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

Romina Ressia

Country: Argentina
Birth: 1981

Born in 1981 in Argentina, in a small town near to Buenos Aires. Her passion about art started at young age but it was not until her late 25, after graduating in Economics, that she decided to dedicate her life to Photography.

She studied Photography, Fashion Photography and Art Direction. And her inspiration comes mainly from Classic Paintings.

Since the beginning she knew that her passion was in Fashion Photography and Fine-Art, and it was there where she put all her energy. Owner of a pictorial style, has exhibited her work in Milan (in several times curated by the italian edition of Vogue), Buenos Aires & New York.

Her images have won different photographic competitions and her work is represented by galleries in more than 60 countries.

In her work shines a renaissance influence but, at the same time, the usage of contemporaneous objects, make the viewer to remember that he is in front of a photograph from the XXI century.

The attempt to grant a fresh air to the classic style is one of the essential characteristics of her work.
 

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All About Photo Awards 2026
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More Great Photographers To Discover

Ray Knox
United Kingdom
1960
I am a documentary photographer based in London. After studying Graphic Design at the University of Ulster, I moved to London to start my career as an Art Director. Working as a creative in various advertising agencies, I’ve been fortunate to have collaborated with, and learned from, some inspirational photographers. Encouraged by those photographers, I began making documentary projects and I now divide my time between photographing my personal projects and my advertising creative work. Close To Home "I started this photography project shortly after the introduction of the first Covid-19 lockdown as a way of alleviating my restlessness from being confined to home all day. I would venture out on my neighbourhood walks just after dusk when the streets were deserted and eerily quiet. Initially, I stuck quite close to home but over time I kept increasing the distance I covered on my meandering strolls around North London. The solitude I found wandering the streets was an almost meditative experience of simply observing as I walked. It gave me the chance to explore my local surroundings more intently and notice things. I had overlooked for years. What a revelation, streets so familiar during the day were completely transformed after dark. I discovered an alluring beauty photographing under streetlights casting their individual hues, transforming a mundane space by creating a surreal, dreamlike quality and inducing an air of mystery. Artificial light is much more controlled, and you can almost see more clearly because the light focuses your attention on a certain feature or colour. It also illuminates a scene in much the same way you would light a still life or a stage set. I get excited when I have the opportunity to photograph in fog as this gives light a wonderful cinematic quality, reminiscent of film noir. I believe there are an infinite number of interesting pictures to be made on our doorstep, but you have to search for them. Looking ahead I hope to continue this project through capturing the quiet beauty of my neighbourhood at night, which often goes unnoticed."
Tommaso Rada
Tommaso Rada is an Italian photographer currently living in São Paulo, Brasil. Tommaso Rada is a documentary photographer working on socio-economic issues. His projects describing the surrounding society are aims more to create questions than to looking for answers. His works has been published in several magazines and newspapers such as Financial Time, Der Spiegel, Monocle, Popoli, Popoli e Missioni, Private online edition, Expresso, Helsingin Sanomat, Courrier International, Le Pelerin, Washington Post and Forbes Brazil. He collaborated with Unicef Mozambique, Comunità di Sant'Egidio and Habitat for Humanity Portugal. About Domestic Borders Since the creation of the European Union (EU) one of the goal has been the unification of the different countries belonging to the EU and the abolishment of the frontiers between these countries. The Schengen treaty stipulated in 1985 have had the aims to gradually create an EU without borders, later in 1990 with the Schengen Agreement finally eliminate the borders between European countries allowing the free movement of people across the several European countries and the abolition of internal border controls. In the last decade separatist movements grow up all across Europe, the economical differences between the European countries increased, the foreign politics aren't common for all the countries, in a period in witch Europe should consolidate his union new obstacles and challenges appear. The domestic borders of Europe, now - after the Schengen Treaty and with the European unification - are gone. Just mountains, rivers and imaginary historical lines, are what have left: a liquid frontier between apparently distinct countries. The rivers, the mountains, the history trapped in the places define the communities, the interaction and the contacts between the people of two neighbouring countries, where the territory and the communities shape reciprocally around a specific space - physical, human and cultural - that get dissolved in the same rivers, mountain places that divide them. Empty of its political value, from a strange limbo made of controls and checkpoints the domestic borders become just a line on a map. The emptiness of the frontier, that have should fill of new life and new dynamics after the unification, get reflected in the territory, the time get stopped and while the world around is changing, on the border the space is assuming a proper physiognomy, and the time is sometimes frozen. "Domestic Borders" becomes a route where each photos is a stop on the way, not searching for answer but interrogating the social reality, the relations between habitants and the territory and the meaning of Europe today. "Domestic Borders" ends up being an unusual and unexpected trip, a dystopian portrait of the relationships between and across the border, showing the challenges of living in an unique space with a different passage of time.
Harry Callahan
United States
1912 | † 1999
Harry Callahan (Harry Morey Callahan) (October 22, 1912 – March 15, 1999) was an American photographer and educator. He taught at both the Institute of Design in Chicago and the Rhode Island School of Design. Callahan's first solo exhibition was at the Art Institute of Chicago in 1951. He had a retrospective at the Museum of Modern Art in New York in 1976/1977. Callahan was a recipient of the Edward MacDowell Medal and the National Medal of Arts. Along with the painter Richard Diebenkorn, he represented the United States in the Venice Biennale in 1978. Harry Callahan was born in Detroit, Michigan. He worked at Chrysler when he was a young man then left the company to study engineering at Michigan State University. He dropped out, returned to Chrysler and joined its camera club. Callahan began teaching himself photography in 1938. He formed a friendship with Todd Webb who was also to become a photographer. A talk given by Ansel Adams in 1941 inspired him to take his work seriously. In 1941, Callahan and Webb visited Rocky Mountain State Park but didn't return with any photographs. In 1946 he was invited to teach photography at the Institute of Design in Chicago by László Moholy-Nagy. He moved to Rhode Island in 1961 to establish a photography program at the Rhode Island School of Design, eventually inviting his close friend and fellow artist Aaron Siskind to join him, teaching there until his retirement in 1977. Callahan met his future wife, Eleanor Knapp, on a blind date in 1933. At that time she was a secretary at Chrysler Motors in Detroit and he was a clerk. They married three years later. In 1950 their daughter Barbara was born. Callahan died in Atlanta in 1999. His wife Eleanor died on February 28, 2012 in a hospice in Atlanta at the age of 95. Callahan left almost no written records—no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk through the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year. He photographed his wife and daughter and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. Even prior to birth, his daughter showed up in photographs of Eleanor's pregnancy. From 1948 to 1953 Eleanor, and sometimes Barbara, were shown out in the landscape as a tiny counterpoint to large expanses of park, skyline or water. He also worked with multiple exposures. Callahan's work was a deeply personal response to his own life. He encouraged his students to turn their cameras on their own lives, leading by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere—at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close. He tried several technical experiments—double and triple exposure, blurs, large and small format film. Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white. In 1955 Edward Steichen included his work in The Family of Man, MoMA's popular international touring exhibition. In 1956, he received the Graham Foundation Award, which allowed him to spend a year in France with his family from 1957 to 1958. He settled in Aix-en-Provence, where he took many photographs. In 1994, he selected 130 original prints with the help of the gallery owner Peter MacGill, and brought them together under the name of French Archives, to offer them to the Maison Européenne de la Photographie in Paris. Some of these images were taken in Aix-en-Provence and in the South of France, and are the subject of a temporary exhibition at the Granet Museum in Aix-en-Provence in 2019. Callahan left behind 100,000 negatives and over 10,000 proof prints. The Center for Creative Photography at the University of Arizona maintains his photographic archives. In 2013, Vancouver Art Gallery received a gift of almost 600 Callahan photographs from the Larry and Cookie Rossy Family Foundation.Source: Wikipedia Harry Callahan has won many awards for his photography, including a Guggenheim Fellowship in 1972 and the Photographer and Educator Award from the Society for Photographic Education in 1976, and he was designated Honored Photographer of the Rencontres Internationales de la Photographie in Arles, France in 1977, and received ICP's Master of Photography Infinity Award in 1991. Among the major exhibitions of his work were Photographs of Harry Callahan and Robert Frank (1962), one of the last shows curated by Edward Steichen at the Museum of Modern Art, and retrospectives at the Museum of Modern Art (1976) and at the National Gallery in Washington, DC (1996). Callahan was widely respected in the photography community for his open mind and experimental attitude, qualities reinforced by his association with Moholy-Nagy and the principles of Bauhaus design. He produced work in both formalist and more documentary modes and worked in both black-and-white and color. He used a 35-millimeter and an 8x10 camera and worked with multiple exposures as well as straight images. Such versatility contributed to his success as a teacher, his students ranging widely in style--among them Ray K. Metzker, Emmet Gowin, Kenneth Josephson, and Bill Burke.Source: International Center of Photography
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All About Photo Awards 2026
Win a Solo Exhibition in February
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry