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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Debbie Fleming Caffery
Debbie Fleming Caffery

Debbie Fleming Caffery

Country: United States
Birth: 1948

Debbie Fleming Caffery grew up along the Bayou Teche in southwest Louisiana and still lives in the area. Early on in her career, she was inspired by the work of Dorothea Lange and many of the artists working within the FSA and Federal Arts Project of the WPA during the Depression. Like these forbears, she is interested in telling stories with her pictures, but unlike those earlier photographers, her work is as much artful as it is documentary. Her rich, and dramatic prints are the result of the deep relationships with the people and places she photographs, a visual corollary to the reverence she has for her subjects.

Caffery has photographed the sugarcane industry and its community in Louisiana since the late 1970s. She has also photographed in rural villages in Mexico for many years, creating works that draw connections between those communities and the ones in Louisiana that were so familiar to her from her own upbringing. In 2005, Caffery was the recipient of a Guggenheim Fellowship for the work she made of women working in brothels in Mexico. In 2006, she received the Katrina Media Fellowship from the Open Society Foundations to continue to photograph the aftermath of Hurricane Katrina.

Recently Caffery received a commission from the High Museum in Atlanta for their Picturing the South photography initiative. Her monographs include: Carry Me Home (Smithsonian, 1990), The Shadows (Twin Palms Press, 2002) and Polly (Twin Palms Press, 2004), The Spirit & The Flesh (Radius Books, 2009) and Alphabet (Fall Line Press, 2015).

Source: Gitterman Gallery

 

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More Great Photographers To Discover

Wolfgang Bohusch
Austria
1985
Bohusch decided to become photographer at the early age of 13. He began experimenting with old darkroom equipment of his grandmother and shooting with a 35mm camera. After studying photography for 5 years at die Graphische, Vienna he started working as freelance Production Manager, Location Scout and later Photographer or D.o.P and Director for advertising film production companies. On extensive travels he is working on his personal projects. Street- photography in India, Miami or Tokyo, landscape and aerial photography in various places as well as fashion films, music videos in London or Paris. In January 2017 Wolfgang Bohusch stayed in a tent for two weeks in Maroccos Sahara desert. Under very special conditions during his work for the series 'silicon based creatures' Bohusch experienced a period of intense meditation. Details and blurred outlines make it difficult to recognize the shape of the image at once. Pattern recognition takes place only through the perception of the seemingly random forms and structures. The viewer is encouraged to look more closely in order to get lost in the work and to let the subconscious mind wander - in order to finally be able to find his own associations. silicon based creatures With his series 'silicon based creatures' Wolfgang Bohusch invites the viewer to stand in front of his photographs, mediate, and let the mind wander into subconsciousness. Each and every work tells a different story, your own story. There are no titles, no hints for interpretation, no directions to look. Like in a Rorschach test, Bohusch wants you to find your own associations and recognize patterns that are not pregiven and therefore renders every photograph an individual experience. A millisecond is the time span for Wolfgang Bohusch's sculptures to be created but the artist allows us to ponder these millisecond sculptures calmly. The “silicone based creatures” series of 21 photographs presented at OSME Gallery is the outcome of his stay in the Sahara desert for weeks and experimenting with its elements like sand, wind, light, and chance. What you see on the photographs is thus the fusion of elements which serendipitously form into sculptures and are randomly captured on paper. The process behind these snapshots therefore resembles the behaviour patterns of bird or fish swarms. What is more, when we see them crowding together in the sky or in the water, our minds automatically associate certain forms or figures with the sudden patterns they create. As soon as we have caught one image within the crowd, it is already gone again. We get the opportunity to slowly make our own interpretations, though, and to try and find a piece of ourselves in them. So, when you have invented your creatures, where do they come from? And what do they want to tell us? If you think of them as signs, maybe even add a little bit of superstition, can they be hints to the future? Like popular customs or shamanic rituals to predict the future, Bohusch's creatures could also be prophetic figures. Or do they come from the past as mythical beings? Wolfgang Bohusch confronts us with a range of topics and questions in this series which he does not want or cannot answer himself. Lastly, he gives us another little hint with which he introduces one more existential quest. Silicone, which is a constituent of sand, is also the material used for microelectronics, like computer chips, and the basis for what creates the tools for producing the photographs in the first place. Finally, this aspect could trigger another question, or rather “the mother of all questions”: what came first? www.juliahartmann.at
Constant Puyo
France
1857 | † 1933
Constant Puyo, born in France on August 10, 1857, was a pioneering photographer who made significant contributions to the art of photography in the late nineteenth and early twentieth century. He was instrumental in the growth of Pictorialism, an artistic movement that aspired to raise photography to the realm of fine art through creative techniques and an emphasis on aesthetic expression. Puyo began his artistic career as a painter, where he studied under great artists such as William-Adolphe Bouguereau and Tony Robert-Fleury. His exploration of photography, however, was what truly released his creative potential. Puyo joined the Photo-Club de Paris in the 1890s and began experimenting with the Pictorialist style, which aspired to move photography beyond basic documentation and into a medium for artistic expression. Puyo's images had a dreamlike aspect to them, with soft focus and diffused lighting. To produce a painterly impression in his photos, he used a variety of processes, including gum bichromate printing. His pictures, in particular, were admired for capturing the inner essence of his subjects, showing their emotions and personalities. Puyo's work in the invention of autochrome photography was one of his noteworthy contributions to the Pictorialist movement. He investigated the possibilities of color photography with the Lumière brothers at a period when the medium was largely black and white. His mastery of color and ability to create ethereal, atmospheric images distinguishes him as a top figure in the area. Puyo's themes frequently centred around beauty, femininity, and the natural world. He used female models frequently, photographing them in poetic settings filled with flowers, textiles, and delicate objects. His images radiated nostalgia and romanticism, closely fitting with the ideas of the Art Nouveau movement. Puyo exhibited frequently throughout his career and received acclaim for his contributions to the art world. His images have been shown at prestigious exhibitions such as the Salon de la Société Française de Photographie and the Exposition Universelle in Paris. Puyo's photographs have also appeared in prestigious journals such as Camera Notes and Photo-Gazette. Puyo's influence also expanded beyond his personal photographic practice. He taught and mentored prospective photographers, passing on his knowledge and techniques to the next generation. He co-founded the Pictorial Photographic Society of France in 1909, cementing his status as a pivotal participant in the Pictorialist movement. Constant Puyo's legacy as a pioneer of Pictorialist photography goes on, reminding us of the power of artistic expression in the field of photography. His ability to capture the fleeting and provoke emotions through his photos continues to inspire photographers and artists all around the world.
Toby Old
United States
1945
Toby Old was born in Stillwater, Minnesota in 1945. He started out majoring in biology at Hamline University, then moved on to the University of Minnesota where he trained to be a dentist. At the height of the Vietnam War he was drafted into the Army Dental Core. While serving in North Carolina, he began to explore art history and photography. After a 1976 summer workshop at Apieron Photographic Workshops in Millerton, New York, Old moved to New York City. He began working on his first extended series of the disco scene in 1976-1981. For this body of work, Standard Deviation, he was awarded a grant from the New York State Council of the Arts. In 1981 he received an NEA Survey Grant to document lower Manhattan below Chambers Street, and has continued photographing this section of the city since, includes an extended series on the boxing world. In the late 1980s he moved to upstate New York, where he began to document local events including county fairs and Civil War reenactments. He also began photographing national events such as the Kentucky Derby, Frontier Days, Mardi Gras, and spring break. Toby Old’s book, Times Squared, was offered through the 2005 Subscription Program and is still available for purchase in the Light Work Shop. Old participated in Light Work’s Artist-in-Residence Program in 1980. Toby Old captures animation in his photography, depicting both realistic and exciting observations of human life. Drawing on the inspiration of photographers of the 1960s, he has traveled the country photographing in many different environments, including street performances, beaches, fairs, fashion shows, nightclubs, boxing events, parks, and Fourth of July celebrations. His images capture extraordinary moments in human action and social and cultural experiences as they unfold. His photographs are not the kind to be taken in quickly, but images to be examined and scrutinized for details. According to Ted Hartwell, curator of photography at the Minneapolis Institute of Arts, “Old’s work has always been characterized by a solid technical mastery of the medium-format camera as the tool for his wonderfully zany, insightful, and intelligent observations of the American scene.”Source: Light Work
Hsuan Chung
Taiwan
1985
Hsuan Chung is a passionate photographer who started his interest in photography when he was seventeen. During his college years in Taiwan, he taught himself all the skills and techniques of photography and became a professional newspaper journalist before graduation. He wasn't satisfied with his works and wanted improvement. That is when he decided to relocate to Atlanta to work on his M.F.A degree in Photography at Savannah College of Art and Design. During his time working on his degree, he participates in many events and works hard to promote his photography works. With less than a year from graduation, he plans to participate in fundraisers, exhibitions, and other artwork presentation platforms in order to show his works to the public and spread his messages. Edge Since ancient times, human beings have continuously given life to the land and civilization. We constantly create stories and memories in each land which has its own temperature and culture. Everything on the land experiences a cycle of weathering, squeezing, and accumulating, then they disintegrate, and reconstruct to irregular solids. The project is based on my thoughts about the boundary between sea and land. The gravel in the soil is cracked by hitting each other under the lap of the waves, thus forming a new state. The minerals and gravel are brought back to the sea by the waves and become nutrients for microorganisms. The boundary between the sea and the land, that surges at all times but exists forever, is the birthplace of land and life. For me, that is also the end of human civilization. I used the square composition of a medium format camera to metaphorically refer to the concept of 'time' in nature that only humans have. I pressed the shutter after a series of precise calculations, and each square perfectly framed the time and scenery of the moment. In order to let the negative and the seawater fully interact, I soaked the negative in the seawater took from the shooting location. So that the salt and minerals in the seawater are able to remain on the negative. During the development, sea salt and minerals that stay on the negative produce chemical reactions with chemistry and silver halides. Human intervention and uncertain chemistry allow the whole process to create a memory journey between the earth and the sea, human beings and nature. The final images fulfill the purpose of recreating memories of different times and spaces and making them eternal. They not only record the memory of the ocean for 4500 million years but also witness the vitality of everything and the inseparable connection between human beings and the earth.
Manuela Thames
German
1975
Manuela Thames is a photographic artist based in Saint Paul, Minnesota where she lives with her husband and two children. Born and raised in Germany, she moved to the US in 2004 after marrying her American husband. Her background is in nursing and alternative health, but around 2008 she began to focus solely on photography after two life changing events happened within one year, the birth of her first son and the death of her brother. Manuela uses various photographic techniques to explore themes around loss and grief, her personal experience with generational trauma, as well as the notions of belonging, connection and what it means to be human. Within that she continues to explore human ways of coping, the strength that evolves out of suffering and our common desire for healing and journey towards wholeness. Much of her work consists of black and white, conceptual self-portraits. Manuela’s photography has been described as contemplative, evocative, and cinematic and has been widely exhibited nationally as well as internationally. Her “Trauma” series won 1st place conceptual series of the year in the Monovisions Award in 2019, and in the same year she won the 13th Julia Margaret Cameron Award in the Self-Portrait Category. In addition, her work has been published online and in print in such places as Black and White Magazine, Sun Magazine, Dohdo Magazine and Shots Magazine. She teaches workshops privately and through various places such as Santa Fe Workshops, LA Center of Photography, SE Center of Photography, and offers mentoring services as well.
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