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FINAL CALL TO ENTER AAP MAGAZINE SHADOWS: PUBLICATION AND $1,000 CASH PRIZES
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Fritz Liedtke
Fritz Liedtke
Fritz Liedtke

Fritz Liedtke

Country: United States

Fritz began photographing as a teen, carrying his Kodak 110 Instamatic around on a US tour with his father at age 14, in their little blue Datsun B210. Twenty-five years later, he continues to explore the world, camera in hand. In the intervening years, Fritz acquired a BFA in Photography; won numerous awards and grants for his work; enjoyed artist residencies in various places; had photographs published, collected, and shown in galleries and museums; wrote articles and essays for various publications; lectured and taught workshops on photography and the artistic life; and balanced both commercial and fine art practices. He also loves to travel. He is constantly looking for new ways to approach the world through art. Portland, Oregon is his home, along with his wife and daughter and their bright orange house.

About Astra Velum: April, a freckled woman in this series, told me a story from her childhood: One day after playing outside, her grandmother asked her to go wash up. She went to the bathroom and did so, but grandma wasn’t satisfied. “Your face isn’t clean! Go scrub it some more!” The young girl was distraught, for all that was left on her skin were her freckles, and no amount of scrubbing would make them go away. In a world that flaunts flawlessness as the ideal, can we find real beauty in the blemishes? More than once, while photographing for this series, women thanked me for making something beautiful out of what they often viewed as an imperfection. At its essence, Astra Velum explores the beauty of flawed human skin, with its freckles and scars, overlaid upon us like a thin veil of stars. This series is hand-printed by the artist as a limited edition set of photogravures.
 

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More Great Photographers To Discover

Sirkka-Liisa Konttinen
Sirkka-Liisa Konttinen is a Finnish photographer who has worked in Britain since the 1960s. She was born in Myllykoski, municipality of Sippola (from 1975 part of the town of Anjalankoski, from 2009 part of the town of Kouvola), Finland in 1948. Konttinen became interested in photography at the age of 12 and was a member of a photography group in a nearby town. Intending to pursue photography as a career, she was apprenticed to a fashion photographer in Helsinki for a year. Konttinen studied photography in London in the 1960s, and cofounded the Amber Collective, which moved to the northeast of England in 1969. From 1969 Konttinen lived in Byker, and for seven years photographed and interviewed the residents of this area of terraced houses until her own house was demolished. She continued to work there for some time afterward. This resulted in the book Byker, which in David Alan Mellor's words "bore witness to her intimate embeddedness in the locality". In 1980 she became the first photographer since the Cultural Revolution to have her work exhibited by the British Council in China. Konttinen's next project was a study of girls attending dance schools in North Shields, their mothers, and the schools. The book Step by Step came from this. The book was an influence for the film Billy Elliot. Three years of photographing the beach between Seaham and Hartlepool resulted in the series Coal Coast. Konttinen later returned to Byker and photographed its new residents in colour.Source: Wikipedia Sirkka-Liisa Konttinen is a photographer and filmmaker, best known for her work documenting working-class life in North East England. She is also co-founder of the Amber Film and Photography Collective, based in Newcastle Upon Tyne and the Side Gallery, dedicated to socially engaged documentary photography. Her documentation of Byker, the close-knit community of Newcastle, led to national recognition as a key photographic and filmic account of the rich working-class culture on the eve of its destruction. In 2003-09 she returned to the Byker Wall Estate that came to replace the original community, with her Byker Revisited/Today I’m With You book and film. Konttinen’s other long-term projects include Step by Step/Keeping Time, Hoppings, Writing in the Sand, Letters to Katja and the Coal Coast/Song For Billy. In 2011 her photography was inscribed in the UNESCO UK Memory of the World Register. She has exhibited widely, with her works held in multiple collections including the Finnish Museum of Photography, Helsinki, Museum of Fine Arts, Houston, The New York Public Library, Tate Modern, London, Victoria and Albert Museum, London and the AmberSide Collection Trust, Newcastle.Source: Artimage
Lúa Ribeira
Spain
1986
