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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Arnaud Montagard
Arnaud Montagard
Arnaud Montagard

Arnaud Montagard

Country: France
Birth: 1991

Arnaud Montagard is a French photographer, he currently resides in Brooklyn, NY.

His photography focuses on composition and details, creating an atmosphere that is often referred to the work of American realistic painters. With emphasis on a minimalist aesthetic, his photography creates a new angle to an ordinary detail.
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More Great Photographers To Discover

Brad Walls
Australia
1992
Brad Walls is an Australian aerial photography based in Sydney. Best known for his use of close up top downs, Brad specialises in aerial portraiture and a minimalistic approach to aerial photography. Utilising one of the first consumer drones, Brad Walls stumbled across his passion for aerial content through stitching small video clips together taken during his extensive travels. 18 months on, Brad has refined his skillset, with a vision to strive and see the world from a different angle creating the perfect metaphor for his work. Pools From Above Pools From Above is an ode to the beauty found in the shapes, colours and textures of swimming pools. This unique and never-before-seen perspective uses Walls' clean, minimal aesthetic to visually showcase interesting pools from around the world. Inspired by his travels throughout Southeast Asia and within his own home country of Australia, Walls' journey initially began by capturing the bodies of water simply to document holiday memories. It wasn't until picking up the bestselling Annie Kelly coffee table book Splash: The Art of the Swimming Pool, however, that Walls would start investing time and passion into curating a series, stating that "As I turned each page of Kelly's book, a wave of childhood nostalgia washed over me, spending hours in the pool over summer." Paying powerful homage to Kelly, Walls' series chooses to keenly focus on pools' elements of composition from a bird's eye view. "I fell in love with the lines, curves and negative space of the pools, which - without alternate perspective from a drone - would have been lost." Pools From Above is also an integral part of a much larger project which is aimed at a book release in the not-too-distant future, as Walls says "The response from viewers has been positive, asking for the series to be amongst their coffee table books." Looking ahead, once the world finally re-opens, Walls has no plans of slowing down. He plans to capture even more world-renowned swimming pools across an array of idyllic locations, including Palm Springs, Mexico and the Mediterranean. Since bursting onto the photography scene in early 2019, Walls has gone on to produce award-winning photographs and garner worldwide media attention, with a primary focus on capturing aerial portraits of sportspeople like synchronized swimmers, gymnasts and ice skaters from unique perspectives and angles that audiences are normally unable to see.
Stephen Shore
United States
1947
Stephen Shore (born October 8, 1947) is an American photographer known for his images of banal scenes and objects in the United States, and for his pioneering use of color in art photography. His books include Uncommon Places (1982) and American Surfaces (1999), photographs that he took on cross-country road trips in the 1970s. In 1975 Shore received a Guggenheim Fellowship. In 1971, he was the first living photographer to be exhibited at the Metropolitan Museum of Art in New York City, where he had a solo show of black and white photographs. In 1976 he had a solo exhibition of color photographs at the Museum of Modern Art. In 2010 he received an Honorary Fellowship from the Royal Photographic Society. Shore was born as sole son of Jewish parents who ran a handbag company. He was interested in photography from an early age. Self-taught, he received a Kodak Junior darkroom set for his sixth birthday from a forward-thinking uncle. He began to use a 35 mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at fourteen, when he presented his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA) in New York. Recognizing Shore's talent, Steichen bought three black and white photographs of New York City. At sixteen, Shore met Andy Warhol and began to frequent Warhol's studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, he was the first living photographer to be exhibited at the Metropolitan Museum of Art in New York City, with a show of black and white, sequential images. Shore then embarked on a series of cross-country road trips, making "on the road" photographs of American and Canadian landscapes. In 1972, he made the journey from Manhattan to Amarillo, Texas, which provoked his interest in color photography. Viewing the streets and towns he passed through, he conceived the idea to photograph them in color, first using 35 mm hand-held camera and then a 4×5" view camera before finally settling on the 8×10 format. The change to a large format camera is believed to have happened because of a conversation with John Szarkowski. In 1974 a National Endowment for the Arts (NEA) grant funded further work, followed in 1975 by a Guggenheim Fellowship. Along with others, especially William Eggleston, Shore is recognized as one of the leading photographers who established color photography as an art form. His book Uncommon Places (1982) was influential for new color photographers of his own and later generations. Photographers who have acknowledged his influence on their work include Nan Goldin, Andreas Gursky, Martin Parr, Joel Sternfeld, and Thomas Struth. Stephen Shore photographed fashion stories for Another Magazine, Elle, Daily Telegraph and many others. Commissioned by Italian brand Bottega Veneta, he photographed socialite Lydia Hearst, filmmaker Liz Goldwyn and model Will Chalker for the brand's spring/summer 2006 advertisements. Shore