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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Germán Rodriguez Laverde
Germán Rodriguez Laverde
Germán Rodriguez Laverde

Germán Rodriguez Laverde

Country: Colombia

Colombian cinematographer, thanks to his work he has managed to develop a particular style in his projects, managing to project emotions and feelings by becoming one with the camera. He also works as an assistant director, director, and cinematographer and has had the experience of working for large production houses and projects that have been mentioned worldwide.

Throughout his career, Germán has been the winner twice consecutively in the categories (best photography and best short film) for Canon Colombia. He has also been recognized worldwide by Sony International Photography in the category "moving image", has won several awards as Cannes with an advertising campaign in which he worked; He was a finalist in a Vans USA contest for the best short film.

He studied in Los Angeles California thanks to a stimulus scholarship that he won at the school (Global Cinematography Institute) of the member of the American Film Association (ASC) Yuri Neyman ASC.
 

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Ted Anderson
United States
I'm a photographer and designer (graphics and exhibitions) living in upstate New York, with a passion for photographing landscapes, interiors, and people. The pared down features in many of these photographs reflect my interest in natural history, and in the passage of time and the remnants of the past in the present. While the photographs were taken in places as diverse as the lakes and beaches in Maine, gardens in England, and the rural hills of central New York state, all of the images reveal my preference for the simplicity and a certain joyfulness that can exist with austerity. Is there a story behind each of these images? Always.Ted Anderson is presented by TBM Photography NetworkTBM Photography Network regularly presents the popular series: "Photographer Spotlight.” In this part of their newsletter and FaceBook page various fellow photographers are interviewed to learn more about what motivates them, what their goals are and what direction they wish to take with their art. In this segment they welcome the talents of photographer Ted Anderson. TBMPN: What best describes your particular style of photography? TA:I am drawn to austerity, simplicity and to capturing beauty in places that might seem lonely to some. I think a lot about the relationship between people and their environments, and sometimes I look for a figure or a remnant of the past in my exterior or interior photographs. I do not put elements together artificially, but try to present images as I find them. Sometimes I allow stories to arise from the moments captured with the camera. TBMPN: What equipment do you regularly use? TA:My main camera of choice is a Nikon D90 with an 18-100mm lens and a 50-200mm lens. When shooting landscapes, I often go with the wide angle settings. I use a small variety of filters that include neutral density and polarizing filters. Any processing is done on a Mac computer, and I work primarily in Photoshop’s Camera Raw and in Silver Efex. TBMPN: Who or what do you consider your major influences? TA:There are many photographers and painters whose work I admire, but right now I’d have to say that the photographs of Brett and Edward Westen, Julia Margaret Cameron and Walker Evans come to mind. I also love the paintings of Andrew Wyeth and Edward Hopper. Visually I am also inspired through music and words that include songs by Bill Callahan, novels by Marilynne Robinson, and the poems by W.S. Merwin. TBMPN: Why did you choose photography as your method of expression? TA:As a kid I loved to draw, and I’ve also composed songs on the guitar for years. Photography, however, is what brings to me the greatest level of creative satisfaction and that sense of connection to others. Just about anyone can take a photograph, but to create an image that might move another person emotionally or intellectually is a challenge that I enjoy. TBMPN: What do you wish to accomplish with your photography? TA:I wish to continue expressing myself both artistically and emotionally and to keep creating images with which people can connect. I recently heard from an old friend, someone I haven’t seen in years, who had requested a print that she’d seen online. That sort of thing does not happen every day, and when it does, it’s quite wonderful. TBMPN: What are your current projects? TA:This past year I have been photographing more portraits, and I’m in the process of setting up a few more portrait sessions. I will be having a solo exhibition in 2016 at the Fenimore Art Museum in Cooperstown, New York. This exhibition will include landscape and interior images from New York State as well as portraits. In the meantime I am always thinking about new locations to explore. TBMPN: What are your plans for future projects? TA:I’d like to see my photography business expand a bit over the next couple of years. I would like also to take on more portrait and interior photography projects. This next July (2014) I will be in England for two weeks and will have an opportunity for some informal wedding shots in the countryside. I’ll also have the chance to do some street photography in London. I can’t wait!
Piotr Zbierski
Piotr Zbierski studied photography at National Film School. Author of three individual exhibitions (White Elephants, Here, Love has to be reinvented), a participant in collective exhibitions and publications including Photokina and Lab East. He presented his works in many countries like Poland, Germany, Portugal, Russia, Slovakia. As well as magazines (Shots Magazine, Ninja Mag, Archivo Zine, Die Nacht, Gup Magazine). In 2012 he won the prestigious prize for young photographer Leica Oscar Barnack Newcomer Award. His work was nominated to Deutsche Börse Photography Prize and has been shortlisted in many other prizes (Les Nuits Photographiques 2012, Terry O’Neill Award) for his series Pass by me. His works has been shown at Rencontres Internationales de la Photographie in Arles 2012 and are in collection of Kiyosato Museum of Photographic Arts. He lives and works in Lodz. About Love has to be reinvented "The series 'Love has to be reinvented' began in 2012 and its starting point was not an image but my personal experience, which changed my view and redefined my opinion on many issues. At the same time, it is neither my diary nor any personal document; recently such a name is given to whatever cannot be named. Titles of my series are just mottos for my creative works at their particular stages. Words are created by letters in the alphabet, which is a matter of convention depending on the culture. I build my series out of emotions, which are a biological fact, they are unquestionable. The key objective I identify for myself is the availability of a feeling. I really want the person looking at my photographs to experience something more and not just say whether photographs are good or bad. Photography does not begin with an image, it does not end with an image, either; I put on authenticity, and not on originality. An image is a form of communication of a higher art form, which is life itself. I took the title from the French poet, Artur Rimbaud, who wrote these words and expressed criticism of France and times he lived in about a hundred years ago. I returned to these words because I think the world has not changed so much, and I criticize a contemporary world, which has gone in the wrong direction, in my opinion. And I do not mean people but structures built around the castle, which the book hero has never reached. A major objective of my work is to get through to the essence of human emotions, to their purest form with no additions, no gadgets. To show a man in the way he has been created, a man from a primeval village. In a contemporary world, such an image may be created using a certain type of imagination because we are very far away from such a status quo; therefore, my work is reality-based but it is not the reality itself. It is an attempt to invoke and depict certain human impulses with full acceptance of their inherent contradictions. Like love: it is as full of adoration as hatred; a day could not exist without a night. I will finish this three-year series in spring 2015 during the total solar eclipse, which can be observed in Iceland. It is a characteristic clamp for my creative work in which I start from a personal, private and single experience at the very beginning, and come through an image to a part, which is common for us all, and independent of me. A macro-scale has its reflection in a micro scale while a normal scale, in which we live in, is its pulsating reflection. To follow theories of contemporary scientists, only a ballet dancer may be smaller, and on a macro-scale - a multiple universe. Life is a film directed by the universe while the world is the largest accumulation of sensually available metaphors, a secret in secret or a metaphor in a metaphor. Rimbaud has also written that eternity is skies mixed with water; quite right: black and white, grey on grey; in a child's drawing huge blue and objectively sacred transparency. In my opinion, there is one reality and infinitely many visions. To sum it up as simple as I can: if the world is a tree growing more and more branches (metaphors), then life is the fruit. While love is the juice of various tastes in the same way as the resin is what a tree uses for weeping. All this happens in the surroundings of eternal gases where toxic ones come away leaving space to healthy ones. Rootstocks and roots grow expanding in the same way. Who are people then?Undoubtedly, they are savages from a primeval village who have learned what a real taste of love is: they adored each other at the expense of "god's" hatred, they are Adam and Eve. It is only owing to such a full image of love that new generations could come into existence. I also invite to see the video work titled "Lodz", in which I develop motifs I have earlier discussed. Another continuing video is in progress. The bottomless source is RGB without DNA." - Piotr Zbierski
Joseph Podlesnik
United States
1959
Joseph Podlesnik holds a BFA in drawing and painting from the University of Wisconsin-Milwaukee and an MFA in drawing and painting from Cornell University. He currently serves as Adjunct Faculty (online) for the Stockton University Visual Arts Program and Facilitator Lead for the Digital Photography Cornell Certificate Program. Podlesnik exhibits his photographs singly and in group shows, nationally and internationally. He resides in Phoenix, AZ. For Podlesnik, the camera lens depicts perspective too easily, which is why he captures and makes photographs which often frustrate readable perspectival space. For him, the photographic image is not only a window through which to see the visible world, but also a maker of flat surfaces which stunt or block logical space. He sees photography and pictures not only as documentation, but as commenting on or reenacting perception itself. The Pain, Boredom and Euphoria of Looking For the “The Pain, Boredom and Euphoria of Looking” exhibition, my intent is to select color and black and white photographs which involve some personal physical discomfort (while capturing the photographs), degrees of boredom (tolerating, organizing, and capturing a world full of redundant visual information) and the thrill and euphoria I experience while capturing photographs and exploring their effects in post- processing. The intent is to arrive at formal order, unity, mood, complexity, ambiguity, and in many cases engage the viewer in frame edge-to-frame edge visual activity.
Roger Grasas
Spain
1970
Roger Grasas (Barcelona, 1970) begins his professional career as a photographer in 1998 documenting cooperation projects for national and international foundations and NGOs as well as for UNESCO. Since then, traveling becomes the core of his artistic work, translating his experiences and reflections into visual arts. Between 2005 and 2009 he is the director of the BisouFoto communication studio and co-founder of the phototroupe Studio agency. In both projects he is in charge of the commissions related to travel photography, editorial portrait and social report. Regular contributor to several Spanish and international publications. In 2009 he moves to Riyadh (Saudi Arabia) where he leads the foundation of the photography department at Imagine Communication, a high end quality agency for social photography and events. During his stay in Saudi Arabia and later on until 2016 he develops the project 'Inshallah', a personal project about the extreme transformation of Middle eastern societies through the urban contemporary landscape in countries such as Saudi Arabia, Bahrain, Qatar, Emirates, Oman etc. His body of work approaches the role and importance that technology reveals within the post-modern digital society, the state of strangeness and confusion that human being suffers in the contemporary landscape and the increasingly connections between art and science. Sociopolitical issues such as globalization and philosophical concepts such as the 'difference', 'hyperreality' and 'alienation' generated by the postcapitalist society and the accelerated implementation of new technologies are also common places of their work. Since 1997 he has combined his professional activity with teaching in photography. Between 1997 and 2004 he teaches Photography and Landscape Production courses at the UPC's Image and Multimedia Technology Center. He also works as an academic at the Groc School of Plastic Arts (Barcelona), at the Communication Faculty of the National Autonomous University of Mexico and at the Mamori Art Lab Foundation in Brazil. He has also given various workshops and seminars related to travel anthropology and contemporary society such as "The Art of Travel: Photography and Travel" and "Why Travel? Ethics and Aesthetics of Leisure and Tourism". His His works have been exhibited on galleries of Spain, France, Netherlands, Germany, U.S.A., El Salvador, Saudi Arabia and Mexico. About 'Min Turab' In the space of a few decades, the landscapes of the Arab Gulf region have undergone a wholesale mutation driven by increased income from the oil, globalization and mass tourism. These countries have seen so a huge transformation, moving from the nomadic lifestyle of the bedouin tribes to a hi-tech urban society. The work takes the title from an arabic expression meaning “from the land”, and is an observation of this process oscillation between these two poles: an austere, traditional civilization on one extreme, and a postmodern culture under the powerful influence of capitalism and consumerism on the other. Founded on the idea of travel as an artistic method, these photographs hold up a mirror to the dyad of nature and technology in a place where the old and the new come together and the lines between them blur. This tension is evident both in the vast desert landscapes and in the images of cities, where the past and the future are compressed into the close quarters of the present. These representations of the landscapes of Saudi Arabia, Oman, Bahrain, Kuwait, United Arab Emirates and Qatar throw into sharp relief the binary opposition of the natural and the constructed. This sense of dislocation feeds into this idea of travel as an artistic dérive, drifting with no particular destination in mind, in search of new situations and experiences. In these dreamlike images, the author reflects on the concepts of the real and the unreal, with viewers left uncertain as to what is really going on. Almost completely lacking in human presence, these photographs show the mark left upon the landscape by consumer society at the same time as they seek out the beauty in strangeness. With a dry wit, the artist focuses his gaze on the idea of the simulacrum. The visual and conceptual glimpses of this world documents the colonization of contemporary landscapes by technology and the alienation of human beings in the digital societies of the Arabian Gulf countries. These images of silent architecture do not offer viewers any conclusions, but rather invite them to reflect and leave the way clear for a multiplicity of interpretations that connect with viewers' own imaginary.
Nick Turpin
United Kingdom
1969
Nick Turpin is a British street photographer and advertising and design photographer. He is based in London and near Lyon, France. He studied an art and design foundation course at the University of Gloucestershire, specializing in photography; then a BA in photography, film and video at the University of Westminster. Whilst at university he showed his second-year photojournalism stories to the picture editor at The Independent and in 1990, aged 20, quit his course to be a press photographer for the newspaper. He left The Independent in 1997 for a career in advertising and design photography that would finance his street photography (for example he photographed the cover of Bridget Jones's Diary (1995) by Helen Fielding). Turpin established the first international collective of street photographers, In-Public, in 2000 with the intention of bringing together like-minded photographers to hold exhibitions, produce books, and conduct workshops. Colin Westerbeck, writing in Time in 2011, said Turpin was "notable for having been instrumental in a collaborative documentary project", namely In-Public. He left the collective in 2018. His work has been published in his own book, On The Night Bus (2016), and in various survey publications, as well as being included in a number of group exhibitions. He publishes through Nick Turpin Publishing, makes short films, and gives workshops on street photography.Source: Wikipedia Artist Statement "There is something about the making of photographs in public places that resonates with me more than any other kind of photography. I think it simply suits my personality. It’s nice, when taking pictures in the street, not to have to participate in any way in the stream of life passing you by. It makes me feel special to be there but not to be chatting, not to be shopping or not even to be heading for somewhere else. I feel like I am invisible to the passing crowds. This in turn leads to a loss of my sense of self, which is the finest feeling of all. Having worked for several years both in newspapers and advertising, I am fascinated by the things that I ‘choose’ to photograph when I leave the house with my camera but without a ‘story’ or ‘brief’ to fulfill. These ‘choices’ are revealing,in some way, of who I am. I go to the busiest, public places to discover something very personal and private. It is an inescapable truth that the resulting photographs are as much about my inner state as they are about the external world they were made in. They are all self-portraits. It is important to me that my personal pictures don’t have to ‘do’ anything. They don’t have to sell in a gallery or sit well beside the ads in a magazine. I don’t have to make pictures that are easily categorised. They are not reportage, there is no subject, they are not art, there is no great technical craft or aesthetic beauty. They are just pictures about life. For these reasons, Picture Editors, Art Directors and Curators don’t know what to do with them, where to put them. I like that." -- Nick TurpinSource: In-Public
Ada Trillo
United States
1976
Ada Trillo is a photographer based in Philadelphia, PA, and Juarez, Mexico. Trillo holds degrees from the Istituto Marangoni in Milan and Drexel University in Philadelphia. Trillo's work is concerned with human rights issues facing Latin America. Trillo has documented forced prostitution in Juarez, Mexico, the infamous La Bestia train, the migrant caravans of 2018 and 2020, and the struggles of asylum seekers directly affected by Trump's Remain in Mexico policy. Trillo has exhibited internationally at Saint Josephs University in Philadelphia, The Photo Meetings in Luxembourg, The Passion for Freedom Art Festival in London, Festival Internazionale di Fotografia in Cortona Italy and at the Anya and Andrew Shiva Gallery at the John Jay College in New, York. In 2017, Trillo received a Leeway Foundation Art and Change Grant. Her work has been featured in The British Journal of Photography, The Guardian, and Smithsonian Magazine. Trillo was recently awarded a CFEVA Fellowship by The Center For Emerging Visual Artists and was named the Visual Artist-in-Residence for Fleisher Art Memorial in Philadelphia. Her work is included in the permanent collection of the Philadelphia Museum of Art and The West Collection. Trillo was awarded First Place in Editorial Photos with the Tokyo International Foto Awards. She was recently awarded the ME&Eve grant with the Center of photographic arts in Santa Fe. Statement I was born in El Paso, Texas but I was raised in Juarez, Mexico. As a teenager, I traveled back and forth between the two cities so I could attend school in the states. Witnessing life on the border as a young adult had a strong influence on my worldview and art practice. After years of working as a painter, I picked up a camera and started making pictures. For the past four years, I've been documenting the journey migrants take to reach the US-Mexico border. In 2017, I photographed aboard the infamous La Bestia, a dangerous journey by a freight train that migrants from Mexico and Central America ride every year to reach the border. In 2018 & 2019 I photographed overpopulated migrant shelters in Juarez and Tijuana. I also traveled with the migrant caravans of 2018 and 2020, from Honduras, through Guatemala, and into Mexico. In 2019, I photographed asylum seekers who were barred entry into the US under Trump's, Remain in Mexico Policy. While the media often covers what is happening at the border, they all too often overlook the individual trials, struggles, and humanity of those seeking to escape violence in pursuit of a better life. Spending countless days and nights living alongside those I photograph, I hope to present an honest, unadulterated view of migrant life. I photograph exclusively with a 35mm camera and fixed lenses. My process of making pictures is about creating real connections with my subjects in search of depth and intimacy in my work. My goal is to humanize their struggle and share their stories with the world.
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AAP Magazine #54 Nature
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