Lúa Ribeira (born 1986) is a Galician photographer, based in Bristol in the UK. She is a Nominee member of Magnum Photos and was a joint winner of the Jerwood/Photoworks Award in 2017. Her series Noises is about femininity and British dancehall culture. She studied documentary photography at the University of Wales, Newport, graduating in 2016. Ribeira's series Noises, about femininity and Jamaican dancehall culture in the UK, was published as Noises in the Blood in 2017.Source: Wikipedia Lúa Ribeira’s practice is characterized by its collaborative nature, extensive research and an immersive approach to her subject matter. She is interested in using the photographic medium as a means to create encounters that establish relationships and question structural separations between people. Ribeira was born in 1986, in Galicia, northern Spain. She graduated in Graphic Design at BAU School of Design, Barcelona in 2011, and earned a first-class honours in a BA in Documentary Photography from the University of South Wales in 2016. Since graduating, she has continued her academic engagement as a guest lecturer at various universities, including the University of Westminster, University of the West of England, and Complutense University of Madrid. Ribeira’s work has received several awards and honors, including the Firecracker Grant for Women in Photography, and the Jerwood/Photoworks award. Her work has been published in book form by Fishbar, London in 2017, features in the publication Firecrackers: Female Photographer Now published by Thames and Hudson in 2017, in and Raw View Magazine‘s, “Women looking at Women” in 2016. Her work has been exhibited internationally in both solo and group shows in venues including Impressions Gallery, Bradford, Ffotogallery Cardiff, Belfast Exposed gallery, Beijing International Photography Biennale, and many more. Other publications Ribeira’s work has been featured in include The British Journal of Photography, Paper Journal, Refinery 21, AnOther, and Tate magazine. Selected commercial clients include Chanel, Carla Lopez handbags, Birmingham Botanical Gardens, and Wire Magazine. She joined Magnum photos as a nominee in 2018.Source: Magnum Photos Since graduating from the documentary photography course at the University of South Wales last year, Lúa Ribeira has gone from strength to strength. In addition to the Firecracker Grant, which she was awarded in 2015 while still a student, her work was recently selected by Susan Meiselas to appear in Raw View magazine’s Women Looking at Women issue, which the Magnum photographer guest edited. She is also making a name for herself commercially, with commissions for the likes of handbag designer Carla Lopez and with editorial clients such as Wired. Her images have been shown at international festivals, including Photo España in 2014 and Gazebook Festival in 2015, and she has also been awarded a Jerwood Photoworks Grant for future projects in 2018. Thus far, Ribeira is perhaps best known for Noises in the Blood, an ongoing investigation into Jamaican dancehall culture, shown at London’s Fishbar Gallery earlier this year and published by its photobook wing. The series stems from the photographer’s love of the musical genre but also acknowledges her discomfort with its explicit, sexual lyrics. “That feeling bothered me,” says Ribeira. “I did not fully understand it.”Source: British Journal of Photography
Richard Murai
United States
1952
"The real voyage of discovery consists not in seeking new lands but seeing with new eyes." --Marcel Proust, 1923, La Prisonierre The world's sacred sites are visually rich and historically significant and provide sanctuary for spiritual reflection and creative exploration and discovery. They're striking archeological sites but first and foremost, they serve as vital and revered centers of pilgrimage, prayer and meditation. These images are excerpts of my visits to these sacred spaces and are evidence of an ongoing journey that examines intense spiritual devotion and religious fervor, past and present, within unique and distinctive cultures. They are multi-dimensional and compelling for both the photographer and the viewer and document golden ages of past millennia and cultures seeking to reconcile ancient traditions with conflicting modern values. Devotees seek serenity and escape from centuries of conquest and political upheaval, or the effects of poverty, global climate change and modernization. As we confront a perplexing, irrational and precarious world situation ongoing geo-political unrest and violence has caused fractious dissension and a difficult emotional time for all. Reluctance to accept diverse cultural, political, religious attitudes both here and abroad adds to the fear, cynicism and confusion. Becoming sensitive to unfamiliar cultures can quell much of this anxiety and may encourage tolerance and compassion. After transitioning from thirty-five rewarding years in photographic education, Richard lives in Monterey, CA, and continues to passionately pursue his creative artmaking. His ongoing fascination with world religion and culture has generated repeated visits to locations within India, Asia, South America, the Middle East, Russia and Europe. His work has been exhibited widely, has garnered awards from All About Photo, Center for Photographic Art, Spider Awards, and Travel Photographer of the Year, and have been featured in respected publications including B&W Magazine, Silver Shots International, Shots, Photographer's Forum and multiple issues of Lenswork print and special editions. His photographs are included in various private and corporate collections and is represented by the Weston Gallery, Carmel, CA
