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FINAL DAYS TO ENTER AAP MAGAZINE SHADOWS: GET PUBLISHED AND WIN $1,000
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Julio Marchamalo
Julio Marchamalo
Julio Marchamalo

Julio Marchamalo

Country: Spain
Birth: 1994

I was born in Madrid on Book Day in 1994. Although I studied Physics, I combine a full time job on science with my passion for photographing candid moments, mainly around my hometown, Madrid (Spain). I am completely amazed by how light can change a corner or a street that you may have walked by thousands of times and transform it into another reality, much more interesting than the ordinary. Thus, I must confess that I am a seeker of light, and I leave it the liberty to direct me to the corners and characters that make the ordinary into something else. What captivates me about street photography is the opportunity it gives the photographer to create an interesting and beautiful reality through the world that surrounds us everyday. To build this alternate reality I can say that colors speak to me, and the street calls.
 

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Nazanin Alipour Jeddi
Iran/United States
Nazanin Alipour Jeddi, known as Sitaaj, is a self-taught freelance photographer and translator born in Tehran, Iran, and currently residing in the United States. She specializes in capturing the nuanced experiences of women, exploring themes of gender, identity, and cultural dynamics. Sitaaj's photography has been exhibited internationally and recognized with multiple awards. Her work highlights the profound interplay between women's experiences and the cultural systems surrounding them, fostering dialogue and understanding through her art. In addition to her photography, Sitaaj is an accomplished translator. Her fifth translated book, Howto Be an Artist, was recently published in Tehran. Through her creative work and translations, Sitaaj seeks to inspire and empower individuals to pursue their passions, regardless of their backgrounds or circumstances. Photography remains her true passion, providing a medium to tell compelling and meaningful stories. Lingering Shadows The photography series "Lingering Shadows" is an attempt to capture the simple yet complex and hidden moments that women experience in their everyday lives. These images use the color blue to emphasize the often invisible fatigue—an endless cycle of tasks that, despite their importance, sometimes feel futile and unproductive. The dominant presence of blue conveys a deep sense of coldness and isolation. The goal of this series is to invite viewers to rethink the aspects of women's lives that often go unnoticed. Simple moments, such as drinking tea, preparing food, or a brief pause amid the daily chaos, take on new meaning in these images, representing the emptiness, futility, and underlying complexities in these seemingly ordinary experiences. These photos are not only a personal narrative but also a reflection of the collective experience of women around the world.
Sandrine Hermand-Grisel
Sandrine Hermand-Grisel grew up in Paris, France and in London, UK. She studied International Law before deciding to dedicate her life to photography in 1997. Influenced by her late mother's sculptures and her husbands paintings and films, she worked on several personal projects before her series Nocturnes was recognized in 2005 by Harry Gruyaert, Bertrand Despres and John Batho for the Prix Kodak de la Critique Photographique. In 2006 she moved with her family to the United States and began experimenting landscape photography with her series Somewhere and On the road. Despite the diversity of her projects she has a unique, very intimate, relationship with her subjects. Photography provides her with a way to express her feelings, like in the series ''Nocturnes'' where she photographed only close friends and family members peacefully abandoning themselves in front of her camera. ''Somewhere'' is her dream of America, a road trip through her adopted country. And ''Waterlilies'' is full of joy and love for her two children as she watched them jumping and playing in pools over and over again. Sandrine Hermand-Grisel not only photographs what she loves, she breaks free from her own reality in her poetic vision of the world. In 2013, she created the acclaimed website All About Photo and now spends most of her time discovering new talents while still working on personal projects. All about Sea Sketches Since I was a little girl my parents insisted that my brother and I accompany them almost every weekend to see an exhibition, a museum or an historic house. What was excruciating at first slowly became a real pleasure. Thanks to them, I had the privilege to see incredible exhibitions both in Paris and London where I grew up. Depending on my age and moods at the time, I favored a century, a movement, a painter... It was love at first sight when I discovered "Wanderer above the Sea of Fog" by Caspar David Friedrich. In the foreground, a young man stands upon a rocky precipice with his back to the viewer. He overlooks a landscape covered in a thick sea of fog. I was overwhelmed by the beauty of nature, the subtle colors, the calm and yet the movement that came from the wind. I perceived the character as content and in harmony with nature and I wondered if one day I would find my perfect place... and many years later, I did. On the west coast of Florida lies Anna Maria, a quaint barrier island nestled in the Gulf of Mexico. The water is warm and turquoise, the sand is white. Well preserved, the birds and turtles come here to nest while the respectful tourists lie on the sand every night to witness the incredible sunsets. Time is suspended. With the romantic painters Turner and Friedrich in mind, I captured a glimpse of Anna Maria, its light, its beaches, its movement, its unleashed elements... I hope you will immerse yourself in my Sea Sketches "paintings" and escape with me, even for the length of a sigh, from the harsh realities of life and share my happy place.
Ofir Barak
My name is Ofir Barak, I'm a photographer based here in Jerusalem. I can honestly say that I have been an artistic person all my life. I started out as a painter and was very passionate about it from a very early age. In 2013 I was lacking the motivation to create I was frustrated and I decided to put it aside and look for a new path to express myself through art. I needed to travel somewhere and clear my mind and look for answers. In order to move beyond my struggle, I needed to surround myself with every form of art I could find - literature, poetry, paintings, architecture - anything goes. I remembered that the museums in D.C have free admission, so I decided to go there. Each day I wandered into a different museum and enjoyed the art galleries. One day, accidentally, I entered an exhibition of a photographer from the wrong side - where people exit. I didn't know who the photographer was, but I was struck by his images. At that moment, I had an epiphany - this is what I want to do. This is what I can do. I spent two hours at the gallery and realized that I just couldn't consume it all in once. I went back there three more times to learn about the photographer - Garry Winogrand and each time I focused on different photographs. In the exhibition there was also a small screening room showing his famous talk at Rice University. I took a notebook with me each visit and sat at the corner of the room - writing down what I want to achieve and how. After returning home, i decided to work on a first project of my own. Between the years 2014 and 2017, I photographed constantly and on a weekly basis the neighborhood of Mea Shearim. I attended protests, holidays and weekdays tring to present a full documentation of a religious society here in Jerusalem. After 3 years and 15k pictures, a self published book was released under the title of "Mea Shearim - The streets". The project was well received within the world of photography rewarding me a Magnum Photos prize for the street photograph of the year, and a nomination for a Hasselblad masters in 2018. Parts of the project were exhibited in different locations including the jewish museum in berlin, the Lucie foundation - Month of photography photo book exhibition in the Us and many others. After completing this project, I have realized it has now become a starting point to a much larger project regarding religion in Jerusalem and a three parts books. The book is sold here at the event and if you liked the talk, feel free to take a look in the open copy and purchase one. About the Streets of Mea Shearim During the 1870s the city within the walls of Jerusalem were undergoing a serious crisis. An increase in population, especially in the Jewish quarter, resulted in high housing prices and poor sanitation.The Ottoman government failed to remove garbage dumps and eventually the pollution seeped into the water pits, causing a rise in disease and mortality rates among the population within the walls. This drove the Jewish community to establish neighborhoods outside the walls, and by 1873 four such neighborhoods were built - "Mishkenot Sha'ananim" (1880), "Mahane Israel" (1886), "Nahalat Shiva" (1869) and "Beit David" (1873). A small group of about one-hundred young Ashkenazi Jews who believed that moving outside the walls would help them improve their standard of living, decided in 1874 to combine their resources. They were able to purchase a tract of land outside the walls for a new settlement. It would have one-hundred houses and would serve as the fifth neighborhood outside the city walls. The name which they chose for that piece of land, Mea Shearim, was derived from a verse in the Torah portion that was read in the week the neighborhood was founded: "Isaac sowed in that land, and in that year he reaped a hundredfold (Mea Shearim); God had blessed him" (Genesis 26:12). Construction began around April 1874, by both Jewish and non-Jewish workers. Contractors, builders and plasterers were Christian Arabs from Bethlehem, and Jewish craftsmen also contributed. By December 1874, the first ten houses were standing. At first Mea Shearim was a courtyard neighborhood, surrounded by four walls with gates that were locked every evening. By October 1880, 100 apartments were ready for occupancy and a lottery was held to assign them to families. Between the years 1881 and 1917, more houses and neighborhoods were built. New neighborhoods surrounded Mea Shearim and helped establish a large Jewish presence outside the walls. By the turn of the century there were 300 houses, a flour mill, and a bakery. Mandatory Palestine under British administration had been carved out of Ottoman southern Syria after World War I. The British civil administration in Palestine operated from 1920 until 1948. During its existence the country was known simply as Palestine. The British regime was welcomed by the residents of Mea Shearim, who maintained good relations with the authorities for the good of the neighborhood. As a result, access roads to the area were improved, the neighborhood markets prospered, old shops were renovated, and new shops opened. Mea Shearim continued to grow, and by 1931 it was the third largest neighborhood in Jerusalem. This growth enhanced the neighborhood's status and importance, but daily life became more difficult, as many of the houses were populated with a large number of people resulting in sanitary conditions that endangered their health. The neglect of the Ottoman regime continued to set the tone, and lack of proper drainage caused rain to flood the streets and even people homes. There was a rise in poverty, resulting not only in a deterioration of the houses outer appearance but also in a spread of diseases. The neighborhood's uniform appearance also began to change, as different kinds of constructions materials came into use, resulting in non-uniform façades. Cheap tin became an alternative to the Jerusalem stone commonly used for construction. In 1948 the Arab-Israeli war broke out and Jerusalem was divided between two countries - Israel and Jordan. The border was very close to Mea Shearim and the neighborhood suffered from military attacks and damage to buildings. Within the next 20 years ,the neighborhood would suffer from decreasing population as the children of the second founding generation moved to orthodox neighborhoods nearby, leaving as few as 170 houses occupied out of a total of 304. In later years the residents returned and the population grew once again. The population remained isolated and segregated, because it refused to cooperate with the government of Israel. Street posters (Pashkvilim) began to appear on a public walls calling on residents not to serve in the Israeli army, not to vote or be elected to the Israeli parliament, and not to participate in Israel's Independence Day celebrations. Today, Mea Shearim remains loyal to its old customs and preserves its isolation in the heart of Jerusalem while trying to stave off the modern world; it is, in a way, frozen in time. The numerous renovations of houses at the end of the 20th century hardly affected the appearance of the neighborhood. They are still common today but fewer in numbers. Houses that were built over one hundred years ago stand alongside a few new ones. The life of the Hasidic community still revolves around strict adherence to Jewish law, prayer, and the study of Jewish religious texts. The large majority of the people are Ashkenazim; there are hardly Sephardic Jews in the neighborhood. In addition to some well-to-do family there are also many needy ones, which are helped by local charity institutions. The traditional dress code remains in effect here; for men and boys it includes black frock coats and black hats. Long, black beards cover their faces and many of them grow side curls called "payots".Women and girls are urged to wear what is considered to be modest dress - knee-length or longer skirts, no plunging necklines or midriff tops, no sleeveless blouses or bare shoulders. Some women wear thick black stockings all year long, and married women wear a variety of hair coverings, from hats to wigs and headscarves. The common language of daily communication in Mea Shearim is Yiddish, in contrast to the Hebrew spoken by the majority of Israel's Jewish population. Hebrew is used by the residents only for prayer and religious study, as they believe that Hebrew is a sacred language to be used only for religious purposes. This is the story of the ongoing battle between the old and the new, the past versus the present, this is the everyday life of a city within a city. My grandmother and I had a special bond. We developed a habit that once a week, usually on Mondays, we cleared our schedule and sat down to discuss the photographs I took. We talked the stories behind the photos, the people, even how the weather affected the light in the pictures. At first, photography was something foreign for both of us and with time, we developed a passion for it. We loved our gatherings and anticipated them every week. In early 2014 things changed, we had fewer opportunities for our weekly routine as her health had begun to deteriorate. She received treatments on a weekly basis and eventually had to be under medical supervision and hospitalized. On one of the visits as I sat by her bed, I wanted to ease her mind from the treatments she received and asked if she would like to see a photograph I took the day before. She immediately said yes and was very enthused when I showed her the photograph. We ended up taking and analyzing the photo as we used to, freeing our minds from the hospital room we were in. Neither of us knew that it would be our last time together. After her death, I decided to do a project based on the last photograph she ever saw. This one photo has led me on a journey, photographing the streets of Mea Shearim. Discover The Christians of Jerusalem
Melissa Stewart
Australia
1963
Born in Melbourne, Australian Photographer Melissa Stewart currently resides between the Victorian country regions of the Macedon Ranges and the Mornington Peninsula. She has an affinity with the Australian landscape, nature and its wilderness. It is through her raw, true Australian aesthetic, she draws awareness towards the environment and the landscape we inhibit to protect it. Living in the country with horses has helped shape her awareness and interest in connecting and belonging. After graduating in 1980, she studied Art and Design and then Interior design in 2006 which has only enhanced her focus for detail, shape, line and form, this reflects in her Photography. Melissa returned to study Professional Photography in 2016 at Photography Studies College in Melbourne, studying part time, she has her final year to complete after deferment in 2019. She has been awarded finalist in Click 17, SE Centre for Contemporary Photography, Brunswick Street Gallery and exhibited in several group shows. A Finalist in the Australian Photography Awards awarded top 5, Student category and third place student category in the Australian Photography Awards exhibition, 2019. Statement Being in nature has always allayed my anxiety; it's my form of meditation. We can so easily forget about those simple needs and pleasure in life. Isolation has enabled me to reconnect, being at home creates a security a protection and comfort, and it brings me to a peaceful and happier state of mind. More so now it's imperative to connect with parts of yourself that you haven't before and reconnect with the things that you love. Given this time to slow down; I have been able to be inspired by books and music, long walks and observing the natural world in a different perspective. I have had wonderful moments where I have really be in awe and wonder with nature, the sea, the trees, and the silence. It is exactly in these moments that we can assess what matters, and what we want our life to mean. My interest in drawing awareness towards our environment and the landscape motivates my belief that it is essential to our quality and balance of life.
Matthew Hardy-Brown
South Africa
2000
Matthew Hardy-Brown's artistry unveils the enchanting beauty of our world, reminding us of the untamed wonder that surrounds us. With every click, he captures fleeting moments of unscripted time. His work is a testament to the natural wonder surrounding daily life. Originally from South Africa, Matthew Hardy-Brown's creative roots were planted in the landscapes of Australia, upon his relocation at 10 years old. While he didn't grow up by the ocean, it was here that he found his poetic sanctuary. As a self-described introvert, Matthew Hardy-Brown sought refuge by the water's edge, discovering his voice through the lens of his camera. He values unfiltered moments, intentionally avoiding excessive editing and digital manipulation. To MHB, magic ignites through authenticity—a commitment he fiercely upholds. At the core of Matthew Hardy-Brown's ethos lies a resounding mantra: "Live Often, Smile More." Having personally confronted the harsh realities of life's unpredictability, he gained a profound insight: tomorrow is not promised. Fuelled by this understanding, he is on a mission to share the world's inherent beauty, to inspire others that it's never too late to pursue a passion, to be a good human, and ultimately, to live often and smile more. His passion for capturing life's grandeur has earned him collaborations with industry giants such as Ralph Lauren, Mini Cooper, Paramount Pictures, and GoPro. His proudest achievement earned him the national exclusive as Canon’s premier artist with his timeless images featured throughout stores across Australia. Statement: Matthew explores the delicate dance between the wild and the human spirit, capturing moments that transcend the ordinary. Through a lens finely tuned to the nuances of the natural world, these pieces invite viewers to immerse themselves in the rhythmic chaos of crashing waves, the fearless dance of surfers, and the subtle interplay of light and shadow on the water's surface.
Henry Horenstein
United States
1947
Born in Massachusetts in 1947, Henry Horenstein was on a path to becoming a historian when he discovered photography. Captivated by the work of Robert Frank and Danny Lyon, Horenstein entered the Rhode Island School of Design (RISD) where he studied with Harry Callahan and Aaron Siskind. After completing his MFA at RISD in 1973, Horenstein's first major project was a documentary survey of the people and character of country music. As a long-time fan, Horenstein recognized that the culture of country music was changing, losing the homey, down-to-earth character of "hillbilly" music, and adopting the slicker nature of contemporary country music. His goal was to preserve a vanishing culture by capturing it in photographs, and for nearly a decade, he traveled throughout the United States, documenting the artists and audiences at honky-tonk bars, outdoor festivals, and community dances. The body of work that Horenstein created (published in 2003 as Honky Tonk) is a remarkable portrait of a distinct period in American cultural history. Some of Horenstein's later work has followed a similar theme, creating documentary portraits of distinct American sub-cultures, such as the worlds of horse racing, boxing clubs, and baseball. In recent years, Horenstein has also developed an extensive body of work that combines elements of portraiture, abstraction, clinical documentation, and landscape photography. Working with animals as well as human subjects, Horenstein creates compelling and frequently ambiguous images that explore the patterns, textures and geography of skin, scales and hair. Mixing the exotic and the ordinary, and making it difficult to tell which is which, Horenstein causes the viewer to pause and look closely. In doing so, we are made to re-examine ourselves as well as the world around us. Horenstein's work has been exhibited in galleries and museums both nationally and internationally, including the Smithsonian Institution's National Museum of American History, Washington, D.C.; the International Museum of Photography, George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and Fabrik der Kunste, Hamburg, Germany. Photographs by Henry Horenstein can be found in many public and private collections including the Library of Congress, the Museum of Fine Arts, Houston, and the High Museum of Art in Atlanta, Georgia. Horenstein is the author of over 30 books including several monographs and a series of highly successful photography textbooks that have been used by hundreds of thousands of students around the country. Horenstein currently lives in Boston and is a professor of photography at RISD. Henry Horenstein & Leslie Tucker: We Sort Of People
René Burri
Switzerland
1933 | † 2014
René Burri is a Swiss photographer known for his photos of major political, historical and cultural events and key figures of the second half of the 20th century. Burri worked for Magnum Photos and has been photographing political, military and artistic figures and scenes since 1946. He has made portraits of Che Guevara and Pablo Picasso as well as iconic pictures of São Paulo and Brasília. Burri studied in Zurich, Switzerland at the School of Applied Arts from 1949 to 1953, where he worked under Hans Finsler, Alfred Willimann and Johannes Itten. From 1953 to 1955 he began working as a documentary filmmaker while completing military service. During this time he also began working with Leica cameras. Then he worked for Disney as a cameraman until 1955. From 1956 to 1959 he traveled extensively to places including Turkey, Egypt, Syria, Iraq, Jordan, Lebanon, Italy, France, Spain, Greece, Brazil, and Japan, which led to publications in Life, Look, Stern, Paris-Match, Epoca, and New York Times, as well as a photographic essay "El Gaucho" which appeared in Du. Burri first began working with Magnum Photos in 1955 through Werner Bischof, becoming a full member in 1959 and being elected chair of Magnum France in 1982. His first report "Touch of Music for the Deaf" on deaf-mute children was published by Life. In 1965 he assisted with the creation of Magnum Films which lead to his work on the Magnum-BBC joint production of, The Two Faces of China. In 1967 he produced a documentary on the Six-Day War in Jerusalem for German television. He produced the film Jean Tinguely in 1972. In 1963 Burri was working in Cuba when he was able to photograph the revolutionary Che Guevara; these images of Guevara smoking a cigar have become iconic. Notably, after taking the photos, Burri remembers Guevara "scaring the hell out of him". Describing a situation where an angry Che was pacing his tiny office like "a caged tiger", while being interviewed by an American woman from Look. While "hectoring" the reporter and "chomping on his cigar", Che suddenly looked Burri straight in the eye and told him "if I catch up with your friend Andy, I'll cut his throat" (while slowly drawing his finger across his neck). Andy was Andrew St. George, a fellow Magnum photographer, who had travelled with Che in the Sierra Maestra, and then later filed reports for American intelligence. Source: Wikipedia René Burri studied at the School of Applied Arts in his native city of Zurich, Switzerland. From 1953 to 1955 he worked as a documentary film-maker and began to use a Leica while doing his military service. Burri became an associate of Magnum in 1955 and received international attention for one of his first reportages, on deaf-mute children, Touch of Music for the Deaf, published in LIFE magazine. In 1956, he traveled throughout Europe and the Middle East and then went to Latin America, where he made a series on the Gauchos that was published by Du magazine in 1959. It was also for this Swiss periodical that he photographed artists such as Picasso, Giacometti, and Le Corbusier. He became a full member of Magnum in 1959, and started work on his book Die Deutschen, published in Switzerland in 1962, and by Robert Delpire the following year with the title Les Allemands. In 1963, while working in Cuba, he photographed Ernesto ‘Che’ Guevara during an interview with an American journalist. His images of the famous revolutionary with his cigar appeared around the world. Burri participated in the creation of Magnum Films in 1965 and afterwards spent six months in China, where he made the film The Two Faces of China produced by the BBC. He opened the Magnum Gallery in Paris in 1962, while continuing his activities as a photographer; at the same time, he made collages and drawings. In 1998, Burri won the Dr. Erich Salomon Prize from the German Association of Photography. A big retrospective of his work was held in 2004-2005 at the Maison Européenne de la Photographie in Paris and toured many other European museums. René Burri passed away at the age of 81 on October 20, 2014. Source: Magnum Photos
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American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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