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FINAL CALL TO ENTER AAP MAGAZINE PORTRAIT: PUBLICATION AND $1,000 CASH PRIZES
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Caras Ionut
Caras Ionut
Caras Ionut

Caras Ionut

Country: Romania

Born in February of the late 70s, I seemed to have taken passion in cooler weather as my inspirations for photography in my life as a romanian artist; so much of my work shows depictions of fall and winter and my mechanics entail several hues of blues and whites. Most people when considering dreams would think of good positive dreams, and I like to think I captured that in my work. I also seem to visit the darker side of what people may see of dreams, not necessarily what one would see as negative, but possibly a dream that one could not quite understand or may feel alone.

The definition of art can be quite broad, however one aspect of art that is widely explored is art through dreams. One’s perception of a dream is vast, which in comparison to the views of art, it helps to encompass what artists want from their viewers. That is the perception of many different opinions from their work. Art becomes most popular by both their similarities in view and also their differences. After all that is what art truly can be defined as, using such work in your own life because art is not useful without personal admiration and profess.

Source: carasdesign.com

 

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Ricardo Miguel Hernandez
He studied at the Cátedra Arte de Conducta created and directed by Tania Bruguera. He has exhibited in several solo exhibitions in countries like Italy and Cuba. Among his group exhibitions those carrier as 3th edition International Collage Art. Retroavangarda Gallery. Warsaw; Relatos contemporáneos. PHotoEspaña 2020. Casa América; Social Subjetiva. PHotoEspaña 2019. Ateneo de Madrid; Identity, hibridism, diference. FestFoto Brazil 2019. Fundação Ibere Camargo in Porto Alegre; HOPE. ESMoA El Segundo Museum of Art in Los Angeles; Doble Play. Fotografía cubana. Foto Museo 4 Caminos in México City; Cuba. Tatuare la storia. PAC Padiglione D Arte Contemporanea in Milano and ZAC Zisa Arti Contemporanee in Palermo; Cuba en vivo. DOX Centre For Contemporary Art in Prague; Colimadores. Michael Horbach Stiftung in Colonia; and others group shows in America, Europe and Cuba. He has participated in numerous art events such as KAOS 3th Festival of Contemporary Collage, The Others Artfair, MIA Artfair, SetUp Artfair, 6th Contemporary Cuban Art Salon and others. Among the residencie and awards received, include: Arte no es fácil: Temporal Lapses and Artistic Traslation. Links Hall, Chicago´s Center for Independent Dance and Performance Arts; Special Mention SetUp, Italy; 21 Creation Study Scholarship "Discontinuous Room" Project, Visual Art Development Center (CDAV), Cuba; First Prize, IV Biennial of Photography in memoriam Alfredo Sarabia, Cuba; and prizes awarded in the II and IV International Festival of Video Art in Camagüey, Cuba. When the memory turns to dust (2018-2020) When the memory turns to dust, for me as an artist it is a reflective process in which I combine empirical, psychological and critical things. I conceive the random gesture between the selection of a certain photographic document and the preconception in invoice of different stories, as a rescue practice where the apparently disposable, old or residual bear the weight of a memory that is presented to me as a pretext to recontextualize and resemantize the frozen story on photographic paper. I appropriate myself of a found testimony that covers the twenties and eighties of the last century; I archive it, classify it and transmute it into a new metaphor. I conscientiously manipulate, meticulously elaborate other realities, juxtaposed, assembled, mutilated, where I do not intend to disguise the traces of time on paper, nor the seams resulting from these photo collages. I consider myself as a restless prowler, a visual archaeologist who operates technically and discursively on elasticity of a record of reality; an original story that I reactivate through the conception of an aesthetic ontology that encompasses the ideological, the social, the political, the religious, the familiar… This Series is a kind of built and resurrected testament in which meanings and mixtures of a culture such as the Cuban one, of mixed race and singular are distilled, which delights even today in nostalgia and sustenance of an astonishing and worn out ideal. I assemble landscapes, portraits, customs scenes or abstracts motifs to reformulate that individual/social memory; to enrich that heritage many times found within a Cuban family; and to offer a possible interstice that reminds us of who we are and how we see ourselves from the contemporary artistic debate.
