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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Andre Bogaert
Andre Bogaert
Andre Bogaert

Andre Bogaert

Country: United Kingdom

I've been taking photos for 60 + years and I know I will get the hang of it any day now.
I was given a camera for my 10th birthday and No I haven't still got it. It was a rubbish piece of kit but it got me hooked.
Nowadays I photograph using digital kit, but obviously from my age, I'm 75 as I type this, I learnt on film cameras, Nikon lenses and bodies built to last a long long time, workhorses that had been around the block a few times before I got my hands on them. I made a point of persuading my 3 kids to start there photography with film & black and white so they could develop and print at home. Later on they could make there own choices as to what to use. That way you understood what a camera and it's lens can and can't do. Most modern camera and lenses are OK, some much better than others I grant you but most will capture what they are pointed at so the subject of camera kit is not too interesting to me. I come from the “it's not what you point , it's what you point it AT that counts” school of thought. I photograph using RAW format so the files are colour but I find a high contrast grainy black & white film look works for me.
Enjoy looking at my work and thanks for your time.
 

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Imed Kolli
France/Algeria
1995
Imed Kolli is a 24-year-old photographer based in Algeria. By the time I was 16, my real eduction came from observing what is happening around me and observing that richness don't comes without struggle, and I was looking for a way to translate what I was seeing through my eyes and photography became my voice in this very big confusing world. I started to realize that photography has the power to change prescriptive on life and surprise people with something they don't usually see and sometimes they don't have any idea existed, and it began to push my life in such dramatic direction towards telling the larger story of what it means to be a human, so I bought my first camera , and that was the beginning. To say that my work is evocative would be something of an understatement. Specializing in harrowing, monochrome photos of people living on the fringes of society. I have been doing photography for the last 7 years, I specialized in street documentation photography toward telling the larger story of what it means to be a human and capturing the human condition. In the last 5 years, I had what you would call much a formal eduction by getting my Bachelor degree majoring photography at the highest institute of perfuming arts and audio visuals here in Algeria, I also had the chance to follow my main passion by continuing my master of fine art online degree program at the Academy of Art University in San-Fransisco. My passion for photography has actually never been stronger than it is today and it's 6 years that I've been making pictures that I've involved in visual storytelling. Most of what I know about the world has come through this medium, through practicing it through, learning about it. I've often said that photography is sort of like a condition that you catch and I caught it when I was 18 years old within about three months of learning about photography and I would say that today 7 years later that condition has never been more severe. During years I became obsessed with the idea of combining photography and documenting the human condition and that maybe that could be a way to bring these theories to the audience and perhaps get to learn and tell about the stories that need to be tell. My practice has always been predicated on international work mostly documenting work, documenting the human condition, but I've also done probably the largest project of my career so far ETERNAL FACES was obviously a domestic project, I spent 3 years on that and actually even since that project, I've continued to look at the issue of aging more so through film and multimedia and as time goes on and this is kind of connected to the question about my passion for photography. I feel like my repertoire for the kinds of stories that I want to do, the kinds of issues that I'm interested in are actually expanding, they're not narrowing, so I'm much more open to working on stories that in the past I might have considered you know softer or irrelevant. I'm talking about the world that is grinding out a lot of a critical issues that humanity is facing today, social issues political issues resource, issues you know climate change, how to deal with a permanent underclass of homelessness, I believe there's so many issues in the world that are critically important to look at. Statement This work is being classified as a Street-Portrait Photography which could actually offer a new way of prescriptive of people's portraits in black and white. I tried to reach the authenticity of people who had contracted the bitterness or resentfulness through their lives. The idea comes from street photography and how to shoot homeless, poor people in a beautiful manner from basic. It was all about dramatic situations and the spirituality of portraiture. To me, the most important characteristic was having a sharp eye and being aware of the environment around me. This means looking out for, not just colors, shapes, lights, shadows and so on, but observing my subjects and how they appear and act as well. I exposed the hardships and poor conditions of life of the deprived people through face expression. I did this in an attempt to assuage these problems. Vividly I wanted to expose the realities of squalid living and misery faced by homelessness every day. Harrowing street-portraits photography combined with emotion storytelling, were intended to engage and inform the audience and exhort them to act. What I accomplished by taking these photographs from the streets was to