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Frédéric Demeuse
Frédéric Demeuse
Frédéric Demeuse

Frédéric Demeuse

Country: Belgium
Birth: 1978

Frédéric Demeuse is a Belgian photographer and visual artist based in Brussels, Belgium. He is driven by a boundless passion for the outdoors, capturing the vital energy, beauty, and poetry of the world through his lens. From the smallest details to majestic landscapes, from wildlife to remote primary forests with limitless aesthetics, Frédéric transcribes the world around him into visually idealistic images.

Through his work, Frédéric explores the relationship between humans and the living community, the scale of time, the history of evolution, and what exists beyond the human condition. He uses photography as a raw material, a permanent work of observation and research on light, texture, and composition. His images, inspired by living dreams and pure curiosity, are best expressed in black and white, as the soul of the subject is showcased without any distractions. The serve as a reminder of the importance of our relationship with the biosphere, and the hope that mankind will never forget that it is the most valuable element of our existence and of our community of destiny.

Websites

www.fredericdemeuse.com

@fredericdemeuse

 

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Polly Gaillard
Polly Gaillard
United States
1965
Polly Gaillard is a fine art photographer, writer, and educator. She is part-time Professor of Art at Furman University and has taught photography workshops and college courses for more than ten years including summers abroad teaching American students in Prague, Czech Republic, and Cortona, Italy. Polly received a Master of Fine Arts in Visual Arts from Vermont College of Fine Arts in 2010. She has exhibited her fine art photographs nationally and published a limited edition artist book, Pressure Points, with a foreword by actress Jamie Lee Curtis. Polly's photographic skills traverse contemporary art, documentary, portrait, and traditional photographic practices. She lives in Greenville, SC with her daughter. You, From a Distance Making portraits in a pandemic is challenging if you like to get closer than six feet to your subject. Frustrated by an inability to work at close range, I began to make portraits on my computer screen via FaceTime and Zoom by photographing friends, family, acquaintances, strangers, and my daughter at her father's home. This collaboration with others is particularly rewarding, especially when I've put the camera down, and we sit screen to screen discussing the changes in our collective worlds while checking in to make sure the other is okay. Each person has been generous in showing me around their homes to find the right background and light. They move furniture, take pictures off the wall, change clothing to create the right contrast, and position their laptops or phones so that I can take their picture at just the right angle. I sit behind my screen watching them do the work that I so desperately want to do as I experience a heightened sense of ambivalence, the love of "seeing" others, the distaste for lack of physical control over the situation. At times, the process calls for a third person to hold the camera phone, sometimes that assistant is a six-year-old girl, a father, a husband, or a cousin. During the awkwardness of the portrait session, there are moments of laughter when cats photobomb the sitting, a mother walks in the room wanting to reclaim her office space, a dad saunters by with a laundry basket, a sibling or grandchild screams from an adjoining room, and many phones crash to the floor from their perch of prime picture-taking position. We laugh together across connected distances about the absurdity of the situation and that I am trying to make a meaningful portrait amid unpredictability. Strangely, I find the absurdity satisfying; everything feels peculiar at this moment in time. For a more technically astute photographer than myself, the lack of technical command over making screen portraits would be unnerving. In essence, the image is blurry if the Wifi connection isn't clear. There are uncontrollable color shifts due to monitor calibrations; a moire pattern may appear because the screen is refreshing, and the perspective of the body can distort if the phone isn't perfectly parallel to the subject. I won't elaborate on how the highlights and shadows clip. The image noise and pixelation can drive you mad if you don't accept it as divine intervention. I find myself wanting to jump into the scene and move things and bodies, hold reflectors, close blinds, and refrain from making my subject do the heavy lifting. However, I sit behind the computer giving direction to "look to the right, chin down, eyes up, come closer to the camera" and then I embrace every technical flaw as if it's a gift. The power I have over the subject and the limitation I command over the image humbles me. The vulnerability I feel in putting these imperfect images into the world is tempered by the realization that we are all powerless in the face of this pandemic. You, From a Distance reflects the way I have experienced life during the Covid-19 pandemic- a personal feeling of distance and loss but