Michael Philip Manheim
United States
1940
Michael Philip Manheim, born in the U.S. in 1940, is widely recognized both for his documentary and for his innovative multiple exposure photographs. Both categories encompass images that promote feelings. Most celebrate human emotion as a primal link that unifies all of humankind. Michael Philip Manheim's photography has been exhibited throughout the United States and internationally, in over 20 solo exhibitions and 30 group shows. His work has been featured extensively online, as well as in hundreds of books and magazines such as Zoom (U.S. and Italy), Photographers International (Taiwan), La Fotografia (Spain), and Black and White Magazine (U.S.). Manheim's photographs are held in private as well as public collections including the Library of Congress, the International Photography Hall of Fame, the National Archives, the Danforth Museum of Art, and the Bates College Museum of Art. About How Once We Looked "The world I experienced, as the 1940s slid into the 1950s and beyond I'm delighted to share this sampling of my photography. When I created the snapshot of Little Sister, my four year old sister, I had no idea that I would be pursuing photography as an avocation, let alone a profession. Our mother did her best to expose my sister and me to the arts, even enrolling me in classes with adults at a local art center. As a youngster, I knew I wasn't good enough at painting. But I did have a sense of a composition. And I did have a science teacher at State Street Junior High School, Miss Ayers, who had set up a small darkroom and invited me to use it. Bingo! Shazam! Whatever you say, when the light literally turns on. I became enamored of photography. I was living in a Rust Belt town in Ohio where I didn't belong, in the 1950s. And what to do when you don't fit local norms? Entering my teen years, I hid behind a camera. My swords and shields as I moved on to high school began with the Speed Graphics assigned in photography class. It was unusual to have a high school photography course in that era, and I blossomed in that narrow sphere. I became a local treasure, winning in contests but with a whole lot to learn and a vital need to grow myself up. It took grit, I now realize, to escape the confines of a family business and the confines of the values of my community. But I didn't know that then. All I knew was that I had a passion that I must explore. Working strenuously to catch up, after college, I created a profession for myself. Today I look back with perspective and wonder. I see that I had a fascination with movement, as well as with light. I see that I developed reflexively and intuitively, in capturing the essence of a moment. I see that the innate compositional sense expanded into a style. And so on, all insights offering me a chance to pause and reflect as I go forward. My circuitous route through a long career in professional photography has swung back to my roots. Curators and collectors now appreciate photojournalism as fine art. So do the bloggers who are displaying my images. There's a message there! Hence into the archives I've plunged to see now what I saw long ago. I'm digitizing a series of nostalgic images that are going into my own blog and into a series of monographs. I'm creating a book series called How Once We Were, starting with an update of this earlier presentation of my nostalgic photography." -- Michael Philip Manheim
Berenice Abbott
United States
1898 | † 1991
Berenice Abbott was an American photographer best known for her portraits of between-the-wars 20th-century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Abbott was born in Springfield, Ohio, and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886). She attended Ohio State University for two semesters but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists. Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, Abbott's photography was very much a reflection of the rise in the development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian and lived with her partner, art critic Elizabeth McCausland, for 30 years. Berenice Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.Source: Wikipedia Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term—selectivity. -- Berenice Abbott Berenice Abbott was born and raised in Ohio where she endured an erratic family life. In 1918, after two semesters at Ohio State University, she left to join friends associated with the Provincetown Players, in Greenwich Village. There she met Djuna Barnes, Kenneth Burke, Elsa von Freytag-Loringhoven, Edna St. Vincent Millay, Little Review editors Margaret Anderson and Jane Heap, and other influential modernists. From 1919-1921, while studying sculpture, Abbott supported herself as an artist's model, posing for photographers Nikolas Muray and Man Ray. She also met Marcel Duchamp, and participated in Dadaist publications. Abbott moved to Paris in 1921, where she continued to study sculpture (and in Berlin), and to support herself by modeling. During 1923-1926, she worked as Man Ray's darkroom assistant (he had also relocated to Paris) and tried portrait photography at his suggestion. Abbott's first solo exhibition, in 1926, launched her career. In 1928 she rescued and began to promote Eugène Atget's photographic work, calling