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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Sebastian Piórek
Sebastian Piórek
Sebastian Piórek

Sebastian Piórek

Country: Poland
Birth: 1988

Based in Warsaw (Poland) is a talented photographer who specializes in capturing minimalistic shots of architecture and landscapes. Through his photographs, he strives to create and present a simple and austere approach to the viewers. In today's world, where we are inundated with a lot of technical and visual information, minimalism offers a soothing respite for our busy minds. His intention is to prompt the audience to perceive reality from a fresh perspective, encouraging contemplation on time and existence. His exceptional works have garnered acclaim in numerous Polish and international photography contests. Recently, his photographs have been published in renowned publications such as "100 [HUNDRED] Best Selected," "Photography in the Visual Culture," "We Contemporary 2022," and "Black, White & Infinite Colors."
 

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More Great Photographers To Discover

George Rodger
United Kingdom
1908 | † 1995
George Rodger was a British photojournalist and war photographer, best known for his work documenting World War II and Africa. He was born on May 20, 1908, in Hale, Cheshire, England, and began his career as a photographer in the 1930s, working for magazines such as National Geographic and Illustrated London News. In 1940, Rodger joined the British Army as a war photographer, and covered the North Africa campaign and the invasion of Sicily. He later joined the RAF and covered the Normandy invasion and the liberation of Europe. His photographs from this period captured the harsh realities of war and the human impact of the conflict. When I discovered that I could look at the horror of Belsen—4,000 dead and starving lying around—and think only of a nice photographic composition, I knew something had happened to me and it had to stop. -- George Rodger After the war, George Rodger traveled to Africa and documented the continent's people and cultures. He spent several years living and working in West Africa, and his photographs from this period captured the daily lives of the people and the beauty of the land. He also documented the Mau Mau rebellion in Kenya, which aimed to end British colonial rule, and the effects of the rebellion on the local population. In addition to his work as a photojournalist, Rodger was also a founding member of the Magnum Photos agency, along with other renowned photographers such as Henri Cartier-Bresson, Robert Capa, and David "Chim" Seymour. He served as the first president of the agency and played an important role in establishing its reputation as one of the premier photographic agencies in the world. Rodger's photographs have been widely exhibited and published, and his work is held in several major museums and collections, including the National Portrait Gallery in London, the Museum of Modern Art in New York, and the Bibliothèque Nationale de France in Paris. I had no contact with my contemporaries in the photographic field, nor even knowledge of their work. So I was influenced by no-one and there were no short cuts for me. I was self-taught the hard way, by trial and error... -- George Rodger Throughout his career, George Rodger always sought to document the human experience, whether it was the horrors of war or the beauty of everyday life. He believed that photography had the power to change the world and to bring about social change, and his work continues to inspire and inform photographers and photojournalists today. George Rodger passed away on July 9, 1995, in London, England. His legacy continues to inspire photographers around the world with his dedication to document the human experience, and his work remains iconic and powerful to this day.
Nikos Economopoulos
Nikos Economopoulos (b.1953) is a Greek photographer known for his photography of the Balkans and of Greece in particular. Born in Kalamata, Economopoulos studied law at university and worked as a journalist. He only started taking photographs at 25 when a friend in Italy showed him a book of the work of Henri Cartier-Bresson, which had an impact that was both instant and lasting. Cartier-Bresson "showed me a new way to see things... What I saw in his work was not only geometry and composition, but a kind of ambiguity." Economopoulos recalls that even then he did not start photography for over two years but instead bought photography books. Then he started photography: "I never photographed sunrises or made souvenir pictures of my children. For about eight or nine years I photographed at weekends and during my holidays, always in a serious way, working from morning to night." As early as 1984, Economopoulos says, "it bothered me ideologically that Greeks and Turks were enemies", and he visited Turkey to take photographs. "No Greek at that time would go to Turkey on holiday", he writes, and his Greek friends were incredulous; but Economopoulos quickly felt at home in Turkey, where the atmosphere "was exactly the same as when I was a kid in the 1960s." (Much later, he would add that Greece and western Turkey had replaced tavernas with McDonald's, while east Turkey still preserved the values of the past.) In 1988, Economopoulos finished work as a journalist and set off on a two-year photographic survey of Greece and Turkey. Nikos Economopoulos was encouraged to join Magnum Photos by the Greek-American photographer Costa Manos, and became an associate member in 1990 and, after his work in Albania, Bulgaria, Romania and the former Yugoslavia, a full member in 1994. His early work won him the 1992 Mother Jones Award for Documentary Photography. In 1993, Frank Viviano, who had first met Economopoulos in Timișoara just after the fall of Nicolae Ceauşescu, wrote that: "Economopoulos says his intention is to document the existence of what he calls the 'Balkan Man': to knit together the skeins of a collective identity in a region whose historical convulsions have made its name a synonym for implacable differences. It would appear to be a fool's errand. But almost anyone who has crossed the madman's web of frontiers and borders that stretches over the Balkans, from Istanbul to the Italian border, is likely to agree with Economopoulos's premise — and to recognize, in his work, the contradictions that sum up Balkan truth." With support from the Little Brothers of the Poor, in 1994 Economopoulos photographed gypsies in Greece, and in 1995–96 lignite miners and Muslims in Greece. In 1997–98 he concentrated on people living on the "Green Line" separating Northern Cyprus, illegal migration across the Albanian–Greek border, and young people in Tokyo; and for the next two years Albanians fleeing Kosovo. He also worked on a commission from the University of the Aegean on storytelling in the region. Economopoulos was dissatisfied with the assignment in Japan, as he