AAP Magazine proudly announces the results of its latest edition, AAP Magazine 38 Women, a dynamic celebration of women’s contributions to the world of photography. With a blend of historical reflection and contemporary insight, this edition explores the multifaceted roles of women as both photographers and subjects, transcending traditional boundaries and reshaping narratives.This year’s edition of AAP Magazine Women boasts an impressive international flair, with the 25 winners hailing from 14 different countries. Among the winners, there are six male photographers and an inspiring nineteen women photographers, further highlighting the diverse representation and global reach of women’s impact in photography.More info:all-about-photo.com|twitter.com|Facebook|Instagram|youtube.comThis post may includeaffiliate links.
AAP Magazine proudly announces the results of its latest edition, AAP Magazine 38 Women, a dynamic celebration of women’s contributions to the world of photography. With a blend of historical reflection and contemporary insight, this edition explores the multifaceted roles of women as both photographers and subjects, transcending traditional boundaries and reshaping narratives.
This year’s edition of AAP Magazine Women boasts an impressive international flair, with the 25 winners hailing from 14 different countries. Among the winners, there are six male photographers and an inspiring nineteen women photographers, further highlighting the diverse representation and global reach of women’s impact in photography.
More info:all-about-photo.com|twitter.com|Facebook|Instagram|youtube.com
This post may includeaffiliate links.
“This photo was taken at Bajau Sea Gypsies Village, which is located in the Semporna Island district of Sabah, Malaysia. The Bajau, often known as the Sea Gypsies people or Sea Nomads are a semi Nomadic ethnic group. They lived on houseboats or stilt houses near coastal areas, making a living through fishing and other maritime activities.”
“Coming from both Dutch and Indonesian roots, I feel I never really ‘fit in’ because my blood has different cultures. Living in a yurt, intertwined with all the Elements, me and my children are rooting into the clay in Oosterwold. It is fascinating how connected I feel with this special place.”
As the late 19th and early 20th centuries progressed, there was a change. As photography became easier to access, women started using it to express themselves and record their lives. Despite obstacles like discrimination and limited resources, many women photographers emerged, breaking stereotypes and showing women in various empowering roles.
“From an early age, we are looking for confirmation of our own existence. Therefore, we try to fit into the canons of beauty, promoted standards, preferences, and values - interestingly, so different for different eras. Today’s canons of beauty in the Baroque period would have been a reason for exclusion, and interestingly, they may be a reason for exclusion today, but in non-European cultures. Chasing what the media dictates, we forget who we really are. It’s like we need a mirror to look at ourselves in, but the trap is that the mirror often turns out to be a crooked mirror. Therefore, the more we try to be someone else than we are, to squeeze into an alien body, the more we feel a sense of inadequacy. Paradoxically, efforts that are supposed to bring us closer to others distance us from them and deepen our sense of loneliness. However, there comes a moment - not for everyone, but for those who are ready for it - when you discover that the quality of your life is fully correlated with the truth you carry within you. And then it will be possible to find the fullest, happiest, and truest version of yourself. It doesn’t matter what era we were born in, it doesn’t matter what others say.”
“Elderly women are so often overlooked as portrait subjects. What many see as outward signs of aging – lines, wrinkles, and other infirmities – I see as character, wisdom, dignity, experience, and humanity. When I approach elderly subjects to introduce myself and to ask for the opportunity to make their portrait, I’m often met with surprise: Why would you want to photograph me? Just one look at these amazing faces, and you know the answer!”
AAP Magazine 38 Women recognizes how women’s roles have changed over time. From being seen mainly as models or assistants, women are now seen as agents of change in society, breaking free from old stereotypes as only mothers or wives. This edition celebrates their strength, resilience, and artistic talent with a selection of images that challenge and inspire.
“I took this portrait of a woman while traveling in the Armenian countryside, proud and hardworking people live here. This elderly woman fascinated me with her life and amazing vitality. There was nobility and reconciliation in her eyes. Look also into an old woman’s eyes and you will see peace and serenity.”
“The Rejang Dance, meaning offering is Bali’s most beautiful and holiest sacrificial dance to entertain the visiting ancestral gods and spirits and to bestow protection and prosperity on earth. For generations, this tradition has been passed down and practiced every six months in hopes of continuing for many years.”
AAP Magazine 38 celebrates the past struggles and successes of women in photography while also looking forward to a future with more diversity and representation in the field. It honors the lasting impact of women, both behind and in front of the camera, on visual storytelling.
“Escaramuza is the sport of all-female precision horse riding teams that execute meticulous maneuvers while riding sidesaddle at high speed and wearing traditional Mexican attire. Through photographic portraiture, poetry, and in-depth interviews, Escaramuza, the Poetics of Home considers how the escaramuza tradition persists in the present-day United States, what it means for the identity of its Mexican and Mexican-American female practitioners, and how it fosters a profound sense of belonging. This work explores the roles of family, immigration, and gender dynamics within escaramuza and Charrería culture in the US, drawing historical parallels to the soldaderas who fought in the Mexican Revolution and are the inspiration for the creation of the escaramuza tradition. It is a collaboration between Photographer Constance Jaeggi and poets Ire’ne Lara Silva, 2023 Texas State Poet laureate, and Angelina Sáenz, award-winning educator and poet and UCLA writing project fellow.”
“My project was to travel to Mexico and South America to photograph the beauty, strength, and perseverance of the woman who where kind and openhearted and allowed me to photograph them as they went about their daily lives.”
“The series was created to highlight a Montréal dancer and choreographer named Kaia who kindly accepted to participate in a creative photoshoot. I find the inherent paradox related to capturing movement in photography (especially the art of dancing) very interesting. As the shoot went on, I started getting interested in the down time between Kaia’s dancing and used those moments to create a quiet and introspective atmosphere.”
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“I’m passionate about creating portraits of individuals who deeply resonate with me, regardless of their background or label. What matters most is the personal connection I share with them and the mutual willingness to truly connect. Whether it’s an actor or dancer captivating me on stage, a homeless person I encounter on the street, or someone with whom I share an unexpectedly inspiring conversation, I seek to capture their essence away from their usual surroundings. Inviting them into my studio allows me to focus solely on the individual, stripping away external distractions.In my portraits, I strive to capture honesty and vulnerability. I believe that embracing vulnerability not only enhances our humanity but also fosters kindness and empathy in our world. When people reveal their vulnerabilities, it creates a space for others to do the same, fostering deeper connections and understanding.What truly fascinates me is capturing the dichotomy of opposing qualities within a person simultaneously. It’s in these moments of complexity and depth that the true essence of humanity shines through.This endeavor excites me because people are inherently complex. I hope that through my portraits, viewers can find something within themselves that resonates with the essence of the subject, sparking a deeper connection and understanding of the human experience.”
“Amid the sea of blonde bombshells, you were singularly lost in the crowd, but as a group, you became part of the spectacle. More than just a fundraiser, the Marilyn Swim is a celebration of self, fearless and bold, just like the icon herself.”
“INTERCULTURAL is a conceptually rigorous, painstakingly detailed portfolio exploring conventions of ethnographic perceptions through a series of costumed self-portraiture featuring Raj arrayed in the traditional authentic finery of various regions and nations — India, Pakistan, Japan, Thailand, Portugal, Spain, Greece, Turkey, Eritrea, Morocco, Jordan, Saudi Arabia, Iran, Armenia, Mexico, Hawaii, First Nation, and North America. Her own cross-border heritage and intercontinental family history first inspired her to embark on this serial self-transformation, in which her inviting countenance is revealedas ethnically morphic as she successively embodies both the epitome and increasing obsolescence of race-based constructs of identity. The larger-than-life scale and the perfect regularity of Raj’s serene gaze and relaxed but formal front-facing pose create a clean, almost classical structure within which comparisons are encouraged, as both differences and similarities are celebrated equally, and attention to detail moves the story forward. In these images, audiences see the artist more deeply and inevitably come to see themselves as well.‘The intention of INTERCULTURAL is to enlighten cultural ideologies, initiate respect for diversity and unify humanity for a peaceful coexistence worldwide’.”
“‘The Garden of Maggie Victoria’ explores memory and female representation through the story of my great-grandmother, forgotten within my family after her premature death in England in 1943. The series integrates rediscovered family archives with my own contemporary images to create collages reviving my ancestor’s legacy. In this featured image, my great-grandmother is pictured in the mid-1920s blowing bubbles with two of her three children. Fondest Love From Mother was how Maggie Victoria signed letters to her eldest daughter. The new bubbles were captured on a hot summer afternoon in our Vancouver garden. I incorporated elements of sky and land to convey the transfer of affection down the generations and across continents.”
“The series ‘Hidden Forest’ explores the relationship between the artist, the audience, and the gaze. I investigate photographic looking as a way to understand identity, family secrets, and love. Art is a way to make sense of disorder and reveal truths.”
“In response to my parents’ deaths, I created the series Memory Building. To construct these images, I physically projected my family’s vernacular photographs onto the surfaces of my childhood home, in the same locations where they were originally made, and rephotographed the scene. By fusing photos from the past onto the present-day walls, I unearthed six decades of engrained memories and captured my family’s vanishing presence that once permeated our mid-century suburban home—the container for so much of my personal history. The photo of Christening Day shows my mother holding me as an infant; as I grew up, the background sconces remained affixed to the wall behind us.”
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