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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
France Leclerc
France Leclerc
France Leclerc

France Leclerc

Country: Canada

France Leclerc, born in Quebec, Canada, is an independent photographer who currently lives in Chicago. Her early career was in academia, teaching at MIT and the University of Chicago, but her true passion for documentary photography has now taken over. The curiosity and hunger for learning that had motivated her academic research career did not vanish. France now uses photography as a vehicle to understand and help depict issues that puzzle her, and satisfy her passion for learning. Among her most prominent themes are culture (especially disappearing ones), religion and social inequality, always focusing on the human element. Her images have now been shown in curated exhibitions and have won numerous awards including PDN World-in-Focus Competition in the Travel Portrait Category (2017), and in the Photo-Essay Category (2018), the APA National in the PhotoJournalism Category (2017), and the Julia Margaret Cameron Award in the Culture and Daily Life Category (2019).

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AAP Magazine #8 Street
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AAP Magazine #29 Women
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More Great Photographers To Discover

 Izis
Lithuania
1911 | † 1980
Israëlis Bidermanas, who worked under the name of Izis, was a Lithuanian-Jewish photographer who worked in France and is best known for his photographs of French circuses and of Paris. Born in Marijampol, present-day Lithuania, Bidermanas arrived in France in 1930 to become a painter. In 1933 he directed a photographic studio in the 13th Arrondissement of Paris. During World War II, being a Jew, he had to leave occupied Paris. He went to Ambazac, in the Limousin, where he adopted the pseudonym Izis and where he was arrested and tortured by the Nazis. He was freed by the French Resistance and became an underground fighter. At that time he photographed his companions, including Colonel Georges Guingouin. The poet and underground fighter Robert Giraud was the first to write about Izis in the weekly magazine Unir, a magazine created by the Resistance. Upon the liberation of France at the end of World War II, Izis had a series of portraits of maquisards (rural resistance fighters who operated mainly in southern France) published to considerable acclaim. He returned to Paris where he became friends with French poet Jacques Prévert and other artists. Izis became a major figure in the mid-century French movement of humanist photography - also exemplified by Brassaï, Cartier-Bresson, Doisneau and Ronis - with "work that often displayed a wistfully poetic image of the city and its people." For his first book, Paris des rêves (Paris of Dreams), Izis asked writers and poets to contribute short texts to accompany his photographs, many of which showed Parisians and others apparently asleep or daydreaming. The book, which Izis designed, was a success. Izis joined Paris Match in 1950 and remained with it for twenty years, during which time he could choose his assignments. Meanwhile, his books continued to be popular with the public. Among the numerous books by Izis, Gerry Badger and Martin Parr have especial praise for Le Cirque d'Izis (The Circus of Izis), "published in 1965, but bearing the stamp of an earlier era". Shot mostly in Paris but also in Lyon, Marseille and Toulon, the photographs are "affectionate and nostalgic, but also deeply melancholic" with "a desolate undercurrent", forming a work that is "profound, moving and extraordinary". Source: Wikipedia
Lenka Klicperová
Czech Republic
1976
Journalist and photographer. She obtained a master's degree at the University of Hradec Králové and immediately after that started working as a journalist. From 2004 to 2018 she was the editor-in-chief of the leading Czech travel magazine Lidé a Země. Since 2018 she has been working as a freelance reporter and photographer focused on war zones. She has worked in a number of African countries, including conflict zones of Democratic Republic of Congo. She visited Afghanistan several times, as well as Somalia, plagued by several decades of war. Since 2014, she has focused on the issue of the war with the ISIS in Iraq and Syria. She is the co-author of several documentaries (Tears of the Congo, Latim – the Circumcised, Iraqui Women, Women in the Land of Taliban, Unbroken) and a number of television reports. She has won a number of prizes and nominations in the Czech Press Photo competition - both for photography and video. In 2020 she was included in the prestigious Women Photograph database, she was shortlisted for the International Women In Photo Association Award. She is the co-author of nine books about Africa and about the wars in the Middle East and Nagorno Karabakh. Her work from Syria resulted in two books entitled In Sight of the Islamic State I and In Sight of the Islamic State II, which were co-authored by Markéta Kutilová. Together with Kutilová she also wrote other books on the wars in Syria and Iraq: In the War (2018) and War is My Fate (2020). In 2019, a book called AK47 was published, which depicts the dramatic life of the world-famous Czech war photographer Antonín Kratochvíl. Klicperová wrote the text of the book based on Kratochvíl's narration. In September 2020, war broke out in Nagorno Karabakh. Lenka Klicperová and Markéta Kutilová quickly moved to the center of events. The war in the Caucasus was captured by both reporters in many reports, but also in a book The Last One Sets the Village on Fire (2021). Klicperová cooperates with a number of Czech media. She also lectures at the University of Hradec Králové. Statement Twelve years ago I first came to a war zone, to the eastern part of the Democratic Republic of the Congo. My goal was to document the drastic effects of the protracted war on women. The local militias are committing mass rape of women and children; rape is a weapon of war. It was my first encounter with war. I understood that I wanted to bear witness to the injustices of this world, the way they fall on innocent victims who have nothing to do with them. I returned to the Congo several times and started working in Afghanistan. Then the war in Syria and Iraq started. I spent six years traveling to these areas watching and documenting how the Islamic State terrifies the world. And how it is gradually being defeated with the generous contribution of the Syrian Kurds. The city of Kobani, the center of the Kurds, has been indelibly engraved in my heart, defending itself against the enormous superiority of the Islamists. At the cost of high casualties. I have been on the front lines, in refugee camps, documenting the lives of the wives of ISIS fighters and their children. I managed to get in the prison where ISIS fighters who survived the fighting are being held. When the war broke out in Nagorno Karabakh, I knew I had to go there immediately. I followed the war to the end and documented the lives of civilians sentenced to live suddenly in a war zone. I saw their exodus. War zones have thus become a part of my life... Lost War
Judi Iranyi
Hungary/United States
1943
Judi Iranyi was born in Hungary (1943). After World War II, she and her family lived in a displaced persons camp in Germany for a few years before emigrating to Venezuela, where she lived until she finished high school. She has also lived in Trinidad, Barbados, Germany, and Okinawa before moving to San Francisco in 1971. Ms. Iranyi became interested in photography in the sixties. She earned a BA degree in Art/Photography from San Francisco State University. Later she received an MA degree in Visual Design from U.C. Berkeley; completed a master!s level museum studies program at John F. Kennedy University; and an MSW Degree in Social Work at San Francisco State University. Ms. Iranyi has worked as a freelance photographer taking environmental portraits. She was also a staff photographer at the Judah L. Magnes Museum in Berkeley and worked at the San Francisco Fine Arts Museums. She also worked as a California Licensed Clinical Social Worker until her retirement. After retirement, Ms Iranyi dedicated her time to photography. Her work includes portraits, travel photography, documentary, and street photography. Recently she has shifted her emphasis to botanicals and still life photography. Three of her life passions are traveling, literature, and photography, which have broadened her view of the world. Flowers for Klara On the 40th anniversary of my mother’s death, I decided to create a series of floral bouquets to honor her memory. She had a difficult life, living during WWII, living in displaced peoples’ camps and two emigrations one to Venezuela and then to Germany where she died in her mid fifties after a long illness. Exclusive Interview with Judi Iranyi and Remembering Michael
Savas Onur Sen
Turkey
1978
Savaş Onur Şen is a Turkish photographer based in Van. He has graduated from Ankara University Faculty of Communication, Department of Journalism. He has taken his master's degree in photography and a Ph.D. degree in photojournalism. Now he is working at Van Yuzuncu Yil University as an Assistant Professor. Savaş Onur Şen is trying to use photography to tell stories. These days he focused on the stories of the animals who live in the urban lifestyle. Precarious If certain lives do not qualify as lives or are, from the start, not conceivable as lives within certain epistemological frames, then these lives are never lived nor lost in the full sense. Judith Butler Current laws and regulations do not adequately protect the animals in Turkey. Violence, especially against stray animals, is increasing due to the lack of an animal rights law demanded by animal lovers and sensible groups. It is possible to see the traces of the rising vio-lence in mainstream and social media. Almost every day, we come across news of rape, torture, violence, and abuse, especially against stray animals. This situation also causes conflicts between people who are sensitive to the issue and are against feeding stray animals. It is said that there are over 20 thousand stray dogs in the city where I live. Although I don't have the chance to reach all of them, I have been feeding several stray dogs for many years and trying to find solutions to their problems. While doing this, I have also been taking photos of them for the last two years. "Precarious" is the first significant part of my work on stray dogs. This work aims to present an epistemological framework for the lives of stray dogs.
Mark Coggins
United States
1957
Mark Coggins is a crime-fiction novelist and photographer. Five of his six award-winning novels are illustrated with images taken by him. His photos have been exhibited in galleries across the country and have been featured in books of other authors, notably Red Mist by Patricia Cornwell and A Lover's Discourse: Fragments by Roland Barthes. He has written about photography for View Camera magazine and is a contributor to Getty Images.All About Photo: When did you realize you also wanted to become a photographer?Mark Coggins: I've been interested in photography for a long time. I had a darkroom with a friend in grade school where I developed and printed pictures I took with an old 35mm Bolsey rangefinder camera my father gave me, but didn't really get serious about it until my mid-30's when I took a view camera class with Mark Citret. All About Photo: Where did you study photography? With whom? Mark Coggins: I've taken a number of classes and workshops with Mark Citret. While Mark is primarily a large-format photographer and I was initially interested in large format as well, I've evolved into more of "street photographer" using digital 35mm equivalents. However, I believe the training in large format has given me a deeper appreciation of composition, depth of field and exposure that is quite beneficial in making my images. All About Photo: Do you take photographs between books or at the same time? Mark Coggins: I move fluidly between writing and photography, doing both pretty much at the same time. When I photograph to illustrate my novels, of course, the two are yoked together in the service of the same goal. All About Photo: Does your writing influence your photography or vice versa? Mark Coggins: A bit of both. Originally, I was using photography to document street scenes I wanted to describe in my books. Then I hit upon the idea of including the photos I was taking in the books. Later I began to alter the plot of my books to have an excuse to include photos I liked that I had taken without reference to a particular scene. All About Photo: What lead you to photography and why? Mark Coggins: In the very beginning, it was the photos my father had taken during the Korean War with the 35mm Bolsey camera he eventually gave me. My mother recently found a box of his old negatives and slides, and several images-particularly of Korean children-are quite good. All About Photo: Do you remember your first shot? What was it? Mark Coggins: I don't remember the first photo I took, but I do remember the first one I developed and printed (around the age of 12). It was a snapshot of a large toy rubber beetle of my brother's. Not great art! All About Photo: What was your first paid assignment/job? Mark Coggins: The first print I sold was the photo of two chess pieces on a board that was used for the cover of my first novel, The Immortal Game. Several bookstores carried prints of the photo to sell to collectors who had enjoyed the book. All About Photo: What or who inspires you? Mark Coggins: I photograph street scenes from cities throughout the world. What inspires me most is capturing groups of people interacting or engaged in a common activity, rather than simply taking street portraits of individuals, although I have plenty of those in my portfolio. All About Photo: How could you describe your style? Mark Coggins: I like sharply focused images with a full tonal range, pulling in as much detail as I can in the shadows. Most all my work is black and white with a colder toning. All About Photo: Do you have a favorite photograph or series? Mark Coggins: "Geisha Confidential." It was taken one evening in Kyoto, Japan. I was walking down a back street in the older part of town when a cab with a geisha pulled up. The cab driver went in to an adjacent building to retrieve a second geisha. The photo documents the moment when the second joined the first and they began an urgent conversation.I like the image both because I was so extraordinarily fortunate to be in a position to take it and because I did a fair amount of editing to achieve the nourish atmosphere (I believe) it conveys. All About Photo: What kind of gear do you use? Camera, lens, digital, film? Mark Coggins: I mostly use Fujifilm rangefinder digital cameras, which is perhaps appropriate since my first camera was the Bolsey rangefinder. I also have a full-frame Nikon DSLR that I use for non-street photos. All About Photo: What is the influence of digital technology on your photography? Mark Coggins: Although my serious interest in photography began with my involvement with large format film photography, I was never that good a printer. It wasn't uncommon for me to like the Polaroid proof I took of a particular shot more than I did of the final print. If, as Ansel Adams said, the negative is the score and the print is the performance, I was blowing it during the performance. Digital has made me a better performer. All About Photo: Do you spend a lot of time editing your images? For what purpose? Mark Coggins: I do a fair amount of editing. I often crop, convert to black and white, dodge and burn where necessary and try to make sure I've gotten as much detail in the shadows as I can. I also tone my images on the colder range of the scale. All About Photo: How do you choose your subjects? Mark Coggins: I look for interesting people interacting in interesting ways on the street. All About Photo: Favorite(s) photographer(s)? Mark Coggins: Oh, there are so many. Mark Citret, of course. From there, in no particular order, Sally Mann, Edward Weston, Ruth Bernhard, Eugène Atget, Diane Arbus, Robert Frank, Henri Cartier-Bresson. All About Photo: What advice would you give a young photographer? Mark Coggins: I can't tell you how to do this, but I do believe it is important: to develop one's own style. It took me a long time to do it, and I only realized I had done so long after the achievement. It's not a paint-by-numbers type goal. All About Photo: What mistake should a young photographer avoid? Mark Coggins: Although I've been guilty of it myself, I see a lot of photographers over-manipulating images. Perhaps it's the influence of Instagram filters. All About Photo: What are your projects? Mark Coggins: I shot continuously in my home city of San Francisco, but for some reason, my best photos seem to come during travel to foreign countries. I'm planning a trip to several new (to me) European cities this summer. All About Photo: Your best memory as a photographer? Mark Coggins: When the Patricia Cornwell's publisher contacted me about using my photo of Savannah's Colonial Park Cemetery for the endpapers of her novel Red Mist. All About Photo: Your worst souvenir as a photographer? Mark Coggins: Over-exposed 4x5 negative of what I was certain to be a great shot when I didn't properly seat the bag bellows of my large format camera. All About Photo: The compliment that touched you most? Mark Coggins: When my mother hung one of my (really not very good) photos in her living room next to a watercolor by very accomplished artist. All About Photo: Your favorite photo book? Mark Coggins: Along the Way by Mark Citret. All About Photo: An anecdote that comes to your mind? Mark Coggins: I lived next to Ruth Bernhard in San Francisco for several years. I'm embarrassed to admit that I didn't really understand her importance to the photography world until I met her at a party. All About Photo: Anything else you would like to share? Mark Coggins: Another anecdote: when I shut down my darkroom, I sold my sink to music photographer Tom O'Neal, who photographed the cover of Crosby, Stills, Nash and Young's Deja Vu album.
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AAP Magazine #54 Nature
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