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Rodrigo Paredes
Rodrigo Paredes
Rodrigo Paredes

Rodrigo Paredes

Country: Argentina
Birth: 1978

The photography of Rodrigo Paredes captures for eternity the ephemeral. His own struggles with loneliness, distrust, abandonment, and the passage of time commiserate with the subjects of his images. They reflect feelings of abandonment, desolation, neglect, and pain suspended in a singular frame.

Born in Avellaneda, a province of Buenos Aires, Paredes always remembered having a camera. His interest in photography developed into inspiration when the digital age arrived, as he immersed himself in the study of the photograph, where he developed an understanding of technique and style. His work has been exhibited in numerous galleries, and was awarded a 2nd place prize at “Arte x Arte”.

About The American Dream?
Rodrigo Paredes
© Rodrigo Paredes
"See and photograph different routes and roads, during my more than 15 trips through the United States, I was able to observe different types of landscapes, climates and places, but what caught my attention the most was how many towns or cities were abandoned when they were built. interstate routes. Few people now visit those towns, tourists, photographers, I wonder if that was really the American dream?"

Websites

www.rodrigoparedes.com

@rodrixparedes

 

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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More Great Photographers To Discover

Steve Dinberg
Steve Dinberg
United States
The sense of adventure that comes with exploring new places and meeting new people is what keeps me interested in street photography. A fellow photographer once told me, “There are two reasons people travel: the first is to see something new, the other is to experience something old.” I have always been a passionate photographer. I look for that decisive moment, and I am constantly in search of that special magical light, interesting faces that reveal personal history, hands that tell a story, and amazing eyes that convey emotion, but most of all, I try to capture that moment of interaction. I instinctively look for the colors, shapes, and textures in a defined area. As a lifelong traveler, I look for a street, alleyway, or even the face of a person that conveys meaning to their surroundings. Every Face Has A Story I had the opportunity to visit the country of Romania and quickly fell in love with the people, their traditions and the magical countryside villages. Traveling through these Romanian villages high in the Carpathian mountains, I learned that their life style and traditions are quickly vanishing because the younger members are leaving the hard mountain life and have moved to the larger cities where life is clearly much easier. Everyone I met and spent time with are living alone high in the mountains because they refuse to leave their homes and leave behind their Romanian traditions, and each always welcomed me into their homes. These photographs give a close-up glimpse into their life and charm of the Romanian people.
Hiroji Kubota
Hiroji Kubota
Japan
1939
Hiroji Kubota (born 2 August 1939) is a Japanese photographer, a member of Magnum Photos who has specialized in photographing the far east. Born in Kanda (Tokyo), Kubota studied politics at Waseda University, graduating in 1962. In 1961 he met the Magnum photographers René Burri, Elliott Erwitt, and Burt Glinn. He then studied journalism and international politics at the University of Chicago, and became an assistant to Erwitt and Cornell Capa, in 1965, a freelance photographer. Kubota photographed the 1968 US presidential election and then Ryūkyū islands before their return to Japan in 1972. He then photographed Saigon in 1975, North Korea in 1978, and China in 1979–85, and the USA in 1988–92, resulting in books and exhibitions. Kubota won the Mainichi Art Prize in 1980,[2] and the Annual Award of the Photographic Society of Japan in 1981. Three of his publications won him the first Kodansha Publishing Culture Award in 1970: "Black People", and essays on Calcutta and the Ryūkyū islands.Source: Wikipedia Hiroji Kubota sounds a little over-the-top when he insists his "life is meaningless" without photography. But a glance at his latest and 19th book will convince you he is absolutely right, given how his life has been intertwined with some of Magnum's legendary photographers, like René Burri, Burt Glinn and my father, Elliott Erwitt. He started out working with some of them as a fixer and translator, even though he refused payment at first. "I was brought up comfortably and didn't need it," he said. He did, however, accept a beat-up Leica M3 from Burri. His life changed when he got the first edition of Henri Cartier-Bresson's The Decisive Moment a month later. "When I opened it, I said, 'My gosh, what is this?" he recalled. "That motivated me. That's when I became serious." His fate was sealed when Burri showed him a Swiss magazine that featured his Gaucho pictures. "It shocked me like crazy," he said. "I knew then I wanted to be a photographer." The results of those personally decisive moments are evident in Aperture's Hiroji