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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
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Alban Lécuyer
Courtesy Aline Barrault
Alban Lécuyer
Alban Lécuyer

Alban Lécuyer

Country: France
Birth: 1977

Born in Paris in 1977, Alban Lécuyer studied Journalism and Photography at the Lille Graduate School of Journalism (France). He mainly works as a photographer of architecture within public projects and for private companies (advertising campaigns, photographic missions). Whilst collaborating with various journals, he teaches the History of Photography and Image Analysis at the DMA in Nantes (France). His personal projects centre around the analysis of new forms of dwellings from the social, economic, political and media point of view, and on the alteration of urban space. His works have been exhibited in Spain (Getxophoto Festival), in Switzerland (Biel Festival of Photography) and in France (Le BAL, Circulation(s) Festival, Images Singulières Festival, Archifoto – International Awards of Architectural Photography, etc.).

The Here Soon project transposes reality from everyday city life into the aesthetic of computer graphics, which aim to showcase high-quality real estate projects. The pictures of the series reproduce the codes of those fictitious representations of reality: contrasts are light, shadows are reduced to a minimum, and all that stands between the spectator and the architectural project – trees, vehicles, passers-by and so on – is shown in transparency. Nevertheless, the frame leaves place for writing on the walls, laundry hung out to dry, abandoned objects, trash – everything that bears witness to a civilization that has left its mark on the place that it inhabits. The presence of the local residents also calls attention to their singularity, their paths, and their relationship with their surroundings. Therefore, the emergence of a concrete memory of places contradicts the universal and potential value of images.
Selected Books on Available on Amazon
Ici Prochainement : Sarajevo
Ici Prochainement : Sarajevo
Alban Lécuyer, Velibor Čolić

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Selected Books

Ici Prochainement : Sarajevo
Ici Prochainement : Sarajevo
Alban Lécuyer, Velibor Čolić

Inspiring Portfolios

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

Marc Riboud
Marc Riboud
France
1923 | † 2016
Marc Riboud was a French photographer best known for his extensive reports on the Far East, including The Three Banners of China, Face of North Vietnam, Visions of China, and In China. Photography cannot change the world, but it can show the world as it changes. -- Marc Riboud Riboud was born in Saint-Genis-Laval and attended Lyon's lycée. He photographed his first picture in 1937, using his father's Vest Pocket Kodak camera. From 1943 to 1945, he was a member of the French Resistance as a young man during WWII. From 1945 to 1948, he studied engineering at the École Centrale de Lyon after the war. Marc Riboud worked as an engineer in Lyon factories until 1951, when he took a week-long photography vacation that inspired him to become a photographer. He relocated to Paris, where he met the founders of Magnum Photos, Henri Cartier-Bresson, Robert Capa, and David Seymour. He was a member of the organization by 1953. His ability to capture fleeting moments in life through powerful compositions was already apparent, and he would use this skill for decades to come. Eiffel Tower Painter, Paris, 1953© Marc Riboud Riboud traveled around the world for the next several decades. He was one of the first European photographers to visit China in 1957, and he documented North Vietnam in 1968, 1972, and 1976. Later in life, he traveled extensively throughout the world, primarily in Asia, Africa, the United States, and Japan. Marc Riboud has witnessed war atrocities (photographing from both the Vietnamese and American sides of the Vietnam War) as well as the apparent degeneration of a culture suppressed from within (China during Chairman Mao Zedong's Cultural Revolution). In contrast, he has captured the graces of everyday life in sun-drenched corners of the world (Fès, Angkor, Acapulco, Niger, Bénarès, Shaanxi), as well as the lyricism of child's play in everyday Paris. In 1976 he becomes president of Magnum and resigns three years later. Riboud's photographs have appeared in a variety of publications, including Life, Geo, National Geographic, Paris Match, and Stern. He has received the Overseas Press Club Award twice, the Sony World Photography Awards Lifetime Achievement Award in 2009, and major retrospective exhibitions at the Musée d'Art Moderne de la Ville de Paris and the International Center of Photography in New York. In 1998, Marc Riboud was named an Honorary Fellow of the Royal Photographic Society. The eye is made to see and not to think.... A good photograph is a surprise. How could we plan and foresee a surprise? We just have to be ready. -- Marc Riboud Eiffel Tower Painter, taken in Paris in 1953, is one of Riboud's most well-known photographs. It depicts a man painting the tower, posing like a dancer and perched between the tower's metal armature. Paris emerges from the photographic haze beneath him. Riboud's images frequently feature lone figures. In Ankara, a central figure is silhouetted against an industrial backdrop, whereas a man lies in a field in France. The vertical composition emphasizes the landscape, the trees, the sky, the water, and the blowing grass, which all surround but do not overpower the human element. The Ultimate Confrontation: The Flower and the Bayonet, Washington D. C, 21 Octobre 1967© Marc Riboud Riboud's photograph, The Ultimate Confrontation: The Flower and the Bayonet, taken on October 21, 1967, is one of the most famous anti-war images. The photograph was taken in Washington, D.C., where thousands of anti-war activists had gathered in front of the Pentagon to protest America's involvement in Vietnam. It shows a young girl, Jan Rose Kasmir, holding a flower and looking out at several rifle-wielding soldiers stationed to block the protesters. Marc Riboud stated about the photograph, "She was just talking, trying to catch the eye of the soldiers, maybe trying to have a dialogue with them. I had the feeling the soldiers were more afraid of her than she was of the bayonets." In contrast to the images in his photo essay A Journey to North Vietnam (1969), Riboud says in an accompanying interview, "My impression is that the country's leaders will not allow the slightest relaxation of the population at large [...] it is almost as if [...] they are anxious to forestall the great unknown - peace." He expanded on his observations of life in North Vietnam in the same Newsweek article: "I was astonished, for example, at the decidedly gay atmosphere in Hanoi's Reunification Park on a Sunday afternoon [...] I honestly did not have the impression they were discussing socialism or the 'American aggressors' [...] I saw quite a few patriotic posters crudely 'improved' with erotic graffiti and sketches." Vietnam, 1976© Marc Riboud There is a gap between what is photographed (or published) and what Riboud said in his interview. The author Geoffrey Wolff commented on this in 1970: "Riboud's photographs illustrate the proposition. The French photographer has been to North Vietnam twice [...] and he is most friendly, on the evidence of his pictures, to the people and the institutions he found there. His photographs are of happy faces,[...] An Air Force ace illustrates how he shot the American 'air pirates' from the sky [...] Who knows the truth about these places?" Rage Against the Machine, an American revolutionary political Rap Metal band, used two of Riboud's photographs for their second single Bullet in the Head. Both images convey strong political and social messages, but they are very different. The front cover depicts American schoolchildren pledging allegiance to the 'flag' (Stars and Stripes) in a classroom; the back cover depicts a young (probably Vietnamese) boy pointing a pistol, with soldiers on parade in the background. It's unclear who or what the boy is aiming at, or if the gun is real or a toy. Since the 1980’s Marc Riboud keeps travelling at his own tempo. He published many books, among which the most famous are The three banners of China, Journal, Huang Shan, Capital of Heaven , Angkor, the serenity of Buddhism, Marc Riboud in China. Riboud married the American sculptor Barbara Chase, who was living in Paris at the time, in 1961. They had two kids. Sally Hemings (1979), her debut novel, received critical acclaim and went on to become a best-seller. They divorced prior to 1981. He later married journalist and author Catherine Chaine. Riboud died on August 30, 2016, at the age of 93, in Paris. In 2004 his retrospective is exhibited at the Maison Européenne de la Photographie in Paris and visited by 100 000 people. Numerous museums trough Europe, as well as United States, China and Japan regularly show his work. He received many awards, among which two Overseas Press Club, the Time-Life Achievement, the Lucie Award and the ICP Infinity Award.
Lev. L. Spiro
Lev. L. Spiro
United States
Lev L. Spiro is a fine art photographer and filmmaker, whose work tries to convey the sense of mystery and wonder he finds in the natural world. Work from his series "Fugitive Light", "Night Creatures" and "Thin Places" has been juried into more than 60 exhibitions, including A. Smith Gallery, Southeast Center for Photography, Ph21 Gallery, Midwest Center for Photography, and Davis Orton Gallery, as well as featured in publications including Dodho Magazine, Shadow & Light Magazine, What Will You Remember?, Art Ascent Magazine (Gold Artist, June 2021; Silver Artist, July 2023) All About Photo, and Black + White UK. Lev currently teaches the fine art photography courses "The Artful Garden" and "Story & Emotion in the Natural World" for Santa Fe Workshops. He's also well known for his tv and film directing work, having helmed more than 160 episodes, pilots and features for tv including multiple Emmy-award winning series such as Orange is the New Black, Ugly Betty, Modern Family, Weeds and Arrested Development. He lives in Los Angeles, California with his wife, screenwriter Melissa Rosenberg, and their two dogs T.Beau and Luna. ARTICLE: Elemental
Andrew Moore
Andrew Moore
United States
1957
Andrew Moore’s work is in the collection of the Whitney Museum of American Art, Yale University Art Gallery, the Library of Congress, the Israel Museum, the High Museum, the George Eastman House and the Canadian Centre for Architecture. Recent exhibitions include The Queens Museum, Columbia University and The Museum of the City of New York in conjunction with a retrospective on the legacy of Robert Moses. Moore has had recent solo shows in Minneapolis, Moscow, Paris, San Francisco, and Nebraska. In 1975, Moore enrolled at Princeton University, where he worked on an independent major in photography under the guidance and mentorship of the historian Peter Bunnell and the photographer Emmet Gowin, who at the time, was completing his first monograph. During that time, Moore also had the benefit of working with visiting artists including Frederick Sommer, Jim Dow, and Joel Meyerowitz. Moore graduated summa cum laude in 1979. After a brief stint working with commercial photographers in New York City, Moore moved to New Orleans, where he continued a body of work first started for his senior thesis. Over the next two years, he focused on the city’s disappearing commercial district, where he found subjects such as a coffin workshop, a broom factory, and a raw furrier–places employing artisans and outdated machinery. The New Orleans Downtown Development District awarded Moore a grant which enabled him to produce a portfolio of one-hundred 8x10 color contact prints, which were placed in the city’s archives. In 1981, Moore returned to New York City, where he began a three-year project documenting the rapid changes to the urban landscape, specifically at the South Street Seaport and Fulton Fish Market in lower Manhattan. At the start of his project, the demolition of the present marketplace and shopping pier was just getting underway. Moore returned many times over the following months, often photographing at night to portray the architecture and ambiance of the surrounding neighborhood amidst massive, rapid transformation. For this work, Moore and two other photographers, Barbara Mensch and Jeff Perkell, were awarded grants from the JM Kaplan Foundation, and the New York State Council on the Arts, which enabled the completed project, South Street Survey to be shown at the Municipal Art Society in 1985. During this time, Moore was also working on a series of photographs of grain elevators in Buffalo, New York with the assistance of an NYSCA individual grant. In Buffalo, Moore met a group of artists working with appropriated imagery, which inspired him to begin using mechanical and chemical processes to incorporate multiple negatives, paintings, drawings, and xeroxes into complex montage images outside of strict documentary practice. This method of recombination, in the era before Photoshop, created images of convulsive beauty and were the subject of Moore’s first solo exhibition in New York at Lieberman and Saul Gallery in 1986, following his first solo show at Real Art Ways in Hartford, CT in 1985. Moore continued this method of montaging imagery for the next 7 years, expanding his practice into experimental short films. During this time, Moore collaborated on short films with others including the artists Lee Breuer and David Byrne. His film Nosferatu 1989 was nationally broadcast on MTV and PBS’s New Television series. 42nd Street In 1995, Moore returned to his roots in documentary practice as the texture of New York’s 42nd Street was rapidly changing. With all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, Moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. In 1997, Moore showed these photographs at Yancey Richardson Gallery in New York. Despite his change of style, the work was well-received; in a review for The New Yorker, Andrew Long noted, “The straight forward treatment is a departure for the photographer, who characteristically produces multi-image evocations of New York City. Nothing is lost however - his earlier poetic constructs now give way to broader arenas for the imagination to roam.” Cuba Moore first traveled to Cuba in 1998 to photograph Havana’s decaying theaters. The project soon expanded in scope to document the larger effects of Cuba’s permanent Revolution, which were particularly apparent during the economic depression known as the “Período especial.” Moore’s large-scale color photographs of Havana reveal an elegant but crumbling metropolis of muted pastel interiors, courtyards, and scenes of daily life. Moore returned to photograph Cuba’s architecture and environment over the next 14 years, in the process publishing two monographs Inside Havana (Chronicle Books, 2002) and Cuba (Damiani, 2012). Moore has said his work intends to show, “how contemporary history, and specifically cultures in transition, are expressed through architecture.” The photographer Julius Shulman wrote of Inside Havana, “Exhibited throughout Moore’s work is a genuine flavor of ‘presence’. He does not attempt to gloss over questionable conditions, nor does he try to contort reality. With tremendous sensitivity, Moore creates art statements of the architecture he shows us. His images are painterly and poetic.” Moore’s photographs from Cuba appeared as a cover story in the September 23, 2012 issue of New York Times Magazine. Russia While working in Cuba, Moore became interested in the island nation’s long relationship with Russia. This led him to photograph the architectural environments where Russian history and politics collide in unexpected ways. Between 2000 and 2004 Moore made 8 trips around Russia from St. Petersburg to the remotest parts of the country. The New Yorker wrote of the work, “in taking Russia - its contradictions and gorgeous ruins - at face value, he captures a country’s diversity and history.” For example, Moore photographed a “czarist church [that] was turned into a soap factory during the Soviet period, and now has been restored into a kind of youth center.” Moore remarked, “For me these kinds of subjects present a cross-section through time: they address Russia’s complex past, as well as the larger compacting and collapsing processes of contemporary history.” In 2004, Moore published the monograph Russia Beyond Utopia (Chronicle Books, 2004). Detroit In 2008 and 2009, Moore traveled to Detroit to portray in photographs “the idea that in an urban setting you could also have a landscape happening, the forces of nature intersecting with American urbanism, the process of decline also intersecting with the revival of nature.” In 2010, Moore released Detroit Disassembled (Damiani, 2010), with an introduction by Detroit-native and Poet Laureate Philip Levine, to coincide with an exhibition at the Akron Art Museum. He was originally invited to document the city by two young French photographers, Yves Marchand and Romain Meffre, who had been photographing Detroit’s abandoned spaces since 2005. While Moore’s Detroit series follows the themes of transformation and decaying space explored in previous bodies of work, his focus on the motor city generated controversy in the pages of The New Republic and the journal Guernica. The photographs were decried as “ruin porn,” which Mike Rubin defined in The New York Times as “urban decay as empty cliché, smacking of voyeurism and exploitation.” Curator Sarah Kennel writes in The Memory of Time, an exhibition catalog from the National Gallery of Art, that, “in Moore’s photographs, ruination serves more explicitly as an allegory of modernity’s failure.” Other critics argue that whether or not Moore’s Detroit photographs fit the category of “ruin porn” is a matter of academic debate. Joseph Stanhope Cialdella argues in the journal Environmental History that Moore’s work instead conveys the “aesthetic of a postindustrial sublime” which “gives nature the authority to transform the image of Detroit into a novel, yet disturbing landscape that blurs the lines between wilderness and the city.” Dora Apel writes in Beautiful Terrible Ruins that Moore’s “pictures of Detroit tend to emphasize the relationship of nature and culture, with nature in the ascendancy.” Apel ultimately argues that the “ruin porn” images and debate fail to focus on the political and economic policies that are the root causes of the ruins. Dirt Meridian From 2005 to 2014, Moore photographed the people and landscape of “great American Desert,” which roughly includes the area west of the 100th meridian to the Rocky Mountains, from Texas north to Canada. The area is one of the most sparsely populated regions in the country, “where the daily reality is often defined by drought and hardship.” To make many of the photographs, Moore collaborated with Doug Dean, the pilot of a single-engine aircraft, to create bird’s-eye perspectives revealing the vastness of the land. Rather than flying high above the plains, Moore chose perspectives that have “the sense of being within the landscape rather than above it.” For an essay accompanying Moore’s photographs in The New York Times Magazine, Inara Verzemnieks wrote, “From above, the land is like one endless, unpunctuated idea - sand, tumbleweed, turkey, bunch stem, buffalo, meadow, cow, rick of hay, creek, sunflower, sand — and only rarely did a house or a windmill or a barn suddenly appear to suspend the sense of limitlessness.” On the ground, Moore photographed the people who inhabit this unforgiving landscape and the evidence of their efforts, from active homesteads to abandoned schoolhouses. These photographs are published in Moore’s newest monograph: Dirt Meridian (Damiani, 2015).
Emily M Watson
Emily M Watson
United States
1951
''Travel is like a date with my soul; it reveals my inner self, as I absorb the outer world'' Emily M. Wilson Emily Marie Wilson is a Pacific Northwest native, living in Seattle, WA USA and an experienced world traveller with a special love of things culturally interesting to photograph. She absorbs and reflects on the places she visits, turning her camera to capture both people and details which are of unique cultural and ethnic importance. Emily has expanded her passion for both photography and travel over the years by leading small group cultural and photographic journeys to remarkable and edgy locations in the world. Emily, additionally, is an award-winning photographer with local, regional, national and international recognition. Emily Marie Wilson is further, greatly diversified in her own background experiences. She additionally has earned several university degrees in Political Science, Middle East Languages & Culture and Comparative Religions of the World. In 2007, Emily authored: From Boats to Boards Feet: The Wilson Family of the Pacific Coast, a comprehensive, handsomely illustrated 464-page book detailing the Wilson family (Swedish immigrants from Bohuslan who settled in Rainier Oregon, building a highly successful saw-mill business) and its worldwide business enterprises centered along the American Pacific Coast in the 1800s. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years, she has a diverse range of experience working with world-wide travel operators. Statement Emily M. Wilson is a Seattle native, an award-winning photographer, and world traveler. She absorbs and reflects the places she visits, turning her camera to people and details unique to each culture. Emily is greatly diversified in her own travel expertise. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years. She combines her passion for both photography and travel by leading small group cultural journeys to all parts of the world.
Mi Zhou
Mi Zhou
China/United States
1962
Mi Zhou was born in 1962 in China, studied Civil Engineering in college. Following graduation, worked for 13 years as a field engineer for Chinese National Railroad Survey and Design Institute. In 1997, obtained Master degree in Communication Arts from New York Institute of Technology. From 1997 to 2004, worked as art director at Y&R /K&L advertising Inc., New York. Since 2004, resides in San Francisco, USA, working as freelance photographer, mainly focusing on personal projects, and working with non-profit organizations on social documentary. Recognitions: 2011, 500 Photographers, by Pieter Wisse, Netherlands 2009, The Best Photographer, Saint-Petersburg PHOTO VERNISAGE. Russia 2008, Top 50 Photographers, by Critical Mass, an international portfolio review. USA Selected Exhibitions: 2013, "The Griots of Oakland", African American Museum and Library, Oakland, USA 2011, "Lost & Found", Florence Moll Gallery at Chic Art Fair, Paris, France 2010, "Burning Man", POLKA Gallery, Paris, France
Oliviero Toscani
Oliviero Toscani
Italy
1942 | † 2025
Oliviero Toscani was an Italian photographer whose groundbreaking and often controversial advertising campaigns revolutionized the intersection of art, commerce, and social commentary. Best known for his work with Italian fashion brand Benetton from 1982 to 2000, Toscani transformed advertising into a platform for provocative and thought-provoking messages on issues such as AIDS, racism, religion, and capital punishment. Born in Milan, Toscani inherited a passion for photography from his father, Fedele Toscani, a renowned photojournalist and co-founder of the Publifoto agency. After earning his diploma at the Kunstgewerbeschule Zürich, Toscani began his career collaborating with leading magazines such as Elle, Vogue, L’Uomo Vogue, and Harper’s Bazaar. His early work set the stage for a career that would challenge conventions and ignite conversations worldwide. In 1982, Toscani became Art Director for the Benetton Group, where he created some of the most iconic and controversial advertising campaigns in history. Among these was the unforgettable image of David Kirby, a man dying of AIDS, which echoed the composition of religious pietà paintings. While some criticized the ad for exploiting tragedy to sell clothing, the Kirby family praised it for raising global awareness about AIDS. Other campaigns addressed themes of racial equality, war, and even the death penalty, pushing boundaries and reshaping public perceptions of advertising's role in society. In the early 1990s, Toscani co-founded Colors, a magazine created with American graphic designer Tibor Kalman. With the tagline “a magazine about the rest of the world,” Colors reflected the multicultural ethos of Benetton's campaigns while maintaining editorial independence. Toscani’s tenure at Benetton ended in 2000, but his impact on the brand—and the advertising world—remains indelible. A resident of Tuscany, Toscani continued to innovate beyond the fashion industry. In 2003, he founded La Sterpaia, a research facility dedicated to modern communication, in collaboration with the Regione Toscana. His later projects, including campaigns addressing anorexia and LGBTQ+ rights, further demonstrated his commitment to using photography as a medium for social change. Toscani’s career was not without controversy. His 2005 campaign for the clothing brand Ra-Re, featuring images of men engaging in intimate behavior, sparked outrage among conservative groups. In 2007, his stark portrayal of anorexia through the haunting image of Isabelle Caro drew both acclaim and criticism for its raw honesty. Despite these controversies, Toscani remained a cultural force. When Luciano Benetton returned to the helm of the Benetton Group in 2018, Toscani rejoined him, marking a new chapter in their creative partnership. That same year, he became a member of Italy's Democratic Party, further highlighting his engagement with societal issues. Toscani faced health challenges in his later years, battling amyloidosis. He was hospitalized on January 10, 2025, and passed away three days later at the age of 82. Oliviero Toscani's legacy endures as a testament to the power of photography to challenge norms, inspire dialogue, and provoke change. His work reminds us that art can be more than an aesthetic endeavor—it can be a catalyst for understanding and transformation in the world.
Anna Hayat and Slava Pirsky
Anna Hayat and Slava Pirsky
Israel
We are Anna Hayat (born 1974) and Slava Pirsky (born 1965), originally from the Soviet Union. Each of us decided to start a new life in Israel in the early 90s, in search of new horizons. Fate brought us to Jerusalem through different paths, where we lived for over 20 years and now find joy in a small town nearby. We met in 1999 and instantly felt a special connection, as if our shared passion for photography brought us closer. In 2000, we became proud parents of an exquisite daughter whom we started photographing from her very birth. Since then, we have become an inseparable team and partners in the world of photography and art. For over 20 years, we have actively collaborated on joint photography projects. Our creative process revolves around analog photography, primarily using old Polaroid large-format black and white negative plates. Despite the discontinuation of production of these films in 2008, we use expired films to create unique and emotive works of art. We capture images using both a large studio camera and small field Polaroid cameras. The slow shooting process is of utmost importance to us, as it imparts a special depth to our works. In a way, the negative itself becomes another partner in our process. We appreciate the unpredictability of old negatives, which gives our photographs a distinct character, a touch of poetry, and a timeless feeling that is crucial to our work. Our latest project reflects our emotions and pain caused by Russia's treacherous aggression. For this series, we ventured into a mixed technique for the first time, tearing and cutting our works, stitching them anew, adding patches and seams. The project was showcased at the Ramlah Museum and immediately after at the KyotoGraphie International Photography Festival in Japan.
Jason Langer
Jason Langer
United States
1967
Jason Langer is a notable photographer, best known for his black and white film photography, capturing atmospheric and introspective images. Langer was born in Tucson, Arizona and grew up in Ashland, Oregon. Langer studied photography at the University of Oregon from 1985 to 1989. After graduation, Langer moved to San Francisco and apprenticed with some of the Bay area's most well-renowned photographers including Ruth Bernhard, Arthur Tress, and Michael Kenna, who became his mentor and lifelong friend. During that time, Langer learned much from Michael Kenna and influences from Kenna remain present throughout Langer's two-decades of photographic work. His photographs have been exhibited in numerous galleries and museums internationally, including solo exhibitions in cities such as New York, Paris, London, Tokyo, and Moscow. Langer's work has also been featured in various photography publications and books. Many of Jason Langer's photographs have been praised for their poetic and evocative qualities. Langer shoots using film, meaning that he does not know exactly what photographs he has until the film is developed. He photographs in black and white and prefers to photograph at night. He avoids photographing human faces, which increases the mystery of his works. Langer is also a sought-after photography mentor, having taught photography at the Academy of Art University for 12 years and Santa Fe Workshops since 2014. Langer is known as a mentor in photography, teaching students to use the medium for self-understanding. “Jason seems to have absorbed the entirety of photo history, particularly the so-called “New York School”, identified by historian Jane Livngstone in her book of that title from the early 1990’s: Arbus; Avedon; Brodovitch; Croner; Davidson; Donaghy; Faurer; Frank; Grossman; Klein; Leiter; Levinstein; Levitt; Model; Vestal and Weegee. Jason loved shooting the city and printing it very darkly. He is a classicist. He is contemporary guy who sees things though more modern eyes.” He has received recognition and awards for his contributions to the field of photography. Langer's work continues to be exhibited and collected by art enthusiasts and collectors worldwide.
Martin Bogren
Martin Bogren
Sweden
1967
Martin Bogren was born 1967 in Sweden and is now based in Malmo. His photographic practice has developed by a personal documentary tradition in the early 90’s – photographing bands and artists. His first book The Cardigans_- Been It was published in 96 after several years touring with the band. Swedish born Martin Bogren first came to attention in 1996 with his book on the Swedish band, The Cardigans, who he photographed over several years while touring with the band. He has since published two photobooks, Ocean and, most recently, Lowlands. A winner of the prestigious Scanpix Photography Award in Sweden he has been exhibited throughout Scandinavia as well as in France, Ireland, Portugal, India and USA. Christian Caujolle is one of the France's leading curators and critics. A founder of Agence VU he has curated major festivals such as PhotoEspaña, Rencontres d’Arles and Foto Biennale Rotterdam, and his extensive writings on photography have been published worldwide.
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Interview
Exclusive Interview with Sander Vos
Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
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Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Interview
Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
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Exclusive Interview with Manuel Besse
Interview
Exclusive Interview with Manuel Besse
French photographer Manuel Besse is known for his compelling black-and-white imagery, which blends portraiture, documentary, and poetic narrative into a singular visual voice. With a career spanning several decades and continents—from the gold mines of Serra Pelada to the Arctic Circle—his work reflects a deep commitment to authenticity, human connection, and the preservation of cultural and natural landscapes. His series Macadam, winner of AAP Magazine #41 B&W, offers a contemplative look at fleeting urban encounters, rendered in his signature monochrome style. We asked him a few questions about his life and work.
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