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FINAL CHANCE to enter All About Photo Awards: $5,000 Cash Prizes - Juror Steve McCurry
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Yasser Alaa Mobarak
Yasser Alaa Mobarak
Yasser Alaa Mobarak

Yasser Alaa Mobarak

Country: Egypt
Birth: 1993

Yasser Alaa Mobarak is a 24-year-old, Egyptian award-winning photographer based in Delhi, India. He has won photography prizes from National Geographic Traveler India, National Geographic Egypt, International Federation of Photographic Art, Photographic Society of America and Prix De La Photographie Paris. Yasser's works have been featured in Digital Camera World Magazine, Amateur Photographer Magazine, Smart Photography Magazine, Silvershotz Magazine, Adobe Blog, PBS NewsHour and Xinhua News Agency.

He is holder of AFIAP distinction from the International Federation of Photographic Art and holder of Associateship from Image Colleague Society International. He was judge at Adobe Youth Voices Awards, Romania's National Creativity Contest and The Photographic Angle.
 

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More Great Photographers To Discover

Umberto Romagnoli
Umberto Romagnoli was born in Rome in 1970; in 1994 he attended the European Institute of Design, where he followed photography courses for two years. In 1996 he received a special mention from the jury of the Europe: Crossing Borders competition organized by the European Cultural Foundation in Amsterdam for a work inspired by 100 years of Cinema. Since 2002 he has worked as a photographer, assistant and printer in the studio of Claudio Abate, the "art photographer", eyewitness of the artistic ferment and avant-garde from the 1960s onwards, where he deals with the organization and management of the archive photography and studio. Always interested in the cinematographic medium, often a source of inspiration for his work, in 2008 he made the short film War Box and in 2010 Spiriti del Lago. In the following years he founded the Mister Freedom-Brigata Cinematica, an association that supports and promotes visual culture and cinematographic in all its forms. Parallel to his photographic activity, he organizes and takes care of film clubs, film festivals and themed events such as: Posto Unico, Pape Satàn, Sdrive-In, Arena-Dentro La Storia and Street Cinema. Statement: I think that through a broad vision of photography I try to explore both the intimate and the analytical, creating a dialogue between the human essence and the visual representation, with this approach I try to combine originality and critical reflection. As for the interior and ancestral universe, I have always focused on subjects that reflect intimacy and human nature, from female nudes, to the elements to portraits used in a symbolic or metaphorical way, to still lifes of various inanimate objects that can hide deeper meanings. As for the analysis of the image and the fictional universe, I have worked on the understanding and analysis of the photographic and cinematographic image, examining how the visual image communicates, influencing the viewer, its authenticity and truth, asking myself questions about the nature of the image: how authentic is it? how manipulated is it? This can lead to reflections on perception and reality, passing through works of pure fiction, creating images that tell imaginary stories.
Yusuf Sevinçli
Turkey
1980
Sevinçli’s images are highly personal, subjective and dreamlike, in which place and time are uncertain, redolent instead of a deeply felt vision of the world. His fleeting images of everyday life have an air of timelessness about them. Aesthetically and formally they manifest Sevinçli’s respect and deep engagement with the history of photography. Yusuf Sevinçli earned a bachelor’s degree in communications at Marmara University (Istanbul) in 2003, and attended a Masterclass dedicated to documentary photography in Sweden in 2005. From that moment on, he started building his own work through different series which include Good Dog (2012), Marseille (2014), Walking (2015) and exhibited in several solo and group shows in Le Botanique (Brussels, Belgium), Galerie Les Filles du Calvaire (Paris, France), Arter (Istanbul, Turkey), Angkor Festival (Angkor, Cambodia), Istanbul Modern (Istanbul, Turkey), Gallery Boavista (Lisbon, Portugal), Atelier de Visu (Marseille, France), Elipsis Gallery (Istanbul, Turkey), Rencontres d’Arles (Arles, France). One of his latest series ‘Dérive’ has been presented in several places in France, such as La Filature in Mulhouse, Le Château d’Eau in Toulouse, L’Atelier, Nantes as well as in Moscow during the city’s Biennal of Photography in 2016. He lives and works in Istanbul. Published books; Good Dog (Filigranes Editions, 2012), Marseille (le bec en l’air, 2014), Walking (Filigranes Editions, 2015), PUT (Fail Books, 2017). Source: Galerist Discover Oculus
Warren Agee
United States
1966
Warren Agee, born 1966 in Buffalo, NY, USA, is a fine art photographer whose practice explores his connection with the natural world. After attempting many different creative careers including drawing, architecture, jewelry-making and the fiber arts, Warren accidentally discovered photography in the mid 1990s while making color transparencies of his jewelry to submit to juried art fairs. He soon pointed his camera to everything growing in his yard and never looked back. He fully embraced digital technologies in the early 2000s. He works primarily in monochrome. "Unless it is the focal point of an image, I find color tends to distract from form and content. My photographer's eye primarily sees structure, composition, and texture." His work has been exhibited in various galleries including Middlebury, VT. and Minneapolis, MN, as well as receiving honorable mentions in the 2021 Monovisions Awards. He currently resides in Petaluma, CA, USA. Statement The slopes of Mt. Tamalpais ("Mt. Tam"), which rises over 2500 feet above Marin County just north of San Francisco, consists of a vast and varied landscape of rolling grasslands, meadows, canyons, lakes, waterfalls, and redwood forests. Marine fog rolls in off the Pacific coast and supplies moisture year-round, creating what seems to be a tropical rainforest complete with moss-covered oaks and boulders. It is an unlikely setting for a region located a mere 20 miles from a bustling city. The average age of the redwoods on Mt. Tam is 600-800 years, a mind-boggling number to consider as you stand underneath them. These images attempt to portray the otherworld quality of Mt. Tamalpais., where one half-expects fairies and trolls to greet you as you hike along the trails.
Vik Muniz
Brazil
1961
Vik Muniz is a Brazilian artist and photographer. Initially a sculptor, Muniz grew interested in the photographic representations of his work, eventually focusing completely on photography. Primarily working with unconventional materials such as tomato sauce, diamonds, magazine clippings, chocolate syrup, dust, dirt, etc., Muniz creates works of art, referencing old master's paintings and celebrity portraits, among other things, and then photographs them. His work has been met with both commercial success and critical acclaim and has been exhibited worldwide. He is currently represented by Galeria Nara Roesler based in New York and Brazil. In 2010, Muniz was featured in the documentary film Waste Land. Directed by Lucy Walker, the film highlights Muniz's work on one of the world's largest garbage dumps, Jardim Gramacho, on the outskirts of Rio de Janeiro. The film was nominated to the Academy Award for Best Documentary Feature at the 83rd Academy Awards. Vik Muniz was born in 1961 in São Paulo, Brazil, as the only child of Maria Celeste, a telephone operator, and Vincente Muniz, a restaurant waiter. Muniz’s grandmother, Ana Rocha, taught him how to read at an early age. In his memoir, Muniz recalled struggling with writing in school which is why he turned to visuals to communicate his thoughts. At the age of 14, his math teacher recommended him to enter an art contest. He won and was awarded a partial scholarship to an art studio. At the age of 18, Muniz got his first job working in the advertising industry in Brazil, redesigning