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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Bence Mate
Bence Mate
Bence Mate

Bence Mate

Country: Hungary
Birth: 1985

A wildlife photographer, born in Hungary, 1985. In 2010 he won the prestigious BBC Wildlife Photography of the Year award in London. He is the most effective photographer in the 53-year-old history of the competition, being the only contestant winning the first prize in both the young and adult categories.

In 2005 he experimented the one-way glass photography technique, making fundamental changes in hide photography practice. This technique has been widely used all over the world, and most hides are equipped with such glasses.

Since 2008 he has been designing wildlife photography hides in different parts of the world (Hungary, Costa Rica, Brazil, Norway, South-Africa and Transylvania, Romania). His enterprise operating in Hungary welcomes photographers with the most exclusive hides in the world.

Books: The Invisible Wildlife Photographer (English, Hungarian), The Handbook of Bird Photography (Markus Varesvuo, Jari Peltomäki, Bence Máté; English, German, Finnish, French).

Statement
"A great wildlife photo is technically perfect, innovative, and unrepeatable. It is a genuine reflection of what took place, and the subjects must be able to move around as they wish. Whilst Photoshop can be used to enhance an image, the sole goal of post-production should be to reflect reality in the most accurate way possible." -- Bence Mate
 

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More Great Photographers To Discover

Hugo Thomassen
Netherlands
1972
Shadow of Truth In his search for shadow, Hugo Thomassen found light. It is not the play of light that intrigues, but the richness of shadow. The bottles are what they are, yet they inadvertently evoke associations. Are we looking at a nocturnal cityscape with figures? Are we witnessing a chance encounter, a moment frozen in time, or simply an elegant composition with one or more bottles as the photographic subject? The bottle as a shape. In actual fact, the bottle has been constructed down in minute detail. Although the associations may suggest coincidence, the composition itself makes no such assumption. After all, it was built layer by layer. Painstakingly so. It is rich in its simplicity. No expense is spared. Each line is deliberate, considered. So much is expressed through so little. Without warning, this piece sends you soaring into the void - at least it had that effect on me. The void in which there is no time, and the severity of silence reigns. From a compositional standpoint, you have no reference point for space and time. As such, you go on your instincts and create a story yourself. Or you experience it in a meditative sense. What am I feeling? Is it abandonment, bottomless loneliness? Or am I experiencing silence, light, and intimacy? The image is poetic, still, melancholy, and harmonious. Reassurance emanates from the strict imposition of order. Coincidence is out of the question. The meaning of the work is hidden in the order that it projects. The interplay of lines formed by light and shadows never becomes a labyrinth, instead forming a guide pointing out the right direction. The photo has a reassuring effect on me which does not indicate a lack of thought. It makes me wander off in my mind’s eye while deciding my own perspective. This piece puts me outside of time. I can find no links to a memory, something which photography usually excels at. The image is new, though I believe I see a shade of art history through which the influence of Giorgio de Chirico, Morandi, and Night Shadows by Edward Hopper subtly shine through. The photograph distils the bottle to its purest form. It lays bare its essence. An idea. Is it truth that we see? Reality being exposed? Or are these simply shadows created by shapes? It is this that Thomassen plays with. Is it a single photograph or a picture composed of several images, a multitude of shots? In a sense, the photographic image is attempting to transcend the flatness of the paper. Photography is the means by which Thomassen explores the world. He exposes order in chaos or reveals an event through an ordering. He is the author of a visual story. His work is a narrative without words. It is excitement without something taking place. It represents an ode to emptiness, silence, and form. The bottle as the bearer of meaning. Everything has been translated into a language that one does not necessarily need to understand, but that one feels. He finds beauty in the composition of things, of objects. Naturally, a bottle is just a bottle, but in a composition and in relation to other bottles, by sheer coincidence a story is created. Thomassen brings light and shadow as nuances to that composition. He does not impose hierarchy onto the image. The background, the negative space, is just as important as the bottle. This piece is so streamlined that there are no secondary subjects. Light and shadow are of equal importance, because they need one another. Hugo Thomassen provides a context to the bottles. It is up to the viewer to make a story out of them - or not, of course. Because what is simply a charming image to one may appear to another as a story about existence and appearances. Ludo Diels
