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FINAL CALL WIN A Solo Exhibition this December! Juror: Ed Kashi
FINAL CALL WIN A Solo Exhibition this December! Juror: Ed Kashi
Benjamin Barakat
Benjamin Barakat
Benjamin Barakat

Benjamin Barakat

Country: Lebanon/United Kingdom
Birth: 1987

Benjamin Barakat is a Lebanese/English astrophotographer born in England in 1987.
He hosts seminars, workshops & photography expeditions internationally around the world teaching others about the night sky and how to capture it.
He is based out of Switzerland where he is also a researcher at the highest observatory in Europe the Sphinx Observatory on top of Jungfraujoch at 3571m above sea level.
He began photography in 2018 and since then has won many awards and competitions around the world. In 2021 & 2022 he was titled Milky Way Photographer of the year!
His work has been featured by National Geographic, CNN, BBC, Forbes, Guardian, Vice and many more.
Benjamin's main focus has been in the Middle East, venturing to places others dare not to go. He wants to raise awareness and share the beauty of the middle eastern landscapes and night skies.
 

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More Great Photographers To Discover

Jan Janssen
Netherlands
1963
As a social photographer, Jan Janssen captures the moments he recognises in his fellow human beings, especially those elsewhere in the world. In everyday moments, he finds the same needs, insecurities or pleasures that all people enjoy in their lives - albeit to different degrees. Travelling is inseparable from Janssen photographic practice. On the one hand, travelling is an opportunity to discover who you are yourself. By travelling to other places, Jan seeks precisely the things we have in common. In a world of polarisation and contrasts, sometimes even on one continent, Janssen settles geographical and symbolic boundaries by photographing people in a pure essence. He photographs the richness of our most basic human needs, like freedom, family and security - or, conversely, the absence of their obviousness. To create his photographs, Janssen works on location for long periods of time. He often returns to the same place during subsequent trips. Here he builds a bond with the local people, a bond based on mutual respect and dignity. This photographing with a free heart allows him to get as close to people as possible. Only in this way can he penetrate to the essence of their being, and then capture it on camera. It Matters Pieces of Europe is a long-term photography project, started in 2016. In this series, I show the moments I recognise in my fellow human beings. Things that are common to our human existence, such as love, play, growing up, loss and need for contact. Things that are present everywhere in the world, in anyone. Several times a year, I travel to destinations in Central and Eastern Europe. For these photos, I travelled to Turkey, Azerbaijan, and Armenia, among others. Once arrived in the country, I work together with the locals to find entry into these communities. I find it very important that I approach them as an equal, and not as a western outsider just using them to take a photo. I build a bond with my portrayed people by following them for weeks, sometimes months. I may return regularly after my visit or stay in touch with my portraits online or remotely. Through this long-term contact, I get to know their traits and discover when they are at their most beautiful, their most vulnerable or their purest. It is at these moments that the most beautiful photos are created. The series is growing and will culminate in a book of the same name in 2026. Travelling is inseparable from my practice. It is an opportunity to discover who I am. By travelling to other places, I seek precisely the things we have in common. It is also a way for me to remind myself of the gratitude of a simple existence in places elsewhere in the world: things I take for granted in the West.
Savas Onur Sen
Turkey
1978
Savaş Onur Şen is a Turkish photographer based in Van. He has graduated from Ankara University Faculty of Communication, Department of Journalism. He has taken his master's degree in photography and a Ph.D. degree in photojournalism. Now he is working at Van Yuzuncu Yil University as an Assistant Professor. Savaş Onur Şen is trying to use photography to tell stories. These days he focused on the stories of the animals who live in the urban lifestyle. Precarious If certain lives do not qualify as lives or are, from the start, not conceivable as lives within certain epistemological frames, then these lives are never lived nor lost in the full sense. Judith Butler Current laws and regulations do not adequately protect the animals in Turkey. Violence, especially against stray animals, is increasing due to the lack of an animal rights law demanded by animal lovers and sensible groups. It is possible to see the traces of the rising vio-lence in mainstream and social media. Almost every day, we come across news of rape, torture, violence, and abuse, especially against stray animals. This situation also causes conflicts between people who are sensitive to the issue and are against feeding stray animals. It is said that there are over 20 thousand stray dogs in the city where I live. Although I don't have the chance to reach all of them, I have been feeding several stray dogs for many years and trying to find solutions to their problems. While doing this, I have also been taking photos of them for the last two years. "Precarious" is the first significant part of my work on stray dogs. This work aims to present an epistemological framework for the lives of stray dogs.
Oriol Torra Segon
He was born in Manresa (Spain) in 1981. He studied photography at Catalan Institute of Photographic Studies (IEFC). He participated in several documentary workshops taught by Antoine d’Agata (Magnum Photos), Franco Pagetti (VII), Jose Manuel Navia (Agence Vu) or Arianna Rinaldo, among others. Since 2011 he is a freelance photographer. His photography focuses in human frailty and vulnerability. His photographic project Young Patriots has been has received the EXPOSURE AWARD 2014 of See Me (New York, United States), has been one of the photographic projects selected as Descubrimientos PhotoEspaña 2014 (Madrid, Spain), was exhitibted at the Emerging Photography PA-TA-TA Granada Festival (Granada, Spain) and will be exhibited at DOCfield 2014 Festival (Barcelona, Spain), La Kursala de la UCA gallery (Cádiz, Spain) , Backlight Festival (Findland) and Encontros da Imagem Festival (Braga, Portugal). Young Patriots was also published in CNN and Cicero Magazine (Germany). Currently he works on commercial assignments and he is also a contributor of the Echo Photo Agency.About Young Patriots: “Young patriots documents the daily life in a military summer camp for children and teenagers focusing on the fragility of the atendees, in transition between from the childhood to the adulthood”The military summer camp in Mogyoród, Hungary, is a private project which each year sees the arrival of hundreds of children and teenagers between 10 and 15 years old. Some came attracted by the fascination of the military way of life, a militarism which is omnipresent in Hungarian society thanks to its imperial past and the memories of both the Nazi and the Communist periods. Others are brought here by their parents (mostly Hungarian nationalists) so as to introduce them to the unforgiving adult world where emotions are rarely permitted and life must be faced with rectitude and discipline.For a week they will live in tents, will receive military training from experienced soldiers who are still active, will acquire notions regarding Order and the Homeland, will endure long nights on guard duty without sleep, will learn how to use old out of service AK-47s built in Czechoslovakia (with blanks) and will even simulate being under teargas attacks.It will be a week of screamed orders during which intense physical exercise, educational behaviorism and precooked food will prevail; a place where any vulnerabilities and all questioning of military methods are simply overlooked, silenced and inwardly repressed.The young soldiers who had previously already felt the call of the Homeland will live the week’s activities impregnates wit epic airs. On the other hand, the skeptical protagonists, increasingly desensitized, more obedient, more docile, will have been transformed into disciplined young patriots of the great Hungary which one day will go back to being what it once was.All the images of this project were taken in Mogyoród, Hungary in the first week of July, 2013.
Sem Langendijk
The Netherlands
1990
Sem Langendijk is a documentary photographer with an interest in communities and their habitat, the urban environment and spatial arrangements. He observes the identity of a place, the impact communities have on their environments, and how space functions within the structures of a city. Langendijk shoots on large and medium format cameras, and aims to imbue his subjects with a certain tranquility. He continues to balance his work on the very narrow edge between visual storytelling and poetic personal documentation. Langendijk studied documentary photography at the Royal Academy of Arts, The Hague. In 2018, he was a recipient of the Mondrian Fund Stipendium for Emerging Artists and his work is exhibited at multiple art fairs and festivals, most recently 'The American Landscape', a group show travelling the US with The Gallery Club. He is currently working in Amsterdam, Londen and New York, on a personal body of work, continuing his research about the former Docklands. As an artist I intend to raise questions about the concept of 'the city' in our time. What role does history play in the identity of place, and feeling of belonging? How does ownership of (private) property relate to the right of the city? Through working with communities and researching their habitats I try to reveal (economical and political) systems that influence today's city life. My visual work is loosely related to social geography and anthropology, as I do field research and create visual notes. I combine this with more structured and methodological work, such as typologies. With these approaches I mean to reflect upon, as well as creating a more personal excerpt of, reality.
Thomas James Parrish
Based in Sydney, Thomas is an Australian photojournalist and travel photographer driven by a passion for exposing and championing environmental and humanitarian issues that exist in today’s societies, all over the world. Thomas’ work explores current social issues; combining his passion for creative storytelling with a desire to inspire positive social change. Working closely with local NGOs, charities and communities, this work has taken him across the world where he has founded projects and campaigns with refugees, religious groups, environmental agencies and education programs. His photographic journey began in 2016 when he spent 6 months documenting the north of India as part of his project ‘Oh India’ which, after first being released as an exhibition in Sydney, has since become a photobook and has raised over $10,000 for a remote education program in West Bengal. In 2017 Thomas travelled across Italy documenting the refugee crisis, working closely with volunteer groups and NGOs to tell the stories of those seeking asylum for his ongoing project ‘A Voice for a Refugee’. After spending a year studying at the Speos International Photographic Institute in London in 2018/19 and obtaining his diploma in professional photography, Parrish then went on to document the Camino del Norte, an 850km pilgrimage across Spain, as a way of raising money through sponsorship and prints sales for Amazon Watch as part of his project ‘Camino for the Amazon’ which aided in the recovery program for indigenous communities most affected by the fires in the Amazon in 2019, raising over $4,000. Thomas has since returned home to Australia where he recently released his latest body of work ‘A Place Called Manly, A Place Called Home’, which celebrates the everyday beauty of his hometown in Sydney Australia and was exhibited in Paddington, Sydney. Thomas’s work has featured in multiple international photographic publications such as Suitcase Magazine, Lodestars Anthology, Australian Photography Magazine, Dodho Mag, Stade and Ernest Journal and more. Statement “With my work I try to emphasise our responsibility as humans to care for the world, and to express the importance of identity, through engaging storytelling. I hope I ensure a positive impact for humanity and the natural world and that my photographs can act as an instrument for inspiration and change.”
Flip Schulke
United States
1930 | † 2008
Flip Schulke was an American photographer, born Graeme Phillips Schulke. He grew up in New Ulm, Minnesota. Schulke's nickname "Flip" came about from his interest in gymnastics. He graduated from Macalester College, then moved to Miami. He taught briefly at the University of Miami, then began working as a freelance photographer. He worked for Life , and covered a variety of events, including the Cuban revolution. In 1962, he visited and photographed the Berlin Wall. Schulke began photographing the civil rights movement in the American south as early as 1956. He formed a bond with civil rights activist Martin Luther King, Jr. after an all-night conversation in 1958, and began photographing him. King invited Schulke to photograph secret planning meetings of the Southern Christian Leadership Conference, though not all of the activists trusted him being there. He also photographed the 1963 March on Washington and the 1965 Selma to Montgomery March. They traveled together until King's death in 1968, which upset Schulke so much that he stopped covering the civil rights movement and began to work on more commercial projects. In all, he took around 11,000 photographs of King, including some of his funeral. Schulke photographed Muhammad Ali, Jacques Cousteau, Fidel Castro and John F. Kennedy. He also was a photographer for the Environmental Protection Agency's Documerica program in the early 1970s. Schulke died on May 15, 2008 at age 77. The Dolph Briscoe Center for American History at the University of Texas at Austin holds 300,000 of his photographs. His photographs are also held in a variety of museums, including the Harvard Art Museums, the Cleveland Museum of Art, the National Museum of American History, the University of Michigan Museum of Art, the Minneapolis Institute of Art, and the Lehigh University Art Galleries.Source: Wikipedia My biggest problem with young photographers is that they don't think about context. They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. After the Berlin Wall went up in 1961, Schulke brought his civil rights experiences with him as he attempted to capture the wall's symbolic and physical power. "This is the wall that fear built," Schulke wrote in notes during his visit to the wall in 1962. "This was the wall where hate stood guard, and men stooped much lower than angels. On one side it was bright and clean from the sun of freedom. (On) the other dark and bitter - the rot of slavery." Comprised of bricks, mortar, steel wire and jagged glass fragments to deter climbers, the wall both appalled and shocked Schulke, who described it as having a "jerry built" look. "It just can't be real," he noted, adding that the wall was a "monument to human misery" that "splits the world in half like a melon". He recalled how on the western side German children played tag in the shadows of tank traps while on the other side children stood "dull-eyed and pinch-faced in darkened doorways - wondering how one learns to laugh". As East German guards looked at him through their binoculars, Schulke observed recent East German escapees in West Berlin standing near the wall and signaling to friends and relatives back in East Berlin or waiting for relatives to appear. "One woman waited five hours to see her mother who never turned up," Schulke wrote. "Another couple stood by the River Spree, the girl crying softly, trying to catch a glimpse of her mother across the river." During Schulke's early coverage of the civil rights movement, he had a relatively balanced journalistic outlook and tried to see both sides, says Gary Truman, a long-time friend and former colleague. "But that faded quickly because he said that sometimes there is no other reasonable opposite view, there was only right and wrong," Truman says. "I think his coverage of the Berlin Wall stated immediately: this simply is wrong." Schulke saw both the wall and the civil rights movement as part of "a greater conflict over universal human freedoms," says Truman, who became the archivist of Schulke's photo collection after the photographer's death in 2008. "Similarities always exist in the artist's eyes." Schulke was far from alone in seeing the parallels between division in America and in Berlin. Even before the famous "Ich bin ein Berliner" speech by President John F Kennedy, his brother Robert Kennedy came to Berlin as US Attorney General in February 1962. "For a hundred years, despite out protestations of equality, we had, as you know, a wall of our own - a wall of segregation erected against Negroes," Kennedy said. "That wall is coming down."Source: BBC
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AAP Magazine #54 Nature
Win a Solo Exhibition this December
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