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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Maria Kanevskaya
Self-portrait
Maria Kanevskaya
Maria Kanevskaya

Maria Kanevskaya

Country: Russia
Birth: 1987

Maria Kanevskaya was born in March of 1987 in St. Petersburg, Russia. She has a bachelor degree in Hospitality Management from St. Petersburg State University of Economics and Finance. She picked up a camera just a few years ago and never thought she would end up feeling so passionate about photography at the time but a little flame was lit rather quickly, and she all of a sudden was able to materialize instances from daydreams. She moved to San Francisco to follow her heart to create. Maria is influenced by the vision of dreams and everyday life, childhood memories, the interactions with people, the feelings that arise, and the films and works of other artists.She tries to create a different world with photography, a world that doesn’t exist but that some people might want to be a part of.
 

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More Great Photographers To Discover

Edwin Carungay
United States
1969
Francis Frith
United Kingdom
1822 | † 1898
Francis Frith was an English photographer of the Middle East and many towns in the United Kingdom. Frith was born in Chesterfield, Derbyshire, attending Quaker schools at Ackworth and Quaker Camp Hill in Birmingham (c. 1828–1838), before he started in the cutlery business. He suffered a nervous breakdown in 1843, recuperating over the next two years. In 1850 he started a photographic studio in Liverpool, known as Frith & Hayward. A successful grocer, and later, printer, Frith fostered an interest in photography, becoming a founding member of the Liverpool Photographic Society in 1853. Frith sold his companies in 1855 in order to dedicate himself entirely to photography. He journeyed to the Middle East on three occasions, the first of which was a trip to Egypt in 1856 with very large cameras (16" x 20"). He used the collodion process, a major technical achievement in hot and dusty conditions. Photographs taken by Frith are held in the Conway Library of Art and Architecture at the Courtauld in London. When he had finished his travels in the Middle East in 1859, he opened the firm of Francis Frith & Co. in Reigate, Surrey, as the world's first specialist photographic publisher. In 1860, he married Mary Ann Rosling (sister of Alfred Rosling, the first treasurer of the Photographic Society) and embarked upon a colossal project—to photograph every town and village in the United Kingdom; in particular, notable historical or interesting sights. Initially he took the photographs himself, but as success came, he hired people to help him and set about establishing his postcard company, a firm that became one of the largest photographic studios in the world. Within a few years, over two thousand shops throughout the United Kingdom were selling his postcards. Many of his photographs were collected into published volumes. Initially these works were compiled by established publishing companies. However, by the 1860s, Firth realized that he could profit from publishing his own images and established the publishing company F. Frith & Co. Frith died at his villa in Cannes, France, on 25 February 1898, aged 75. His family continued the firm, which was finally closed in 1971. Following closure of the business, Bill Jay, one of Britain's first photography historians, identified the archive as being nationally important, and "at risk". Jay managed to persuade McCann-Erikson the London advertising agency to approach their client Rothmans of Pall Mall on 14 December 1971 to purchase the archive to ensure its safety. Rothmans went ahead and acquired the archive within weeks. Frith was re-launched in 1975 as "The Francis Frith Collection" by John Buck, a Rothmans executive, with the intention of making the Frith photographs available to as wide an audience as possible. On 25 August 1977, Buck bought the archive from Rothmans, and has run it as an independent business since that time – trading as The Francis Frith Collection. In 2016 the company completed a two-year project to scan the entire archive and now holds over 330,000 high resolution digital images. The company website enables visitors to browse all 330,000 Frith photographs, depicting some 7,000 cities, towns and villages.Source: Wikipedia Born into a Quaker family in 1822 in Chesterfield, Derbyshire, Francis Frith was a remarkable person, philosophical and devoutly religious by nature and pioneering in outlook. He was a complex and multi-talented man who had a formidable instinct for business. By the time he founded his photographic publishing company in 1860 he had already established a wholesale grocery business in Liverpool which was so successful that by the mid 1850s he was able to sell it for a price which made him a the equivalent of a multi-millionaire today. Frith had been a founder member of the Liverpool Photographic Society in 1853 – only 14 years after the invention of photography, 1839. Between 1856 and 1860, as a gentleman of leisure, he made three pioneering and sometimes dangerous photographic expeditions to the Middle East, taking bulky cameras, equipment and glass plates with him and travelling by boat, donkey, mule and camel. These journeys took him to Egypt, Nubia, Ethiopia, Sinai, Palestine, Lebanon and Syria, and established his reputation as an outstanding pioneer photographer. The photographs he took on these expeditions were marketed by the London firm of Negretti & Zambra as hugely popular stereoscopic views, and were also published in London and New York in limited edition part-works of prints, with sales totalling over £3 million in today’s value.Source: www.francisfrith.com
Inge Morath
Austria/United States
1923 | † 2002
Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth. Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist. In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London. Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961). Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002). Inge Morath died of lymphatic cancer on 30th January 2002. Source: Spartacus Educational Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments." Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays. Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects. During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
Jeff Wall
Canada
1946
Jeff Wall's artistic technique mixes the fundamentals of photography with influences from other art forms such as painting, film, and literature. This synthesis takes place within a complex framework that he refers to as "cinematography." His wide body of work ranges from classical reporting to sophisticated constructions and montages, which are frequently performed on bigger scales typically associated with painting. Wall, who was born in 1946 in Vancouver, Canada, and still lives there, became interested in photography in the 1960s, a time when Conceptual art was popular. By the mid-1970s, he had incorporated the spirit of experimentation inherent in Conceptualism into his own style of pictorial photography. Wall's photos, created as backlit color transparencies, a method more commonly associated with advertising than fine art photography at the time, made a huge effect when displayed in galleries and museums. They had a critical influence in establishing color as an important part of photographic composition. In his early works, Wall explicitly references other artworks, creating linkages to the history of image creation. "The Destroyed Room" (1978) is inspired by Eugène Delacroix's enormous picture "The Death of Sardanapalus" (1827), which explores themes of violence and sensuality. "Picture for Women" (1979) resembles Édouard Manet's "A Bar at the Folies-Bergère" (1882) while contextualizing the painting's implications within late-'70s cultural politics. These works exhibit Wall's concept of "blatant artifice," which emphasizes the theatricality of both the subject and the production. One important part of Wall's body of work is "near documentary," which are pictures that mimic documentary style but are made in conjunction with the people they include. Wall's method of using nonprofessional models, which captures ordinary moments with complex meanings, is reminiscent of the neorealism of Italian cinema in the 1950s and 1960s. Wall explores formal and dramatic possibilities, delving into the meanings and affects of documentary photography by depicting events that were seen but not captured on camera at the time. Since the mid-1990s, Wall has expanded his artistic repertoire, incorporating traditional black-and-white prints and, more recently, inkjet color prints into his evolving body of work.
Kevin Kinner
United States
1953
I realized that the term ''emerging photographer'' applies to where I am at this stage. As a young man perhaps better to say teenager, I had the opportunity to work at Hiro Studios here in New York City as a summer intern. It was there that I learned my way around the dark room and was able to experience the glamor and excitement of a shoot. However, during l my free time I took to the streets with my Pentax. Walking through Central Park photographing people, their surroundings, anything that caught my eye. Little did I know at the time that what I was practicing was street photography. Later on my professional career was advertising production. Particularly print production. Although not photography, I worked in tandem with photographers and retouchers to create the best final images that were to appear on the page. When digital phased out print, I decided to get back to my true passion....photography. Here I am again on the streets of New York City. Enjoying the independence, the discovery and the people. Hopefully continuing to “emerge” as a photographer. Recently, I have shown at the Treviso Photography Festival, as well as the ArtBoxy exhibit in Soho. I received a Single Image Award in Black & White magazine’s special 2022 issue. I was an integral part and exhibitor with Art on the Ave NYC. An initiative conceived to display art and photography in the vast amount of vacant store fronts. Street facing windows on The Upper West Side of Manhattan, Greenwich Village and Downtown Manhattan were transformed into galleries that rejuvenated their respective neighborhoods.
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AAP Magazine #54 Nature
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