felt unable to communicate with people and was just as estranged after three weeks of work as he had been on his arrival. By contrast, he writes that "I prefer to spend my time in my corner of the world, south Europe and west Asia, where I understand the codes and can make connections." This does not mean that the Balkans are an open book to him: Economopoulos has also written of the paradoxes apparent in Albania; and also across the Balkans, where faces can be sad even in wedding parties. Economopoulos's photography of Turkey won him the 2001 Abdi İpekçi Award for promoting friendship between Turkey and Greece. Painfully aware of the bitterness often encouraged in both Greece and Turkey toward the other, he has written appreciatively of the personal welcome given to him by the Turks that he meets. "There are no real differences [between Greeks and Turks]. I love Turkey and I can live there. I can't live in Paris or in London. But Istanbul — I can live there." Economopoulos's photographs have been published in The Guardian, The Independent, Le Monde, Libération, The New York Times, El País, and Die Zeit. He feels that there is no future in photojournalism. There is a loss of quality in photographs in newspapers, and Robert Capa would not take photographs if he were living today. But he concedes that Abbas and James Nachtwey would be among those who disagree.Source: Wikipedia In the mid-1990s, he started photographing the Roma and other minorities. In 2000, he completed a book project on the Aegean islands storytellers, commissioned by the University of the Aegean. A retrospective of his work titled Economopoulos, Photographer was published in 2002 and later exhibited at the Benaki Museum, Athens. Returning to Turkey, he pursued his long-term personal project, where he received the Abdi Ipektsi award (2001), for peace and friendship between Greek and Turkish people. He has recently turned to the use of color. Currently, he is spending most of his time away from Greece, traveling, teaching and photographing around the world, in the context of his long-term On The Road project.Source: Magnum Photos
Peter Nitsch
Peter Nitsch was part of the late eighties of the German Skater scene. He studied communication design in Munich and graduated as a designer from the University of Munich, Department of Design (specializing in motion design). As an on-air designer, he worked for clients such as Universal Studios, ProSieben, 13th Street, SciFi Channel, and the United Nations. He then began to concentrate on corporate design and photography. Nitsch has won several international awards both as a designer (New York Festival, BDA) and photographer (Los Angeles International Photography Award, Hasselblad Masters semifinalist). He is co-founder of 'Playboard Magazine', 'RUPA' and the former culture blog 'get addicted to'. In 2020 Nitsch became a lifetime member of The Royal Photographic Society of Thailand. Tango in the Big Mango For me, my photography has always been related to people, stories, and life's journey. Tango In The Big Mango is an attempt in observing moments of people in dialogue with life. The series explores Bangkok as a city in which the coexistence of different cultures and people from different countries, despite their peculiarities, have found a way to live together. Tango in the Big Mango photo book is a mixture of documentary/street and conceptual images. The series consists of four parts: documentary/street photography, and conceptual themes of greed, growth, and angst. Tango in the Big Mango captures the intensity of urban life and barrage of consumption, culture, and eccentricity in Bangkok. More about Tango in the Big Mango photo book
Isabel Muñoz
Spain
1951
Born in Barcelona in 1951, she moved to Madrid in 1970 where nine years later, she registered at PhotoCentro to completely dedicate herself to professional photography. She worked for the press and advertising sector in 1981, and made various still photos during film shoots. After a spell in New York to further her training, she returned to Madrid in 1986 where she produced Toques, her first exhibition. She travelled the world between 1990 and 2007, discovering and immersing herself in different artistic and cultural expressions, before producing her following series and exhibitions: Shaolín, Camboya Herida, Capoeira, Contorsionistas, Tanger, Tango and Toros. She usually works in black and white. She received the Gold Medal for Merit in Fine Arts in 2009 for her work. Source: Spain Culture When she was 20 years old, she moved to Madrid and started studying photography in 1979 in Photocentro. In 1986, she made her first exhibition, Toques and she has already made more exhibitions in several countries of the world for more than 20 years. Her black-and-white photos are a study of people through pieces of the human body or pictures of toreros, dancers or warriors, by using a handmade and meticulous process of developing. Her works are in the Maison Européenne de la Photographie, in Paris, the New Museum of Contemporary Art, in New York City, the Contemporary Arts Museum in Houston or private collections. Source: Wikipedia Isabel Muñoz stands out as an assertive photographer. Platinum developments and extra-large formats are favourite techniques used in order to strengthen her message of passion for the body as a means of approaching the study of human beings. Tango and Flamenco (1989) are considered the starting point of her unremitting search of the sentiments and emotions of world groups and cultures in an attempt to capture the expressions of beauty of the human body. When Muñoz focuses her camera on dancers, wrestlers, warrior monks, bullfighters or deprived children she does it with a strong sense of commitment. Her first individual exhibition, Toques, in 1986 at the French Institute in Madrid and her participation in the Mois de la Photographie in Paris in 1990, set her international projection as a high profile photographer without boundaries. These will be the first of many exhibitions throughout the main cities of Europe, the Americas and Asia. Her photographs are shown at the Museo Nacional Centro de Arte Reina Sofía (Madrid), Foto Colectania (Barcelona), Fundación Canal (Madrid), Maison Européenne de la Photographie (París), New Museum of Contemporary Art (New York) and Instituto Cervantes (Mexico, Guatemala, Bolivia, Shanghai, Tokio). Isabel Muñoz work has been widely recognized with numerous honours and distinctions. Recent awards include Fundación DEARTE (2012), the UNICEF Spain Awareness Rasing Award in 2010, Bartolomé Ros Prize (PHotoEspaña 2009), the Spanish Ministry of Culture Gold Medal to Fine Arts in Spain (2009), the first prize in photography by Comunidad de Madrid (2006), the two World Press Photo prizes (2000 and 2004), the Biennial of Alexandria Gold Medal (1999), Isabel Muñoz was born in Barcelona in 1951 and lives in Madrid since 1970. Source: LensCulture
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