Fine Art Photography Magazine
APRIL 2024

#115

Founder & Editor: Dafna Navarro

166

Dafna Navarro is the CEO and Founder of
Art Market – Global Media Company.
Founded in 2013, Art Market is the publisher of
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120
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Copyright to The International Lens Magazine
© Dafna Navarro, 2024. All rights reserved.
Art Market - Global Media Company
No part of this magazine may be re-used without
the written permission of the publisher.
This magazine's content is for informational
purposes only and is, to the best of knowledge,
correct at the time of publication.

2

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ON THE COVER
The Beauty. Wolf Ademeit© All rights
reserved. In this photo I was lucky with the
soft light and a bit of wind which made the
feathers stand up. See article on page 28

Life Trace
Réhahn © All rights
reserved. See the
exclusive Interview
uঞ1Ѵ;om-];Ѷĺ

3

60

90
72

08
28
42

08/ AN EXCLUSIVE INTERVIEW
WITH RÉHAHN
| BY ARIEL SU

102/ ARTEM KHAZOV

3 SERIES: SCENES OF LIFE IN

TANZANIA | 2 PROJECTS:

VIETNAM

WILDLIFE | THE HADZA

PHU QUOC COLLECTION |

AND MAASAI TRIBES

MEMORIES OF IMPRESSIONISM

120/ AMISH CHHAGAN

28/ WOLF ADEMEIT

102
120

NATURAL LOVE FOR ZAMBIA

ANIMAL PORTRAITS
2 SERIES: COLOR AND B&W

138/ DENISE DETHLEFSEN

42/ MARK EDWARD HARRIS

2 PROJECTS:

EXTRA ELEMENTS, NATURAL
FRAMES, AND SILHOUETTES
IN NATURE AND WILDLIFE
PHOTOGRAPHY

60/ FRANK BINDER
OH OH ORANGUTANS

72/ JOSEF BUERGI
MONGOLIA | THE MIGRATION
OF THE EAGLE HUNTERS

90/ NABIL WEST

"SOME OF US JUST CAN'T DRAW."
| "NATURALLY ECLECTIC"

152/ ARMIN ABDEHOU
THE HORSES OF KURDISTAN

166/ MAGNUM & GRANTA
THE 10TH ANNIVERSARY OF THE
SQUARE PRINT SALE
FOR THE 10TH ANNIVERSARY
OF THE SQUARE PRINT SALE,
STORYTELLERS UNITE
Ň!ƑƖ҄+ƔķƑƏƑƓ

ALLT ÍSLAND GRÁTÓNA
Ґ ( !+$  
! ґ

138

Lens Magazine

152

166

5

Fine Art Photography Magazine
JUNE 2023

#105

TO ME, THESE
PHOTOGRAPHS
REPRESENT THE REAL
VIETNAM. IT BLENDS MODESTY
AND HUMOR, OLD AGE,
AND HAPPINESS."
-RÉHAHN

An Exclusive Interview with

By Ariel SU

The Harvester
Réhahn © All rights reserved.

MY INITIAL INSPIRATION FOR FINE ART PHOTOGRAPHY
CAME FROM MY TRAVELS. I WAS REALLY AFFECTED
BY THE PEOPLE I MET IN THE COUNTRIES I VISITED, AND
IT FELT NATURAL TO DOCUMENT MY EXPERIENCES
THROUGH PORTRAITS. VIETNAM, IN PARTICULAR, CAPTIVATED
ME AND SPARKED MY PASSION FOR DOCUMENTING ITS
DIVERSE CULTURES."
-RÉHAHN
t

Golden Fields
Réhahn © All rights reserved.

SCENES OF LIFE IN VIETNAM

I THINK I ALWAYS
HAD A LITTLE
BIT OF AN OLD
SOUL, OFTEN
PREFERRING THE
COMPANY OF POETS
AND PAINTERS FROM
ANOTHER ERA TO
PEOPLE MY OWN AGE. "
-RÉHAHN

Réhahn © All rights reserved.

éhahn was born in
Bayeux, Normandy,
France. He is an
avid traveler who
has visited more
than 35 countries with his camera
before settling in the coastal town
of Hoi An, Vietnam. He was inspired
by Vietnamese culture when he
visited for the first time while
on a humanitarian mission with
the French NGO Les Enfants du
Vietnam.
Réhahn is a documentary, cultural,
portrait, and nature photographer
known for capturing the souls of his
models. In his magnificent nature
photography, he expresses the
magical landscape of his journey.
Each photograph he takes has
a story behind it and is the
culmination of an experience.

12

His subjects' stories and his passion
for learning more about their culture,
diversity, and changing traditions
drive his work.
His unique combination of Fine Art
Photography and Documentary
styles results in images that inform
and mesmerize. His portraits
of Vietnam, Cuba, and India are
particularly well-known. They take
the viewer on a voyage to glimpse
authentic interactions with people
and places.
During his professional journey,
Réhahn received international
awards and recognition for his work,
which revolved around Vietnamese
culture and people. His projects often
blend fine art with documentary
photography, and he always seeks
to uncover more profound stories
with his continual curiosity about the
world.

Over the past 15 years, Réhahn has
worked on notable projects with
significant cultural importance.
His photograph "Hidden Smile" was
a turning point in his career and
eventually became one of the most
iconic images of modern Vietnam.
The photograph was published
worldwide and received numerous
accolades.
In 2015, the Asian House Museum
in Havana, Cuba, selected "Hidden
Smile" for its permanent collection.
A year later, the Hanoi Women's
Museum added it to its permanent
collection for International Women's
Day.
During a ceremony celebrating 45
years of friendship between France
and Vietnam in 2018, Vietnam's
Secretary of the Party, Nguyen
Phu Trong (the current President
of Vietnam), presented French
President Emmanuel Macron with
lensmagazine.net

Lens Magazine

After finishing his original
mission for the Precious Heritage
Project and Cultural Museum,
Réhahn became interested in
returning to his cultural roots.
His research brought him to the
French countryside, specifically
Honfleur on the Normandy
coast in France, where he spent
time as a child and still owns a
residence.
The artist's passion for
nature, bright colors, and
light aligned with the desires
of the Impressionists and
Post-Impressionists to try to
capture the changing colors and
emotions that arise with the
changes of light and seasons.

SCENES OF LIFE IN VIETNAM

an edition of "Hidden Smile."
This event marked a pinnacle
moment for the photograph.
Interestingly, "Hidden Smile"
even set a record when a private
collector purchased it for 150k,
making it the most expensive
photograph ever sold in Asia.
One of his most significant
projects is The Precious Heritage
Project, which began by seeking
information about the 54
diverse ethnicities in Vietnam. It
developed into a nearly decadelong journey to research and
document each tribe's cultural
heritage, craftsmanship, and
stories. The photographer
completed his goal of meeting
all 54 groups (in addition to
dozens of subgroups) in 2020.

$orĹ!;vঞm]oѴ7
!࣐_-_mšѴѴub]_|vu;v;uˆ;7ĺ

I FELT
AN INSTANT
CONNECTION
WITH VIETNAM
AND ITS
PEOPLE,
A CONNECTION
THAT
CONTINUES TO
DEEPEN EVERY
YEAR THAT I'M
HERE.
IT'S A PLACE
WHERE I FEEL
TRULY
AT HOME."
- RÉHAHN
Life Trace
Réhahn ©
All rights reserved.

Réhahn sought to reimagine the initial
influences of the Impressionists but
in a contemporary way. Light is an
essential tool for all photographers;
finding a way to use it in a completely
original style was the challenge.
The artist created methods to merge
the fields of Fine Art painting and
photography in a new medium –
Impressionist Photography.
He refused to use filters or any other
artifice to retouch his images and
instead used nature to give his work
an impressionistic aspect, which,
under the right conditions, can almost
appear to have the texture of the
paint.
We are delighted to exhibit an
exclusive interview with Réhahn
and feature several series of his
work, presenting his cultural work,
landscapes, and recent project, a new
style dedicated to Impressionism.

14

lensmagazine.net

Terrace Rice Field
Réhahn © All rights reserved.

By Ariel SU
An Exclusive Interview
LENS MAGAZINE: Hello Réhahn, It's

truly an honor to have this interview
with you and showcase your
remarkable work.
Before we delve into your artistic
journey, I'm curious to learn more
about your background. What
inspired you to pursue fine art
photography, and how has the
creative environment you grew up in
influenced your work?
RÉHAHN: Thank you for having me.

Growing up in Normandy, France, I was
surrounded by both history and nature,
which undoubtedly influenced my
artistic sensibilities. As an adolescent
and young man, I spent a lot of time in
Lens Magazine

bookstores and museums; I think I
always had a little bit of an old soul,
often preferring the company of poets
and painters from another era to
people my own age.
My initial inspiration for fine art
photography came from my travels.
I was really affected by the people I
met in the countries I visited, and it felt
natural to document my experiences
through portraits.
Vietnam, in particular, captivated me
and sparked my passion for
documenting its diverse cultures. My
work evolved over time, but my initial
inspiration to meet people all over the
world and capture their unique spirits
is still part of what drives me.

15

L. M: In this edition of Lens Magazine, we have focused

primarily on the awe-inspiring beauty of nature, which
also encompasses the rich cultural heritage of
different lands. I am curious to know what inspired
you to visit Vietnam.
RÉHAHN: My first trip to Vietnam was actually for a
humanitarian mission with the French NGO Les Enfants
du Vietnam. I'd been sponsoring a young girl's education
for several years, and I wanted to meet her in person.
It was during this journey that I fell in love with the
country's cultures, landscapes, and people. During this
trip, I also met my longtime friend and muse, Madame
Xong. She was one of the reasons I decided to move to
the country - her smile and spirit continue to inspire me!

My initial visit to Vietnam left a lasting impression on
me. The cultural atmosphere was unlike anything I had
ever encountered before—so rich, colorful, and diverse.
Plus, I was blown away by the fact that so many different
languages and traditions could exist in one place.
It made me want to understand how these multitudes of

16

traditions had evolved over centuries and what their
future might be.
The natural surroundings were equally captivating, from
the green rice paddies to the misty mountains.
I've always felt most at home in the countryside.
I felt an instant connection with Vietnam and its people,
a connection that continues to deepen every year that
I'm here. It's a place where I feel truly at home.
L. M: Your Phu Quoc projects are captivating as they

shed light on the island's rich history, deep-rooted
traditions, and cultural heritage.
Over the past few years, Phu Quoc has undergone a
significant transformation from its humble origins as a
fishing and agricultural hub to a top-rated tourist
destination boasting a plethora of luxurious
accommodations. Have you noticed this
transformation as someone who has visited the island
numerous times over the past 15 years? Is there any
particular change that has stood out to you, and how
has it impacted your perception of the island?
lensmagazine.net

PHU QUOC COLLECTION
$or;[Ĺ
Earth Symmetry
Réhahn ©
All rights reserved.
Top Right:
Bai Sao
Réhahn ©
All rights reserved.
Right:
Eternity
Réhahn ©
All rights reserved.

