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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Yasuhiro Ishimoto
Yasuhiro Ishimoto

Yasuhiro Ishimoto

Country: Japan/United States
Birth: 1921 | Death: 2012

Yasuhiro Ishimoto was a well-known Japanese-American photographer known for his distinct style and contributions to the field of modernist photography. Ishimoto was born in San Francisco on June 14, 1921, and spent his childhood in Japan before returning to the United States in 1939 to further his education.

Ishimoto enrolled at the Chicago Institute of Design in the early 1940s, where he studied under influential photographers such as Harry Callahan and Aaron Siskind. During this time, Ishimoto developed his signature style, which is distinguished by dynamic compositions, bold geometric forms, and a keen sense of light and shadow.

In both Japan and the United States, Ishimoto's work frequently focused on architecture. He photographed the interplay of lines, shapes, and textures to investigate the relationship between humans and their built environment. His images of famous architectural landmarks, such as the Katsura Imperial Villa in Kyoto, demonstrated his ability to infuse tranquillity and contemplation into his photographs.

Ishimoto documented street scenes and everyday life in both Japan and America, in addition to architectural photography. He had an uncanny ability to capture candid moments and the essence of the people he met, providing a glimpse into the cultural and social fabric of the time.

Ishimoto received numerous awards and accolades for his work throughout his career. His photographs have been shown all over the world, and he has written several books, including Katsura: Picturing Modernism in Japanese Architecture and Chicago, Chicago. Ishimoto's work helped to bridge the gap between Eastern and Western photographic traditions.

Yasuhiro Ishimoto died on February 6, 2012, but his photographs will live on. His artistic vision and technical mastery continue to inspire photographers all over the world, and he has left a body of work that reflects his commitment to capturing the beauty and essence of the world around us.

 

Yasuhiro Ishimoto's Video

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More Great Photographers To Discover

Rémi Chapeaublanc
Self-taught photographer, Rémi Chapeaublanc was destined for a scientific career in bioinformatics. He continued to use the Cartesian approach from this training adding a sensitive, people-centred dimension the day he decided to be a photographer. For his series Gods & Beasts (2011), he crossed Europe and Asia reaching Mongolia. Inside the yurt or outside, at nightfall, he produced portraits of Kazakh nomadic herders and their animals without ever resorting to retouching, despite working in digital. For this most recent series The Last Tsaatan, Rémi Chapeaublanc has chosen to portray a nomadic people again: the Tsaatans, sharing their everyday life, happiness and desire to transmit their skills. About Gods & Beasts A solitary voyage through Europe and Asia, led Rémi Chapeaublanc to Mongolia. The discovery of this country, where Man has not yet desecrated Nature, fed his thinking to create the photographic series Gods & Beasts. In these lands, men and animals depend on ancestral ties that are both sacred and necessary. It is an archaic and visceral relationship in which equivocal domination games are put into questioning. Which are the gods, and which are the beasts? Or rather to whom are they the Gods and for whom are they Beasts? Gods & Beasts consists of raw portraits. While there is an ambiguous hierarchy between men and animals, this series - created outside of a studio, in the original environment - overcomes this cultural order. This work of bringing into the light these relationships - in an almost ceremonial manner - places these Gods and Beasts for once on equal footing. The viewer is thus left the sole judge of the boundary between animal and divine. About The Last Tsaatan What will become of the Tsaatan people? In 2011, Rémi Chapeaublanc set off to find the Tsaatan people, nomadic reindeer herders, straddling the border of Northern Mongolia. Amounting to no more than 282 people in the world, this tribe's way of life has been disrupted by the transformation of its ancestral land into a national park. Hunting, passage and woodcutting are now prohibited there; total bans contradict their centuries-old traditions. Since his first encounter, Rémi Chapeaublanc has continued to go back there, sharing their customs and everyday life for several weeks at a time. With this new photo series, he raises concerns about the future of the Tsaatan people, dealing with the tide of modernity in Mongolia, each year distancing them a little further from their traditional way of life. If the tribe accepts and even laughs at technological progress, it flatly rejects urban life, and opinion is divided regarding tourism. Their life in the Taiga represented absolute freedom. Now it is complex and in particular threatened. Both humane and engaged, this series of photographs is nevertheless graphic with a particularly aesthetical and simple approach. This medium format work, produced traditionally with black and white film and then digitally enhanced, demonstrates the artist's desire to adapt their anachronistic way of life. Rémi Chapeaublanc, who befriended a number of them, now takes the public to task asking: what will be left of the Tsaatan people?
Max Yavno
United States
1911 | † 1985
Max Yavno (1911-1985) was a photographer who specialized in street scenes, especially in Los Angeles and San Francisco, California. The son of Russian immigrants, Yavno was born in New York on April 26, 1911. He had one sister. He was married at age 19 and divorced three years later. He died in April 1985 of complications resulting from a fall in a shower. Yavno worked as a Wall Street messenger while attending City College of New York at night. He attended the graduate school of political economics at Columbia University and worked in the Stock Exchange before becoming a social worker in 1935. He did photography for the Works Progress Administration from 1936 to 1942. He was president of the Photo League in 1938 and 1939. Yavno was in the U.S. Air Force from 1942 to 1945, after which he moved to San Francisco and began specializing in urban-landscape photography. History professor Constance B. Schulz said of him: "For financial reasons he worked as a commercial advertising photographer for the next twenty years (1954–75), creating finely crafted still lifes that appeared in Vogue and Harper's Bazaar. He returned to artistic landscape photography in the 1970s, when his introspective approach found a more appreciative audience. Funding from the National Endowment for the Arts enabled him to travel to Egypt and Israel in 1979." He also captured a pre-Dodgers Chavez Ravine, a giant plaster leg on top of a building in West Los Angeles and a "nostalgic" shot of a cable car being turned around at Powell and Market streets in San Francisco. His noted photograph of a crowd watching "sun-worshipping bodybuilders at Muscle Beach in Venice" sold at auction in 1984 for almost $4,000. He said he had spent three Sundays at the beach before the subjects "stopped flexing for his camera and resumed posing for each other." His obituary in the Los Angeles Times said that: Melrose Avenue photo gallery owner G. Ray Hawkins, who represented Yavno and exhibited his works, called him a "social documentarian" and noted that he had "a very special ability for combining composition and content while capturing his social vignettes." Photographer Edward Steichen selected twenty of Yavno's prints for the permanent collection at New York's Museum of Modern Art in 1950, and the next year Yavno won a Guggenheim Fellowship. Source: Wikipedia Yavno graduated from City College of New York in 1932 and earned a graduate degree in business administration from Columbia University in 1933. Originally employed as a social worker for the New York Home Relief Bureau (1935), he was later hired by the Works Progress Administration to photograph city locations for use in theater set design (1936-42). Yavno joined the Photo League in the late 1930s, serving as president in 1938-39 and participating in several exhibitions. He became friends with Consuelo Kanaga, who mentored him in his photographic work. He worked with Aaron Siskind on his unfinished project The Most Crowded Block in the World (1941). Yavno was drafted into the Army Air Force that year, but remained on detached service in New York. He later moved to California, where he provided illustrative photographs for two books: The San Francisco Book, with Herb Caenn (1948) and The Los Angeles Book, with Lee Shippey (1950). In the mid-seventies, Yavno resumed noncommercial photography, expanding his terrain from the streets of New York City and Los Angeles to those of Jerusalem and Cairo. Source: The Jewish Museum
Ernie Luppi
United States
1954
San Francisco native Ernie Luppi became involved with photography in 1973 when he started using his mother's Instamatic 126 camera that he and his brothers had given to her as a Christmas gift the previous year. During this time, Ernie was attending the City College of San Francisco and decided to switch his major to photography. The CCSF Photography Department offered one of the finest programs in the area and it helped Ernie unearth the creativity within him. To this day, Ernie is an avid black and white film and darkroom enthusiast. In 1975, Ernie graduated from CCSF with an Associate of Science degree in Photography and has spent the past 39 years in retail photography sales, first working at Adolph Gasser, Inc. for 23 years, followed by 16 years at Keeble and Shuchat in their respective film and darkroom supply departments. Ernie's photographic vision is varied. It ranges from travel, portraiture, street, and the urban landscape. Ernie has often quoted, “I am a jack of all trades and a master of none,” but really he is just curious about everything that he sees through his camera lens. An association with RayKo Photo Center was established in June of 1992 when Ernie had a solo exhibition of photographs, all of them gelatin silver prints, that he had taken during trips to Italy in 1981 and 1991. For the past decade, with the guidance of gallery director Ann Jastrab, Ernie has been a member of RayKo's Photographers Marketplace. Ernie's images have also been selected for RayKo exhibitions such as the documentary show "With Our Own Eyes", "The Perimeter of the World: Contemporary Travel Photography", as well as several Plastic Camera Show exhibits. He continues to photograph daily and can usually be found in his darkroom.
Elliott Erwitt
France
1928 | † 2023
Born in Paris in 1928 to Russian parents, Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research. Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France. While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh. In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier's, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits. In the late 1960s Erwitt served as Magnum's president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum. Source: Magnum Photos
Da Miane
Georgia
1995
Da Miane (Nika Pailodze) is a Georgian street photographer based in Tbilisi. Born in 1995, he has been captivated by visual storytelling from an early age. Even when 0.3-megapixel phone cameras were standard, he began experimenting with photography, initially capturing nature before turning his lens toward the human and urban landscape around him. With an academic background in literary studies, Da Miane brings a nuanced narrative approach to his photography. This foundation has sharpened his eye for storytelling, composition, and emotional depth. He sees the world as a stage, where fleeting moments become lasting impressions through his camera. Since 2014, Da Miane has documented the streets of Tbilisi almost daily. His work focuses on spontaneous human interactions, environmental contrasts, and the often-overlooked poetry of everyday life. Favoring observation over orchestration, he rarely works on commercial assignments or structured projects. Instead, his approach is intuitive, shaped by constant movement and awareness of his surroundings. While not centered around formal series, his body of work includes standout projects such as Highland Adjara, in which his street photography sensibilities guided him to document remote communities with empathy and instinct rather than direction. His ability to connect with strangers and earn their trust has become a hallmark of his visual language. The people in Da Miane’s photographs are anonymous yet deeply familiar—sellers, buyers, passersby—captured repeatedly over the years as they shift through the same streets. He doesn’t seek to know their names or stories; what matters is the impression they leave in a split second, preserved forever through his lens. He works primarily in color but is equally drawn to black and white when it serves the emotional weight of an image. For Da Miane, color is not just aesthetic—it is a carrier of information, mood, and narrative clarity. Da Miane has participated in numerous photography competitions, receiving recognition both locally and internationally. His work is driven not by the pursuit of uniqueness, but by a personal connection to the scenes he witnesses. Influenced by cinema, literature, and music, he views photography not as documentation but as a way to express the subtle drama of the everyday. Awarded Photographer of the Week - Week 23
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