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Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Yuko Kamada
Yuko Kamada
Yuko Kamada

Yuko Kamada

Country: Japan
Birth: 1985

I was born in Fukushima, Japan in 1985.

When I was 20 years old, until then, I had nothing ever touched a camera, and had never been particularly interested in the photography. However, when my mother passed away, I was looking for a way to fill the void of my grief. Then, by chance, I found a street photo book in a small bookstore. After, I became fascinated with the street photography and started as a self-taught.

The subjects that interest me the most are the street. An old building nestled among the buildings, a quiet corner of an alleyway, the expressions of people, capturing with own subjectivity the stories hidden in those has been a form of expression for me.
 

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Michael Nguyen
Germany
1958
Michael Nguyen is a photo artist and documentary photographer living near Munich, Germany. He takes photographs since 1988. He has been living in Munich since 2007 and moved to Gauting near Munich in 2015. After a long break in the cultural sector and after a sickness he has dedicated himself 2018 entirely to art again. He is an artist and a photographic poet who moves away from the mainstream, at the same time blurs genres. Most of the time, he focuses on small, ordinary things but through the subjective lens, he give them new perspectives, a new soul. I found my way to photography when I was a journalist for art and culture. One of my main subjects was "Greece", and there was a lot to do with photography. Then, in close cooperation with Dr. Matthias Harder (now Director of the Helmut Newton Foundation, Berlin), we laid the foundation for understanding the photographs of Herbert List and Walter Hege. Since then, photography has opened up a whole new world to me. Michael Nguyen roamed various cities in Bavaria during the Corona pandemic. A focus of his works since COVID-19 are urban landscapes as well as urban spaces in different cities. Urban spaces can all enrich a life between buildings. Since Covid-19, social interaction in the Urban landscapes with their spaces has lain fallow. Michael Nguyen conveys this sensitively in his mostly "deserted pictures“. Nguyen enters the motifs of his urban landscapes with a great deal of empathy. He makes the city, urban landscapes and architecture visible and documents them for posterity. With his artistic documentary photography he refers to a reality that we all know, but interprets this reality with his images. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. At the BIFA Budapest International Foto Awards 2020 his artwork "Antimatter" was awarded in December 2020 with Gold. In addition to his artistic activities, Michael Nguyen is in Editor-in-chief of the online magazine for photography and art: Tagree. End of March 2021 Michael Nguyen is nominated for the Tassilo Culture Prize of the Süddeutsche Zeitung. Süddeutsche Zeitung (SZ) is a German national daily newspaper. It is published in Munich. SZ is the second largest daily newspaper in Germany (as of October 2020). Promoting the cultural sector in the Munich area and motivating creative artists (these are the goals of the Tassilo Culture Prize), which the Süddeutsche Zeitung is offering for the eleventh time this year. The SZ Prize is named after the Bavarian Duke Tassilo. Statement Our head is round so that thinking can change direction - a sentence by the writer and artist Francis Picabia, who inspired me as a young man interested in art and the art scene. Art broadened my perspectives and saved my soul. In the 1980s and 1990s I was a journalist, poet, photographer and event manager. After almost two decades, I found my way back to art in the dark times of my life in early 2018. Yes, once again art has saved my soul. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. The power of design and the contradictions between art and life Munich's most colorful shopping center facade by Prof. Dr. Rainer Funke When will the containers be loaded? Such a question comes to mind when approaching the shopping mall built in 2008 from a distance. But stop! The intense colors of the seemingly stacked cubes and their sophisticated composition immediately give rise to other associations. As if someone had created a special order out of building blocks. One wonders whether this is already the perfect final state, as one tries to create with the Magic Cube, for example. The variety of combinations seems too great for this. Both that of the colors and that of the surface structures. Added to this are the manifold reflections and the astonishing visual dynamics. One does not seem to move past the building itself, but its facades begin to run, to turn, to flow. One is almost reminded of the dancing of the facades and interiors of baroque courtly buildings in downtown Munich. Instead of baroque figurativeness, however, here it is geometry. The closer one gets, the more details become visible. No, these are neither containers nor building blocks. The prismatic shape of the colored and reflective metal plates gives the building shell pronounced plasticity. One would not have expected so much sophistication from a shopping center, especially not here, where Munich hardly has anything typically Munich anymore and is fraying into the landscape. Whether red voluptuousness with bold blue, pastel sweetness, noble gold, lush, or pale green: the overwhelming power of color is, of course, the basic theme of the series of images, always in powerfully soaring, a contrast-rich vertical sequence of seemingly endless parallels. Michael Nguyen's imposing photographs take us very close to this color organ. They make us stand at attention on the parade ground of the verticals. Especially the severity of the composition in detail becomes a theme. This gesture appears once again mercilessly emphasized by Nguyen's camera, as refractions and disturbances emerge from close up. Two framed, square blue lockers, for instance, according to their dimensions probably placed on a blue ground with metallic fittings not colored blue - the attempt to hide them has failed. Nguyen places them in the center. The wonderful striped pattern is disturbed in this way, less perfect and also a bit more lifelike. We experience something similar with the door locks (here the hinges additionally form a counter-rotating rhythm), the intercom, and the stickers on two other images. As a photographer, Michael Nguyen is as uninhibitedly consistent as the facades depicted want to be but cannot be in the storm of life and entropy. The mirrored surfaces evoke almost poetic associations when nature and urban space gently and carefully combine in them (in one picture, the soft shapes of the snow remains are added). Here, too, Nguyen is provocative. One picture is intended to irritate through eight seemingly irregular horizontal cuts in the surrounding colour surfaces. And, of course, dirt and trash. Such a design focused on geometric color perfection is highly moralistic. It points its moral finger in full size at the viewers, admonishing us not to disturb order, to preserve perfection and cleanliness. When we then perceive small discarded things and in addition a dirty floor or even dirty facade surfaces, it hits us with full force. At the same time, we are referred to the particularity and artistic rapture of the facade. Even a traffic sign, placed somewhat askew and in turn, defaced with remnants of a sticker, emphasizes the distance of the art object from life. Even the clash of different grid dimensions of the facade strips and the paving of the sidewalk draws attention and distances. Here nothing has grown out of the ground, where it has been landed. This impression is further emphasized by the filigree grid structure of the surfaces pointing to the left. If then still objects stand before the work of art, like a somewhat demolished container for the clothes collection, an ashtray (nevertheless in strict vertical-orthogonal high-grade steel form and exactly aligned), or admittedly color-coordinated garbage can one wished a ban mile for objects around the building. People appear in two photos. They make us breathe a sigh of relief: yes, the whole thing is made for people. The two people in a picture, shot somewhat voyeuristically behind a lamppost, could, however, already be a bit tighter, more upright, and perhaps defilade past the facade in step! The man with his shopping cart, on the other hand, seems to want to save himself from the austerity of the backdrop into the organic world of the leafy settlement. In an impressive way, Michael Nguyen presents us with this photo series of a building as a work of art and thus points us to the power of design but also to the contradictions between art and life. Prof. Dr. Rainer Funke researches and publishes on design-theoretical issues from a semiotic, cultural-theoretical and philosophical perspective and works as a design consultant for companies. He teaches design theory at the Potsdam University of Applied Sciences. After studying philosophy at Martin Luther University Halle-Wittenberg, he earned his doctorate in semiotics and subsequently worked in design-theoretical research at Burg Giebichenstein - University of Art and Design Halle. In 1992, he was appointed to Potsdam as the founding dean of the Department of Design. Rainer Funke was the owner of a design agency, chairman of the board of the Brandenburg Design Center, and visiting professor at the University of Art and Industrial Design Linz. Design theory is supposed to motivate in an enlightening way by conveying methods for the analysis of design, especially for the manifold relations between perceptible forms of artifacts and their meanings in the context of the process of use. Design theory explicates modes of action and historically founded developmental relationships of design and their various influencing factors. (Prof. Dr. Rainer Funke) Exclusive Interview with Michael Nguyen
Diana Cheren Nygren
United States
Diana Cheren Nygren is a fine art photographer from Boston, Massachusetts. Her work explores the visual character of place defined through physical environment and weather. Place has implications for our experience of the world, and reveals hints about the culture around it. Her photographs address serious social questions through a blend of documentary practice, invention, and humor. Diana was trained as an art historian with a focus on modern and contemporary art, and the relationship of artistic production to its socio-political context. Her emphasis on careful composition in her photographic work, as well as her subject matter, reflects this training. Her work as a photographer is the culmination of a life-long investment in the power of art and visual culture to shape and influence social change. Her project When the Trees are Gone has been featured in Dek Unu Mag, Square Magazine, Photonews, Domus Magazine online, Cities Magazine, and iLeGaLiT, and won Best In Show in the exhibition Nurture/Nature juried by photographer Laura McPhee, the Grand Prize in Photography from Art Saves Humanity, Discovery of the Year in the 2020 Tokyo International Foto Awards, 2nd place in Fine Art/Collage in the 2020 International Photo Awards, silver in Fine Art/Collage in the Budapest International Foto Awards, bronze in Fine Art/Digitally Enhanced in the 2020 Prix de la Photographie, was longlisted for the Hopper Prize and the BBA Photography Prize, and was a finalist for Fresh2020 and Urban2020 and a Merit Winner in the 2020 Rfotofolio Selections. Article The Persistence of Family All About Photo Competitions AAP Magazine #21 Colors December 2021 Solo Exhibition All About Photo Awards 2022 AAP Magazine #29 Women July 2023 Solo Exhibition
Paolo Roversi
Italy
1947
Paolo Roversi is an Italian-born fashion photographer based in Paris. His work is distinguished by soft, monochromatic images of women, with bodies veiled in shadow and captured with careful care to emphasize stunning facial features. Photography goes beyond the limits of reality and illusion. It brushes up against another life, another dimension, revealing not only what is there but what is not there. -- Paolo Roversi Paolo Roversi, who was born in Ravenna in 1947, became interested in photography as a teenager during a family vacation in Spain in 1964. Back at home, he established a darkroom in a convenient cellar with another keen amateur, local postman Battista Minguzzi, and began developing and printing his own black-and-white work. The meeting with a local professional photographer, Nevio Natali, was crucial: in Nevio's studio, Roversi spent many hours completing an important apprenticeship as well as a close and lasting friendship. In 1970, he began working with the Associated Press, and his first assignment was to cover Ezra Pound's burial in Venice. During the same year, Paolo Roversi founded his first portrait studio in Ravenna, capturing local celebrities and their families. In 1971, he met Peter Knapp, the legendary Art Director of Elle magazine, by chance in Ravenna. Paolo visited Paris in November 1973 at Knapp's invitation and has never returned. Paolo began working as a reporter for the Huppert Agency in Paris, but through his friends, he gradually began to explore fashion photography. But the photographers who piqued his interest at the time were reporters. Paolo Roversi knew nothing about fashion or fashion photography at the moment. Later, he discovered the work of Richard Avedon, Irving Penn, Helmut Newton, Guy Bourdin, and many others. In 1974, the British photographer Lawrence Sackmann hired Paolo as an assistant. Paolo endured Sackmann for nine months: "Sackmann was very difficult. Most assistants only lasted a week before running away. But he taught me everything I needed to know in order to become a professional photographer. Sackmann taught me creativity. He was always trying new things even if he did always use the same camera and flash set-up. He was almost military-like in his approach to preparation for a shoot. But he always used to say ‘your tripod and your camera must be well-fixed but your eyes and mind should be free’." Then he went freelance, doing small jobs for magazines like Elle and Depeche Mode until Marie Claire published his first major fashion story. When I take a picture using window light, I always think about what a long trip the light is making to reach my subject. -- Paolo Roversi Roversi's portfolio now includes celebrity and fashion photography. He has been a consistent contributor to American Vogue, and Vogue Italia, W, Vanity Fair, Interview and i-D. He has also photographed advertising campaigns for Yohji Yamamoto, Comme des Garçons, Dior, Cerruti, GIADA, Yves Saint Laurent, Valentino and Alberta Ferreti. Continuing to be a major force in contemporary fashion, Paolo Roversi is notable for his use of 8x10 Polaroid film, which is no longer produced. His work has been the subject of solo exhibitions worldwide, including at Pace MacGill Gallery in New York, James Gallery in Moscow, and Comme des Garçons in Tokyo, Rencontres d'Arles festival, France (2008), among others.
Thomas Hoepker
Germany
1936
Thomas Hoepker is a German photographer and member of Magnum Photos. He is known for stylish color photo features. He also documented the 9/11 World Trade Center destruction. Hoepker originally made a name for himself in the 1960s as a photojournalist with a desire to photograph human conditions. Hoepker was born in Munich, Germany. He first began taking pictures when he was 16 and received an old 9x12 glass plate camera from his grandfather. He developed his prints in his family's kitchen and bathroom, and began to earn a little money by selling pictures to friends and classmates. Hoepker studied art history and archaeology from 1956 to 1959 at Göttingen, in Munich, Germany, where he was taught about understanding images and composition. While in school he continued to photograph and sell images to help finance his education. From 1960 to 1963 he worked as a photographer for Münchner Illustrierte and Kristall, reporting from around the world. Then in 1964 he began working as a photojournalist for Stern. In the 1970s he also worked as a cameraman for German TV, making documentary films. In 1976 he and his wife, journalist Eva Windmoeller, relocated to New York City as correspondents for Stern. From 1978 to 1981 he was director of photography for American Geo. From 1987 to 1989 Hoepker was based in Hamburg, working as art director for Stern. Magnum Photos first began distributing Hoepker's photographs in 1964. He became a full member in 1989. He served as Magnum President from 2003 to 2006. For much of his career Hoepker used Leica cameras. In the 1970s he began to also use single-lens reflex cameras alongside his Leica, using Leicas for wide angle shots and Nikon or Canon cameras with zoom lenses. In 2002 he began using digital SLRs. Today, Hoepker lives in New York City with his second wife Christine Kruchen, with whom he produces TV documentaries.Source: Wikipedia
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.
Anastasia Egonyan
Ukraine/Armenia
1987
Anastasia Egonyan (b.1987, Kharkiv, Ukraine) is an international artist of Armenian descent based in Berlin. Her practice is driven by emotional fluctuations and psychological experiences that are deeply rooted in her introspective life experiences. She continues to balance a longstanding practice in photography with evolving focus on painting and textile. Frequent engagement with family narratives, Armenian ancestry, and the exploration of female fragility are closely integrated into the evolving sense of self, as she continues to expand her approach across diverse mediums. Anastasia integrates textiles and predominantly natural materials into her artistic practice, delving into the tactile and symbolic dimensions of her heritage. Her work includes manual photo transfer techniques, traditional Armenian sheep wool, and the delicate use of pearls. By incorporating Armenian words and common phrases into her creations, she preserves and celebrates her cultural identity. Anastasia finds profound symbolism in the simplicity of everyday life while honouring the strength and resilience of women through historical and cultural lenses. Egonyan’s artistic practice is grounded in psychological self-reflection, where themes of ancestral heritage and identity gradually unfold. Her use of oil paint, textile, photography collages, and mixed media often employs layering techniques to shield the vulnerable aspects of emotional and personal experience. These layers, whether of paint or fabric, serve to shield the intimacy of these personal explorations, preserving a sense of privacy while concealing the raw intensity of the truth. The act of layering thus becomes an allegory, creating a barrier between the deeply personal and the viewer, who may not yet be prepared for such exposure. ցավդ տանեմ - I take your pain mixed media (textile, wool, photography transfer) 220 x 320 cm With love for the people of Artsakh who lost their homes. My family heritage originates from the village of Togh (Տող) in the Hadrut region, Artsakh. The great ancestor wrote at the entrance of his chamber “I did not allow that people from Armenia be taken captive.” In September 2023, history took a different course as the indigenous people of Artsakh were forcibly displaced. Over 100,000 individuals lost their homes, and the land now falls under the control and administration of occupying forces, with the region being transformed into a nature reserve. I take your pain is an object that represents the traditional Armenian way of making wool blankets. With the use of sheep wool and cotton fabric it is quilted in the original manner, following the rectangular shape. It is common for every Armenian family to own several of these blankets and mattresses, which are typically crafted by the women of the household. The object is composed of multiple layers of textile and wool, forming a mosaic of fabrics sourced from my collection of vintage scraps and family garments. It connects to my family, my current residence, my place of birth, and the lost land that forever holds my heart and soul.
Francis A. Willey
Francis A. Willey is part indigenous and is proud of his Cree Ancestors on his mother's side and respects the history, languages, and cultures of the First Nations, Métis, Inuit, and all First Peoples of Canada, whose presence continues to enrich his practice. Francis A. Willey acknowledges that he is located on the traditional territories of the people of the Treaty 7 region in Southern Alberta, which includes the Niitsitapi (inclusive of the Siksika, Piikani, and Kainai First Nations), the Tsuut’ina First Nation, and the Iyarhe Nakoda (including the Chiniki, Bearspaw, and Wesley First Nations). The City of Calgary is also home to the Métis Nation of Alberta, Region III. Francis A. Willey Canadian (Born, July 21st, 1969) Self-taught, 35mm film photographer. He is deeply fascinated by fabric and historical textiles and is a collector of rare books and antiquities. He writes poetry and also enjoys composing music on the piano in his spare time. All his images are created in-camera without post-production. He has been referred to as a portraitist or a neo-pictorialist in his photographic pursuits by the academic art world. He searches for depth in storytelling, continuity, and mystery to the narrative, and spirit of each individual, he has the pleasure of photographing. He received his first KODAK camera when he was 12 years old from his mother June. The first frame ever captured with the aperture of his camera was a portrait of his mother. He believes that a deeper, more compassionate culture can be created through the arts. As an outsider artist, he has always been questing for and seeking refuge in a higher beauty. Francis composes on the piano and also writes songs and poetry, creates collages, and draws from life's observations. His school was the value of nature and dreams, people, intuition, that one develops by sharing empathy.
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Latest Interviews

Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Exclusive Interview with Ghawam Kouchaki
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.
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
Exclusive Interview with Guillaume Bonn
With his latest book Paradise, Inc., celebrated documentary photographer Guillaume Bonn takes us deep into the heart of East Africa, where the promises and failures of wildlife conservation collide. Far from offering a romanticized vision of nature, Bonn’s work confronts us with urgent realities: the tensions between local communities and conservation policies, the sacrifices of rangers on the frontlines, and the long-lasting impact of human activity on fragile ecosystems. Spanning more than two decades of fieldwork, the project blends powerful imagery with investigative depth, raising difficult but necessary questions about transparency, accountability, and the Western-led models that dominate conservation. Enriched by the voices of those too often left out of the conversation—including a preface by Maasai leader Ezekiel Ole Katato and an introduction by journalist Jon Lee Anderson—Paradise, Inc. is both a stunning visual journey and a call to action. In the following interview, Guillaume Bonn reflects on the making of Paradise, Inc., the ethical dilemmas at the heart of his work, and the urgent need to rethink our approach to conservation in East Africa and beyond.
Exclusive Interview with Sander Vos
Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
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AAP Magazine #54 Nature
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