Martín Chambi
Peru
1891 | † 1973
Martín Chambi Jiménez was a Peruvian photographer, originally from southern Peru. He was one of the first major Indigenous Latin American photographers. Recognized for the profound historic and ethnic documentary value of his photographs, he was a prolific portrait photographer in the towns and countryside of the Peruvian Andes. As well as being the leading portrait photographer in Cuzco, Chambi made many landscape photographs, which he sold mainly in the form of postcards, a format he pioneered in Peru. In 1979, New York's Museum of Modern Art held a Chambi retrospective, which later traveled to various locations and inspired other international expositions of his work. Martín Chambi was born into a Quechua-speaking peasant family in one of the poorest regions of Peru, at the end of the nineteenth century. When his father went to work in a Carabaya Province gold mine on a small tributary of the River Inambari, Martin went along. There he had his first contact with photography, learning the rudiments from the photographer of the Santo Domingo Mine near Coaza (owned by the Inca Mining Company of Bradford, Pa). This chance encounter planted the spark that made him seek to support himself as a professional photographer. With that idea in mind, he headed in 1908 to the city of Arequipa, where photography was more developed and where there were established photographers who had taken the time to develop individual photographic styles and impeccable technique. Chambi initially served as an apprentice in the studio of Max T. Vargas, but after nine years set up his own studio in Sicuani in 1917, publishing his first postcards in November of that year. In 1923 he moved to Cuzco and opened a studio there, photographing both society figures and his Indigenous compatriots. During his career, Chambi also traveled the Andes extensively, photographing landscapes, Inca ruins, and local people. Chambi began his work as a photographer as an apprentice to Max T. Vargas in Arequipa, Peru. During this time as an apprentice, Chambi learned different ways of manipulating light for portraits in the studio. His daughter, Julia Chambi, is quoted as saying, "my father was enchanted by light." His studio in Cuzco included a set of blinds and shutters made specifically so that he could alter the natural lighting to best suit his photographs. Furthermore, most of Chambi's photos of Indigenous people were taken outside so that he could use only natural lighting. Chambi produced a variety of works over his career as a photographer. Within the studio, he took many portraits of both wealthy and elite members of society, as well as the Indigenous people; he also took many self-portraits. Chambi is well-known for his work in documenting the Indigenous culture, including Machu-Picchu and other ruins. In a magazine interview in 1936, he is quoted saying "in my archive I have more than two hundred photographs of diverse aspects of the Quechua culture." He took pictures of ruins and architecture, but also tried to capture the events of everyday life. With regard to Chambi's diverse work, Jorge Heredia once said, "He has been the photographer of whites who seek after his images, but also of Indians and Mestizos." In addition to taking photographs for individual commissions or for his own personal interests, Chambi also used his photographs in other publications. One such publication was the use of his photographs in postcards. The other main use for his photographs was in a weekly Argentine newspaper called La Nación ("The Nation") where he contributed photographs of artists, writers, and any other assignments he was commissioned to do. Chambi traveled to Chile to exhibit some of his artworks and used his artistic skills to allow the audience to understand how the photographer prioritized the Indigenous outcome that relates to the Peruvians and the Chileans. There were some arguments that the two countries disagreed with each other when involving the differences of race, indigeneity, and civilization. The photographer managed to redevelop the process through his artwork, letting the viewers and art critics to understand these types of political issues that concern the Chileans and the Peruvians. The Peruvians were able to accept Indigenous people from various countries, but the Chileans did not accept them because of the 'pacification' campaigns of the late 19th century. The Mapuche leaders discuss educational benefits; however, they were dealing with some problems with governmental authorities that involves Chile and Peru. Chambi was determined to debunk racial stereotypes, but often up reinforcing them. El Sol, La Nacion, and other news critics prioritize the photographer's artwork because it would enable them to discuss national boundaries and open up ideological debate. Eighty-eight images by Peruvian photographer Martin Chambi have been added to the archives of the famous Instituto Moreira Salles (IMS) in Brazil. It gives the public an opportunity to discover one of the first major, indigenous Latin American photographers. Face Andina features nearly 90 photographs and 23 postcards of studio portraits and the urban and rural landscapes of Cuzco, Arequipa and Puno.Source: Wikipedia
Zev Hoover
United States
1999
Zev Hoover, from Natick, Massachusetts, goes by the Flickr username Fiddle Oak, a play on 'little folk', which adequately describes the incredible images that make up his 'miniature world'. In his fantastical photos in which people are digitally shrunken, acorns make excellent seats, Popsicle sticks are the ideal size for building rafts, and paper airplanes are viable modes of transport. Zev told Today.com that while he takes the photos with his own camera, his older sister Nell, 18, was the brains behind the original tiny people concept. "She is sort of my partner in crime," he said, adding that she is "more of a writer". While Nell may have come up with the idea, Zev executes the images beautifully, and his unique work has attracted the attention of professional photographers and designers. The 14-year-old, who also writes a blog, explained the complicated process of how he creates his dreamlike images, many of which feature him as the main subject. The process involves capturing the background image first, shrinking photos of people in similar lighting, manipulating the images in Photoshop and editing the color scheme so that it all matches. 'It takes a long time,' he said of the resulting images, which are so otherworldly that they almost look like drawings. One image shows a boy constructing a house of playing cards, his body the same size as the cards. In another image, a 'miniature' boy and girl sit upon a raft made of Popsicle sticks, the sail of which is a single leaf. Many of Zev's images explore nature, including one in which a boy perches inside the shell of an acorn. Another nature-themed photo, which plays with and distorts size ratio, shows a miniscule-looking boy sitting on the edge of a rock, a violin in his hand. Photography and design websites have picked up on Zev's work, lauding him for being so talented and creative at such a young age.Source: www.dailymail.co.uk
Ruud van Empel
Netherlands
1958
Ruud van Empel (born 21 November 1958 in Breda) is a Dutch photographer and visual artist. He studied at the Academie voor Beeldende Kunst St. Joost (St Joost Academy of Art) in Breda in the 1970s, and began making independently produced videotapes in the eighties. He moved to Amsterdam in the late eighties to work on his career as a visual artist. His first photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003). The Groninger Museum presented his first solo exhibition in 1999. He made his international breakthrough with his series World-Moon-Venus, which was shown in the George Eastman Museum in Rochester, New York State. Until mid-1995, Van Empel’s art was primarily generated by a process of assembling analogue photographic images. At that point, he exchanged this traditional collage technique – cutting, pasting and retouching in the darkroom – for image processing on the computer, working in an idea-driven manner. The first series created with this method was The Office (1995). In a technical sense, The Office displays a handicraft-like quality, missing the perfectionist character of his later work. Nevertheless, Ruud van Empel clearly demonstrated that his approach differed from other disciplines such as staged photography. In certain aspects, The Office offered a somewhat surrealistic character and referred to photomontages from the 1920s in terms of style and design. On the basis of this art-historical reference, Van Empel created a new genre within photography – without a ready-to-wear label. The artist himself speaks of the ‘construction of a photographic image’. Although he does make use of pure photomontage – he never applies so-called morphing techniques – the final result strives for content aligned to natural reality rather than to surrealism. The artificiality is visible but the final image is a convincing, autonomous reality. As a consequence, the work does not seem grotesque or absurd but could theoretically actually appear in reality. In that respect, Van Empel’s images are independent. They do not manifest themselves as ‘symbolic’ and have been stripped of all ‘pictorial’ associations. He does not deploy photography as a substitute for painting but rather uses it as an independent form of depiction. Every image consists of photographic sources that are digitally assembled on the computer. The work of Ruud van Empel exists by grace of the camera by means of which he records his building blocks. After The Office, he created the Study for Women series, which comprises a number of female portraits that refer to the magic realism art movement. In this series, produced in the period 2000-2002, he displayed the form language with which he would soon gain worldwide recognition. The Study in Green series from 2003-2004, the Untitled series from 2004, and the three closely related series World, Moon and Venus, which he began in 2005, represented Van Empel’s true international breakthrough. Curator Deborah Klochko invited him to participate in the exhibition entitled Picturing Eden in the George Eastman House. In the book Ruud van Empel Photoworks 1995-2010, she wrote: ‘Van Empel’s virtuosity lies in his capacity to combine in photography the kind of ideas anchored in painting (historical references, the power of a glimpse, use of colour) and cinema (structure with multiple images and the power of a narrative), and to do so on a large scale. To understand his work you must ask yourself: ‘Is it science or art? Is it real or imaginary? Is innocence or decadence?’ Particularly the World series, which explores the theme of innocence, made a deep impression. These works were inspired by photos taken by his father. Van Empel placed neatly dressed, black boys and girls in paradisical settings of unspoiled, non-existent natural surroundings. Great interest in and appreciation of this series are expressed worldwide to this day. The breakthrough in America also led to renewed attention in Dutch museums. Van Empel has had solo exhibitions in Museum Het Valkhof in Nijmegen, the Groninger Museum and the NoordBrabants Museum in ’s-Hertogenbosch. Since the international recognition of his work gave Ruud Van Empel the status of an artist with an own independent form language, he has progressively extended his oeuvre with the Theatre series from 2010-2013, and Souvenir, which provided a charged picture of his youth in Breda. This series was purchased by the NoordBrabants Museum. A typical feature of the work of Ruud van Empel is the composition of a perfected and idealized representation right down to the finest details. But this always has a darker side, albeit not always evident. Ruud Schenk, curator of the Groninger Museum, wrote about that aspect with reference to the Study for Women series (2000-2002): ‘As a spectator you feel that there is something not quite right about the depiction of the women: they are not completely lifelike, but tend to be a mixture of real women and window dummies. This generates a certain discomfort, an uneasiness that touches upon what was described as 'das Unheimliche' (the uncanny) at the beginning of the 20th century.’ Although the photographic images seem to capture an epoch, you can hardly assign a date to any of them. This timeless element of Van Empel’s work has taken on a different significance in his recent work, as he deals with themes such as transience and Vanity in his Still Life series from 2014, and also portrays older people as in the portrait of an older woman in the Sunday series (2012), or in the Nude series (2014), in which he questions the pose of the model and the aesthetics of nudity. In the Solo Work series, on which Ruud van Empel has been working since 2011, he consistently deals with just one topic in an isolated work. The moral, ethical and aesthetic dilemmas of society and art are presented to us in a photographic form language. The significance of these is shown in the countless publications and international exhibitions of this work, not only in institutions specialized in photography but also in renowned museums for modern visual art.Source: Wikipedia
Michael Nguyen
Germany
1958
Michael Nguyen is a photo artist and documentary photographer living near Munich, Germany. He takes photographs since 1988. He has been living in Munich since 2007 and moved to Gauting near Munich in 2015. After a long break in the cultural sector and after a sickness he has dedicated himself 2018 entirely to art again. He is an artist and a photographic poet who moves away from the mainstream, at the same time blurs genres. Most of the time, he focuses on small, ordinary things but through the subjective lens, he give them new perspectives, a new soul. I found my way to photography when I was a journalist for art and culture. One of my main subjects was "Greece", and there was a lot to do with photography. Then, in close cooperation with Dr. Matthias Harder (now Director of the Helmut Newton Foundation, Berlin), we laid the foundation for understanding the photographs of Herbert List and Walter Hege. Since then, photography has opened up a whole new world to me. Michael Nguyen roamed various cities in Bavaria during the Corona pandemic. A focus of his works since COVID-19 are urban landscapes as well as urban spaces in different cities. Urban spaces can all enrich a life between buildings. Since Covid-19, social interaction in the Urban landscapes with their spaces has lain fallow. Michael Nguyen conveys this sensitively in his mostly "deserted pictures“. Nguyen enters the motifs of his urban landscapes with a great deal of empathy. He makes the city, urban landscapes and architecture visible and documents them for posterity. With his artistic documentary photography he refers to a reality that we all know, but interprets this reality with his images. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. At the BIFA Budapest International Foto Awards 2020 his artwork "Antimatter" was awarded in December 2020 with Gold. In addition to his artistic activities, Michael Nguyen is in Editor-in-chief of the online magazine for photography and art: Tagree. End of March 2021 Michael Nguyen is nominated for the Tassilo Culture Prize of the Süddeutsche Zeitung. Süddeutsche Zeitung (SZ) is a German national daily newspaper. It is published in Munich. SZ is the second largest daily newspaper in Germany (as of October 2020). Promoting the cultural sector in the Munich area and motivating creative artists (these are the goals of the Tassilo Culture Prize), which the Süddeutsche Zeitung is offering for the eleventh time this year. The SZ Prize is named after the Bavarian Duke Tassilo. Statement Our head is round so that thinking can change direction - a sentence by the writer and artist Francis Picabia, who inspired me as a young man interested in art and the art scene. Art broadened my perspectives and saved my soul. In the 1980s and 1990s I was a journalist, poet, photographer and event manager. After almost two decades, I found my way back to art in the dark times of my life in early 2018. Yes, once again art has saved my soul. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. The power of design and the contradictions between art and life Munich's most colorful shopping center facade by Prof. Dr. Rainer Funke When will the containers be loaded? Such a question comes to mind when approaching the shopping mall built in 2008 from a distance. But stop! The intense colors of the seemingly stacked cubes and their sophisticated composition immediately give rise to other associations. As if someone had created a special order out of building blocks. One wonders whether this is already the perfect final state, as one tries to create with the Magic Cube, for example. The variety of combinations seems too great for this. Both that of the colors and that of the surface structures. Added to this are the manifold reflections and the astonishing visual dynamics. One does not seem to move past the building itself, but its facades begin to run, to turn, to flow. One is almost reminded of the dancing of the facades and interiors of baroque courtly buildings in downtown Munich. Instead of baroque figurativeness, however, here it is geometry. The closer one gets, the more details become visible. No, these are neither containers nor building blocks. The prismatic shape of the colored and reflective metal plates gives the building shell pronounced plasticity. One would not have expected so much sophistication from a shopping center, especially not here, where Munich hardly has anything typically Munich anymore and is fraying into the landscape. Whether red voluptuousness with bold blue, pastel sweetness, noble gold, lush, or pale green: the overwhelming power of color is, of course, the basic theme of the series of images, always in powerfully soaring, a contrast-rich vertical sequence of seemingly endless parallels. Michael Nguyen's imposing photographs take us very close to this color organ. They make us stand at attention on the parade ground of the verticals. Especially the severity of the composition in detail becomes a theme. This gesture appears once again mercilessly emphasized by Nguyen's camera, as refractions and disturbances emerge from close up. Two framed, square blue lockers, for instance, according to their dimensions probably placed on a blue ground with metallic fittings not colored blue - the attempt to hide them has failed. Nguyen places them in the center. The wonderful striped pattern is disturbed in this way, less perfect and also a bit more lifelike. We experience something similar with the door locks (here the hinges additionally form a counter-rotating rhythm), the intercom, and the stickers on two other images. As a photographer, Michael Nguyen is as uninhibitedly consistent as the facades depicted want to be but cannot be in the storm of life and entropy. The mirrored surfaces evoke almost poetic associations when nature and urban space gently and carefully combine in them (in one picture, the soft shapes of the snow remains are added). Here, too, Nguyen is provocative. One picture is intended to irritate through eight seemingly irregular horizontal cuts in the surrounding colour surfaces. And, of course, dirt and trash. Such a design focused on geometric color perfection is highly moralistic. It points its moral finger in full size at the viewers, admonishing us not to disturb order, to preserve perfection and cleanliness. When we then perceive small discarded things and in addition a dirty floor or even dirty facade surfaces, it hits us with full force. At the same time, we are referred to the particularity and artistic rapture of the facade. Even a traffic sign, placed somewhat askew and in turn, defaced with remnants of a sticker, emphasizes the distance of the art object from life. Even the clash of different grid dimensions of the facade strips and the paving of the sidewalk draws attention and distances. Here nothing has grown out of the ground, where it has been landed. This impression is further emphasized by the filigree grid structure of the surfaces pointing to the left. If then still objects stand before the work of art, like a somewhat demolished container for the clothes collection, an ashtray (nevertheless in strict vertical-orthogonal high-grade steel form and exactly aligned), or admittedly color-coordinated garbage can one wished a ban mile for objects around the building. People appear in two photos. They make us breathe a sigh of relief: yes, the whole thing is made for people. The two people in a picture, shot somewhat voyeuristically behind a lamppost, could, however, already be a bit tighter, more upright, and perhaps defilade past the facade in step! The man with his shopping cart, on the other hand, seems to want to save himself from the austerity of the backdrop into the organic world of the leafy settlement. In an impressive way, Michael Nguyen presents us with this photo series of a building as a work of art and thus points us to the power of design but also to the contradictions between art and life. Prof. Dr. Rainer Funke researches and publishes on design-theoretical issues from a semiotic, cultural-theoretical and philosophical perspective and works as a design consultant for companies. He teaches design theory at the Potsdam University of Applied Sciences. After studying philosophy at Martin Luther University Halle-Wittenberg, he earned his doctorate in semiotics and subsequently worked in design-theoretical research at Burg Giebichenstein - University of Art and Design Halle. In 1992, he was appointed to Potsdam as the founding dean of the Department of Design. Rainer Funke was the owner of a design agency, chairman of the board of the Brandenburg Design Center, and visiting professor at the University of Art and Industrial Design Linz. Design theory is supposed to motivate in an enlightening way by conveying methods for the analysis of design, especially for the manifold relations between perceptible forms of artifacts and their meanings in the context of the process of use. Design theory explicates modes of action and historically founded developmental relationships of design and their various influencing factors. (Prof. Dr. Rainer Funke) Exclusive Interview with Michael Nguyen
Harry Fisch
There is of course a personal and direct involvement in the places that I later represent but (and), my artistic practice includes onsite photography and documentation, historical records research, as my own encounters and finding testimonials from other visitors as well as narratives. De-constructing whatever is called reality in order to build another new reality that is more closely related to my non- photographic memories. -Harry Fisch- Harry Fisch has been a photographer for more years than he cares to remember. He is the founder and leader of Nomad Photo Expeditions, a travel company that organizes unique photo tours and photographic expeditions all over the world. He designs his trips looking for stories, cultural events, and experiences of human interest and photographic value, all which is enriched through his previous on-site experiences, new explorations of special locations, previous works of travelers, historians and documentary makers. Winner of the 2012 World National Geographic Photo Contest (places), and later disqualified (due to deleting a plastic bag), his work –travel photography and fine art- has deserved many awards: 2020 finalist at the professional IPA (International Photography Awards) and two honorable mentions as well. 2020 Bronze at the professional MIFA (Moscow International Foto Awards). 2019 two IPA Professional Awards of Merit. 2019 finalist, Travel Photographer of the Year. 2014 Grand Prix de la Découverte, 2012 finalist in the Sony World Photo Awards, 2010 Photoespaña in the section “Discoveries”. A writer in different international photography publications, his interest in the photography of localities and cultural realities has seen him travel through all over the world. Interested in Asian and African cultures, the more he sees and experiences the more curious he has become. He endeavors to build relationships with the people of a place, sharing as far as possible their daily existence, listening to the ups and downs of their lives. He plans the expeditions from this perspective, looking for different locations-sometimes a nearby residence or attending an event, or accepting an invitation that can make that contact more real and personal.
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AAP Magazine #54 Nature
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