All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Lee Jeffries
Lee Jeffries
Lee Jeffries

Lee Jeffries

Country: United Kingdom

Lee Jeffries lives in Manchester in the United Kingdom. Close to the professional football circle, this artist starts to photograph sporting events. A chance meeting with a young homeless girl in the streets of London changes his artistic approach forever. Lee Jeffries recalls that, initially, he had stolen a photo from this young homeless girl huddled in a sleeping bag. The photographer knew that the young girl had noticed him but his first reaction was to leave. He says that something made him stay and go and discuss with the homeless girl. His perception of the homeless completely changes. They become the subject of his art. The models in his photographs are homeless people that he has met in Europe and in the United States: "Situations arose, and I made an effort to learn to get to know each of the subjects before asking their permission to do their portrait." From then onwards, his photographs portray his convictions and his compassion to the world.

"If you will forgive my indulgence, This work is most definitely NOT photojournalism. Nor is it intended as portraiture. It's religious or spiritual iconography. It's powerful stuff. Jeffries gave these people something more than personal dignity. He gave them a light in their eyes that depicts transcendence, a glimmer of light at the gates of Eden, so to speak. The clarity in their eyes is awesome to behold as if God is somewhere in there. He has made these people into more than poor old broken homeless people lazily waiting for a handout from some urbane and thoughtful corporate agent. He infused them with light, not darkness. Even the blind guy has light pouring from his sightless eyes. I think Jeffries intended his art to honor these people, not pity them. He honors those people by giving their likenesses a greater meaning. He gives them a religious spiritual significance. He imbues them with the iconic soul of humanity. I think that's what he was trying to do, at least to some degree thereof."

Source: www.yellowkorner.com


Lee Jeffries leads a double life – as a full-time accountant near Manchester, and in his free time as an impassioned photographer of the homeless all over the world.

A self-taught photographer who started out taking pictures of stock in a bike shop, his epiphany came in April 2008 when, on the eve of running the London Marathon, he snatched a long-lens image of a homeless girl huddling in a doorway, and felt compelled to apologize to her when she called him out for it. Their resulting conversation changed not only his approach to photography; it changed his life.

Since that day Lee has been on a mission to raise awareness of – and funds for – the homeless. His work features street people from the UK, Europe, and the US whom he gets to know by living rough with them, the relationship between them enabling him to capture a searing intimacy and authenticity in his portraits. He has published two critically acclaimed fund-raising books, Lost Angels and Homeless, worked with the Salvation Army on a major campaign, and donated the half-dozen cameras he's won in prestigious imaging competitions to charity. He estimates he's given thousands of pounds of his own money to help those he photographs. All this, and he's still 'an amateur'.