has been the director of the photography department at Bard College since 1982. His American Surfaces series, a travel diary made between 1972 and 1973 with photographs of "friends he met, meals he ate, toilets he sat on", was not published until 1999, then again in 2005. In recent years, Shore has been working in Israel, the West Bank, and Ukraine.Source: Wikipedia Shore emerged in the 1970s as one of the major exponents of color photography, shooting bleak yet lyrical scenes of the North American landscape. Documenting everyday settings and objects, from hotel swimming pools and televisions to parking lots, gas stations, and deserted roads, Shore exhibited an ability to transform commonplace surroundings into compelling works of art, working with a subject matter similar to Walker Evans. Between 1973 and 1979, Shore made a series of road trips across North America, documenting the vernacular landscape through his view camera, and taking a more formal approach to photographing than in his earlier work. A number of these images later formed Shore's now-classic book, Uncommon Places (first published by Aperture in 1982 and republished in 2004 and 2007). These images arouse recollections of experiences, but in an artful, carefully crafted and calculated manner. His images are made with a large-format camera, which gives his photographs a precise quality in both color and form that has become a signature trait of his work. Shore's use of the large-format camera and innovative color printing has made him one of the most influential photographers to emerge in the last half of the twentieth century, credited with inspiring numerous contemporary photographers.Source: International Center of Photography
Polly Gaillard
United States
1965
Polly Gaillard is a fine art photographer, writer, and educator. She is part-time Professor of Art at Furman University and has taught photography workshops and college courses for more than ten years including summers abroad teaching American students in Prague, Czech Republic, and Cortona, Italy. Polly received a Master of Fine Arts in Visual Arts from Vermont College of Fine Arts in 2010. She has exhibited her fine art photographs nationally and published a limited edition artist book, Pressure Points, with a foreword by actress Jamie Lee Curtis. Polly's photographic skills traverse contemporary art, documentary, portrait, and traditional photographic practices. She lives in Greenville, SC with her daughter. You, From a Distance Making portraits in a pandemic is challenging if you like to get closer than six feet to your subject. Frustrated by an inability to work at close range, I began to make portraits on my computer screen via FaceTime and Zoom by photographing friends, family, acquaintances, strangers, and my daughter at her father's home. This collaboration with others is particularly rewarding, especially when I've put the camera down, and we sit screen to screen discussing the changes in our collective worlds while checking in to make sure the other is okay. Each person has been generous in showing me around their homes to find the right background and light. They move furniture, take pictures off the wall, change clothing to create the right contrast, and position their laptops or phones so that I can take their picture at just the right angle. I sit behind my screen watching them do the work that I so desperately want to do as I experience a heightened sense of ambivalence, the love of "seeing" others, the distaste for lack of physical control over the situation. At times, the process calls for a third person to hold the camera phone, sometimes that assistant is a six-year-old girl, a father, a husband, or a cousin. During the awkwardness of the portrait session, there are moments of laughter when cats photobomb the sitting, a mother walks in the room wanting to reclaim her office space, a dad saunters by with a laundry basket, a sibling or grandchild screams from an adjoining room, and many phones crash to the floor from their perch of prime picture-taking position. We laugh together across connected distances about the absurdity of the situation and that I am trying to make a meaningful portrait amid unpredictability. Strangely, I find the absurdity satisfying; everything feels peculiar at this moment in time. For a more technically astute photographer than myself, the lack of technical command over making screen portraits would be unnerving. In essence, the image is blurry if the Wifi connection isn't clear. There are uncontrollable color shifts due to monitor calibrations; a moire pattern may appear because the screen is refreshing, and the perspective of the body can distort if the phone isn't perfectly parallel to the subject. I won't elaborate on how the highlights and shadows clip. The image noise and pixelation can drive you mad if you don't accept it as divine intervention. I find myself wanting to jump into the scene and move things and bodies, hold reflectors, close blinds, and refrain from making my subject do the heavy lifting. However, I sit behind the computer giving direction to "look to the right, chin down, eyes up, come closer to the camera" and then I embrace every technical flaw as if it's a gift. The power I have over the subject and the limitation I command over the image humbles me. The vulnerability I feel in putting these imperfect images into the world is tempered by the realization that we are all powerless in the face of this pandemic. You, From a Distance reflects the way I have experienced life during the Covid-19 pandemic- a personal feeling of distance and loss but with a desire to hold onto normalcy of making pictures, albeit without influence over the outcome. I am interested in these new ways of seeing each other and being together without being together - I look at you on my computer, in return, you look back at me through a phone or laptop while you can also see yourself in the frame. Who are we looking at - ourselves or others? The intersection of gazes is countless at times; it excites and confuses me. The process of looking and seeing divided by screens changes everything I have learned about image-making. The portraits become my memory of shared moments across time zones with distant faces; the four walls of my house expand into the space of others' homes. The intimacy I feel with the subject ironically is far greater than the portraits I make in-person in a time before social distance. In the span of one month, I have virtually traveled to five countries, five states, and homes nearby in South Carolina. Although more than the required physical distance is maintained through these portrait sittings, the mutual human connection is undoubtedly rich with meaning and unlimited possibility. December and Everything After