Dianne Yudelson
United States
Dianne Yudelson is an award winning photographic artist and master of the New Eclecticism Photography. Her work has been exhibited in Malaysia, France, Thailand, and throughout the USA. Dianne is a 2013 Critical Mass Finalist and a Julia Margaret Cameron Award winner in documentary, as well as street photography. Recent 2013 exhibitions include the Natural History Museum in San Diego California, National Geographic Museum as part of FOTODC, The FENCE 2013 and 2014 in Boston as part of the Magenta Flash Forward Festival, The FENCE 2013 and 2014 in Brooklyn as part of Photoville, the 2014 FENCE in Atlanta as part the ACP festival, and The Center for Fine Art Photography as part of 2013 and 2014 Center Forward. Dianne graduated Summa Cum Laude from the University of California, Berkeley. “My fascination with photography began upon the realization that, in addition to being a wonderful means of documentation, photography can also be used as a fine art medium. My style is eclectic. In the fine tradition of eclectic artists of our past, from DaVinci to Duchamp to Calder, I embrace the challenge of exploring varied subjects and forms of expression. By that I mean, neither subject matter nor genre solely defines my images; they are defined by my artistic esthetic." Dianne’s 2013-2014 top honors include "Photographer of the Year" titles from three acclaimed international competitions; Black and White Spider Awards, Photography Masters Cup, and World Photography Gala Awards. In 2013 Dianne received: First Place in the International Photography Awards (IPA) in Fine Art and Collage, GOLD overall category PX3, Grand Prize Winner in the New York Center for Photographic Arts, Gold medalist in San Francisco International Exhibition, First Place Professional Women Photographers, First Place WPGA Black & White Awards, First Place Texas Photographic Society, and advertising honors in the LICC for a third consecutive year. "Throughout my life art has been the one true common thread, the stitches that bind my chapters together. As a photographic artist, I embrace the ability to spotlight my point of view and give a voice to my imagination." Interview With Dianne Yudelson AAP: When did you realize you wanted to be a photographer?I realized I wanted to be a photographer when I discovered that, in addition to being a wonderful means of documentation, photography can be used as a fine art medium.AAP: Where did you study photography?I am a self-taught photographer.AAP: How long have you been a photographer?In the summer of 2009 I came across an article in the Rangefinder magazine regarding the Black and White Spider Awards. This article reported that the competition was for amateurs as well as professional photographers. I researched online and discovered that the deadline for entries was in 2 days. During the next two days I photographed and created my composite image entitled “Vessels,” and entered it in the competition. The following February, “Vessels” won a nomination in the Abstract category at the 5th Spider Awards. Since 2010 I have considered myself a photographer and I have dedicated myself to photography from that point on, initially creating single images and then moving forward to create whole portfolios of work. Within two years, at the 7th Black and White Spider Awards, I was named Photographer of the Year, Honor of Distinction.AAP: Do you remember your first shot? What was it?I was about 10 years old when I took my first snapshot. Although I have always enjoyed taking pictures, I remember people commenting, “Why are you wasting film taking a photo of a lollipop discarded in the street or a chair off in the corner?” I do remember the first photograph that elicited the response “Whoa… you could sell this shot!” The comment came from a friend of mine, who was a commercial photographer. I had taken an adventurous trip to England, receiving a camera as a going away gift. Because I was traveling alone, my photos captured my personal vision of the landscape: rowboats near a river’s edge at dawn, silhouettes of statuary at sunset and the delicate curvature of wildflowers as they blew in the autumn breeze. Capturing these photographs sparked my artistic curiosity; consequently, taking the photos became one of the most exciting aspects of my journey abroad.AAP: Do you have a mentor?My mentors are all the eclectic artists who have preceded me. I have honored some of these artists in my series “Fusions” and “Monarchs in Art.” In these two series I have utilized stylistic elements of the artists who were important contributors to their artistic movements, “monarchs” of their medium, while interpreting the subject matter and creating an image truly representative of my own modern artistic style.AAP: What inspires you?I am generally inspired by all things visual, from grand vistas to the reflection of light on a teardrop. Sometimes I am immediately compelled to take a photo and at other times the visual moment triggers a thought process that leads to the creation of a photo or photo series. Every now and then, as an avid reader, I will come across a pairing of words that peak my interest. For example, I created an image to symbolize a concept I had studied in graduate school, “Synaptic Euphoria.”AAP: How could you describe your style?My style is eclectic. By that I mean I embrace the challenge of exploring varied subjects and forms of artistic expression. As part of this philosophy, I created a new art movement that I call the “New Eclecticism.” Neither subject matter nor genre solely defines my images; they are defined by my artistic esthetic.As a teen, I performed in musicals. I remember saying, “I wish I could sing like Barbara Streisand.” My mother pointed out that the world already has a Barbara Streisand. We love Barbara because she is unique. To be unique you must be yourself as the world only has one of you.” From that day forward, I have understood that to be original, you must remain true to yourself and your vision.AAP: What kind of gear do you use?I am a Nikon girl -- camera, lenses and speedlights.AAP: Do you spend a lot of time editing your images?Sometimes yes and other times no. I will say that, when I am in the process of editing or creating images, time seems to disappear; I am in my own world. When I am not shooting or creating, I am thinking about what needs to be taken care of, so that I can get back to my art.AAP: What advice would you give a young photographer?I teach a photography group and I always advise them to keep the elements of composition in mind, photograph what inspires them and, if an idea hits you out of the blue, take a second to notate it for use later. Above all else, allow your images to serve as self-expression.AAP: Do you have an idea or project you would like to share?Recently, I have focused on my nature and wildlife photography. I have always loved birds and will sit in a field, by a stream or in a ditch along the side of a road for an hour or more to capture an elusive species or to wait for that moment of interaction. As a very young girl my fondest memory was sitting on my grandmother’s porch while she showed me tintypes of my great grandmother and other loved ones. Holding these tintypes in my hand and gazing into the eyes of my ancestors while hearing stories of my grandmother’s childhood was an experience I hold dear to my heart. Those tintypes were my first exposure to the art of photography. My series "Antique Aviary" is a melding of my lifelong passion for birds, my wildlife photography and my deep appreciation of the tintype image.AAP: What was your worst memory as a photographer?In April of this year I drove 400 miles to hand deliver my framed image “Great Horned Owl” from my “Antique Aviary” to the SMASHBOX exhibition during MOPLA (Month of Photography Los Angeles). Upon exiting my rental car, I took two steps and tripped into a 12inch pothole in the parking lot across the street from the Smashbox Studios in Hollywood and broke my foot.AAP: What is your best memory as a photographer?One day I was taking a drive with my 9 year old son. We were driving down a country road appreciating the tall mustard grass. Suddenly I spotted a 6 foot fence pole that was literally covered with bees. I pulled over, jumped out of the car and grabbed my camera from the trunk as well as a jacket to throw over my head. I told my son to stay in the car and take some photos with his little camera, but not to roll down the window. Bees were flying over my head and around my body to get to the pole. As I attempted to focus on the bees I realized that all these bees were vibrating up and down the pole. In order to get the shot, I was going to have to move in very close. At a couple of feet away I took the photos in my series “A Gathering of Bees.” When I returned to the car my son was a bit distraught. I said "I’m sorry if I took too long" and he said, “But Mommy, you’re allergic to bees. What if they swarmed you? What would I do?” I shall always remember the look on his face when I told him that if they swarmed me, “Take the Shot!”
Martin Munkácsi
Hungary
1896 | † 1963
Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City. Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above. On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops. Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire. Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.Source: Wikipedia
Sol Hill
United States
1971
Sol Hill was born in Albuquerque, NM in 1971, to artist parents who founded the first contemporary art gallery in Santa Fe. His early memories were of being with his parents in their respective studios and of being in their gallery in Santa Fe. As a child the mysterious objects and paintings that pervaded the gallery intrigued him. Contemporary art works were prevalent both in the gallery and at home. Looking at those artworks felt like observing some secret alchemical language that Hill wished to learn. Growing up, Hill lived all across the United States, and in Jamaica and Germany. He majored in International Affairs and German at Lewis & Clark College in Portland, OR and at Maximilian Ludwig Universität in Munich, Germany. He also studied printmaking in college and then became deeply involved with photography while in Germany. He later returned to Santa Fe and founded Zen Stone Furnishings with his wife, a paper artist from Brazil. Together they designed and manufactured hand crafted home furnishings from stone, twigs, copper and handmade paper. After an intense medical crisis, Hill decided to dedicate himself to fine art. He went on to study photography at the Brooks Institute in Santa Barbara, where he received an MFA in 2010. Hill travels regularly and often to Brazil to visit his wife’s family. Travel has powerfully affected his vision as an artist. Although Hill uses some of the latest digital photographic equipment and embraces digital photography, he finds that he is drawn to the kind of liberation found in embracing the mysterious and unfamiliar rather than that which is crisply defined and well known.About Token Feminine:The mannequin is a token feminine used to impart cultural conventions of the idealized female image In this body of work I examine mannequins in storefront windows as symbols of consumer culture. I see them as emblems upon which the desire and fantasy of sex and fashion are draped and from which complex valuations of body image are ingested. The mannequin is a token feminine presence used to impart cultural conventions of the idealized female image. I dissipate these literal mannequin pictures by interrupting the expected information and accepting the digital noise, which are undesirable artifacts produced by false exposure, inherent to the process of capturing digital images. This allows me to explore the nature of the boundary between the reverie of the token feminine and the reality of the commercial icon.About Urban Noise:I seek stillness within the modern day information overload through the act of unconventional street photography. Urban Noise combines an exploration of the aesthetic and conceptual value of digital noise in photography with a contemplative study of the contemporary urban environment. Digital noise is a reviled artifact inherent to digital imaging. I challenge the notion that this artifact is inherently worthless by using it to render photographs into contemporary visual tropes. It is my tool to address the digital nature of the contemporary world. Digital noise is false exposure produced by energies other than light, namely heat, electrical current and “cosmic noise.” Cosmic noise is the term for invisible wavelength energies comprised in part of man-made signals from our built and technological environment mixed with the electro magnetic energy produced by human bodies. The resulting noise from these interfering energies transforms my photographs. The contemporary urban environment is flooded with so much extraneous information that we necessarily turn most of it into background noise to survive. There is so much conflicting information competing for our attention that I am intrigued by how we sort out what is worthy of our attention, from meaningless background noise. I seek my own stillness within the overwhelming cacophony of modern day information overload through the act of unconventional street photography.
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AAP Magazine #56 Shadows
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