art Film at the Portobello Film Festival in London and Best Experimental Film at the Open Cinema Film Festival, St. Petersburg, Russia. Sanges' work is exhibited in the Virginia Museum of Fine Arts permanent collection and at the Center for Creative Photography in Arizona - USA His distinctive photographs have been shown at major contemporary photography festivals including Helsinki Photo Festival and Batumi PhotoDays in Georgia and the Lodz Photofestiwal in Poland. One of his latest project 'Wunderkamera' has been exhibited at the Hospital Club in London and at the Chateau de Dampierre (France) and will be exhibited in the Gallerie de Buci in Paris February 2020.
Khalik Allah
United States
1985
Khalik Allah (born 1985) is an American filmmaker and photographer. His 2015 documentary film Field Niggas and his 2017 book Souls Against the Concrete depict people who inhabit the notorious Harlem corner of 125th Street and Lexington Avenue in New York City. His film Black Mother (2018) depicts people on the island of Jamaica. "He favours visual portraits of people on the street – filming their faces for several seconds as they pose as if for a still camera." In June 2020 he became a Nominee member of Magnum Photos. Khalik was born in Brookhaven, New York. His mother is Jamaican and his father is Iranian. He grew up in Suffolk, Long Island, New York, but moved between Queens and Harlem throughout his childhood. His parents met at university in Bristol, England. He is a dual Jamaican-American citizen. He started making movies at age 19 with a Hi-8 video camera. His first feature film, Popa Wu: A 5% Story (2010), was a "normal, talking heads documentary" about Popa Wu, "Wu-Tang Clan's de facto spiritual advisor" and a member of Five-Percent Nation. It took four years to make. Khalik took up still photography in 2010.Source: Wikipedia Despite challenges early in life, Allah managed to maintain discipline and focus on self-improvement. He credits these qualities, in part, to the teachings of the Five-Percent Nation, a movement whose name comes from its concept that only five percent of the world knows the truth about existence and is dedicated to enlightening the rest of the world. Founded in Harlem in the 1960s the movement emphasizes intellectual growth and enlightenment for black men in particular. Inspired and empowered by their message Allah seriously pursued the study of metaphysics, black history, and literature. Likewise, with no formal art training, he pursued video work first at the age of 14, and then photography, making his first pictures in 2010. He taught himself how to use a camera from videos on YouTube and later devoured books at the library on work of Henri Cartier-Bresson, Robert Frank, Nobuyoshi Araki, Daido Moriyama, and Bruce Davidson. Khalik Allah finished his first film at the age of 19 and after getting it into the hands of the rapper Killah Priest, Allah went on to direct music videos for different members of the Wu-Tang family. His filmmaking changed radically after he became a photographer. His camera work slowed down and he made prolonged eye contact with the individuals he filmed. His 2015 film, Field Niggas (inspired by Malcolm X's 1963 speech, "Message to the Grassroots”) received high acclaim and numerous awards including the 2015 Le Prix Scribe, Paris. He also served as one of the cinematographers for Beyoncé's Lemonade. His most recent film, Black Mother, will premiere at the True/False Film Festival in March and will have its New York premiere at the New Directors/New Films Festival April 4th at MoMA and April 7th at Lincoln Center. It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And his photographs in turn allow us to see them, to acknowledge who we might ignore, to look through Allah’s eye and into theirs, and to recognize them as individuals. This is the power of Allah’s work: to give us a deeper sense of people as people, to share and enlighten, even when the message may not be clean or easy. Made at night on 125th Street and Lexington Avenue in Harlem, the images in his recent book Souls Against the Concrete (University of Texas Press, 2017), provide a glimpse into a world and people that many choose to ignore. His subjects are often drug addicts, homeless, or both. Using only the available light from shop windows, street lights, or subway platforms, he photographs them with a slow color film, a combination that produces images full of grain and texture, a visual shorthand for the roughness and intensity of life on the street, and his own struggles early in life. The light is also often harsh or even surreal, resulting in figures awash in blues and reds. Luc Sante, in The New York Times Book Review, wrote, "The result is a panorama of human emotion: sadness, passion, bewilderment, pride, suspicion, amusement, exhaustion — all the faces of the night."Source: Gitterman Gallery Allah has led a life of many perspectives; he recounts, as a 20-year-old, walking all night to take portraits before working in a nursing home in Harlem during the day. His work and life is immersed in the teachings and sensibilities of The Five-Percent Nation, a cultural movement influenced by the Islamic faith and founded in Harlem in 1964. When he was nominated by Magnum, Allah told the agency: “The first thing black students are taught is that they were slaves. From second-grade on, your self-esteem is a couple of notches below the white students because you’ve been told you are inferior. That sticks with you and follows you into your adulthood. The Five-Percent Nation taught me not to take anything on face value,” Allah says. “That teaching has bled into my work. This is a spiritual film. And it’s a holographic film; a piece contains the whole and a whole contains the piece. And it’s an experiential film, one that brings you into an environment that most people would avoid.” The New York streets Allah shoots are indivisible with the history of street photography. Allah is working in the legacy of New York icons like Diane Arbus, Weegee, Garry Winogrand and Nan Goldin as well as fellow Magnum photographers Bruce Gilden and Bruce Davidson. But, perhaps unlike some of his current colleagues of the Magnum collective, Allah is deeply concerned with the question of photographic consent. In that sense, Allah perhaps embodies the attitude of a new generation of street photographers; ones who see the camera as a way of being alert and alive to social and racial injustice. “It’s important to speak to whoever you’re working with,” Allah says. “To share your intentions with your subjects. To properly introduce yourself, and to get permission and consent. As photographers, we’re responsible for the work we make, and we need to be conscious of that. That involves not shooting somebody that doesn’t want to be shot. That’s a basic thing. And don’t shoot children without a parent’s consent. That is very important to me.”Source: The Art Newspaper
Alex Webb
United States
1952
Alex Webb (born May 5, 1952) is a photographer known for his vibrant and complex color photographs. He has been a member of Magnum Photos since 1979. He's authored 16 books, including Hot Light/Half-Made Worlds (1986), Under a Grudging Sun (1989) From The Sunshine State (1996), Amazon (1997) Crossings (2003), Istanbul (2007), The Suffering of Light (2011), La Calle (2016), as well as five books with photographer Rebecca Norris Webb, his wife and creative partner—Violet Isle (2009), Memory City (2014), Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image (2014), Slant Rhymes (2017), and Brooklyn: The City Within (2019). He has exhibited at museums worldwide, including the Whitney Museum of Art, NYC, the Metropolitan Museum, NYC, and the High Museum of Art in Atlanta, Georgia. He was awarded a Guggenheim Fellowship in 2007. He has contributed to Geo, TIME Magazine, National Geographic, and The New York Times Magazine among others. Born in San Francisco, Webb was raised in New England. Webb first became interested in photography as a high school student and in 1972 attended the Apeiron Workshops in Millerton, New York, where he met Magnum photographers Bruce Davidson and Charles Harbutt. He went on to study history and literature at Harvard University (graduating in 1974), but also studied photography at the Carpenter Center for the Visual Arts. By 1974 he was working as a photojournalist and in 1976 he became an associate member of Magnum Photos. During this time he documented small-town life in the American South. He also did some work in the Caribbean and Mexico, which led him, in 1978, to begin working in color, which he has continued to do. Webb's work has been exhibited around the world, including at the Walker Art Center, the Museum of Photographic Arts, the International Center of Photography, the High Museum of Art, the Museum of Contemporary Art in San Diego, and the Whitney Museum of American Art. His work is in numerous collections. He has received commissions from the High Museum of Art as well as the Banesto Foundation in Spain. Webb now lives and works in Brooklyn, New York with his wife, Rebecca Norris Webb, who is also a photographer, and they have collaborated on a number of books.Source: Wikipedia Alex Webb is best known for his complex and vibrant color photographs of serendipitous or enigmatic moments, often in places with socio-political tensions. Over the past 45 years, Webb has worked in places as varied as the U.S.-Mexico border, Haiti, Istanbul, and, most recently, a number of U.S. cities. “My work is questioning and exploratory,” he says. “I believe in photographs that convey a certain level of ambiguity, that ask questions rather than provide answers.” In 1974, the 22-year-old Webb, a Magnum Photos nominee, began working as a professional photojournalist, going on to work for the New York Times Magazine, Geo, Life, National Geographic, among other magazines. Alex became a full member of Magnum Photos in 1979. Working mostly in Latin America and the Caribbean, he credits those cultures with inspiring his interest in color, when he transitioned from black-and-white photography in 1979. Webb has published 16 photography books, including The Suffering of Light, a survey of 30 years of his color photographs, and Memory City (with poet and photographer Rebecca Norris Webb, his wife and creative partner), a meditation about film, time, and the city of Rochester, NY, itself, the long-time home of Kodak, in the year following the company’s bankruptcy. His most recent books include La Calle: Photographs from Mexico and the collaboration Slant Rhymes with Rebecca. In fall 2019, Aperture will publish his seventeenth book—and fifth collaboration with Rebecca—Brooklyn: The City Within. He has received numerous awards and grants including a Hasselblad Foundation Grant in 1998, a Guggenheim Fellowship in 2007, a National Endowment for the Arts Fellowship in 1990, and the Leica Medal of Excellence in 2000.Source: Magnum Photos
Elisabeth Sunday
United States
Elisabeth Sunday has been photographing indigenous people across the African continent for the last 26 years. Using a flexible mirror she created for the purpose (and hand carries unaccompanied to some of the most remote and dangerous spots on earth), Sunday has created her own analog process that prefigured Photoshop that she calls "Mirror Photography". Her method of photographing her subjects emphasizes and enhances their grace, elongating the body and the folds of their garments, creating an impressionistic effect one might be used to seeing in painting but which is unexpected in a medium from which we often expect a more literal representation. The effect is closer to that of dance, in which the body has reshaped itself and learned to move in a way that proclaims and exaggerates all its best qualities, while momentarily silencing its flaws, and in which movement itself has an aesthetic, rather than merely practical, purpose. Typically Sunday captures an elongated vertical reflection, rushing and bleeding like a single expressive brush stroke. Although Sunday herself is never visible in the frame, she is as much actor as she is director within the drama of these photographs, as she strives to represent not so much the personal characteristics of her subjects, but an essential gesture that connects a given incarnation with the long history of the soul. In her Anima and Animus series, Sunday mediates on eternal masculine and feminine energies, using warlike Koro men and nomadic Tuareg women as subjects. The Anima women are hidden under flowing garments, slanting to left or right or reaching upward like dark flames against the steady white curve of a dune. The Animus figures rise like tough young trees or spears, rooted somewhere beneath the picture plane. Grace and violence here seem cast together in a solid block, As with so many of Elisabeth Sunday's figures, these seem composed of stone or bone more than living flesh. Elisabeth Sunday has shown in galleries and Museums the world over including the Cleveland Museum of Art, Centre cultural Calouste