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Jelena Jankovic
Jelena Jankovic
Jelena Jankovic

Jelena Jankovic

Country: Serbia
Birth: 1985

Jelena Janković is fine art photographer from Belgrade, specialized in dance and theater photography. Actively engaged in the documentary, freelance fashion, conceptual and experimental photography. Recipient of significant awards for her photography, such as Grand Prix Balkan Photo Awards 2016, 2017 Sony World Photography Awards, Siena International Photo Awards 2017, First Prize of 2017 Andrei Stenin International Press Photo Contest, FIAP plate of Sterijino Pozorje for Theatre Photography... She has exhibited at twenty groups and seven solo exhibitions and has been credited for photography in over 40 theater productions.
Her photographs have been published: Rolling Stone (DE), Professional Photographer(USA), ELLE (SRB) Digital SLR Photographer magazine (UK), fotoMAGAZINE (DE), LensCulture, Lürzer's Archive, GEO (DE, ESP), National Geographic (SPA)...
She is a member of The Association of Fine Arts Artist and Designers of Serbia.

Statement
Photography helped me to express myself, through it I study about myself and and about people around me. I create in several fields:
Documentary photography is my reflection on the world around me; i use it to educate about the truths that exist. Dance and theatre photography is about expressing my inner emotion; the power and fragility of dance is affecting my most profound and intimate feelings.
Fashion is the platform for staging my theatre play; it is the blend of knowledge, imagination, and precision. Conceptual and Experimental photography. photography is the space without borders; it liberates my vision beyond known conventions.

The project Bird talks about me.
I am 32 years old and recently I have been diagnosed with dyslexia. Because of the very poor school system, uneducated teachers that were not able to distinguish dyslexia and me not being able to discover it in time, I have been living my whole life in fear and hiding. Unaware of the problem that I’m living with, frustrated with my inability to work and study normally, I developed various methods with whom I managed to avoid reading in front of my friends and professors. I didn’t knew how to explain that the letters are shaking in front of my eyes while I was reading and that I unconsciously twisted the letters and words that I was writing. I was feeling like a bird locked in a cage. The only safe place that I felt was my art creation; creative expression was my escape. I visited zoological gardens in Belgrade and Amsterdam and photographed locked birds in cages that were representing me and all the others that were living in a similar fear. Afterwards I would draw across the photos combining different techniques like painting and collage, so I can show to the world all the freedoms that exist from the inside. This project was developed as a wish, so people can discuss openly about dyslexia, all the problems that this disease carries, and so we can set ourselves free and stop the process of hiding because of the fear of judgements.

The second project is The chosen ones
Inspired by visual effects, I watched a bunch of people that reminded me of the great army. In these glorious visual moments, the lights chose some of them randomly, but some of them chose themselves by taking selfies. Selfie culture started to determine our existence; everybody needs to know where we are or are we doing something. Social media has a huge impact on our views about current issues. Social media has become one of the largest epidemics that affect the social relationship between people. While we are waiting for the approval of others, we miss the opportunity to enjoy the mysterious world around us.

Website

jelenajankovic.photography

 

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Nick Brandt
Nick Brandt
United Kingdom
1964
Nick Brandt is an English photographer whose themes always relate to the disappearing natural world, before much of it is destroyed by mankind. From 2001 to 2018, he has photographed in Africa. In his trilogy, On This Earth, A Shadow Falls Across The Ravaged Land (2001-2012), he established a style of portrait photography of animals in the wild similar to that of the photography of humans in studio setting, shot on medium format film, attempting to portray animals as sentient creatures not so different from us. In Inherit the Dust (2016), in a series of panoramas, Brandt recorded the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erected a life-size panel of one of his unreleased animal portrait photographs, placing the displaced animals on sites of explosive urban development, new factories, wastelands and quarries. This Empty World (2019) addresses the escalating destruction of the natural world at the hands of humans, showing a world where, overwhelmed by runaway development, there is no longer space for animals to survive. The people in the photos also often helplessly swept along by the relentless tide of 'progress'. Each image is a combination of two moments in time, captured weeks apart, almost all from the exact same locked-off camera position: A partial set is built and lit. Weeks follow whilst the wild animals in the area become comfortable enough to enter the frame. Once the animals are captured on camera, the full sets are built. A second sequence is then photographed with a cast of people drawn from local communities and beyond. Brandt has had solo gallery and museum shows around the world, including New York, London, Berlin, Stockholm, Paris and Los Angeles. Born and raised in England, he now lives in the southern Californian mountains. He is co-founder of Big Life Foundation, fighting to protect the animals and ecosystem of a large area of Kenya and Tanzania. On this Earth: The first book in the trilogy, On This Earth (Chronicle Books, 2005) constitutes 66 photos taken 2000-2004, with introductions by the conservationist and primatologist Jane Goodall and the author Alice Sebold. The photographs in this book are a unadulterated vision of an African paradise, deliberately contrasting with what is to follow in the subsequent books. Elephant with Exploding Dust, Amboseli 2004, the photo on the book's cover, has since become one of Brandt's best-known images. Critical response to the book, heralded Brandt's photographic achievement. Black and White magazine called his photos "heartbreakingly beautiful". A Shadow Falls: The second book in the trilogy, A Shadow Falls, (Abrams, 2009) features 58 photographs taken 2005-2008. It is generally regarded to be superior to "On This Earth". In additional introductions, philosopher Peter Singer, author of the groundbreaking Animal Liberation, explains why Brandt's photographs speak to an increasing human moral conscience about our treatment of animals. The photography critic Vicki Goldberg places Brandt's work in the history of the medium. As the title of the book implies, this book, although replete with images of ethereal beauty and poetry, is a more melancholic interpretation of the world he photographs. Indeed, critic Vicki Goldberg writes: " A Shadow Falls, taken in its entirely, is a love story without a happily ever after." The photos in the book are deliberately sequenced: the opening images are of an unspoiled lush green world, filled with animals and water ("Wildebeest Arc, Masai Mara 2006" ). As the book progresses, the photos become gradually more stark, until towards the end, the trees are dead, the water gone, the animals are vastly reduced in numbers, until the book closes with the final ambiguous image, of a lone, abandoned ostrich egg on a parched lake bed. "Abandoned Ostrich Egg, Amboseli 2007". In addition the Artist's Edition book, entitled, On this Earth, a Shadow Falls, (Abrams Books/Big Life Editions) was published in 2010, combining the best 90 photos from the first two books, in a larger volume with much superior printing to the first two books. Across The Ravaged Land: The completion of Nick Brandt’s trilogy: “On This Earth, A Shadow Falls, Across The Ravaged Land.” Release date, September 3, 2013 (Abrams Books, 2013), documents the disappearing natural world and animals of East Africa. This is the third and final volume of Nick Brandt's work which reveals the darker side of his vision of East Africa’s animal kingdom and the juxtaposition of mankind. The trilogy marks the last decade of a stunning world of the beauty of East Africa’s Serengeti, Marsai Mara, Amboseli, and ends with a dark and well-known unhappy ending. “Across The Ravaged Land” introduces humans in his photography for the first time exhibiting the cost of poachers, killing for profit. One such example is Ranger with Tusks of Killed Elephant, Amboseli 2011. This photograph features one of the rangers employed by Big Life Foundation, the Foundation that Nick Brandt started in 2010. The ranger holds the tusks of an elephant killed by poachers in the years prior to the Foundation's inception. Brandt captures the trophies in these epic landscapes and the images of perfectly preserved creatures calcified by the salts of the Rift Valley soda lake. In both instances, the creatures appear in an ethereal animated state seemingly posing for their portraits. Big Life Foundation: In September 2010, in urgent response to the escalation of poaching in Africa due to increased demand from the Far East, Nick Brandt founded the non-profit organization called Big Life Foundation, dedicated to the conservation of Africa's wildlife and ecosystems. With one of the most spectacular elephant populations in Africa being rapidly diminished by poachers, the Amboseli ecosystem, which straddles both Kenya and Tanzania, became the Foundation's large-scale pilot project. Headed up in Kenya by renowned conservationist Richard Bonham, multiple fully equipped teams of anti-poaching rangers have been placed in newly built outposts in the critical areas throughout the 2-million-acre (8,100 km2) + area, resulting in a dramatically reduced incidence of killing and poaching of wildlife in the ecosystem. Source: Wikipedia Must Read Articles Exclusive Interview with Nick Brandt Big Life Foundation This Empty World, Inherit The Dust
Silvia Grav
Silvia Grav
Spain
1993
Born in Pais Vasco (Spain) in December, 1993. Learned to draw before she could talk and one day realizes that this is the thing she wants to do for the rest of her life. Consequently, she starts to study fine arts, but is frustrated soon and leaves during her second year to devote herself to real learning and begins to work as an artist. Since then, her art has appeared in several blogs and major journals. On top she is doing the artwork for various musicians and always is involved in some new projects. What impact has the Coronavirus Pandemic on Silvia Grav?
