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

Niki Feijen

Country: Netherlands
Birth: 1977

Dutch photographer Niki Feijen immortilizes an astonishingly intact glimpse into the past. This autodidact specializes in documenting and capturing historic architecture and abandoned buildings. Each photo fuses together the conflicting notions of beauty and decay and corresponds with his desire to capture and silently communicate with his audience about the subject's very essence.

Niki wants to recreate the exact same scene as he sees while standing in a location but the lightspectrum your eye can capture is much, much wider than a camera can capture. Photographing a dark setting with extreme highlights like a window causes the highlights to wash out into white or dark areas can become obscure black blobs. It's impossible to shoot a photo that captures both ends of this spectrum. Since Niki does not use any artificial lighting he uses different exposures to capture a much wider light spectrum than a traditional photograph. The result is a hyper realistic photo which would replicate the exact same thing you would see standing inside the location yourself.

In 2010 Feijen visited the quintessential location of desertion: the Chernobyl Exclusion Zone. After a catastrophic nuclear accident occurred in 1986 the entire city of Pripyat, all 50,000 inhabitants, were evacuated within 48 hours. Most of the belongings of the evacuated inhabitants were left behind and never returned to again. The incredible deafening silence of this location, in its absence of the living, permeates the senses and mind of visitors who venture to there to this day.

Feijen is currently travelling around the globe looking for more hidden gems tucked away behind 'Do Not Enter' signs. Curious about what lies on the other side, he goes in search of the hidden world that is often in plain sight. When Feijen comes across impressive yet eerie locations, such as homes located in ghost towns, asylums, decaying hospitals, abandoned castles and long forgotten hotels, he intends to preserve the what is left of the past by encapsulating these forgotten masterpieces' ethos in a photo before they crumble and collapse.

The impressions left from these places are represented in visual form for the public in three separate books. All works, 'Disciple of Decay' (April 2013) 'Frozen' (September 2014) and 'Tempus Fugit' (December 2017), have been independently published. The first sold out in six months. On top of these publications, Feijen's photographs are exhibited at art galleries and international art fairs several times a year.

His works have been featured by NBC, BBC, The Huffington Post, ABC News, The Daily Mail and Chase Jarvis, among a variety of others. As of 2014 Feijen's work is part of the Sir Elton John Photography Collection where his name is among legendary photographers as ; Edward Weston, David LaChapelle, Diane Arbus and Henri Cartier-Bresson.
 

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Alireza Memariani
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Manuel Álvarez Bravo was a Mexican artistic photographer and one of the most important figures in 20th century Latin American photography. He was born and raised in Mexico City. While he took art classes at the Academy of San Carlos, his photography is self-taught. His career spanned from the late 1920s to the 1990s with its artistic peak between the 1920s and 1950s. His hallmark as a photographer was to capture images of the ordinary but in ironic or Surrealistic ways. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. He rejected the picturesque, employing elements to avoid stereotyping. He had numerous exhibitions of his work, worked in the Mexican cinema and established Fondo Editorial de la Plástica Mexicana publishing house. He won numerous awards for his work, mostly after 1970. His work was recognized by the UNESCO Memory of the World registry in 2017.Source: Wikipedia Manuel Álvarez Bravo, one of the founders of modern photography, is considered the main representative of Latin American photography in the 20th century. His work extends from the late 1920s to the 1990s. Alvarez Bravo was born in downtown Mexico City on February 4, 1902. He left school at the age of twelve in order to begin making a contribution to his family's finances after his father's death. He worked at a textile factory for a time, and later at the National General Treasury. Both his grandfather (a painter) and his father were amateur photographers. His early discovery of the camera awakened in him an interest that he would continue to cultivate throughout his life. As a self-taught photographer, he would explore many different techniques, as well as graphic art. Influenced by his study of painting at the Academy of San Carlos, he embraced pictorialism at first. Then, with the discovery of cubism and all the possibilities offered by abstraction, he began to explore modern aesthetics. He had his initiation into documentary photography in 1930: when she was deported from Mexico, Tina Modotti left him her job at the magazine Mexican Folkways. He also worked for the muralists Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Álvarez Bravo is an emblematic figure from the period following the Mexican Revolution often called the Mexican Renaissance. It was a time of a creative fertility, owing to the happy though not always tranquil marriage between a desire for modernization and the search for an identity with Mexican roots, in which archaeology, history and ethnology played an important role, parallel to the arts. Alvarez Bravo embodied both tendencies in the field of visual arts. Between 1943 and 1959, he worked in the film industry doing still shots, which inspired him to realize some of his own experiments with cinema. While Manuel Álvarez Bravo was alive, he held over 150 individual exhibitions and participated in over 200 collective exhibitions. According to several critics, the work of this "poet of the lens" expresses the essence of Mexico. However, the humanist regard reflected in his work, the aesthetic, literary and musical references it contains, likewise endow with a truly universal dimension. He died on October 19, 2002, at the age of one hundred.Source: www.manuelalvarezbravo.org Manuel Álvarez Bravo was a teenager when he first picked up a camera and began taking pictures, before he enrolled in night classes in painting at the Academia San Carlos, in 1917, or sought instruction in the darkroom of local German photographer Hugo Brehme. Initially self-taught, Álvarez Bravo’s style developed through study of foreign and local photography journals. In these pages, he first encountered the work of Edward Weston and Tina Modotti, who came to Mexico in 1923; the latter became a close colleague and supporter, introducing Álvarez Bravo to the artists of Mexico’s avant-garde, including Diego Rivera, Frida Khalo, and Rufino Tamayo, as well as encouraging him to send photographs to Weston. In the 1930s, Álvarez Bravo met Paul Strand, traveling with him while he worked in Mexico, and Henri Cartier-Bresson. With Cartier-Bresson and Walker Evans he exhibited in a three-man show at the Julien Levy Gallery, New York, in 1935. Mexico was a cultural hub for many in the international avant-garde in these years; André Breton visited, including Álvarez Bravo in the Exposition of Surrealism he organized in 1940 in Mexico City. Although the artist never identified with Surrealism, it was a major theme in the analysis of his pictures throughout his career. Revealing the influence of his formative years following the Mexican Revolution of 1910, Álvarez Bravo would instead speak of his interest in representing the cultural heritage, peasant population, and indigenous roots of the Mexican people in the face of rapid modernization.Source: Museum of Modern Art
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Jill Greenberg
United States
1967
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Erik Johansson
Sweden
1985
Erik Johansson (born 1985) is a photographer and visual artist from Sweden based in Prague, Czech Republic. His work can be described as surreal world created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn't capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible. To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real." Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose. Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea. There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work). Artist Statement "My name is Erik Johansson, I was born in 1985 outside a small town called Götene in the middle of Sweden. I grew up on a farm with my parents and two younger sisters. For as long as I can remember I have liked drawing. Probably because of my grandmother who was a painter. Early I also got interested in computers, escaping to other worlds in computer games. At the age of 15 I got my first digital camera which opened up a new world. Being used to drawing it felt quite strange to be done after capturing a photo, it wasn’t the process of creating something in the same way. Having an interest in computers made it a quite natural step to start playing around with the photos and creating something that you couldn’t capture with the camera. It was a great way of learning, learning by trying. But I didn’t considered it as a profession until years later. In 2005 I moved to Gothenburg to study Computer engineering at Chalmers University of Technology. During my time studying I took up my interest for retouch once again. I had a lot of ideas that I wanted to realize and I saw it as problem solving trying to make it as realistic as possible. After publishing some of my images online I started to get requests about commissioned work from some local advertisement agencies. I started out freelancing in parallel with my studies while still working on personal projects. I got more and more jobs and at the time I finished my studies with a master in Interaction Design I felt like I rather wanted to try out the photography path. I moved to Norrköping in the eastern part of Sweden to start working full time as a freelance. I made new friends and got to work on interesting projects, both local and abroad. In early 2012 it was time for something new as I moved to Berlin, Germany. A very artistic city with lots of inspiration. Today I work with both personal and commissioned projects and I also started doing photography street illusions."Source: www.erikjo.com/
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