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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.

Websites

www.benjaminbarakat.com

@benjaminbarakat

 

Inspiring Portfolios

Marijn Fidder
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Julien Chatelin
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Marcus Yam
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More Great Photographers To Discover

Francis Malapris
Francis Malapris
France
1968
Schizothymic baby-boomer, at the age of 12 Francis takes refuge in computer science and excels in this field despite social and academic failure. In 1996, as he becomes an engineer, he meets the need to preserve memories of the Moment and tries photography. Gradually, this utopia fades to give way to the sensitivity he has so long repressed. 20 years later, he is an accomplished self-taught artist through the study of technique and the masters who inspire him such as Raymond Depardon, Rafael Minkkinen and Daido Moriyama. Key encounters have formed his photographic approach to bring him to social contact and staging. He then abandons computer sciences to exploit his bubbling creativity, full of sensitivity. The human being is then at the center of his work, after the fashion of the "Self" (Freud), which lies between unconscious desires and moral standards. Affected by the death of a friend, he undertakes a strong introspection that will highlight neuroses that he crystallizes through nude photography. In 2011, he begins the IN SITU project about mental escape, a phenomenon that concerns him. In 2014, he develops a shooting process to build the AQUATIC series. In 2017, the images encounter a great success, are published and exhibited at the FEPN in Arles, namely with the festival bill. With his installation in the heart of the Saint Anne chapel, Francis goes beyond photography to offer a contemporary art installation which sublimates female energy. Artist Statement "The human element is a fantastic material. I like observing bodies, their movements and expressions, sometimes with the idea of appropriating them. The part that fascinates me the most, because almost inaccessible, is the soul, at the head of the personality with its tastes, emotions and especially its history. Then comes the complex relationship to society, which evolves with environment and time. I approach the person naturally with openness and sensitivity, on the lookout for singularities that may resonate in me. From object, 'the other' becomes a proper individual, whose distinguishable particles and sub-particles I highlight. The main theme of the work I am presenting is that of the relation to reality: whereas the physical body is submitted to the present, imagination is free to roam without constraint in time and space. The ambiguity of this permanent oscillation between rational and irrational, resignation and escape, motivates me in my research where letting go is the motto. The plurality of my projects illustrates the richness of mental spaces that I have visited. Whether dreamlike or real, I put limits only on the possible interpretation of the codes that I use."
Pam Connolly
Pam Connolly
United States
1959
Pam Connolly is a lens-based artist and book maker who has been investigating the theme of home for more than 30 years. Her photographs of tin dollhouses, domestic spaces, and family portraits look closely at the American dream, exploring childhood memory and the notion of home; the yearning between the imaginary and the real. Connolly’s photographs are held in the collections of Brown University and the Houston Museum of Fine Arts Houston. Her recent artist book, Fly in Amber was acquired by the Hirsch Library, Houston, and the University of Michigan’s Art and Design Collection. Her previous book, Cabriole, belongs to the Beineke Library at Yale and the Museum of Fine Arts at Harvard. Connolly has exhibited her work nationally at the Ogden Museum in New Orleans, Foley Gallery in NYC, and Candela Gallery in Richmond, and internationally at the Kominek Gallery in Berlin and the National Portrait Gallery in London. Most recently Connolly has become the creator and curator of Landau Gallery, a miniature art space showcasing photo-based art in 1:12 scale. Connolly received an MFA in Photography from the Hartford Art School’s International Limited-Residency Program. She lives and works in New York’s Hudson Valley. AAP Magazine: AAP Magazine 48 Portrait Article: Salon Studies
Oksana Omelchuk
Oksana Omelchuk
Ukraine
1983
Oksana Omelchuk is a Kyiv-based visual artist and fine-art photographer whose practice moves between photography, scanography, and digital art. Her journey began with fine art: she studied painting, drawing, sculpture, and applied arts for six years at an art school before pursuing a degree in economics. Photography came later, almost by accident: she first appeared in front of the camera as a model for a friend studying at the Kyiv School of Photography. Curious to learn how to see through the lens herself, she joined the school in 2021, just to take pictures for pleasure. But soon, photography became her main artistic language. She continues her studies at Form, an international educational platform for photographic education, based in France. Through experimentation, she discovered that her true signature lies in drawing: in the imaginative world she had as a child, now translated into contemporary visual form. Her works are not about the moment, but about emotion - each object, whether a flower, an X-ray, or a fragment of furniture, becomes a character carrying a feeling. Oksana creates intuitively, following emotion more than perfection, balancing analysis and spontaneity. Her process is like opening a piano lid before improvisation: uncertain, yet full of discovery. Inspired by music and Renaissance painting, she builds delicate color harmonies that reflect both control and freedom. Her recurring themes explore the anatomy of feelings and the dreamlike dialogue between tenderness and strength. Statement: Art has been part of my life for as long as I can remember. What began with painting in childhood has evolved into a visual language that moves between photography and digital art. I am drawn to the moment where reality dissolves into imagination. Instead of brushes, I use light, scans, and digital tools - painting emotions rather than objects, reinterpreting the visible world through the colors of my inner states. My process is intuitive, experimental, and deeply emotional. I often begin with a photograph and then layer it with digital textures, hand-drawn traces, or scanned materials, allowing the image to transform organically: from documentation into a state of feeling. I explore memory, transformation, and perception - how fragility and strength coexist in a single gesture. For me, art is a quiet dialogue with the world: a way to speak without words, to hold tenderness and truth in the same breath.
Konstantinos Tsakalidis
Konstantinos Tsakalidis
Greece
1986
Konstantinos Tsakalidis was born in 1986 in Serres, Greece. He graduated from the Department of Informatics of Technological Educational Institute of Thessaloniki and from the Photographic Centre Stereosis. He is a freelance photojournalist based in Thessaloniki, Greece. He documented the Greek crisis related issues since 2013 as well as the 2015 Greek bailout referendum. In 2015-2016 he documented the route of thousands of refugees from the islands of the eastern Aegean Sea to central Europe through the Balkan countries, as well as their life in the improvised camp of Idomeni at the Greek - North Macedonia borders. In August 2021 assigned from Bloomberg News to cover the wildfires in Athens and Evia island. Tsakalidis currently is a co-founder member of the collective Greek photo agency SOOC Images and contributor for Bloomberg News in Northern Greece, covering social, economy and political issues with a focus on Greece, Eastern Europe and Turkey.
Bettina Rheims
Bettina Rheims
France
1952
Bettina Rheims, born Bettina Caroline Germaine Rheims is a French artist and photographer. She began her career with a series of images of striptease dancers and acrobats, and over the years she became one of the most notable persons behind the lens. "I adore flesh. I am a skin photographer," she says famously, and that perfectly explains her work. It is raw and erotic, frequently involving nudity and stuffed animals, and she achieves a visceral emotion that captivates the audience. Some of her most well-known pieces raise problems of gender, androgyny, and transsexuality. Although Bettina Rheims began with obscure and marginalized subjects, her later assignments included advertising campaigns for fashion and major brands like Chanel and Lancôme, as well as prominent international magazines. Madonna, Charlotte Rampling, Catherine Deneuve, Kylie Minogue, Claudia Schiffer, and many others were photographed by Rheims. And there's something indisputably human and true in every photograph she takes, perhaps too natural and personal. I have always believed that whether the work is my idea or a commission, it is personal work.... In the end, as my old master Helmut Newton used to say, there are only two kinds of pictures: the good ones and the bad ones. -- Bettina Rheims Bettina Rheims was born in Neuilly-sur-Seine, France. She is the daughter of the French Academy's Maurice Rheims. She began her career as a photographer in 1978, at the age of 26, after working as a model, a journalist, and running an art gallery. Initially, she accomplished a lot of commissioned work, such as record covers for Jean-Jacques Goldman and celebrity portraits. She devoted herself entirely to photography beginning in 1980. She created a series of images of strippers and acrobats, which were presented in two personal exhibits in Paris in 1981, at the Centre Pompidou and the Galerie Texbraun. Encouraged by her success, she began work on a series of plush animal portraits, which were shown in Paris and New York. In 1982, Rheims' Animal series allowed her to focus her lens on a different type of nudity: stuffed animals with fixed looks, "which seemed to desire to express something beyond death." "I had to capture their stare," the photographer claimed. The photographer questioned gender, androgyny, and transsexuality in Modern Lovers (1989-1990). Les Espionnes (1992) and Kim (1993) were two subsequent publications on the same subject (1994). At the same time she took portrait images for worldwide magazines and advertising campaigns (Well and Chanel), created her first fashion series, worked on cover sleeves, and film posters, and in 1986 directed her first advertising campaign. Her female portraits were published in a monograph, Female Trouble, in 1989, and exhibited in Germany and Japan. The next year, she created Modern Lovers, a series of portraits of androgynous youths that were presented in France, the United Kingdom, and the United States, as well as being published in book form. I still find myself having to justify being a woman taking pictures of naked women. It never occurred to me that there was something bizarre about it, it always felt very natural. -- Bettina Rheims Bettina Rheims began work on one of her major series, Chambre Close, in the early 1990s (1990-1992). This was her first color work, and it marked the beginning of her partnership with novelist Serge Bramly, in which her images were combined with the writer's fiction. Chambre Close is a parody of the first pornographic images in form — chambers with fading walls and old-fashioned wallpaper — but in substance, it attempts to stage amateur models in stances that play on the eroticism and misunderstanding between those looking and those displaying themselves. At the close of his presidential campaign in 1995, Jacques Chirac allowed Rheims to work behind the scenes on a series of images depicting the last moments of the election. Following the election, the French Republic's Presidency commissioned Bettina Rheims to create the official picture of Jacques Chirac. According to Libération, she intended to give the President "the easygoing look of the great heroes in westerns." The decade ended with the publishing of the book I.N.R.I. and its accompanying exhibition in 1999. I.N.R.I. constructs a philosophical debate on the history of the crucifixion through images of episodes from Christ's life, from the Annunciation to the Ascension, once again connecting the gaze of Rheims with the writing of Serge Bramly. Bettina Rheims advocated "modern illustrations, following the advent of photography, cinema, and advertising imagery, as if Jesus were to return today." The release of this work was highly contentious in France. During two long stays in Shanghai in 2002, Bettina Rheimsmade a series about the city. "The initial impressions of a visitor coming in Shanghai are of people with deep-rooted ancestral rituals and customs who have thrown themselves into the frenzied race of the modern world." Rheims, blending into this 'alternative way of thinking,' offers us a fresh perspective on the enigma that is China's coexistence with its millenary traditions, avant-garde facet, official elements, and underground qualities. Rheims exhibited Héroïnes, a piece that was essentially an homage to sculpture, at the Galerie De Noirmont in 2005. On this occasion, the photographer worked with designer Jean Colonna to outfit the women in unique outfits. "Thus, old haute couture gowns were reassembled on each of these contemporary icons. These unusually beautiful women then toyed with a stone, which became their pedestal for a brief while." Bettina Rheims collaborated with Serge Bramly again at the end of the 2000s, and Rose, c'est Paris was shown at the Bibliothèque Nationale de France in 2010. Bettina Rheims and Serge Bramly crafted a fictional thread from autobiographical parts for the photographic story. In this piece, Paris plays "the role of the muse more than the subject, and [appears] in an almost allegorical manner through the figures weaved into a story." A young woman we'll call B. is hunting for Rose, her twin sister who she thinks has vanished. Rose, c'est Paris is presented as a "great mysterious series," a genre beloved by surrealists, and is divided into thirteen episodes in which we discover, among other things, an unusual or obscure Paris that is voluntarily timeless." Exhibited in 2012 in Düsseldorf, the Gender Studies series pursues the questioning of gender representation. The device linking image and sound (by Frédéric Sanchez) presents 27 sound portraits of young men and women who responded to a request the photographer posted on Facebook. The photos are accompanied by interview clips and have featured in several exhibitions and a book. Rheims has also worked on advertising campaigns for fashion and big brands, such as Chanel and Lancôme, as well as taking portraits of famous women for international magazines. Rheims says that she has been inspired by Diane Arbus and Helmut Newton as well as by the work of early painters.
Bob Newman
Bob Newman
United States
1950
Bob began photographing on a regular basis after retiring as a physician. His images document the challenges and culture within marginalized communities, which are often similar to the underprivileged patients he enjoyed serving. After retirement, photography came to occupy much of this time. Initially his forays were associated with photo trips or workshops. When he first saw images of the Irish Travellers in 2015, he became intrigued. Photographing their culture and lives became his first long-term project. In the last five years, he has returned to visit the Travellers thirteen times, averaging 2-3 visits per year. To date he has visited 30 sites. Returning on multiple occasions has provided an opportunity to take a deep dive into their history and traditions. Statement The Irish Travellers is a long-term photographic project that began in 2016. Often referred to as Pavees, they number about 40,000 in Ireland and are ethnically separate from Romani/Gypsies. No longer nomadic, they now live in extended family roadside camps or halting sites. They are predominantly Irish Roman Catholic, endogamous, and traditional marriages are the norm. The women spend their time with their families, sometimes raising as many as 16 – 18 children. Girls are taught to act and dress provocatively as toddlers. It is exceedingly difficult for Traveller men to find jobs. The unemployment rate is 84%. Most live on a dole from the Irish Government. With time on their hands, horses and dogs play a major role in their lives. They face discrimination and racism because of their differences from the Settled Irish. Despite this, they are a remarkably resilient group who highly prize their culture, traditions and family life. This series focuses on Traveller children.
Tod Papageorge
Tod Papageorge
United States
1940
Tod Papageorge is an American photographer whose career began in the New York City street photography movement of the 1960s. He started taking photographs in 1962 as an English literature major at the University of New Hampshire. Between 1979 and 2013 he directed the graduate program in photography at the Yale School of Art, where his students included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, Steve Giovinco, and Katy Grannan. In 2007, Steidl published Passing through Eden, a collection of photographs Papageorge took over 25 years in Central Park. Also in 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam, containing photographs taken during his 1970 Guggenheim Fellowship.Source: Wikipedia About Passing through Eden Taken between 1969 and 1991, these black and white photographs capture the primeval character of Central Park, a human tragedy and comedy in this particular vision of the garden of Eden. During the 1970s, when Papageorge began to work on this series, Central Park was portrayed as a dangerous place not to be visited after dark. These photographs depict a different view showing innocence, beauty, ugliness, isolation, chaos and humour - the whole scope of human life on view within the park. Papageorge parallels this series with the first four books of Genesis, pulling the disparate images together by presenting the park as a public Eden, his elegy to a lost Elysium. This projected narrative lends the images structure and gravity: the audience can recognise Adam and Eve, Cain and Abel in various guises acting out their elemental roles in our commonplace world. Initially, Papageorge's project was driven less by a fascination with Central Park than by the desire to utilise a particular camera (6 x 9 cm Fujica) that was too cumbersome for the city's streets. He found within the park an intense and palpable realm of bodies, action and objects. Daily photographic excursions alongside Garry Winogrand and Joel Meyerowitz on the streets of New York had honed his abilities to both anticipate and capture great photographic moments within the disorder of the park. Established as an articulate and influential critic and teacher of other's work, Papageorge's own photographs have rarely been in the spotlight. Professor and Director of Graduate Studies in Photography at Yale Art School since 1979, he has taught many of the strongest American photographers of the past three decades, including Abelardo Morell, Gregory Crewdson, Anna Gaskell and Katy Grannan. This re-examination of Papageorge's photography has been prompted by the recent reconsideration of work by his peers -- Winogrand by the ICP, Friedlander by the MOMA and Stephen Shore by the ICP.Source: Michael Hoppen Gallery
Mohammad Sorkhabi
Mohammad Sorkhabi
Iran
1985
Mohammad Sorkhabi was born in Mashhad-Iran in 1985. He has been engaged in portrait photography since 2013. Most of his artworks are inspired by Renascence and Baroque portrait paintings so he mostly uses the classical lighting techniques and pictorial editing of the works with a subtle expression-filled by emotions and poetic feelings that indicate social issues. Mood Photography is the style of Mohammad which makes the audience communicate with the poetic feeling of his art better. His portraits emphasizing on social issues through deep abstract feelings and delicate expressions in the eyes of his models. Awards: Fine Art's first reward in Canada Tirgan Festival-2015. Two artworks of him have been chosen for the final section and have been displayed in Malaysia-Kuala Lumpur portrait contest-2015. Also second and third place in beauty and portrait category and four honorable mention in Moscow photo awards(MIFA)-2015. Winning medal in Asahi Shimbun photo contest, Japan 2017 Mourning for the father War is defined as a long-term structured conflict involving the use of arms and weapons between nations, governments and different groups, which is associated with severe hostility, social disruption, and excessive financial loss and casualties. Today, we constantly witness such conflicts across the world, with the media spotlighting the loss of thousands of soldiers and death of civilians during wars. However, we are rarely informed on the survivors of wars and their destiny. What becomes of them? How does war influence the lives of those who have lost their loved ones? How do women mourn the deaths of their husbands, fathers, and brothers and cope with such grave tragedies? These contemplations have urged me to start a project in order to shed light on these events and reflect the grand suffering of war survivors only partly. My photographs have been inspired by the works of Renaissance painters, and this can be seen in the classical lighting techniques and pictorial editing of the works. In addition, the black veils on the models signify the spiritual aspect of the photographs, symbolizing the catharsis born out of a plethora of grief and agony.
Jon Enoch
Jon Enoch
United KIngdom
1979
Jon Enoch discovered his love of photography on a round-the-world-trip, which he won in a competition while in his first year of university, studying geography. He bought a simple point-and-shoot camera and discovered a passion and a skill for portrait and lifestyle photography - looking for an unusual shot, rather than a standard tourist snap. He returned to university to complete his degree in geography, but was still out every weekend working on his own portraiture projects. After he left university, he did a one year course in newspaper photography and began a career in press photography. Jon started developing his bold portraiture style while freelancing at The Times, and now specialises in photo shoots for CEOs, sportspeople and celebrities, as well as advertising and lifestyle shoots. Describing his work as 'bold and uncomplicated', Jon loves playing with light, and how it affects the mood of the work. Jon still works on his own personal projects, and his 'Bikes of Hanoi' set of street images of moped delivery drivers earned him numerous industry accolades and awards, including the, Sony World Photography Awards 2020, Smithsonian Grand Prize Winner 2020, Portraits of Humanity 2020; Lens Culture Portrait Prize 2020 and a gold at the Prix de la Photographie Paris. Statement Jon said: "I continue to develop my skills and my style at every opportunity I get. I had some great personal photography projects in the planning before Covid-19 hit, so hopefully I will get to pick up those plans again before long. During the UK lockdown, I spent my time developing my directing skills. Mixing stills and moving images is something clients increasingly want and I find it an interesting creative challenge. The two worlds are in many ways so similar but at times so different. Being able to tackle both is something I really enjoy. Essentially I want to take stunning images that people connect with. " Exclusive Interview with Jon Enoch
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© Fernando Morales Roca
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