inform the world, How people are suffering every day. I wanted to show the life of these people lived, I had experimented with illustrations that dramatized the devastating human cost of the emotional expressions. I realized finally that only photographs seemed to capture the reality with sufficient resolution to change hearts. The singular emphasis in others on subjects, divested of a story, is all the more remarkable for this reason. In this project, I emphasized the reflective mode over the nature of my body of work envisaging,.The images chosen for The -Eternal Faces- did privilege the inventorial, world of observation and artistic classification as it reflects reality, with the objects taken out of context. There is no doubt that my body of work has profoundly shifted the way that we perceive these people in reality, the sensual appeal of reflection outcome intents in the real world has proved irresistible to photographers including my project Eternal Faces. Beginning with the intent to reflect these people's realities and finding expression in practitioners of widely differing outlooks and goals. Photographing these kind of subjects acquire an aura by being taken from their casual, often overlooked, position and put under intense scrutiny. The outcome intent tool which should look upon my project dispassionately is capable of creating images, filtered through the imagination, which compellingly engages the viewer's imagination and emotions. It wasn't empathy, It wasn't sympathy, it was more of a forced, intrinsic, and integral self-reflection. What I did is photograph emotions, I was photographing the initial moment when I laid eyes on the human being beautiful face shape that reflects the whole story of what it means to be broke, Injured, homeless, beggar and poor underprivileged and sometimes even hopeless. I gave with the often willing and knowing collaboration of my subjects, a metonymic typology of people who lived in dark side of society, representing for us the poor, homelessness, the other half. I was after the general truth of a general category, and the finer truths of individuals necessarily caught my inspiration to pick up this precise subject matter to photograph. The center of each picture was the subject matter: a person and his or her experience at that moment in time. To me and many other progressives, the rock bottom status added them from personal contact with the impoverished even when Christianity and the Social Gospel created a burden to extent charity to the disfranchised and discarded in society. I came imbuing them with the iconic soul of humanity and left almost engaging a subject in eyes contact. All of my photographs with human subjects refer to not where the subject is located, but the person before the lens and how did I visualize their emotions and feelings in a humanitarian neutral way. My images are intended to resonate with the viewer on a spiritual and human level and I try to pack in the metaphysical…attributes which tell their own story. I try to provoke an imaginative and intelligent response from the viewer with a purely visual reference.
Adolphe Braun
France
1812 | † 1877
Jean Adolphe Braun was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, Braun used contemporary innovations in photographic reproduction to market his photographs worldwide. In his later years, he used photographic techniques to reproduce famous works of art, which helped advance the field of art history. Braun was born in Besançon in 1812, the eldest child of Samuel Braun (1785–1877), a police officer, and Marie Antoinette Regard (born 1795). When he was about 10, his family relocated to Mulhouse, a textile manufacturing center in the Alsace region along the Franco-German border. He showed promise as a draftsman, and was sent to Paris in 1828 to study decorative design. In 1834, he married Louis Marie Danet, who he had three children with: Marie, Henri, and Louise. That same year, Adolphe, alongside his brother Charles, opened the first of several unsuccessful design partnerships. After several unsuccessful design ventures in the 1830s, Adolphe Braun published a successful collection of floral designs in 1842. Upon the premature death of his wife 1843, Braun sold his Paris studio and moved back to Mulhouse, where he became chief designer in the studio of Dollfus-Ausset, which provided patterns for textiles. He remarried to Pauline Melanie Petronille Baumann (1816–1885) on 12 December 1843 and had two more children with her; son Paul Gaston and daughter Marguerite. In 1847, he opened his own studio in Dornach, a suburb of Mulhouse. In the early 1850s, Braun began photographing flowers to aid in the design of new floral patterns. Making use of the recently developed collodion process, which allowed for print reproduction of the glass plates, he published over 300 of his photographs in an album, Fleurs photographiées, in 1855. These photographs caught the attention of the Paris art community, and Braun produced a second set for display at the Paris Universal Exposition that same year. In 1857, Adolphe Braun formed a photography company, Braun et Cie, and with the help of his sons, Henri and Gaston, and several employees, set about taking photographs of the Alsatian countryside. These were published in 1859 in L’Alsace photographiée, and several were displayed at the 1859 Salon. By the 1860s, the Braun et Cie studio was operating in a factory-like manner, producing all of its own materials except paper. The studio created thousands of stereoscopic images of the Alpine regions of France, Germany, Switzerland, and Italy. Braun also produced a number of large-format panoramic images of the Alpine countryside, using the pantoscopic camera developed by English inventors John Johnson and John Harrison. Photography historian Naomi Rosenblum described Braun's work as representative of the relationship between art and commercialism in the mid-19th century. His