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

Xetobyte

Country: Italy
Birth: 1990

Xetobyte is a 20 year old Italy student who creates Surreal Artworks. All of his photo manipulations where the darkness is dominating, rather than brightness.
 

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Nikos Economopoulos
Nikos Economopoulos (b.1953) is a Greek photographer known for his photography of the Balkans and of Greece in particular. Born in Kalamata, Economopoulos studied law at university and worked as a journalist. He only started taking photographs at 25 when a friend in Italy showed him a book of the work of Henri Cartier-Bresson, which had an impact that was both instant and lasting. Cartier-Bresson "showed me a new way to see things... What I saw in his work was not only geometry and composition, but a kind of ambiguity." Economopoulos recalls that even then he did not start photography for over two years but instead bought photography books. Then he started photography: "I never photographed sunrises or made souvenir pictures of my children. For about eight or nine years I photographed at weekends and during my holidays, always in a serious way, working from morning to night." As early as 1984, Economopoulos says, "it bothered me ideologically that Greeks and Turks were enemies", and he visited Turkey to take photographs. "No Greek at that time would go to Turkey on holiday", he writes, and his Greek friends were incredulous; but Economopoulos quickly felt at home in Turkey, where the atmosphere "was exactly the same as when I was a kid in the 1960s." (Much later, he would add that Greece and western Turkey had replaced tavernas with McDonald's, while east Turkey still preserved the values of the past.) In 1988, Economopoulos finished work as a journalist and set off on a two-year photographic survey of Greece and Turkey. Nikos Economopoulos was encouraged to join Magnum Photos by the Greek-American photographer Costa Manos, and became an associate member in 1990 and, after his work in Albania, Bulgaria, Romania and the former Yugoslavia, a full member in 1994. His early work won him the 1992 Mother Jones Award for Documentary Photography. In 1993, Frank Viviano, who had first met Economopoulos in Timișoara just after the fall of Nicolae Ceauşescu, wrote that: "Economopoulos says his intention is to document the existence of what he calls the 'Balkan Man': to knit together the skeins of a collective identity in a region whose historical convulsions have made its name a synonym for implacable differences. It would appear to be a fool's errand. But almost anyone who has crossed the madman's web of frontiers and borders that stretches over the Balkans, from Istanbul to the Italian border, is likely to agree with Economopoulos's premise — and to recognize, in his work, the contradictions that sum up Balkan truth." With support from the Little Brothers of the Poor, in 1994 Economopoulos photographed gypsies in Greece, and in 1995–96 lignite miners and Muslims in Greece. In 1997–98 he concentrated on people living on the "Green Line" separating Northern Cyprus, illegal migration across the Albanian–Greek border, and young people in Tokyo; and for the next two years Albanians fleeing Kosovo. He also worked on a commission from the University of the Aegean on storytelling in the region. Economopoulos was dissatisfied with the assignment in Japan, as he felt unable to communicate with people and was just as estranged after three weeks of work as he had been on his arrival. By contrast, he writes that "I prefer to spend my time in my corner of the world, south Europe and west Asia, where I understand the codes and can make connections." This does not mean that the Balkans are an open book to him: Economopoulos has also written of the paradoxes apparent in Albania; and also across the Balkans, where faces can be sad even in wedding parties. Economopoulos's photography of Turkey won him the 2001 Abdi İpekçi Award for promoting friendship between Turkey and Greece. Painfully aware of the bitterness often encouraged in both Greece and Turkey toward the other, he has written appreciatively of the personal welcome given to him by the Turks that he meets. "There are no real differences [between Greeks and Turks]. I love Turkey and I can live there. I can't live in Paris or in London. But Istanbul — I can live there." Economopoulos's photographs have been published in The Guardian, The Independent, Le Monde, Libération, The New York Times, El País, and Die Zeit. He feels that there is no future in photojournalism. There is a loss of quality in photographs in newspapers, and Robert Capa would not take photographs if he were living today. But he concedes that Abbas and James Nachtwey would be among those who disagree.Source: Wikipedia In the mid-1990s, he started photographing the Roma and other minorities. In 2000, he completed a book project on the Aegean islands storytellers, commissioned by the University of the Aegean. A retrospective of his work titled Economopoulos, Photographer was published in 2002 and later exhibited at the Benaki Museum, Athens. Returning to Turkey, he pursued his long-term personal project, where he received the Abdi Ipektsi award (2001), for peace and friendship between Greek and Turkish people. He has recently turned to the use of color. Currently, he is spending most of his time away from Greece, traveling, teaching and photographing around the world, in the context of his long-term On The Road project.Source: Magnum Photos
Fern L. Nesson
United States
Fern L. Nesson is a graduate of Harvard Law School. She received an M.A. in American History from Brandeis and an M.F.A in Photography from the Maine Media College. She lives in Cambridge, Massachusetts. She practiced law in Boston for twenty years and subsequently taught American History and Mathematics. Nesson's photographs have been shown internationally in solo exhibitions at the Politecnico University in Torino, Italy, Les Rencontres de la Photographie in Arles, France, Ph21 Gallery in Budapest, Hungary and at The University of the West Indies in Kingston, Jamaica. In the United States, Nesson has had solo exhibitions at the Griffin Museum of Photography, at MIT and Harvard, and at the Beacon Gallery in Boston, Massachusetts, the Pascal Gallery in Rockport, and Maine, and Through This Lens Gallery in Durham, NC. Additionally, her work has been selected for numerous juried exhibitions in the U.S., Barcelona, Rome and Budapest. Nesson's photobooks, Signet of Eternity and WORD, won the 10th and the 12th Annual Photobooks Award from the Davis-Orton Gallery. Her photography can be found at www.fernlnesson. Statement ''Art should not be copies of living things but... [itself] be [a] living thing – a real living form.'' Malevich (1916) My photographs capture the moment when mass becomes energy. My goal is to create living works of art that offer energy to the viewer. I shoot from reality; my images are never constructed, only sparingly edited. They distill a scene or an object it to its essence. Photographs that embody energy rely upon the camera to record a specific moment but, if they hit their mark, they escape and float free of it. The energy from the moment of capture enlivens these images. Like Cezanne's paintings, they are alive, they breathe. An energetic image expresses interconnectedness, visualizes movement and flow. It constitutes a moment of transcendence and teaches us that, although everything changes form, nothing is ever destroyed. It lives on, resonating with the past, celebrating the present, pointing to the future, embodying the universal, iconically representing the eternal. As Whitman’s wrote in Leaves of Grass, it can “chant the [viewer] into a new state of being, get him psychically airborne, boost him up to that height where he can identify with the past and commune with the future.”
Jiri Sneider
Czech Republic
1979
Jiří Šneider was born in 1979 and bred in Český Krumlov where my home is. Photography started to fascinate me around the year 1997. I have always been attracted by black & white photography, hence this constitutes of two thirds of my work. I've focused on portrait and travellers documentary. Recently I have developed more thanks to travelling (Ukraine, Bangladesh, Armenia and Nagorno-Karabakh, Japan...). These destinations brought up many topics and situations of people at home, at work, going out, in streets, at religious rituals... Hard Workers The Gulf of Bengal, with a population of more than 156 million, keeps its economy running on hard human labour every day. Across the age, gender... older children take care of young children and infants, while parents earn money for daily survival, medical care, housing and other daily necessities. In such working conditions where the human body is exposed to dust, polluted water, fumes from machines and cars for a long time. So that families do not have to waste time commuting to work, they live in simple shelters around the shipyard, the port, or directly in the areas where bricks are made and baked, in villages where they also manually model clay bowls and bake them in primitive kilns. Even whole families work on a landfill, where they sort and recycle garbage for sale to make a living. Brave young people travel west to work in Arab countries near the Persian Gulf to make many times more money in services, auxiliary work and gastronomy, which they regularly send to their families in Bangladesh. The Hard workers project introduces you to black and white photographs of workers who work hard every day for a very small wage. For a journalist photographer and documentary filmmaker, this country is rough but full of many friendly people.
Clay Lipsky
United States
Clay Lipsky is a fine art photographer & Emmy Award winning graphic designer based in Los Angeles. He has applied his unique visual style across a variety of mediums, from print and multimedia to TV and film. Despite his varied interests, photography has always been a part of Clay’s life. Recently, he has experienced a new-found interest with the medium and is now passionately focused on pursuing photography as fine art, free from clients and limitless in creative possibilities. Clay is self-taught and strives to create images that can stand the test of time. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, Wall Space, Rayko and Impossible Project Spaces in NYC & Warsaw, Poland. Clay has been published internationally in print and online, most notably with Esquire Russia, Wired Italia, Fraction, Square, Lenscratch, Diffusion, i-ref, Daily News (UK), Yahoo! Lifestyle (Germany), La Republica (Italy), Libération (France), Shots & um[laut] Magazines. Clay Lipsky's project, In Dark Light, is intriguing on a number of levels. First, the work was created, for the most part, on a trip to Iceland and as we know, creating conceptual fine art images while in a foreign place, with no opportunity for previsualization, is not an easy task. But somehow, Clay instinctively found a narrative and way of working within a concentrated period of time. The other interesting aspect is what the work is about. Making imagery about depression, about loss and solitude has to have subtle nuances that are at once personal and universal, and Clay captured this subject with emotion and simplicity. Clay works as fine art photographer and graphic in Los Angeles. His photos have been exhibited in group shows across the country, including the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC. He has been featured internationally in print and online in publications such as Fraction, Square, Diffusion, F-Stop, PH and Shots Magazines. Recently, he was a featured "Ten" through Jennifer Schwartz Gallery, and North Light Press will be publishing an edition of his Cuba photos through their 11+1 series. He is also an avid self-publisher with several titles that exhibit as part of the Indie Photobook Library. Source: www.lenscratch.com About the series In Dark Light This series of self portraits examines my loss of identity and enduring personal journey through depression. It is a solitary path that encompasses loss of home and parent, the pursuit of beauty, work and perseverance under no religious or visceral compass. Imagined as a vast, shadowed plane it is a private purgatory mired in fog with colors muted and senses numbed. The varied landscape acts as metaphor for life's many obstacles. Beyond the horizon lies hope for brighter days and so the lone soul carries on, albeit cast in dark light. Discover Clay Lipsky's Interview
Willie Anne Wright
United States
1924
Willie Anne Wright is an American photographer known for her colorful cibachrome and grayscale Pinhole Photography. Willie Anne Wright was born Willie Anna Boschen, in Richmond, Virginia. Her father was a musician and sometime-artist. She graduated from the College of William & Mary in 1945 with a BS in Psychology, and from Virginia Commonwealth University in 1964 with an MFA in Painting. She later studied at the Maine photographic workshops in Rockport, Maine and the Visual Studies Workshop in Rochester, New York. She married and had three children. Willie Anne Wright began her artistic career as a painter, teaching art classes at the Jewish Community Center, and was influenced by one of her painting instructors, Theresa Pollak. For a while, she experimented with printmaking. By 1973, she began to focus more and more on photography. Inspired by her surroundings and personal life, her first works incorporated images of her family, friends, and Civil War reenactors. Well known for her use of the old technique of pinhole, she is also an exceptional master in lensless photography, solar printing, and photograms. Some of her more well known works include her Civil War Redux series, which focuses on local Civil War reenactors whom she followed around for several years, her Pregnant Women series, which features pregnant friends of hers, and The Swimmer series, which features women lounging by poolsides or in pools. Willie Anne first experimented with pinhole photography in 1985. For a class project she had to create and use a pinhole camera. She used Cibachrome paper for use in a sixteen by twenty inch pinhole camera. With color-correcting filters she created wide-angle color prints by placing the pinhole close to the film plane. Her images were whimsical with bright colors and a vignette border.Source: Wikipedia Willie Anne Wright is a native and resident in Richmond, Virginia. She received a BS in Psychology from The College of William and Mary and an MFA in Painting from Virginia Commonwealth University. She also studied photography at Maine Photographic Workshops, Rockport, Maine; Visual Studies Workshops, Rochester, New York; and VCU. Wright's paintings, serigraphs and drawings were her professional focus until 1972 when pinhole photography became her primary creative medium. Since then her lensless photography — pinhole and photogram — have been exhibited nationally and internationally, and have been included among numerous publications such as Art News, The Oxford American, Le Stenope, and The Book of Alternative Processes. Wright's works are collected privately and publicly, and are in the permanent collections of Virginia Museum of Fine Arts, Richmond, Virginia; Chrysler Museum of Art, Norfolk, Virginia; George Eastman House, Rochester, New York; High Museum of Art, Atlanta Georgia; The Mariners' Museum, Newport News, Virginia; Southeast Museum of Photography, Daytona Beach, Florida; New Orleans Museum of Art, New Orleans, Louisiana; Mobile Museum of Art, Mobile, Alabama; Morris Museum of Art, Augusta, Georgia; New Mexico History Museum, Santa Fe, New Mexico; Longwood University, Farmville, Virginia; University of Mary Washington, Fredericksburg, Virginia; University of Maine, Bangor, Maine; and University of New Hampshire, Dublin, New Hampshire.Source: www.willieannewright.com
Cara Weston
United States
Cara Weston is a fine art photographer living and working in the Big Sur area of California. She is the daughter of renowned photographer Cole Weston and actress Helen Prosser-Weston, niece of Brett Weston and granddaughter of Edward Weston - recognized as the leading visionary in modern photography. Having worked with her father Cole and Uncle Brett, as well as Rod Dresser, photographer and assistant to Ansel Adams, Cara has followed the path of her heritage. The body of work she has created over the past two decades respects the craftsmanship tradition of the medium and reflects a unique voice within her family. It now stands alongside her famous descendants as a prime example of fine art image making in the twenty-first century.In addition to her work as a photographer, Cara is the former director of the internationally renowned Weston Gallery in Carmel. As director she curated shows that included exhibitions for luminaries such as Yousuf Karsh, Ansel Adams, Michael Kenna and of course Edward, Cole and Brett Weston. In addition to the gallery exhibitions she has produced, Cara has also curated several art shows in Los Angeles and New York that have featured the best works of today’s art photographers.Cara is also the proud mother of two wonderful daughters and has just published her first book of photographs, “Head in the Clouds”; a compilation of her best works from various portfolios and one that studies the strength and ephemeral beauty existing above our horizon. Her work can be viewed on her website www.carawestonphotography.com and is in several international exhibits and collections.
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Latest Interviews

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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.
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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.
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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.
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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.
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AAP Magazine #54 Nature
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