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FINAL DAYS TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
FINAL DAYS TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
Alex MacLean
© Mark Cumming
Alex MacLean
Alex MacLean

Alex MacLean

Country: United States

Pilot and photographer, Alex MacLean, has flown his plane over much of the United States documenting the landscape. Trained as an architect, he has portrayed the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes.

His powerful and descriptive images provide clues to understanding the relationship between the natural and constructed environments. MacLean’s photographs have been exhibited widely in the United States, Canada, Europe, and Asia, and are found in private, public and university collections. He has won numerous awards, including the 2009 CORINE International Book Award, the American Academy of Rome’s Prix de Rome in Landscape Architecture for 2003-2004, and grants from foundations such as the National Endowment for the Arts and the Pulitzer Center for Crisis Reporting in 2014.

MacLean is the author of eleven books including, Up on the Roof: New York's Hidden Skyline Spaces (2012), Las Vegas | Venice (2010), Chroniques Aeriennes: L'art d'Alex MacLean (2010), Alex MacLean: Given a Free Hand (2010), OVER: The American Landscape at the Tipping Point (2008), Visualizing Density (2007), The Playbook (2006), Designs on the Land: Exploring America from the Air (2003), Taking Measures Across the American Landscape (1996), Look at the Land; Aerial Reflections of America (1993) and Above and Beyond; Visualizing Change in Small Towns and Rural Areas (2002). MacLean maintains a studio and lives in Lincoln, Massachusetts.

Sea Level Rise:
On the shoreline of the Atlantic coast from Maine to Florida, rising salt water will impact over 100 million people. As a result, our nation will spend unimagined fortunes to adjust both gradual and abrupt disruptions of rising ocean waters.

Sea level rise occurs when warmer temperatures associated with climate warming melt land ice and thermally expand the volume of seawater. Although sea level is now rising in fractions of inches, the impact will accelerate, with mean sea level predicted to be 3 to 6 feet higher by the end of the century.

Even though many people are skeptical of climate change, and certainly not engaged in actions to reduce emissions of heat-trapping gasses, there is no denying that sea level rise, enhanced by storms and storm surges, causes erosion, flooding, dislocations, and will result in catastrophic damage along our coastlines. This problem is a significant cost factor reflected in financial markets for hazard insurance and appraisal of real estate values. Sea level rise is a relentless, visible indicator of a warming climate, which cannot be ignored.
 

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More Great Photographers To Discover

Jens Juul
Denmark
My name is Jens Juul, and I'm a photographer. I'm trained as both photographer and portrait painter and have also done graphic design for years. I recently won the portraiture category in The Sony World Photography Awards with my series Six Degrees.About my way of working with photography: Strong impressions form the motive power of my work. Behind a strong impression always lies an interesting and often untold story. Of course the strong impressions can be seen on the news, where we daily watch pictures from global hot spots or places hit by sudden disasters. These pictures any photographer can chase in competition with other photographers with access to the same news channels. But apart from the spectacular and crisis hit places I actually believe that strong impressions can be found around all of us. My morning bike ride to take my children to school is often cause of great inspiration. The story is right on your doorstep. It is just a matter of seeing it and of really seeing the people who are part of the tapestry of your daily life, and then of finding your angle and the courage to step across the boundary between yourself and other people formed by each person¹s privacy sphere even to those strangers who may at times seem dangerous and intimidating. of Copenhagen.About Six Degrees of Copenhagen: My photo series Six Degrees of Copenhagen is a textbook example of breaking this boundary. The way I work is that I approach someone I don't know, be it on the street, in a supermarket or at a social event. I ask if I can portray them in their homes and then I pay them a visit. The visit usually lasts a couple of hours or however long it takes to break the ice and get just the right shot of the subject. I then ask them to pass the torch so to speak and recommend someone in their own network that I can portray in the same way. I got the idea from the theory of six degrees of separation - the notion that all people on Earth are connected in the sixth degree. There is nothing scientific about my work, though, and I'm not trying to show the extent of human networks. It is a way of working that magically enables me to travel through a city and meeting its inhabitants. I've come across all walks of life, old and young, and I have seen many different ways of life. If you meet people without prejudice and with a lot of curiosity it really is amazing how willing they are to share their experiences and the insights they've gained. In that way my work is a journey into the minds and lives of other people.About Inmates: A third project I am working on is a book project about being an inmate in a prison. The Inmate project takes its point of departure in a profound curiosity regarding the consequences of being punished with long-term imprisonment to someone's life. The project focuses on the life conditions of long-term inmates in Danish prisons. What do inmates think about their own lives, their relationships with people both inside and out of prison, and what kinds of hopes and expectations do they have about the future? The project will be using a combination of interviews, portraits and picture documentation of the everyday life in Danish prisons to tell the story of inmates. The aim is to publish a book with ten interviews and approximately 75 pictures. I'm looking into crowd funding possibilities, and am also considering making an electronic version that would keep production costs down and provide a possibility of layering information. Through the Danish Prison and Probation Service I have been granted access to the Danish prisons. In some prisons I have only been allowed to take pictures of architectural details. In other prisons I have been escorted around by prison employees, who have opened and locked doors for me, and walked me through the different parts of the prison. In yet other places I have been permitted to move around freely, and take all the pictures I wanted, as long as I got permission from the inmates first. In total I have been granted a much higher degree of access than I had ever dreamt of when I made the first phone call in order to get into prison. But why on Earth, one might ask, am I giving criminals that have harmed fellow human beings a chance to express themselves? And why would I offer them to have their portraits and pictures of their everyday life grace the pages of a book, and even do so in a book looking all luxurious with big pictures? The answer is simple, really: Because their voices to a large extent are missing in the public debate. There are black holes, so to speak, in the public's map when it comes to the realities and consequences of incarceration. What is it like? Really? In Denmark, imprisonment is largely seen as punishment, but with an agenda of offering possibilities for resocialization, and only severely hardened or mentally ill inmates have little prospect of ever getting out. However, reality is that resocialization is difficult, even in a social-liberal welfare state like Denmark. The question then is: if prison breeds more criminals, how does society benefit from locking people away? It is my ambition to start a public debate about the relationship between justice, punishment, revenge and resocialization that will hopefully engage both the public and the politicians. Each year, so many families live with the consequences of crime. Children of criminals and victims alike are growing up with the effects of crime and punishment. So we'd better make it count! And to return to the relationship to our personal networks and the use of them, my work inside the prison walls has shown me that much crime is committed by individuals whose networks have been insufficiently present. A lack of care and love early in life, but also a lack of engagement from the personal circle of acquaintances. Instead of stepping in when people are in trouble, we turn our heads away to avoid becoming a part of the problem. A lot of human misery could be avoided if only we dared to get involved and show some interest in the lives of our fellow human beings!Awards:2013 Winner of the Sony World Photography Awards 2013 in the portraiture category2013 Finalist in KL International Photoawards 2013 in the Portrait Category.2013 Selected for a Spotlight Award in the Black & White Portfolio Contest 20132013 4th place for the Su-ture 1st Edition by Gomma, 2013
Elaine Mayes
United States
1936
Elaine Mayes has been an active visual artist since 1960. A main focus and emphasis for her work has been investigations of ‘seeing’ and documentary forms in photography. This interest led to a number of projects and seeking out various close at hand situations in the world as subject material for her photographs. Elaine majored in painting and art history at Stanford University and then studied at the San Francisco Art Institute with John Collier, Jr. Paul Hassel, Minor White, Nathan Oliviera and Richard Diebenkorn. Between 1961 and 1968 she was an independent photojournalist working in San Francisco for magazines and graphic designers. During 1967 and 1968 she was a rock and roll photographer and photographed the ‘Summer of Love’ and scene in the Haight Ashbury District of San Francisco. One of her assignments was to photograph the Monterey Pop Festival. This work was published in her book called, It Happened In Monterey. Elaine taught photography for thirty-five years, beginning at the University of Minnesota in 1968. Then she taught at Hampshire College from 1971 to 1981, at Bard College during 1982 and 1983, and at New York University’s Tisch School of the Arts from 1983 until 2001. Elaine was Chair of the Tisch Photography Department from 1997 until her retirement from teaching. Currently, she is Professor Emeritus and is living in the Catskill Mountains of New York actively continuing her work. Elaine’s photography has been exhibited extensively, with recent exhibitions connected with The Fiftieth Anniversary of the Summer of Love and The Monterey Pop Festival and includes the de Young Museum, The California Historical Society, The SFO Museums United Airlines Terminal, The Monterey Art Museum, The Grammy Musuem, Spazio Gerra - Comune di Reggio Emilia, Italy and the Joseph Bellows Gallery in La Jolla. Elaine has received a number of awards including three grants from the National Endowment for the Arts and a Guggenheim Fellowship. She also was awarded funding from The Atherton Foundation for her Hawaiian images and book production for a limited edition handmade book called, Ki i ‘no Hawai’i. Her newest publication is, Recently, Daylight Press, 2013. Elaine is affiliated with Getty Images, Joseph Bellows Gallery, Morrison Hotel Galleries, and Liberal Arts Roxbury.Source: www.elainemayesphoto.com
Richard Avedon
United States
1923 | † 2004
Richard Avedon (1923-2004) was born and lived in New York City. His interest in photography began at an early age, and he joined the Young Men's Hebrew Association (YMHA) camera club when he was twelve years old. He attended DeWitt Clinton High School in the Bronx, where he co-edited the school's literary magazine, The Magpie, with James Baldwin. He was named Poet Laureate of New York City High Schools in 1941. Avedon joined the armed forces in 1942 during World War II, serving as Photographer's Mate Second Class in the U.S. Merchant Marine. As he described it, "My job was to do identity photographs. I must have taken pictures of one hundred thousand faces before it occurred to me I was becoming a photographer." After two years of service, he left the Merchant Marine to work as a professional photographer, initially creating fashion images and studying with art director Alexey Brodovitch at the Design Laboratory of the New School for Social Research. At the age of twenty-two, Avedon began working as a freelance photographer, primarily for Harper's Bazaar. Initially denied the use of a studio by the magazine, he photographed models and fashions on the streets, in nightclubs, at the circus, on the beach and at other uncommon locations, employing the endless resourcefulness and inventiveness that became a hallmark of his art. Under Brodovitch's tutelage, he quickly became the lead photographer for Harper's Bazaar. From the beginning of his career, Avedon made formal portraits for publication in Theatre Arts, Life, Look, and Harper's Bazaar magazines, among many others. He was fascinated by photography's capacity for suggesting the personality and evoking the life of his subjects. He registered poses, attitudes, hairstyles, clothing and accessories as vital, revelatory elements of an image. He had complete confidence in the two-dimensional nature of photography, the rules of which he bent to his stylistic and narrative purposes. As he wryly said, "My photographs don't go below the surface. I have great faith in surfaces. A good one is full of clues." After guest-editing the April 1965 issue of Harper's Bazaar, Avedon quit the magazine after facing a storm of criticism over his collaboration with models of color. He joined Vogue, where he worked for more than twenty years. In 1992, Avedon became the first staff photographer at The New Yorker, where his portraiture helped redefine the aesthetic of the magazine. During this period, his fashion photography appeared almost exclusively in the French magazine Égoïste. Throughout, Avedon ran a successful commercial studio, and is widely credited with erasing the line between "art" and "commercial" photography. His brand-defining work and long associations with Calvin Klein, Revlon, Versace, and dozens of other companies resulted in some of the best-known advertising campaigns in American history. These campaigns gave Avedon the freedom to pursue major projects in which he explored his cultural, political, and personal passions. He is known for his extended portraiture of the American Civil Rights movement, the Vietnam war and a celebrated cycle of photographs of his father, Jacob Israel Avedon. In 1976, for Rolling Stone magazine, he produced The Family, a collective portrait of the American power elite at the time of the country's bicentennial election. From 1979 to 1985, he worked extensively on a commission from the Amon Carter Museum of American Art, ultimately producing the show and book In the American West. Avedon's first museum retrospective was held at the Smithsonian Institution in 1962. Many major museum shows followed, including two at the Metropolitan Museum of Art (1978 and 2002), the Minneapolis Institute of Arts (1970), the Amon Carter Museum of American Art (1985), and the Whitney Museum of American Art (1994). His first book of photographs, Observations, with an essay by Truman Capote, was published in 1959. He continued to publish books of his works throughout his life, including Nothing Personal in 1964 (with an essay by James Baldwin), Portraits 1947-1977 (1978, with an essay by Harold Rosenberg), An Autobiography (1993), Evidence 1944-1994 (1994, with essays by Jane Livingston and Adam Gopnik), and The Sixties (1999, with interviews by Doon Arbus). After suffering a cerebral hemorrhage while on assignment for The New Yorker, Richard Avedon died in San Antonio, Texas on October 1, 2004. He established The Richard Avedon Foundation during his lifetime. Source: The Richard Avedon Foundation Born in New York, Richard Avedon attended city public schools and Columbia University, and served in the photographic section of the merchant marines. He studied under Alexey Brodovitch at the New School for Social Research from 1944 to 1950, and became the elder designer's protégé. Avedon was a staff photographer for Junior Bazaar and then Harper's Bazaar for some twenty years, and became a staff photographer at Vogue in 1966. In 1994 he was the first staff photographer hired by The New Yorker. For a photographer whose roots are in publication work, Avedon has been exceptionally successful in museums as well. He was included in the 1955 landmark exhibition The Family of Man at the Museum of Modern Art, and has received solo exhibitions at the Smithsonian Institution in Washington, D.C., the Museum of Modern Art, the Metropolitan Museum of Art, and many other institutions. Most recently, the Whitney Museum of American Art presented Evidence: 1944-1994, a career retrospective of his work, and the International Center of Photography organized Avedon Fashion 1944–2000 in 2009. In 1993, Avedon received the Master of Photography Infinity Award from ICP. Since the late 1940s--when Avedon's blurred black-and-white portrait heads were acclaimed for capturing the raw dynamism of youth--his photography has changed to reflect the style, energy and dynamism of the moment. He helped set the standard for sleek, urbane elegance in mid-twentieth century fashion photography, and his gift for highlighting the allure and drama of his subjects has made him one of the most iconic photographers of the late twentieth century. Avedon maintains that "a photographic portrait is a picture of someone who knows he's being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks."Source: International Center of Photography
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