Kubota Photographer a retrospective covering 50 years of his work. I met Hiroji almost that long ago, because my father, Elliott Erwitt, sponsored him when he first came to America, even picking him up at the TWA terminal at Kennedy Airport. They had met when Hiroji worked as a fixer on one of my father's early trips to Japan, in 1962, to illustrate Robert Donovan's book PT 109, about John F. Kennedy's World War II exploits. Hiroji was my father's translator when he photographed the captain and crew of the destroyer that famously cut Kennedy's boat in two. That kind of work led to his meeting other influential photographers who would encourage him, eventually bringing him to New York, where he became a familiar figure at the Magnum offices. Back then, the agency was a small, international and slightly dysfunctional family that was accessible if you met the right people, which he did. Cornell Capa, a Magnum photographer, "adopted me literally, not legally," he said. "He had no children, so he needed a son, a fairly well-behaved son who could cook for him." Capa, who entertained "big shots" at his Fifth Avenue apartment, helped Hiroji make a few extra dollars by having him cook. Burt Glinn also hired Hiroji as an assistant to help him get by. Hiroji showed similar ingenuity when he spent the better part of a year photographing in Chicago, where he ran an ad hoc Japanese catering business every other weekend to help pay the bills. By 1967, he was a successful photographer firmly ensconced at Magnum, and it was time to return to Japan. He has proved to be a remarkably tenacious photographer who immerses himself in a story and returns to it until he is satisfied. He has managed to get to places others can't - like his unlimited access on many trips to China, when travel within the country was still limited. He would talk government officials into allowing him the time and access he needed to achieve his purpose. Same with North Korea; he has made countless visits - at its invitation - at a time when it was essentially a closed country. -- By Misha ErwittSource: The New York Times During a visit by Magnum members to Japan in 1961, Hiroji Kubota came to know René Burri, Burt Glinn and Elliott Erwitt. After graduating in political science from Tokyo’s University of Waseda in 1962, Kubota moved to the US, settling in Chicago, where he continued photographing while supporting himself by working in a Japanese catering business. He became a freelance photographer in 1965, and his first assignment for the UK newspaper The Times was to Jackson Pollock’s grave in East Hampton. In 1968, Kubota returned to live in Japan, where his work was recognized with a Publishing Culture Award from Kodansha in 1970. The next year he became a Magnum associate. Kubota witnessed the fall of Saigon in 1975, refocusing his attention on Asia. It took him several years to get permission to photograph in China. Finally, between 1979 and 1984, Kubota embarked on a 1,000-day tour, during which he made more than 200,000 photographs. The book and exhibit, China, appeared in 1985. Kubota’s awards in Japan include the Nendo Sho (Annual Award) of the Japanese Photographic Society (1982), and the Mainichi Art Prize (1983). He has photographed most of the Asian continent for his book Out of the East, published in 1997, which led to a two-year project, in turn resulting in the book Can We Feed Ourselves? Kubota has had solo shows in Tokyo, Osaka, Beijing, New York, Washington, Rome, London, Vienna, Paris and many other cities. He has just completed Japan, a book on his homeland and the country where he continues to be based.Source: Magnum Photos
Danny Lyon
Danny Lyon
United States
1942
Brooklyn native Danny Lyon received a BA in history in 1963 from the University of Chicago, where he served as staff photographer for the Student Non-Violent Coordinating Committee. A self-taught photographer, he traveled with the Chicago Outlaws motorcycle club in 1965-1966 and published his pictures of the club members as The Bikeriders (1968). Since 1967 he has been an independent photographer and an associate at Magnum, and he has made films since 1969. Lyon has received Guggenheim Fellowships in photography and filmmaking, and his work has been included in many major exhibitions, including Toward a Social Landscape at the George Eastman House. His first solo exhibition was held at the Art Institute of Chicago. In addition to The Bikeriders, Lyon has published a number of photographic books based upon his experiences with a group of people or in a particular place, among them The Movement (1964), about the Civil Rights movement, and Conversations with the Dead (1971), a study of life in Texas prisons. Among the films he has produced are Social Services 127, Los Niños Abandonados, and Little Boy. Personal participation in the lives of his subjects is vital component to Danny Lyon's photography. His subjects often deviate from societal norms, yet he is dedicated to communicating their character and sensibility honestly, sympathetically, and nonjudgmentally; for him this requires firsthand knowledge of their experiences. Whereas in his earlier work he seemed to withhold his own personality from the images in order to emphasize that of his subjects, his recent work includes more of himself. Lyon has consistently produced effective, sincere documents of real people's lives that have inspired many photographers since the 1960s. Source: ICP
Ori Gersht
Ori Gersht
Israel
1967
Ori Gersht was born in Israel in 1967, but has lived in London for over 30 years. Throughout his career his work has been concerned with the relationships between history, memory and landscape. He often adopts a poetic, metaphorical approach to explore the difficulties of visually representing conflict and violent events or histories. Gersht approaches this challenge not simply through his choice of imagery, but by pushing the technical limitations of photography, questioning its claim to truth. Frequently referencing art history, Gersht's imagery is uncannily beautiful; the viewer is visually seduced before being confronted with darker and more complex themes, presenting a compulsive tension between beauty and violence. This has included an exploration of his own family’s experiences during the Holocaust, a series of post-conflict landscapes in Bosnia and a celebrated trilogy of slow-motion films in which traditional still lives explode on screen.
Erwin Olaf
Erwin Olaf
Netherlands
1959 | † 2023
Erwin Olaf (b. 1959) is an internationally exhibiting artist with works in the collections of museums and galleries around the world. Olaf has received numerous highly prestigious commissions and awards. Olaf emerged onto the international art scene when his series ‘Chessmen’ won the Young European Photographer of the Year award in 1988. This was followed by an exhibition at the Ludwig Museum in Cologne, with subsequent solo and group shows at major museums and galleries around the world, including Centro de Arte Contemporaneo de Málaga, Museum of Image and Sound in São Paulo, Martin-Gropius-Bau in Berlin, SECCA in North Carolina and Santiago Museum of Contemporary Art. In 2018 the Rijksmuseum has accuired 500 key artworks from his fourty-year oeuvre for their collection. This follows recent official portraits for the Dutch royal family and the design of the new Euro coin for King Willem Alexander. Rutger Pontzen, art critic for Dutch newspaper the Volkskrant said, ‘Controversial or not, Erwin Olaf does give a picture of the Netherlands’.. ‘and that makes him distinctive in Dutch photography’.. ‘In other words, his oeuvre belongs to the cultural heritage’. Starting his career as a photojournalist documenting the gay scene of the 1980s, Olaf increasingly sought and defined his own subjects, often explored in series of works in black and white (Squares, Chessmen and Blacks) and colour (Mind of their Own, Rain, Hope, Grief, Dusk, and Dawn). In recent years he has developed his themes through the form of monumental tableaux, for which he adopts the role of director as well as photographer. Olaf is a master of this craft, a virtuoso in the fine and subtle arts of photography and drama suffused with stillness, contemplation and dreamlike mystery. He is also a true picture maker, showing a close affinity with Old Masters and contemporary artists alike, from Rembrandt to Mapplethorpe, and in that sense his work emphatically bridges the gap between historical and contemporary picture-making. Now internationally renowned, Erwin Olaf’s photography remains an essential part of the Netherlands’ cultural heritage. Taco Dibbits, Rijksmuseum director, says, ‘his work is deeply rooted in the visual traditions of Dutch art and history’ and that consequently Olaf is ‘one of the most important photographers of the final quarter of the 20th century’. From progression to decay, notions of transformation are prevalent throughout Olaf’s work with a multitude of projects proving his fascination for society’s ever-changing demands, its simultaneous development and devolution of our moral compass, and its cultivated sense of anticipation for an almost-achievable contentment. These are the preoccupations that add a fascinating dimension to ‘Skin Deep’ and ‘Tamed and Anger’, but also colour the tension in ‘Separation’ which explores the artist’s relationship with his mother, the controversial ‘Royal Blood’, the pressures of ageing in ‘Mature’ and the self-portrait series ‘I Wish, I Am, I Will Be’. All these projects reveal the friction of an imperfect reality hidden beneath a perfectly curated façade. His most recent work sees the conclusion of the three-part project ‘Shifting Metropolises’ [working title] - a series of artworks looking at internationally renowned cities undergoing seismic change in the modern world. Rather than fabricating a controlled studio environment, this trilogy is the only time the artist has shot on location, retaining his characteristic cinematic associations to produce a body of work wrought with the genuine emotions and neuroses of these places and their inhabitants. A bold approach to his work has earned Olaf a number of commissions from institutions including Louis Vuitton, Vogue, the Stedelijk Museum Amsterdam, and the Rijksmuseum Amsterdam, for which he designed the 2016 ‘Catwalk’ exhibition, including a promotional video and photographic campaign. He has been awarded Photographer of the Year in the International Colour Awards 2006 and Kunstbeeld magazine’s Dutch Artist of the Year 2007 as well as the Netherlands’ prestigious Johannes Vermeer Prize. Additional international awards include the Infinity Award from the International Centre of Photography, the Silver Lion at the Cannes Lions Festival for Advertising, and a Lucie Award from the United States for his whole oeuvre. In 2013 he won the commission to redesign the Dutch Euro coins, which have been in circulation since 2014. Olaf has screened video work at the Centre Pompidou in Paris, the Museum at FIT in New York, and at Nuit Blanche in Toronto with a live score commissioned for his series ‘Waiting’. He has also projected his 30 channel video installation ‘L’Éveil' onto the Hôtel de Ville for Nuit Blanche in Paris, curated by Jean de Loisy (Director, Palais de Tokyo). In March 2018 the Museu da Imagem e do Som in São Paulo hosted a retrospective of his work. In 2019 Shanghai Center of Photography (SCôP) will host a solo exhibition. The Gemeentemuseum The Hague and The Hague Museum of Photography will host an anniversary solo exhibition for Erwin Olaf his 60th birthday, and to celebrate 40 years of photography. In 2019 there will be a new retrospective monograph released, published by Hannibal, Aperture, Xavier Barral and Prestel. Erwin Olaf (born 1959, Hilversum, the Netherlands) lives and works in Amsterdam. Source: www.erwinolaf.com
Annick Donkers
Annick Donkers
Belgium
Annick Donkers is a documentary photographer from Antwerp, Belgium. After obtaining a Master’s degree in Psychology, she decided to specialize in photography. She has received a grant from the Mexican Ministry of Foreign Affairs and was selected to participate in the Seminar on Contemporary Photography at the Centro de la Imagen in Mexico City (2008). Her work has been exhibited and published internationally. She was one of the winners at the Survival International Competition (2015), won an award at the San José Photo Festival in Uruguay (2016), the Sony Awards in UK (2016), the MIFA awards in Russia (2016), the IPA awards in USA (2016), the TIFA awards in Tokyo (2016), received an honorable mention at the Px3 Prix de la Photo in Paris(2016), was selected at Latin American Photography vol.5 (2016), on the cover of Dodho magazine (2016), shortlisted for the Kolga Tbilisi Awards and Athens Photo Festival (2017). She currently lives and works as a freelance photographer in Mexico City.About Lucha Libre Extrema The Lucha Libre Extrema series emerged from a growing interest I had in Mexican professional wrestling. I was soon drawn towards sub-genres of the sport such as Lucha Libre Exótica and Lucha Extrema. This semi-clandestine hardcore genre is currently prohibited in Mexico City because of how dangerous it is, but events still take place outside the capital, notably at a car wash-turned-arena in Tulancingo, the village where El Santo, Mexico’s most famous pro wrestler, was born. The participants receive professional training and are paid a little bit more because of the risks they take. They perform with a variety of weapons: chairs, thumbtacks, wire, and fluorescent lights, turning the ring into a war zone. Yet the community of luchadores “extremos” is closely knit and few outsiders have gained access. Mexico has been a very violent place in recent years. As such, I found it fascinating that people were drawn to the dangerous world of Lucha Libre Extrema and turned my camera to the audience in an attempt to understand their reasons. About Afromexican HealersAt the end of last year my attention was drawn to the coastal region of Guerrero known as Costa Chica, located to the south of Acapulco. This region is home to Mexicans descended from African slaves that identify themselves as being “black”. But outside this region they are little-known and they are currently fighting to be officially recognized by the Mexican State. The Costa Chica is also a place rooted in traditional beliefs that include appearances of trolls, the devil and spirit animals. The legend tells that when a baby is born, a member of the family brings the child to a crossroads up in the mountains where lots of wild animals pass by. The first creature to approach the child will be the child's spirit animal, or tono in Spanish, since there is now a dependency created between child and animal. This means that when the animal is hurt, wounded or dies, the person is too. In the Afromexican communities there are healers that will cure these "animal"-related illnesses, since conventional medicine will not work in these cases. The person is cured with herbs selected by the healers and also according to the needs of the animal. They call these healers curanderos del tono and there are only a small number of them left. I went to the Costa Chica region in an attempt to capture what remains of this Afromexican tradition.
Sam Abell
Sam Abell
United States
1945
Sam Abell is an American photographer known for his frequent publication of photographs in National Geographic. His love of photography began due to the influence of his father who was a geography teacher who ran a photography club. In his book The Photographic Life, Abell mentions a photograph he made while on an outing with his father, a photograph that subsequently won a small prize in a photo contest. He credits that prize as being a major influence on the direction his life would take. Abell was the photographer and co-editor for his high school yearbook and newspaper. Abell graduated from the University of Kentucky in Lexington where he majored in English, minored in Journalism, and was the editor of the Kentuckian Yearbook. He is also a teacher, an artist and an author. He received an honorary Doctor of Letters degree from the University of Toledo in 2009. Sam Abell's book The Life of a Photograph is one of three volumes begun in 2000 with Seeing Gardens, followed in 2002 with The Photographic Life and Sam Abell Library in 2013.Source: Wikipedia Photography, alone of the arts, seems perfected to serve the desire humans have for a moment—this very moment—to stay. -- Sam Abell National Geographic photographer Sam Abell has defined his career with patience. There is no dull section of a Sam Abell photograph, the frame is layered from back to front with compelling imagery. This can be a slow process, it can take days, weeks, or in some cases months for the right opportunity to present itself. His photographs are considered to be amongst some of the best images to have appeared in the esteemed publication. Somehow, Sam agreed to sit down with us and have a chat about his life, work and photographic philosophy.Source: The Adventure Handbook Above all, it’s hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made. -- Sam Abell
Amir Appel
Amir Appel
Israel
1965
My name is Amir Appel, living in Israel and doing street photography as a hobby for the last 10 years. An electronic engineer as a profession. Running in the streets, I try to find the contrasts that exists in Israel between the different communities, and if I get a smile out of it, it’s even better. Always have to have at least one person captured (a single person is boring…) and I am trying to capture it in some action. Mostly shooting with flash to add more details to the image.
Ricardo Reis
Ricardo Reis
Portugal
1981
Why I Photograph As a young person, I needed and had to put out there so many things that were stuck inside me, and very quickly, I realized that I had a different way of seeing the world. I started noticing that even if there were many people looking at the same thing as me, they weren't seeing what I was seeing. Photography became the most realistic representation of my perspective. Photography blends all the art mediums and I am inspired to create amalgamations of the dream world with the real. I love the challenge of being able to put onto paper the ideas and surreal world of my own creation. My Purpose When I create a photograph image, I want to engage in a dialogue-to make the viewer feel something, even if it's a negative reaction. I appreciate the negative reaction, because I understand I've drawn something out in the viewer: an honest reaction is more potent than an indifferent one. I want to be able to convey an inner conversation-an ambience, a vibe- to create curiosity in the viewer for the lives and moments depicted in my images. My Method I prefer to shoot with black and white 35mm film, because I find it's more honest and direct, at least for me. I like the mental exercise of having to prepare the picture in your mind first and do the chain of thoughts necessary to translate the idea into the final work. Color can be distracting and disruptive of the real intent and emotion I am trying to achieve. My favorite camera is the Canon EOS 1 RS film camera; it has plenty of functions which allow me to have more control over the final product. I love to prepare a playlist and just go and take a walk with my camera and put myself in the mood: a limbo between voyeurism and participant. My Path When I started I wanted to be a war photographer, but in my home country of Portugal, it's very difficult to get the connections necessary to achieve that. I was fortunate to get an internship at a daily newspaper in Portugal which led to my work being published in several major newspapers and magazines. I began to work more in fashion photography and was assigned to the fashion weeks that took place in Europe. During the shows, I found that I always preferred the backstage where I had more freedom to do different things, take more risks. Photography has been the driving force through all my creative pursuits. My love of music, music photography and music videos comprise a large part of my work. As a cinematographer/director for album and DVD covers, I work in collaboration with several European photography agencies in Portugal and in the UK. The more artistic side of my work is represented in several countries and in private collections, from Canada, the UK, France, Netherlands, Australia, China, Portugal, and the United States. Currently I am living in Lisbon, but who knows what's next.
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AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes
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