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Win a Solo Exhibition this February. Juror: Harvey Stein
Win a Solo Exhibition this February. Juror: Harvey Stein
Virginia Hines
Virginia Hines
Virginia Hines

Virginia Hines

Country: United States

Virginia Hines started photographing during high school, working part-time for the local newspaper where her parents were editors, and later studied photography with notable artists including Harvey Stein, Bruce Gilden, Alex Webb, and Geoff Winningham. She is a frequent contributor to Street Photography Magazine and their podcasts featured her in April 2021 and May 2022. She also wrote the introductory essay for Harvey Stein's latest book of street photography, Coney Island People: 50 Years. Her photographs have appeared in many print and digital publications and have been exhibited in group shows across the U.S. and in Europe. You can follow her progress on Instagram @vhines_photos and on her web site.

Statement
For me, photography is about making connections, most importantly, connections with other people. Even in brief interactions, there is a potential connection, a communication, that can create bonds with individuals from a variety of circumstances. Photography is an outlet for my enduring curiosity about people. There is also the challenge of making visual and conceptual connections within the confines of the frame. Photography provides a means of playing with the inescapable yet elusive dimension of time, which has fascinated me ever since I learned there was meaning to exactly how the hands were positioned on the face of a clock. I have been trying to “tell time” ever since. Finally, photography gives me a way to explore mysteries and discover order and beauty in everyday life. Often enough, life does not seem beautiful, but sometimes a photograph will bring to light qualities that lie beneath the surface. I treasure these small epiphanies and the tools photography provides for bringing them to light.
 

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All About Photo Awards 2026
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More Great Photographers To Discover