Lens Magazine

17

RÉHAHN: Indeed, Phu Quoc has undergone

significant changes over the years, transitioning
from an island primarily focused on traditional
jobs such as fishing, making nuoc mam (fish
sauce), or harvesting pepper to a tourist
destination. While I appreciate the economic
opportunities this transformation has brought
to the island, I am also mindful of the need to
preserve Phu Quoc's unique cultural heritage
and natural beauty.
As a photographer, I strive to capture both the
old and the new, providing a glimpse into the
island's evolving identity while honoring its
past.
For example, I have visited a beach called Bai
Sao several times. When I first moved to
Vietnam, the water was turquoise and
pristine. Now, there is a lot of plastic debris and
development around it. People still enjoy going,
but it's not somewhere I would bring friends
who are visiting Vietnam. I find the mountainous
regions in the north and the rice fields in
northern and central Vietnam much more
awe-inspiring.
Right now, many people are doing a motorbike
tour known as the Ha Giang Loop in northern
Vietnam. The region isn't developed in the way
that much of the rest of the country is, and
some places are quite difficult to reach.
Unsurprisingly, this is also where many ethnic
groups live. I returned there recently for a
French documentary about my Precious
Heritage Project and was able to reconnect with
the people and the landscapes.
L. M: Day after day, you have consistently been

able to capture the fishermen just as they
were setting off on their maritime journeys,
leaving the shore far behind. Did language
pose any barriers? If so, how did you overcome
them and establish effective communication?

PHU QUOC COLLECTION
Solitude
Réhahn ©
All rights reserved.

18

lensmagazine.net

REMEMBER THAT SUCCESS IS NOT MEASURED BY ACCOLADES OR
THE ACCEPTANCE OF CRITICS BUT BY FULFILLING YOUR IDEAS."
-RÉHAHN

Lens Magazine

19

Sunrise Bridge
Réhahn ©
All rights reserved.

RÉHAHN: Language can indeed be

L.M: Through your projects, do you

a barrier at times, especially when
working in remote areas where
English (or even Vietnamese) may
not be widely spoken. However, I've
found that genuine curiosity and
respect for the people I photograph
often transcend language barriers.
I try to connect with my subjects on
a human level, using gestures,
expressions, and sometimes the help
of local interpreters to communicate.
Building trust and rapport is
essential in capturing authentic
moments, regardless of linguistic
differences. In addition, I have
picked up enough Vietnamese over
the years to get around quite well
and make my intentions understood.

aim to preserve tradition's beauty
and provide a better understanding
of the country's fragile situation
due to modern cultural changes
and global warming?

20

RÉHAHN: As an artist, I have a unique

platform. Fine art can be an
incredible way to unravel ingrained
ideas. By documenting traditional
practices, rituals, and ways of life,
I hope to raise awareness about the
importance of preserving these
traditions for future generations.
Climate change (increased typhoons
and damage from flooding) and
rapid development pose significant
challenges to Vietnam's cultural and
natural landscapes, making it all the
more urgent to document and

protect what remains.
The thing that I'm most interested in
presenting is the connection
between humans and nature.
How can they coexist? I use this
theme in many of my photos, such as
"Life Trace," which shows a man
walking alone through a rice field.
In my mind, his path through the rice
stalks is a metaphor for his path
through life.
My Impressionism series also follows
this theme. The subjects in these
photographs become intrinsically
linked to their environments, almost
as if they were painted into them.
They are also people who leave a
very light touch behind - respecting
the cycles of nature and working
with it instead of against it.
lensmagazine.net

PHU QUOC COLLECTION

Dream
Réhahn ©
All rights reserved.

Golden Hour
Réhahn ©
All rights reserved.

Hidden Smile
Réhahn ©
All rights reserved.

HIDDEN SMILE
L. M: It's obvious that the Fishermen, the rice field

workers, and the communities you have met on your
photography journey have a deep connection to the land
and nature and were raised as being part of it.
Therefore, your unique portraits of the people of
Vietnam represent this deep connection. What can you
share with us about the project "Hidden Smile" and
The iconic portrait of Madam Xong? What made her
laugh at the time while standing in front of the
camera?
RÉHAHN: Even though "Hidden Smile" is one of my

oldest portraits, it is still one of my favorites because of
the memory behind it. Madam Xong's laughter during
the photo shoot was spontaneous and infectious,
reflecting her joy and warmth. It was the second photo
that I took; the first shot didn't come out because her
movements were too quick.
I asked her to repeat her gesture of raising her hand to
cover her mouth as she smiled, but because my
Vietnamese language skills were still pretty broken at
the time, she misunderstood and raised two hands.

22

We both had a good laugh about the gesture, and that
was what I captured on my camera.
I believe her smile resonates with viewers because it
embodies the resilience and optimism characteristic of
the Vietnamese spirit, which I believe are tied, at least in
part, to their connection to their natural environments
and unique history.
L. M: Recently, you have developed a unique artistic style

through your fine art project, "Memories of
Impressionism," which pays homage to the masterful
works and philosophies of Impressionist and PostImpressionist artists from 19th-century Europe.
What inspired the shift in your artistic style, and can
you share more about the technique used to create it?
I understand that you do not use filters, yet still
manage to create a photo reminiscent of an oil
painting.
RÉHAHN: My "Memories of Impressionism" project was

born out of a desire to merge my love for photography
with my appreciation for the Impressionist art
lensmagazine.net

MEMORIES OF
IMPRESSIONISM
Top: Flame
Réhahn ©
All rights reserved.
Into the Clouds
Réhahn ©
All rights reserved.

movement. It began during the pandemic when
everyone was confined to their homes or their
proximity. As someone who'd spent the more
significant part of the last 15 years traveling
worldwide, this was a considerable change, but
not necessarily an unwelcome one. It allowed me
to take time to delve into my collection of books
and study the works and worlds of painters I'd
long admired. I did a deep dive into Impressionism
and Post-Impressionism, focusing first on Monet,
Van Gogh, and Pissarro but then expanding into
other artists such as Cezanne. Any time not spent
with my books was time spent walking in the
countryside. The changing light and colors in
these environments, which were suddenly devoid
of the rhythms of daily life, inspired me to try to
capture them in a new way. I wanted to capture
the essence of Impressionism through
photography, but how? Developing the techniques
I use now took a lot of trial and error. Instead of
using filters or digital manipulation, I developed
methods to manipulate light and composition
through natural occurrences - the movement of

24

water or smoke, the waves that occur in the air
around an intense heat source, etc. The distortion
of the water or air creates the effect of a painted
texture in the photographs. By embracing the
imperfections and unpredictability of natural
light, I always hope to pay homage to the ideas of
the Impressionists.
L. M: What gear do you use, and do you have

a favorite software? What kind of editing/postprocessing do you use?
RÉHAHN: I primarily use Canon cameras and

lenses for my photography, as I find their
reliability and image quality to be well-suited to
my needs. As for software, I use Adobe Lightroom
for post-processing, though I keep my edits
minimal and true to the original scene.
Depending on the photo, I only adjust the vibrancy
and contrast slightly, or I might crop the image.
That's all. I believe the photographer's eye is the
most powerful tool in photography.
lensmagazine.net

MEMORIES OF IMPRESSIONISM
;[ņlbmo†v
!࣐_-_mš
ѴѴub]_|vu;v;uˆ;7ĺ
Being
Réhahn ©
All rights reserved.

L. M: What can you tell us about

your studio? Do you have a
permanent team working with you?
Are you traveling most of the year?
RÉHAHN: To be honest, my studio is
everywhere and nowhere. When I
photograph, I'm always outdoors.
I do any work on my computer in my
home. So, I don't have a formal
studio that I go to specifically to
create new photos. It's also
unnecessary because I don't use any
sort of artificial lighting. I just need
sunlight and my camera.
My photography is done
independently, and I have a small
team that assists me with various
aspects of my work, including sales,
writing, marketing, and logistics.
I travel for photo shoots, exhibitions,
and personal projects, both within

Lens Magazine

Vietnam and abroad; however, I
travel much less now than before
COVID-19. As a father, I prefer to
prioritize my time with my children,
and I find that there is so much
natural inspiration in Hoi An and
Central Vietnam that I don't have to
go far to create new works.
L. M: You have gained much

experience and success over twenty
years through exhibitions, and your
projects are now part of respected
private and museum collections.
As you reflect on your development
over the years, which project or
specific photo do you feel most
attached to?
RÉHAHN: It's difficult to choose just

special place in my heart for
different reasons.
However, if I had to single out one,
I would say that "Hidden Smile" has
a profound significance for me, not
because of its iconic status but also
because of the personal connection
I formed with Madam Xong and the
community she represents.
There is another photo that I'm
attached to that isn't as well known,
but it represents a new style of
portraiture for me. It's called "The
Neighbors," and it depicts an elderly
man and woman in the same house
but ultimately alone in their
thoughts.
It was inspired by Edward Hopper's
paintings, which I have always loved
for their melancholic beauty.

one project or photograph I feel
most attached to, as each holds a

25

L. M: What advice can you give the young fine art

photographers trying to make their way in the field?
RÉHAHN: My advice to young fine art photographers

is to relentlessly stay true to your vision. Don't be
afraid to challenge conventional wisdom.
Remember that success is not measured by accolades
or the acceptance of critics but by fulfilling your ideas.
I would also advise them to read biographies of the
great artists (Monet, Van Gogh, Hopper, Rodin..) Or
any artist that they deeply admire. Learning about
the evolution of art and the lives of artists can help
one become an artist, not just someone who takes
photos.

Oasis
Réhahn ©
All rights reserved.

MEMORIES OF IMPRESSIONISM

My newest series,
"Memories of
Impressionism,"
is the direction that
I see my work going in the
near future, so I have an
attachment to that project
again because it is the one
I'm currently obsessed
with! I am already starting
work on the first book
about Impressionistic
photography.

WEBSITE: REHAHNPHOTOGRAPHER.COM
INSTAGRAM: @REHAHN_PHOTOGRAPHY

Flamingo
$_bvrovbঞombvˆ;u‹
1ollom‰b|_Y-lbm]ovĺ
m|_bv1-v;ķ_-7|o0;
r-ঞ;m|†mঞѴ_;or;m;7
_bv;‹;vĺ
)oѴ=7;l;b|š
ѴѴub]_|vu;v;uˆ;7

WOLF ADEMEIT
Only a few photographers use the photography
of animals in zoos as an art form. I think this is a
missed opportunity… With my pictures, I would like
to move the photography of these animals to the
focus of the art photography and show photos that are
not only purely documentary."
- Wolf Ademeit

WOLF
ADEMEIT

The Beauty
m|_bvr_o|o‰-vѴ†1h‹‰b|_|_;vo[
light and a bit of wind which made the
feathers stand up.
Wolf Ademeit© All rights reserved

I decided to photograph the zoo animals artistically
rather than with a documentary focus. I wanted to
portray the animals as an individual or as a genus."
- Wolf Ademeit

W

olf-Dietrich Ademeit
is an internationally
award-winning
photographer born in 1954 and
residing in Duisburg, Germany.
Despite being a professional in the
advertising industry, he prefers to
call himself a hobbyist due to his
immense passion for photography.
He is the proud owner of an

30

advertising agency and a photo
studio. His love for photography
started during his lithography
studies and has continued for over
three decades. His work reflects
his deep appreciation for fine art
photography and his commitment
to capturing the beauty of the world
around us.

Ademeit has a unique approach
to photography that sets him
apart from other black-and-white
photography enthusiasts and
animalist masters. He focuses on
capturing expressive portraits of zoo
animals rather than photographing
wildlife in their natural habitats.

lensmagazine.net

Cassowary
I had already given up
when I took this picture
because it was too
dark, and the bird was
constantly moving. Then
he stepped into a beam
of light, and all the colors
and details became
visible...
Wolf Ademeit©
All rights reserved

Black Bird
I love the extreme
contrast between the
bright orange and the
black plumage.
Wolf Ademeit ©
All rights reserved

;[o‚olĹ;Ѵb1-m
‰-vbll;7b-|;Ѵ‹blru;vv;70‹|_bv0bu7ĺ_-7
m;ˆ;uv;;mv†1_-1Ѵ;-urbmh1oѴou-ঞomo=|_;
rѴ†l-];0;=ou;ĺ)oѴ=7;l;b|šѴѴub]_|vu;v;uˆ;7

R

ather than focusing
on wildlife in their
naturally beautiful
habitats, Ademeit finds charm
and personality in the facial
expressions of his subjects
alone. Call it 'animal portraits,'
if you wish.
More than simply keeping a
visual record, the photographer
provides an artistic portrayal
often reserved for human
portraiture. His photographs
showcase the charm and
personality of these animals,
which is usually reserved for
human portraiture.
His stunning animal portraits
have been featured on book and
Lens Magazine

magazine covers (Including Lens
Magazine Issue #40, 2018, Cover
Image and interview) and are
regularly used in advertising.
His photographs have also
inspired artists worldwide
to use them as templates
for drawings, paintings, and
tattoos.
His trademark style uses both
extremely colorful portraits,
black-and-white portraits to
represent animals, and a black
background to emphasize the
subject.
This dramatic style
has influenced several
photographers to adopt it and
create unique images.

Top: Emu
Again, I was lucky that the emu sat down right in
front of me, and I could photograph from this angle.
Wolf Ademeit© All rights reserved

Animal
photography
takes a lot of
time and patience.
With humans,
you can give instructions
and repeat them till you
have got the perfect
picture. As an animal
photographer, you have
very little influence on
things.
When photographing
animals, you have to just
wait till everything aligns
and you usually only have
one opportunity."
- Wolf Ademeit

33

Angry Bird
)_;mr_o|o]u-r_bm]-mbl-Ѵvķ-Ѵb‚Ѵ;Ѵ†1hbvf†v|-v
blrou|-m|-v|;1_mbt†;ĺ$_-|‰-v-Ѵ†1h‹v_o|ĺ
Wolf Ademeit© All rights reserved

WOLF
ADEMEIT

A Last Kiss
When I took this photo, I didn't
hmo‰|_-||_;Ѵb‚Ѵ;1_blr-mŒ;;
was seriously ill. He died a few days
Ѵ-|;uĺ$_;lo|_;u-Ѵvo7b;7v_ou|Ѵ‹
-[;u‰-u7ĺ
)oѴ=7;l;b|šѴѴub]_|vu;v;uˆ;7

ADEMEIT'S INCREDIBLY ARTISTIC
COLLECTION OF IMAGES OFFERS
A WIDE RANGE OF EMOTIONS,
CAPTURING EVERY GRIMACE,
FEROCIOUS ROAR, TENDER
KISS, AND TWINKLE IN THE
VARIED CREATURES' EYES, EACH
CAUGHT WITHIN A SECOND
OF THE ANIMAL'S POSITION HE
SOUGHT FOR. NO WONDER HIS
HIGHLY ACCLAIMED ANIMALS
SERIES TOOK 5 YEARS TO FINISH,
PATIENCE BEING A PART OF
THE AUTHOR'S TALENT AND
MASTERSHIP.
-VADIM YATSENKO
BRUICE COLLECTIONS, KIEW

WOLF
ADEMEIT

The Boss
m;o=l‹lov|0;-†ঞ=†Ѵ
]oubѴѴ-rou|u-b|vĺ|v_o‰v
|_;ro‰;u-m7ru;v;m1;
o=|_bvvbѴˆ;u0-1hĺ
)oѴ=7;l;b|š
ѴѴub]_|vu;v;uˆ;7

WOLF
ADEMEIT

;[-];o‚olĹ
Ostrich
"ol;ঞl;v-m;Ѵ;ˆ-|;7
ˆb;‰robm|bv-Ѵvoˆ;u‹
bm|;u;vঞm]ĺ
)oѴ=7;l;b|š
ѴѴub]_|vu;v;uˆ;7
Top: Vulture
"ol;ঞl;vķ;ˆ;u‹|_bm]
C|vĺ
r-uঞ1†Ѵ-uѴ‹Ѵbh;|_;
‰om7;u=†ѴѴb]_|_;u;ĺ
)oѴ=7;l;b|š
ѴѴub]_|vu;v;uˆ;7
Right: Rhinos
Unfortunately, this duel
took place far away, and
the animals kicked up a
lot of dust, making most
pictures unusable.
Wolf Ademeit ©
All rights reserved

Lens Magazine

39

More than simply keeping a visual record,
Wolf Ademeit provides an artistic portrayal
often reserved for human portraiture.

Ringelpiez
$_;bm|;u-1ঞomo=
elephants with their
|u†mhv-Ѵ‰-‹v=-v1bm-|;v
me.
)oѴ=7;l;b|š
ѴѴub]_|vu;v;uˆ;7

WOLF
ADEMEIT
website: wolfademeit.de | Instagram: @wolfademeit | Facebook: @ wolf.ademeit

EXTRA ELEMENTS, NATURAL
FRAMES, AND SILHOUETTES
IN NATURE AND WILDLIFE
PHOTOGRAPHY
Mark
Edward
Harris

Los Angeles Moonrise,
California, USA
© Mark Edward Harris

Mark
Edward
Harris

EXTRA ELEMENTS, NATURAL
FRAMES, AND SILHOUETTES
IN NATURE AND WILDLIFE
PHOTOGRAPHY

I

n my book, The Travel Photo
Essay: Describing a Journey
Through Images (Focal Press),
I laid out several techniques
that would be helpful in this
expansive genre of photography.
While most of the techniques could
be applied to nature and wildlife
photography, three in particular natural frames, the extra element,
and silhouettes - might be of
particular use for those trying to get
the most out of their image-making
in the great outdoors (or for that
matter the incredible caves of the
world such as the Gruta Do Lago
Azul in Bonito, Brazil).
Top: Sea of Clouds, Alishan, Taiwan
© Mark Edward Harris
Right: Mono Lake, California, USA
© Mark Edward Harris

44

lensmagazine.net

Milky Way, Joshua Tree,
California, USA
© Mark Edward Harris

Waterfall, Iriomotejima,
Okinawa, Japan
© Mark Edward Harris

46

lensmagazine.net

NATURAL FRAMES

N

atural frames can
create a threedimensional depth
and feel in the
two-dimensional medium of
photography. Flora, as well as
geological and architectural
structures, can be utilized in
the foreground to lead the
viewer into a scene. Sometimes,
foreground elements will be
more effective if they are in
focus; other times, softening
them with the use of a
shallower depth of field created
with a wider aperture is more
effective. I suggest seasoning
each particular scene to taste.
Examples of natural frames
taken with small apertures are
the waterfall photo taken on
Iriomotejima with boulders that
lead the viewer into the frame
and a silhouetted hillside and
an orange setting sky framing,
a sea of clouds below Alishan in
Taiwan.

Lens Magazine

47

Grizzly Catching a
Salmon, Brooks Falls,
Alaska, USA
© Mark Edward Harris

Plane Approaching LAX,
California, USA
© Mark Edward Harris

Ship and Sun, Broome,
Australia
© Mark Edward Harris

48

lensmagazine.net

T

he phrase “good things
come to those who
wait” has photographic
applications. Waiting for
the right combination of elements to
come together rather than running
from one location to another
definitely has its virtues, and it can
be useful in both urban and natural
environments or a combination
of the two. Since I also go by, and
I think this is my original saying,
“killing time is a crime,” I balance
the potential for the shot I’m waiting
Lens Magazine

THE EXTRA ELEMENT
for with the potential opportunities
ahead. I’ve found it’s usually worth
the wait.
Photographic history is full of
examples of timeless images
taken where photographers put
themselves in a position and then
wait for the decisive moment, the
instant that all the elements of
a potentially great image come
together. If we heed this, we can
avoid uttering, “This photograph
would have been great if…” My

suggestion is to try to wait for the
“if.”
It’s better to find an interesting
situation and wait for all the
elements to come together rather
than running from one position to
another.
My image of a plane crossing in front
of the moon is a graphic example of
waiting for the extra element. A less
out-of-this-world (or at least off-theplanet) example is my photo of a
grizzly catching a fish in Alaska.

49

SILHOUETTES

Top: Caiman, Pantanal,
Brazil
© Mark Edward Harris
Right Page Top:
Fox, San Juan Island,
Washington, USA
© Mark Edward Harris

50

!b]_|-];o‚olĹ
-l;Ѵvķ"-_-u- ;v;u|ķ
ouo11o
š-uh 7‰-u7-uubv

S

ilhouettes can be
created at any time of
day by finding a camera
position that puts the
subject of a shot against a bright
background and adjusting the
exposure controls, usually to
make the subject darker. It’s
vital to have a strong contrast
between the background and the
object or subject you are trying to
silhouette.

In Morocco, I hiked down a
sand dune to a position where
I could silhouette camels and
their riders on a ridge with the
rising sun on the opposite side of
my camera position. The same
basic technique was used for
the silhouette of a ship passing
in front of the setting soon off
the coast of Broome, Australia,
and people crossing the world’s
longest teak bridge in Mandalay,
lensmagazine.net

Myanmar. For the latter shot, I hired
a rowboat to get me into a position
where I could have the pedestrians
stand out against the late afternoon
sky. I was careful not to have the
people intersecting with objects.
If I had depressed the shutter a second
earlier, the monks on the right side of
the frame would have been entangled
in the branches.

Lens Magazine

For my travel photography,
I’m particularly interested in
the intersection of humanity
and the natural world.
My images of Mt. Fuji just
after sunset with buildings in
the foreground, the Golden
Pavilion in Kyoto in a forest
of green, and the Joshua
Tree under the Milky Way
are examples of using extra
elements, natural frames,
and/or silhouettes.

52

lensmagazine.net

Mt. Fuji,
Japan
© Mark
Edward
Harris

53

Golden Pavilion,
Kyoto, Japan
© Mark Edward
Harris

Mt. Fuji, Japan
© Mark Edward
Harris

U Bein Bridge,
Mandalay, Myanmar
© Mark Edward Harris

Yosemite,
California, USA
© Mark Edward
Harris

55

George Washington
Mt. Rushmore,
South Dakota, USA
© Mark Edward Harris
o‚olĹ ;ˆbѴv$o‰;uķ
)‹olbm]ķ&"
š-uh 7‰-u7-uubv

A

fter I secure the more
traditional postcard shot of
a well-known location, I look
for more off-the-beaten-path
angles. My Mt. Rushmore shot taken
from the side and only showing George
Washington serves as an example. This
approach is not only an interesting
photo exercise, it can be a rewarding
editorial, artistic, or stock photography
endeavor.

56

lensmagazine.net

Eagles, Seabeck,
Washington, USA
© Mark Edward Harris

Orangutan, Kalimantan,
Borneo
© Mark Edward Harris

Lens Magazine

57

Gruta Do Lago Azul,
Bonito, Brazil
© Mark Edward Harris

58

lensmagazine.net

Mark Edward Harris ©
All rights reserved.

MARK EDWARD HARRIS
Assignments have taken Los Angeles and
Tokyo-based photographer Mark Edward
Harris to more than 100 countries and all
seven continents. His editorial work has
appeared in publications such as Vanity Fair,
LIFE, The New York Times, The Washington
Post, Time Magazine, GEO, Newsweek, Conde
Nast Traveler, National Geographic Traveler,
AFAR, Wallpaper, Vogue, Architectural Digest,
The Los Angeles Times Magazine, and The
London Sunday Times Travel Magazine
as well as all the major photography and
in-flight magazines. Among his numerous
accolades are CLIO, ACE, Impact DOCS Award
of Excellence, Aurora Gold, and IPA awards.
His books include Faces of the Twentieth
Century: Master Photographers and Their
Work, The Way of the Japanese Bath,
Wanderlust, North Korea, South Korea, Inside
Iran, The Travel Photo Essay: Describing
A Journey Through Images, and his latest,
The People of the Forest, a book about
orangutans.

Instagram: @MarkEdwardHarrisPhoto
Website: www.MarkEdwardHarris.com
Lens Magazine

59

Corona
-uѴ‹ķbml‹Cuv|7-‹
bm|_;f†m]Ѵ;ķ1-l;
-1uovv|_bv‹o†m]
l-Ѵ;ķ‰_ol‹]†b7;
1-ѴѴ;7ouom-ĺ|v;;lv
|_-|ouom-v|-h;7
o†|_bvm;‰|;uub|ou‹
-uo†m7|_;ঞl;o=|_;
r-m7;lb1vo|_;]†b7;v
-m7u-m];uvm-l;7_bl
ouom--m7|_;lombh;u
v|†1hĺ
u-mhbm7;uš
ѴѴub]_|vu;v;uˆ;7ĺ

OH OH
ORANGUTANS
"ORANGUTANS LOOK STRAIGHT
INTO YOUR SOUL."
- WILLY SMITS

FRANK
BINDER
At some point in my life,
I don't know quite when,
I became enamored with
Orangutans. Maybe it
was their blazing red color, their
human-like faces and expressions,
the fact that they shared 98% of my
DNA, or maybe just the exotic idea
of this animal roaming planet Earth
somewhere in some unreachable patch
of jungle unidentifiable to most of us.
Ever since I gained enough experience
to credibly call myself a wildlife
photographer, the notion that
I needed to photograph these
magnificent animals lingered until I
could no longer resist its pull.
- Frank Binder

Frank Binder © All rights reserved.

In October 2023, I journeyed to Indonesia to photograph Orangutans.
It turns out that orangutans exist only on the Indonesian islands of Borneo and Sumatra, with
85% living in Borneo. Living on the east coast of the United States, I learned that Borneo is almost
exactly 1/2 way around the planet from me and that traveling to Borneo would be a logistical and
physical challenge. And it was…..40 hours after departing JFK airport, I landed in Pangkalan Bun,
Borneo. But once you see your first Orangutan in the wild, the trip is totally worth it.

62

lensmagazine.net

Frank Binder © All rights reserved.

s a world traveler and wildlife photographer
based in the United States, I have dedicated a
fifteen-year second career to capturing the beauty
and essence of the natural world. My craft has
become an extension of my being, allowing me to document
the diverse wildlife found in their natural habitats.
Through my work, I strive to create evocative images that
not only showcase the stunning intricacies of our planet's
creatures but also raise awareness for their conservation.
My passion and dedication have been recognized through
numerous awards and recognition, solidifying and
reinforcing my commitment to preserving the wonders of
the natural world.

A
I came across this mother and
child while walking on a jungle
boardwalk. She was completely
indifferent to me as I crawled
towards her on my stomach to get
a better image. I got to about 15 feet,
waited for her baby to do something cute,
and then captured this image.
She never moved a muscle!"
-Frank Binder

Lens Magazine

63

Frank Binder © All rights reserved.

OH OH
ORANGUTANS

Male Orangutans live a solitary
existence and will usually stake
out a physical territory that it
will defend against other males,
r-uঞ1†Ѵ-uѴ‹‰_;m=;uঞѴ;=;l-Ѵ;v
are present.
Frank Binder © All rights reserved.

FRANK
BINDER
n my first day in the jungle, I came
across this young male whom my
guide called Corona. It seems that
Corona staked out his new territory
around the time of the pandemic, so the
guides and rangers named him Corona, and
the moniker stuck.

O

Male Orangutans live a solitary existence and
usually stake out a physical territory that
they defend against other males, particularly
when fertile females are present.
A defining characteristic of Orangutans is
their beautiful red coat. Depending on the
light, some coats can look almost purple.

Females give birth every 7-8 years. For the
first two years of a young orangutan's life, he
or she is completely dependent on his or her
mother for food and transportation.
A baby orangutan clings to his or her
mother's stomach, side, or back while she
moves through the trees and feeds on her
breast milk.
I came across this mother and child while
walking on a jungle boardwalk. She was
completely indifferent to me as I crawled
towards her on my stomach to get a better
image. I got to about 15 feet, waited for
her baby to do something cute, and then
captured this image. She never moved a
muscle!

65

FRANK
BINDER

rangutan offspring will
sometimes be carried until
they are 5 years old and be
breastfed until they are 8
years of age.
Even when young orangutans are
too old to be carried and fed by their
mother, they may still remain close
to her, traveling with her, eating, and
resting in the same trees until they are
about 10 years old.
Once they become independent, they
will be alone or in the company of
other immature orangutans. In the
case of females, they frequently return
to their mothers to "visit" until they are
about 15-16 years old."

Lunch!
Females give birth every 7-8
‹;-uvĺ ou|_;Cuv||‰o‹;-uvo=‹o†m]ou-m]†|-mĽvѴb=;ķ_;ouv_;bv
completely dependent on mother
=ou=oo7-m7|u-mvrou|-ঞomĺ
baby orangutan clings to his/
_;ulo|_;uĽvv|ol-1_ķvb7;ķou
0-1h‰_bѴ;v_;loˆ;v|_uo†]_
|_;|u;;vķ-m7=;;7vom_bvņ_;u
mother’s breast milk.
u-mhbm7;ušѴѴub]_|vu;v;uˆ;7ĺ

O

66

Frank Binder © All rights reserved.

-Orangutan Foundation International

OH OH
ORANGUTANS
Frank Binder © All rights reserved.

Frank Binder © All rights reserved.

OH OH
ORANGUTANS
68

s the shrinking of habitat,
poaching, and tropical storms
impacted the population,
several rehabilitation camps
opened, the most famous of which is
Camp Leakey. The camp was founded in
1971 as a haven for orangutans rescued
from domestic capture. Today, the camp
remains a center of research on these
amazing animals. Each day, there is a
feeding session for orangutans who have
been rehabilitated in the camp and have
been released into the wild. Rangers bring
a sackful of fruit and vegetables onto a
platform for rehabilitated and sometimes
wild orangutans to have a meal. The
feedings do not provide the daily food
requirement for the animals but are a
transition for the rehabilitated back into
the wild.

A

My craft has become an
extension of my being,
allowing me to document
the diverse wildlife found
in their natural habitats.
Through my work, I strive
to create evocative images
that not only showcase
the stunning intricacies
of our planet's creatures
but also raise awareness
for their conservation. "
- Frank Binder

lensmagazine.net

Frank Binder © All rights reserved.

I SPENT FIVE DAYS
IN THE JUNGLES OF
BORNEO, SEEKING
TO CAPTURE THE
GRAVITAS, DIGNITY,
AND HUMOR OF
THESE ANIMALS
AND WONDERING IF
I HAD DONE THEM
JUSTICE."
- FRANK BINDER

FRANK BINDER
WEBSITE: frankbinderphotography.com
BLOG: www.Chasing-the-light.net

Frank Binder © All rights reserved.

JOSEF BUERGI
MONGOLIA

THE MIGRATION OF THE EAGLE HUNTERS

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

Mongolia, a land of vast steppes and
rugged beauty, is home to a unique
way of life centered around the
winter migration of nomadic herders.
As temperatures plummet, these resilient
people lead their livestock across the frozen
landscape in search of fresh grazing grounds.

B

attling fierce snowstorms and bitter cold, the
herders demonstrate remarkable skill and
endurance, upholding ancient traditions passed
down through generations. The winter migration
is a time of hardship and harmony, forging strong bonds
within the nomadic community. It is a timeless spectacle
that embodies Mongolia's nomads' indomitable spirit and
profound connection to the land.

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

I

found myself immersed in a world untouched by time. My journey with the
Mongolian nomads began as a photographer, with a desire to witness a way
of life deeply rooted in tradition by photographing daily life, the herders, the
animals, and the landscape.
As I joined the nomads on their winter migration, walking alongside them for
150 kilometers through the rugged terrain, I quickly learned the resilience and
determination required to survive in such harsh conditions. The biting cold and
relentless winds tested my endurance and my equipment, but the warmth of the
nomads' spirits and the beauty of the landscape kept me going.

76

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

78

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om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

O

ne day, as we
trudged through
a particularly
unforgiving
snowstorm, I found myself
in awe of the nomads'
unwavering determination.
Despite the harsh
conditions, they moved with
purpose and grace, their
faces weathered but filled
with a quiet strength that
spoke volumes. We had to
push the animals forward
for hours and hours. It
was about -30 degrees
and almost dark when we
arrived at the camp. The
next day, we were told
that 150 animals had died
in the cold. It was a harsh
environment.

Lens Magazine

79

Despite battling fierce
snowstorms and enduring
the bitter cold, the herders
of Mongolia demonstrate
remarkable skill and endurance as
they embark on the winter migration.
Upholding ancient traditions passed
down through generations, this
seasonal journey is a time of both
hardship and harmony, forging strong
bonds within the nomadic community.
Witnessing this timeless spectacle,
one cannot help but be moved by
Mongolia's nomads' indomitable spirit
and profound connection to the land,
as they traverse the rugged terrain
with grace and ease.
- Josef Buergi

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

We had to push the animals
forward for hours and hours.
It was about -30 degrees and
almost dark when we arrived
at the camp. The next day, we were told
that 150 animals had died in the cold.
It was a harsh environment.
- Josef Buergi

82

lensmagazine.net

JOSEF BUERGI
osef Buergi is
an acclaimed
photographer who
was born in the
picturesque town of Stans,
Switzerland, in 1965. He
developed a keen interest in
photography around the year
2000 and has since honed
his skills through years of
dedication and practice.
Josef's academic
background is in engineering,
having studied at the
esteemed Bale Institute
of Technology. Currently,
he works as a project and
team leader for the local
government, applying his
analytical and strategic
thinking skills to his work. As
a self-taught photographer,
Josef has gained inspiration

J

Lens Magazine

and knowledge from
studying the works of the
great masters. His passion
for photography is matched
only by his love for music
and travel, two of his favorite
subjects to capture through
his lens.
Josef is a versatile and
talented photographer
with an impressive range
of skills. He has a keen eye
for capturing beautiful and
meaningful moments, and
his work spans a wide variety
of subjects. Whether he's
photographing musicians,
exploring different cultures,
or capturing the majesty of
the natural world, Josef's
work is consistently inspiring
and thought-provoking.

83

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

uergi is passionate about the power of
photography to change the world for
the better, and he believes that his work
can help inspire positive change and
promote a greater understanding of the world
around us.

B

As Josef embarked on numerous journeys, he
immersed himself in the art of photography,
gradually refining his style and perfecting his
skills. His photographs are a testament to his
experiences and the places he has visited,
capturing the essence of his spatial and
temporal journey through life. Josef's passion
for photography is matched only by his desire
to make a positive impact through his art. He
constantly strives to evoke emotions and inspire
change through his mesmerizing images.

Despite the harsh
conditions, they
moved with purpose
and grace, their
faces weathered but filled
with a quiet strength that
spoke volumes.
- Josef Buergi
om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

om]oѴb-ŋ-mbl-Ѵlb]u-ঞomĺ
ov;=†;u]bšѴѴub]_|vu;v;uˆ;7ĺ

WEBSITE: www.josefbuergi.com
INSTAGRAM:@josefbuergi | FACEBOOK: /josefbuergi

Portrait Old Gods
Nabil West ©
All rights reserved.

ALLT ÍSLAND GRÁTÓNA
(EVERYTHING ICELAND IN MONOCHROME)

R

enowned photographer
Nabil West, the owner
of the esteemed N. West
Gallery located in New
Canaan, has recently returned
from an awe-inspiring two-week
photography expedition to Iceland.
During his trip, he captured some
of the most breathtaking and aweinspiring photographs Iceland has to
offer.

Nabil's latest work, "Allt ísland
grátóna," is a stunning collection
of grayscale photography that
showcases the beauty and wonder of
Iceland in a unique and captivating
way. The N. West Gallery is thrilled to
present this collection to the public,
with the exhibition starting on May
30th.

Visitors to the gallery can expect to
see a range of beautiful and thoughtprovoking fine art photographs
and get a glimpse into Nabil's
experiences during the trip through
behind-the-scenes images. Nabil
is excited to share his passion for
photography and the Icelandic
landscape with the public, and we
are sure that the exhibition will be
a truly unforgettable experience.

Photos: Glacial Hike
Nabil West © All
rights reserved.

NABIL
WEST
Lens Magazine

P

hotographing for
this exhibition,
Allt ísland Grátóna,
Everything Iceland
in Monochrome, my vision was
to capture Iceland's natural
beauty in grey scale. I took
this approach, hoping to
display its inherent intensities
and gradients without the
distraction of color. In this
work, I also refrain from
manipulating contrasts,
shadowing, removing objects,
etc.… I did not see a need
to try to expand on an already
powerful view of nature in
order for it to be moving or
provide a connection.

The direction taken with my
photography over the past year
is now more minimalist than
ever, in one way or another. As
I'm introducing a new series
soon, I look forward to sharing
more about these concepts
in the near future. My current
approach has been to limit a
prominent visual element while
staying true to the emotion
of an image. I feel it leaves
more room for interpretation
by the viewer while at the
same time allowing me, as
the photographer, to be more
immersed in the essence of
what I'm capturing.

93

Nabil on Glacier
Nabil West ©
All rights reserved.

Top: Portrait of Glacial Sketches
Nabil West © All rights reserved.

One of the greatest feelings is when
someone else, and I end up at the same
destination, with the feeling of a piece
being of no importance to how we got
there.
With so much beauty in the contrasts and
tones of Iceland's winter landscape,
I wanted to capture it in the most timeless
fashion I could think possible. As we
now know, with Iceland, it's not a matter
of having it as a winter wonderland
forever. Scientists have now discovered
all of Iceland's glaciers will be gone within
the next 150 years…tragically soon. It was
an honor to photograph one of the most
beautiful places in the world. I'm now
grateful to be able to share it with you
through my eyes."

N

abil West has spent
the better part of
his life in Brooklyn,
NY, and several
other cities, working in various
art scenes. In 2009, he had a lifechanging accident that placed
him in intensive care. After
multiple surgeries and rehab,
Nabil eventually had a near-full
recovery.
The accident profoundly
impacted how he views the
world and his time in it,
reminding him that time can
be short. Life is best spent
appreciating its beauty,
apparent and hidden. Nabil not
only appreciates this beauty
but also attempts to capture
and share it as a fine-art
photographer.

He now runs a fine art gallery
(N.West Gallery) in New Canaan,
CT, and lives a private life
nearby. Nabil maintains an
almost non-existent presence
on social media, primarily driven
by a belief that relationships
bear the most fruit through
direct interaction. In addition,
he has concerns about the
current and future effects of
social media and its negative
impact on our mental health
and society as a whole.
He is quick to embrace, with
open arms, any good-hearted
individual, friend, or stranger,
and similar to many other
artists, he doesn't shy from
sharing his thoughts, feelings,
and perspectives with unfiltered
candor.

-Nabil West
Lens Magazine

95

I

n the year 2023, Nabil was nominated by the
International Photography Awards (IPA) for the
esteemed title of Photographer of the Year. His
exceptional photography skills and talent earned
him a place on the grand stage of Carnegie Hall,
where he was recognized for his outstanding work.
Adding to his accolades, Nabil also received the
highly coveted International Photography Awards
2023 Event Photographer of the Year, a testament to
his remarkable ability to capture the essence of any
event through his lens.

-0bѴmo1-ঞom
Nabil West ©
All rights reserved.

Return Home over
Greenland
Nabil West ©
All rights reserved.

Poor Visibility
Nabil West ©
All rights reserved.

Nabil and Pilot Vignir
Nabil West ©
All rights reserved.

96

lensmagazine.net

Iceland
Nabil West ©
All rights reserved.

-†ঞom"b]m
-0bѴ);v|š
ѴѴub]_|vu;v;uˆ;7ĺ

Lens Magazine

97

Portrait Konu upplýst
Nabil West ©
All rights reserved.

T

he thought that someone else may be as moved as I
was when capturing an image is truly inspirational.
There is a beauty in that it's shared and yet still
private; an unexplained connection listening to and
understanding something that speaks in silence. I view my pictures
as events and don't believe in removing objects or heavy editing,
as I want the image to communicate the amazing beauty the
natural world has already provided. I want the viewer to be a part
of the moment as it has been seen. And though often the subject
appears stationary, nothing truly stands still. Everything viewed is
constantly moving, missed either by the scale of movement or lack
of our own patience or solipsist perspective. If not smelling the
roses, let us watch them grow.
-Nabil West

As we now know, with Iceland, it's not a matter of
having it as a winter wonderland forever. Scientists
have now discovered all of Iceland's glaciers will
be gone within the next 150 years…tragically soon.
It was an honor to photograph one of the most
beautiful places in the world."
- Nabil West
Cave Entrance
Nabil West ©
All rights reserved.

ALLT ÍSLAND GRÁTÓNA
PHOTOGRAPHY BY NABIL WEST
OPENING RECEPTION
THURSDAY, MAY 30TH- 6-9PM
N. WEST GALLERY 70 MAIN
ST. NEW CANAAN, CT 06840 U.S.A

NABIL
WEST
Visit: www.nwestgallery.com | email: info@nwestgallery.com

Wildlife
Artem Khazov ©
All rights reserved.

2 PROJECTS:
WILDLIFE | THE HADZA AND MAASAI TRIBES

SERIES: WILDLIFE

104

lensmagazine.net

Wildlife
Artem Khazov ©
All rights reserved.

Lens Magazine

105

Wildlife
Artem Khazov ©
All rights reserved.

lensmagazine.net

I

started practicing
photography
over five years
ago. Previously,
I was into extreme sports
like snowboarding,
wakeboarding, and acrobatics.
When I began my journey in
photography, I started shooting
in these exact directions.
Over time, I became interested
in portrait photography and
found working with light and
shadow fascinating. I learned
retouching and studio work for
about a year and a half.
My first business trip to
Tanzania changed everything
in the winter of 2021 (While I
worked as a photographer for a
marketing agency).
Lens Magazine

107

Wildlife
Artem Khazov ©
All rights reserved.

I

nterestingly, just two months before the trip,
I dreamt of going on a safari at least once in my
life, and now, two months later, I was flying in
a plane with the vast expanses of the Serengeti
Park below me. Perhaps the feelings you experience
when you see huge herds of zebras, elephants, and
antelopes can only be described as childish joy.
With every fiber of your being, you feel a certain
freedom; before you lies the endless savanna,
a camera in your hands, and life in its pristine
manifestation outside the jeep's window. At first, each
zebra and antelope seem special, but after a couple
of hours, you pass them by, searching for a leopard
lurking in a tree or a drowsy lion napping in the shade
of a big baobab tree. The whole trip turns into a game;
you simultaneously feel like a photographer, a hunter,
and an observer. Perhaps this is the best thing that can
happen to you on a safari; the emotions you experience
and the adventures that happen to you can forever
change your approach to life.

108

lensmagazine.net

Wildlife
Artem Khazov ©
All rights reserved.

Wildlife
Artem Khazov ©
All rights reserved.

Wildlife
Artem Khazov ©
All rights reserved.

112

Wildlife
Artem Khazov ©
All rights reserved.

SERIES:

THE HADZA AND MAASAI TRIBES

The Hadza and
Maasai tribes
Artem Khazov ©
All rights reserved.

D

uring my first
safari, I met the
Hadza tribe for the
first time. At that
moment, I didn't even imagine
that there are people who live
somewhere for whom hunting
is the main way of survival.
While I was getting acquainted
with the tribe, one of the
hunters grabbed a bow and
pulled the string. A second
later, the bird sitting on a high
tree lay on the ground. The
hunter's child got a new toy.
The Maasai tribe made a more
civilized impression. Tourism
is evidently part of their
income, but the tribe preserves
its traditions and values, and
not everyone is willing to
share them.
Working with the Hadza and
Maasai tribes, I realized that I
wanted to travel the world and
learn about the culture and
customs of other countries.
Each of my works should have
its own story.

114

The Hadza and
Maasai tribes
Artem Khazov ©
All rights reserved.

lensmagazine.net

The Hadza and
Maasai tribes
Artem Khazov ©
All rights reserved.

Lens Magazine

115

When I think about traveling,
I always remember Tanzania.
Every time I go, I want to
see the endless expanses of the
Serengeti, the huge baobab trees
of Tarangire, and the incredible
Ngorongoro Crater again.
Hopefully, in the near future, my
path will lead me back to these
amazing places.
- Artem Khazov

Artem Khazov ©
All rights reserved.

Artem Khazov ©
All rights reserved.

WEBSITE: ARTEM-HAZOV.PIXPA.COM | INSTAGRAM: @ARTEMHAZOV

$ &!&"
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‰;_-ˆ;1-†v;7ķmo|omѴ‹=ou|_;v;]oubѴѴ-v0†|=ou|_;
Amish Chhagan ©
All rights reserved.
‰b7;u0bo7bˆ;uvb|‹ĺ

Natural Love
for
Amish Chhagan
One TV station. No internet.
Large gardens. Great weather.
An abundance of nature and
wildlife.
It’s hard to describe my childhood, but
these phrases come close. Growing up
in Zambia had its unique charms. I was
fortunate to be in close proximity to the
African flora and fauna.

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Amish Chhagan ©
All rights reserved.

122

T

he glaring contrasts
between the urban city
where I grew up and
the wilderness were
apparent to me from a young
age; ecological, physical, visual,
and mental. The serenity of these
vast lands, the blissful feelings
it created, and the excitement
of spotting wildlife transpired
within me and extended when
I found photography (or when
photography found me).
There is a certain kind of
empowerment I feel being

able to capture wildlife in its
element with the detail and
frozen moment that a lens can
apprehend, something beyond
what your eye and passing time
can capture – the texture of
an elephant’s skin, with all its
exterior toughness yet intricate
crevices; the cheetah’s black tear
that allows its pin-point visual
accuracy; or the beauty and
unexplainable perfect symmetry
of a leopard.
These are the tools of nature.
These tools are what connect us.
lensmagazine.net

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her pride.
Amish Chhagan ©
All rights reserved.

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& " !
One of the most famous lion pride
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Amish Chhagan ©
All rights reserved.

Amish Chhagan ©
All rights reserved.

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fellow elephants.

 
A memorable moment in the Masai
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Amish Chhagan ©
All rights reserved.

!$ !ŝ"(
$_;lov|bmঞl-|;lol;m|vbm
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;Šr;ub;m1;‰b|_|_ov;1Ѵov;v||o
us. It is not humans and the rest of
wildlife—we are one.
Amish Chhagan ©
All rights reserved.

&$&! 
r;;ho=|_;=†|†u;bm]ĺ

Amish Chhagan ©
All rights reserved.

)b|_1-†ঞo†v1†ubovb|‹ķ
b|v†uˆ;‹;7|_;‰ouѴ70;‹om7ķ
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v-ˆ-mm-ĺ

127

All rights reserved.

M

y role as a wildlife
photographer exists because
there are beautiful and
spectacular moments to
capture in the wild, but therein exists an important
duty to show my continued support for promoting
conservation, and the medium of photography is
a crucial tool for doing so. This gives me a more

128

significant sense of responsibility as a human and
photographer to use my work to showcase the beauty
of the once-abundant wildlife that existed.
This is not only my profession; it is part of a
revolution to protect the planet and its wildlife
inhabitants using the most powerful weapon I
own – my camera.
lensmagazine.net

$! "
ˆb1bo†vѴbom1o-Ѵbঞombm|_;
l-hbm]ĺ
Amish Chhagan ©
All rights reserved.

&$$
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|_bv;Ѵ;]-m|lo7;Ѵĺ
_;;|-_v-u;o[;mmo|;ˆ;mu;]-u7;7
-vr-u|o=|_;0b]1-|=-lbѴ‹ĺ$_;‹l-‹
be the fastest but the smallest and
‰;-h;v|1olr-u;7|oo|_;uru;7-|ouvĺ
$_;ror†Ѵ-ঞom;vঞl-|;v-u;Ѵ;vv|_-m
ƕķƏƏƏѴ;[bm|_;‰bѴ7‰b|_-7;1u;-vbm]-m7
ˆ†Ѵm;u-0Ѵ;ror†Ѵ-ঞomķ-11ou7bm]|o|_;
&!;7bv|-m7o|_;uu;r†|-0Ѵ;v|†7b;vĺ

Amish Chhagan ©
All rights reserved.

&$ ""
m|_;_;-u|o=|_;=ub1-m
v-ˆ-mm-ķ-lo|_;u1_;;|-_v|ub7;v
r†urov;=†ѴѴ‹ķ1Ѵ†|1_bm]-mblr-Ѵ-
hbѴѴbm_;uf-‰vĺ;_bm7_;uķ-‹o†m]
1†0=oѴѴo‰v1Ѵov;Ѵ‹ķlbuuoubm]_;u
;ˆ;u‹v|;rĺ
-r|†u;7-=;‰‰;;hv0;=ou;|_;
v-7m;‰vo=|_;lo|_;u1_;;|-_ŝv
Őbv†u†ő7;lbv;-||_;_-m7vo=
Ѵbomvķ|_bvbl-];=;-|†u;v_;u1†0
7†ঞ=†ѴѴ‹|u-bѴbm]0;_bm7b|vlo|_;uĺ

Amish Chhagan ©
All rights reserved.

! !
)b|_-Y-v_o=vr;;7ķ|_;Ѵ;or-u7
v1-Ѵ;7|_;|u;;ķb|vro‰;u=†Ѵ
l†v1Ѵ;vubrrѴbm]0;m;-|_b|vvѴ;;h
1o-|ĺ
Amish Chhagan ©
All rights reserved.

132

lensmagazine.net

&!! ("
olloঞomķloˆ;l;m|ķ=;-uķ-m7
-l;-mvo=v†uˆbˆ-Ѵĺ$_;vѴo‰
v_†‚;uvr;;71u;-|;v-loঞom0Ѵ†u
-m77;rb1|v|_;]u;-|lb]u-ঞom‰;
witnessed.
Amish Chhagan ©
All rights reserved.

Lens Magazine

133

$ "$&!
vb7;=uol|_;v_;;uvbŒ;o=|_;
horn, it almost feels like the tears
uoѴѴbm]7o‰m_bv;‹;v-u;-1-ѴѴ
of help.
Amish Chhagan ©
All rights reserved.

$ &! +
m;Š|u-ou7bm-u‹rѴ-1;bm;m‹-0o-v|v
|_;_b]_;v|m†l0;uo=u_bmovbm-
vbm]Ѵ;1omv;uˆ-m1‹ņr-uhbm|_;‰ouѴ7ĺ
=;‰_†m7u;7‰_b|;-m70Ѵ-1hu_bmov
-u;bm|_;ƐƖķƏƏƏŊ-1u;1omv;uˆ-m1‹
v†uuo†m7;70‹|_;ƓƔķƏƏƏŊ-1u;u-m1_ķ
=o†m7;7bm|_;ƐƖƕƏv-m71omvb7;u;7

|_;lov|-m1b;m|u_bmov-m1|†-u‹ĺ
|rѴ-‹v-1;m|u-ѴuoѴ;bmu;_-0bѴb|-ঞm]
|_;vr;1b;vbm -v|=ub1-ķ0o-vঞm]|_;
lov|v†11;vv=†Ѵrubˆ-|;u_bmo0u;;7bm]
u;v;uˆ;bm|_;‰ouѴ7-m7_;Ѵrbm]|o
=-1bѴb|-|;|_;u;bm|uo7†1ঞomo=u_bmov
-ѴѴoˆ;u=ub1-ĺ
$-Ѵh-0o†||_;u;1oˆ;u‹o=-vr;1b;vĺ

Amish Chhagan ©
All rights reserved.

$  +&
$_bvr_o|o7;rb1|v|‰ovo†|_;um
‰_b|;u_bmovv;;lbm]Ѵ‹rѴ-‹bm]-
]-l;o=|-]ĺ|ruoˆb7;v-v;mv;o=
-m;mˆbuoml;m||_-|bvvr-1bo†vķ
=u;;ķ-m7‰b|_o†||_u;-|vĺ$_;vl-ѴѴ
u_bmou†mmbm]bm|_;0-1h-77v-m
-77bঞom-ѴѴ-‹;u|o|_;r_o|oĺ
Amish Chhagan ©
All rights reserved.

 "$! $
$_;‹;l;u];=uol-ѴѴ1oum;uvo=
|_;‰bѴ7;um;vvķ‹o†m]-m7oѴ7-Ѵbh;ķ
=oulbm]-v‹lr_om‹o=]u;‹ĺ
$_;l-|ub-u1_vѴ;-7|_;ruo1;vvbomķ
|_;bu‰bv7ol]†b7bm]|_;_;u7
|o‰-u7vv-=;|‹-m7v†v|;m-m1;ĺ
;_bm7|_;lķrѴ-‹=†Ѵ1-Ѵˆ;v=uoѴb1
†m7;u|_;‰-|1_=†Ѵ;‹;vo=|_;bu
mothers.
Amish Chhagan ©
All rights reserved.

+ & )
$_;bl-];1-r|†u;v|_;;m1_-mঞm];vv;m1;
o=;-uѴ‹loumbm]-v|‰oѴbom1†0v=uoѴb1bm
|_;]oѴ7;mѴb]_|ĺ$_;rѴ-‹=†Ѵbm|;u-1ঞom
0;|‰;;m|_;1†0vbv;ˆb7;m|ķ|_;bu‹o†|_=†Ѵ
;Š†0;u-m1;bѴѴ†lbm-|;70‹|_;7;Ѵb1-|;ubl
Ѵb]_||_-|o†|Ѵbm;v|_;buvbѴ_o†;‚;vĺ]-bmv|
|_;0-1h7uoro=|_;-‰-h;mbm]v-ˆ-mm-ķ|_bv
r_o|o]u-r_;ˆoh;v-v;mv;o=bmmo1;m1;ķfo‹ķ
-m7|_;ঞl;Ѵ;vv0;-†|‹o=m-|†u;ŝv‰om7;uvĺ
Amish Chhagan ©
All rights reserved.

WEBSITE: chagsphotography.com | INSTAGRAM: @chags.photography
FACEBOOK: @chags.photography | EMAIL: amish@chagsphotography.com

-|_;7-m7"rb@;7&rĺ
This bull elk had just
wallowed in a mudhole
-m7‰-vvঞѴѴ7ubrrbm]-v_;
-rruo-1_;7-Ѵ-u];u0†ѴѴ‰b|_
-_-u;lŊ0†|mo||oo1Ѵov;Ĵ
Denise Dethlefsen ©
ѴѴub]_|vu;v;uˆ;7ĺ

Denise
Dethlefsen

Departure. Three sandhill
1u-m;v|-h;o@=uol-C;Ѵ7
bm|_;"-m†bv(-ѴѴ;‹o=
oѴou-7oom-lbv|‹;-uѴ‹
loumbm]ĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ

S

everal years ago, my husband
gave me a 35-mm film camera as
an anniversary gift; later, he found
a larger, better camera to buy
for me and, later still, a telephoto lens. He opened an
avenue of creativity I'd never expected, and I love that
he's so marvelously supportive. He's my collaborator,
driver, frequent spotter, researcher, cheerleader, and
marketer.

;[-];$orĹ
_;;h‹oov;ĺ)b|__bv
-m|Ѵ;uvvঞѴѴbmˆ;Ѵˆ;|ķ|_bv
0†ѴѴloov;‰-vmŝ|v_‹-0o†|
Ѵ;মm]l;hmo‰_;‰-v-‰-u;
‰-v|-hbm]r_o|ov-m7
‰-vmŝ|0o|_;u;7ĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ

Lens Magazine

;[-];o‚olĹ
u-bub;ubm1;vvĺ0;-†ঞ=†Ѵķ
‹o†m]ruom]_oum7o;
v†uuo†m7;70‹1_oѴѴ-1-1|†v
r-†v;v‰-|1_=†ѴѴ‹bmѴ-|;
-[;umoomv†mѴb]_|ĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ

Top:
$†uh;‹v-|u;-h=-v|ĺYo1h
of turkeys are intent on
|_;bul;-Ѵom-1oѴ7ķ=uov|‹
morning.
Denise Dethlefsen ©
ѴѴub]_|vu;v;uˆ;7ĺ

We now have a teardrop camper that provides our
lodging needs when we travel to find new images
for my collection. It allows us to stay on location for
multiple days and isn't intrusive. Exploring places
that are a bit off the beaten path has provided some
of my favorite captures, but I try to be ready while
we're on or near major highways or state or county
roads, too. The camper has become as much a tool for
my photography as my camera and lenses, and the
teamwork between my husband and me is a large part
of what makes up my artistic vision."
- Denise Dethlefsen

143

I'm experimenting more and more with
post-processing effects to emphasize
artistic perception. I try to let the image
"talk to me" as I work with it."
- Denise Dethlefsen
144

lensmagazine.net

D

Gold at Daybreak. Three
sandhill cranes pose in a
wetland on a cold, misty
March morning.
Denise Dethlefsen ©
All rights reserved.

Lens Magazine

enise Dethlefsen is an art
photographer based in Colorado
Springs, Colorado, USA.
Photography is a creative outlet
that works for her because "some of us
just can't draw." She's mainly self-taught,
with some workshops, online courses, and
mentoring. She started assembling a portfolio
of images and a website during the pandemic
to appeal to people looking for art for their
spaces.
In her own words, "My earliest
memories of natural places are
the Bitterroot Mountains of
western Montana. I suspect my
love of camping and being in wild
places is tied to early childhood memories of
an old, green Plymouth station wagon and
drives along logging roads with my parents.
I'm forever grateful to them for the love of
the outdoors that they gave my siblings and
me and for helping us to appreciate beauty
wherever it can be found-whether in a lowly
insect (bees and butterflies on water puddles
and even the spider that made her home
above our kitchen sink for most of summer),
or a magnificent mountain sunset; in the
simple enjoyment of an old waltz tune or in
making art in various forms; for teaching us
to be content with simplicity."

145

Eclectic: Deriving ideas, style, or taste from
a broad and diverse range of sources. It is
composed of elements drawn from various
sources. In Greek, eklektikos means choosing
the best. That definition best fits my personality and
creative vision, and it ended up being the theme for an
exhibit I participated in last year titled "Naturally Eclectic."
I've called the Rocky Mountains and their surroundings my
"heart home" for decades, and living in Colorado at the
base of Pikes Peak has only expanded that feeling. But at
the same time, because I've often lived on prairies with wide
vistas, I love them as well. So, my current home gives me the
best of both those worlds- from the Rocky Mountains to the
plains, from cultivated land to desert, from high country to
rolling hills, from thick forests to shortgrass prairies.

146

Top: Chaos Theory. This
bmঞl-|;Ѵ-m7v1-r;ˆb;‰
v_o‰v-|-m]Ѵ;o=0u-m1_;v
-]-bmv||_;u;71Ѵb@
=oul-ঞomvo=-u7;mo=
|_;o7v-uhbmoѴou-7o
"rubm]vom-vmo‰‹7-‹ĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ
Before the Rain. As clouds
gather on the horizon, a single
yucca plant punctuates a
gypsum dune at White Sands
-ঞom-Ѵ-uhĺ
Denise Dethlefsen ©
All rights reserved.

lensmagazine.net

!bZ;‰b|_oѴouĺmbmঞl-|;
Ѵ-m7v1-r;ˆb;‰o=1oѴou=†Ѵķ
‰-|;uŊuo†m7;7uo1hvbmv_-ѴѴo‰v|u;|1_o=ubˆ;uĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ

I don't call myself a nature photographer
– my tastes are much more diverse and
wide-ranging – but most of my imagery is
taken outdoors.
My photography is often spontaneous,
unpremeditated, and serendipitous.
The camera allows me to make art in a
way I'd never been able to accomplish
before. It frees me to be creative while
not having to force the process. It gives
me a view of the world that is sometimes
impressionistic and sometimes real. I have
numerous images where the composition,
colors, and forms seem almost instinctive;
there are others where the work in post-

Lens Magazine

processing was the inspiration for the end
result.
I'm experimenting more and more with
post-processing effects to emphasize
artistic perception. I try to let the image
"talk to me" as I work with it. Therefore,
not every image will have the same final
look.
Some maintain their realism; others
receive a more thoughtful treatment. And
some compositions simply end up "doing
their own thing."
I'm continuing to refine and improve the
quality of the art I produce, intending to
make it appealing to others.

147

The camera
allows me to
make art in a
way I'd never been
able to accomplish
before.
It frees me to be
creative while not
having to force the
process.
It gives me a view
of the world that
is sometimes
impressionistic and
sometimes real."
- Denise Dethlefsen

Right:
†|†lmŝvoѴouvĺm|;mঞom-Ѵ
1-l;u-loˆ;l;m|Őő
|†umv-m-vr;m]uoˆ;bm|o1oѴou=†Ѵ-0v|u-1|ĺ
Denise Dethlefsen ©
ѴѴub]_|vu;v;uˆ;7ĺ

;[Ĺ"†ll;u$uboĺmv†ll;u7-‹ķ-|uboo=-vr;m
|u†mhvv|-m7vv;r-u-|;Ѵ‹
=uol|_;m;-u0‹]uoˆ;vķ
v†uuo†m7;70‹ou|_;uml†Ѵ;
;-uvbm0Ѵoolĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ
Rock Garden. A small
1oѴѴ;1ঞomo=rѴ-m|vCm7v
=oo|_oѴ7vom-ঞm‹ķˆ;u‹
v|;;rѴ;7];om-mo|_;u‰bv;
v_;;u1Ѵb@ĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ

o†m|"m;@;Ѵv-m7†|†lm
Ѵo‰ĺo†m|"m;@;Ѵvbvom;
o=l-m‹ŞƐƓ;uvŞ=o†m7bm
|_;"-m†-mo†m|-bmvo=
‰;v|;umoѴou-7oĺ
;mbv; ;|_Ѵ;=v;mš
ѴѴub]_|vu;v;uˆ;7ĺ

Occasionally, a composition takes on a
life of its own and leads me in a direction
I hadn't anticipated. My goal is to keep
enhancing and perfecting the quality of my art,
with the intention of making it more appealing
to a broader audience.
- Denise Dethlefsen
-|†u-ѴѴ‹ 1Ѵ;1ঞ1
Denise Dethlefsen ©
All rights reserved.

Misty Sunrise. An old=-v_bom;7r-bm|;uѴ‹;@;1|
ruoˆb7;v1oѴou-m7]Ѵo‰|o
-7u-0ķ=o]]‹v†mubv;-Ѵom]
-ubˆ;uķl-hbm]b|lou;
bm|;u;vঞm]ĺ
Denise Dethlefsen ©
ѴѴub]_|vu;v;uˆ;7ĺ

Website: www.denisedethlefsen.com
Instagram: @denisedethlefsen
Facebook: /DeniseDPhotos
LinkedIn: /Denise-Dethlefsen
Email: denise@denisedethlefsen.com

ARMIN ABDEHOU
In the beautiful Barzan region of Kurdistan, I had the privilege of
capturing stunning photographs of horses in their natural habitat.
It was a profound experience that left me with a newfound
appreciation for these majestic animals. True peace can be achieved by
respecting and protecting all living beings, including horses. The idea of
exploiting them for human interests is unethical and goes against the
fundamental right to life that every being on this planet deserves."
-Armin Abdehou

White Pegasus
Armin Abdehou ©
All rights reserved.

E

y journey to document
the horses of Kurdistan
began in 2011 when I was
commissioned by the
grandson of Mulla Mustafa Barzani, the
first leader of the Kurdistan Democratic
Party. Over five years, I meticulously
photographed these creatures in all four
seasons, capturing their beauty and
essence in every shot. My work resulted
in a stunning book of photographs aptly
titled "The Horses of Kurdistan."
The book was a labor of love, containing
approximately 280 pages in A3 format
and limited to only 2000 copies. It was
finally printed in 2015 and presented
during a grand ceremony as a gift to all
ambassadors of European consulates.
It was an honor to have my work
recognized and appreciated by so many
individuals who share my passion for
animal welfare and preservation.
Golden Hair in
Barzan
Armin Abdehou ©
All rights reserved.

Zagros
Armin Abdehou ©
All rights reserved.

On the heights of the
Shirin Mountains
Armin Abdehou ©
All rights reserved.

The Wind
Armin Abdehou ©
All rights reserved.

Armin Abdehou ©
All rights reserved.

ARMIN
ABDEHOU




rmin Abdehou is a
professional graphic
designer and self-taught
photographer originally
from Ghasre Shirin, Iran. He holds
a DBA degree from the prestigious
University of Tehran and a graphic
design degree from England, which,
coupled with his more than fifteen
years of experience in advertising and
marketing, make him an accomplished
professional in his field.
Although he started his career
in advertising and marketing, he
developed a deep interest in wildlife
and nature photography and cuttingedge digital art, leading him to
transition to these fields.
Lens Magazine

159

Mustang
Armin Abdehou ©
All rights reserved.




rmin's passion for
freedom themes
has driven him to
photograph and design
the remarkable book The Horses
of Kurdistan, which has gained
widespread recognition. His
work has been featured on highly
regarded platforms such as BBC
Earth, BBC News, and BBC.
Additionally, his contributions to
wildlife photography and digital
design have been selected by
National Geographic Italia and
HIPA, further highlighting his
expertise in these areas.
Apart from his professional
achievements, Armin is also
dedicated to amplifying women's
voices and celebrating their diverse
roles through his digital art. His
mastery and dedication to art are
evident in his work, making him
an exceptional talent in graphic
design and photography.

160

White Snow
Armin Abdehou ©
All rights reserved.

lensmagazine.net

Pray
Armin Abdehou ©
All rights reserved.

Spring in Kurdistan
Armin Abdehou ©
All rights reserved.

Sorrel and White
Armin Abdehou ©
All rights reserved.

162

lensmagazine.net

Breaking Free from Coma
Armin Abdehou ©
All rights reserved.




Echoes of Nature
Armin Abdehou ©
All rights reserved.

Lens Magazine

rmin Abdehou is an accomplished
freelance wildlife photographer with
over a decade of experience capturing
stunning images of wildlife and nature.
His expertise lies in digital art and portraiture,
where he has gained international recognition for
his exceptional work.
In 2024, Abdehou won several prestigious awards,
including the HIPA, where he was selected for
publication in the Contrast contest category.
National Geographic Italy also recognized his
talent and chose one of his images for a Magazine
publication. Moreover, Abdehou won the Gold
Award in the AI-Generated Photography category at
The MUSE Photography Awards and was declared
the Winner of the WILD Photo Awards in February
2024. He was also a Finalist in the STF Awards for
his remarkable wildlife photography. Abdehou's
outstanding skills in Landscape, Street, and
Reflections Photography were also acknowledged
by The Motif Collective, where he was chosen as
a finalist. Finally, the AGORA AWARDS recognized
his contribution to the world of photography and
awarded him the Jury's Peace Award.

163

Website: www.armin.photography | Facebook: @arminabdehou
Instagram: @armin.abdehou | Behance: /ArminAbdehou
Linkedin: /arminabdehou | X: @arminabdehou

The Horses of Kurdistan
Armin Abdehou ©
All rights reserved.

the 10th Anniversary
of the Square

Print
Sale
For the 10th Anniversary
of the Square Print Sale,
storytellers unite.
This Spring, Magnum Photos
and Granta partner for
a unique collaboration
across photography and
literature.
April 29–May 5, 2024

A woman in a dust storm,
-‰-Ѵhbm]|u;;ĺ"-m†]†vঞm
de Oapan,
Guerrero, Mexico, 1985.
© Abbas / Magnum Photos

M

agnum Square Print
is excited to celebrate
its 10th anniversary
with an exquisite and
unique collaboration - Fable. This
collaboration brings together literary
and visual storytellers to create
something truly magical.
The project is a curated collaboration
with Granta writers, where three
of them delve into the work of 85

168

Magnum photographers.
Fable is all about championing the
lasting impact of stories and their
tellers. The project includes square
prints that will be on sale on the
Magnum website for just one week,
from April 29 through May 5, 2024.
During this time, you can also attend
live signings by photographers and
have a rare opportunity to purchase
Square Prints in person.
lensmagazine.net

The prints will also be exhibited in
person in New York, London, and Paris
during the sale period, allowing you
to see the beauty and quality of these
museum-quality prints up close. The
contributing photographers include
some of the most renowned names
in the industry like Abbas, Alec Soth,
Elliott Erwitt, Gregory Halpern, and
Steve McCurry, among others.

Lens Magazine

These prints are special because they
are signed by the photographers or
estate-stamped, making them unique
and valuable collectibles. They are
available for just $110, but only on the
Magnum website. So, don't miss this
opportunity to own a piece of art that
tells a story and celebrates the power of
storytelling.

$or;[Ĺ)-ѴѴu†mmbm]bvr-u|o=
|_;|u-bmbm]u;]bl;mo=‹o†m]
ru-1ঞঞom;uv
Ѵ;-umbm]l-uঞ-Ѵ-u|v-|-|u-bmbm]
bmvঞ|†|;bm_bm-ĺ"_-oѴbm
1-7;l‹ķ;m-muoˆbm1;ķ_bm-ķ
ƑƏƏƓĺ
š"|;ˆ;1†uu‹ņ-]m†l
_o|ov
Top Right: Westminster Kennel
Club Dog Show. New York City,
USA, 1948.
© Wayne Miller / Magnum
Photos

169

“The American Rust Belt,” from the
project A. USA, 2008-2011.
© Gregory Halpern / Magnum Photos

ubঞv_CѴll-h;uѴ=u;7b|1_1o1hķ
7†ubm]|_;CѴlbm]o=$_;bu7vĺ
&"ķƐƖѵƑĺš_bѴbrr;-Ѵvl-mņ
-]m†l_o|ov

F

or the first time in the history of its
Square Print Sale, Magnum Photos
partners with an esteemed literary
magazine, Granta, for its upcoming
sale from April 29–May 5. Titled Fable, the sale
explores the symbiosis between visual and written
narratives. Three writers delve into the work of 85
Magnum photographers, weaving stories inspired
by a bespoke selection of images. The partnership
celebrates a decade of the sale by showcasing the
perennial art of storytelling.
Each image will be available to purchase as a
limited-edition 6 x 6" print during the online sale.
A selection will be exhibited at Magnum Gallery
at 68 rue Léon Frot in Paris on Tuesday, April 30,
the Print Room at 63 Gee Street in London on
Wednesday, May 1, and at Mmuseumm in New York
on Thursday, May 2. These events provide a rare

Lens Magazine

opportunity to purchase Square Prints in person
during the week of the sale and attend live signings
by photographers.
Writing and photography
often exist alongside one
another, sometimes in the same
publications, but they rarely
overlap. We have a long history of
publishing photography as well
as writing and this collaboration
between Granta and Magnum is
an opportunity for a new kind of
collaboration between authors and
photographers.
We are thrilled to have the chance
to work together with the team
at Magnum to put these artists
together."

says Max Ferguson, Photo Editor at Granta.

171

172

lensmagazine.net

Mexico, 2018.
šubvঞm-7;b77;Ѵņ
-]m†l_o|ov

I

n its 10-year history, the Square Print Sale has
featured over 1600 images and 24 themes.
With Fable, Magnum, and Granta champion the
lasting impact of stories and their tellers.
Fables are foundational stories about human
nature; illustrating timeless truths about virtue
and vice, they turn on the moral dilemmas that
people face. They teach universal lessons that are
accessible and memorable through a combination
of words and images. This is often achieved by
anthropomorphizing animals, as in Elliott Erwitt's
image of goggle-wearing Dalmatians in Japan.
With their intelligence and storied role in pop
culture, Dalmatians reflect man's relationship
with dogs as both guide and companion. Another
selection from the sale offers a peek of an
upscale S&M club's client lounge from Susan
Meiselas' Pandora's Box. Taboos around desire,
transgression, and punishment mirror elements
of the titular myth, imparting lessons on power,
gender, and control.
Magnum photographers have partnered with
writers since the cooperative's establishment in
1947. Co-founder Robert Capa and author John
Steinbeck captured the USSR together for 40 days,
offering an account of life there during the Cold
War. While photojournalism is still at the core of
Magnum's identity, members work with writers of
every kind and always have.

Lens Magazine

173

Mark Power and poet Daniel Cockrill riffed together while
traveling for 2016's DTLFTSOTE. No stranger to literature
and poetry, Alec Soth's I Know How Furiously Your Heart
is Beating takes its title from Wallace Stevens's "The Gray
Room" and ends in a conversation with Hanya Yanagihara.
Other partnerships transcend the professional world, such
as those between life partners like Inge Morath and Arthur
Miller or Alex Webb and Rebecca Norris-Webb.

174

I have always believed that
photography is primarily
a language — a means to
express yourself and
communicate,"

says Magnum president Cristina de Middel.

lensmagazine.net

Top: © Alec Soth / Magnum Photos
Top Right:
© Myriam Boulos/Magnum Photos
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š"-0b_-bl;mņ-]m†l_o|ov

Lens Magazine

In recent years, the
confirmation of visual
storytelling as a strong
point of the medium has proven
that the possibilities are endless.
It feels like photography is finally
owning its real nature and mission.
Partnering with Granta for this
edition of the Square Print Sale is
a privilege, allowing us to research
the potential of combining images
and text.
By diving into the multiple meanings
of an image and inspiring the
creation of a text that catalyzes
new readings, we bring the medium
to its next level. I hope our audience
enjoys this playful and stimulating
new approach."
- Magnum president Cristina de Middel.

Top: From the book Mala Noche.
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© Antoine d’Agata / Magnum Photos

176

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Carol with her poodle.
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"r-bmķƐƖƔƐĺ
š;u0;u|bv|ņ-]m†l_o|ov

lensmagazine.net

Jack and Miriam in
bed in Bronxville,
watching Jack's
show.
Bronxville, New York,
USA, 1959.
Cornell Capa ©
m|;um-ঞom-Ѵ;m|;u
of Photography /
Magnum
Photos

© Bieke Depoorter / Magnum Photos

Turkey, 1955.
© Marc Riboud /
Fonds Marc Riboud
au MNAAG / Magnum
Photos

Top: Yokohama,
Japan, 2003.
š ѴѴbo‚ u‰b‚ņ
Magnum Photos

!b]_|Ĺm|v;-ঞm]lollipop. Tunisia, 2022.
© Zied Ben Romdhane
/ Magnum Photos

Right Page Top:
Kraków, Poland,
December 2006.
© Mark Power /
Magnum Photos

!b]_|-];o‚olĹ
Hotel lavatory.
Moscow, Russia, 1989.
© Harry Gruyaert /
-]m†l_o|ov

178

© Susan Meiselas /
Magnum Photos

During the sale, for one week only, more than 100 museumquality prints, signed by the photographers or estatestamped, are available for just $110. Available only on the
Magnum website: magnumphotos.com/shop

Frank Binder
© All rights
reserved.
";;|_;-uঞ1Ѵ;
on page 60

Copyright to The International Lens Magazine © Dafna Navarro, 2024.
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