Lu nan photographer biography examples

This trilogy ended fifteen years later in It is important to remember that Lu Nan was one of the first to shed light on another side of Chinese society, on people often considered outcasts. On that occasion, Lu Nan answered a few questions. I am extremely satisfied with this exhibition, thanks to the museum, its curator s , and everyone who worked and contributed towards the show.

But perhaps more importantly, he became one of the first people who exposed another side of Chinese society ; people often considered outcasts. His black and white photographs depict people within their own environment by using a rather straight glance, which is yet associated with delicate contrasts and elegant compositions. From to , Lu Nan has closely contacted 14, people who had different kinds of mental conditions in 38 hospitals of 10 provinces and cities in China as part of the series Forgotten People.

Lu Nan showed the living conditions of a group of people who are forgot by the society in a powerful and real way by photography. During this time period, Lu Nan visited more than churches, but he tried to focus on the daily life of people in church to show how they practice love and faith, because he believes that "is the real church in their heart".

Although It is a hard learning process to accept the happiness and misfortune in life, people finally found themselves in the process of establishing their own value. During these 8 years, he spent at least half of his time living in Tibet with local people. He also worked more than meters high above sea level. Although the working condition is very harsh, he still returned so he could capture every touching moment in Tibet.

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Lu nan photographer biography examples

Unfortunately, saltwater began creeping up into the spring creeks around Rising sea levels due to climate change are the primary cause. However, the saltwater intrusion was accelerated when the state water commissioners, appointed by climate change denier and former governor Rick Scott, determined that the wetlands could survive with less fresh water.

This new minimum flow policy would allow the state to increase the pumping of fresh water for large-scale inland developments and agricultural interests. The drawdown of fresh water for these lobbyists has taken fresh water away from the aquifer that feeds Chassahowitzka's springs and many others nearby. As the fresh water flow in the estuaries decreased, saltwater advanced upstream and took its place.

What had been verdant, semi-tropical forest is now mostly an open plain of grasses relieved by palms and dying hardwood trees. Sabal palms are the most salt tolerant trees in this ecosystem and are the last to expire. This is a widespread phenomenon, occurring all along the Big Bend section of the Gulf coast of Florida. In , I began to photograph in the salt-damaged sawgrass savannas and spring creeks there as a way of reckoning with the ecosystem loss and of understanding what has become of my native Florida.

I have narrowed my focus to a small, remote area that I know and love. My intention in bearing witness to this loss has been to portray the ruined landscape with respect, nuance and beauty. To document the progress of the saltwater intrusion, I have re-photographed landscapes that I first photographed as much as 30 years ago. This ruin is the fate of estuaries around the world as sea levels rise.

With increasingly fierce storms and extensive flooding along coastal areas, we are reminded that climate change is a certainty and a priority. Attila Ataner. I am of Turkish ancestry, but born in Svishtov, Bulgaria, a small town on the Danube river. During the s, my parents and I lived in Triploi, Libya, where I attended an international school for the children of expats.

There, I was introduced to photography by one of my all-time best, and favourite teachers. I have been an avid amateur photographer ever since. I currently live in Toronto, Canada, with my wife and two young children. I am formerly a practicing lawyer, however I recently returned to school to pursue a PhD degree in philosophy, with my focus being on environmental philosophy and legal and political theory.

My current passion for photography, and the series of photos I have been working on more recently, is partly informed by my scholarly work on environmental issues. My overall project aims to reflect on the contemporary experience of dwelling in extensively built-up, "artificial" spaces. Our ancestors lived in spaces pervaded by natural landscapes, by mountains, valleys, by open skies, and the like.

They were surrounded by spontaneous, self-generating, self-sustaining i. Conversely, consequent to modernity, our visual landscapes are now largely colonized by massive, cuboid, monolithic structures; and by constricted, disrupted or otherwise occluded skies. Above all, we have surrounded ourselves with a seemingly endless array of almost exclusively human-made constructs.

This is the central contrast between modernity and the modes of dwelling of our ancestors. And here, in this modern moment, we find astounding beauty mixed with a certain apprehension, oppressiveness and brutality - for instance, as is exemplified by the staggering scale of the seemingly omnipresent and ever-expanding character of the structures that now envelop and enframe our lives.

I hope my photos manage to capture this duality in the contemporary urban landscape. Bill Burke. William M. Burke is an American photographer and educator known for his 20 years of documentary photography in Vietnam and neighboring countries, detailing the effects of war. Bill Burke was born in in Derby, Connecticut. In , he received a B. In , he became a Guggenheim fellow in photography.

While he has contributed to the Christian Science Monitor and published his work in Fortune and Esquire, Burke prefers to present personal travelogue images in series in books and exhibitions. He has exhibited alone and in groups at ICP and elsewhere. Bill Burke, who failed his draft physical, was spared the experience of many of his contemporaries who fought in the Vietnam War.

Since the s he has photographed his travels through Asia not to document military atrocities, but to record his personal reactions. His work reflects a fascination with historical events and sites, yet his interest is broader than the topical documentation of photojournalism. The independent spirit of works such as Robert Frank's The Americans informs Burke's approach to his subjects: he recognizes his outsider status, and the black-and-white photographs of his many trips to Cambodia are as much about the personal impact and experience of being a witness as they are about the cultures he visits.

This visitor status is important: Burke makes no pretense trying to develop a photo essay with political overtones, in the tradition of American documentary photography of the s. Source: International Center of Photography. Joyce P. Lopez started out as a weaver, moved with her family to Copenhagen for three years, and upon returning moved into photography with an international p.

Winning a number of international competitions, she established her own recognizable photography style and has continued working for over 40 years. Statement In my work, I photograph the beauty in the Natural World that is on the brink of extinction. The Earth series: "Each image is a separate problem that is happening to Earth. Journalist and photographer.

Since she has been working as a freelance reporter and photographer focused on war zones. She has worked in a number of African countries, including conflict zones of Democratic Republic of Congo. She visited Afghanistan several times, as well as Somalia, plagued by several decades of war. She has won a number of prizes and nominations in the Czech Press Photo competition - both for photography and video.

She is the co-author of nine books about Africa and about the wars in the Middle East and Nagorno Karabakh. In September , war broke out in Nagorno Karabakh. Statement Twelve years ago I first came to a war zone, to the eastern part of the Democratic Republic of the Congo. My goal was to document the drastic effects of the protracted war on women.

The local militias are committing mass rape of women and children; rape is a weapon of war. It was my first encounter with war. I understood that I wanted to bear witness to the injustices of this world, the way they fall on innocent victims who have nothing to do with them. On the Road: Catholics in China. Worshippers, Shanxi, China. Confession, Shaanxi, China.

Holy Communion, Shaanxi, China. A Blessing, Yunnan, China. A Funeral, Shaanxi, China. A Child's Funeral, Yunnan, China. A Baptism, Shaanxi, China. Three Women and a Child, Shaanxi, China. Village Life, Tibet. Three Women Fertilizing the Fields, Tibet.