Espen Rasmussen
Norway
1976
Espen Rasmussen is based at Nesodden, close to Oslo, Norway. He works as a photo editor in VG Helg — the weekend magazine of the biggest daily Norwegian newspaper VG. At the same time he is constantly working on his own photo projects. Rasmussen focuses specially on humanitarian issues and the challenges related to climate change. He is represented by Panos Pictures. In 2008 he was listed by Photo District News on the prestigeous PDNs 30 — New and Emerging Photographers to Watch. He has won numerous awards for his work, including two prizes from World Press Photo, several in the Picture of the Year international (POYi) and 28 awards in the Norwegian Picture of the Year. In 2007, Espen received 60.000 dollar from the Freedom of Expression Foundation to continue his long-term project on refugees and IDPs around the world, which was published as the book TRANSIT in 2011, as well as a major exhibition. Rasmussen is freelance lecturing photography at schools such as the Oslo University College and Bilder Nordic school of Photography. He is also frequently giving presentations at photo festivals and for a wide range of other audiences. For the last two years, he has been one of three editors/mentors in Norwegian Journal of Photography (NJP). His work has been exhibited at the Nobel Peace Center (Oslo), The Humanity House (The Hague), UNHCR headquarter (Geneva) and DokuFest international film festival (Kosovo), among other places. Clients include the New York Times, The Independent, Intelligent Life, Fader magazine, MSF (Doctors Without Borders), NRC (The Norwegian Refugee Council) and UNHCR. His work has appeared in magazines such as Time, Newsweek, National Geographic, Der Spiegel and the Economist and newspapers such as The Sunday Telegraph and New York Times.
Tina Modotti
Italy / United States
1896 | † 1942
With her camera, Tina Modotti presents a distinctive vision of 1920s Mexico. As a Hollywood actress turned Comintern agent, Modotti used photography as an artistic and political outlet. Born​ in Udine,Italy,​ ​Modotti emigrated to San Fransico at the age of sixteen. She quickly established herself as a successful actress and modeled for notable photographers including Jane Reece and Edward Weston. The latter became her lover and artistic mentor. In 1923, Weston and Modotti set up a successful portrait studio in Mexico City. While there, Modotti moved within avant-garde circles, befriending Frida Kahlo and Diego Rivera. It was during this period in Mexico that she developed her passion for both photography and politics; this culminated in a solo exhibition at the National Library in 1929 which emphasized the revolutionary quality of her work. A year later Modotti was exiled from Mexico because of anti-communist sentiments and in 1931 she set aside a promising career in photography to devote herself entirely to political activism. She worked as a Comintern agent until her death in 1942. Although her life and photographic style are often linked with Edward Westo​n, her political engagement and the eye for composition she harnessed to express it are her own. Calla Lilies (1925) represents a cool appraisal of natural beauty and shows Modotti’s interest in formalism, something she shared with Weston, as she emphasizes the stark lighting, the near symmetry, and the tactile presence of the flowers. In Workers Parade (1926), however, while Modotti’s skill in formal composition is still evident, as the lighting and angle emphasize the repeated pattern of the hats, this dramatic view of a May Day parade in Mexico City reveals Modotti’s Communist sympathies and her ambition to use photography to promote political change.Source: Hundred Heroines Tina Modotti was an Italian American photographer, model, actor, and revolutionary political activist for the Comintern. She left Italy in 1913 and moved to the USA, where she worked as a model and subsequently as a photographer. In 1922 she moved to Mexico, where she became an active Communist. Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother, Assunta, was a seamstress; her father, Giuseppe, was a mason. In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California. Attracted to the performing arts supported by the Italian émigré community in the San Francisco Bay Area, Modotti experimented with acting. She appeared in several plays, operas, and silent movies in the late 1910s and early 1920s, and also worked as an artist's model. In 1917, she met Roubaix "Robo" de l'Abrie Richey. Originally a farm boy from Oregon named Ruby Ritchie, the artist and poet assumed the more bohemian name Roubaix. In 1918, Modotti began a romantic relationship with him and moved with him to Los Angeles to pursue a career in the motion picture industry. Although the couple cohabited and lived as a "married couple", they were not married. She was listed as a U.S. citizen in the 1920 Los Angeles township census. Often playing the femme fatale, Modotti's movie career culminated in the 1920 film The Tiger's Coat. She had minor parts in two other films. The couple entered into a bohemian circle of friends. One of these fellow bohemians was Ricardo Gómez Robelo. Another was the photographer, Edward Weston. As a young girl in Italy her uncle, Pietro Modotti, maintained a photography studio. Later in the U.S., her father briefly ran a similar studio in San Francisco. While in Los Angeles, she met the photographer Edward Weston and his creative partner Margrethe Mather. It was through her relationship with Weston that Modotti developed as an important fine art photographer and documentarian. By 1921, Modotti was Weston's lover. Ricardo Gómez Robelo became the head of Mexico's Ministry of Education's Fine Arts Department, and persuaded Robo to come to Mexico with a promise of a job and a studio. Robo left for Mexico in December 1921. Perhaps unaware of his affair with Modotti, Robo took with him prints of Weston's, hoping to mount an exhibition of his and Weston's work in Mexico. While she was on her way to be with Robo, Modotti received word of his death from smallpox on February 9, 1922. Devastated, she arrived two days after his death. In March 1922, determined to see Robo's vision realized, she mounted a two-week exhibition of Robo's and Weston's work at the National Academy of Fine Arts in Mexico City. She sustained a second loss with the death of her father, which forced her to return to San Francisco later in March 1922. In 1923, Modotti returned to Mexico City with Weston and his son Chandler, leaving behind Weston's wife Flora and their youngest three children. She agreed to run Weston's studio free of charge in return for his mentoring her in photography. Together they opened a portrait studio in Mexico City. Modotti and Weston quickly gravitated toward the capital's bohemian scene and used their connections to create an expanding portrait business. Together they found a community of cultural and political "avant-gardists", which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Between 1924 and 1928, Modotti took hundreds of photographs of Rivera's murals at the Secretariat of Public Education in Mexico City. Modotti's visual vocabulary matured during this period, such as her formal experiments with architectural interiors, blooming flowers, urban landscapes, and especially in her many beautiful images of peasants and workers during the depression. In 1926, Modotti and Weston were commissioned by Anita Brenner to travel around Mexico and take photographs for what would become her influential book Idols Behind Altars. The relative contributions of Modotti and Weston to the project has been debated. Weston's son Brett, who accompanied the two on the project, indicated that the photographs were taken by Edward Weston. In 1925, Modotti joined International Red Aid, a Communist organization. In November 1926, Weston left Mexico and returned to California. During this time Modotti met several political radicals and Communists, including three Mexican Communist Party leaders who would all eventually become romantically linked with her: Xavier Guerrero, Julio Antonio Mella, and Vittorio Vidali. Starting in 1927, a much more politically active Modotti (she joined the Mexican Communist Party that year) found her focus shifting and more of her work becoming politically motivated. Around that time her photographs began appearing in publications such as Mexican Folkways, Forma, and the more radically motivated El Machete, the German Communist Party's Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses. Mexican photographer Manuel Álvarez Bravo divided Modotti's career as a photographer into two distinct categories: "Romantic" and "Revolutionary", with the former period including her time spent as Weston's darkroom assistant, office manager and, finally, creative partner. Her later works were the focus of her one-woman retrospective exhibition at the National Library in December 1929, which was advertised as "The First Revolutionary Photographic Exhibition In Mexico". As a result of the anti-communist campaign by the Mexican government, Modotti was exiled from Mexico in 1930. She first spent several months in Berlin, followed by several years in Moscow. Traveling on a restricted visa that mandated her final destination as Italy, Modotti initially stopped in Berlin and from there visited Switzerland. The Italian government made concerted efforts to extradite her as a subversive national, but with the assistance of International Red Aid activists, she evaded detention by the fascist police. She apparently intended to make her way into Italy to join the anti-fascist resistance there. In response to the deteriorating political situation in Germany and her own exhausted resources, however, she followed the advice of Vittorio Vidali and moved to Moscow in 1931. After 1931, Modotti no longer photographed. Reports of later photographs are unsubstantiated. During the next few years she engaged in various missions on behalf of the Workers International Relief organizations as a Comintern agent in Europe. When the Spanish Civil War erupted in 1936, Vidali (then known as "Comandante Carlos") and Modotti (using the pseudonym "Maria") left Moscow for Spain, where they stayed and worked until 1939. She worked with Canadian Dr. Norman Bethune during the disastrous retreat from Málaga in 1937. In 1939, following the collapse of the Republican movement in Spain, Modotti left Spain with Vidali and returned to Mexico under a pseudonym. In 1942, at the age of 45, Modotti died from heart failure while on her way home in a taxi from a dinner at Hannes Meyer's home in Mexico City, under what are viewed by some as suspicious circumstances. After hearing about her death, Diego Rivera suggested that Vidali had orchestrated it. Modotti may have "known too much" about Vidali's activities in Spain, which included a rumoured 400 executions. An autopsy showed that she died of natural causes, namely congestive heart failure. Her grave is located within the vast Panteón de Dolores in Mexico City. Source: Wikipedia
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