self-sustaining Mulhouse studio helped elevate photography from a craft to a full-scale business enterprise, producing thousands of unique images which were reproduced and marketed throughout Europe and North America. Rosenblum also suggests that Braun's detailed reproductions of works of art in European museums brought these works to art students in North America, providing a major catalyst for the field of art history in the United States. Braun's early photographs were primarily of flowers, originally taken to complement his work as a pattern designer. Subsequent photographs focused on Alpine landscapes, especially lake scenes, and glacier scenes. Unlike many landscape photographers during this period, Braun liked to include people in his scenes. Photography historian Helmut Gernsheim suggested that Braun was one of the most skillful photographers of his era in rendering composition. While not known as a portraitist, he did take portraits of several notable individuals, including Pope Pius IX, Franz Liszt, and the Countess of Castiglione, mistress of Napoleon III. Braun's work has been exhibited at the Metropolitan Museum of Art, The J. Paul Getty Museum, the George Eastman House, and the Musée d'Orsay. His photographs of Parisian street scenes and Alpine landscapes are frequently reproduced in works on the history of photography.Source: Wikipedia Trained as a fabric designer, Adolphe Braun began his photography career in 1853. His photographs of flowers, for a catalog titled Fleurs photographiées, were to be transferred onto printing blocks for wallpaper and fabric designs. It was an extremely successful project for Braun; one album of the photographs was presented to Empress Eugénie of France, and it earned him a medal at the 1855 Paris Exposition Universelle. By the early 1860s, Braun's focus had shifted to the making of topographical views of scenes throughout Europe and, beginning in 1866, to reproductions of works of art. The reproduction of paintings, drawings, lithographs, engravings, and sculpture was an important endeavor in France, and photography provided an accurate record. Braun opened a photography studio that became one of the world's largest publishers of such images. In 1869 Braun's was one of only two photographic firms invited to photograph the opening of the Suez Canal in Egypt.Source: The J. Paul Getty Museum
Apostolos Kaloudis
My name is Apostolos Kaloudis, and I'm an adventurer. I consider myself as an adventurer/explorer, rather than a photographer. When I was studying Medieval History, I was amazed by stories and details of military campaigns. Something that impassioned me later to go out and explore remote lands, such as the Silk Road, the vast Steppes & deserts of Central Asia & northern China or even former Himalayan Kingdoms. In 2015, I ve joined the National Geographic Photography Community (natgeoyourshot), a great "school of photography". Children of the Central Asian revolt of 1916 For thousand of years, pastoral & nomadic tribes lived across the northern steppes from Eurasia to China.This physical isolation allowed to some of them like the Kazakhs and Kyrgyz to preserve many of their oldest traditions, including the 4.000-year old art of eagle hunting. It wasn t always easy to maintain their ancestral traditions. When the Russian Empire began expanding into Central Asia during the second half of the 19th century it imposed a colonial regime upon the people of Central Asia. The attempts to settle and assimilate the nomadic tribes, the rampant corruption of the Russian colonial regime and Tsarist colonialism in all its economic, political, religious, and national dimensions are all seen as the contributing causes to an anti-Russian uprising in 1916 by the indigenous inhabitants of Central Asia. The revolt was put down with the utmost savagery, and more than hundred of thousands Kazakhs & Kyrgyz are said to have sought refuge across the Chinese and Mongolian frontiers. For the remaining Kazakhs & Kyrgyz, under the Soviet rule during the 1920s & 1930s, marked one of the darkest pages in their history. This project represent the diaspora of Kazakhs that found refuge after the events of 1916 in Western Mongolia, and managed to keep their millenniums-old traditions alive. In the future I wish to expand the project till Xinjiang China, & cover the smaller comunities in Kyrgyzstan & Kazakhstan.
Davide Bertuccio
Davide was born in Messina in 1991. He is a photojournalist based in Milan. He graduated with honors in 2016 at IED (Istituto Europeo di Design) at the school of visual arts in photography. Since the end of 2016, he focused on the theme of globalization, looking for stories that would give voice to the small realities crushed by that indefatigable desire for equality. In 2019 He decided to follow his passion for science and environmental problems with the realization of a work about the problem of plastic pollution in the Mediterranean Sea. Davide, inserted in 2014 among the 10 best under 25 Italian talents and nominated in 2019 by 6X6 World Press Photo Global Talent Program, has been published by National Geographic USA, National Geographic Italia, Il Reportage and his works received national and international awards. Accross the River's Flow Saxons are a community with German roots. Since XI century, together with Hungarians and Romanians, they’ve been living in the green heart of Romania. From this very land, a major migration is now taking place which marks the decline of centuries of history. Saxons are disappearing and their culture, their tongue and traditions along with them. “Across the river’s flow” aims to be a work about the disappearing of ethnic minorities, overwhelmed by the pace of modern life and by an ever-growing globalization. Saxons are an example of how authenticity is wiped out to make room for a fictitious daily routine and how entire ethnic groups and populations must surrender to outside forces such as racism.