Gulbenkian, Paris, France, the African American Museum, Los Angeles; International Photography Biennial, Brecsia, Italy, UC Berkeley Art Museum; Salle d' Exposition, Arles, France, Le Maison de la Photographie, Aosta, Italy, Exploratorium Museum, San Francisco, CA Smithsonian Anakostia Museum, Center for African American History and Culture, Washington D.C. The Museum of Fine Arts, Houston, and The Los Angeles County Museum of Art. Her work is included in major collections: The Corcoran Art Gallery, The University Art Museum at Berkeley, The Cantor Art Center at Stanford University, The Los Angeles Museum of Art, The Museum of Fine Art-Houston, Le Bibliothèque Nationale de Paris, France, The San Francisco Museum of Art, and The Eastman Kodak Collection. Her private collectors include Graham Nash, Quincy Jones, Gloria Steinem, Linda Grey, Bill Cosby, Bonnie Raitt and Alice Walker.Source Frank Pictures Gallery
Robert Doisneau
France
1912 | † 1994
Born in April 1912 in an upper middle class family, in the Parisian suburbs (Gentilly), Robert Doisneau started showing an immoderate interest in the arts at a very early age. Robert Doisneau lost his parents at an early age and was raised by an unloving aunt. Aged 14, he enroled at the Ecole Estienne a craft school where he graduated in 1929 with diplomas in engraving and lithography. A year later, he started working for « Atelier Ullmann » as a publicity photographer. In 1931, Robert Doisneau met his future wife Pierrette Chaumaison, with whom he will have three children and also started working as an assistant for modernist photographer, André Vigneau. André Vigneau will introduce Robert Doisneau to a « new objectivity in Photography ». In 1932, Robert Doisneau sold his first photographic story to Excelsior magazine. In 1934, car manufacturer Renault hired Robert Doisneau as an industrial photographer in the Boulogne Billancourt factory. He was fired in 1939 as he was consistantly late. Without a job, Robert Doisneau became a freelance photographer trying to earn his living in advertising, engraving and in the postcard industry. Shortly before WWII, Robert Doisneau was hired by Charles Rado, founder of the Rapho Agency. His first photographic report on canoeing in Dordogne was abruptly interrupted by the war declaration. Drafted into the French army as soldier and photographer he was relieved from duty in 1940. Until the end of the war, he used his skills to forge passports and identification papers for the French Resistance. After the war, Robert Doisneau became a freelance photographer and rejoined with the Rapho agency (1946). It is probably at this time that mutual influence with Jacques-Henri Lartigue found its origin. He started producing numerous photographic stories on various subjects: Parisian news, popular Paris, foreign countries (USSR, United-States...). Some of his stories will be published in prestigious magazines, LIFE, PARIS MATCH, REALITES... In 1947, Robert Doisneau met Robert Giraud with whom he will have a life long friendship and a fruitful collaboration. Doisneau will publish more than 30 albums such as “La Banlieue de Paris” (The suburbs of Paris, Seghers 1949) with texts written by French Author Blaise Cendrars. From 1948 to 1953, Robert Doisneau also worked for Vogue Magazine as a fashion photographer. It is also at that time that he joined Group XV and participated alongside Rene Jacques, Willy Ronis and Pierre Jahan in promoting photography and its heritage preservation. In 1950, Robert Doisneau created his most recognizable work, le Baiser de l’Hôtel de Ville for Life magazine. Although Doisneau’s most recognized work dates from the 1950’s and old style magazine interest was declining in Europe in the early 1970’s, Doisneau continued to produce children’s books, advertising photography and celebrity portraits. His talent as a photographer has been rewarded on numerous occasions: Kodak prize 1947 Niepce Prize recipient in 1956 In 1960, he held his first solo exhibition in Chicago (Museum of Modern Art) In 1975 he is the guest of honour of les “Rencontres d’Arles” Grand prix National de la Photographie 1983 Balzac Prize recipient 1986 In 1991, the Royal Photographic Society awarded Robert Doisneau an Honorary Fellowship (HonFRPS) Robert Doisneau died in 1994, six months after his wife. He is buried alongside her in Raizeux.
