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Bob Krist
Bob Krist
Bob Krist

Bob Krist

Country: United States

Bob Krist is a freelance photographer who worked regularly on assignment for magazines such as National Geographic Traveler, Smithsonian, and Islands. These assignments have taken him to all seven continents and have won awards in the Pictures of the Year, Communication Arts, and World Press Photo competitions.

He won the title of "Travel Photographer of the Year" from the Society of American Travel Writers in 1994, 2007, and again in 2008.

Bob is a Sony Artisan of Imagery and has become an avid filmmaker, shooting and producing short travel films for a variety of clients, including National Geographic. His movie about Iceland, "A Thousand Autumns," won awards at the Johns Hopkins Film Festival, the Reykjavik International Film Festival, and the Trento Italy International Film Festival.

For the last three years, one of his self-produced, one-man-band travel documentaries has placed either first or second in the prestigious Lowell Thomas Awards for Video Broadcast, sharing those top honors with films produced by much bigger and better-financed crews, like those from PBS prime time, CBS's Sunday Morning, and the New York Times.

He is currently working on his next book, called, "Old Souls-Enduring Places," which is a collection of his black and white portraiture and landscape from around the world. "It's my 'anti-Gram' project," Krist says about the book.

Website

bobkrist.com

 

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Esmeralda Ruiz
Esmeralda Ruiz
United States
Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today. A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream. Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day. As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.Source: Esmeralda Ruiz Website
Solmaz Daryani
Solmaz Daryani
Iran
1989
Solmaz Daryani is an Iranian photographer and photojournalist, based between the UK and Iran. Her work is particularly known for exploring the themes of climate security, climate change, water crisis, human identity and environment. Daryani has worked internationally, covering social and environmental documentary stories in Iran, Afghanistan, Turkey and the United Kingdom. Her work has been published by international magazines and newspapers such as National Geographic Magazine, L'OBS Magazine, Foreign Policy Magazine, Polka Magazine, Zenith Magazine among others. The Eyes of Earth (THE DEATH OF LAKE URMIA) "A lake is earth's eye; looking into which the beholder measures the depth of his own nature." Henry David Thoreau Lake Urmia is located in the northwest of Iran. It was once the biggest salt lake in the Middle East and sixth biggest salt lake on earth situated between two neighboring provinces (East-Azerbaijan and West-Azerbaijan) in Iran. Lake Urmia was home to many birds like ducks, pelicans, and flamingoes.10 years ago; the lake was still a popular destination for vacationers. Bathers immersed themselves in the saline water and smeared their bodies with its legendary black mud, which helped to treat skin disease. My extended family on my mother's side born and lived in Sharafkhaneh port. The town used to be one of the heavily traveled touristic villages on the north coast of Lake Urmia. My grandfather had built a motel beside the lake, and my uncles were sailors. Less than a decade ago, my grandfather hosted dozens of tourists a day in the summers, with his two sons taking them on boat tours. During the past 20 years, approximately 80% of this lake dried due to climatic changes, excessive development in the agriculture sector, lack of correct management of water consumption, and excessive dams constructed on the lake's basin river in this area. At the moment, hopes for the salt lake's survival have been revived after 2018 torrential rain has boosted a government program aimed at preserving it before it dries up. The desiccation is one of the most unfortunate environmental disasters of Iran in recent years. It will increase the frequency of salt storms that sweep across the exposed lakebed, diminishing the productivity of surrounding land and encouraging farmers to move away. More than 4 million people live in two neighboring provinces (East-Azerbaijan and West Azerbaijan) around the lake and agriculture, animal husbandry, and handicraft making play a significant role in the region. As the lake dried up, agriculture waned which caused my grandparent's garden dry and deserted. Lake's ducks; flamingos and pelicans have vanished, too. My childhood in Sharafkhaneh seems like a long time ago. The motel abandoned, and the almond trees have withered. The port today is a sparsely populated village where most people are old, and it no longer resembles the place where I left my childhood memories. The project investigates the impacts of drying of Urmia Lake on people and the environment around it and to demonstrate environmental, economic, physical, and social changes that happened after lake shrinking. (the Year 2014-ongoing)
Veronique De Viguerie
Veronique De Viguerie
France
1978
Veronique de Viguerie photojournalist, mother-of-two based in Paris. After a Master of Law, fascinated by what was happening in Afghanistan, she disobeyed her parents, borrowed some money and bought a one-way ticket to Kabul. Two years after, in 2005, she was in a cybercafé, trying to file some pictures. A kamikaze entered and exploded himself. She was one of the rare survivor. She became obsessed with the idea of meeting the Taliban to understand how some men were ready to die and kill for an ideology. From that day, her pictures intend to give a face to the ones we don’t want to see, the “bad guys”, the ones on the other side: The Taliban, the pirates in Somalia, the sicarias (women killers) in Mexico, the oil pirates in the Niger Delta, the Houthis in Yemen, the MNLA in Mali, the gangs in Brazil etc… She refuses the common binary, black and white vision of the world preferring to show the grey shades in between, a world complex but always in colors. Her work is regularly published by Paris-Match, Time, Géo, Figaro, the Guardian, Marie-Claire etc. She exhibited “Afghanistan, Insh’Allah” in Perpignan, Paris and Anger, “Yemen, the hidden war” was exhibited in Bayeux, Paris and Brussels. She published some books “Afghanistan, Regards Croisés”, “Profession: Reporter”, “Carnets de Reportages du XXIe siècle”, “Yemen, la guerre qu’on nous cache », « Iraq Insh’Allah ». In 2011, she was starring an episode of « Witness » an HBO program, following the arrow boys in Sudan in their hunt for Joseph Kony. Among her awards she received a WPP, 2 Visas d’Or, 2 prizes at Bayeux Festival for Best War Reportage, was finalist for the Anja courage award etc.
Veronica Alkmim
Veronica Alkmim
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1959
Verônica Alkmim França is a multidisciplinary artist and photographer who has lived in Sweden and Brazil for many years. With a background in Fine Arts, Photography, and Communication, her portfolio includes sculptures, wearables, photographs, scenarios, and textiles, all of which reflect her cultural identity. Her frequent travel between Brazil and Sweden has led her to move away from conventional artistic venues. Born in Brazil, she emerged in the 1990s as one of the pioneers of wearable art in the country, sparking discussions on the fine line between design, art, and fashion, and inspiring new generations. Verônica’s work is also known for its photographic documentation of her art and her recent exploration as an authorial photographer. Her approach critiques mass consumption and the aesthetics of excess, while her collaborations with disadvantaged communities aim to give these groups visibility and support cultural social initiatives. She has been recognized internationally, winning awards such as the Female in Focus International Photography Award 2022 from the British Journal of Photography, the Brasília Photo Show 2022, the Chromatic International Photo Awards, and the Monochrome Photo International Awards. She has also been nominated for RE-Focus International Awards and Color International Photo Awards, won second place in Photomanipulation at FAPA (Fine Art Photography Awards), participated in the Women in Photography exhibition in Glasgow in 2023, and earned distinctions in the PX3 Prix de la Photographie de Paris, IPA International Photography Awards, Budapest Photo Awards, Aesthetica Magazine Prize, PISPA-Paris International Street Photo Awards, and Prix de la Photographie de Paris in 2024. Recently, she collaborated with WIEGO (Women in Informal Employment) and Sheffield University on the CATA project—Climate Change and Waste Pickers—featured at Memorial Minas Gerais Vale in Brazil and The Mind Festival in Sheffield, England.
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Melanie Schoeniger
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Klemen Razinger
Klemen Razinger
Slovenia
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For over 20 years, I’ve been doing what I love: telling stories through photography. But my journey started in an unexpected place — on a snowboard. Chasing adrenaline, precision, and the thrill of competition, I spent years riding in national and world championships. Eventually, I hung up the board and picked up a camera, bringing that same energy and focus into a new passion. I studied photography at the Faculty of Natural Sciences in Ljubljana, where I shaped my skills and sharpened my eye. Sports and the outdoors remain at the core of my work — they’re where I feel most alive, and where my creativity flows best. Whether I’m capturing fast-paced action or quiet, emotional moments, I aim to create images that go deeper than the surface — ones that make you feel something. Alongside my professional work, I often pursue personal documentary projects. These stories matter deeply to me. Some have even taken me around the world, with solo exhibitions — including one at the United Nations Headquarters in New York.
Andreas Franke
Andreas Franke
Austria
Andreas Franke is in the business for more than twenty years. For Luerzer‘s Archive he is among the 200 Best Photographers. He worked for great brands like Ben&Jerry's, Coca-Cola, Ford, General Electric, Gillette, Heineken, Nike, Visa or Wrigley‘s. His still lifes and his surreal effects are famous. In his pictures every little detail is planned precisely. There is no space left for fortuity. Andreas Franke is a traveler. He travels through the world and between the worlds. His job frequently leads him to several countries on several continents. So does his passion the scuba diving. In his pictures Franke crosses the borderlines between fantasy and real life.With his project “The Sinking World“ Andreas Franke brings a strange, forgotten underwater world back to life and stages realms of an unprecedented kind.The pictures engender extreme polarities: the soft, secretive underwater emptiness of sleeping shipwrecks is paired with real, authentic sceneries full of liveliness and vigor, thus creating a new world, equally bizarre and irresistibly entangling. The resting giants at the bottom of the sea do not only form fascinating and unique backgrounds for Andreas Franke’s sceneries. They also constitute the best exhibition sites imaginable. These spectacular underwater galleries make divers fall under their spell and display the work of the ocean itself. During the weeks and months under water the ocean bequeaths impressive, peerless traces to the pictures. It adorns them with a certain, peculiar patina, endowing them with the countenance of bizarre evanescence and transfiguring them into rare beauties.
Sergey Prokudin-Gorsky
Sergey Prokudin-Gorsky
Russia
1863 | † 1944
Sergey Mikhaylovich Prokudin-Gorsky (Russian, August 30, 1863 Russian Empire – September 27, 1944) was a Russian chemist and photographer. He is best known for his pioneering work in color photography of early 20th-century Russia.Prokudin-Gorsky was born in the ancestral estate of Funikova Gora, in what is now Kirzhachsky District, Vladimir Oblast. His parents were of the Russian nobility, and the family had a long military history. They moved to Saint Petersburg, where Prokudin-Gorsky enrolled in Saint Petersburg State Institute of Technology to study chemistry under Dmitri Mendeleev. He also studied music and painting at the Imperial Academy of Arts. In 1890, Prokudin-Gorsky married Anna Aleksandrovna Lavrova, and later the couple had two sons, Mikhail and Dmitri, and a daughter, Ekaterina. Anna was the daughter of the Russian industrialist Aleksandr Stepanovich Lavrov, an active member in the Imperial Russian Technical Society (IRTS). Prokudin-Gorsky subsequently became the director of the executive board of Lavrov's metal works near Saint Petersburg and remained so until the October Revolution. He also joined Russia's oldest photographic society, the photography section of the IRTS, presenting papers and lecturing on the science of photography. In 1901, he established a photography studio and laboratory in Saint Petersburg. In 1902, he traveled to Berlin and spent six weeks studying color sensitization and three-color photography with photochemistry professor Adolf Miethe, the most advanced practitioner in Germany at that time. Throughout the years, Prokudin-Gorsky's photographic work, publications and slide shows to other scientists and photographers in Russia, Germany and France earned him praise, and in 1906 he was elected the president of the IRTS photography section and editor of Russia's main photography journal, the Fotograf-Liubitel. Lithograph print of Leo Tolstoy in front of Prokudin-Gorsky's camera in Yasnaya Polyana, 1908. Perhaps Prokudin-Gorsky's best-known work during his lifetime was his color portrait of Leo Tolstoy,[6] which was reproduced in various publications, on postcards, and as larger prints for framing. The fame from this photo and his earlier photos of Russia's nature and monuments earned him invitations to show his work to the Russian Grand Duke Michael Alexandrovich and Dowager Empress Maria Feodorovna in 1908, and to Tsar Nicholas II and his family in 1909. The Tsar enjoyed the demonstration, and, with his blessing, Prokudin-Gorsky got the permission and funding to document Russia in color.[8] In the course of ten years, he was to make a collection of 10,000 photos. Prokudin-Gorsky considered the project his life's work and continued his photographic journeys through Russia until after the October Revolution. He was appointed to a new professorship under the new regime, but he left the country in August 1918. He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague S. O. Maksimovich, obtained patents in Germany, England, France and Italy.In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrimo. The family finally settled in Paris in 1922, reuniting with his first wife and children. Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died at Paris on September 27, 1944, and is buried in the Sainte-Geneviève-des-Bois Russian Cemetery.Documentary of the Russian EmpireAround 1905, Prokudin-Gorsky envisioned and formulated a plan to use the emerging technological advances that had been made in color photography to document the Russian Empire systematically. Through such an ambitious project, his ultimate goal was to educate the schoolchildren of Russia with his "optical color projections" of the vast and diverse history, culture, and modernization of the empire. Outfitted with a specially equipped railroad-car darkroom provided by Tsar Nicholas II and in possession of two permits that granted him access to restricted areas and cooperation from the empire's bureaucracy, Prokudin-Gorsky documented the Russian Empire around 1909 through 1915. He conducted many illustrated lectures of his work. His photographs offer a vivid portrait of a lost world—the Russian Empire on the eve of World War I and the coming Russian Revolution. His subjects ranged from the medieval churches and monasteries of old Russia, to the railroads and factories of an emerging industrial power, to the daily life and work of Russia's diverse population. It has been estimated from Prokudin-Gorsky's personal inventory that before leaving Russia, he had about 3500 negatives. Upon leaving the country and exporting all his photographic material, about half of the photos were confiscated by Russian authorities for containing material that seemed to be strategically sensitive for war-time Russia. According to Prokudin-Gorsky's notes, the photos left behind were not of interest to the general public. Some of Prokudin-Gorsky's negatives were given away, and some he hid on his departure. Outside the Library of Congress collection, none has yet been found.By Prokudin-Gorsky's death, the tsar and his family had long since been executed during the Russian Revolution, and Communist rule had been established over what was once the Russian Empire. The surviving boxes of photo albums and fragile glass plates the negatives were recorded on were finally stored in the basement of a Parisian apartment building, and the family was worried about them getting damaged. The United States Library of Congress purchased the material from Prokudin-Gorsky's heirs in 1948 for $3500–$5000 on the initiative of a researcher inquiring into their whereabouts. The library counted 1902 negatives and 710 album prints without corresponding negatives in the collection.(Source: en.wikipedia.org)
Warren Agee
Warren Agee
United States
1966
Warren Agee, born 1966 in Buffalo, NY, USA, is a fine art photographer whose practice explores his connection with the natural world. After attempting many different creative careers including drawing, architecture, jewelry-making and the fiber arts, Warren accidentally discovered photography in the mid 1990s while making color transparencies of his jewelry to submit to juried art fairs. He soon pointed his camera to everything growing in his yard and never looked back. He fully embraced digital technologies in the early 2000s. He works primarily in monochrome. "Unless it is the focal point of an image, I find color tends to distract from form and content. My photographer's eye primarily sees structure, composition, and texture." His work has been exhibited in various galleries including Middlebury, VT. and Minneapolis, MN, as well as receiving honorable mentions in the 2021 Monovisions Awards. He currently resides in Petaluma, CA, USA. Statement The slopes of Mt. Tamalpais ("Mt. Tam"), which rises over 2500 feet above Marin County just north of San Francisco, consists of a vast and varied landscape of rolling grasslands, meadows, canyons, lakes, waterfalls, and redwood forests. Marine fog rolls in off the Pacific coast and supplies moisture year-round, creating what seems to be a tropical rainforest complete with moss-covered oaks and boulders. It is an unlikely setting for a region located a mere 20 miles from a bustling city. The average age of the redwoods on Mt. Tam is 600-800 years, a mind-boggling number to consider as you stand underneath them. These images attempt to portray the otherworld quality of Mt. Tamalpais., where one half-expects fairies and trolls to greet you as you hike along the trails.
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Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes
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