Sven Delaye
France
1984
Sven Delaye, a digital nomad and videogames translator, has been traveling around the world for nine years. Throughout his journey, he always enjoyed capturing moments of life, but everything changed in early 2020: for a long time, he kept his street photography private, convinced it wouldn't interest others. In 2020, he submitted some landscape photos for the cover of a Guatemalan magazine. These photos were declined. However, the publisher explored his Instagram account and discovered the sole street photo he had shared. That single image was selected for the magazine's cover. Encouraged by this recognition, Sven began sharing his street photography, which quickly gained international acclaim in countries such as the USA, Mexico, Italy, the UK, Greece, France, and South Korea. For several years now, Sven has dedicated himself to street photography. Through his travels, it became a way to capture fleeting moments of everyday life, rediscover the poetry hidden in the mundane, and avoid the artificial clichés often propagated by social media. His inspiration comes from the simplicity of daily life: a stranger passing by, a fleeting glance, the curve of a smile, or the beauty of a quiet scene at a street corner. Sven finds poetry in unexpected places—a gutter, a park, or the shadow of a feeling in a small gesture. He believes this beauty surrounds us constantly, yet it often goes unnoticed. Whether it's because people choose to ignore it or have grown desensitized to it, he doesn’t know. What he does know is that his camera allows him to capture these overlooked moments and reveal the richness of life to those willing to see. Awarded Photographer of the Week - Week 03
Enri Canaj
Albania
1980
Enri Canaj was born in Tirana, Albania, in 1980. He spent his early childhood there and moved with his family to Greece in 1991, immediately after the opening of the borders. He is based in Athens and covers stories in Greece and the Balkans. He studied photography at the Leica Academy in Athens. In 2007 he took part in a British Council project on migration, attending a year-long workshop with Magnum photographer Nikos Economopoulos. Since 2008, he has been a freelance photographer for major publications such as Time Lightbox, CNN Photo, New York Magazine, MSNBC Photography, The Wall Street Journal, Courrier International, Vice Magazine, The Financial Times, Newsweek, Paris Match, Le Monde Diplomatique, sample of his work has been exhibited at the Museum of Contemporary Art of Thessaloniki personal exhibition, HANOVER LUMIX Festival, Arles Festival, Benaki Museum Athens, Museum of Photography Thesaloniki, BOZAR Center for Fine Arts, Cultural Foundation of the National Bank of Greece in Athens, at the Bilgi Santral in Istanbul, the European Parliament in Brussels and the Athens Photo Festival, New Delhi Foto Festival.Source: Magnum Photos In 2010, statistics stated that some 90% of all illegal border crossings into the EU take place in Greek territory, with immigrants coming mostly from the Middle East, North Africa and South Asia, a reflection of the geopolitical conflicts currently ravaging each region, and the influx continues. These people are common a sight in Athens, as western tourists take part in the cultural tourism that keeps this city alive; peddling cheap products made in China – a crude image of capitalism eating its own tail. And yet, despite the ease with which this situation might be covered in bursts by the mainstream press, Enri Canaj’s work has consistently surrounded themes of migration within the Balkans, and more specifically the experience of immigrants in Greece, suggesting a dedication to a cause, rather than a newsworthy story. Since 2007, when he took part a yearlong project on migration with Magnum photographer Nikos Economopoulos entitled the City Streets Project organized by the British Council, this focus has become one of the key aspects to his work. And despite his professional status as a photojournalist, Canaj’s images reveal a more personal relationship to the situation of the migrant on the ground, given that Canaj himself was an immigrant who came to Greece from his native Albania in 1991 at the age of eleven. Having experienced first hand what it’s like to exist on the outside looking in, Canaj translates what he sees, and sends it back out into the world so as to reflect a sense of humanity in the lives of those so often treated as less than.Source: Aint-Bad In June 2019 Enri Canaj became a Magnum Photos associate. At-present he is based in Athens and covers stories in Greece, the Balkans, west & north Europe focusing on the migration matter.
William Eugene Smith
United States
1918 | † 1978
William Eugene Smith was an American photojournalist known for his refusal to compromise professional standards and his brutally vivid World War II photographs. Smith graduated from Wichita North High School in 1936. He began his career by taking pictures for two local newspapers, The Wichita Eagle (morning circulation) and the Beacon (evening circulation). He moved to New York City and began work for Newsweek and became known for his incessant perfectionism and thorny personality. Smith was fired from Newsweek for refusing to use medium format cameras and joined Life Magazine in 1939 using a 35mm camera. In 1945 he was wounded while photographing battle conditions in the Pacific theater of World War II. As a correspondent for Ziff-Davis Publishing and then Life again, W. Eugene Smith entered World War II on the front lines of the island-hopping American offensive against Japan, photographing U.S. Marines and Japanese prisoners of war at Saipan, Guam, Iwo Jima, and Okinawa. On Okinawa, Smith was hit by mortar fire. After recovering, he continued at Life and perfected the photo essay from 1947 to 1954. In 1950, he was sent to the United Kingdom to cover the General Election, in which the Labour Party, under Clement Attlee, was narrowly victorious. Life had taken an editorial stance against the Labour government. In the end, a limited number of Smith's photographs of working-class Britain were published, including three shots of the South Wales valleys. In a documentary made by BBC Wales, Professor Dai Smith traced a miner who described how he and two colleagues had met Smith on their way home from work at the pit and had been instructed on how to pose for one of the photos published in Life. Smith severed his ties with Life over the way in which the magazine used his photographs of Albert Schweitzer. Upon leaving Life, Smith joined the Magnum Photos agency in 1955. There he started his project to document Pittsburgh. This project was supposed to take him three weeks, but spanned three years and tens of thousands of negatives. It was too large ever to be shown, although a series of book-length photo essays were eventually produced. From 1957 to 1965 he took photographs and made recordings of jazz musicians at a Manhattan loft shared by David X. Young, Dick Cary and Hall Overton. In January 1972, William Eugene Smith was attacked by Chisso employees near Tokyo, in an attempt to stop him from further publicizing the Minamata disease to the world. Although Smith survived the attack, his sight in one eye deteriorated. Smith and his Japanese wife lived in the city of Minamata from 1971 to 1973 and took many photos as part of a photo essay detailing the effects of Minamata disease, which was caused by a Chisso factory discharging heavy metals into water sources around Minamata. One of his most famous works, Tomoko Uemura in Her Bath, taken in December 1971 and published a few months after the 1972 attack, drew worldwide attention to the effects of Minamata disease. Complications from his long-term consumption of drugs, notably amphetamines (taken to enable his workaholic tendencies), and alcohol led to a massive stroke, from which Eugene Smith died in 1978. He is buried in Crum Elbow Cemetery, Pleasant Valley, New York. Smith was perhaps the originator and arguably the master of the photo-essay. In addition to Pittsburgh, these works include Nurse Midwife, Minamata, Country Doctor, and Albert Schweitzer - A Man of Mercy. Today, Smith's legacy lives on through the W. Eugene Smith Memorial Fund to promote "humanistic photography." Since 1980, the fund has awarded photographers for exceptional accomplishments in the field.Source: Wikipedia Born and reared in Wichita, Kansas, W. Eugene Smith became interested in photography at the age of fourteen, and three years later had begun to photograph for local newspapers. He received a photography scholarship to the University of Notre Dame, but he left after a year for New York, where he joined the staff of Newsweek and freelanced for LIFE, Collier's, Harper's Bazaar, The New York Times, and other publications. Beginning in 1939, Smith began working sporadically as a staff photographer for LIFE, with which he had a tempestuous relationship throughout the rest of his career. During World War II he was a war correspondent in the Pacific theater for the Ziff-Davis publishing company and LIFE, for whom he was working when he was severely wounded in Okinawa in 1945. After a two-year recuperation, he returned to the magazine and produced many of his best photo essays, including Country Doctor, Spanish Village, and A Man of Mercy. In 1955, he joined Magnum, the international cooperative photography agency founded by Henri Cartier-Bresson, Robert Capa, George Rodger and Chim (David Seymour), and began work on a large photographic study of Pittsburgh, for which he received Guggenheim Fellowships in 1956 and 1957. Smith continued to freelance for LIFE, Pageant, and Sports Illustrated, among other periodicals, for the rest of his career. From 1959 to 1977, he worked for Hitachi in Japan and taught at the New School for Social Research and the School of Visual Arts in New York and the University of Arizona in Tucson. His last photo essay, Minamata, completed in the 1970s, depicted victims of mercury poisoning in a Japanese fishing village. Smith is credited with developing the photo essay to its ultimate form. He was an exacting printer, and the combination of innovation, integrity and technical mastery in his photography made his work the standard by which photojournalism was measured for many years. In recognition of his outstanding contribution to the development of photojournalism, the W. Eugene Smith Memorial Fund was established after his death to support the projects of photographers working in the tradition he established. Source: International Center of Photography
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AAP Magazine #54 Nature
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