Dr Kumar Bishwajit Sutradhar
Dr. Kumar Bishwajit Sutradhar is an award-winning documentary photographer from Bangladesh whose work powerfully foregrounds marginalized voices and unseen social realities. Rooted in social justice, environmental crises, women’s empowerment, and humancentered narratives, his photography goes beyond documentation to inspire awareness, empathy, and change. For over a decade, he has participated in more than 50 national and international exhibitions, with his work showcased across Australia, Japan, the United States, the United Kingdom, India, Spain, Turkey, Italy, Portugal, Montenegro, and Bangladesh. His compelling visual storytelling has reached global audiences and earned widespread critical recognition. Dr. Kumar’s work has received numerous prestigious awards, including the Grand Winner of the International Save Water Competition (Australia, 2013) and the Peoples and Planet International Award (2013). More recently, his photography was recognized at the Bangladesh Press Photo Contest (Politics, 2025), the World Environment Day Photography Contest by ICDDR,B (Climate Change, 2025), and “Framing Possibilities” by UNICEF–UNFPA (Child Marriage, 2025). His earlier recognitions include the Sony World Photography Awards (London, 2015), International Filter Photo Competition (Japan, 2013 – Special Merit Award), the Humanity Photo Awards (HPA, 2013), the Spanish Photography Competition (2014), and multiple accolades across Spain, Turkey, India, and Bangladesh. He believes the role of a photographer extends beyond aesthetics to making invisible voices visible. Through his work, he challenges dominant narratives and advocates for education, human rights, and gender equity. Alongside his photographic practice, Dr. Kumar is an educator and mentor, having served as a lecturer, workshop instructor, competition judge, and mentor to emerging photographers. During his PhD at UNSW Sydney, he was also recognized for his work in scientific photography, earning an award from the Electron Microscopy Unit at UNSW for imaging ultrasmall nanoparticles, a ground-breaking visual achievement later exhibited in Australia and Italy (2025). He has also completed multiple internationally recognized certifications from the University of Birmingham (UK), University of Nebraska Medical Center (UNMC, USA), Procter & Gamble (USA), the British Orthodontic Society (UK), and the Institute of Digital Dentistry (New Zealand), specializing in Advanced Clinical Dental Photography. Currently, he serves as a Mentor at Tooth Tomorrow Bangladesh (TTBD), supporting dental professionals nationwide through advanced visual documentation and communication. Beyond photography, he remains actively engaged in social and humanitarian initiatives with organizations such as HOPES Foundation, JAAGO Foundation, and Bangladesh Youth Environmental Initiative (BYEI) and Community Action, advancing education, environmental advocacy, and community development. Awarded Photographer of the Week - Week 02, 2026
John Vachon
United States
1914 | † 1975
John Vachon was a world-traveling American photographer. Vachon is remembered most for his photography working for the Farm Security Administration (FSA) as part of the New Deal and for contributions to Look magazine. One becomes keenly alive to the seeking of picture material. It becomes part of your existence to make a visual report on a particular place or environment. -- John Vachon John Felix Vachon was born on May 19, 1914 to a middle class Irish Catholic Family in Saint Paul, Minnesota. He was the son of Ann Marie (O'Hara) and Harry Parnell Vachon. His parents were not well off, his father made a get-by living as a traveling salesman in stationery supplies. He had one younger brother named Robert. Vachon had a Catholic education and graduated from Cretin High School local military Catholic high school (now Cretin-Derham Hall High School). He continued his education at the University of St. Thomas in Saint Paul and received a bachelor's degree in 1934. Vachon moved to Washington, D.C. after receiving a fellowship to attend graduate school at Catholic University of America to study English literature and become a writer. As he began his studies, a few months later, he was forced to leave school due to his drinking. After his leave from graduate school, Vachon looked for work around Washington D.C., finding his first job in photography working for the Farm Security Administration's Historic Division as one of the photographers hired by Roy Stryker to document the plight of migrants during the Great Depression. In about 1938 Vachon married Millicent Leeper who was known as Penny. While Vachon was on the road working as a photographer for the FSA, he wrote daily letters to Penny, as well as to his mother. He wrote them to describe his experiences, ambitions, self-doubt, sense of humor, the obligation to the FSA, the people he met, the news he read about, and the movies he watched. In the letters, Vachon describes how he relied on Penny to support him and his work. They had three children. Penny committed suicide in 1960. Vachon married Marie Francoise Fourestier in 1961. They had two more children. Vachon served in the United States Army in 1945. Vachon's daughter, Christine Vachon, became an independent film producer in adulthood, and their son Micheal became an editor who worked with his father in later years. The FSA was a New Deal agency created in 1937 to combat rural poverty during the Great Depression in the United States. The FSA is famous for its small but highly influential photography program which ran from 1935 to 1944, and documented the challenges of rural poverty and farm life. John Vachon's first job at the FSA carried the title "assistant messenger." He was twenty-one, and had come to Washington D.C from his native Minnesota to attend The Catholic University of America. Vachon had no intention of becoming a photographer when he took the position in 1936, but as his responsibilities increased for maintaining the FSA photographic file, his interest in photography grew. The FSA sent more than forty photographers into the field and collected images of American life that would result in an archive of 165,000 FSA prints. Some FSA employees had well-established careers, while others become famous as photographers as a result of their work, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Jack Delano, Arthur Rothstein, Walker Evans, Russell Lee, Gordon Parks, Charlotte Brooks, Carl Mydans, Dorothea Lange and Ben Shahn. By 1937 Vachon started to take photographs himself, and with advice from Ben Shahn, he tried out a Leica camera in and around Washington. His weekend photographs of "everything in the Potomac River valley" were clearly the work of a beginner, but Stryker lent him equipment and encouraged him to keep at it. Arthur Rothstein, who took him along on a photographic assignment to the mountains of Virginia. In October and November 1938, Vachon traveled to Nebraska on his first extensive solo trip. He photographed agricultural programs on behalf of the FSA's regional office and pursued an extra assignment from the photography project's chief, Roy Stryker: the city of Omaha. Vachon worked extensively in the midwestern and Great Plains states. As the Great Depression lessened and American involvement in the War in Europe increased, the government moved FSA photography project to the Office of War Information, and Vachon's job transferred to that agency as well, where he worked from 1942 to 1943. He later worked as a staff photographer for Standard Oil Company of New Jersey between 1943 and 1944. After serving in the army in 1944-45, in 1947 Vachon joined the Photo League, where he wrote book reviews for Photo Notes and participated in many exhibitions. Between 1945 and 1947 he photographed New Jersey and Venezuela for Standard, and Poland for the United Nations Relief and Rehabilitation Administration. Vachon became a staff photographer for Life magazine, where he worked between 1947 and 1949, and for over twenty-five years beginning in 1947 at Look magazine. In 1953 Vachon took the first pictures of Marilyn Monroe and Joe DiMaggio when Monroe cured a sprained ankle near Banff, Canada. With Look closed, he had continued to work as often as he could. He photographed two stories for Vermont Life, a magazine edited at the time by his son Brian and became a freelance photographer. In 1973, he won a Guggenheim Fellowship. In 1975, he was a visiting professor at the Minneapolis Institute of Arts. In Vachon's later years, he was teaching a class in photography where he kept notebooks on the main points of the day. For December 9th, 1974 he reflects on it earlier assignment he had given his students to emulate the work of FSA photographers. Vachon continued as a freelancer until cancer brought him down. Vachon died of cancer in 1975 in New York at age 60.Source: Wikipedia
Arlene Gottfried
United States
1950 | † 2017
Arlene Harriet Gottfried was a New York City street photographer who was known for recording the candid scenes of ordinary daily life in some of the city's less well-to-do neighborhoods; her work was not widely known until she was in her 50s. Born in Coney Island, she was the daughter of Lillian (Zimmerman), a homemaker, and Max Gottfried, who ran a hardware store with his own father, above which the family lived. Gottfried was the older sister of comedian and actor Gilbert Gottfried (1955–2022). When she was 9, Arlene moved to Crown Heights, where she became heavily influenced by the nearby, fast-growing Puerto Rican community. Later in the 70s, she moved with her Jewish immigrant family to the neighborhoods of Alphabet City and the Lower East Side. When Gottfried was a teenager, her father gave her an old 35 mm camera, which she eventually took to Woodstock, even though she said, "I had no clue what I was doing". She credited her upbringing for giving her the ability to get intimate photographs of strangers: "We lived in Coney Island, and that was always an exposure to all kinds of people, so I never had trouble walking up to people and asking them to take their picture." Gottfried graduated from the Fashion Institute of Technology taking photography courses. She worked as a photographer for an advertising agency before freelancing for publications such as The New York Times Magazine, Fortune, Life, the Village Voice, and The Independent (London). She was a habitué of Nuyorican Poets Café, a friend of Miguel Piñero, and on the Lower East Side sang gospel with the Eternal Light Community Singers. In 1991 while on assignment Gottfried photographed the Eternal Light Community Singers, eventually singing with them, as well. Gottfried also sang gospel with the Jerriese Johnson East Village Gospel Choir. In her later years, she published five books of her work: The Eternal Light (Dewi Lewis Publishing, 1999), Midnight (powerHouse 2003), Sometimes Overwhelming (2008), Bacalaitos and Fireworks (powerHouse 2011), and Mommie: Three Generations of Women (powerHouse 2015). Her photographs and archives have been exhibited at the Leica Gallery in New York and Tokyo, the Smithsonian Institution in Washington, D.C., the European House of Photography (MEP), the Brooklyn Museum of Art, and the New York Public Library. Gottfried died on August 8, 2017, from complications of breast cancer at her home in Manhattan at the age of 66 surrounded by friends and family.
Laura Jean Zito
I began photographing in order to understand what elements of a scene would render that scene worth painting, given the time and materials commitment painting demands. The voyage led to a desire to document that which will no longer be, like trying to remember a dream. I wanted to document the world as I actually viewed it, in all its irony, and to marvel at the actuality of it rather than to distort that reality. The veracity of film itself was a tool to me to reveal with integrity the extent of what is possible in the universe. With digital manipulation, who knows what is real anymore? With film, I was proud of honing skills of recognizing an event before it happened, being quick and ready to snap it, and being astute enough to compose it in a way to tell the whole story in a single image. I had practiced these skills as a stills photographer on feature films, including my brother's classic hip hop film, "Breakin'," where the photographer is the only one on set not actually working on the movie but has to wrangle their way right next to the director at peak moments without disturbing anyone on crew, to convey the plot all in one image. Other people skills came from years of shooting for NBC News Graphics, where I had to approach strangers on the street on a daily basis to shoot stock photos for their files. I compose with a Caravaggio sense of action and emotion in mind, and look for color schemes or black and white contrasts that symbolically represent the emotions manifested. Street photography has changed so much with the digital age and a camera in everyone's phone. While the documentation of fact may be lost, the fields of imagination may be found, opening new ground for discovery. Moment Moment is a project of photographs taken over the last 40 years, in towns surrounding the birthplace of my grandparents, Ballintober and Strokestown, in County Roscommon, Ireland, as well as in cities and countryside. Moments represented are so casual and usual, that while they might go as unremarkable in their own time frame, when viewed through the lens of another era, their very everydayness shows how times have morphed into a more generic way of doing things. The photographs bestow an ambience that would likely not be missed until it was no longer available: pubs and public places full of character and characters, from farmers in faraway hills of Connemara to foreign ministers in Dublin Castle, their body language and gestures bringing past into present focus. These, and landscapes taken before developments displaced haystacks, mesh an aesthetic appeal with an historical one to highlight how, though visuals might have changed, issues never have and might never. The photographs are about a moment in time, a thought that comes to mind, that blows through the consciousness like a dandelion wisp in a summer breeze. And in that simplicity and ephemeral delicacy lies the potency and deepness and timelessness. The frame and filter we view through brings new insight and reflection, giving nuance to what we view as truth and reality. - "Moment" © 2021 Laura Jean Zito All Rights Reserved AAP Magazine AAP Magazine 22 Street AAP Magazine 53 Travels
Lesia Maruschak
Canada
1961
Lesia Maruschak is a Canadian artist of Ukrainian descent. She holds a MA from the University of Saskatchewan, and a MBA from the University of Ottawa. She studied Fine Art in the US and Romania. Maruschak creates narrative-specific installations that include static and moving images and hard and soft sculptural elements. They explore the histories of colonized peoples and their manifestations of geopolitical shifts. These organic systems pivot on historic atrocities, creating immersive spaces facilitating audience engagement. This offering explores how the spaces between and within us—lived experience, memory, and perception—are mediated and reverberate. Her series often include intricate and highly coveted limited edition art books, fine art photographs and touring exhibitions. Maruschak current project Poems of Our Children explores the plight of children impacted trauma funded by the Canada Council of the Arts. She is also currently completing two books concerning Canada’s first world war internment operations funded by the Canada First World War Internment Recognition Endowment Council. Select Collections The National Art Library, Victoria and Albert Museum Thomas Watson Library at the Metropolitan Museum of Art Maison Européenne de la Photographie Boston Athenaeum City of Ottawa Art Collection David M. Rubenstein Rare Book & Manuscript Library at Duke University Green Library-Special Collections at Stanford University Rare Books & Special Collections at the Library of Congress Butler Library-Special Collections at Columbia University About Project MARIA Project MARIA memorializes the millions of victims of the 1932-33 genocide-famine in Soviet Ukraine. It functions as a mobile multimedia installation and includes artwork, film, and performance, inspired by a single vernacular photograph of a young girl, Maria F., who survived the Holodomor and currently resides in Canada. Holodomor refers to the genocide manufactured by Stalin and the Politburo in Soviet Ukraine during 1932-1933. Despite an estimated death toll of over four million by forced starvation the Holodomor, remains largely ignored in the context of global genocides. Project MARIA has been shortlisted for numerous awards and won over 13 including 12th Pollux Award Human Rights and Segregation (2018), Director’s Choice CENTER Review Santa Fe (2019), Landskrona Foto (2020), 16th Julia Margaret Cameron Segregation and Human Rights (2021), and FORMAT22 Director’s Review (2022). Its exhibition record includes 11 solo and more than 15 group exhibitions, in seven countries (2018-2023). Project MARIA recognized by the National Holodomor Genocide Museum, Kyiv, as the most important exhibition on the Holodomor premiered there in 2020. Its multi-city tour of Ukraine which included the LVIV History Museum and the Henryk Siemiradzki Art Gallery, Karazin University, Kharkiv, was interrupted by Russia’s aggression. The tour will recommence this Fall at the Vinnytsia Regional Museum. Other international solo exhibitions include Musée Ukraina Museum, Saskatoon; Turchin Centre for the Visual Arts, Boone; Objectif Femmes, Paris; and the Embassy of Ukraine in the Kingdom of Sweden, Stockholm.
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All About Photo Awards 2026
Win a Solo Exhibition in February
All About Photo Awards 2026

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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry