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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Mona Singh
Mona Singh
Mona Singh

Mona Singh

Country: India

Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision.

She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world.

About Silent Colors
"Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan.

She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
 

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Brandon Stanton
United States
1984
Brandon Stanton is an American author, photographer, and blogger. He is the author of Humans of New York, a photoblog and book. He was named to Time's "30 Under 30 People Changing The World" list. Since 2010, Stanton has taken hundreds of portraits of people living and working primarily in New York City, accompanied by bits of conversations about their lives. He has also traveled outside of the United States, capturing people and their lives in more than 20 countries, including Iran, Iraq, Uganda, Democratic Republic of the Congo, Ukraine, Vietnam, and Mexico. Stanton grew up in Marietta, Georgia, a suburb of Atlanta, where he completed his schooling at The Walker School in 2002. He majored in history at the University of Georgia. In 2010, he bought a camera while working as a bond trader in Chicago, and started taking photographs in downtown Chicago on the weekends. When he lost his job a short time later, he decided to pursue photography full-time. Moving to New York City, he set out to photograph 10,000 New Yorkers and plot their portraits on a map of the city, surviving on unemployment checks to "almost pay rent" and borrowing money from friends and family. Eventually, he moved his photographs to the Humans of New York Facebook page, which he started in November 2010. After posting a photo of a woman including a quote from her, he soon began adding captions and quotes to his photographs, which eventually evolved into full interviews. His Humans of New York book was published in October 2013. It received positive reviews and sold 30,000 copies as preorders. The book reached the number 1 position on the New York Times Non-Fiction Best Sellers of 2013 for the week beginning November 3, 2013. The book remained on the list for 26 weeks, again reaching the number one position on December 21, 2014. In August 2014, Stanton traveled to the Middle East to photograph people as part of a 50-day trip through 10 countries in the region under the auspices of the United Nations. In July 2015 he traveled to Pakistan and again to Iran to do the same. At the conclusion of his trip to Pakistan, Stanton crowd funded $2.3 million to help end bonded labor in Pakistan. In January 2015, Stanton was invited to the Oval Office to interview President Barack Obama. The trip concluded a two-week crowdfunding campaign on Humans of New York in which $1.4 million was raised. In March 2016, Stanton opposed Donald Trump's presidential campaign, criticizing Trump on social media for hateful speech, such as delayed disavowing "white supremacy" and defending those who commit violence at his rallies. A day after his Facebook post, it had over 1.6 million likes and was shared nearly 1 million times. Stanton has posted stories and photos from the Pediatrics Department of Memorial Sloan Kettering Cancer Center in New York City. As he did for his other projects, Stanton created a fundraising campaign, and raised over $3.8 million for pediatric cancer research.
André Adolphe-Eugène Disdéri
France
1819 | † 1889
André-Adolphe-Eugène Disdéri (French: 28 March 1819 - 4 October 1889) was a French photographer who started his photographic career as a daguerreotypist but gained greater fame for patenting his version of the carte de visite, a small photographic image which was mounted on a card. Disdéri, a brilliant showman, made this system of mass-production portraiture world famous. Disdéri began his working life in a number of occupations, while also studying art. He started as a daguerreotypist in Brest in 1848 or 1849 but in December 1852 or January 1853 he moved to Nîmes. There he received assistance from Édouard Boyer and Joseph Jean Pierre Laurent with his photography-related chemistry experiments. After a year in Nîmes he moved to Paris, enabling easy access to people who would be the subjects of his cartes de visite. Photographs had previously served as calling cards,[6] but Disdéri's invention of the paper carte de visite (i.e. "visiting card") photograph second enabled the mass production of photographs. On 27 November 1854 he patented the system of printing ten photographs on a single sheet (although there is no evidence that a system printing more than eight actually materialized). This was the first patent ever for a carte de visite. Disdéri's's cartes de visite were 6X9 cm, about the size of conventional (nonphotographic) visiting cards of the time, and were made by a camera with four lenses and a sliding plate holder; a design inspired by the stereoscopic cameras. The novelty quickly spread throughout the world. According to a German visitor, Disdéri's studio became "really the Temple of Photography - a place unique in its luxury and elegance. Daily he sells three to four thousand francs worth of portraits". The fact that these photos could be reproduced inexpensively and in great quantity brought about the decline of the daguerreotype and ushered in a carte de visite craze as they became enormously popular throughout Europe and the United States. So great was the publicity that all of Paris wanted portraits. Disdéri also invented the twin-lens reflex camera. The great French photographer Nadar, who was Disdéri's competitor, wrote about the new invention in his autobiographical "Quand j'étais photographe", "about the appearance of Disdéri and Carte de Visite... It spelled disaster. Either you had to succumb - that is to say, follow the trend - or resign." At the pinnacle of his career, Disdéri was extremely wealthy and renowned; but like another famous photographer, Mathew Brady, he is reported to have died in near poverty. By the end of his life, Disdéri had become penniless. He died on 4 October 1889 in the Hôpital Ste. Anne in Paris, "an institution for indigents, alcoholics, and the mentally ill". He was a victim of his own invention. The system which he invented and popularized was so easy to imitate that photographers all over the world took advantage of it.
Beth Moon
United States
1956
San Francisco Bay Area artist, Beth Moon, has gained international recognition for her large-scale, richly toned platinum prints. Since 1999, Moon’s work has appeared in more than sixty solo and group exhibitions in the United States, Italy, England, France, Israel, Brazil, Dubai, Singapore, and Canada. Her work is held in numerous public and private collections, including the Museum of Fine Arts, Houston, the Museum of Photographic Arts in San Diego, and the Fox Talbot Museum in Wiltshire, England. In 2013, Between Earth and Sky, the first monograph of her work, was published by Charta Art Books of Milan. In 2014, Abbeville Press published, Ancient Trees: Portraits of Time, with a third book to follow that same year from Galerie Vevais, La Lange Verte. Moon studied fine art at the University of Wisconsin before moving to England where she experimented with alternative photographic processes and learned to make platinum prints. Source: www.vervegallery.com Beth Moon was born in Neenah, Wisconsin and studied fine art at the University of Wisconsin. Classes in painting, life drawing, sculpture, and design would set the groundwork for her work in photography, which was to come years later. Moving to England, a country with a love for all things arboreal, gave her a fresh look at a land that boasts the largest concentration of ancient trees. Inspired by these trees she decided to make a series of their portraits. Unhappy with the photographic tonality and stability of ink-jet printing, she started to experiment with alternative printing processes, learning platinum/palladium printing, an ideal process for her vision. She concentrated on mastering this printing technique, doing all of her own printing. “By using the longest lasting photographic process, I hope to speak about survival, not only of man and nature’s but to photography’s survival as well. For each print I mix ground platinum and palladium metals, making a tincture that is hand-coated onto heavy watercolor paper and exposed to light. There are many steps involved in creating the final print and these are as important to me as the capturing of the image," said Moon. A platinum print can last for centuries, drawing on the common theme of time and survival, pairing photographic subject and process. Source: www.josephsaxton.com
Ray K. Metzker
United States
1931 | † 2014
Ray K. Metzker (10 September 1931 – 9 October 2014) was an American photographer known chiefly for his bold, experimental B&W cityscapes and for his large "composites", assemblages of printed film strips and single frames. His work is held in various major public collections and is the subject of eight monographs. He received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts and Royal Photographic Society. Metzker was born in Milwaukee and lived in Philadelphia from the 1960s until his death. He was married to the photographer Ruth Thorne-Thomsen. He was a student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of New Mexico. After graduate studies at the Institute of Design in Chicago, Metzker travelled extensively throughout Europe in 1960-61, where he had two epiphanies: that "light" would be his primary subject, and that he would seek synthesis and complexity over simplicity. Metzker often said the artist begins his explorations by embracing what he doesn't know.Source: Wikipedia After a career that spanned five decades and saw him pioneer a new and singular visual idiom, Ray K. Metzker has been recognized as one of the great masters of American photography. Characterized by composites, multiple-exposures, solarization, the superimposition of negatives, and the juxtaposition of images, Metzker’s work pushed the boundaries of what seemed formally possible in black and white photography. Metzker enrolled at the Institute of Design, Chicago in 1956, a school which at that time was being referred to as the New Bauhaus, where he studied with fellow modernist photographers Harry Callahan and Aaron Siskind. After obtaining a master’s degree from the Institute in 1959, Metzker’s work began to garner increasing attention and critical regard, first and foremost from Edward Steichen, who, at that time, was the curator of photography at the Museum of Modern Art, New York. Metzker’s first solo show would happen at the Museum of Modern Art in 1967. Retrospectives of his work were organized in 1978 by the International Center of Photography in New York and in 1984 by the Museum of Fine Arts in Houston, a show which then traveled to the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, Atlanta, the International Museum of Photography, Rochester, and the National Museum of American Art, Washington, DC. In 2011 a major career retrospective of Metzker’s work was organized by the Nelson-Atkins Museum of Art in Kansas City, which traveled to the The J. Paul Getty Museum in Los Angeles and the Henry Art Museum in Seattle. Ray K. Metzker died in October of 2014, at 83 years of age, in the city of Philadelphia.Source: Howard Greenberg Gallery Metzker has dedicated his career to exploring the formal potentials of black-and-white photography, but they are not his exclusive concern. "When you look at the multiples, you are aware of patterning and so forth," he says, "but there is still identifiable subject matter; frequently there are people there; there is a rhythm to those people." Metzker's 1959 thesis project, My Camera and I in the Loop, takes downtown Chicago as its subject, but renders it in experiments that tell more about photography than they do about the city. The pictures from this project were exhibited at the Art Institute of Chicago (1959-1960), and included in the issue of Aperture devoted to the students and professors of the Institute of Design at the Illinois Institute of Technology in Chicago (1961). Ray Metzker's images question the nature of the photograph and photographic "reality." Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. Untitled from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture. The photograph is part of a series of pictures made from 1968 to 1975 of beach-goers in New Jersey. "The more fashion conscious probably go to other beaches, but what Atlantic City has – and what attracted me to it – is diversity," Metzker said. Of the content of the pictures and his working method, Metzker added, "What appears in the pictures was the subject's decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite." Metzker used a 1975 National Endowment for the Arts fellowship to pull the series together as Sand Creatures, later published as a book in 1979. There are no diptychs in the book, though the woman in sunglasses at the bottom of Untitled (1969) is included as a solo picture. In a July 1992 letter, Metzker wrote the following about two untitled Sand Creatures pictures from 1969: "The photograph of the double image is from the series entitled Couplets and predates the single image by a number of years. Both pictures were made at beaches along the New Jersey coast: the couplet at Atlantic City, the single frame at Cape May. With both, my camera was an Olympus half-frame, a small amateurish piece of equipment that let me move about freely. The choice of the camera was essential to the development of the series."Source: Museum of Contemporary Photography
Chad Ress
United States
1972
Chad Ress, born (1972) in Louisville, Kentucky lives in Ojai, California His work has been recognized in Photo District News; American Photography; Communication Arts; ; The One Show; D&AD Awards; The Forward Thinking Museum; and the PH Museum. Recent clients include Harper's Magazine, The New York Times, Toyota, Liberty Mutual, Pirelli, and MIT Technology Review. Ress first became interested in photography under the influence of the extensive archive of FSA photographs in Louisville's Speed Museum. His project America Recovered - A Survey of the ARRA looks to reconsider that legacy in the context of the recent economic collapse and subsequent stimulus legislation. It was accepted at Center - Photo Santa Fe; awarded distinction by The Forward Thinking Museum; and published in Time Magazine's Lightbox, The Wall Street Journal and Harper's Magazine. Ress recently completed a fellowship with the Center for Social Cohesion and Arizona State University and in conjunction with the New America Foundation. The resulting archive of images documents where Americans go to find a sense of community and connection to place. A series on the California aqueduct was recently published in UCLA's BOOM Magazine and included in "After the Aqueduct," an exhibition at Los Angeles Contemporary Exhibitions, Los Angeles, CA. America Recovered was featured at the 2015 Reyner Banham Symposium with a theme "The Aesthetics of Citizenship" at The University of Buffalo, Buffalo, NY. In 2020, America Recovered was published by Actar, with a foreward by Bonie Honig and essays by Miriam Paeslack and Jordan H. Carver. He currently lives in Ojai, California, with his partner and son. America Recovered In late 2009, in response to the financial crash of 2008, the Obama Administration passed the American Recovery and Reinvestment Act of 2009. The Administration advocated for an unprecedented level of transparency in the disbursement of stimulus spending and established Recovery.gov as a resource by which the public might track expenditures, which totaled over $800 billion. I used the text publicized on Recovery.gov, and related government websites, as a guide to photograph ARRA projects. The language accompanying the images has been transcribed verbatim from the original sources. The conceptual framework of this project is to reveal the point where abstract political processes manifest themselves in the physical world, thus providing an alternate means of experiencing the contemporary American landscape. The projects range in scale from fully realized housing projects to concrete drainage basins that could easily be overlooked. The projects are located in almost every community in the country, from remote and rural stretches of the American West to dense urban centers. The appropriated text, descriptions of the projects taken from various government databases, serve as very simple identifiers and are often written in dry bureaucratic prose. On the other hand, the images themselves contextualize the spending projects within the physical details of a specific place and moment.
Cally Whitham
New Zealand
Taking an idealistic view of the world, Cally Whitham records the ordinary, transforming it into a surreal image, reflecting the way things are perceived and altered through nostalgia and memory. Driven by a desire to remember, Whitham uses her camera to collect images, which allows her to preserve her surroundings forever. At the age of 11, she spent Christmas using her first roll of film shooting her favourite things, including her aunt's farm, an old house she wanted to live in and a big tree at the beach. As an adult she returns to similar subjects recaptured in shadows of times past. Based in New Zealand, Whitham finds the subtle, forgotten and overlooked in these locations, which are touched with beauty through their ordinariness and familiarity. Layering her photographs with emotion, the works explore the ways in which personal milieus are captured. Source: www.cally.co.nz The New Zealand photographer Cally Whitham focuses her artistic research on the depiction of everyday life She began photography at 11 years old when accompanying her father who was a painter. He roamed the countryside to do sketches of forests and farms. From an early age she therefore had painting as an artistic reference and mastered the techniques of the Beaux Arts. Source: Yellow Korner Interview With Cally Whitham: AAP: When did you realize you wanted to be a photographer? "When I was about 16 I think. I took a class at school and was hooked." AAP: Where did you study photography? "I studied at the Design School, which has since become Unitech." AAP: How long have you been a photographer? "21 years, with a few years break in the middle." AAP: Do you remember your first shot? What was it? "The first photo I ever took was of my grandparents and brother at a beach. I couldn't believe I was allowed to take a photo!" AAP: What or who inspires you? "Light inspires me. When the quality of light is just right anything seems possible; the unworthy becomes photogenic." AAP: How could you describe your style? "Pictorialism" AAP: Do you have a favorite photograph or series? "Wow, too hard to choose!" AAP: Do you spend a lot of time editing your images? "Yes I do. The initial photo is just a part of the process in creating an image. Post production is the place where the image and the vision I had come together. I don't photograph reality but rather create a potential or ideal reality and that potential is added in post production." AAP: Favorite(s) photographer(s)? "Alfred steiglitz in his early days and Julia Margaret Cameron." AAP: What advice would you give a young photographer? "Have a back job to pay the bills - it's a tough industry now to try to pay a mortgage on." AAP: What mistake should a young photographer avoid? "Not understanding the business, tax and admin side of being a photographer." AAP: Your best memory has a photographer? "The moments I have realized I was on to something during a shoot."
Garry Winogrand
United States
1928 | † 1984
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. Winogrand worked as a freelance photojournalist and advertising photographer in the 1950s and 1960s. Between 1952 and 1954 he freelanced with the PIX Publishing agency in Manhattan on an introduction from Ed Feingersh, and from 1954 at Brackman Associates. Winogrand's beach scene of a man playfully lifting a woman above the waves appeared in the 1955 The Family of Man exhibition at the Museum of Modern Art in New York which then toured the world to be seen by 9 million visitors. His first solo show was held at Image Gallery in New York in 1959. His first notable exhibition was in Five Unrelated Photographers in 1963, also at MoMA in New York, along with Minor White, George Krause, Jerome Liebling, and Ken Heyman. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977, and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer, and Photography Annual. Critic Sean O'Hagan wrote in 2014 that in "the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York"; and in 2010 that though he photographed elsewhere, "Winogrand was essentially a New York photographer: frenetic, in-your-face, arty despite himself." Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame." In his lifetime Winogrand published four monographs: The Animals (1969), Women are Beautiful (1975), Public Relations (1977) and Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). At the time of his death, his late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realized as far as contact sheets being made.Source: Wikipedia Photography is not about the thing photographed. It is about how that thing looks photographed. -- Garry Winogrand A native New Yorker, Garry Winogrand became known for his street photography blending documentary and photojournalist styles and freezing his subjects in spontaneous and bizarre moments. Winogrand typically used a wide-angle lens mounted on a Leica 35mm camera and photographed prolifically, leaving 2,500 rolls of shot but undeveloped film and 300,000 unedited images upon his death. The tilted horizon and feeling of chaos in his images belie his careful compositions concerned with capturing surface detail and energy. Winogrand believed that the act of framing and photographing something transformed it. His images are often confrontational and take moments out of context, positioning Winogrand as an outside observer of human gestures and actions. Among Winogrand’s favorite subjects were women, and he described himself as being “compulsively interested in women” and having “compulsively photographed women.” A large part of Winogrand’s images in the collection of the MoCP form part of the Women are Beautiful portfolio (1981), which was initially published as a monograph in 1975. For the monograph, John Szarkowski, curator of photography at the Museum of Modern Art in New York at the time, selected eighty-five images featuring women from hundreds of photographs by Winogrand. The resulting book offers a random collection of women caught on the street, in parks, getting into cars, at parties, marching in parades, skinny-dipping in ponds, etc. The images capture not only Winogrand’s attraction to the women he photographed, but also the styles, activities, gestures, and energies pertaining to gender in the 1960s and 1970s, an era of transition during second-wave feminism and the sexual revolution. In the monograph and in the portfolio, Winogrand wrote: “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.”Source: Museum of Contemporary Photography
Younes Mohammad
Younes Mohammad is Born in 1968 in Dohuk, Iraq. He's a Kurdish freelance photographer mostly active on assignments for newspapers, magazines, etc. He spent his life in Iran as a refugee from 1974 - 1998 and graduated with an MBA University of Tehran. Photography was his passion but he had no chance to follow it while the war situation was still continuing Under Saddam's time. In 2011 he quits his job and starts his journey as a photographer. His work has been exhibited internationally and published widely in publications. He has received numerous awards. He is now based in Erbil, Iraq. About Open Wounds "I start to work on a long-term project documenting the sacrifices of Kurdish Peshmerga in the fight to put down ISIS. Speaking with hundred Peshmerga, taking intimate portraits of the wounded fighters, their families, and documenting both the stories in the battle and their ongoing struggles to navigate post-conflict life. Through the work, I found stories of immense suffering. Fighters who took up arms, not because they were required to do so, but because it was right and it was what had to be done. These men, often fighting side by side with brothers, uncles, cousins, fathers, and sons, knew that the freedom and survival of their people were at stake. As they retold stories of watching family and friends killed in front of them and of battles they did not expect to survive, they simultaneously shed tears for the losses and for the pride they had in what their comrades and they had done. Almost all of the men showed severe physical injury. Arms, legs, and eyes lost. Bodies so riddled with bullet and shrapnel wounds that simple movement created wincing pain. These men also showed the signs of the heavy burdens of the mental traumas, of PTSD, and of memories that would not leave them. Despite all they suffered, they often said they would go back to the fight again if ever called. They would do this for their children, their families, their people, and for the wider world. Tragically, their suffering does not end having returned home. The men face new challenges, such as getting prosthetic limbs, ongoing care, providing for their families despite their debilitating injuries, and more. They wonder, if they would give everything to help protect the world, will the world help them or forget them now that they have put down their guns. I have hope that, through this work exploring conflict and post-conflict humanitarian issues, the World may better understand what these men and their families have given for the Kurdish people, the region, and, in fact, the world. " -- Younes Mohammad
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