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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
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Veronique De Viguerie
Veronique De Viguerie
Veronique De Viguerie

Veronique De Viguerie

Country: France
Birth: 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.
Selected Books on Available on Amazon
Yémen: La Guerre qu’on nous cache
Yémen: La Guerre qu'on nous cache
Veronique De Viguerie
Profession reporters. Deux baroudeuses en terrain
Profession reporters. Deux baroudeuses en terrain
Véronique de Viguerie
Carnets de reportages du XXIème siècle
Carnets de reportages du XXIème siècle
Véronique de Viguerie
Afghanistan: Regards croisés
Afghanistan: Regards croisés
Véronique de Viguerie

Agencies

Reportage by Getty Images

Verbatim Photo Agency

Websites

veroniquedeviguerie.com

@veroniquedeviguerie

 

Veronique De Viguerie's Video

Selected Books

Yémen: La Guerre qu’on nous cache
Yémen: La Guerre qu'on nous cache
Veronique De Viguerie
Profession reporters. Deux baroudeuses en terrain
Profession reporters. Deux baroudeuses en terrain
Véronique de Viguerie
Carnets de reportages du XXIème siècle
Carnets de reportages du XXIème siècle
Véronique de Viguerie
Afghanistan: Regards croisés
Afghanistan: Regards croisés
Véronique de Viguerie

Inspiring Portfolios

Thomas Vijayan
© Thomas Vijayan
Julie Wang
© Julie Wang
Pedro Jarque Krebs
© Pedro Jarque Krebs
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More Great Photographers To Discover

Lynn Savarese
Lynn Savarese
United States
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For me, the greatest joy of photography is the experience of intimate observation of elements from the natural world, and how my images often serve as metaphoric portraits of my own thoughts and feelings. Originally from a small town in Texas, I lived and traveled throughout the world before making New York City my home in the early ‘80s following my graduation from Harvard Law School. In the decade since taking up photography, my work has appeared in numerous solo and group exhibitions both in the USA and abroad, and has earned me prestigious national and international recognition. Statement Creative endeavor often begins with paper. The novelist, playwright, and poet; the composer; the painter and sculptor—each commence with a blank sheet of paper. During Covid confinement, I also turned to paper for inspiration, seeking to metaphorically portray it spawning and nurturing creation, from ovulation and gestation to birth and fully formed progeny. In the process, I experienced how paper has a life force of its own—its own particular physics—that resists complete manipulation even as it remains malleable. Paper reams and splayed books insist on unfurling in their own way, and crumpled wads of paper insist on their own projectile designs—invariably more complex than one could ever engineer.
Edward Steichen
Edward Steichen
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Edward Steichen (1879 - 1973) was born in Luxembourg, but immigrated to the United States, to Milwaukee, in 1880. In 1894, Steichen began a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and began to teach himself to paint. Having come across a camera shop near to his work, he bought his first camera, a secondhand Kodak box "detective" camera, in 1895. In 1900, as Steichen headed to Paris to study painting, he stopped in New York. By that time he was an aspiring painter and an accomplished photographer in the soft-focus, Pictorial style and he made a pilgrimage to the Camera Club of New York to show his work to Alfred Stieglitz, the leading tastemaker in American photography. Stieglitz, vice-president of the Camera Club and editor of its journal Camera Notes, was impressed by the young artist from Milwaukee and bought three of his photographs-a self-portrait and two moody, atmospheric woodland scenes printed in platinum-for the impressive sum of five dollars each. Elated, Steichen then boarded the ship for Europe. Once in France, Steichen quickly abandoned his painting studies and began to focus his energies on photography. He learned the technical intricacies of the gum bichromate process, popular among the members of the Photo-Club de Paris, and developed a reputation as a portraitist of noted artists, writers, and members of society. Arriving back in New York in 1902, Steichen rented a studio on the top floor of a brownstone at 291 Fifth Avenue and hung out his shingle; his work as a professional portrait photographer flourished. That same year, Stieglitz announced the formation of the Photo-Secession-the name he gave to the loose-knit group of photographers he exhibited, published, and promoted during the next decade and a half-and the publication of a new, still more lavish journal, Camera Work. Over the fifteen-year, fifty-issue run of Camera Work, no other artist would be featured as prominently as Steichen, who had sixty-five photographs and three paintings reproduced in fifteen issues, including a "Special Steichen Supplement" in April 1906 and an all-Steichen double issue in 1913. In 1906, Steichen determined "to get away from the lucrative but stultifying professional portrait business" and return to France with his family in hopes of resuscitating his idled painting career. It was a move with numerous consequences. For one, it positioned him to embrace the Autochrome, the process for making glass-plate color transparencies introduced by the Lumière brothers in 1907. Steichen-who had experimented with various methods such as gum bichromate to introduce color into his photographs-was enthralled by the technique. Steichen also made what he called his "first attempt at serious documentary reportage" in the summer of 1907, using a borrowed hand camera. Steichen returned to the U.S. in 1914. Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into editorial and fashion photography. His portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities appeared in Vogue and Vanity Fair in the 1920s and 1930s. From 1947-1962, Steichen served as the Director of Photography at New York's Museum of Modern Art.. Among other accomplishments, Steichen is appreciated for creating the 1955 exhibition, The Family of Man, at the Museum of Modern Art consisting of over 500 photographs. Steichen purchased a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut, and lived there until his death. Source: Howard Greenberg Gallery
Dirk Roseport
Dirk Roseport
Belgium
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Advertising creative director and self-taught photographer. Inspired by Jem Southam, Jonathan Smith, Mark Rothko, Mies van der Rohe, Mihokajioka, Hiroshi Sugimoto, Annie Leibovitz, Asako Naharashi and new discoveries every day... Roseport focuses on projects that he fills out thematically over several years. CLOSER TO THE GODS Closer To The Gods was created during the Covid era when, like many photographers, he fell back on previously created material; inhospitable plateaus and glaciers of Iceland, the mountain landscapes of the Pyrenees and the high altitude deserts of Ladakh. In Closer To The Gods, these are portrayed hard and directly in powerful, high-contrast black-and-white photography. Nature does not invite here, she imposes. Compelling, ominous, at times almost menacing. It is a nature that impresses and often looks as if it could insidiously swallow and crush