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FINAL CALL TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
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María Tuleda
María Tuleda
María Tuleda

María Tuleda

Country: Spain

Nurse by profession, I discovered photography by chance a little over a decade ago and since then I have dedicated part of my free time to taking photos.

Self-taught, I conceive photography as an instrument to create, tell and transmit, but above all to feel. I do not follow norms or rules, and I confess to being more interested in suggesting than in the photographic technique itself.

There's something nostalgic and beautiful about decadence, and maybe that's why almost all of my shots end up having a certain decadent feel to them. I have no idea why I make the images I make, I guess we look with a camera as we are, or one day we were. My photos are simply a visual diary, they show what I see, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. When they ask me what I want to express with my photos or my way of creating them, the answer is simple: Provoke, simply provoke some sensation.

A few years ago I decided to show my images on social networks, opening up a range of opportunities to disseminate my work, but if I have to choose a medium where I can express myself through photography, it is the photobook. Being able to create a visual narrative, with a set of photos between sheets of paper inside a book, has been a wonderful experience, yes, I confess, photobooks have me fascinated.

On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know.

The birds
What do birds represent in artistic photography?

It is a simple filler in the composition, with the purpose of making it more attractive and attracting the viewer, or for the author, it has a meaning. The answer may be a little of both. It is easy to find the presence of symbols in creative or artistic photography, including birds. Jennifer Ackerman, a bird scholar, after spending time observing them, came to the conclusion that birds remember, think, feel, give gifts and love. And they also fly, and that is what makes them so special, that is what arouses so much interest and at the same time envy: the ability to fly.

The author of the wonderful novel "Rebecca", Daphne du Maurier, is also the author of the story about "The Birds" in the Alfred Hitchcock film. Horror story where roles are exchanged, giving way to the revolution of the birds, and they are the ones who keep humans locked up, imprisoned and caged in their homes.

Leonardo da Vinci's obsession with understanding the flight of birds led him to make a study and treatise on flight while painting the Mona Lisa. Some of the discoveries he made anticipated the foundations of modern aeronautics. Hundreds of birds fly over the Prado Museum of various species, a recent study reveals that there are nearly 700 paintings that illustrate frozen birds through the brushes of artists such as Rubens, Hieronymus Bosch or Goya.

It is evident that birds have always aroused a lot of interest throughout history, and without a doubt they have been and are sources of inspiration, not only in art. But really, in artistic photography, what do they symbolize?

The Mexican photographer and lady of symbols, Graciela Iturbide, is clear: "Birds are the eyes that help me fly." She claims that she loves them and for her they represent freedom. I share Graciela's considerations about the concepts she attributes to birds for her creations.

I have no idea why they are so present in my work, why I go out into the world with my camera, sometimes, even with the sole intention of looking for them and photographing them. When they ask me what I want to express with their presence, I feel perplexed for not having a clear answer. I wish I could give you an exact answer about the important message behind this work.

Birds, above all for me, are symbols of vision and freedom perfectly outlined in the process of the concept of creation, and at the same time, a metaphor alluding to an infinite number of things. My photos are simply a visual diary. They show what I see or what I saw, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know.

For others, the presence of birds perhaps blurs the composition, or they are representations that are too disturbing or tedious, and therefore contrary to what I intend to provoke, but perhaps that disparate vision that photography provokes is not part of its magic.
 

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More Great Photographers To Discover

Gavin Libotte
United Kingdom/Australia
1969
Gavin Rene Libotte is an Australian photographer born in Kent Sussex England in 1969 and is currently based in Sydney. He studied Graphic Design, Fine Art, and Jazz Guitar in Perth Western Australia. He started photography as a teenager using film while studying graphic design. After a long break he started using iPhones to make images and then went on to use Fuji and Ricoh cameras on the streets. He became a full-time musician and educator and has recently started working as a commercial photographer part-time and spending the rest of his time working on his fine art street photography. Gavin is influenced by painters such as Gorgio De Chirico, Jeffery Smart, and Caravaggio. His photographic influences include Ray K Metzker and Alex Webb. He discovered that the practice of photography is in alignment with his meditation routine and can be used to help focus the mind and live in the present moment. Gavin is currently working on some street photography projects and is showing his work in several International Group exhibitions. Artist Statement I like to explore the human condition and our relationship with the world around us. The world is multidimensional and we exist not just in a physical space. My images explore our relationship with the physical and spiritual layers of the world. The fragile human condition is at play within many layers of existence. Something we don't understand but we a committed to moving through the unseen challenges that lay ahead. I am attracted to strong compositions, hard light, faces/figures and have recently started exploring flash, ICM ( intentional camera movement ) and reflections. I like to work in black and white and colour.
Yasmine Chatila
Yasmine Chatila was born in Cairo in 1974, growing up between Cairo, Italy, France, and Canada. She graduated with a Bachelor in fine Arts from Parsons School of Design in New York, and Masters in Fine Arts from Columbia University School of Arts in 2002. She is the recipient of numerous awards, including a Tag Heuer scholarship for eight consecutive years, and a Columbia fellowship. Her work has been exhibited worldwide, including locations like Centre Pompidou in Paris, The Reina Sofia Museum in Madrid, and Ludwig Museum in Cologne. Stolen Moments have been published by Rizzoli press in the book New York: A Photographer's City and World Atlas Street Photography published by Yale Press. She has been featured in international publications including Vogue Italia, NBC News, IO Donna, Interview Magazine, Foam Magazine, Art in America, Exit Art, New York Post, Wired Magazine, Blackbook, and many more. Her website has attracted millions of viewers, making her work synonymous with voyeurism in art and conceptual photography. All about Stolen Moments On a quiet winter night, I looked out a window. I could see a building far away, the windows were illuminated, and I could vaguely make out people inside their apartments. When I imagined what they might be doing, my mind fluttered between wild fantasies and mundane clichés. I was curious to compare my expectations to the reality of their lives. After months of continuous observation in different parts of the city, I collected hundreds of photographs of strange, comical, and often haunting moments. At times, I was lucky enough to catch a glimpse of human nature when it was not guarded, not self-conscious, and completely uninhibited. This provided me with a stage where it was possible to observe myself in the most secret and vulnerable moments of others. In order to render the subjects unrecognizable, and in an attempt to render them more archetypal, they are taken out of context and displaced from their original habitat.
Cardell Phillips
United States
1952
I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing. Statement One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
Younes Mohammad
Younes Mohammad is Born in 1968 in Dohuk, Iraq. He's a Kurdish freelance photographer mostly active on assignments for newspapers, magazines, etc. He spent his life in Iran as a refugee from 1974 - 1998 and graduated with an MBA University of Tehran. Photography was his passion but he had no chance to follow it while the war situation was still continuing Under Saddam's time. In 2011 he quits his job and starts his journey as a photographer. His work has been exhibited internationally and published widely in publications. He has received numerous awards. He is now based in Erbil, Iraq. About Open Wounds "I start to work on a long-term project documenting the sacrifices of Kurdish Peshmerga in the fight to put down ISIS. Speaking with hundred Peshmerga, taking intimate portraits of the wounded fighters, their families, and documenting both the stories in the battle and their ongoing struggles to navigate post-conflict life. Through the work, I found stories of immense suffering. Fighters who took up arms, not because they were required to do so, but because it was right and it was what had to be done. These men, often fighting side by side with brothers, uncles, cousins, fathers, and sons, knew that the freedom and survival of their people were at stake. As they retold stories of watching family and friends killed in front of them and of battles they did not expect to survive, they simultaneously shed tears for the losses and for the pride they had in what their comrades and they had done. Almost all of the men showed severe physical injury. Arms, legs, and eyes lost. Bodies so riddled with bullet and shrapnel wounds that simple movement created wincing pain. These men also showed the signs of the heavy burdens of the mental traumas, of PTSD, and of memories that would not leave them. Despite all they suffered, they often said they would go back to the fight again if ever called. They would do this for their children, their families, their people, and for the wider world. Tragically, their suffering does not end having returned home. The men face new challenges, such as getting prosthetic limbs, ongoing care, providing for their families despite their debilitating injuries, and more. They wonder, if they would give everything to help protect the world, will the world help them or forget them now that they have put down their guns. I have hope that, through this work exploring conflict and post-conflict humanitarian issues, the World may better understand what these men and their families have given for the Kurdish people, the region, and, in fact, the world. " -- Younes Mohammad
John Novis
United Kingdom
1950
John Novis is photographer and story teller working on environmental issues, particularly climate change for the last 30 years. Climate Change is the biggest global threat ever known to mankind, yet it is the most challenging and difficult subject to visualize to any great effect. Any image presented, be it extreme weather events, scientific evidence or global protests can be argued against by a sceptic media, governments and industry. It is precisely this challenge that drives concerned photographers to push ever more creative photos into the image pool to drive home the importance of this emergency of our times. We are getting somewhere thanks to Greta Thunberg and Environmental groups such as Greenpeace, Extinction Rebellion etc. which provide scope for compelling pictures. Social media has also provided a valuable platform for citizen journalism reporting climate related events as they unfold in real time. How I got there I stared my career in photography in London during the 'swinging 60's 'years working with high profile photographers in Vogue, Apple Corp (Beatles), top Fashion and Industrial photo studios Adrian Ensor Labs up until 1977 when I enrolled on a 3 year 'Creative Photography' course in Nottingham University under the guidance of Thomas Joshua Cooper and Raymond Moore. In 1980 I received a grant from UK South East Arts to make a 30 minute, 16mm film called 'Our trip to the Zoo' analysing the family snapshot with the old Kodak slogan – 'to capture life'. Throughout most of the 80's I worked as a freelance commercial photographer and then in 1989 I joined Greenpeace as an in –house photographer where I was employed until 2015. Just before I joined Greenpeace, I was becoming disillusioned with photography as an instrument for advertising and generating profit. It was though Greenpeace I was able to employ my expertise in photography to produce images that would serve as a wake-up call to the critical state of our environment. As photography became more important to the organisation I became Head of Photography at the international headquarters in Amsterdam, directing major photo projects such as: - Ocean and whaling expeditions, Amazon – Illegal logging, Yunnan, China campaigning against the introduction of GMO rice to the rice growing communities, Climate in Crisis - Yellow River drying up, the Disappearing Glaciers on Everest, Climate and Poverty along the Silk Road in Gansu Province, China - Palm oil production in Riau, Indonesia and 'Forest Solutions' global communities living from the forest management towards a sustainable solution. In addition, I have also worked on numerous successful publications including the nuclear industry of Russia with Dutch photographer Robert Knoth, (Panos) and Bhopal – '' with Raghu Rai (Magnum). My professional services outside Greenpeace have included, organizing and hosting the Beijing Photo Master Classes with World Press Photo winners, member of the jury for the 2007 CHIPP (China International Press Photo Contest) and Member of the Jury and visiting lecturer to Fotopub, Slovenia July 2008. Directing a major exhibition and slide show at 1999 Perpignan, Visa Pour L'image with an interview with Jean Francois Leroy on stage. In 2012 I ran a photo workshop and curated a renewable energy exhibition at the Angkor Photo Festival in Siem Reap, Cambodia and was invited as guest speaker for Wild Photos at the Royal Geographic society in 2011. I am currently working on Climate Emergency events and supporting on line publications with consultancy and archive picture material.
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