Bruce Weber
United States
1946
Bruce Weber (born March 29, 1946) is an American fashion photographer and occasional filmmaker. He is most widely known for his ad campaigns for Calvin Klein, Ralph Lauren, Pirelli, Abercrombie & Fitch, Revlon, and Gianni Versace, as well as his work for Vogue, GQ, Vanity Fair, Elle, Life, Interview, and Rolling Stone magazines. Weber was born in Greensburg, Pennsylvania, to a Jewish family. His fashion photography first appeared in the late 1970s in GQ magazine, where he had frequent cover photos. Nan Bush, his longtime companion and agent, was able to secure a contract with Federated Department Stores to shoot the 1978 Bloomingdales mail catalog. He came to the attention of the general public in the late 1980s and early 1990s with his advertising images for Calvin Klein, and his portrait of the then young actor Richard Gere. His straightforward black-and-white shots, featuring an unclothed heterosexual couple on a swing facing each other, two clothed men in bed, and model Marcus Schenkenberg barely holding jeans in front of himself in a shower, catapulted him into the national spotlight. His photograph for Calvin Klein of Olympic athlete Tom Hintnaus in white briefs is an iconic image. He photographed the winter 2006 Ralph Lauren Collection. Some of Weber's other earliest fashion photography appeared in the SoHo Weekly News and featured a spread of men wearing only their underwear. The photos became the center of controversy and Weber was told by some that he would never find work as a fashion photographer again. This reputation stuck with him, as he says: "I don't really work editorially in a large number of magazines because a lot of magazines don't want my kind of photographs. It's too risky for them". After doing photo shoots for and of famous people (many of whom were featured in Andy Warhol's Interview magazine), Weber made short films of teenage boxers (Broken Noses), his beloved pet dogs, and later, a longer film entitled Chop Suey. He directed Let's Get Lost, a 1988 documentary about jazz trumpeter Chet Baker. Weber's photographs are occasionally in color; however, most are in black and white or toned shades. They are gathered in limited edition books, including A House is Not a Home and Bear Pond, an early work that shows Eric Nies from MTV's The Real World series, among other models. Weber began collaborating with crooner Chris Isaak in the mid-1980s, photographing Isaak in 1986 for his second album, Chris Isaak. In 1988, Weber photographed a shirtless Isaak in bed for a fashion spread in Rolling Stone. Isaak appeared in Let's Get Lost and Weber has directed a music video for Isaak. Weber photographed Harry Connick, Jr. for his 1991 album Blue Light, Red Light. In 1993, Weber photographed singer-songwriter Jackson Browne for his 1993 album I'm Alive.Source: Wikipedia
Ruth Orkin
United States
1921 | † 1985
Ruth Orkin was an American photographer, photojournalist, and filmmaker, with ties to New York City and Hollywood. Best known for her photograph An American Girl in Italy (1951), she photographed many celebrities and personalities including Lauren Bacall, Doris Day, Ava Gardner, Tennessee Williams, Marlon Brando, and Alfred Hitchcock. Ruth Orkin was born on September 3, 1921 in Boston, Massachusetts to Mary Ruby and Samuel Orkin. Ruth grew up in Hollywood, due to her mother's career as a silent film actress. In 1931, she received her first camera, a 39-cent Univex, and soon began experimenting by taking photographs of her friends and teachers at school. At the age of 17, she decided to bike across America, beginning in Los Angeles, and ending in New York City for the 1939 World's Fair. She completed the trip in three weeks' time, taking photographs along the way. She briefly attended Los Angeles City College for photojournalism in 1940, prior to becoming the first messenger girl at MGM Studios in 1941, citing a desire to become a cinematographer. She left the position after discovering the union's discriminatory practices that did not allow female members. She joined the Women's Auxiliary Army Corps during World War II, in 1941 in an attempt to gain filmmaking skills, as advertisements promoting the group promised. The attempt was not fruitful, however, and she was discharged in 1943 without any filmmaking training. In 1943, Orkin moved to New York City in pursuit of a career as a freelance photojournalist. She began working as a nightclub photographer and received her first assignment in 1945 from The New York Times to shoot Leonard Bernstein. Shortly after, her freelance career grew as she traveled internationally on assignments and contributed photographs to Life, Look, Ladies' Home Journal, and others. Orkin is credited with breaking into a heavily male field. Orkin's most celebrated image is An American Girl in Italy (1951). The subject of the now-iconic photograph was the 23-year-old Ninalee Craig (known at that time as Jinx Allen). The photograph was part of a series originally titled Don't Be Afraid to Travel Alone. The image depicted Craig as a young woman confidently walking past a group of ogling Italian men in Florence. In recent articles written about the pair, Craig claims that the image was not staged, and was one of many taken throughout the day, aiming to show the fun of traveling alone. In 1952 Orkin married photographer, filmmaker and fellow Photo League member Morris Engel. Orkin and Engel collaborated on two major independent feature films, Little Fugitive which was nominated for an Academy Award in 1953, and Lovers and Lollipops (1955). After the success of the two films, Orkin returned to photography, taking color shots of Central Park as seen through her apartment window. Ruth photographed marathons, parades, concerts, demonstrations, and the beauty of the changing seasons. These photographs were the subject of two widely acclaimed books, A World Through My Window (1978) and More Pictures from My Window (1983). Orkin taught photography at the School of Visual Arts in the late 1970s, and at the International Center of Photography in 1980. After a long struggle with cancer, Orkin passed away in her apartment, surrounded by her wonderful legacy of photographs with the view of Central Park outside her window, on January 16, 1985.Source: Wikipedia Ruth Orkin was an award-winning photojournalist and filmmaker. Orkin was the only child of Mary Ruby, a silent-film actress, and Samuel Orkin, a manufacturer of toy boats called Orkin Craft. She grew up in Hollywood in the heyday of the 1920s and 1930s. At the age of 10, she received her first camera, a 39 cent Univex. She began by photographing her friends and teachers at school. At 17 years old she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World’s Fair, and she photographed along the way. Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera. She worked for all the major magazines in 1940s, and also went to Tanglewood during the summers to shoot rehearsals. She ended up with many of the worlds’ greatest musicians of the time including Leonard Bernstein, Isaac Stern, Aaron Copland, Jascha Heifitz, Serge Koussevitzky and many others. In 1951, LIFE magazine sent her to Israel with the Israeli Philharmonic. Orkin then went to Italy, and it was in Florence where she met Nina Lee Craig, an art student and fellow American, who became the subject of American Girl in Italy. The photograph was part of a series originally titled Don’t Be Afraid to Travel Alone about what they encountered as women traveling alone in Europe after the war.Source: Ruth Orkin Photo Archive Boston-born Ruth Orkin grew up in Los Angeles, and the movie industry and music were both formative influences. She attended Los Angeles City College briefly in 1940 before becoming the first female studio messenger ever hired at Metro-Goldwyn-Mayer in the early 1940s; but with no hope for promotion, she joined the Women's Auxiliary Army Corps, tempted by the promise (empty, as it turned out) that she would be taught cinematography. After completing her service in 1943, she moved to New York and worked as a nightclub photographer. Orkin honed her skills in portraiture by spending the summer of 1946 documenting the Tanglewood Music Festival; later that year, LOOK published her first major photo essay, Jimmy, the Storyteller. She sent the series to Edward Steichen at the Museum of Modern Art in 1947, and he subsequently included her in every group photography show at the museum until his retirement, including the great 1955 exhibition, The Family of Man. Orkin married photographer Morris Engel in 1952, and the couple collaborated on a prize-winning film, Little Fugitive. Their filmmaking endeavors continued through the mid-1950s, and while Orkin continued to photograph, she admitted that still photography "held little interest" after her experience of making a film. Her views of Central Park, taken from her apartment, were published in the 1978 book A World Outside My Window. Orkin's photography is a celebration of fearlessness and vitality. While she accepted specific assignments from The New York Times and various magazines, she also had the freedom to work independently, creating photo essays and photographing famous people with the knowledge that she would be able to sell the resulting work. Like a film director, Orkin created images that appear to be private moments, and lends a Hollywood-style personality to her subjects and landscapes.Source: International Center of Photography
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