Oliver Curtis
Oliver Curtis
United Kingdom
1963
Brought up in the Cotswolds, Curtis began his photographic education studying photography at the renowned course at Filton Technical College in Bristol. He went on to study film and television at the London College of Printing and has been balancing work in stills and moving image ever since. Curtis continues to produce stills portraiture for major broadcasters as well as generating his own projects for exhibition and publication. He sites as key influences William Eggleston, Saul Leiter and Paul Graham. He continues to plough a distinctly idiosyncratic path as Director of Photography on feature films as diverse as Clare Kilner's The Wedding Date, Frank Oz's Death At A Funeral and Joanna Hogg's Unrelated as well as experimental gallery-based installations such as Gideon Koppel's Borth. He remains in great demand worldwide shooting commercials for high profile clients such as Pantene, L'Oreal, La Perla, Ferragamo, Palmolive, Rimmel, Coca Cola, Sony, Guinness, Canon and Cadbury's. About Volte-Face: On visiting the Pyramids of Giza in Cairo in 2012, Oliver Curtis turned away and looked back in the direction he had come from. What he saw fascinated him so much that he has since made a point of turning his back on some of world's most photographed monuments and historic sites, looking at their counter-views and forgotten faces. Taken over a period of four years, Volte-face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to send our gaze elsewhere and to favour the incidental over the monumental... Curtis feels that despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction. The camera lens effectively acts as a nodal point and, by giving the photograph the title of the unseen partner, this duality becomes a virtue. Volte-face will be published by Dewi Lewis featuring an essay by Geoff Dyer: https://www.dewilewis.com/collections/new-titles/products/volte-face The first exhibition of the Volte-face project was held at the Royal Geographical Society in London, Sept 2016. The collection has received a great deal of acclaim worldwide and has featured in the Financial Times Magazine (UK), NPR Radio New Hampshire (USA), Liberation (France) Wired.com and BBC World Update amongst many others.
Charles Harbutt
Charles Harbutt
United States
1935 | † 2015
Charles Henry Harbutt (July 29, 1935 – June 30, 2015) was an American photographer, a former president of Magnum, and full-time Associate Professor of Photography at Parsons School of Design in New York. Harbutt was born in Camden, New Jersey, and raised in Teaneck, New Jersey, and learned much of his photography skills from the township's amateur camera club. He attended Regis High School in New York City where he took photographs for the school newspaper. He later graduated from Marquette University. Harbutt's work is deeply rooted in the modern photojournalist tradition. For the first twenty years of his career he contributed to major magazines in the United States, Europe and Japan. His work was often intrinsically political, exhibiting social and economic contingencies. In 1959, while working as a writer and photographer for the Catholic magazine Jubilee, he was invited by members of the Castro underground to document the Cuban Revolution on the strength of three photographs he had published in Modern Photography. An editor at Jubilee while Harbutt was working there, Robert Lax, used photographs taken by Harbutt for the front and back cover of his first book of poetry, The Circus of the Sun. Harbutt joined Magnum Photos and was elected president of the organization twice, first in 1979. He left the group in 1981, citing its increasingly commercial ambitions and the desire to pursue more personal work. He taught photography workshops, exhibited in solo and group shows around the world, and joined the faculty of the Parsons School of Design at New School University as a full-time professor, in addition to serving as guest artist at MIT, Art Institute of Chicago, and the Rhode Island School of Design. Harbutt was a founding member of Archive Pictures Inc., an international documentary photographers' cooperative, and a member of the American Society of Magazine Photographers. His work was exhibited at the Museum of Modern Art, the National Museum of American History, the Corcoran Gallery of Art, the U.S. Library of Congress, George Eastman House, the Art Institute of Chicago, the International Center of Photography, the Center for Creative Photography, and at the Bibliothèque Nationale de France, the Beaubourg, and the Maison Européenne de la Photographie in Paris. In 1997, his negatives, master prints, and archives were acquired for the collection of the Center for Creative Photography in Tucson, Arizona. He mounted a large exhibition of his work at the Centro de la Imagen in Mexico City in December 2000 and received the medal of the City of Perpignan at a retrospective of his work there in 2004. He died in Monteagle, Tennessee, on June 30, 2015, at the age of 79. He had emphysema.Source: Wikipedia Charles Harbutt’s early fascination with magic and the elusive line between perception and reality steered him toward journalism and its documentary role, first as a writer. But he altered his course in 1959, when he was 23, after being invited by Cuban rebels to document the Castro revolution. Immersing himself in Havana’s convulsive and euphoric newfound freedom, he recalled, “I soon understood that I could get closer to the feel of things by taking pictures.” Mr. Harbutt went on to become an accomplished photojournalist for major magazines and the renowned agency Magnum Photos. “He and Burk Uzzle took photojournalism and pushed it in a direction away from literalism or classicism,” Jeff Jacobson, a former colleague, told The New York Times, referring to a contemporary whose pictures of the Woodstock music festival in 1969 gained wide attention, “away from certainly the European paradigm of Cartier-Bresson, and away from the narrative paradigm of Gene Smith to something very, very different, very involved with metaphor.” But Charles Harbutt became disillusioned with his craft, questioning the veracity of the events he was covering, particularly after witnessing undercover government agents provoke violence at a rally in New Haven in 1970 in support of jailed Black Panthers. “The kinds of stories I chose to do, I later realized, were mostly about American myths,” he wrote in his last book, Departures and Arrivals (2012). “I photographed small towns, immigrants, the barrio in New York, and then the enormous changes that came with the ’60s. I tried to be a witness as well as show my feelings about all of this. But maybe I had a sell-by time — expiration date — for being a witness,” he continued. “In the early ’70s, I started questioning this reportage for myself. A host of manipulators had so corrupted and warped public events, I could no longer trust the authenticity of what I was seeing. I realized that I was more interested in pajamas on a bed one Brooklyn morning, or a Dublin woman hauling groceries to her house, than I was in the machinations of politics and history ‘writ large.’ ” Mr. Harbutt experimented with surreal composition and juxtaposition of quotidian forms in a style he described as personal documentary and facetiously branded “superbanalisms.” Among his most famous black-and-white photographs was one of a blind boy, seemingly trying to transcend his sightlessness by reaching for a ribbon of light on a wall. In another, a bride in a flowing white gown poses pensively below exposed pipes and empty tables in a large basement before her wedding reception. Charles Harbutt’s own favorite, called “Mr. X-Ray Man,” was shot through a car window on the Rue du Départ near the Montparnasse train station in Paris, where fragments of the cityscape and even of the photographer himself can be seen reflected in the glass. What made it special was that it was unexpected, he explained in Arrivals and Departures. “What I like best,” he wrote, “is that however the picture is made, it’s a surprise to me when I see the photo come up in the developer.”Source: The New York Times
Louis Faurer
Louis Faurer
United States
1916 | † 2001
Louis Faurer was an American candid or street photographer. He was a quiet artist who never achieved the broad public recognition that his best-known contemporaries did; however, the significance and caliber of his work were lauded by insiders, among them Robert Frank, William Eggleston, and Edward Steichen, who included his work in the Museum of Modern Art exhibitions In and Out of Focus (1948) and The Family of Man (1955). Growing up in Philadelphia, Faurer showed an early aptitude for illustration. He bought his first camera in 1937 from the photographer Ben Somoroff. After a couple of jobs as a photographic technician, Faurer made his way to Manhattan and into the world of fashion photography. He quickly made contacts that stood him in good stead: Robert Frank, with whom he shared a darkroom/studio and fast friendship, and Walker Evans, whom he'd long admired, who introduced him to Alexander Liberman at Vogue. Faurer did fashion photography for Vogue, Junior Bazaar, Harper's Bazaar, Mademoiselle, Elle, and Glamour, as well as assignments for Life and Look for more than twenty years. He complained that his work at Life involved too much travel, so he quit in the early 1950s. Most of the prints and negatives of his fashion work have probably been discarded, as Faurer stored them with a friend when he left the country in the late 1960s, then failed to reclaim them. It is Faurer’s personal work from the 1940s, 1950s, and 1960s for which he is best remembered. He photographed the streets of New York City and Philadelphia, capturing the restless energy of urban life. His photographs show the great variety of the city's human face. As Robert Frank said in 1994: "Faurer ... proves to be an extraordinary artist. His eye is on the pulse [of New York City] - the lonely 'Times-Square people' for whom Faurer felt a deep sympathy. Every photograph is witness to the compassion and obsession accompanying his life like a shadow. I am happy that these images survive while the world keeps changing." Faurer experimented with blur, grain, double exposures, sandwiched negatives, reflections, slow film speeds, and low lighting. His 1950 photographs of Robert Frank and his new wife Mary at the San Gennaro Festival in New York are a case in point, exploiting maximum-aperture shallow depth of field, reflections and halation of out-of-focus light sources for intimate, romantic results. One of the series attracted the attention of curator Edward Steichen who included it in the world-touring Museum of Modern Art exhibition, The Family of Man, seen by 9 million visitors, and in its catalogue, which has never been out of print. As exacting in the darkroom as he was in the field, he was notorious for being a tireless perfectionist when it came to cropping and printing his work. In the mid-and late 1960s, Faurer experimented with hand-held 16 mm film, using Arriflex and Beaulieu movie cameras, filming in the streets of Manhattan, extending his still camera style into a cinematic medium. Between 1969 and 1974 he lived and worked abroad, mostly in Paris. From the mid-1970s to the mid-1980s, Faurer taught at numerous art schools and universities, including the Parsons School of Design in New York City, Yale University, the University of Virginia in Charlottesville, The New School for Social Research and Stockton State College in New Jersey. In 1984, while running to catch a New York city bus, Faurer was struck by a car and seriously injured. He never photographed again. Faurer spoke of his “intense desire to record life as I see it” as his only motivation: “As long as I’m amazed and astonished, as long as I feel that events, messages, expressions and movements are all shot through with the miraculous, I’ll feel filled with the certainty I need to keep going.” The late Walter Hopps, who was curator of American art at the Corcoran Gallery of Art and the Smithsonian's National Collection of Fine Arts, commented on Faurer's work: "I am in awe of the high point he can reach in a photograph such as Family, Times Square, at the center of New York in the center of our century. Perhaps no other American image stands comparison with Picasso’s Family of Saltimbanques, on their imagined European plane in 1905… Faurer stands and lives as a master of his medium."Source: Wikipedia
Ralph Milewski
Ralph Milewski
Germany
1968
My name is Ralph Milewski, and I am a passionate photographer from Germany. Born with Limb-Girdle Muscular Dystrophy (LGMD), despite significant physical limitations, I have found my creative voice. My photographic journey is marked by the fixed positioning of my camera between my legs, just 27 inches above the ground. Photography, for me, is not just a creative passion but a window to art and self-expression. As an introverted individual with a strong curiosity for people and their stories, I find in photography a unique way to simultaneously create intimacy and distance. The camera, my tool of choice, becomes the medium that strengthens my self-confidence and elevates my self-worth. Despite moments of frustration and grappling with my own limits, photography motivates me to creatively transcend my physical constraints and achieve extraordinary results. My work not only provides insights into my world from an unconventional perspective but also invites a reevaluation of existing perceptions. Photography, for me, is more than a visual medium; it keeps my mind alert and inspires me to develop bold ideas, even if their realization often relies on support. Photography compels me out of my comfort zone, helps me overcome social anxieties, and facilitates the forging of new connections. My view of the world through the lens is unique and perhaps exactly what can enrich your photo project. I invite you to consider my photography as a contribution to your project, not out of pity for my disability, but as an enrichment through a distinctive perspective and the creative process that I infuse into each image. Rear Seat Diaries: The series "Perspectives in Motion" is derived from my "Rear Seat Diaries," captured from a moving car – my wheelchair-accessible VW Caddy with a rear ramp. Let me briefly explain the unique setting of these window shots: I sit in my electric wheelchair at the back of my Caddy, facing forward. Until recently, the camera was always fixed on a tripod (gooseneck) attached to my wheelchair, positioned higher in the car to be at eye level with the window. I now use a mini-tripod, which I can position in my left hand, supported on my wheelchair. The camera is positioned at a right angle to me, aimed at the side window of the Caddy. The camera was adjusted and set before the trip began. Due to my physical limitations, I couldn't operate the camera in this elevated position directly. With the mini-tripod, I can now adjust the camera settings during the ride. I trigger the shots via remote control. I can only see the camera display sideways in my field of view, as it is flipped up 180°. The shots are taken while driving. Since the wheelchair is not firmly connected to the vehicle, it is subjected to stronger vibrations and centrifugal forces. Overall, it's a pretty bumpy affair. The idea for this project gradually developed out of necessity. If I could lift my arms like any other person, this series probably wouldn't have come about in this form. From my elevated position in the car, I can only visually capture a small part of the surroundings. I can turn my head slightly left and right but cannot move my shoulders or the wheelchair in the desired direction. Photographing from a moving car proved challenging, especially with a phone and a selfie stick. The results were unsatisfactory as the car window frame was always partially and never fully in the picture. The actual development began on the way to Spain in 2022, when I tried to dedicate photos of his hometown Lyon to a street photographer friend while passing through. Despite improvements to the selfie stick's position, there were still limitations. A few months later, I began photographing my hometown this way. By chance, I moved the phone further away from the car window. Upon later review, I noticed some pictures had the entire window frame as a frame. This caught my attention when I manually corrected the perspective with Lightroom in early February 2023. Since then, I have been continuously working on optimizing and further developing this project. Using an APS-C camera with an extended tripod attached to the wheelchair brought new insights. The mini-tripod and the ability to now change camera settings during the ride have sparked a creative boost. Despite challenges such as reflections, unwanted mirror images, sunlight, and disruptive elements like smeared or rainy windows affecting autofocus. Manual focusing is impossible as I can operate the camera very limitedly, and the subject constantly changes while driving. A self-built shading device now minimizes some reflections. However, there are still difficulties with backlighting and dirt on the windows. The "Rear Seat Diaries" present a diverse mix of my travels and experiences. I invite people to explore this unique perspective and see the world through my windows. It has long become an ongoing project, constantly being developed. Most of the shots are taken during my everyday trips, like drives to the grocery store or the doctor. Occasionally, I make specific trips just for photography. Targeted subject selection requires a lot of planning and time, especially since I need someone willing to drive me when I want to. The compiled images include beginnings with the phone, first steps, and the development with an APS-C camera, up to the latest attempts within the "Rear Seat Diaries" series to create intentional blur in the foreground through motion effects using extended exposure times. This approach aims to depict the outer environment in dynamic blur while keeping the subframe, the interior of the car, deliberately sharp. The challenge lies in the unavoidable vibrations caused by the vehicle while driving, complicating this endeavor. Nevertheless, longer exposure times are deliberately experimented with to add a dynamic and artistic dimension to the images.
Jean-Michel Clajot
Jean-Michel Clajot
Belgium
1971
Jean-Michel Clajot is an independent documentary photographer based in Brussels. For nearly 25 years, he has focused on intimate stories about African and Asian families and subcultures. As of July 2006, He joined Cosmos Photo Agency (Paris) for 12 years. In 2019, He joined the great Redux Pictures agency (New-York) as a worldwide represented photographer, to focus on a combination of long-term personal projects, breaking news and client assignments. Jean-Michel's work has been published in multiple press media such as Le Monde, CNN.com, National Geographic, Newsweek, Time, Grands Reportages, China News... In 2008, the three years project "Scarifications", photographing the Scarifications Culture in Benin, has been published in a book by Yovo Editions and shown in galleries in Brussels, Paris and Italy. The book was selected in 2008 by National Geographic for the LOOK3 Exhibit in Charlottesville, in the USA. In 2014, "Born To be a Woman" was exhibited at the Hirado Trading Post Museum in Japan. His photography is featured in art galleries worldwide, including Cosmos Gallery in Paris, Ikono in Brussels, the Arte Foto Festival in Italy and Visa Pour l'Image International Festival of Photojournalism.
Xiaoping Lin
Xiaoping Lin
China
1972
Xiaoping Lin, a Chinese bird photographer, has been involved in photography since 1992. He has won numerous honors, including the 2025 CEWE Winner, 2022 XPOSURE First Place, 2023 HIPA Merit Medal, 2023 BigPicture Winner, and 2024 NBP Winner. His photographic works have been exhibited in photography shows around the world and published in various magazines and books. His works accurately capture vivid details of bird ecological behavior from a unique perspective, while interpreting the meaning of life through the language of the lens. These images not only inspire audiences to engage in profound philosophical reflections on the laws of nature but also prompt the public to rediscover the majestic charm of the natural world, evoking deep inquiries into the essence of life and the mysteries of nature. He always hopes to convey the beauty of nature through the lens, awaken the public’s deep understanding and aesthetic resonance of nature, and then cherish the ecological environment and fulfill the responsibility of protection. Statement: The scene of “opening the gate to release the tide and egrets catching fish” is a major attraction of Yundang Lake in Xiamen, China. Xiamen has long pursued sustainable ecological civilization, improving bay water dynamics and protecting the marine ecosystem, with the lake area’s environment greatly improved. Every time the tide rises, the gates of the West Embankment in Xiamen are opened to let seawater into Yundang Lake. It is often seen that small fish are rolling and leaping in the surging seawater, and egrets in the air and big fish in the lake are competing for the small fish at the gate - a spectacular sight of "egrets and fish flying together". The series of photography works titled "The Epic of Survival in the Waves - The Life Struggle Between Egrets and Fish" was captured between 2022 and 2025. The speed at which egrets and large fish compete for small fish is so fast that a shutter speed of at least 1/2000 and a high-speed continuous shooting rate of 20 frames per second are required to freeze the thrilling moments. This speed is beyond the reaction time of the human eye. This series of photography works records the most primitive competition in nature from a nearly cold perspective, allowing me to see the most genuine form of life: not the cold law of the survival of the fittest, but the survival epic that every living being is writing with all their might. Those that sparkle in the waves are both the cruel truth of nature and the brilliant light of life that never compromises. I hope these photography works can prompt the audience to deeply reflect on the mysteries of nature and the essence of life, and thereby cherish the ecological environment and fulfill the responsibility of protection. AAP Magazine AAP Magazine 54 Nature
Elke Vogelsang
Elke Vogelsang
Germany
1972
Elke Vogelsang is a commercial and editorial photographer living in Germany. Her work has been featured worldwide in renowned print and tv publications and campaigns including The Sunday Time Magazine, National Geographic, Die Zeit, The Bark magazine, Good Morning America, and many more. Her works were exhibited in group and solo shows throughout the world, e.g. Paris, London, Lisbon, San Anselmo, and Singapore. She's the author of the book "Nice Nosing You - for the love of life, dogs and photography" featuring her pictures. Statement: Dogs are funny characters. They find pleasure in the most mundane things. My dogs are my joy, recreation, and constant source of laughter, though they can be shy and sad as well; they comfort me in bad times. They are members of the family, the kind I love to have around. I can never get into trouble with my dogs, because they are unpretentious and forgiving. I would never say that I prefer dogs to humans-after all, some people mean the world to me; but I would definitely say that dogs enrich my life in numerous ways. My hope is that I give back to them at least half of what they give me. As I try to explore in photography all the emotions I share with my dogs, I pay homage to them and also to life.
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Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Exclusive Interview with Peter Ydeen
Interview
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Julie Wang
Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
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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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
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.
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