us at any moment. TRANSCENDENTAL TRANQUILITY In his project Transcendental Tranquility he brings us seascapes, distilled to their essence, authentic without any post-processing. It all has to happen in the camera. If it doesn't happen there, it goes into the trash. Sometimes the oceans are no longer recognizable and they become Rothkosian color impressions, but his goal is not to show an ocean. The point is to create a scene that induces a state of tranquility in which what is perceived as troublesome in the psyche falls away. Nature does not impose itself here, but invites the viewer to drown in it and regain the peace that we so often lack today. Roseport sees the Transcendental Tranquility project as the antithesis of the Closer To The Gods work. FADING MEMORIES Always exploring, Roseport also created the Fading Memories project that invites viewers to create their own stories. Roseport: "As time passes, memories fade. What was once sharp, clear and vivid in our minds becomes blurred. Shapes and colors disappear. Bits and pieces are gone never to return. With Fading Memories, I try to visualize this feeling of losing the details. The images take on a dreamlike surreal atmosphere. And usually we will remember what has been forgotten, more beautifully - if hard or soft - than it actually was. That's what we do. That's how we survive. In Fading Memories, I know the story behind the image. The place. The time. The people. The viewers don't. There is an analogy here with projective tests like Rorschach, when ambigious stimuli reveal hidden emotions and internal conflicts. Thanks to what the viewers don't see, the images suggest more open stories than the ones I know. More open stories than they would see if the images were intact. So their minds will create their own story. Immediately. I invite them not to stop it. Have Fading Memories challenge their imagination."
Francesco Fantini
Francesco Fantini
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Francesco Fantini is an Italian photographer from Forlimpopoli, now based in London. His work spans intimate portraiture, vibrant street photography, and evocative behind-the-scenes film stills. He holds a Master’s degree in Photography from the Fine Arts Academy of Bologna and a Bachelor’s degree in Film Studies from the University of Bologna. Blending a cinematic eye with a documentary approach, his portraits capture raw humanity, while his street photography offers spontaneous glimpses into everyday life, often tinged with subtle humor or tension. His experience on film sets continues to influence his visual storytelling, where he quietly observes and preserves moments of unspoken narrative. Fantini’s work has appeared in British Journal of Photography's Portrait of Britain and Portrait of Humanity publications, as well as in Marie Claire Korea. His photography has been exhibited internationally, with his next major show taking place at the National Portrait Gallery in London as part of the upcoming Taylor Wessing Photo Prize exhibition in November 2025. He has been awarded in several international photography contests, most notably the Sony World Photography Awards and the Eyeshot Magazine Open Call. Awarded Photographer of the Week - Week 38, 2025 AAP Magazine AAP Magazine 52 Street
Elise Boularan
Elise Boularan
France
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Elise Boularan grew up in the South of France and has a Master's degree in Creation and Artistic Research from the University of Toulouse. She also studied photography at the Toulouse School of Photography. After finishing her academic research and studies, she moved to Paris. She currently lives between Paris and Toulouse, pursuing a career as a photographic artist.She develops a photographic work turned to the story, realizing images loaded with ellipses and silences. This work does not shy away from the world, but intends to build an interpretation, where something deaf, undefinable is very present. Her preoccupations concern the human reality of our time, trying to reveal what can be secret at the individual's.She has been published extensively and has exhibited in Europe and the USA, notably in Madrid, Denmark, and New York, as well as the French Institute of Ukraine, The Museum of New Art (Mona) and The Russell Industrial Center (Mona Detroit) in Detroit; the Instituto Cultural de México, San Antonio, Texas Hill Country, Usa. Her work is in several private collections.Elise Boularan works also for international & national press and collaborates with musicians and other artists, making the universe of songs match perfectly with her poetical vision.All about photo: When did you realize you wanted to be a photographer?I had already done specialized studies in photography, but I remember I really got caught by the photographer' syndrome when I was in Belgium.Do you spend a lot of time editing your images? For what purpose?After the shooting. there is a lot of work. I don't retouch a lot my images or give this impression... But I spend a great deal of time to select and to see which images work together. It's a difficult and very interesting work.The compliment that touched you most?Indeed, there is a compliment which particularly touched me some years ago in Paris. A compliment coming from one of my references photograph, a famous photographer who has a remarkable work. When we met us, she wanted to discover my work and it was unexpected for me to have compliments on my work from her. And the next day, she phoned me to thank me, because my work had motivated her to boost in her creations again. Is there another job you could have done?No, I don't think so. But it's a good question because we should make no mistake about it, the artistic crafts aren't easy so we can have this kind of questions. But my answer is no.
Justyna Neryng
Justyna Neryng
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Born in Poland in 1981, Justyna Neryng spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech boarder. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scares of modern womanhood. They show vulnerability and intimate eroticism as well as a deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both in her polish homeland and in the UK. More recently Justyna has begun to collaborate with her daughter Nell, on a project called Childhood Lost. Justyna currently produces her works in her adopted home town of Brighton and Hove, where she lives with her daughter. Artist Statement: Childhood Lost is an autobiographical ,self portrait in a different body, ongoing project exploring the nature of portraiture and memory. As a single mother I have found myself exploring notions and representations of childhood. I see my daughter’s experiences of growing up in urban England conflicting with my own experiences of growing up in rural Poland.I must confess that my own childhood is not a source of many happy memories, perhaps the most resonant of which are the times I escaped to a world of fantasy played out in the forests surrounding my home village of Chelmsko. Watching my daughter grow up has in a sense held a mirror to my own memories of the past while experiencing her childhood dreams enacted through play, and story telling. I find myself in a strange place where I can experience my own memories as well as see my daughter’s childhood through my adult eyes. It is these notions I am seeking to explore with the Childhood Lost project. Interweaving childhood nostalgia with the stories and myths of my Polish childhood and those that I share with my essentially British daughter. The project is using these ideas to produce a series of portraits that evoke characters that populate this world we know as childhood. A court of characters from myth and dreams. The images are aesthetically inspired by portraiture from the Golden Age of Dutch painting. By drawing on paintings as inspiration I am hoping to give a timeless feel to the final images. Also key to the project is also the painstaking styling and prop building, which I am using to evoke these different persona played out by my daughter. I want to develop the series in to a substantial set of portraits of my daughter playing the characters of childhood, as well as producing more elaborate set pieces embracing a theatricality that would take the project to the next level. Subject to funding it would also be a dream of mine to be able to revisit the forests of my own childhood and produce work there. Justyna Neryng is a multi-award winning self-taught photographer born in Poland and now living and working in the United Kingdom. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of her hometown. She specialises in portraits and nudes, her photography has flourished into a substantial body of portraiture. She is mainly known for her enchanting theatrical portraits of her daughter, a gallery of triumphal characters, captured on a neutral and undefined background, with their fantastic ‘uniforms’ and imperious look . These images are aesthetically inspired by portraiture from the Golden Age of Dutch painting. And her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation.Source: justynaneryng.com
Saul Bromberger
Saul Bromberger
Israel/United States
1957
Saul was born in Israel in 1957 and emigrated to America with his family when he was 9-years old, and learned about the American culture and way of life through his work as a newspaper photographer. He has worked with his wife Sandra Hoover as a photography team for 35+ years. Throughout their years of working together they have produced documentary and personal projects with the first one being their 7-year photo essay project 'Pride - Hearts of the Movement: The San Francisco Gay & Lesbian Freedom Day Parade: 1984-1990,' when the LGBTQ community was marching for its civil rights and uniting in fighting the horror of AIDS. Their other documentary photo essays include 'House of Angels-Living with AIDS at the Bailey-Boushay House: 1992-1995, 1997,' about the lives of people in their last months of life at the first AIDS hospice in America in Seattle, WA., scenes of daily life in American communities with 'Our American Portraits: 1978-2006,' and are currently working on an ongoing project about the men and women who are long term HIV survivors with 'Portrait of the AIDS Generation.' They've had solo exhibits at PhotoCentral Gallery in Hayward, CA., and at Moorpark College, CA., and been part of numerous group shows in galleries that include the Harvey Milk Photo Center in San Francisco, CA. Their work is currently being archived by the Dolph Briscoe Center of American History, at the University of Texas in Austin, TX., and starting on 9.14.2021, they will be represented by ffoto.com in Toronto, Canada. American Portraits: 1978-2006 Many years later now that I am 63 years old, I have learned that it was in my early 20's when I had found my voice. It was then that I realized that my point of view had value and that I had something important to say and share with the world. I was capturing poignant scenes in our communities that I felt were significant for how they described the American culture, moments that captured American as well as universal sensibilities. Scenes that captured essential truths about people's hopes and their successes, their challenges and despair, their individuality and their relationships, during their day to day lives in our American communities. Scenes that defined an American way of life for me. Over the 28 years of this documentary project, from 1978-2006, this is what drove me to create a portrait of America that I had observed as an outsider, because of my experiences as an immigrant where I never really fit into American society. I was born in Israel in 1957, immigrated to America as a 9-year-old with my family in 1967, and as a teenager I helped my parents run our restaurant, while in high school I barely said a word in 4-years. It was through photography then that I found myself, as I discovered over time that I could connect with people, reveal my personality, express my opinion, interpret what I saw and felt, and be recognized and honored for my way of seeing. Starting in the late 1970's, I found myself gravitating to scenes that pulsated with American themes and values. I had become a photo-journalist working for several newspaper photography staffs in California and Washington State, and oftentimes during my assignments I also captured these scenes in social gatherings, parades, business events, political receptions, at county fairs, and much more, scenes that excited me for how they captured an America that I was beginning to understand. Scenes where many people, often white and wealthy, have a life of excess and privilege, while many other people struggle just to survive. People who live in small rural towns and in the larger cities, each group with its own pace of life and traditions, with American values that are vastly different from one another. An America that I found fascinating and perplexing, that I was documenting from an outsider's point of view. Solo Exhibition September 2021 American Portraits: 1978-2006
Joris Hermans
Joris Hermans
Belgium
1983
Joris Hermans is a freelance documentary and travel photographer based in Belgium. In February of 2018, after winning a Nikon Press Photo Award in his country, he decided to leave his home behind and travel the world indefinitely. He tries to capture countries and people inbox ways no traveler does and documents everything on THE WORLD AHEAD OF US. He's still accepting freelance assignments. Joris' work has been featured on LifeFramer, Don't Take Pictures, PDN, Booooooom, Aint-Bad Magazine, Positive Magazine, GUP Magazine and Fotoroom Magazine. He was a finalist for the Renaissance Photography Prize and selected for the Kontinent Awards. He was a category winner of PDN World in Focus in 2015 and Nikon Press Photo Awards in 2016/2017. People Being pretty disappointed by today's travel photography, I decided to try and make a change. For me, traveling is not about selfies and "Instagrammable" places but about the people, stories and experiences. People make a country interesting and since I left to travel indefinitely more than one year ago, I've been focusing on the people in every country. Regular people I meet and who share me their story or with whom I have a quick chat in the streets are the stars in my portrait photos. it doesn't matter. They're all special. I try to take my medium format camera everywhere I go because I know an interesting person might pop up any where, any time. I hope one day, I can create a book with all these interesting faces and their stories. This is Varanasi In 2018, I spent two months traveling across India. It's become one of my favourite countries in the world. The history, culture and people inspired me every day I was there. Then, I arrived in Varanasi and it was the highlight of my time in India. Varanasi or Benares is the Holy Grail of India according to many travelers. It's one of the oldest cities in the world sitting on the banks of the river Ganges and that's exactly why it's so important to Indians. Everybody wants to die in Varanasi and/or be cremated on the banks of the holy river. After the cremation, the ashes are being sprinkled in the river and that's when the deceased reaches Nirvana. From all over India people travel to Varanasi; to die or to bring the dead, sometimes even with the corpse on ice in the trunk of a car... Life and death are not that far apart in India... The Ghats that lead up to the river is what I wanted to see. That's where the locals are and where they play cards and cricket or just relax in the evening. And that's exactly what we did too every evening when the sun started to set; just relax at the ghats of Varanasi. The light turned into a magical glow again like everywhere in India went the sun goes down and as a photographer it's an awesome few hours to be out...
Sajedeh Zarei
Sajedeh Zarei
Iran
1983
I am an Iranian documentary photographer based in Shiraz, Iran. I was born in 1983 and have a MSc degree in Geology. Being a photographer has been my lifelong goal so I started photography since March 2018 and I left my job as an associate research director to focus all my attention on visual storytelling. As part of my career, I have performed some researches in water management and climate change. That is why my photography projects focus on environmental issues and their social impacts. In addition, cultural and social themes attract my curiosity. My aim is to photograph people and create stories that witness the multiplicity of human experience. The Longest Paths Begin With A Step Patrilineal is one of the important indicators of male superiority over women that is observed in all patriarchal societies such as Iran. The patriarchy considers the continuation of the generation through men. This project is about a rural mother who has been trying to change this belief and tradition since her pregnancy and provide an environment free of discrimination between her six-year-old daughter and her son. Although maintaining this balance in the village is difficult due to group life, but the mother's efforts have been so successful that the girl's relationship with her brother is sincere and away from jealousy. This project has started since the mother's pregnancy, about 17 months ago, and is a continuation of the project that started about 2 years ago in one of the remote villages of Fars province in southwestern Iran. This project is still ongoing. Under the Roof of the Davar
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Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes
© Anup Shah
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