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

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Tom Zimberoff
United States
1951
A classically-trained clarinetist, Zimberoff studied music at the University of Southern California before pivoting to photography. As a photojournalist, he has covered hundreds of historical and breaking news stories published worldwide, from the renegotiation of the Panama Canal Treaties; to NATO war games, a trip to Beijing with Secretary of State Alexander Haig opening trade talks with China; the eruption of Mount St. Helens; Super Bowl XIV; to documenting East LA gangs. One plum assignment from Esquire had him photographing "The Most Eligible Women in America." He's shot many hundreds of portraits, including magazine covers from John Lennon to Steve Jobs plus two sitting American presidents (Carter and Reagan) for the covers of Time Magazine and Fortune, as well as advertising campaigns for Fortune 500 companies, Hollywood movie studios, and the US Navy. Zimberoff was nineteen when he shot his first photo assignment for Time magazine: the farewell public recital of violin virtuoso Jascha Heifetz - a personal hero. By the time he turned twenty-one, Zimberoff had toured with the Jackson-5, the Rolling Stones, and Stevie Wonder, spent a day photographing John Lennon, and shot the first cover of People magazine. (It was the 1973 proof-of-concept issue featuring Olympic swimmer Mark Spitz.) Zimberoff has fun describing his pursuit as a predatory sport: hunting big game. "We don't 'load' cameras much anymore," he says, "but we still 'aim' them and 'shoot' pictures." He doesn't stalk his prey but gets close enough for a good clean shot (close enough for rapport as much as proximity), to avoid inflicting gratuitous wounds. He bags his quarry with a lens instead of looking down the barrel of a gun but, he also says, "I hang their heads on a wall to admire like trophies." His hunting license was a press pass. His portraits can be found in private collections and museums, including the National Portrait Gallery in London; the Los Angeles County Museum of Art; and the San Francisco Museum of Performance and Design. Recently, his entire career archive - literally a ton of film - was acquired by the Briscoe Center for American History at the University of Texas at Austin. His first two formal portraits were Marx and Lennon - Groucho and John. Tom's expertise with the business side of photography is evidenced by the articles he's had published in leading industry journals. He is also the author of Photography: Focus on Profit (Allworth Press, 2002), which has been used as a textbook at colleges throughout the country. He also taught briefly at several San Francisco Bay Area colleges. He taught himself to write code and developed PhotoByte®, the pioneering business-management software for commercial photographers. It has been used to teach at colleges across the country. After a ten-year hiatus from shooting pictures to pursue his software business and writing, Tom picked up his cameras once again to illustrate another book, Art of the Chopper (Bulfinch Press, 2003), his tribute to a decades-long affinity for custom motorcycles. It became a best-seller, followed by a second volume (Hachette, 2006), with forewords by Sonny Barger of the Hells Angels and James Hetfield of the band Metallica, respectively. As an encore to the Art of the Chopper books, Zimberoff was invited to curate an exhibition at the William J. Clinton Presidential Library in 2008, where thirty of the actual motorcycles illustrated in print were displayed on pedestals as works of sculpture. They were juxtaposed with Zimberoff's photographs large-format black-and-white portraits plus documentary (candid) photos of the moteuriers who built each chopper. The "Art of the Chopper" exhibition traveled to the Appleton Art Museum in Ocala, Florida and to Union Station in Kansas City, Missouri. Tom's most recent venture is a startup dedicated to creating the first data-driven marketplace for commercial and editorial photography. Zimberoff was born in Los Angeles in 1951 to a family with three grown siblings already a generation older - "like growing up with five parents," he says. His mother owned a boutique in Las Vegas, during the 50s and 60s; and his father was a musician who played the Vegas hotel orchestras that backed up Sinatra, Nat King Cole, and Bobby Darrin et al. Young "Tommy" grew up in Las Vegas, returning to California, on and off, to live with his older sister and two years in military school), finally leaving Las Vegas for his senior year at Beverly Hills High School when his parents retired. Then he received his music scholarship to USC. Zimberoff now lives in San Francisco, where he says he is ready to throw his lens cap back in the ring, as soon as the Covid-19 pandemic ends. In the meantime he is writing a memoir, an anthology of stories about his career. The title is A Photographic Memory. Each chapter juxtaposes one portrait with equally compelling prose about the events surrounding its creation. Articles Haut Moteur Principles of Portraiture on Camera AAP Magazine Portrait #40 B&W #41 Portrait #48
David Octavius Hill
Scotland
1802 | † 1870
David Octavius Hill was a Scottish painter, photographer and arts activist. He formed Hill & Adamson studio with the engineer and photographer Robert Adamson between 1843 and 1847 to pioneer many aspects of photography in Scotland. Hill was born in 1802 in Perth. His father, a bookseller and publisher, helped to re-establish Perth Academy and David was educated there as were his brothers. When his older brother Alexander joined the publishers Blackwood's in Edinburgh, Hill went there to study at the School of Design. He learned lithography and produced Sketches of Scenery in Perthshire which was published as an album of views. His landscape paintings were shown in the Institution for the Promotion of the Fine Arts in Scotland, and he was among the artists dissatisfied with the Institution who established a separate Scottish Academy in 1829 with the assistance of his close friend Henry Cockburn. A year later Hill took on unpaid secretarial duties. He sought commissions in book illustration, with four sketches being used to illustrate The Glasgow and Garnkirk Railway Prospectus in 1832, and went on to provide illustrations for editions of Walter Scott and Robert Burns. In the 1830s he is listed as living at 24 Queen Street, in Edinburgh's New Town. In 1836 the Royal Scottish Academy began to pay him a salary as secretary, and with this security he married his fiancée Ann Macdonald the following year. After the birth of their daughter, Charlotte Hill, Ann was invalided, and died on 5 October 1841, aged 36, and was buried with her family in Greyfriars Churchyard in Perth. Charlotte Hill went on to marry the author Walter Scott Dalgleish LLD and is buried in Grange Cemetery. During this period he lived at 28 Inverleith Row in Edinburgh's northern suburbs and he continued to produce illustrations and to paint landscapes on commission. Hill was present at the Disruption Assembly in 1843 when over 450 ministers walked out of the Church of Scotland assembly and down to another assembly hall to found the Free Church of Scotland. He decided to record the dramatic scene with the encouragement of his friend Lord Cockburn and another spectator, the physicist Sir David Brewster who suggested using the new invention, photography, to get likenesses of all the ministers present. Brewster was himself experimenting with this technology which only dated back to 1839, and he introduced Hill to another enthusiast, Robert Adamson. Hill and Adamson took a series of photographs of those who had been present and of the setting. The 5 feet (1.5 m) x 11.4 feet (3.5 m) painting was eventually completed in 1866. Hill moved to "Calton Hill Stairs" in 1850. Their collaboration, with Hill providing skill in composition and lighting, and Adamson considerable sensitivity and dexterity in handling the camera, proved extremely successful, and they soon broadened their subject matter. Adamson's studio, "Rock House", on Calton Hill in Edinburgh became the centre of their photographic experiments. Using the calotype process, they produced a wide range of portraits depicting well-known Scottish luminaries of the time, including Hugh Miller, both in the studio and outdoors, often amongst the elaborate tombs in Greyfriars Kirkyard. They photographed local and Fife landscapes and urban scenes, including images of the Scott Monument under construction in Edinburgh. As well as the great and the good, they photographed ordinary working folk, particularly the fishermen of Newhaven, and the fishwives who carried the fish in creels the 3 miles (5 km) uphill to the city of Edinburgh to sell them round the doors, with their cry of "Caller herrin" (fresh herring). They produced several groundbreaking "action" photographs of soldiers and - perhaps their most famous photograph - two priests walking side by side. Their partnership produced around 3,000 prints, but was cut short after only four years due to the ill health and death of Adamson in 1848. The calotypes faded under sunlight, so had to be kept in albums, and though Hill continued the studio for some months, he became less active and abandoned the studio, though he continued to sell prints of the photographs and to use them as an aid for composing paintings. In 1862 he remarried, to the sculptor Amelia Robertson Paton, 20 years his junior, and around that time took up photography again, but the results were more static and less successful than his collaboration with Adamson. He was badly affected by the death of his daughter and his work slowed. In 1866 he finished the Disruption picture which received wide acclaim, though many of the participants had died by then. The photographer F.C. Annan produced fine reduced facsimiles of the painting for sale throughout the Free Church, and a group of subscribers raised £1,200 to buy the painting for the church. In 1869 illness forced him to give up his post as secretary to the RSA, and he died in May 1870. Hill is buried in Dean Cemetery, Edinburgh - one of the finest Victorian cemeteries in Scotland. He is portrayed in a bust sculpted by his second wife, Amelia, who is buried alongside him.Source: Wikipedia
Davide Monteleone
Davide Monteleone is a photographer, researcher, and a National Geographic Fellow. He works on long-term project using photography video and text, exploring the relation between structures of Power and individuals. Known for his specific interest in the post-soviet countries, he published five books: Dusha, Russian Soul in 2007, La Linea Inesistente, in 2009, Red Thistle in 2012 and Spasibo in 2013, The April Theses, 2017. His projects have brought him numerous awards, including several World Press Photo prizes, and grants such as the Aftermath Grant, European Publishers Award and Carmignac Photojournalism Award. He regularly contributes for leading publications all over the world, and his projects have been presented as installations, exhibitions and screenings at festivals and galleries worldwide including the Nobel Peace Center in Oslo, Saatchi Gallery in London, MEP in Paris and Palazzo delle Esposizioni in Rome. He is engaged with educational activities, regularly lecturing at universities and teaching workshops internationally. Italian photographer born in 1974, member of VU’ Agency since 2017, based in Zürich (Switzerland) After beginning engineering studies, David Monteleone quickly turned to journalism and photography. Holding a Master research in Art and Politics from the Goldsmiths University in London, he first worked as an agency correspondent in Moscow from 2001 to 2003. Since 2003, Davide Monteleone’s documentary photographic writing has enabled him to carry out, between Italy and Russia, numerous editorial assignments and regular collaborations with prestigious international press titles (TIME Magazine, The New Yorker, National Geographic, etc.). He also develops long-term personal projects focused on social issues and conflictual relationship between Power and individuals. Particularly committed to documenting the survivals and new aspirations of the post-Soviet world, he published his first book Dusha, Russian Soul in 2007, followed by La Liena Inesistente in 2009, Red Thistle in 2012, Spasibo in 2013 , « The April Theses » in 2017 and « In The Russian East » in 2019. In 2014, he goes beyond the borders of the post-Soviet territories and initiates a work – still in progress – about geopolitical, socio-economic, and environmental impact of the New Silk Roads (“Yi Dai Yi Lu”) and thus about Chinese expansion on several continents. Exhibited in many countries, his work has received prestigious awards, among which several World Press Photo awards (2007, 2009, 2011), the Aftermath Project award (2010), the European Publishers Award for Photography (2011), the European Photo Exhibition Award (2012), the Carmignac Prize for photojournalism (2013), the Asia Society Fellowship (2016) or the National Geographic Storytelling Fellowship (2019-2020).Source: VU' l'agence
Jean-Francois Jonvelle
France
1943 | † 2002
Jean-François Jonvelle, born on October 3, 1943, in Cavaillon was a French photographer of fashion, glamor and portraiture. Work on the release of 20 ans magazine and then work on Dim, Dam, Dom, Vogue, Stern, Gala, Elle. In the 1960s, Jonvelle was assistant to Richard Avedon. During his career, he made many portraits of women, often his friends: natural young people, often naked, unconcerned. Unlike other fashion and glamor photographers, who offer a provocative woman, Jean-François Jonvelle's performance is much softer, more natural, more jovial but equally sensual. He died at the age of 58 years of terminal cancer, 15 days after it was detected on January 16, 2002, in Paris.Source: Wikipedia Jean-François Jonvelle was snatched by the hand of death with a suddenness to match the photographs that were his life. Just as that life was dedicated to capturing these stolen moments, so death followed suit, carrying him off in the midst of life. A tumor was discovered in early January, a final farewell just a fortnight later. He was gone in a flash. As I turn the pages of my friend’s last book my eyes mist over. My tears dissolve Jonvelle’s photographs into the soft focus of a David Hamilton. Jonvelle’s work is often described as being – in the time-honored formula – ‘sexy but not vulgar’. I prefer his own description of what he sought out: ‘la poésie du quotidien’, ‘the poetry of the everyday’. Photographs freeze moments of truth, all you have to do is choose the ones that do it best. "I tell myself that the present and the future don’t exist", he also used to say. "Everyone, every day, creates their own past." The quality that makes his images more moving than the rest is their vulnerability. Jonvelle taught me one crucial lesson: in photography, as in literature, what counts is feeling. Eroticism and tenderness are not sworn enemies. A downy arm, the frail nape of a neck, an uptilted breast, the curve of a back beneath the sheets, damp hair, closed eyelids, the trace of a kiss on the neck all these can be arousing. Jonvelle’s women are fresh and natural because they are unaware of our gaze. Jonvelle makes adoring voyeurs of us all. He shows us why heterosexuality can be so painful: everywhere, in every house and every bathroom, paradise lurks. Paradise delicately removes her T-shirt, brushes her teeth, buttocks pert, the curve of her breasts taut, timeless. Suddenly paradise parts her legs in silence, biting her fingernails as she looks you straight in the eye, teasing you as she waits for you on the sheets. Jonvelle is in paradise now, but for him nothing has changed: he was already there in his lifetime. As I gaze in wonder, the way I always do, at these images, so far removed from the familiar clichés, my thoughts turn to the beautiful women he immortalized. Photographs fix the fleeting, immortalize the ephemeral. Many of the women Jonvelle photographed are now old or dead, but – thanks to this photographer who is now also dead – their perfection will never fade. Every one of Jonvelle’s photographs is a declaration of love. One day, at my request, he photographed Delphine Vallette, the mother of my daughter. I wanted to give this brunette whom I loved a portrait. Never have I felt such a cuckold – though in the most erotic of ways. Beauty is an evanescent mystery that some artists have the ability to capture. As I look again at these wonderful images, I’m reminded of the title of that American comedy Drop Dead Gorgeous. Jonvelle’s work as a whole is not an ode to femininity; the story it tells is of the battle to vanquish death by means of the celebration of desire. All these shoulders caught by surprise, these half-seen breasts, these finely- arched insteps, these flawless backs, this sensual solitude, this calm between two storms, all these beautiful women who don’t give a damn are simply doors softly opened, through which we may catch a glimpse of eternal life. -- Frédéric Beigbeder Jean-François Jonvelle was born in 1943 in Cavaillon, south of France. Soon he will sell famous melons to buy Hasselblad. Its inspirations will come from the painting of Balthus, Bacon, of Schiele, but the true influence comes from films from Mankiewicz, Lubitsch, Fritz Lang, Orson Welles, Arthur PEN, Minnelli and more recently of Terry Gillian of which it acknowledges to have seen eleven times the film Brazil; Finally its preferred film: Jules and Jim of François Truffaut. In 1959, it is the photographer George Glasberg who initiates him with photography while making him make the turn of France of the cathedrals. It is a photographic revelation which will leave it never again. At the age of 20 he becomes the assistant of the American photographer Richard Avedon. After this enriching experiment he becomes his own 'Master' whose favorite subject will be the woman. Her mom and her small sister of whom he always was very near will be her 'first agreeing victims'. Then come the first 'muse' and accomplice, Tina Sportolaro whom he meets in 1982 and with which he carries out some of his more beautiful images. Will be then Béatrice, Myriam and many others.Source: The Eye of Photography
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Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry