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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Zak van Biljon
Zak van Biljon
Zak van Biljon

Zak van Biljon

Country: South Africa
Birth: 1981

Red turf is the homeland of Zak van Biljon. The South African photographer, born 1981, spent his childhood and teenage years in both Johannesburg and Cape Town. In 2003 he graduated as best student at the National College of Photography. With a study of black & white printing – ironically, for someone who grew up under the colorful impressions of the Rainbow Nation.

In 2004 he left the country and emigrated to Europe. It was in Rome, where he discovered another sunlight and in London, where he scored himself on top of booking lists for prestigious underground labels. He continued his career as a part-time commercial photographer in Zurich, Switzerland, exerting his mastery to his fine art projects.

His work range from digital to analog with skills in contemporary advertising and modern art photography. His main focus is the directorial handling of light – as shown in his recent art work, capture the world in infrared. The world seen in red and pink colors provides a new and impressive insight to reality as we know it.
 

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More Great Photographers To Discover

Richard Le Manz
For this engineer and self-taught photographer born in Spain in 1971, photography is equally essential both, to communicate the beauty and to reflect on the complex socio-environmental issues, which threaten our planet. He started in photography making landscape photography, but depicting nature is not enough. Pictures of great landscapes may not be the best way to move consciences and change our values and morals. His photography becomes what some journalist called "Philography", photography to philosophize, photography to make people think, to reflect. Photography used as a mean for expressing ideas, transmission of messages, and provoking reactions. Photography as a means to let out the images generated in his mind, imagination and creativity. For this purpose, the artist uses both the object and various photographic techniques like expression way, to delve into the plot of reflection, ideas and dreams. Photography to transmit a clear message, sometimes critical. His landscape photographs begin to turn to black and white and later they go unstructuring seeking to convey a clearer message. One of the first projects in which the search for new forms of expression begins is the "Unstructured Sunset" project that can be seen in this brief presentation. After receiving numerous national and international awards, he present in 2018 his first major project "Habitat, beyond photography", moving from local exhibitions to being invited to international festivals. In 2019 I present this project, together with the most recent "In Our Hands" at the Xposure International Photography festival in Sharjah (United Arab Emirates); different projects but both focuses on the future of our planet. The work "Habitat, beyond photography" explores the relationship between development and nature, between development and the environment and especially between the world of automotive and the environment. It focuses on the serious problem of the mobility habits of today's society, traffic and pollution. It uses internal elements of the explosion engine, (intake valves, exhaust valves, spark plugs, camshafts, injectors, timing chain, and so on) transforming and stamping these objects with a new meaning, creating visual metaphors where nothing is as it seems. In "In Our Hands" he uses multiple exposure in camera without digital manipulation to create images that show a stubborn reality, we are nature and his future is in our hands.
Bruce Gilden
United States
1946
An Iconic street photographer with a unique style, Bruce Gilden was born in Brooklyn, New York in 1946. He first went to Penn State University but he found his sociology courses too boring for his temperament and he quit college. Gilden briefly toyed with the idea of being an actor but in 1967, he decided to buy a camera and to become a photographer. Although he did attend some evening classes at the School of Visual Arts in New York, Bruce Gilden is to be considered substantially a self-taught photographer. Right from childhood, he has always been fascinated by the life on thestreets and the complicated and fascinating motion it involves, and this was the spark that inspired his first long-term personal projects, photographing in Coney Island and then during theMardi Gras in New Orleans. Over the years he has produced long and detailed photographic projects in New York, Haiti, France, Ireland, India, Russia, Japan, England and now in America. Since the seventies his work has been exhibited in museum and art galleries all over the world and is part of many collections. The photographic style of Bruce Gilden is defined by the dynamic accent of his pictures, his special graphic qualities, and his original and direct manner of shooting the faces of passers-by with a flash. Gilden’s powerful images in black and white and now in color have brought the Magnum photographer worldwide fame.Gilden has received many awards and grants for his work, including National Endowments for the Arts fellowships (1980, 1984 and 1992), French ''Villa Medicis Hors les Murs'' grant (1995), grants from the New York State Foundation for the Arts (1979, 1992 and 2000), a Japan Foundation Artist Fellowship (1999) and in 2013 a Guggenheim Foundation fellowship.Bruce Gilden has published 23 monographs of his work, among them: Facing New York, 1992; Bleus, 1994; Haiti, 1996 (European Publishers Award for Photography); After The Off, 1999; Go, 2000; Coney Island, 2002; A Beautiful Catastrophe, 2004; Foreclosures, 2013; A complete Examination of Middlesex, 2014. In 2015, Gilden published Face, and Hey Mister Throw Me Some Beads! Un Nouveau Regard Sur la Mobilité Urbaine featuring the commission he did for the French transporation system RATP was released in April 2016. Only God Can Judge Me 2018, Lost And Found 2019, Palermo Gilden 2020, Cherry Blossom 2021.   Bruce Gilden joined Magnum Photos in 1998. He lives in Beacon, New York. Source: www.brucegilden.com Bruce Gilden is one of the most iconic street photographers of our time. Known for his graphic and often confrontational close-ups made using flash, his images have a degree of intimacy and directness that have become a signature in his work. Though he cut his teeth on the sidewalks of New York City where he grew up, he has since made significant bodies of work in Haiti, Japan, Moscow, France, Ireland and India. “I’m known for taking pictures very close,” says Gilden of his practice. “And the older I get, the closer I get.” Gilden was born in Brooklyn, New York in 1946. He studied sociology at Penn State University but didn’t complete the course. Although he briefly flirted with the idea of being an actor, Gilden decided to become a photographer in 1967, when he bought his first camera. He attended evening classes at the School of Visual Arts in New York, but largely considers himself to be self-taught. As well as his many acclaimed personal projects, Gilden has worked on commissions for Louis Vuitton, RATP Parisian transportation system, The Climate Group, and Mission Photographique Transmanche as well as publications including Wallpaper, New York Times Magazine. Gilden has received many awards and grants for his work, including National Endowments for the Arts fellowships (1980, 1984 and 1992), French “Villa Medicis Hors les Murs” grant (1995), grants from the New York State Foundation for the Arts (1979, 1992 and 2000), a Japan Foundation Artist Fellowship (1999) and in 2013 a Guggenheim Foundation fellowship. Since the seventies, his work has been exhibited in museums and galleries all over the world.Source: Magnum Photos
Spencer Tunick
United States
1967
Spencer Tunick is an American photographer best known for organizing large-scale nude shoots. Since 1994, he has photographed over 75 human installations around the world. Spencer Tunick was born in Middletown, Orange County, New York into a Jewish family. His father Earl owned a keychain photo-viewer franchise in the Catskills. In 1986, he visited London, where he took photographs of a nude at a bus stop and of scores of nudes in Alleyn's School's Lower School Hall in Dulwich, Southwark. He earned a Bachelor of Arts from Emerson College in 1988. In 1992, Tunick began documenting live nudes in public locations in New York through video and photographs. His early works from this period focus more on a single nude individual or small groups of nudes. Tunick cites 1994, when he posed and photographed 28 nude people in front of the headquarters of the United Nations in midtown Manhattan, as a turning point in his career; "It all started there, moving my work from just photography into installation and performance photography," he says. Since then, he has organized and photographed over 65 temporary site-related installations in the United States and abroad. Tunick's philosophy is that "individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These grouped masses which do not underscore sexuality become abstractions that challenge or reconfigure one's views of nudity and privacy." Sometimes, after gathering his subjects together, Tunick grades them by gender, long hair, age or other characteristics. Registration for modeling on his website includes questions about skin tone. A color chart shows seven boxes ranging from stark white to baby-powder pink and dark chocolate. In his work, he plays off different flesh tones or groups people of the same color. Tunick is also interested in the juxtaposition between the organic and the mechanical, and often chooses famous buildings or unusual structures as his backdrop. As of 2021, Tunick is the star of forthcoming pandemic documentary film Stay Apart Together, directed by Nicole Vanden Broeck, in which Tunick reinvents his photography "to find a way to bring everyone together while staying apart". To mark International Women's Day on March 8, 2021, the twenty-fourth session of the Stay Apart Together project saw Tunick and Vanden Broeck collaborate with Mexican-American visual artist Daniela Edburg to depict 75 Latin American women in 11 poses, incorporating the colors purple and green (symbols of the Latin American feminist movement) and hot pink, selected by Edburg for its liveliness.Source: Wikipedia Spencer Tunick has been documenting the live nude figure in public, with photography and video, since 1992. Since 1994, he has organized over 100 temporary site-related installations that encompass dozens, hundreds or thousands of volunteers, and his photographs are records of these events. In his early group works, the individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These group masses, which do not underscore sexuality, often become abstractions that challenge or reconfigure one's views of nudity and privacy. The work also refers to the complex issue of presenting art in permanent or temporary public spaces. Spencer Tunick stages scenes in which the battle of nature against culture is played out against various backdrops, from civic center to desert sandstorm. In 2002 he started to work with standing positions for his group formations referencing traditional group portraiture. Now, for some installations, he adds objects that the participants are often holding or wearing and has included body paint. Spencer has and continues to make group installations/photographs elevating awareness of HIV/AIDS, LGBTQ rights, equality and climate change, among other issues. Near the end of installations, for the final setups, he sometimes separates the participants into smaller groups to make additional assemblages: sometimes by sex, sometimes by age, or even by hair color. However, no one is ever excluded from an installation because of the color of their skin, ethnicity, gender identity, sex, race, religion, or political affiliation. If you can make it to an installation you can participate, unless of course there are space limitations. Spencer could not make his art without the generosity of the participants. He is eternally grateful for their participation. He wishes he could credit everyone in his individual and group photographs but there are hundreds and thousands who have taken part collectively. In exchange for taking part, participants receive a limited edition print. Spencer Tunick's temporary site-specific photographic installations have been commissioned by the XXV Biennial de Sao Paulo, Brazil (2002); Institut Cultura, Barcelona (2003); The Saatchi Gallery (2003); MOCA Cleveland (2004); Vienna Kunsthalle (2008) and MAMBO Museum of Modern Art, Bogota (2016), among others.Source: www.spencertunick.com
Philip Jones Griffiths
Wales
1936 | † 2008
Born in Rhuddlan, Wales, Philip Jones Griffiths studied pharmacy in Liverpool and worked in London while photographing part-time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London-based Observer. He covered the Algerian War in 1962, then moved to Central Africa. From there he moved to Asia, photographing in Vietnam from 1966 to 1971. His book on the war, Vietnam Inc., crystallized public opinion and gave form to Western misgivings about American involvement in Vietnam. One of the most detailed surveys of any conflict, Vietnam Inc. is also an in-depth document of Vietnamese culture under attack. An associate member of Magnum since 1966, Griffiths became a member in 1971. In 1973 he covered the Yom Kippur War and then worked in Cambodia between 1973 and 1975. In 1977 he covered Asia from his base in Thailand. In 1980 Griffiths moved to New York to assume the presidency of Magnum, a post he held for a record five years. Griffiths' assignments, often self-engineered, took him to more than 120 countries. He continued to work for major publications such as Life and Geo on stories such as Buddhism in Cambodia, droughts in India, poverty in Texas, the re-greening of Vietnam, and the legacy of the Gulf War in Kuwait. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books ‘Agent Orange’ and ‘Vietnam at Peace’. Griffiths' work reflects on the unequal relationship between technology and humanity, summed up in his book Dark Odyssey. Human foolishness always attracted Griffiths' eye, but, faithful to the ethics of the Magnum founders, he believed in human dignity and in the capacity for improvement. Philip Jones Griffiths died at home in West London on 19th March 2008From en.wikipedia.orgJones Griffiths was born in Rhuddlan, to Joseph Griffiths, who supervised the local trucking service of the London, Midland and Scottish Railway, and Catherine Jones, Rhuddlan's district nurse, who ran a small maternity clinic at home. He studied pharmacy in Liverpool and worked in London as the night manager at the Piccadilly branch of Boots, while also working as a part-time photographer for the Manchester Guardian. His first photograph was of a friend, taken with the family Brownie in a rowboat off Holyhead. Jones Griffiths never married, saying it was a "bourgeois" notion, but that he had had "significant" relationships. Survived by Fanella Ferrato and Katherine Holden, his daughters from long-term relationships with Donna Ferrato and Heather Holden. He died from cancer on March 19, 2008. Journalist John Pilger wrote in tribute to Griffiths soon after his death: "I never met a foreigner who cared as wisely for the Vietnamese, or about ordinary people everywhere under the heel of great power, as Philip Jones Griffiths. He was the greatest photographer and one of the finest journalists of my lifetime, and a humanitarian to match…. His photographs of ordinary people, from his beloved Wales to Vietnam and the shadows of Cambodia, make you realise who the true heroes are. He was one of them." Griffiths started work as a full-time freelance photographer in 1961 for the Observer, travelling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected his view of the war as an episode in the continuing decolonisation of former European possessions. However, he was eventually able to get a scoop that the American outlets liked: photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds from these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. Vietnam Inc. had a major influence on American perceptions of the war, and became a classic of photojournalism. The book was the result of Griffiths' three years work in the country and it stands as one of the most detailed surveys of any conflict, including descriptions of the horrors of the war as well as a study of Vietnamese rural life and views from serving American soldiers. Probably one of its most quoted passages is of a US army source discussing napalm: ‘We sure are pleased with those backroom boys at Dow. The original product wasn’t so hot - if the gooks were quick they could scrape it off. So the boys started adding polystyrene - now it sticks like shit to a blanket. But if the gooks jumped under water it stopped burning, so they started adding Willie Peter (white phosphorus) so’s to make it burn better. And just one drop is enough, it’ll keep on burning right down to the bone so they die anyway from phosphorus poisoning.’ The South Vietnamese president, Nguyen Van Thieu, criticized Griffiths' work, remarking "Let me tell you there are many people I don't want back in my country, but I can assure you Mr. Griffiths name is at the top of the list." In 1973, Griffiths covered the Yom Kippur War. He then worked in Cambodia from 1973 to 1975. In 1980, he became the president of Magnum, a position he then held for five years. In 2001 Vietnam Inc. was reprinted with a foreword by Noam Chomsky. Subsequent books have included Dark Odyssey, a collection of his best pictures, and Agent Orange, dealing with the impact of the US defoliant Agent Orange on postwar generations in Vietnam. After becoming aware of his terminal condition, Jones Griffiths launched a foundation to preserve his archives. His daughters helm the foundation, which as of July 2008 lacked a permanent home. Source: www.magnumphotos.com
Cardell Phillips
United States
1952
I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing. Statement One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
Pat Rose
United States
Pat Rose is a photographer based in Portland, Oregon. Her work includes landscape, street, portrait and botanical photography. She is a retired teacher of English as a Second Language who has taught in Saudi Arabia and Turkey, as well as in Austin, Texas, and most recently at Portland State University. After picking up her first digital camera a few years before her retirement about a decade ago, she quickly developed many photographic interests. Landscape and street photography appeal to her love of wandering and exploring new places, while her interest in portraiture stems from a desire to work collaboratively with her subjects. In late February 2020, as the coronavirus pandemic was gaining traction in the world and just starting to spread in the US, she began exploring the genre of scanner photography, an alternative form of photography involving the use of a flatbed scanner rather than a conventional camera to make digital images. This kind of work seemed an excellent way to continue her creative efforts as she started practicing self-isolation at home during the growing pandemic. For her scanned images she has been using flowers and other botanical specimens to create "virtual" bouquets as a celebration of the beauty and grace still to be found in the world during these troubled times. Pat has shown her work in a number of group exhibitions in galleries across the country. In Oregon, her photography has been juried into exhibitions at the LightBox Gallery in Astoria and the Black Box Gallery in Portland, and her Landscapes of the Pacific Northwest series was juried into the 2018 Pacific Northwest Photography Viewing Drawers at the Blue Sky Gallery in Portland. Her work has also been juried into exhibitions in the A Smith Gallery in Johnson City, Texas, the SE Center for Photography in Greenville, South Carolina, and PhotoPlace Gallery in Middlebury, Vermont, among others. In addition, one of her landscapes graces the cover of the 2016 edition of The Creaky Knees Guide, Oregon published by Sasquatch Books in Seattle. Another of her landscape photographs appears in the 2017 German edition of the National Geographic Guide to National Parks of the United States, a travel guide published by NG Buchverlag GmbH in Munich. Pat has received several awards for her photography. Her landscape image titled Enchanted Forest was selected for the Juror's First Award at the 2017 Nature's Way exhibition at the LightBox Gallery in Oregon, and the image won the Grand Prize in The American Landscape 2021 Photo Contest presented by Outdoor Photographer Magazine. Her portrait titled Sophia With Roses won a Director's Honorable Mention in the 2020 Portraits exhibition at the A Smith Gallery in Texas, and the image won Second Place in The Face, 2020 Portrait Photo Contest presented by Digital Photo Pro Magazine. Her cityscape image titled Random Chaos won a Director's Honorable Mention in the 2020 Vistas exhibition at the A Smith Gallery in Texas. And her botanical image titled Still Life with Roses & Raffia won an Honorable Mention in the Still Life Amateur category in The 14th Annual International Color Awards. Pat also writes about photography for Oregon ArtsWatch, an online magazine about culture and the arts in the Pacific Northwest. Much of her photography and her CV can be found on her website.
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AAP Magazine #54 Nature
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