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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
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Peter Harlow
Peter Harlow
Peter Harlow

Peter Harlow

Country: Australia
Birth: 1948

Peter was born and educated to first degree standard in the UK. He gained a private pilot license in 1970. His career spans aerial photography, corporate communication and management development. After emigrating to Australia in 2001 he ran his own company providing small light aircraft to farmers, flying schools and private clients. Recently he took up commercial drone flying – which combines his love of photography and views from the sky. He currently lives in Melbourne with his artist partner.

As a photographer, I have always been fascinated by the interplay of light, shadows and shapes that exist in both the natural and human-made world. For many years, as a pilot I saw the landscape from a small aeroplane. With the advent of drone technology, which enables the camera platform to remain static and fly much closer to the surface, I can now explore the landscape from new angles and perspectives, capturing images that were impossible from an aeroplane.

Artist statement:
One of the key elements of abstract art is the process of abstraction, where artists take familiar objects and break them down into their essential components. Similarly, my photographs capture landscapes from above, abstracting the natural world into a series of shapes, colours and textures that are sometimes quite different from their original form.

By removing the context of the wider landscape, I want to encourage the viewer to see the world in a new light, as a collection of abstract forms that are both beautiful and intriguing. In abstracting the landscape, my aim is to create a body of work that challenges your perceptions and invites you to see the beauty and charm that exists all around us.

Websites

www.altitudephoto.com.au

@altitudephoto.ph

 

Inspiring Portfolios

Thomas Vijayan
© Thomas Vijayan
Julie Wang
© Julie Wang
Pedro Jarque Krebs
© Pedro Jarque Krebs
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More Great Photographers To Discover

Marci Lindsay
Marci Lindsay
United States
1961
Marci Lindsay is a street photographer living in Washington, DC. Briefly a city planner, she has always been a people watcher and street photography lover. She is part of the DC Street Photography Collective (in her city) and the Optic Nerve Street Photography Collective (international). She has been shooting street photography for about five years. Marci Lindsay also loves curating (Street Macadam on Instagram, Women in Street on Instagram and Facebook, and Photographers Under Confinement on Facebook). Her photos have been exhibited in New York, Miami, DC, Los Angeles, San Francisco, Brisbane, Cyprus, Trieste, and Paris. Statement I’ve had a love for street photography since I was a child, long before I knew it had a name. Not until a few years ago, once my kids were grown, did I take up the challenge of photographing in the streets myself. I am drawn to ordinary people doing ordinary things. To me, it’s all extra-ordinary—motion, gesture, connection, and humor. We humans are so much more the same than we are different, and hopefully my photos remind people of that. “Every man beareth the whole stamp of the human condition.” ~ Montaigne
Jan Saudek
Jan Saudek
Czech Republic
1935
Jan Saudek is an art photographer and painter. He and his twin brother Kaja Saudek are holocaust survivors. Jan Saudek's art work represents a unique technique combining photography and painting. In his country of origin, Czechoslovakia, Jan was considered a disturbed artist and oppressed by authorities. His art gained more prominence during the 1990s, thanks to his collaboration with the publisher Taschen. During the 2000s, Saudek lost all his photo negatives in a matrimonial dispute and his pictures are now displayed on the internet for free. Jan claims they were stolen from him. Jan is the author of many “mise en scene” that were re-taken and copied by other artists. The cliché of a naked man holding a naked newborn baby with tenderness became a picture that was reproduced so many times that the composition became as commonplace as posing for a graduation picture. I still dream of the day when I will take a photograph so beautiful that it can be called love. -- Jan Saudek During his life in communist Czechoslovakia, Jan was labeled by the totalitarian regime as a pornographer. He lived in poverty using the only room in his basement as his studio. A disintegrating wall and a window giving a glimpse into the backyard became the witnesses of his fantasies and collaborations with models of all different sizes and origins. Jan Saudek and his twin brother Karel (also known as Kája) were born to a Slavic (Czech) mother and Jewish father in Prague in 1935. Their mother's family came to Prague from Bohemia, and their father from the city of Děčín in the northwest part of that area. During World War II and after the invasion of the German Nazis, both sides of his family were racially persecuted by the invaders. Many of his Jewish relatives died in the Theresienstadt concentration camp during the war. Jan and his brother Karel were sent to a children's concentration camp for Mischlinge (mixed-blood in German, as Nazis classified Jews as a race distinct from "Aryans"), located in Silesia near the present Polish-Czech border. Their father Gustav was deported to Theresienstadt concentration camp in February 1945. Although their mother and many other relatives died, both sons and father survived the war. A Communist-dominated government gained power after the war to rule the country, enforced by the Soviet Union and considered to be behind the Iron Curtain. According to Saudek's biography, he acquired his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer, and in 1952 started working in a print shop; he was restricted to this work by the Communist government until 1983. In 1959, he started using the more advanced Flexaret 6x6 camera, and also engaged in painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for American photographer Edward Steichen's The Family of Man exhibition, and began to work to become a serious art photographer. In 1969, Saudek traveled to the United States, where he was encouraged in his work by curator Hugh Edwards of the Art Institute of Chicago. I have no way of portraying the lives of others. I portray my own. -- Jan Saudek Returning to Prague, Saudek had to work on his photography clandestinely in a cellar, to avoid the attention of the secret police. With his work turning to themes of personal erotic freedom, he used implicitly political symbols of corruption and innocence. In the late 1970s, he became recognized in the West as the leading Czech photographer, and also developed a following among photographers in his own country. In 1983, the first book of Saudek's work was published in the English-speaking world. The same year, he became a freelance photographer; the Czech Communist authorities allowed him to stop working in the print shop, and gave him permission to apply for a permit to work as an artist. In 1987, the archives of his negatives were seized by the police, but later returned. His best-known work is notable for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops. He frequently re-uses elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this his photographs suggest the studio and tableaux works of mid-19th century erotic photographers, as well as the works of the 20th-century painter Balthus, and of Bernard Faucon. Saudek's early art photography is noted for its evocation of childhood. His later works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years). Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
Moises Saman
Moises Saman
Spain / United States
1974
Moises Saman (born 1974) is a Spanish-American photographer, based in Tokyo. He was born Lima, Peru. Saman is considered "one of the leading conflict photographers of his generation" and is a full member of Magnum Photos. He worked as a photojournalist in the Middle East from 2011 to 2014. Saman is best known for his photographs from the wars in Iraq: the Gulf War, the Iraq War, and the Iraqi Civil War but has also worked in Afghanistan, Egypt, Libya, and Syria including in rebel-held areas there. He covered the Arab Spring and the Syrian Civil War for The New Yorker and has worked for Human Rights Watch. His book Discordia (2016) is about the revolution in Egypt and the broader Arab Spring. Saman has won multiple awards from World Press Photo and Pictures of the Year International, and has received a Guggenheim Fellowship. In 2010 Saman was invited to join Magnum Photos as a nominee and became a full member in 2014.Source: Wikipedia Moises Saman was born in 1974 in Lima, Peru, but spent most of his youth in Barcelona, Spain, after his family moved there. Moises studied communications and sociology in the United States at California State University, graduating in 1998. It was during his last year in university that Moises first became interested in becoming a photographer, influenced by the work of a number of photojournalists that had been covering the wars in the Balkans. Moises interned at several small newspapers in California, and after graduating from university he moved to New York City to complete a summer internship at New York Newsday newspaper. That fall, upon completion of the internship, Moises spent a month traveling in Kosovo photographing the immediate aftermath of the last Balkan war. In 2000, Moises joined Newsday as a staff photographer, a position he held until 2007. During his seven years at Newsday, Moises’ work focused on covering the fallout of the 9/11 attacks, spending most of his time traveling between Afghanistan, Iraq, and other Middle Eastern countries. In the fall of 2007, Moises left Newsday to become a freelance photographer represented by Panos Pictures. During that time he became a regular contributor for The New York Times, Human Rights Watch, Newsweek, and Time Magazine, among other international publications.Source: World Press Photo
Stanley Greene
Stanley Greene
United States
1949 | † 2017
During the early years of his career, Stanley Greene (USA, 1949-2017) produced The Western Front, a unique documentation of the San Francisco’s punk scene in the 1970s and 80s. An encounter with W. Eugene Smith turned his energies to photojournalism. Stanley began photographing for magazines, and worked as temporary staff photographer for the New York Newsday. In 1986, he moved to Paris and began covering events across the globe. By chance, he was on hand to record the fall of the Berlin Wall. The changing political winds in Eastern Europe and Russia brought Greene to a different kind of photojournalism. He soon found himself photographing the myriad aspects of the decline of communism and the break-up of the Soviet Union. Stanley was a member of the Paris-based photo agency Agence VU from 1991 to 2007. Beginning in 1993, he was based in Moscow working for Liberation, Paris Match, Time, The New York Times Magazine, Newsweek, Le Nouvel Observateur, as well as other international news magazines. In October 1993, Stanley was trapped and almost killed in the White House in Moscow during a coup attempt against Boris Yeltsin. He was the only western journalist inside to cover it. Two of his resulting pictures won World Press Photo awards. In the early 1990s, Stanley went to Southern Sudan to document the war and famine there for Globe Hebdo (France). He traveled to Bhopal, India, again for Globe Hebdo, to report on the aftermath of the Union Carbide gas poisoning. From 1994 to 2001, Stanley covered the conflict in Chechnya between rebels and Russian armed forces. His in-depth coverage was published in the monograph Open Wound: Chechnya 1994-2003 (Trolley 2003) and in the 1995 publication Dans Les Montagnes Où Vivent Les Aigles (Actes Sud). The work also appeared in Anna Politkovskaya’s book, A Dirty War: A Russian Reporter in Chechnya (2001). In 1994, Stanley was invited by Médecins sans Frontières to document their emergency relief operations during the cholera epidemic in Rwanda and Zaire. He has covered conflict and aftermath in Nagorno-Karabakh, Iraq, Sudan, Darfur, Afghanistan, Kashmir, and Lebanon. Stanley was awarded a Katrina Media Fellowship from the Open Society Institute in 2006. In 2010, to mark the fifth commemoration of Hurricane Katrina - together with Dutch photographer Kadir van Lohuizen - Stanley made “Those who fell through the cracks”, a collaborative project documenting Katrina's effects on Gulf coast residents. The same year, Stanley’s book Black Passport was published (Schilt). In 2012, Stanley was the guest of honor of Tbilisi Photo Festival and began his project on e-waste traveling to Nigeria, India, China and Pakistan. Stanley has received numerous grants and recognitions including - the Lifetime Achievement Visa d’Or Award (2016), the Aftermath Project Grant (2013), the Prix International Planète Albert Kahn (2011), W. Eugene Smith Award (2004), the Alicia Patterson Fellowship (1998) and five World Press Photo awards. Stanley presented the Sem Presser keynote lecture at the 2017 World Press Photo Award Festival. Stanley Greene is a founding member of NOOR. Stanley passed away in Paris, France on May 19th, 2017. Source: NOOR Greene was born to middle class parents in Brooklyn. Both his parents were actors. His father, who was born in Harlem, was a union organizer, one of the first African Americans elected as an officer in the Screen Actors Guild, and belonged to the Harlem Renaissance movement. Greene's father was blacklisted as a Communist in the 1950s and forced to take uncredited parts in movies. Greene's parents gave him his first camera when he was eleven years old. Greene began his art career as a painter, but started taking photos as a means of cataloging material for his paintings. In 1971, when Greene was a member of the anti-war movement and the Black Panthers, his friend, photographer W. Eugene Smith offered him space in his studio and encouraged him to study photography at the School of Visual Arts in New York and the San Francisco Art Institute. Greene held various jobs as a photographer, including taking pictures of rock bands and working at Newsday. In 1986, he shot fashion in Paris. He called himself a "dilettante, sitting in cafes, taking pictures of girls and doing heroin". After a friend died of AIDS, Greene kicked his drug habit and began to seriously pursue a photography career. He began photojournalism in 1989, when his image ("Kisses to All, Berlin Wall") of a tutu-clad girl with a champagne bottle became a symbol of the fall of the Berlin Wall. While working for the Paris-based photo agency Agence Vu in October 1993, Greene was trapped and almost killed in the White House in Moscow during a coup attempt against President Boris Yeltsin. He has covered the war-torn countries Azerbaijan, Georgia, Iraq, Somalia, Croatia, Kashmir, and Lebanon. He has taken pictures of the genocide in Rwanda in 1994 and the US Gulf Coast in the aftermath of Hurricane Katrina in 2005. Since 1994, Greene is best known for his documentation of the conflict in Chechnya, between rebels and the Russian armed forces, which was compiled in his 2004 book, Open Wound. These photos have drawn attention to the "suffering that has marked the latest surge in Chechnya's centuries-long struggle for independence from Russia". In 2008, Greene revealed that he had hepatitis C, which he believed he had contracted from a contaminated razor while working in Chad in 2007. After controlling the disease with medication, he traveled to Afghanistan and shot a story about "the crisis of drug abuse and infectious disease". Greene has lived and worked in Paris since 1986. He said: "My wife has left me but instead of becoming an alcoholic, I would go and shoot war." Source: Wikipedia Wars and Victims February 18, 2008 "It remains essential for journalists to scour the ground, unimpeded, using the only weapons we know. Our cameras, notebooks and voices make us the unwelcome pests of aggressors around the world. Witnesses are inconvenient. Yet as most of my colleagues will agree, countries such as Irak, Chad, The Caucasus, and Chechnya, are becoming harder to cover. In the world of spot news, publications don't want to pay for long engagements in complicated zones because its getting much harder to afford it. Authorities block access. And the lack of access, infrastructure and personal security makes logistics a nightmare. Despite the odds, sometimes the effort can make a difference, and those rare moments never cease to satisfy in a profession that is otherwise lonely, demanding and thankless. Journalism rewards you with long days and even longer nights. There is no such thing as taking pictures from a place of safety, and you often pack your feelings in a suitcase until you can return to ‘reality.’ Some colleagues living in this perpetual emotional yo-yo are able to maintain a relationship, money in the bank, and perhaps even their sanity. If you're like the rest of us not born under that star, you never stop trying to find it. For the last fifteen years I have bore witness to long histories of invasions, mass migrations, conflicts, wars and destructions. This group of images is to provide a body of work that is about war and victims but also, it's about photojournalism and the importance of those photo-correspondents that are passionate about shining the light in dark places. The resultant series of black and white and color photographs are more than a mere documentation of the darkness which exists in the world. Journalists today are like disaster tourists going from one hot place to the next. It has never been my intention to be such a photographer. I think it is better to build a full body of work which demonstrates the longevity of a working photojournalist, today and yesterday. I think that this should be taken into consideration when looking at this work. It is a fragment, taken from longer and larger photo-essays." -- Stanley Greene (Sometimes We Need Tragedies) Source: fragments.nl
Cristina de Middel
Cristina de Middel
Spain
1975
Cristina de Middel (born 1975) is a Spanish documentary photographer and artist living and working in Uruapan, Mexico. De Middel self-published The Afronauts in 2012, a photobook about the short-lived Zambian space program in Southern Africa. The book quickly sold out and the work was met with critical acclaim. She was nominated for the 2013 Deutsche Börse Photography Prize for The Afronauts. In 2013, de Middel received the Infinity Award from the International Center of Photography. In 2017 she became a nominee member of Magnum Photos and in 2019 an associate member. Source: Wikipedia Cristina de Middel investigates photography’s ambiguous relationship to truth. Blending documentary and conceptual photographic practices, she plays with reconstructions and archetypes in order to build a more layered understanding of the subjects she approaches. Working from the premise that mass media is reducing our real understanding of the world we live in, De Middel responds to an urgency to re-imagine tired aesthetic tropes and insert opinion in place of facts. Her impulse for an unconventional angle developed after a 10-year career as a photojournalist when De Middel stepped outside of straight documentary and produced the acclaimed series The Afronauts (2012). It explored the history of a failed space program in Zambia in the 1960s through staged reenactments of obscure narratives, challenging the traditional depiction of the African continent. De Middel’s ongoing project Gentleman’s Club (which began in Rio de Janeiro in 2015 and has now expanded to every continent around the globe bar Australasia) focuses on prostitution’s less documented side: the male clients. Her intimate portraits of these men subvert the paradigms of the status quo to provide new sources of insight and understanding. As well as her acclaimed personal projects, De Middel has worked on commission for clients including The Nobel Peace Foundation, Christian Dior, Vanity Fair USA, Vogue USA and FC Barcelona. De Middel was born in Spain and is based between Mexico and Brazil. She became a Magnum nominee in 2017.Source: Magnum Photos
Janne Korkko
Janne Korkko
Finland
Photography means more to me than just doing it: it is as important as breathing and living. I switched in documentary shooting 10 years ago. Image has always been an important form of narrative but I wanted it to show the touch of life and humanity that define my ideas. Socially important and difficult topics that are approachable make me work. I feel I have a mission. I am proud and humbled as well as grateful. Things that have touched me, touched them, too. That is the stories, the interaction with people that developed to the eye to see. Night River We need to understand where we are and how we got here. Once we are clear on these issues we can move forward... (Thomas Berry) Rivers have river rights as well as humans have human rights. People, communities, environments, and nature have deep interrelated connection. A connection that is more complex than an ownership of land, a fishing permit, a cottage on the riverside, or a beautiful sundown on the opposite shore of the river. The name of the river in these photos is Iijoki. The name comes from an ancient word of Sami ('iddja', 'ijje'), which means 'night'. So, the name of this river is Night. Night-River flows through Yli-Ii, the riverside village, which belongs now to bigger city of Oulu. It means that there are no public services any more. The village is disappearing. Night-River is full of songs of memories, and its riverbanks are full of people with these memories. Some of them are sacred, silenced, or even untold. Usually it seems that nobody wants to remember the song of the unforgotten village - and the blocked river. But some of the songs are still alive, or they are waking up through the people, who are starting to re-member the song of the wild, free-flowing river. The landscape of the village, and the diversity and ecology of native nature, changed totally during the 1960s, when the river was dammed - and there were built many hydroelectric power-plants in it. The damming of the river was one of the biggest eco catastrophes in the area of North Finland. But it was also catastrophic for the whole society of the village and its families in many - maybe still unidentified and unconscious - ways. Nowadays the eco catastrophes is still going strong - in clearcutting and swamp ditching. But the second longest river in Finland - with its 150 rapids - is still alive under all the constructions, destructions of riverbeds, and hydroelectric dams. It lives also in peoples' minds and bodies, in their eyes and destinies, and maybe in their most hidden memories. It is singing its unique song. "Virpi Alise Koskela"
Sam Abell
Sam Abell
United States
1945
Sam Abell is an American photographer known for his frequent publication of photographs in National Geographic. His love of photography began due to the influence of his father who was a geography teacher who ran a photography club. In his book The Photographic Life, Abell mentions a photograph he made while on an outing with his father, a photograph that subsequently won a small prize in a photo contest. He credits that prize as being a major influence on the direction his life would take. Abell was the photographer and co-editor for his high school yearbook and newspaper. Abell graduated from the University of Kentucky in Lexington where he majored in English, minored in Journalism, and was the editor of the Kentuckian Yearbook. He is also a teacher, an artist and an author. He received an honorary Doctor of Letters degree from the University of Toledo in 2009. Sam Abell's book The Life of a Photograph is one of three volumes begun in 2000 with Seeing Gardens, followed in 2002 with The Photographic Life and Sam Abell Library in 2013.Source: Wikipedia Photography, alone of the arts, seems perfected to serve the desire humans have for a moment—this very moment—to stay. -- Sam Abell National Geographic photographer Sam Abell has defined his career with patience. There is no dull section of a Sam Abell photograph, the frame is layered from back to front with compelling imagery. This can be a slow process, it can take days, weeks, or in some cases months for the right opportunity to present itself. His photographs are considered to be amongst some of the best images to have appeared in the esteemed publication. Somehow, Sam agreed to sit down with us and have a chat about his life, work and photographic philosophy.Source: The Adventure Handbook Above all, it’s hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made. -- Sam Abell
Hiroto Fukuda
Hiroto Fukuda
Japan
1973
Nature wildbird photographer Hiroto Fukuda was born in Japan in 1973. He has over 20 years of photography experience. He has been photographing nature and wild birds in his field in Japan. His clients include Canon, Tamron, National Geographic Japan, and Wild Bird Society of Japan. He is involved in publishing photo books, publishing in magazines, and selling photographs. He has been active mainly in Japan, but now publishes and sells his work internationally. He takes beautiful and artistic photographs of wild birds. Statement I am all about capturing each and every bird photo in an artistically simple and beautiful way. I am a small person, but I want to hold my aspirations high. I cannot take pictures of wild birds and nature if the world is not at peace.I hope that the people who see my photos will smile when they see them, wishing for a beautiful earth and thinking about eliminating wars, making the world peaceful, and cherishing nature. I believe that is my mission. May the earth be beautiful forever and may the world be peaceful forever.
Micaela Mau
Micaela Mau
Germany/Italy
1986
Micaela Mau is a German-Italian artist. She has studied visual communication at the Istituto Europeo di Design in Rome and at the School of Visual Arts in New York as well as Foreign Languages and Literature at the Università degli Studi Roma Tre. While studying and working abroad in Tokyo, Frankfurt, and London she developed an interest in photography, fascinated by the ambiguous relationship between photographic image and reality. She currently lives and works in Florence, Italy. Statement "To me photography is not only a tool to capture fleeting impressions in time and share what caught my attention, but also, and above all, a means of interpreting and reinterpreting reality. My photographic work comprises abstract images that put the bond between photographic reproduction and its referent to the test, often making the original subject almost indistinguishable. Alongside these works I develop more realistic projects concerning our perception of the world and how it is conveyed through photography. Lately I have started to work with analog media, reflecting on the materiality of photographs and negatives, rather than considering them mere image supports. My work is founded on the belief that there is no such thing as an objective photograph. Photography cannot depict reality accurately since the human element – intrinsically fallible and predisposed to subjective perception – pervades all stages of photographic development. Furthermore, the laws of physics, optics and chemistry, pose technical limitations, constraining the medium’s ability to accurately record reality. Last but not least, there’s chance, an unpredictable force capable of influencing the best planned outcomes. Photography, therefore, cannot but be a medium of subjective expression. For this reason I try to embrace the limitations at hand and to make them an integral part of my work." -- Micaela Mau
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Interview
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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Exclusive Interview with Manuel Besse
Interview
Exclusive Interview with Manuel Besse
French photographer Manuel Besse is known for his compelling black-and-white imagery, which blends portraiture, documentary, and poetic narrative into a singular visual voice. With a career spanning several decades and continents—from the gold mines of Serra Pelada to the Arctic Circle—his work reflects a deep commitment to authenticity, human connection, and the preservation of cultural and natural landscapes. His series Macadam, winner of AAP Magazine #41 B&W, offers a contemplative look at fleeting urban encounters, rendered in his signature monochrome style. We asked him a few questions about his life and work.
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