billboards for higher readability. While on the way to his first black-tie gala, Muniz witnessed and attempted to break up a street fight, where he was accidentally shot in the leg by one of the brawlers. He was paid by the shooter to not press charges and used the money to travel to Chicago in 1983. In Chicago, Muniz worked at a local supermarket cleaning the parking lot while he attended night school to study English. In the English class, he learned Polish, Italian, Spanish, and Korean without any improvements to his English vocabulary. Later, Muniz attended culinary and carpentry classes where he learned most of his English. Muniz took his first trip to New York in 1984. There, he visited the Museum of Modern Art and met a woman who changed his thoughts on Jackson Pollock’s paintings. This also influenced Muniz to move to New York just two months after his first visit. Muniz's friend lent him a studio where he started his career as a sculptor. He was 28 when he had his first solo exhibit in 1989. Inspired by works of Man Ray and Max Ernst, Muniz executes simple imagery intricately. Marshall McLuhan’s Understanding Media encouraged Muniz to explore perception in the media through abstraction and manipulating the components of the image. He cites the mosaics in a church in Ravenna as one of his influences and is also a self-proclaimed student of Buster Keaton. He decided to become an artist after seeing the works of the Postmodernists Cindy Sherman and Jeff Koons. Muniz, like both of these artists, reworks popular imagery in his work. Muniz says that he does not believe in originals, but rather believes in individuality. Muniz works to re-purpose themes and showcase them in a different light for the viewer. Muniz is best known for recreating famous imagery from art history and pop culture with unexpected, everyday objects, and photographing them. For example, Muniz's Action Photo, After Hans Namuth (From Pictures of Chocolate), a Cibachrome print, is a Bosco Chocolate Syrup recreation of one of Hans Namuth's photographs of Jackson Pollock in his studio. The monumental series Pictures of Cars (after Ruscha) is his social commentary of the car culture of Los Angeles utilizing Ed Ruscha's 60's Pop masterpieces rendered from car ephemera. Muniz often works on a large scale and then he destroys the originals of his work and only the photo of his work remains. Muniz has spoken of wanting to make "color pictures that talked about color and also talked about the practical simplification of such impossible concepts." He also has an interest in making pictures that "reveal their process and material structure," and describes himself as having been "a willing bystander in the middle of the shootout between structuralist and post-structuralist critique." Muniz says that when he takes photographs, he intuitively searches for "a vantage point that would make the picture identical to the ones in my head before I’d made the works," so that his photographs match those mental images. He sees photography as having "freed painting from its responsibility to depict the world as fact." In Muniz's earthworks series, Pictures of Earthworks, show a strong resemblance to the 1970s Earthworks movement. However, unlike the Earthworks movement, that were influenced by ancient cultures, Muniz's series shows distinct human impact on nature. In addition to sculpting, Muniz experiments with drawing and photography, which is seen in the series Sugar Children, featured in the Museum of Modern Art's New Photography 13 show, alongside Rineke Dijikstra, An-My Le, and Kunié Sugiura, in 1997. In Sugar Children, Muniz photographed the families that worked on sugar plantations on the Caribbean island of St. Kitts. Beginning with Polaroids of several of the children of plantation workers, Muniz "drew" the images by sprinkling sugar on black paper and rephotographed these compositions. This series was met with criticism, where scholars have pointed out that he photographs of subjects continuing to live in poverty and yet can make upwards of 5 figures on these works at auction. After his Pictures in Garbage series, Muniz donated the profits, close to $50,000, from the Marat (Sebastiao) to the workers collective after it was auctioned in the UK. He also tries to make art more accessible through the use of common materials, because of his belief that the art world should not be just for the elite. Muniz stated in the documentary Waste Land, "I'm at this point in my career where I'm trying to step away from the realm of fine arts because I think it's a very exclusive, very restrictive place to be. What I want to be able to do is to change the lives of people with the same materials they deal with every day."Source: Wikipedia Originally trained as a sculptor, Muniz’s work began to take on its mature form with The Best of LIFE; he drew from memory pictures of Life magazine photographs included in the coffee table book The Best of Life after losing the book in a move. He then photographed his drawings and kept only the photographs, thereby establishing his signature working style. Muniz subsequently applied this methodology to works in the art history canon, reproducing Leonardo da Vinci’s Mona Lisa as well as iconic photographs of Marlon Brando and Marilyn Monroe using chocolate syrup and replicating a Donald Judd sculpture by using dust taken from the Whitney Museum’s halls and galleries. To make the series Pictures of Garbage, Muniz spent two years working with garbage pickers at Jardim Gramacho, an open-air dump site near Rio. He photographed several of the pickers as subjects of classical portraits, with the background details supplied by the garbage they scavenged. This effort was captured in the documentary Waste Land, which was nominated for an Academy Award. Muniz’s photographs are in many collections, including the Metropolitan Museum of Art; the Museum of Modern Art; the Tate Gallery; and the Victoria and Albert Museum.Source: International Center of Photography
(Arthur Fellig) Weegee
Austria/United States
1899 | † 1968
Weegee was the pseudonym of Arthur Fellig (June 12, 1899 – December 26, 1968), a photographer and photojournalist, known for his stark black and white street photography. Weegee worked in the Lower East Side of New York City as a press photographer during the 1930s and '40s, and he developed his signature style by following the city's emergency services and documenting their activity. Much of his work depicted unflinchingly realistic scenes of urban life, crime, injury and death. Weegee published photographic books and also worked in cinema, initially making his own short films and later collaborating with film directors such as Jack Donohue and Stanley Kubrick. Weegee was born Ascher (Usher) Fellig in Z?oczów (now Zolochiv, Ukraine), near Lemberg, Austrian Galicia. His name was changed to Arthur when he emigrated with his family to live in New York in 1909. There he took numerous odd jobs, including working as an itinerant photographer and as an assistant to a commercial photographer. In 1924 he was hired as a dark-room technician by Acme Newspictures (later United Press International Photos). He left, however, in 1935 to become a freelance photographer. He worked at night and competed with the police to be first at the scene of a crime, selling his photographs to tabloids and photographic agencies. His photographs, centered around Manhattan police headquarters, were soon published by the Herald Tribune, World-Telegram, Daily News, New York Post, New York Journal American, Sun, and others.In 1957, after developing diabetes, he moved in with Wilma Wilcox, a Quaker social worker whom he had known since the 1940s, and who cared for him and then cared for his work. He traveled extensively in Europe until 1968, working for the Daily Mirror and on a variety of photography, film, lecture, and book projects. In 1968, Weegee died in New York on December 26, at the age of 69.Weegee can be seen as the American counterpart to Brassaï, who photographed Paris street scenes at night. Weegee’s themes of nudists, circus performers, freaks and street people were later taken up and developed by Diane Arbus in the early 1960s. In 1980 Weegee’s widow, Wilma Wilcox, Sidney Kaplan, Aaron Rose and Larry Silver formed The Weegee Portfolio Incorporated to create an exclusive collection of photographic prints made from Weegee’s original negatives. As a bequest, Wilma Wilcox donated the entire Weegee archive - 16,000 photographs and 7,000 negatives - to the International Center of Photography in New York. This 1993 gift became the source for several exhibitions and books include "Weegee's World" edited Miles Barth (1997) and "Unknown Weegee" edited by Cynthia Young (2006). The first and largest exhibition was the 329-image “Weegee’s World: Life, Death and the Human Drama,” brought forth in 1997. It was followed in 2002 by “Weegee’s Trick Photography,” a show of distorted or otherwise caricatured images, and four years later by “Unknown Weegee,” a survey that emphasized his more benign, post-tabloid photographs. In 2012 ICP opened another Weegee exhibition titled, "Murder is my Business". Also in 2012, exhibition called "Weegee: The Naked City", opened at Multimedia Art Museum, Moscow.Source: Wikipedia
Heinrich Kühn
Austria / Germany
1866 | † 1944
Carl Christian Heinrich Kühn (25 February 1866 in Dresden – 14 September 1944 in Birgitz) was an Austrian–German photographer and photography pioneer. Heinrich Kühn is regarded as one of the forefathers of fine art photography, which helped photography establish itself as an art on its own. His photographs closely resemble impressionist paintings, with their frequent use of soft lighting and focus. Kühn was part of the pictorialist photographic movement. Kühn mainly used the gum bichromate technique, applied in several layers, and thus allowing for previously unseen color tonalities. In 1911, Kühn invented the Gummigravüre technique, a combination of photogravure and Gum bichromate. In 1915 he developed the Leimdruck technique, which uses Animal glue as Colloid and produces pictures similar to gum prints. He also invented the Syngraphie, a forgotten technique that uses two negatives of different sensitivity to obtain a larger tonal spectrum. Kühn used Autochrome from its appearance in 1907; his Autochromes have been called "ethereal dreams of childhood, full of vaulted sunny skies and giddy perspectives, as gloriously cathartic as they are emotionally charged".Source: Wikipedia Heinrich Kühn, originally Carl Christian Heinrich Kühn was born on February 25th, 1866 in Dresden, Germany. Kühn was one of the central figures of international art photography at the beginning of the twentieth century. His lifelong goal was to establish the photographic image as a medium for rendering an artistic vision as precisely and creatively as in painting and drawing. Along with Alfred Stieglitz and other friends, Kühn made the stylized photographic an element of the gesamtkunstwerk, which translates to "ideal work of art", which the Secessionists aspired to create. The most important tool for this was the gum bichromate process that he had perfected and the free choice of paper and pigment, which made the picture look more like a print than a conventional photograph. This allowed him to deliberately alter the brightness contrasts to fit his notion of the image and dissolve its sharpness. Too much sharpness was considered "non-artistic" because it veered away from painting, thus eliminating it where he saw fit. Kühn reduced the romantic cosmos of "Pictorialism" to the point of abstraction, thus exhibiting a sense of timelessness and balance. Kühn's work is represented in many collections, including Eastman House Rochester (New York), Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Museum of Fine Arts (Boston), Kupferstich-Kabinett (Dresden), Hanmburgische Lichtbildstelle (Hamburg), Museum of Fine Arts (Houston), and Musée d'Orsay (Paris).Source: Peter Fetterman Gallery
Massimo Vitali
Massimo Vitali was born in Como, Italy, in 1944. He moved to London after high-school, where he studied Photography at the London College of Printing. In the early Sixties he started working as a photojournalist, collaborating with many magazines and agencies in Italy and Europe. It was during this time that he met Simon Guttman, the founder of the agency Report, who was to become fundamental in Massimo's growth as a "Concerned Photographer." At the beginning of the Eighties, a growing mistrust in the belief that photography had an absolute capacity to reproduce the subtleties of reality led to a change in his career path. He began working as a cinematographer for television and cinema. However, his relationship with the still camera never ceased, and he eventually turned his attention back to "photography as a means for artistic research." His series of Italian beach panoramas, starting in 1995, began in the light of drastic political changes in Italy. Massimo started to observe his fellow countrymen very carefully. He depicted a "sanitized, complacent view of Italian normalities," at the same time revealing "the inner conditions and disturbances of normality: its cosmetic fakery, sexual innuendo, commodified leisure, deluded sense of affluence, and rigid conformism." (October Magazine 2006, no. 117, p. 90, How to Make Analogies in a Digital Age by Whitney Davis) Over the past 22 years he has developed a new approach to portraying the world, illuminating the apotheosis of the Herd, expressing and commenting through one of the most intriguing, palpable forms of contemporary art - Photography. He lives and works in Lucca, Italy, and in Berlin, Germany sometimes. Vitali’s work has been collected in four books: Natural Habitats, Landscapes With Figures, Beach and Disco, and Entering a New World. His photographs have been published in magazines, newspapers, and other periodicals around the world. Additionally, his work is represented in the world’s major museums, including the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, the Fond National Art Contemporain in Paris, the Musée National d’Art Moderne in Paris, the Fondation Cartier in Paris, and the Museo Luigi Pecci in Prato.
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Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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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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Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry