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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
C.E. Morse
C.E. Morse
C.E. Morse

C.E. Morse

Country: United States
Birth: 1952

"I was born in Camden, Maine and loved vintage cars since I can remember; I bought my 1936 Pontiac at age 15 as soon as I had my driver's license. I didn't pick up a camera until I was in college at Rhode Island School of Design. I remembered all the incredible images that I used to see in vintage auto boneyards while I was sourcing parts for my '36 Pontiac and various other classic cars that I had collected,including a '29 Essex, a'41 Packard & 'a 54 Nash, so I started to bring my camera to the boneyards instead of my wrenches and shot abstract details of dented car fenders, old safety glass, rusty doors, and old chrome. I was so excited by this photography that I switched majors from sculpture to photography and was fortunate enough to study with Aaron Siskind; graduating with a BFA in photography in 1974. I also attended The Maine Photographic Workshops (now Maine Media Workshops), where I mentored with Paul Caponigro, Arnold Gassen and John Loengard. later on I took courses in digital printing at MECA (Maine College of Art).

I hunt "Wild Art" : abstract details of found objects.
I particularly like the contradictions of what I capture:
the images are abstract, yet they are real
the images are painterly, yet they are photographs
the images are beautiful, yet come from discarded deteriorating derelict objects
the images are from seemingly permanent subjects yet the are prone to disappear overnight
(often my photographs are all that is left).

I also appreciate the mystery of the unknown history of my various discoveries as well as acknowledging their wabi sabi nature.

When people view my work they have to reach deep into personal experience and imagination. Being abstract and virtually unrecognizable my images may evoke a memory, an emotion, or a reminder of something visually similar and are sure to beg the question: 'what is it?', thereby starting the conversation..."
-- C.E. Morse

"It's not what you look at that matters, it's what you see." -- Henry David Thoreau

 

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Henry Peach Robinson
United Kingdom
1830 | † 1901
Henry Peach Robinson was an English pictorialist photographer best known for his pioneering combination printing - joining multiple negatives or prints to form a single image; an early example of photomontage. He joined vigorously in contemporary debates in the photographic press and associations about the legitimacy of 'art photography' and in particular the combining of separate images into one. Robinson was the oldest of four children of John Robinson, a Ludlow schoolmaster, and his wife Eliza. He was educated at Horatio Russell's academy in Ludlow until he was thirteen, when he took a year's drawing tuition with Richard Penwarne before being apprenticed to a Ludlow bookseller and printer, Richard Jones. While continuing to study art, his initial career was in bookselling, in 1850 working for the Bromsgrove bookseller Benjamin Maund, then in 1851 for the London-based Whittaker & Co. In 1852 he exhibited an oil painting, On the Teme Near Ludlow, at the Royal Academy. That same year Robinson began taking photographs, and five years later, following a meeting with the photographer Hugh Welch Diamond, decided to devote himself to that medium, in 1855 opening a studio in Leamington Spa, selling portraits. In 1856, with Rejlander, he was a founding member of the Birmingham Photographic Society. In 1859 he married Selina Grieves, daughter of a Ludlow chemist, John Edward Grieves. His son, Ralph Winwood Robinson, was also a photographer. In 1864, at the age of 34, Robinson was forced to give up his studio due to ill-health from exposure to toxic photographic chemicals. Gernsheim (1962) has shown that thereafter he preferred the easier 'scissors and paste-pot' method of making his combination prints, rather than the more exacting darkroom method employed by Rejlander. Relocating to London, Robinson kept up his involvement with the theoretical side of photography, writing the influential essay Pictorial Effect in Photography (1869), Being Hints on Composition and Chiaroscuro for Photographers, published in 1868. Around this time his health had improved sufficiently to open a new studio in Tunbridge Wells with Nelson King Cherrill, and in 1870 he became vice-president of the Royal Photographic Society. He advocated strongly for photography to be regarded as an art form. The partnership with Cherrill dissolved in 1875, Robinson continuing the business until his retirement in 1888. His son, Ralph Winwood Robinson, took over the studio business. Following internal disputes within the Photographic Society, he resigned in 1891 to become one of the early members of the rival Linked Ring society, in which he was active until 1897, when he was also elected an honorary member of the Royal Photographic Society. Robinson was an early supporter of the Photographic Convention of the United Kingdom and took part in this institution's long running debates about photography as an art form. He was invited to serve as the President of the PCUK in 1891 but, as he described later, "I felt compelled to decline, knowing that I could not carry out the duties as they should be carried out, having a defect of voice which would not allow me to read my own address." He was subsequently persuaded to serve as President in 1896, when his presidential speeches were read out by a colleague. He died aged 70 and was buried in Tunbridge Wells in early 1901. Henry Peach Robinson was one of the most prominent art photographers of his day. His third and the most famous composite picture, Fading Away (1858) was both popular and fashionably morbid. He was a follower of the pre-Raphaelites and was influenced by the aesthetic views of John Ruskin. In his Pre-Raphaelite phase he attempted to realize moments of timeless significance in a "mediaeval" setting, anticipating the work of Julia Margaret Cameron, Burne-Jones and the Symbolists. According to his letters, he was influenced by the paintings of J.M.W. Turner. He defended composite photography, asserting that the creation of combination photographs were as demanding of the photographer as paintings were of the artist. Robinson compared the making of Fading Away with Zeuxis' legendary combining of the best features of five young ladies from Crotona to produce his picture of Helena.Source: Wikipedia To produce Fading Away, this intimate narrative of family tragedy, Robinson seamlessly combined five separate negatives. The scene centers on a bedridden young woman dying of tuberculosis—or possibly of a broken heart, as suggested by the Shakespearean title of a preliminary study, She Never Told Her Love. The picture was notorious both for the “artificiality” of its technique and for its subject matter, which was considered too morbid and painfully intimate to be represented photographically. Robinson’s seamless blending of reality and artifice did, however, appeal to Prince Albert, the husband of Queen Victoria, who purchased a print of Fading Away and issued a standing order for every major composite photograph Robinson would make.Source: Metropolitan Museum of Art
Ren Hang
Chinese
1987 | † 2017
Ren Hang (Chinese: 任航; March 30, 1987 – February 24, 2017) was a Chinese photographer and poet. During Ren's incipient career, he was known mostly for nude photographic portraits of his friends. His work is significant for its representation of Chinese sexuality within a heavily censored society. For these erotic undertones, he was arrested by PRC authorities several times. He received the backing of the Chinese artist Ai Weiwei, who included Ren in his 2013 Netherlands show, Fuck Off 2 The Sequel, and curated the photographer's 2014 exhibition in Paris, France. Ren's erotic, playful and casual yet provocative expression gained him worldwide fame. Ren was born in 1987, in a suburb of Changchun, Jilin province, in northeastern China. In 2007, in order to relieve the boredom of studying advertising at college, he bought a point-and-shoot camera and began shooting his friends. As a self-taught photographer, he said his style of photography was inspired by the artist Shūji Terayama. Ren suffered from depression. He posted a series of diary entries titled My depression on his blog, recording the fear, anxiety and internal conflicts he experienced. Ren died by suicide on February 24, 2017 in Beijing. Ren Hang first began taking pictures of his roommates and friends in 2007, shooting them in the nude as all were close and seeking excitement. In an interview, he also admitted: “I usually shoot my friends, because strangers make me nervous.” He arranged his subjects' naked limbs in his photographs. Ren did not consider his work inappropriate: “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.” This may account for his reticence to limit his work to indoor settings. He said there were no preferred places for him to work, as he believed anywhere was beautiful and worthy to be shot, including sparse studios, parks forests, and atop buildings. Ren's photos employ nude groups and solo portraits of men and women often contorted into highly performative positions. For example, hands reach down milky thighs, a limp penis flops onto a watermelon and a series of backsides imitate a mountain range. Questioning the purpose of his work, he once stated that his creation was a way to seek fun for both photographer and the photographed. However, once he had reached fame on an international level, he began to think deeply about his work. The British Journal of Photography quoted him as once saying: "I don't want others having the impression that Chinese people are robots... Or they do have sexual genitals but always keep them as some secret treasures. I want to say that our cocks and pussies are not embarrassing at all." Ren also focused on marginalised people in Chinese society with gender identity disorders by 'indeterminating' sex and gender in some of his work: a group of naked bodies stacked together, men wearing silk stockings and wearing lipstick. He denied having a preference in models: “Gender… only matters to me when I’m having sex.” The international quarterly photography journal Aperture used his photo as the cover for its Queer theme. Commentators also see his work, the naked body and the starched penis, as evolving sexual mores and the struggle for creative and sexual freedom in a conservative, tightly controlled society. But Ren Hang also announced "I don't try to get a message across, I don't give my works names, I don't date them. I don’t want to instill them with any vocabulary. I don't like to explain my photos or work as a whole". It has been mentioned that Ren's work is softcore pornography because of the degree of nudity and sex in it, but he also worked with other themes. The most famous was titled My Mum. Although still under a fetishistic atmosphere, posing with usual props in Ren's works like animals and plants, Ren's mother posed as a clothed model, in a light-hearted way to represent her daily life. Ren's photographs have been included in magazines L'Officiel, GQ Style, and Vice. He worked with fashion companies Gucci, Rick Owens, and Loewe. Ren's work is included in Frank Ocean's magazine Boys Don't Cry. Ren Hang is noted to be greatly influenced by Chinese and Asian contemporary art and in particular, Japanese photographer and contemporary artist Nobuyoshi Araki. Ren Hang mainly worked with a simple point-and-shoot camera. He would direct the models as to how to place their bodies and shoot in quick succession. Genitalia, breasts and anuses were not covered up, but featured, or accentuated with props and close-ups. Colors were rich and high in contrast, increasing visual impact. This, along with the fact all bodies were slim, lithe and relatively hairless, made the impact of his photographs more impressive. His work communicated a raw, stark aesthetic that countered taboos and celebrated sexuality and it was this contemporary form of poeticism in a visual context in which Ren Hang expressed themes of identity, the body, love, loss and death. Nudity is not a theme in art that can be widely accepted by the Chinese older generation. Ren Hang's works are sometimes misinterpreted by the public as pornography. Although some have written that Ren Hang used his photographs to challenge Chinese cultural norms of shame around nudity, he did not believe he was challenging the stereotype and leading a revolution. For him, nudity and sexuality are natural themes which he used in his work. "Nudes are there since always. We were born nude. So talking about revolution, I don't think there's anything to revolutionize. Unless people are born with clothes on, and I want to take their clothes off, then I think this is a revolution. If it was already like that, then it's not a revolution. I just photographed things on their more natural conditions." He said he was not trying to liberate nudity and sexuality since he believed that the Chinese young generation was open-minded and less affected by the old-fashioned cultures. When Ren Hang talked about the question whether the topic of sexuality was still a taboo in China, he said: "I don't think it's related to our times, these are individual cases. Like how to say it, I think it depends on different people, it doesn't really relate to other things. I was not in the whole parents told you that you can only have sex if you get married era. The time after I grow up was already over that period, it was already different like everyone was already more relaxed."Source: Wikipedia Flesh, corpses, souls and bland flashlights, all composite into seconds or milliseconds of lights and shadows, projecting onto the film that never knows how to lie. Focus gathering and the shutter releasing, connecting his unpretentious, rebellious, wild and free perspectives towards the naked human body. The images look so natural, yet fun and unexpected. One soul after another all blossom like a newborn baby, urging to crawl out of his mother’s womb, dying to be redefined. In this era that we live in, being censored by the Chinese government has almost become a stamp of approval for contemporary artists. Ren Hang, a young man with a mature look and tanned skin, hair as short as a Chinese soldiers’, always carrying an irresistibly cute and innocent smile on his cheeks. He is, perhaps, the sole artist and photographer with the most edgy outlook towards the naked human body. Ren Hang continues to stress the fact that he is “boring“. Especially when asked about those basic questions of his inspirational origins and meanings behind the photos, he always just smiles naively, shakes his shoulders and says, “I don’t really know. I never really thought about it.” Perhaps he is such a paver, heading towards the direction of happiness and creative freedom without realizing the pathways he has left behind. You might find him confusing and puzzling, but he has the ambience of such kindness that you would always trust that no evil can come out from him. He is merely a pure form of naked human beings. Source: ITSLIQUID
Rosa Basurto
Spain
1972
Rosa Basurto is a self-taught photographer from Spain who, within a short frame of time, has been widely recognised for her work. Despite no formal training, Basurto demonstrates an impressive command of photographic skill, producing images that are poetic in style and imitating a dream-like world, within the reality of landscape. Though each image includes quite life-like subjects, such as trees and birds in flight, the spaces they occupy within Basurto’s photographs bring about a very intimate and almost mysterious atmosphere. By capturing a suspension of time, Basurto’s particular style allows the viewer to notice what would have normally been taken for granted. It is exactly this element that gives each picture its dramatic dimension. It emerges when we view a space that seems tranquil, bringing in to question what habitation would have normally occupied such land. Furthermore, the sense of frame, the cleanliness, and the geometric lines give the image an undeniable modernity. Basurto’s work has been exhibited in various group shows as well as having been displayed in solo exhibitions around Spain, Portugal and France. Her work has been widely recognised and received various awards. Some of these include; the Jury Prize for the “Historia de invierno”, PhotoEspaña, 2010, First Prize for the Bienal Internacional SICAFI, Argentina in 2008, the IV Concurso de Fotografía de Naturaleza Vila-Real prize in the category of Flowers, Castellón in 2007. She has also won First Place for the EPSON Digital Photography Contest in 2006. In 2008, Basurto’s work was shortlisted for various awards including Descubrimientos, PhotoEspaña in 2008, Trierenberg Super Circuit, Austria in 2008, the X Biennal Internacional AQÜEDUCTE, 'European Wildlife Photographerof the Year' in the category 'landscapes' in 2007, as well as the “XXXV Trofeo Guipúzcoa Internacional” prize in 2007. Source www.milimgallery.com
Ayanava Sil
I am Ayanava Sil a resident of Kolkata, India. By education I hold a degree of Master Of Business Administration in Marketing. Photography to me is an exemption to see things differently. I am a Street and Documentary photographer, with an objective of documenting everyday life. The uncertainty and the suspense drives me the most towards these genres of Photography. Documenting people over the years has provided me with the invaluable opportunity to explore the unknown and to embrace the conglomerate realities of people. I am one of the administrators and curator of Streets Of Calcutta which is the oldest and the largest Street Photography archive of Kolkata. My works has been published and recognized by different platforms like National Geographic, National Geographic Traveller India, CNN America, Getty Images, Business Standard, World-Street-Photography Book 5, APF Street Photography Magazine, Better Photography India, Asian Photography, Chiiz Magazine etc. I have been awarded by The Andrei Stenin International Press Photo Awards, News Times, Eye Win Awards, Golden Orchid International Photography Awards etc. My works has also been exhibited in multiple photography exhibition, to name a few, Jaipur Art Summit 2016, Ariano International Film Festival 2017, Kolkata International Photography Festival 2019, Wlasnymi Slowami Film Festival 2019. Where I Bloom As the world combats with an invisible enemy, many of our lives have come to a standstill now. A month ago our lives were pretty foreseeable with simple daily conventional work that all of us were looking forward to. The coronavirus pandemic has changed the whole scenario, today countries are under locked down, schools and universities have been closed, events are cancelled and many people have been asked to work from home. We have seen the Government enforcing every preventive measure to slow the spread of the virus and flatten the curve. During this critical time, it is essential that everyone stays at home and helps to prevent the spread of this virus. In these tough times, photography is one of the major businesses that has been affected a lot by this pandemic. All studios have been shut down, weddings have been postponed, all the sports events have been cancelled and presently more than half of the world is locked down and there is no possibility of travelling. I am a photographer who loves to roam around the city unwearyingly to document life on the streets but due to the pandemic it is impossible to go out of my house to shoot now. So to keep myself in practice and to keep my sanity I chose to document my house but with a definite objective as this work of mine will have a different approach from the rest of my works. Also, I challenged myself to shoot everything through my phone only. So I started shooting every corner of my house from the ground floor to the terrace, through the windows and the doors, the plants in my house to the birds which flies above my terrace. I decide not to include any human subject and the only reason behind this decision is because we often feel like we are the most important species, but the fact is that we will fade away with time but we will leave behind a lot of things when we are gone. I tried to portray those moments keeping the photographs minimalist and graphical in form and ambiguous in nature. During all this time I had an interesting observation and I discovered that sunlight creates fascinating graphical shadow movements in different parts of my house during each phase of the day. I think that the only positive outlook amidst the COVID-19 pandemic outbreak is that nature has started healing. I do not remember when I last saw such timely Norwesters in the past few years. The Norwesters generally hit during the months of April and May. It mostly occurs late in the evening when thick, dark and black clouds start appearing in the sky. It generally moves from west to east bringing torrential rain often with strong wind and lasts only for a short period of time. The Norwesters are beneficial for cultivation purposes in West Bengal and Bangladesh. This year, the Norwesters bought different and beautiful cloud patterns and I tried to weave them within my work as well.
Ian Berry
United Kingdom
1934
Ian Berry made his reputation as a photojournalist reporting from South Africa, where he worked for the Sunday Times and Drum magazine. He was the only photographer to document the massacre at Sharpeville. While based in Paris he was invited to join Magnum by Henri Cartier-Bresson. He moved to London to become the first contract photographer for the Observer Magazine. He has covered, conflict in Israel, Ireland, Vietnam, Czechoslovakia and Congo, famine in Ethiopia and apartheid in South Africa. He has also reported on the political and social transformations in China and the former USSR. Awards include Nikon Photographer of the Year (twice), Picture of the Year award from the National Press Photographers of America, and British Press Magazine Photographer of the Year (twice). Arts Council Award, Art Directors' Club of New York Award. His books include The English, two books on South Africa, Sold into slavery and Sea. Exhibitions in London, Paris, Hamburg, Brussels, Bradford, Perpignan, Aix en Provence Shanghai, Lowry Gallery, Walker Art Gallery Liverpool, Edinburgh, SCOP Shanghai, Hastings, Bruges. Ian Berry: Street Photography Photojournalism, documentary, reportage, call it what you will, shooting on the street is not easy. It needs a level of dedication and commitment as well as preparation, both mentally and with your shooting equipment. I'm aware of the differences of opinion over whether a photographer should ask a potential subject's permission before taking a picture. My take on the matter is that if you want a self-conscious stare into the camera, by all means ask, but if you want a potential subject in their natural environment and make a picture that reflects the situation, then shoot first and, if needs be, talk later. If observed, a smile nearly always puts your subject at ease. Often I find that if I walk out of a hotel in a strange city and go unnoticed when shooting the first picture, I'm high all day and can photograph non-stop without being seen or rebuffed, but a bad reaction from the first subject and I might as well go back to bed. A good way to hone your skills is to attend local events, street fairs and even pet shows, places where people are more amenable and accustomed to being photographed. It goes without saying that whether planning to shoot abroad or in Britain one should respect local customs and dress codes. It's no good wandering around a city in shorts and colourful T-shirts if you wish to move unobserved. This selective process also applies to equipment; whether you compromise between the Christmas tree approach and the sneaky ‘one camera in the hand behind the back' system, and between carrying enough gear to cope with whatever might arise, but not so much that you're exhausted after a few hours. I'm always amazed at colleagues who walk up to people with a 28mm lens and a flashgun banging away in their faces. It certainly creates a style but adds artificiality that I find unpleasant, both visually and in terms of aggression towards the subject. I think a style on the street should be created by a vision rather than a technique. Also the benefit of today's digital cameras to boost the ISO has enabled me at least to ditch a flashgun altogether during the day. Once in a while a new photographer joins Magnum with a totally different vision, like Russian Gueorgui Pinkhassov, who really excites me and makes me want to go out and shoot, not to recreate his style but rather to reinvent myself. I love to shoot with two fixed focal length lenses on two quiet Olympus cameras hanging around my neck, partially concealed under a vest or jacket. Only partially concealed because I don't want it to appear as if I were trying to hide the fact I am a photographer. The lenses I use are a 28mm and a 50mm, which are small, light and fast. I prefer fixed focal length lenses because I like to know exactly what is going to be in the frame, and it's far easier to take half a step forward or backward than fiddling with a zoom. In Magnum the jury is out among the street shooters over whether a DSLR or a range finder is the better choice, but nearly all use single focal length lenses. The other plus of a small camera is that you are often perceived as an amateur photographer and therefore less of a threat to the people you're photographing. Shooting with a long zoom on the street is a definite no-no, as you will be viewed as a voyeur. Curiously, I find I can be 3ft or 4ft from someone, shoot with a 28mm lens and pass by unnoticed and yet be obvious at 15ft. A recent fashion trend I don't think works is trying to carry equipment in a rucksack. It's great for the countryside or getting to or from a location but on the street every second counts and by the time you get a camera or lens out of this sort of bag, night has fallen and everyone has gone home. I find that a soft bag of the Domke variety will hold a body with longer lens inconspicuously but within quick reach. Whatever your kit set-up, however, the same creative needs apply. The ability to recognise a potential situation and produce an elegant composition in a fraction of a second on the street is what separates the great photojournalists such as Eugene Smith, Sebastião Salgado and Alex Webb from the rest of us. I've noticed that with that ability comes the physical stamina and professionalism to pound the streets for 12 hours on the trot. The basic elements are either to grab the decisive moment on the hoof, to see a potential situation and hover unseen until it develops, or spot a potentially great background and be prepared to hang around for an hour or more until the right juxtaposition of people slot into place in front of you. This is something I frequently do, especially in a foreign environment; simply wait until you become part of the fixtures and fittings so that when you raise the camera slowly and smoothly to the eye, no one's attention is drawn by an unusual movement. One of the great things about growing up photographically in Magnum was the words of wisdom dropped casually on occasion by Henri Cartier-Bresson. For example, "A great photograph is not an intellectual result, the only intellectual involvement is being there in the first place. The actual moment is purely intuitive, like squeezing the trigger of a gun when your subject is in exactly the right place in the frame." On another occasion as we were wandering around in Paris, "Walk softly and slowly. If you are moving quickly and stop suddenly, the people you are about to photograph will react to the change of pace in their peripheral vision and become aware of you." Street photography in Britain has become another issue. Years ago when travelling from Istanbul to Beijing by train, I'd passed from Iran into Turkmenistan and was shooting in the capital, Ashgabat. Most of the main buildings had 15ft-high portraits of the President in true personality cult style and after wandering around I chose what I thought was the most interesting building architecturally. I then stood for quite a while waiting for interesting people to pass by to make up the shape. After a short time a couple of guys came out of the building and watched me, then came over and ‘invited' me into the building. It transpired I was photographing the equivalent of the FSBheadquarters. One of the men spoke excellent English and after quizzing me in a not unpleasant way, asked that if he were to come to London would he be allowed to photograph Scotland Yard? In response I invited him to call me when he was next in London so we could photograph it together. Sadly I could not do that any more, we are no longer that relaxed a society. So what to do when you're in front of the Bank of England trying to shoot an essay on the City and an officious PCSO or a jobsworth from the nearest sock shop arrives to tell you to desist, or worse, delete your images? The advice of lawyer Rupert Grey, who knows a thing or two about photographers' rights, is to keep your cool, be polite and explain that you are perfectly entitled to take photographs in a public place without being hassled. The public are more sensible on the whole, although it's still best to avoid photographing children. Years ago when shooting for my book, The English, I was able to go into school playgrounds with the teachers' approval and thought nothing of it; and it was the same in shopping centres, even hospitals, but no longer. Having said that, not too long ago I was passing an African-Caribbean church and stopped outside to take a few pictures of people milling around, only to be invited in to photograph the service – a pleasurable experience in this age, which tells me that one should not give up on recording life in Britain. Ian's words of wisdom "Know your camera inside out. Walk with your finger on the release. Have your lens pre-focused (Josef Koudelka had bits of matchsticks glued to Olympus lenses at different points to focus by feel). A single focal lens is best. I shoot on aperture, only adjusting as light conditions change. Don't be intimidated, most people are happy to be photographed. If nervous walk with a friend, although they are always distracting and get in the way. Buy a waistcoat or jacket a size too big to keep your camera concealed inside. Look around you constantly. Be discreet; looking beyond the subject after shooting often helps. If confronted, good-humoured banter and a smile always work."
Marjory Collins
United States
1912 | † 1985
Marjory Collins was an American photojournalist. She is remembered for her coverage of the home front during World War II. She was born March 15, 1912 to Elizabeth Everts Paine and writer Frederick Lewis Collins in New York City, and grew up in nearby Scarsdale, Westchester County. She studied at Sweet Briar College and the University of Munich. In 1935, Collins moved to Greenwich Village, and over the next five years she studied photography informally with Ralph Steiner and attended Photo League events. In the 1980s she moved to San Francisco where she obtained an M.A. in American Studies at Antioch College West. Her work as a documentary photographer was taken up by major agencies. As a result of a contribution for U.S. Camera and Travel about Hoboken, New Jersey, she was invited to work for the Foreign Service of the United States Office of War Information. She completed some 50 assignments there with stories about the American way of life and support for the war effort. In line with a new emphasis on multiculturalism, she contributed to photographic coverage of African Americans as well as citizens of Czech, German, Italian and Jewish origin. In 1944 Collins worked freelance for a construction company in Alaska before traveling to Africa and Europe on government and commercial assignments. Thereafter she worked mainly as an editor and a writer covering civil rights, the Vietnam War, and women's movements. In the 1960s she edited the American Journal of Public Health. Collins was very active politically; a feminist, she founded the journal Prime Time (1971–76) "for the liberation of women in the prime of life." In 1977 Collins became an associate of the Women's Institute for Freedom of the Press. Her work is included in the collection of the Museum of Fine Arts Houston. She died in 1985 at the age of 73.Source: Wikipedia By January 1942, Collins had transferred to Washington, DC, to join Roy Stryker's famous team of documentary photographers. Over the next eighteen months, Collins completed approximately fifty different assignments consisting of three thousand photographs. Her upbeat, harmonious images reflected the OWI editorial requests for visual stories about the ideal American way of life and stories that showed the commitment of ordinary citizens in supporting the war effort. Documenting the lives of Americans, discovering my own country for the first time, I was freed of the whims of publicity men wanting posed leg art. -- Marjory Collins During World War II, race and ethnicity consciousness heightened around the globe. United States President Franklin Roosevelt issued Executive Order 8802 on June 25, 1941, to reaffirm a policy of full participation of people of every race, creed, color, and national origin in the national defense program. Multiculturalism became a topic of major importance for government agencies as the United States geared up for war. Collins worked closely with OWI colleagues John Vachon and Gordon Parks and contributed to a substantial photographic study of African Americans. Many of her assignments involved photographing "hyphenated Americans," including Chinese-, Czech-, German-, Irish-, Italian-, Jewish-, and Turkish-Americans. The photographs were used to illustrate publications dropped behind enemy lines to reassure people in Axis-power countries that the United States was sympathetic to their needs. For example, using the popular "day-in-the-life" format favored by picture magazines, Collins portrayed the Winn family at work, at play, and at home. The Winns had arrived in New York from the Czech Republic about 1939 and appeared to be thriving in October 1942. On the job, Collins gave rein to her curiosity about how the other half lived. Roy Stryker wrote in his April 13, 1943 Gossip Sheet for OWI staff, "Marjory is in Buffalo, working on women in industry. This is a special story on women workers for the London Overseas Office." "These photographs should ... portray representative types actually at work rather than posed 'cuties,'" and should show "the very important contribution made towards final victory and how they have adapted themselves to wartime conditions." For one of her topics, Collins covered a young widow (possibly giving her a fictitious name) and her six children, all less than twelve years of age. "Mrs. Grimm's" work outside the home as a crane operator forced heavy responsibility on her older children and required that her younger daughters stay in a foster home Monday through Friday. Some images reveal the family's poverty and their struggle to maintain nutrition and housekeeping ideals. With her social reform interests, Collins felt that this assignment was consistent with Stryker's encouragement to make "pictures of life as it is." She considered the Grimm Family images among her very best, but they also clashed with the glamorized Rosie-the-Riveter concept called for by the OWI. Fellow OWI photographer Alfred Palmer complained that Collins' photographs sometimes showed "the seamy side of life." Palmer and others believed that the OWI had two roles--straight news for publication in the United States and propaganda for overseas audiences. Palmer's news group wanted to clean up photographs, while Stryker's photographers wanted to show how deeply Americans sacrificed to support the war. The Grimm Family photographs are among the last images by Collins that survive in the FSA/OWI Collection. A set of almost fifty photos taken in Tunisia in May and June 1942 are credited to Collins, but no textual records have been found that explain this trip.Source: Library of Congress
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Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
Exclusive Interview with Guillaume Bonn
With his latest book Paradise, Inc., celebrated documentary photographer Guillaume Bonn takes us deep into the heart of East Africa, where the promises and failures of wildlife conservation collide. Far from offering a romanticized vision of nature, Bonn’s work confronts us with urgent realities: the tensions between local communities and conservation policies, the sacrifices of rangers on the frontlines, and the long-lasting impact of human activity on fragile ecosystems. Spanning more than two decades of fieldwork, the project blends powerful imagery with investigative depth, raising difficult but necessary questions about transparency, accountability, and the Western-led models that dominate conservation. Enriched by the voices of those too often left out of the conversation—including a preface by Maasai leader Ezekiel Ole Katato and an introduction by journalist Jon Lee Anderson—Paradise, Inc. is both a stunning visual journey and a call to action. In the following interview, Guillaume Bonn reflects on the making of Paradise, Inc., the ethical dilemmas at the heart of his work, and the urgent need to rethink our approach to conservation in East Africa and beyond.
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.
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.
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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