with a desire to hold onto normalcy of making pictures, albeit without influence over the outcome. I am interested in these new ways of seeing each other and being together without being together - I look at you on my computer, in return, you look back at me through a phone or laptop while you can also see yourself in the frame. Who are we looking at - ourselves or others? The intersection of gazes is countless at times; it excites and confuses me. The process of looking and seeing divided by screens changes everything I have learned about image-making. The portraits become my memory of shared moments across time zones with distant faces; the four walls of my house expand into the space of others' homes. The intimacy I feel with the subject ironically is far greater than the portraits I make in-person in a time before social distance. In the span of one month, I have virtually traveled to five countries, five states, and homes nearby in South Carolina. Although more than the required physical distance is maintained through these portrait sittings, the mutual human connection is undoubtedly rich with meaning and unlimited possibility. December and Everything After
Ebru Sidar
Ebru Sidar
Turkey
1975
Ebru Sidar was born on 13 January 1975 in Trabzon. Since her parents were bankers, she traveled to many cities in Turkey and then moved to Ankara. She is now living between France and Turkey. She graduated from Ankara University as a Geology Engineer. She thinks that all types of art affect and are connected to each other. Capturing “the good” in thoughts and the physical world, she believes that any work on which someone focuses mentally, emotionally and physically is meant to be good.Considering photography as a common property and language of humanity, she believes that it should always promote and contribute to sustainable peace. She has been actively working on photography since February 2005. While continuously developing her skills and knowledge, she never wants to give up her amateur spirit.
Nobuyoshi Araki
Nobuyoshi Araki
Japan
1940
Nobuyoshi Araki is a Japanese photographer and contemporary artist. He is also known by the nickname Arākī. He was born in Tokyo, studied photography during his college years and then went to work at the advertising agency Dentsu, where he met his future wife, the essayist Yōko Araki. After they were married, Araki published a book of pictures of his wife taken during their honeymoon titled Sentimental Journey. She died in 1990. Pictures taken during her last days were published in a book titled Winter Journey. Having published over 350 books by 2005, and still more every year, Araki is considered one of the most prolific artists alive or dead in Japan and around the world. Many of his photographs are erotic; some have been called pornographic. Among his photography books are Sentimental Journey (1971, but later reissued), Tokyo Lucky Hole (1985), and Shino. He also contributed photography to the Sunrise anime series Brain Powered. In 1981, Araki directed High School Girl Fake Diary a Roman Porno film for Nikkatsu studio. The film proved to be a disappointment both to Araki's fans, and to fans of the pink film genre. The Icelandic musician Björk is an admirer of Araki's work, and served as one of his models. At her request he photographed the cover and inner sleeve pages of her 1997 remix album, Telegram. More recently, he has photographed pop singer Lady Gaga. Araki's life and work were the subject of Travis Klose's 2005 documentary film Arakimentari. His works are held in numerous museum collections including the Tate and the San Francisco Museum of Modern Art.Source: Wikipedia Nobuyoshi Araki is a prolific photographer who has produced thousands of photographs over the course of his career. He became famous for Un Voyage Sentimental (1971), a series of photos depicting both banal and deeply intimate scenes of his wife during their honeymoon. A number of his works feature young women in sexualized situations: Kinbaku, a series from 1979, features 101 photographs of women in rope bondage. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. More recently, Araki has been working on a series titled Faces of Japan (2009-) in which the artist photographs 500 to 1,000 people in each of Japan’s prefectures.Source: Artsy Nobuyoshi Araki is a contemporary Japanese photographer known both for his prolific output and his erotic imagery. While sometimes focusing on quotidian subject matter, including flowers or street scenes, it is Araki’s sexual imagery that has elicited controversy and fascination. Similar to the work of Helmut Newton, Araki often addresses subversive themes—such as Japanese bondage kinbaku—in his provocative depictions of female nudes. “Women? Well, they are gods. They will always fascinate me. As for rope, I always have it with me. Even when I forget my film, the rope is always in my bag,” he said of his subject matter. “Since I can't tie their hearts up, I tie their bodies up instead.” Born on May 25, 1940 in Tokyo, Japan, he studied photography at Chiba University, before pursuing a career as a commercial photographer upon his graduation in 1963. In 1970, while working as a freelance photographer, he began to publish numerous photography books, including Sentimental Journey (1971), a visual narrative of the honeymoon with his wife Aoki Yoko. Araki currently resides in Tokyo, Japan, a city that has served as a constant source of inspiration throughout his career. Today, his works are held in the collections of the Institute of Design in Chicago, the Goetz Collection in Munich, and the San Francisco Museum of Modern Art, among others.Source: Artnet