his thirty years of Parisian streetscapes and related studies "realism unadorned." In 1929 Abbott took a new artistic direction to tackle the scope (if not the scale) of Atget's achievement in New York City. During 1929-38, she photographed urban material culture and the built environment of New York, documenting the old before it was torn down and recording new construction. From 1934-58, she also taught photography at the New School. During 1935-39, Abbott worked as a "supervisor" for the Federal Art Project to create Changing New York (her free-lance work and New School teaching commitment made her ineligible for unemployment relief) . From 1939-60, Abbott photographed scientific subjects, concluding with her notable illustrations for the MIT-originated Physical Sciences Study Committee's revolutionary high school physics course. In 1954, she photographed along the length of US 1; the work never found a publisher. In 1968, Abbott sold the Atget archive to the Museum of Modern Art in New York, and moved permanently to her home in central Maine (bought in 1956 and restored over several decades) . 1970 saw Abbott's first major retrospective exhibition, at the Museum of Modern Art. Her first retrospective portfolio appeared in 1976, and she received the International Center of Photography's Lifetime Achievement Award in 1989. She died at home in Monson, Maine in December 1991.Source: New York Public Library I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph. -- Berenice Abbott In 1929, Abbott returned to the United States, where she embarked on her best-known body of work--a documentation of New York City for which she developed her famous bird's-eye and worm's-eye points of view. She worked on the project independently through the early years of the Depression, and in 1935, secured funding from the Federal Art Project (a part of the Works Progress Administration). Her pictures were published as Changing New York (1939), which was both critically and commercially successful; it remains a classic text for historians of photography. One of Abbott's later final projects was an illustration of a scientific phenomenon, produced in the 1950s in collaboration with the Physical Sciences Study Committee based at the Massachusetts Institute of Technology. Although not as well known as her New York work, these pictures are exquisite examples of her acumen for technical experimentation and her natural instinct for combining factual photographic detail with stunning artistic accomplishment. With their clear visual demonstration of abstract scientific principles, the photographs were chosen to illustrate physics textbooks of the 1950s and 1960s.Source: International Center of Photography
Mario Testino
Mario Testino is a Peruvian fashion photographer. His work has been featured in magazines such as Vogue and Vanity Fair. His career highpoint came when he was chosen by Princess Diana for her Vanity Fair photoshoot in 1997. Testino has been regularly employed by the British royal family ever since. Aaron Hicklin of The Observer described him as "the world's most prolific magazine and fashion trade photographer". His persistence in shooting Gisele Bündchen is widely credited with elevating her to supermodel status. Testino was born and grew up in Lima, the eldest son of a businessman. He was one of six children in a middle class family. When he was young he wanted to be a priest. Testino studied economics at Universidad del Pacífico. In 1976 he went to London to study photography. Living in an unconverted floor of a hospital, without much money, he funded himself by working as a waiter. He had his hair dyed pink which helped him get noticed as a photographer. He is one of six children born to an Italian father and an Irish mother. He attended the Catholic school Santa Maria Marianistas. Testino attended the Universidad del Pacifico, the Pontificia Universidad Catolica del Peru and the University of San Diego. In 1982 Testino moved permanently to London. Testino has become one of the world's most well known and celebrated fashion photographers. His work has been featured across the globe in magazines such as Vogue, Vanity Fair and V, and he has crafted and contributed to the imagery of leading fashion houses such as Burberry, Gucci, Versace, Calvin Klein, Dolce & Gabbana, Salvatore Ferragamo, Estee Lauder and Michael Kors, among others. As well as having published seven books of his work and edited one other dedicated to contemporary art and artists from his native Peru, Mario Testino has had many successful exhibitions in galleries and museums around the world. In 2002, The National Portrait Gallery in London staged the landmark exhibition “Portraits” by Mario Testino that to date remains its second most successful exhibit. For ten years it had the highest attendance of any exhibition ever to be held there. Over the next four years the exhibition went on tour to Milan, Amsterdam, Edinburgh, Tokyo, Mexico City, and Boston. Testino has also received royal commissions, including The Prince of Wales, The Duchess of Cornwall, Prince William, Prince Harry, The Duchess of Cambridge, Diana Princess of Wales, The Duke of Kent, Prince and Princess Michael of Kent, Prince Nikolaos of Greece, Prince Willem-Alexander and Maxima of the Netherlands, Prince Haakon Magnus and Princess Mette-Marit of Norway and Her Majesty Queen Rania al Abdullah of Jordan.Source: Wikipedia Mario Testino OBE is widely regarded as one of the most influential fashion and portrait photographers of our times. His photographs have been published internationally in magazines such as Vogue, V Magazine and Vanity Fair. He has contributed to the success of leading fashion and beauty houses, creating emblematic images for brands from Gucci, Burberry, Versace and Michael Kors to CHANEL, Estée Lauder and Dolce & Gabbana. Alongside his 40-year practice as a photographer, Testino has realised a body of work as a creative director, guest editor, museum founder, art collector/collaborator and entrepreneur. In 2007, at the request of his clients to provide full creative direction services, he formed MARIOTESTINO+ which today is a growing team of individuals who support Testino to realise the breadth of his creative output.Source: www.mariotestino.com
Zied Ben Romdhane
Zied Ben Romdhane (b. 1981, Tunisia) started his career as a commercial photographer. In 2011 he switched to documentary photography and photojournalism. His work has been featured in The New York Times and The Washington Post His recent exhibitions include Views of Tunisia (Arles 2013), After the Revolution (White Box, NY 2013), and Zones d’Attente (Clark House, Bombay 2013), Kushti (Maison de la Tunisie, Paris 2013), Fotofest Biennial in Houston Center for Photography (Houston , USA 2014), Sahel (1×1 Gallery, Dubai 2014), Trace (MUCEM, Marseille 2015) , Afrotopia African biennale of photography (Bamako , Mali 2017), and the Biennale of the photographs of the contemporary Arab world (France , Paris 2017). Romdhane published his first book West of Life in 2018 with Red Hook Editions. Prizes and awards include, selection for the Prize 6X6 Global Talent Program 2018 with World Press Photo Foundation, participant of Joop swart masterclass with World Press Photo, winner of the POPCAP award (Africa Image, Basel, 2015). He is the Director of Photography of Fallega (2011), a documentary film about the Arab Spring in Tunisia. Ben Romdhane was a participant in World Press Photo’s 2013 Reporting Change initiative, member of the collective “Rawiya” and “Native”. Zied Ben Romdhane joined Magnum as a nominee in 2019.Source: Magnum Photos “Zied is a documentary photographer who is using aesthetics in a tasteful way to invite the audience to his stories. His work is not pushing facts but instead he uses careful compositions that leaves room for the viewer to reflect on the images and their content.” - Rebecca Simons, Finland, independent curator, editor, educator and 6x6 nominator. Zied Ben Romdhane is a Tunisian photographer. He won the POPCAP award in 2015, and his work has been featured in Irada and Dégage. He is the Director of Photography of Fallega (2011), a documentary film about the Arab Spring in Tunisia. Romdhane was also a participant in World Press Photo’s 2013 Reporting Change initiative.Source: World Press Photo
Anna Matysiak
Poland
1978
Anna Matysiak, born in 1978, is an independent photographer working in the fine art style. With a keen eye for detail and an innate ability to convey emotion, she particularly enjoys capturing the essence of her subjects through portrait photography. Although her educational background is in economics, her passion for the arts led her to fully immerse herself in the world of photography, a journey she began in 2020. In addition to her striking portraits, Anna's portfolio showcases an impressive array of conceptual and nude photography, highlighting her versatility and creative vision. Her work has gained significant recognition, with photographs exhibited in prestigious venues across the globe, including Tucson in the United States, London in the United Kingdom, Vien in Austria, Siena in Italy and Szczecin in Poland. Through her lens, Anna invites viewers to explore the profound beauty and complexity of the human experience. Matysiak garnering recognition in numerous prestigious international competitions. These contests were judged by a jury panel of esteemed professionals, including gallery owners, publishers, editors, and acclaimed photographers, all of whom brought a wealth of experience and expertise to their evaluations. She has received numerous prestigious awards. In 2025, she won a bronze medal in the Tokyo International Foto Awards in the Fine Art (Other) category and a special award in the Vienna International Photography Award in the Free Subject category. In 2024, she won a bronze medal in the Fine Art category at the Chromatic Awards. In 2023, she received a gold medal in the Fine Art (Other) category at the ND Awards. Since 2021, her works have also been awarded distinctions in the Creative Photo Awards (Siena Awards), International Photography Awards, Fine Art Photography Awards, Annual Photography Awards, and Budapest International Foto Awards. Currently based in Szczecin, Poland. STATEMENT: "When I embarked on my journey into photography, my initial focus was primarily on portrait photography, capturing the essence of people as they were. However, deep down, I yearned to express more than just a straightforward depiction. As time passed, my artistic vision evolved, heavily influenced by the remarkable artists I held in high regard— distinguished photographers and talented painters whose works stirred something within me. I increasingly felt compelled to illustrate people and places through my lens, revealing how I perceive their beauty and intricacies. My aim was to highlight my subjects' hidden depths, enabling them to resonate with viewers on a reflective level. In the present day, my creative process often revolves around symbolism. I cherish the notion that viewers can engage with my images, pondering their meanings and engaging in conversations about them. The nature of my work is significantly shaped by my surroundings. Every photograph I take is a product of the environment and the individuals I encounter throughout my journey. A distinct location may ignite a vision for an artistic photograph, while an intriguing individual might inspire a unique portrait. Even melodies in my surroundings can trigger the imagery I wish to convey and the narratives I long to tell. When approaching the creation of conceptual photography, I immerse myself in meticulous preparation. Each detail is carefully curated to ensure the final presentation aligns with my artistic intent. While the subject matter varies widely, a common thread runs through all my work: capturing the viewer's attention enough to provoke thought and facilitate the discovery of more profound messages. Photography is not just a pursuit for me - it is a rofound passion that fills my heart with joy. This joy magnifies with the reach of my audience. Each accolade, award, and exhibition serves as wings that propel me forward, motivating me to delve deeper into my art. I believe that every artist crafts their work with an audience in mind. As I maintain a critical eye on my creations, the praise and recognition I receive from esteemed figures in the photographic world inspire me to elevate my craft, embrace new challenges, and continue this exhilarating journey of self-expression."
Jock Sturges
United States
1947
Jock Sturges, born in New York City in 1947, is an American photographer whose work has stirred both acclaim and controversy. After serving in the United States Navy as a Russian linguist from 1966 to 1970, Sturges pursued his passion for photography, earning a BFA in Perceptual Psychology and Photography from Marlboro College. He further honed his craft by obtaining an MFA in photography from the San Francisco Art Institute. Sturges is renowned for his captivating images of nude adolescents and their families, often captured at communes in Northern California and the naturist resort CHM Montalivet in Vendays-Montalivet. His photographs, characterized by their intimate portrayal of human vulnerability, frequently feature Misty Dawn, a California resident whom he photographed from childhood into her twenties. Working primarily with a large 8x10-inch-format view camera, Sturges has also experimented with digital photography but maintains a preference for traditional prints. My work is, in fact, neutral. In fact, its very neutrality is one of the things that worries me about it sometimes. There’s sometimes not a lot of emotive passion in the work. Because I shoot long shutter speeds, people are necessarily very still, and the work is very, very plain and... neutral. That neutrality isn’t sexual by nature. My subjects are just there. So if you read sexuality into my pictures, beyond what’s inherent to a human being, then the work is acting as a Rorschach, and you’re evincing sexual immaturity or sexual malaise in your own life. I have to tell you, I am sometimes deeply suspicious of the sexual mental health of some of the people who point their wavering fingers at the morality, the art, of others. – Jock Sturges Despite the acclaim garnered by his work, Sturges has faced controversy throughout his career. In 1990, his San Francisco studio was raided by FBI officers, and his equipment was seized. However, a subsequent grand jury declined to bring charges against him. In 1998, his books "The Last Day of Summer" and "Radiant Identities" were targeted as potential child pornography in Arkansas and Louisiana, sparking legal battles and protests. Despite these challenges, Sturges has continued to create thought-provoking imagery that challenges societal norms and perceptions. Sturges's photographs have also found their way into various forms of media and art. They have graced the covers of novels by authors such as Jennifer McMahon and Karl Ove Knausgård, adding depth and intrigue to literary works. Additionally, his images have been featured in music releases by the band Ride, further highlighting their versatility and impact across different artistic mediums. Throughout his career, Sturges has remained committed to his artistic vision, using his lens to explore themes of innocence, identity, and the passage of time. Despite the controversies surrounding his work, he continues to push the boundaries of conventional photography, challenging viewers to confront their preconceptions and delve deeper into the complexities of the human experience. Jock Sturges's legacy as a photographer is a testament to the power of art to provoke thought, spark dialogue, and inspire change.
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Call for Entries
AAP Magazine #57 Portrait
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