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Nanda Hagenaars
Nanda Hagenaars
Nanda Hagenaars

Nanda Hagenaars

Country: Netherlands

''El Duende'' is a word used by the Spanish people to describe it is what moves you, what drives you. It comes from inside you. El duende is a bodily reaction to art or artistic perfomance such as Flamenco. It comes from the soles of the feet and flows free throughout the body till the top of your head. El duende is the spirit of evocation. An emotional and physical reaction. It can make you smile or cry or both. This mysterious power which everyone can sense and no philosopher can explain is in sum the spirith of the earth. It touches you in such a magical way that you are moved instantly.

Nanda Hagenaars was born in the Netherlands in 1988 and is currently living in Amsterdam. She studied International Business and Languages in Sevilla. This is where she felt the spirit of el Duende in such a strong way that this place instantly became like a harbour for her.

Back in the Netherlands, Nanda started working in the advertising industry and after nearly 4 years left her office job and crashed fully into photography and art. After studying languages, she discovered a new kind of language; through photography.

Between 2007 and 2017, Nanda traveled frequently back to south Spain where she somehow always felt touched by culture and the simple vibe of the magnificent gypsy city. In 2016, Nanda made her first documentary photography project in Sevilla, where she won a price for New Dutch Photo talent 2017.

Nanda’s captivating black and white style blends poetry and intuition, delving into the eternal essence of life. Through her lens, Nanda captures stories and forges a profound connection with the portrayed. At times, she surrenders to the unknown, creating intuïtively and spontaneously. Through her art she aims to touch others, offering solace and unity through shared emotions.

So.. to Nanda, photography is a way to translate, meditate, and communicate.

A universal language.

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More Great Photographers To Discover