Pierre Baëlen
Pierre Baëlen
France
1981
Pierre Baëlen was born in 1981 in South of France. His interest in photography began when his best friend promised him to have good fun in jumping in devastated buldings during photography courses when he was 14 years old. Surprising by the discover of the The 6x6 camera, his first love quickly became the darkroom where he began experimenting with printing and developing in the family's bathroom.He attended Orthez's photography School for Performing & Visual Arts and, from there, went on to attend photography report and experimental in illustration work. He moved to Paris in 2001. In October 2001, he began shooting small assignments as freelance photographer. Next winter he met a car advertising photographer, with wich one he spent about 8 years working and traveling all arround the world as first freelance assistant. During the evolution from large format and digital shooting experimentation in assignement works as first assistant gave him the priceless experience in comptempory photography. Summer 2011, he became a full time photographer. The main theme of his work revolves arround imaginary landscapes, a journey between onirism and comtempory reality. Discover Pierre Baëlen's Interview
Francis Malapris
Francis Malapris
France
1968
Schizothymic baby-boomer, at the age of 12 Francis takes refuge in computer science and excels in this field despite social and academic failure. In 1996, as he becomes an engineer, he meets the need to preserve memories of the Moment and tries photography. Gradually, this utopia fades to give way to the sensitivity he has so long repressed. 20 years later, he is an accomplished self-taught artist through the study of technique and the masters who inspire him such as Raymond Depardon, Rafael Minkkinen and Daido Moriyama. Key encounters have formed his photographic approach to bring him to social contact and staging. He then abandons computer sciences to exploit his bubbling creativity, full of sensitivity. The human being is then at the center of his work, after the fashion of the "Self" (Freud), which lies between unconscious desires and moral standards. Affected by the death of a friend, he undertakes a strong introspection that will highlight neuroses that he crystallizes through nude photography. In 2011, he begins the IN SITU project about mental escape, a phenomenon that concerns him. In 2014, he develops a shooting process to build the AQUATIC series. In 2017, the images encounter a great success, are published and exhibited at the FEPN in Arles, namely with the festival bill. With his installation in the heart of the Saint Anne chapel, Francis goes beyond photography to offer a contemporary art installation which sublimates female energy. Artist Statement "The human element is a fantastic material. I like observing bodies, their movements and expressions, sometimes with the idea of appropriating them. The part that fascinates me the most, because almost inaccessible, is the soul, at the head of the personality with its tastes, emotions and especially its history. Then comes the complex relationship to society, which evolves with environment and time. I approach the person naturally with openness and sensitivity, on the lookout for singularities that may resonate in me. From object, 'the other' becomes a proper individual, whose distinguishable particles and sub-particles I highlight. The main theme of the work I am presenting is that of the relation to reality: whereas the physical body is submitted to the present, imagination is free to roam without constraint in time and space. The ambiguity of this permanent oscillation between rational and irrational, resignation and escape, motivates me in my research where letting go is the motto. The plurality of my projects illustrates the richness of mental spaces that I have visited. Whether dreamlike or real, I put limits only on the possible interpretation of the codes that I use."
Silvia Alessi
Silvia Alessi
Italy
1975
I was born in Bergamo, Italy in 1975. I have worked as a hairstylist and make-up artist since I was 17. In 2004, while on a trip to Asia, I discovered an interest in reportage photography. I have since travelled extensively pursuing my passion for photography and “telling stories worthy of being told.” My process is a blend of artistic expression and reportage, inspired by an openness to diverse cultures and traditions. Blending this openness with curiosity and artistic expression has allowed me to produce award-winning photography. For many months before travelling to my chosen destination, I research and develop my concept, considering particularly the social context. I also consider deeply the question of finding the appropriate visual language to render the concept beautifully.
Thomas Dodd
Thomas Dodd
United States
Thomas Dodd is a visual artist and photographer based out of Atlanta, Georgia who has developed a style that he calls "painterly photo montage" - a method he employs during principal photography and in editing software with which he crafts elaborately textured pieces that have a very organic and decidedly non-digital look to them. His work often has mythic and quasi-religious themes that pay homage to Old Master art traditions while at the same time drawing from psychological archetypes that evoke a strong emotional response from the viewer. Although his artwork resembles paintings, his pieces are entirely photographic in nature, fusing many images into a cohesive whole. His larger works are often presented in a mixed media form that adds a depth and texture that complements the photography beautifully. Thomas has had numerous exhibitions of his works in many cities in the USA and around the world. He has had recent shows in New York City, Paris, Mexico City, New Orleans, Tokyo, San Antonio, Seattle, and in his hometown of Atlanta. Dodd's photographs have been featured in many magazines, on book and album covers and he frequently teaches workshops and webinars on photo-editing and marketing for artists. Thomas began his career as a visual artist in 2005. Before that, he was best known as the harpist and songwriter for the 1990s musical group Trio Nocturna, a Celtic Gothic ensemble that put out three critically-acclaimed albums ("Morphia", "Tears of Light" and "Songs of the Celtic Night") and performed at author Anne Rice's annual Halloween balls in New Orleans, as well as spawning an offshoot band called the Changelings. Thomas also played harp on two albums by Michael Gira (the driving force behind the influential post-punk band the Swans): "the Body Lovers" and the Angels of Light "New Mother". The images that Thomas creates are basically a visual equivalent of the music he composed in the 1990s. Mythic themes and their relation to emotions and psychological states continue to be his primary subjects and motivations. Source: thomasdodd.com Interview with Thomas Dodd All About Photo: When did you realize you wanted to be a photographer? Thomas Dodd: There was a period in my early teens where I was inspired by seeing a gallery show of Ansel Adams’ work, and for a short time thereafter I was compelled to study black and white film photography (of course, digital did not exist back then in the 1970s), but that inspiration quickly was replaced by the kick in the ass I received when I heard the Sex Pistols (in 1977) which made me run out and get a guitar so I could take out my teen angst upon the (non-listening) world! AAP: Where did you study photography? With whom? TD: My father taught me the basics of the camera back in the 1970s. I also took a darkroom course in high school. My reemergence as a photographer in 2006 (after a 25 year musical career playing the Celtic harp) was basically a self-taught one with quite a few online tutorials along the way! AAP: Do you have a mentor? TD: My father was a great influence on me- both as a photographer and a human being. AAP: How long have you been a photographer? TD: Since 2006. My brief dabbling in photography in the 70s barely counts! AAP: Do you remember your first shot? What was it? TD: My first real photoshoot was of my friend (and first Muse) Halley dressed in a beautiful Rococo-themed dress she made. We wandered through the streets of downtown Decatur Ga. at around midnight searching for street light to shoot in. AAP: What or who inspires you? TD: Beauty inspires me. Great painters inspire me. An artistic or chameleonesque model inspires me... AAP: How could you describe your style? TD: “Painterly” photo montage with an artistic approach AAP: Do you have a favorite photograph or series? TD: My favorite photo is always the one I am currently working on! AAP: What kind of gear do you use? Camera, lens, digital, film? TD: I really am not one of those photographers who likes to talk about gear because I think the most important tool that an artist possesses is their imagination... but I shoot with a Sony A57 using a 18-70mm lens. AAP: Do you spend a lot of time editing your images? For what purpose? TD: I seem to spend ALL my time editing photos - What purpose? Self expression and sometimes' client satisfaction! AAP: Favorite(s) photographer(s)? TD: Jan Saudek - for the way he created such boldly erotic personal imagery while hiding from a repressive Communist regime... He also used texture and color in a very painterly way which has influenced me a great deal. AAP: What advice would you give a young photographer? TD: Don't be in a hurry to "succeed", and shun advice like "Fake it ‘til you make it". It takes TIME and PATIENCE to develop your own style. Always follow your own voice and don't be swayed by what is currently popular, and don't forget to ENJOY it - this is not supposed to feel like work! AAP: What mistake should a young photographer avoid? TD: Becoming an imitation or a copy of another photographer. Being in a hurry to get published or displayed in galleries is another common mistake. Take the time and develop your craft for a few years before you start thinking about sharing it with the world! AAP: Any quotes you would like to share? TD: "I am steadily surprised that there are so many photographers that reject manipulating reality, as if that was wrong. Change reality! If you don't find it, invent it!" - Pete Turner AAP: What current projects are you working on? TD: Nothing I can tell you about, but I will drop a hint and say it involves shattering some commonly held preconceptions about a "marginalized" segment of society. AAP: Your best memory as a photographer? TD: There have been so many, it's hard to choose an absolute best but I will say my first solo show, my first print sale and my first publication were all high points! AAP: Your worst souvenir as a photographer? TD: My broken D50 which gasped it’s last breath 5 clicks into a nude shoot! Or maybe the memory card and external hard drive that I irretrievably lost data from. Here is some more good advice - ALWAYS use an online backup in addition to discs and hard drives! AAP:The compliment that touched you most? TD: When my 92 year old Mother came to my first big gallery show in Atlanta (featuring some very large nude images) and said she was proud of me... AAP: Your favorite photo book? TD: Bob Carlos Clarke's "The Dark Summer" and Helmut Newton's "White Women". AAP: An anecdote? TD: I long ago learned as a model photographer that the crucial things to pack in your camera bag are not extra lenses, filters and light meters, They are instead bobby pins, safety pins, hair ties, insect repellent and sun block. Oh yeah, and a few model releases too! AAP: Anything else you would like to share? TD: Please feel free to "like" my Facebook page and introduce yourself.
Lottie Davies
Lottie Davies
United Kingdom
1971
Lottie Davies was born in Guildford, UK, in 1971. After a degree in philosophy at St Andrews University in Scotland, she moved back to England and has since been based in London and Cornwall as a photographer, artist and writer. Davies has won recognition in numerous awards, including the Association of Photographers' Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim; Quints ('Memories and Nightmares') won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, Viola As Twins won the Photographic Arte Laguna Prize in Venice in 2011, and she won the Young Masters Art Prize in 2012. Davies' work is concerned with stories and personal histories, the tales and myths we use to structure our lives: memories, life-stories, beliefs. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia, visual conventions and subconscious 'looking habits', with the intention of evoking a sense of recognition, narrative and movement. Sandy Nairne of the National Portrait Gallery in London has described Davies' work as "brilliantly imaginative". Quinn: A Journey
Jesse Alexander
Jesse Alexander
United States
1929 | † 2021
Jesse Alexander is an American photographer that covers motorsports, portraits, birds and travel. He also published several books. One of his first photo expeditions was in 1953 to the Carrera Panamericana race in Mexico. Since 1954, he covered large European races such as 24 Hours of Le Mans in France, and the Mille Miglia and Targa Florio of Italy. While in Europe he also photographed culture celebrities for New York Times, and was the European editor for Car and Driver magazine. He has exhibited at the Birmingham Museum of Art, the Akron Art Museum, and the Santa Barbara Museum of Art.Source: Wikipedia Jesse Alexander has been involved in photography and especially motorsports photography since the early 1950s when he covered the original Mexican Road Race. He then spent many years in Europe covering Formula One and the famous long distance sports car races, the 24 Hours of Le Mans, the Mille Miglia and Targa Florio. In that period of time he also photographed theater and music personalities for the New York Times. “As a young boy growing up during World War II, I was captivated by the imagery that came out of the war through the eyes of legendary photographers like Edward Steichen and W. Eugene Smith. My other heroes include Henri Cartier-Bresson, Jacques Henri Lartigue, Mary Ellen Mark, Bruce Davidson and Robert Capa”, he said. Jesse’s current body of work includes travel photographs of Iceland, the Galapagos Islands, and birds.Source: Fahey/Klein Gallery In the wake of World War II, a golden age of motor sports emerged in Europe, pitting competing countries against each other on the racetrack instead of the battlefield. A young photographer at the time, Jesse Alexander followed "the circus" and captured on film the adventure, glamour and innocence of this influential period in racing. In one image, Phil Hill waves after winning the 1960 Italian Grand Prix in his Ferrari; in another, Piero Taruffi celebrates his 1957 victory at the Mille Miglia in Brescia, Italy. Since then, Jesse Alexander has remained one of the most acclaimed and commercially successful racecar photographers in the history of the sport. Jesse Alexander's photographs have been exhibited in numerous museums and galleries in the United States, including the Birmingham Museum of Art, the Akron Art Museum, and the Santa Barbara Museum of Art. Source: Robert Klein Gallery
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AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes
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