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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Svet Jacqueline
Svet Jacqueline
Svet Jacqueline

Svet Jacqueline

Country: United States
Birth: 1992

Svet Jacqueline grew up In Baltimore, Maryland. She earned a Bachelor of Science in Photography from the S.I. Newhouse School of Public Communications at Syracuse University in 2014. She moved to Los Angeles, California in 2016 to work on freelance projects with Sony Entertainment, Apple, and other editorial clients. In 2020, she documented the uprising of the Black Lives Matter movement and published her first book, 100 days of Protest, 2021. Last year, she split her time in Los Angeles, Mexico, and Texas documenting migration at the border and the cycle of poverty on Skid Row where her work won first place in the International Photography Awards and NPPA Best of Photojournalism 2022. Her recent efforts focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. She has published with Göteborgs-Posten, Teen Vogue, The Jewish Times, and HBO. focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. In her free time, she trains for marathons, cooks, and volunteers with local nonprofits to feed underfunded communities and support public art programs.
 

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Norman Seeff
South Africa
1939
Ex-medical doctor, Norman Seeff, emigrated from South Africa to the United States in 1968 to pursue a new career as a photographer, designer and filmmaker. After three-years in New York capturing stunning images of Robert Mapplethorpe, Patti Smith, Andy Warhol, Richard Bernstein, Johnny Winter, James Taylor and The Band, he relocated to Los Angeles as Art Director at United Artists Records. Two years later he established his own studio and focused on photographing and documenting artists and innovators in the act of creation in the context of his sessions. Seeff has worked with hundreds of renowned artists and innovators including Ray Charles, The Rolling Stones, Miles Davis, Ike & Tina Turner, Michael Jackson, Joni Mitchell, James Taylor, Martin Scorsese, John Huston, Billy Wilder, Sir Francis Crick, Steve Jobs, Will.i.am, Alicia Keys and many others; including Nobel Laureates, space scientists and engineers. The authenticity of his images reflects his skills as a communicator and his ability to create an environment for artists and innovators conducive to the revelation of how they function creatively. This has enabled him to capture the very essence of his subjects. Utilizing his vast archive of images and over 1000 hours of film and video documenting his sessions, Seeff’s work is currently focused on the exploration of the inner dynamics of creativity as it applies to personal and collective creative excellence.Source: Morrison Hotel Gallery South African photographer, Norman Seeff is known for his outstanding black and white photographs of celebrities such as Steve Jobs, Tina Turner, Joni Mitchell, Patti Smith, Andy Warhol, Miles Davis, and many more. His work focuses on the exploration of human creativity and the inner dynamics of the creative process. “My whole thing was, it’s not about photography- it’s about communication,” Seeff tells Rolling Stone. Norman Seeff was born in 1939 in Johannesburg, South Africa. Seeff qualified as a medical doctor in 1965 ad for three years he worked in emergency medicine at the Chris Hani Baragwanath Hospital in Soweto, focusing on the management of traumatic shock. In 1968 Seeff took a turn in his career and immigrated to the United States to pursue his creative passions and artistic abilities. Shortly after Seeff arrived in New York City, his photographs of the life he encountered on the streets of Manhattan were discovered by graphic designer, Bob Cato. Cato was the former Vice President of Creative Services at Columbia Records. Cato became an important mentor to Seeff and gave him his first major photographic assignment producing images for The Band’s Stage Fright album. Seeff’s iconic image of the group was reproduced as a poster inserted in the album, which when unfolded, became a popular collectors’ item. Seeff relocated to Los Angeles at the end of 1971 to become the creative director of United Artists Records. His innovative approach to collaborative art-direction resulted in multiple Grammy Award nominations for graphic design. In 1973 Seeff opened an independent studio on the strip on Sunset Boulevard. His photographic sessions became legendary. For Seeff, the session became the art-form itself, transforming into a multi-disciplinary process of photography, filmmaking and creative communication. Seeff’s first solo exhibition was at the Morrison Hotel Gallery in New York and featured photos and videos from these sessions.Source: Jackson Fine Art
Margarita Mavromichalis
Margarita Mavromichalis comes from a family of Greek diplomats and has spent her life living and traveling all over the world. She speaks five languages and studied translation and interpreting. She likes to think that photography is her second language, as it's a universal language, one that is understood by all across the world and conveys messages in the most powerful way. Margarita moved to New York in 2009. She continued her studies for three years at the International Center of Photography where she also served as a Teaching Assistant for several classes. She moved back to Greece from 2013 to 2016 where she devoted most of her work covering the refugee crisis as it developed on the island of Lesvos. She currently lives and works in London. Margarita is mostly attracted to street photography and the elements that evoke emotions and surprise in our everyday life. Furthermore she is passionate about documenting current events that she feels very strongly about, highlighting their social impact. Her work has been displayed in exhibitions in New York, Boston, San Diego, The Museum of the City of New York, the Brooklyn Historical Society and most recently in Budapest, Athens, Paris, Berlin, Barcelona and London. Selected images are part of the permanent collections of the Museum of the City of New York and the Brooklyn Historical Society. She is the winner of the 9th Pollux Awards (2016) and the winner of the 12th edition of the Julia Margaret Cameron Awards (2018) and has been nominated for the 2019 Prix Pictet Hope Award and was recently awarded the 15th edition of the Julia Margaret Cameron Award (2020). In 2021, she won a Gold Medal at the Budapest International Foto Awards, a Silver Medal at the Prix de la Photographie Paris and is an official selection and top 5 at the Tokyo International Foto Awards.
Nicolas Dhervillers
Nicolas Dhervillers is a French artist who works in the field of photography. After multimedia and photography studies, he made a name for himself after an historic commission from the Centre Pompidou in Metz. Inspired by cinematic, theatrical and pictorial writing, Nicolas Dhervillers's approach decompartmentalizes the photographic medium.He works with French Galleries, collaborates with Art Centers and International Museums. He was invited to show his work in many countries like Switzerland, Germany, Korea, China, Netherlands, Usa and to Paris Photo for the past 5 years.In 2014 and 2015 he will have a solo exhibition at the Helmond Gemeente Museum (NL) then he will be in Australia for an International Festival and in Belgium for the "triennale de Photographie et d’architecture".All about Nicolas Dhervillers:AAP: Where did you study photography?I studied cinema first, then theater, and then I came to Paris to make a master in Photography and mixed media. I studied with Mr Jean Claude Moineau, my "chief" in terms of theory.AAP:Do you have a mentor or role model?No, but Jeff Wall influence me off course. AAP: How long have you been a photographer?10 years, but not a Photographer, maybe an artist is more correct, in a way.AAP: What or who inspires you?History of art in generalAAP: How could you describe your style?It is a mix between the painting spirit (about the white page), the cinematographic light and the pose of theater.AAP: What are your projects?Retrospective exhibition in Netherlands.
Thomas Dworzak
Germany
1972
Thomas Dworzak (born 1972) is a German photographer. He became a Magnum Photos nominee in 2000 and a full member in 2004. He was elected President of Magnum in 2017. Dworzak won a World Press Photo award in 2001 and in 2018 received the Hood Medal from the Royal Photographic Society in the UK. Dworzak was born in Kötzting, Germany. He decided to become a photographer from an early age, travelling to Northern Ireland, Israel, Palestine and to Yugoslavia while still in high school. Dworzak lived in Tbilisi, Georgia from 1993 until 1998 where he documented the conflicts in Chechnya, Karabakh and Abkhazia. Whilst there he worked on a project about the Caucasus region and its people, the impact years of brutal war had on the region, and the interplay between Russian literature and the typical imagery of the Caucasus. This was published as the book Kavkaz.Source: Wikipedia In the years following the 9/11 attacks, he spent time covering the wars in Afghanistan and Iraq as well as their impact on the U.S. During a several-months assignment in Afghanistan for The New Yorker, he discovered studio portraits of the Taliban; these images would form his first book, Taliban. The images that were taken during his many assignments in Iraq, most of which were shot for TIME Magazine, were used to create his next book: M*A*S*H* IRAQ. From 2005 to 2008, as a TIME magazine contract photographer, Dworzak covered many major international news stories including: Macedonia, Pakistan, Chechnya, Sri Lanka, Nigeria, Lebanon, Haiti, Chad, C.A.R., the London attacks, Ethiopia, Iran, U.S. presidential campaigns, Hurricane Katrina, and the revolutions in the former Soviet republics of Georgia, Kyrgyzstan, and Ukraine. During breaks from conflict areas and war zones he regularly photographed Fashion Weeks in major cities. In 2006, Thomas photographed the New York Marathon while participating himself. Thomas remained in Georgia after the 2008 war with Russia. This would lead to the Magnum Group project Georgian Spring, which was a starting point for a new, several-year-long engagement with the "New Georgia" under President M. Saakashvili. In 2012, Thomas photographed Nowrooz celebrations in Georgia. Dworzak spent 2009-2010 in Afghanistan, documenting the deployment of ISAF troops and their return home. In 2009, he also visited Iran to photograph Ashura. A National Geographic assignment on the Sochi Olympics became later the book Beyond Sochi. In 2013, a commission for the Bruges Museum led him to photograph the memory of WWI. This has since become an ongoing project concerning the legacy of the First World War around the world, which he planned to finish in 2018, 100 years after the end of the conflict. Always an avid collector, Thomas started gathering Instagram screenshots of a variety of subjects and has been grouping them together into ever-growing collections of Instagram artist scrapbooks. A final set of 20 of these books has been presented at the International Center of Photography, ICP, in New York from February 2017. Besides his personal stories, Thomas Dworzak continues to cover international stories, including the 2015 Paris terror attacks, Pokemon Go!, the 2016 U.S. elections, and the run-up to the 2017 French presidential elections. When covering the escalation of the refugee crisis in 2015, he conceived the idea of "Europe - a photographic guide for refugees," which was produced and distributed free of charge to migrants with the support of a Magnum Foundation Emergency Grant and AFAC in 2016. Dworzak has also been teaching a number of workshops.Source: Pulitzer Center With an unflinching eye and depth of vision, Thomas Dworzak has documented many of this century’s most important news stories since the 1990s. Dworzak started travelling aged 16 to photograph conflicts in Northern Ireland, Israel/Palestine and the disintegrating Yugoslavia. Since then, he has gone on to photograph wars in Afghanistan and Iraq post 9/11, the revolutions in the former Soviet republics of Georgia, Kyrgyzstan and Ukraine. After graduating from Robert-Schuman Gymnasium, Cham (specializing in English, French, History and Russian Literature) he left Germany, always combining his travels and attempts to become a photographer with studying languages: Spanish in Avila, Czech in Prague, Russian in Moscow. During the Nineties, Dworzak lived in Georgia, exploring the people, culture and conflicts in the Caucasus, which resulted in the book, Kavkaz in 2010. Significant projects include a several-month assignment in Afghanistan for The New Yorker, where he discovered studio portraits of the Taliban. This became his first book, Taliban. Meanwhile, images taken during his many assignments in Iraq, most of which were shot for TIME Magazine, were used to create his next book:M*A*S*H* IRAQ. In his most recent project, Feldpost (2013 – 2018), he photographed the ‘memory’ of WWI in more than 80 countries, producing 1568 ‘postcards’ (one for every day of the war). It was completed on 11/11/2018, 100 years after the end of the conflict. Dworzak is also a keen curator, with a particular interest in digital culture. His work mining Instagram memes under various hashtags—ranging from animals dressed as the pope to the aftermath of the Boston marathon bombing‚—has resulted in 20 sketchbooks compiled of his findings.Source: Magnum Photos Since 2011 he is also represented by Gallery Clair in Munich and St.Paul.
Betty Press
United States
Betty Press is a documentary fine art photographer, well-known for photographs taken in Africa where she lived and traveled for many years. Now living in Mississippi she has just completed a project called “Finding Mississippi” recording "real life" in small communities throughout Mississippi with black-and-white film and toy and vintage cameras. She taught photography at University of Southern Mississippi from 2003 to 2015. She is twice the recipient of a Visual Artist Grant from the Mississippi Arts Commission. Her photographs have been widely-exhibited as well as selected for many juried competitions. In addition, her photographs have been featured in publications such as Shots, Silvershotz, South x Southeast, Lenscratch, ACurator, RfotoFolio, and Don't Take Pictures. Her work is held in a number of public collections including Beinecke Library at Yale University, The National Museum of Women in the Arts, Washington, DC, The Harry Ransom Center for the Humanities, The University of Texas, Austin, Mississippi Museum of Art and The Do Good Fund of Southern Photography. In 2011 Betty published a photobook I Am Because We Are: African Wisdom in Image and Proverb that portrayed a stunning, life-affirming portrait of the African people and culture. For this book she received a statewide award in photography, from the Mississippi Institute of Arts & Letters and was selected for Critical Mass Top 50. Her other books/zines include La Dolce Vista, Hub City Impressions and Finding Mississippi. In August 2019 she moved to Nairobi, Kenya to photograph urban culture and social injustice, but returned to the USA in April 2020 due to the Covid-19 outbreak. Her most recent project They Were Us: Stories of Victims and Survivors of Police Brutality in Kenya, was selected for Photo Lucida Critical Mass Top 50. Betty was invited by Lenscratch to curate the States Project for Mississippi. She also helped bring the Do Good Fund Exhibition of southern fine art photography to USM Art Gallery and organized several simultaneous local exhibitions. Most recently, she co-curated an online show Virtual Photography 20:20 for One Off Contemporary Art Gallery, Nairobi, Kenya. She is represented by Panos Pictures, London; International Visions, Washington, DC; Fischer Galleries, Jackson, Mississippi; Treehouse Gallery, Oxford, Mississippi and One Off Contemporary Art Gallery, Nairobi, Kenya. As a former educator, journalist, and avid traveler Press brings a wide-ranging perspective and appreciation of diverse photographic styles, genres and mediums. Services Offered: The African Urban landscapeEye-catching, colorful and hand-painted! Popular creative signage, found on small shops started by mostly young entrepreneurs, livens up what would otherwise be a drab environment in the poorer, densely-populated areas of third world cities like Freetown, Nairobi, or Monrovia. Services, such as hairdressing, tailoring, phone charging, food stalls and video games are advertised. The designs, drawn from traditional as well as contemporary pop culture, are bold, simple and use primary colors and funky fonts. The sign painters are mostly young and self-taught. With more mobile smart-phone usage the signage reflects the modern world on an African canvas. I have spent more than 15 years living in various African countries. In 2019 I moved back to Kenya. My main focus was to document the social justice movement in Nairobi's urban settlements (formerly called slums), resulting in They Were Us: Stories of Police Brutality in Kenya which was selected for the 2020 Photo Lucida Critical Mass Top 50. On the side I would stop to photograph the colorful shops which I found so artful, refreshing and safer to photograph. Now back home in Mississippi, after being evacuated from Nairobi due to the pandemic, I continue working on my Mississippi projects which deal with how place, race and religion have played a part in the complicated history of the state and still affect black lives today.
Pierre Verger
France
1902 | † 1996
Pierre Edouard Leopold Verger, alias Fatumbi or Fátúmbí was a photographer, self-taught ethnographer, and babalawo (Yoruba priest of Ifa) who devoted most of his life to the study of the African diaspora - the slave trade, the African-based religions of the new world, and the resulting cultural and economical flows from and to Africa. At the age of 30, after losing his family, Pierre Verger took up the career of journalistic photographer. Over the next 15 years, he traveled the four continents, documenting many civilizations that would soon be effaced by progress. His destinations included Tahiti (1933); United States, Japan, and China (1934 and 1937); Italy, Spain, Sudan (now Mali), Niger, Upper Volta, Togo and Dahomey (now Benin, 1935); the West Indies (1936); Mexico (1937, 1939, and 1957); the Philippines and Indochina (now Thailand, Laos, Cambodia and Vietnam, 1938); Guatemala and Ecuador (1939); Senegal (as a conscript, 1940); Argentina (1941), Peru and Bolivia (1942 and 1946); and finally Brazil (1946). His photographs were featured in magazines such as Paris-Soir, Daily Mirror (under the pseudonym of Mr. Lensman), Life, and Paris Match. In the city of Salvador, Brazil he fell in love with the place and people, and decided to stay for good. Having become interested in the local history and culture, he turned from errant photographer to a researcher of the African diaspora in the Americas. His subsequent voyages are focused on that goal: the west coast of Africa and Paramaribo (1948), Haiti (1949), and Cuba (1957). After studying the Yoruba culture and its influences in Brazil, Verger became an initiated of the Candomblé religion, and officiated at its rituals. During a visit to Benin, he was initiated into Ifá (cowrie-shell divination), became a babalawo (priest) of Orunmila, and was renamed Fátúmbí ("he who is reborn through the Ifá"). Veger's contributions to ethnography are embodied in dozens of conference papers, journal articles and books and were recognized by Sorbonne University, which conferred upon him a doctoral degree (Docteur 3eme Cycle) in 1966 — quite a feat for someone who dropped out of high school at 17. Verger continued to study and document his chosen subject right until his death in Salvador, at the age of 94. During that time he became a professor at the Federal University of Bahia in 1973, where he was responsible for the establishment of the Afro-Brazilian Museum in Salvador; and served as visiting professor at the University of Ifé in Nigeria. The non-profit Pierre Verger Foundation in Salvador, which he established to continue his work, holds more than 63,000 photos and negatives taken until 1973, as well as his papers and correspondence. Source: Wikipedia
Alexis Pichot
France
1980
In 2011, I made the bold decision to redirect my professional life into my self-guided passion, photography. I worked as an interior designer in Paris for more than ten years. Throughout that time I was very focused on the use of space and acquired a sensitivity that has greatly influenced my approach to volume in photography. At night, light and space are my sources of inspiration, experimentation and confrontation - but above all, of fulfilment. I pierce the night using physical movement, as well as using light in order to see beyond what is visible, to a place where the blackness has not yet absorbed everything. I have accomplished various large-scale artistic projects, often in partnership with private and public institutions. Notably, my project with the Hotel National des Invalides - which granted me access to all of the military sites in Ile de France - enabled me to bring to light this fragment of history in a large exposition in the moat of the Invalides. I also had the opportunity to work with the RATP, who commissioned me to enter a disused marshalling yard where their entire collection of rolling stock is preserved, covering 100 years of history. The images created were exhibited during "Les Journées du Patrimoine" (the Heritage Days) within their workshop-museum. The cities and their nocturnal vestiges have been sacred fields of investigation for me, as much for their architectural lines as for the histories to which they bear witness. Arising from an awareness of and sensitivity to modern society - alongside the fact that I live in a city - nature has become my source of regeneration.
John Moffat
United Kingdom
1819 | † 1894
John Moffat was a Scottish portrait photographer, but he also produced stereoscopic photographs. Apart from being a successful businessman, he was also an amateur painter and musician and had eight children, of whom several were as multi-talented as their father. Moffat was born on the 26 April 1819 in Aberdeen, Scotland into the family of Francis Moffat (b.1782) – a bookbinder – and Elizabeth Moffat (nee Rankin – aka Rankine). He grew up in a family of three sisters and one brother but would have had another sister and two other brothers had they not died very young before he was born. Not a lot is known about John’s childhood but his father appears to have been interested in the arts and sciences. He was also keen on education and John learnt French at school, a skill which he used later in his photographic researches. By 1847, at the age of 28, John Moffat appears in directories as having his own business as an engraver at 24 Gardiner’s Crescent, Edinburgh. He continued to advertise from that address until at least 1849. On the 19th May 1847 John married Ellen Notman (aka Helen Notman) at South Leith, Midlothian, Scotland. John’s first child, Ellen Jane Moffat, was born c 1849 according to the 1851 census when she was stated as being two years old. Ellen was also known as Nelly. She grew up to work in the photography business and was living with John in 1881 according to the census that year despite her mother and father getting a divorce many years beforehand. The census in 1851 shows John, aged 31, at 1 Windsor Street, Edinburgh with his young daughter Ellen J Moffat and a 20-year-old servant called Margaret Rae. His occupation was stated as a picture engraver master. It is almost certain that John and his wife Ellen had parted, and more probably had divorced, at this stage. On 22 June 1851 John married his second wife, Sophia Maria Knott, whose brother was the photographer James Brown Knott. John and Sophia were married in Edinburgh. Mr Kennedy / Scottish National Portrait GalleryCreative Commons CC by NC © John Moffat John Moffat started his first photographic studio in 1853 but he was still advertising his skills as an engraver from the same address in 1854; apparently, he was migrating from engraver to photographer during this period. He certainly confirmed 1853 as the date that his photography business was established by printing the fact on the reverse of his carte de visite mounts. John’s second child, and his first child with his new wife Sophia, was born in 1854 and named Frank Pelham Moffat. Frank was very involved with the family firm from the early 1870s and he eventually took over when his father died in 1894. Frank was also a fine photographer and was involved at an early stage in colour photography – probably using the Autochrome process. Another child, Sophia Elizabeth Moffat was born in 1856. She never married and lived on until the 1930s. John and Sophia had a second son, Fred (John F) Moffat, in or about 1857. Kate Rankin Moffat was born on the 30 November 1859 and remained a spinster all her life. She is said to have had an active life and embraced new ideas such as motor cars. She died in 1954 in Edinburgh. John Moffat is said to have taken a set of daguerreotype photographs of Queen Victoria and Prince Albert when they visited the Crystal Palace Exhibition in London in 1855 although the whereabouts of these photographs is not now known. The Photographic Society of Scotland was formed in March 1856 and John Moffat was an active member so he would have met many early photographers and photographic researchers including Sir David Brewster and William Henry Fox Talbot who John later photographed in his studio at 103 Princes Street in 1864. A unique Day Book is still in existence from 1856 to 1858 and contains details of the studio customers, charges, expenses and profits on a weekly basis. It also records, interestingly, details of the weather which appears to have had a significant effect on business turnover. In 1857 John went to France and eventually went to Canada to become a farmer. By 1858 John had moved his studio again to 60 Princes Street, an address that is connected to his brother-in-law James Brown Knott. At that time, the carte de visite had not become popular and John would have still been producing ambrotypes in smart little cases. Kate Rankin Moffat was born on 30 November 1859 and remained a spinster all her life. She is said to have had an active life and embraced new ideas such as motor cars. She died in 1954 in Edinburgh. Arthur Elwell Moffat was born later in 1861 and went on to be a painter in watercolour and oils as well as a musician. He exhibited on many occasions and won medals for his work. It is likely that he worked in the family business as a colourist. Arthur died in 1943. In 1861 John Moffat moved his studio again, this time further west along Princes Street to better premises at 103 Princes Street where he stayed until 1875. In the same year he became a member of the Council of the prestigious Photographic Society of Scotland. The family continued to grow when Alfred Edward Moffat was born on the 4th December 1863. Alfred became very musical and played the violin and was a musical arranger. He studied in Germany where he met a local girl and got married. Alfred died in the 1950s. John and Sophia’s last child was a daughter called Alice May Moffat. She grew up and married a prominent local businessman – James Watt – a member of the Edinburgh Stock Exchange. Unknown Man with White Beard / Scottish National Portrait GalleryCreative Commons CC by NC © John Moffat The Photographic Society of Scotland, of which John was a Council Member, was wound up in 1871 and was effectively replaced by the Edinburgh Photographic Society. John Moffat later became the President of the Edinburgh Photographic Society until shortly before his death in 1894. 1873 was a major year in the life of the Moffat photographic enterprise as John moved into a prestigious studio at 125 Princes Street. This studio was run in parallel with the one at 103 Princes Street until 1875 and then became the sole outlet until the 1920s; way after John Moffat’s death. John was a determined businessman and turned to the courts on more than one occasion. In the autumn of 1875 John Moffat took another well-known Edinburgh photographer, Robertson Ross of Ross & Pringle, to court for non-payment for photographic work carried out. He won his case. An interesting article about John’s studio appeared in the Mercantile Age on the 9th September 1887 which described a visit to 125 Princes Street. A description of the way that children were photographed was particularly interesting, as follows: "Above this room (the main studio) is another room with a stronger light than the one below, and eminently suitable for taking children’s portraits. The cameras used here have wonderfully sensitive pneumatic shutters, so instantaneous and noiseless in their action that frequently the operator can engage the attention of the sitter by some pleasing manoeuvre, and when his educated eye catches a pleasing expression, he can without moving from his position, command chemicals and old Sol to instantly do the rest before the young patron is aware of it." In a second section, the reporter comments on John Moffat’s business acumen as follows "We are please to notice that everywhere great economy is manifest. Mr. Moffat, understanding the chemistry of his trade, is successful in recovering a very great quantity of his silver. We witnessed the operation of washing and recovering, and we were altogether taken by surprise at the percentage of the chloride of silver recovered" Other comments from elsewhere also support this view that John Moffat was a canny businessman and that he was always interested in new ideas and processes. John Moffat died on the 5th. March 1894 and an obituary was printed in the British Journal of Photography in the March issue of that year. A quote from the end of the obituary is very touching – "He was ever kind and considerate to his employees and generous in his treatment of them, while, in ordinary business matters all knew him to be honourable and upright in the highest degree".Source: www.cartedevisite.co.uk
Emmanuelle Becker
France/United States
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