Bill Owens
United States
1938
Bill Owens, born in 1938, is a well-known American photographer who documented suburban life in the 1970s. His photography provides a unique and deep look into the everyday lives of average Americans, capturing both the commonplace and remarkable features of suburbia life. Owens began his photographic career in the late 1960s as a staff photographer for a local newspaper in Livermore, California. During this period, he began his most noteworthy project, "Suburbia," which would become a major body of work in American documentary photography. "Suburbia" was published as a book in 1973, featuring Owens' images and conversations with suburban dwellers. The project's goal was to investigate the goals, aspirations, and inconsistencies of suburbia life, offering a critical yet sympathetic study of the American Dream. Owens' images depicted scenes of backyard barbecues, family gatherings, children at play, and the myriad rituals and social interactions that constituted suburban areas. He highlighted both the humor and the underlying intricacies of suburban life through his good observation and direct attitude. What distinguished Owens' work was his ability to see past the surface and capture the soul of his subjects. His images conveyed a sense of realism by portraying suburbanites in their natural settings and enabling their tales to flow through genuine moments captured in time. Owens' art struck a chord with a large audience because it highlighted a huge societal transition in America during the 1970s. Owens' images challenged the idealized image of suburban life by exposing the hardships, wants, and inconsistencies inherent in the pursuit of the American Dream. Throughout his career, Owens continued to explore various topics and subjects in addition to his "Suburbia" series. He documented the California wine industry, capturing the agricultural process as well as the people that make it happen. He also covered countercultural trends of the 1960s and 1970s, such as the rise of the hippie and biker subcultures. Bill Owens' contributions to documentary photography will be remembered. His ability to depict the everyday lives of regular people in suburbia America with honesty and empathy earned him a place in American photographic history. His work is still being shown and researched, providing important insights into the social and cultural fabric of a specific period and place.
Joseph Rafferty
United States
1976
Joseph Rafferty's projects are his artistic statements. When he was eight, his mother died. She went on vacation to Hawaii, and returned in a coffin. The boy was immediately uprooted from free and love-filled life, and forced to live with a freshly born-again Christian father, who became Joseph's newly self-appointed spiritual leader. An environmental lawyer who didn't ensure the safety of his own child's environment. Joseph's father silenced individuality, demanded polite compliance, and along with his stepmother, kept a still-grieving child tethered to linear thinking, Joseph did not develop the art of verbal expression. He quickly learned to swallow truth and hide pain. Photography became a powerful thread of connection to his emotion and spiritual ideas, laced with the harsh realities of a flawed culture, and the ironies within his family's worldview. Photography was an open window in his prison, giving fresh breath to a starving soul, and it became a pivotal foundation in his metamorphosis. It provided the theatre of the mind with a stage, creating space for growth and transformation beyond the stifling shell that threatened to entomb. Thriving on the sunshine of his bohemian mother's love. Joseph's nonlinear and free imprinting is counterculture's birthplace, San Francisco a land of a thousand languages, a thousand sexualities. This critical period of exposure deep seeded beliefs and values into the young child's subconsciousness he loved to see love. When his mom passed - her fashion colleagues & community sent words of condolences + small gifts of money. During his military enlistment Joseph would return to the photography store his mom frequented. With the small gifts of cash from letters of condolence he purchased large & medium format cameras and tripods. If I purchase cameras she's always with me. In doing so, he channels her instrumental spirit - a spirit guiding him from the pain and anger of his youth, and led to light. Through loving memory of her unconditional support, Joseph's found a peace and purpose in life, grounded in relationships with his partner and their children, mindful of certain pitfalls in our culture, and dedicated to the unedited, true expression of unique experience. Photography has been a life-line of expression during Joseph's stay on earth, feeling most grounded when his ideas materialize to visual imagery. Motivated by a passion for social justice, Joseph lives in a realm of beauty amongst pain. His visual linguistics are sculpted props and drawings, through which his visceral experiences emerge as a visual tapestry. Weaving images that provoke emotion and encourage empathy for others despite differences, Joseph's visuals are moments of "things as they are experienced psychologically, rather than things as they are scientifically" (William Mortensen). His body of work also influenced by early foundational years among the Redwood trees, his service in the United States Military, and his education at Art Center College of Design. Heavily inspired by Arnold Newman's manipulation of existing light, Joseph captures images with all formats of cameras. His photographic subjects begin with an idea explored through sketches further developed through research (literature, current events, locations, and style), and are materialized through intuitively sculpting of props. Each detail becomes a tool in building a landscape of meaning.
Joseph-Philippe Bevillard
United States/France
Born in Boston, Joseph-Philippe started drawing and painting after he lost his hearing at the age of 3. He took up photography during his senior year at a private school in Massachusetts. In 1985, he enrolled at the Rochester Institute of Technology to study photography where he remained there for 2 yrs before changing direction in career due to financial circumstances, In 1990 he return to photography to study at the Art Institute of Boston. It was in 1990, Joseph-Philippe developed a style for his square B&W portraitures of people he met in the nightclubs and on the street. After working for several major photo labs in Massachusetts in the last half of 1990, he moved to Ireland during the millenium to start his property management business. In 2007, he went back to photograph portraits using the same camera and style as he did in the early 90's. In 2010, he started a new project, photographing the Irish Travellers and four years later, he formed the Irish Travellers Photo Workshop. In June 2018, Joseph-Philippe started a colour project on Irish Travellers using a digital camera and continue shooting B&W film with Hasselblad. His work has been published by Amnesty International, Der Spiegel, EyeShot, Dodho, FotoNostrum, British Journal of Photography, Junge Welt, Lenswork, Life Force, Photo-Letter, Square, Shots and Vogue Italia as well as received awards from International Photography Awards, PX3 Paris, Photo Vogue Italia, FotoNostrum and Lensculture. His recent exhibitions included Les Recontres d'Arles, Espace Beaurepaire Paris, Leica Gallery Milan, Somerset House London, New Hampshire Institute of The Arts, Royal Hibernian Academy Dublin and Central Intelligence Agency in Washington, DC. His first monograph 'Minceirs' will be available in early May 2021 and can be pre-ordered through this link: www.skeletonkeypress.com or thru the artist. For workshop info, exhibition, publication and prints enquiry, please contact the artist through his email at: joseph-philippebevillard@hotmail.com MINCÉIRS: Mincéirs are a traditionally nomadic ethnic minority indigenous to Ireland, referred to by the Irish Government and the settled population as Irish Travellers. The Mincéir is a true name of the Irish travelling community in their own language which is called Cant or Gammon. Although the Irish Travellers speak English, the lingo they use amongst each other at times is Cant/Gammon. The name Traveller was put upon them because of their nomadic identity. Back in the 5th century the term these groups of people were called Whitesmiths because of their association and skills as tin-smithing. Over the years the Irish Travellers have been called Tinkers, Knackers, Itinerants, Gyspy and Pavee by some of the settled population which the Irish Travellers have found very offensive and racial. 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This in turn has forced some families to set up their own camps in disused fields, but because seen as illegal encampments the local councils are constantly trying to move the families on, and will not provide basic needs such as fresh water, electricity or sanitation. There is a small amount of Irish Travellers who wish to settle and have gone on the housing list. This can also be a tricky situation settled neighbours usually oppose having a travelling family living on their road, these leads to tension and racial abuse at times. So this discourages many families from settling. While education is mandatory for all children living in Ireland, the Irish Travellers usually drop out by the age of 15, a lot of this is due to the children being needed at home to tend to the younger or some just find mainstream school boring and not suited to their culture. I have heard from a home economics teacher that her class is probably the most popular subject amongst the female Travellers as cooking is necessary. There have also been some fantastic stories of Irish Travellers finishing 3rd level education and obtaining great careers such as Dr. Sindy Joyce. Dr. Joyce is the first Irish Traveller to graduate with a PhD and was recently appointed by our President as one of his advisors for council of the state in 2019. Vice-Chair of the National Traveller Mental Health Mags Casey explained that the causes of mental health issues affecting Travellers are Complex: "Clearly the issues that affect all Travellers-such as racism and exclusion matters relating to identity, sexuality, addiction, as well as unemployment, education and accommodation have a profound impact on the community's mental health". 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Stefano  Battistelli
Stefano Battistelli is an Italian photographer based in Milan. Born in the glorious 80s and raised near Rome, he has been living and working there for over a decade. Alongside his photography, he has built a long career in advertising, where he has worked for more than ten years and currently serves as Executive Creative Director at Dentsu Creative Italy, part of one of the world’s largest communication groups. His career began at LePub Milan, one of the most creative advertising agencies globally, where he was appointed Creative Director after just two years and contributed to iconic payoffs such as “Barilla. A sign of love.” Photography is a true passion for him and ranges from reportage to nature, with a strong focus on social documentary projects. Some of his social reportages have been published and commented on by major Italian national newspapers and widely featured across numerous online magazines. His work has taken him around the world and has been recognized with several international awards, including the Fine Art Photography Award. In 2023, his photography was published by National Geographic Italy. Together with his wife, he enjoys traveling with minimal comforts and has visited more than 30 countries, including Brazil, Myanmar, Borneo, Patagonia, the Galapagos, Japan, Indonesia, Yellowstone, and South Africa. Stefano works with Fujifilm cameras, but believes that the most important photographic investment he has ever made is not gear, but books by great masters. AAP Magazine AAP Magazine 54 Nature
Don Hong-Oai
China
1929 | † 2004
Don Hong-Oai was born in Canton, China in 1929 as the youngest son to a business family, and was raised and educated in Saigon, Vietnam. At age thirteen, he began an apprenticeship at a Chinese photo and portrait shop. In 1979, he immigrated to the United States and settled in San Francisco's Chinatown. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and background, and selecting a subject from each negative, thus forming one composite image of a serene landscape. All the various scenes in an image existed in reality, but each uniquely handcrafted photograph is a concoction of the artist's imagination. Each photograph was assembled only by the artist himself, never having an assistant or master printer aid him. His work has won scores of international awards and has been collected worldwide. Source: www.peterfetterman.com Don Hong-Oai (1929-2004) was born in Canton, China, and spent most of his life in Vietnam. At the age of 13, he began an apprenticeship at a photo and portrait shop. When he was not at the studio, he traveled and took photographs of the landscape. He stayed in Vietnam through the war, but fled by boat to California in 1979. He lived in San Francisco’s Chinatown where he had a small darkroom to create his photographs. While living in the US, he returned to China every few years to make new negatives. Hong-Oai’s style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and far ground, and selecting a subject from each negative, Don would construct a serene landscape. Each of his uniquely handcrafted photographs in its entirety is a concoction of the artist's imagination. He assembled and printed the photographs by himself, never having an assistant or master printer aid him. Don’s work has won scores of international awards and has been collected worldwide. Source: www.gallery71.com
Filip Gierlinski
United Kingdom
My uncle is a very accomplished craftsman and very keen and skilled amateur photographer. I always loved to see him draw, paint, design and gave me my fist Minolta x370 35mm manual camera when I was about 8, so it started there. At school and Uni I studied art subjects. I graduated in Graphic Design, worked for a year as a junior designer, but all the time thought I wanted to be the guy who came into our office with a contact sheet of commissioned photography, and not the guy sitting at a screen and designing the layouts for his photos. A friend was working in a Commercial Photo studio and needed some summer intern cover, and I jumped at the chance. 3 months tuned into nearly 4 years at the studio, and I learnt the skills, techniques, discipline, equipment and it opened my eyes to the industry and business of commercial photography. I have always had a passion for travel and I was eager to get outside, into the sun, and shoot people and places...we worked on products, catalogues and room sets at the studio which was an amazing experience and training, but not what I most desired to be shooting. I was fortunate enough to learn my trade in the days of film, and came to professional photography just as digital was breaking in and the industry was opening up and shifting. This gave me the technical skills of shooting on film for many years, and the ability to by my first semi-pro digital slr and advertise online for freelance jobs - so I had the best of (understanding) both worlds. After some travel and teaching TEFL with my wife, we came back to the UK and I started to freelance, shooting mostly art projects, working for the Arts Council and delivering educational programmes, and all the time slowly building up my freelance business. So since about 2003 I have worked as a commercial and corporate photographer, covering a wide range of subjects and industries and have had the opportunity to work with some amazing and diverse clients. The work as a tutor gives me the opportunity to travel and practice my craft and I bring that inspiration back to my business. Part of my early freelance work was shooting business portraits, and so I started to advertise specifically for Corporate Headshots and Portraits as a separate arm of my work, and this has become the main source of my income and commissions over the past few years. I have shot for huge companies with 1000's employees, as well as small businesses, professionals and entrepreneurs. I try to bring a sense of style and creativity, and an editorial feel to the ‘Corporate Headshot' and think that defines me with a distinctive look and product. I enjoy bringing a bit of creativity and style into the corporate world in my own little way, and years of shooting 1000s of people means I can read with my sitters quickly, make them feel at ease and connect with them which is something that shows through in my portraits. The skill is to do that within the 4 or 5 minutes I have with each person, sometimes up to 60-100 times a day! Most recently I shot a campaign for a bowling alley company, working with a sports marketing agency, and so in between my corporate work and travels, I work with agencies for hospitality, sports and automotive industries. Working on set with director Shane Meadows was a great experience, as well as shooting the bands I loved since I was a kid from the press pit and back stage at rock festivals - a real pinch yourself moment. As I often photograph a lot of faces and people in my daily work, it is always nice to get a luxury hotel commission where it's all about the rooms and design, architecture and details and make for a pleasurable change of pace. I was born in Poland in 1977, at 2 months packed into basket and flown to Tunis as my father was a civil engineer and contracted out there for a few years. We then lived in Poland and France and then moved to the UK when I was a child and so travel is in my blood. Since then I have been lucky to visit so many amazing countries. I have never really had money to just go travel, but always seeked out jobs where I could see the world. I have spent time as a tour guide in South America, teaching English in Nepal and India, and more recently working as a tutor has taken me all over the world. I have been lucky enough to be able to balance seeing the world, with a family life and earning here in the UK. I don't shoot travel stock or go with any intent to produce a commercial library, but more to see the people, to document their lives, to capture a story, as I feel my travel images are much more personal stories and of a more editorial feel than commercial. This may all change as i shoot new projects and seek to follow my vision. It is still my dream to find a way to move more towards travel and editorial commissions but I am lucky to be able to make ends meet through a job that I love every day.
Hyun De Grande
South Korea/Belgium
1987
My name is Hyun De Grande. I was born in Seoul, South Korea in 1987 and I was adopted to Belgium when I was around 4 months old. I grew up in a small town called Oostkamp together with my parents and my brother, who is also adopted. At the age of 15, I started studying film and photography at the Art Academy in Bruges, which was my introduction to both artforms. After two more years of studying film at the School of Arts in Ghent, I moved to Brussels in 2008 to specialize in cinematography at the RITCS. I'm still residing in Brussels, and I currently work as a cinematographer in the narrative and commercial fields. Street photography is a passion to which I love devoting my energy to in between jobs. It's obvious that my cinematography background has heavily influenced my photography style, yet I try to approach things in a different way when I'm taking pictures compared to shooting a movie. It's mainly much more personal because I don't share the creative process with other people, which allows me to explore themes that are closer to myself as a person. Statement As a photographer I'm very fascinated by the feelings of loneliness, isolation and/or alienation because they strongly resonate with me personally. Perhaps it can be back-tracked to my adoption, which has created a sense of never really feeling at home anywhere I go, and therefore these emotions have always been a big part of my life. Esthetically, I'm mainly looking for clear shapes and lines as an arena for my subjects, both coming from light and/or architecture. I feel that the solidity of these shapes enhances the fragility of the people portrayed within these lines. Trapped or lost in a cold and unforgiving environment. I also love working in a wider frame as it allows me to use that extra horizontal space to evoke emptiness. I find it interesting to utilize the surroundings of my characters to create emotional context, even when these surroundings are blank or abstract. I use a 2:1 ratio on all of my photographs, which stems from my cinematography background.
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AAP Magazine #55 Women
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