Source: Nikon In-Frame


Read Our Exclusive Interview with Lee Jeffries
 

Lee Jeffries's Video

Selected Book

Inspiring Portfolios

Call for Entries
AAP Magazine #59 Shapes
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Mo Verlaan
Netherlands
1963
"After graduating from the Rietvelt Art Academy in Amsterdam, I started out in experimental theatre, creating sets on location as well as performing. In 1993, I founded De Drie Gezusters with my sisters catering to (inter)national film crews on location from a converted truck. Eight years ago, my love for photography made me enter the Photo Academy. The book and series titled Resonance was part of my graduation in 2016. In these photographs my fascination with light and luminance finds its expression. The Memory of Time is a study about the plasticity of time and light, to see time and light as something elastic. For me there is a strong correlation between the impermanence of light and the fluidity of time." "In The Memory of Time I explore abstract spaces. What interests me most, are architectural structures where light can fleet in and out, creating a new space. To me light is both a tangible and evanescent medium, if not a language. By fading, molding and carving the light in my photographs, I transform reality and move into an imaginative and intuitive realm. The process involves composing layered images that nearly look like drawings, scraping off the innate realism that is part of photography, thus creating a more sensorial and subliminal world." Winner Single Image 9th Julia Margaret Cameron Award 2016, Category Architecture. Works from the series Resonance received several Honorable Mentions: Tokyo International Foto Awards 2016 (2x), The Monochrome Awards 2016 (4x), The Monovision Photography Awards 2017 (6x), IPA 2017 (2x), IPA 2018 One Shot Harmony (1x). The series Resonance was exhibited at The Indian Photography Festival 2016. The book Resonance was exhibited at: Scan Photobooks (Spain), The Griffin Museum (USA), RPSP (UK), Tripp Gallery (UK), Unveil'd (UK). Publication in the NEW2017, 100 Best Emerging Dutch Photographers of the year 2017.
Sol Hill
United States
1971
Sol Hill was born in Albuquerque, NM in 1971, to artist parents who founded the first contemporary art gallery in Santa Fe. His early memories were of being with his parents in their respective studios and of being in their gallery in Santa Fe. As a child the mysterious objects and paintings that pervaded the gallery intrigued him. Contemporary art works were prevalent both in the gallery and at home. Looking at those artworks felt like observing some secret alchemical language that Hill wished to learn. Growing up, Hill lived all across the United States, and in Jamaica and Germany. He majored in International Affairs and German at Lewis & Clark College in Portland, OR and at Maximilian Ludwig Universität in Munich, Germany. He also studied printmaking in college and then became deeply involved with photography while in Germany. He later returned to Santa Fe and founded Zen Stone Furnishings with his wife, a paper artist from Brazil. Together they designed and manufactured hand crafted home furnishings from stone, twigs, copper and handmade paper. After an intense medical crisis, Hill decided to dedicate himself to fine art. He went on to study photography at the Brooks Institute in Santa Barbara, where he received an MFA in 2010. Hill travels regularly and often to Brazil to visit his wife’s family. Travel has powerfully affected his vision as an artist. Although Hill uses some of the latest digital photographic equipment and embraces digital photography, he finds that he is drawn to the kind of liberation found in embracing the mysterious and unfamiliar rather than that which is crisply defined and well known.About Token Feminine:The mannequin is a token feminine used to impart cultural conventions of the idealized female image In this body of work I examine mannequins in storefront windows as symbols of consumer culture. I see them as emblems upon which the desire and fantasy of sex and fashion are draped and from which complex valuations of body image are ingested. The mannequin is a token feminine presence used to impart cultural conventions of the idealized female image. I dissipate these literal mannequin pictures by interrupting the expected information and accepting the digital noise, which are undesirable artifacts produced by false exposure, inherent to the process of capturing digital images. This allows me to explore the nature of the boundary between the reverie of the token feminine and the reality of the commercial icon.About Urban Noise:I seek stillness within the modern day information overload through the act of unconventional street photography. Urban Noise combines an exploration of the aesthetic and conceptual value of digital noise in photography with a contemplative study of the contemporary urban environment. Digital noise is a reviled artifact inherent to digital imaging. I challenge the notion that this artifact is inherently worthless by using it to render photographs into contemporary visual tropes. It is my tool to address the digital nature of the contemporary world. Digital noise is false exposure produced by energies other than light, namely heat, electrical current and “cosmic noise.” Cosmic noise is the term for invisible wavelength energies comprised in part of man-made signals from our built and technological environment mixed with the electro magnetic energy produced by human bodies. The resulting noise from these interfering energies transforms my photographs. The contemporary urban environment is flooded with so much extraneous information that we necessarily turn most of it into background noise to survive. There is so much conflicting information competing for our attention that I am intrigued by how we sort out what is worthy of our attention, from meaningless background noise. I seek my own stillness within the overwhelming cacophony of modern day information overload through the act of unconventional street photography.
Louise Dahl-Wolfe
United States
1895 | † 1989
Louise Dahl-Wolfe was an American photographer. She is known primarily for her work for Harper's Bazaar, in association with fashion editor Diana Vreeland. Louise Emma Augusta Dahl was born November 19, 1895 in San Francisco, California to Norwegian immigrant parents; she was the youngest of three daughters. In 1914, she began her studies at the California School of Fine Arts (now the San Francisco Institute of Art), where she studied design and color with Rudolph Schaeffer, and painting with Frank Van Sloan. She took courses in life drawing, anatomy, figure composition and other subjects over the next six years. After graduating, Dahl-Wolfe worked in designing electric signs and interiors. In 1921, Dahl-Wolfe met with photographer Anne Brigman, who inspired her to take up photography. Her first dark-room enlarger was a makeshift one she built herself, which used a tin can, an apple crate, and a part of a Ghirardelli chocolate box for a reflector. She studied design, decoration and architecture at Columbia University, New York in 1923. From 1927 to 1928, Dahl-Wolfe traveled with photographer Consuelo Kanaga, who furthered her interest in photography. Her first published photograph, titled Tennessee Mountain Woman, was published in Vanity Fair (U.S. magazine 1913–36). In 1928 she married the sculptor Meyer Wolfe, who constructed the backgrounds of many of her photos. Dahl-Wolfe was known for taking photographs outdoors, with natural light in distant locations from South America to Africa in what became known as "environmental" fashion photography. Compared to other photographers at the time who were using red undertones, Dahl-Wolfe opted for cooler hues and also corrected her own proofs, with one example of her pulling proofs repeatedly to change a sofa's color from green to a dark magenta. She preferred portraiture to fashion photography. Notable portraits include: Mae West, Cecil Beaton, Eudora Welty, W. H. Auden, Christopher Isherwood, Orson Welles, Carson McCullers, Edward Hopper, Colette and Josephine Baker. She is known for her role in the discovery of a teenage Lauren Bacall whom she photographed for the March 1943 cover of Harper's Bazaar. One of her favorite subjects was the model Mary Jane Russell, who is estimated to have appeared in about thirty percent of Dahl-Wolfe's photographs. She was a great influence on photographers Irving Penn and Richard Avedon. One of her assistants was fashion and celebrity photographer, Milton H. Greene. From 1933 to 1960, Dahl-Wolfe operated a New York City photographic studio that was home to the freelance advertising and fashion work she made for stores including Bonwit Teller and Saks Fifth Avenue. From 1936 to 1958 Dahl-Wolfe was a staff fashion photographer at Harper’s Bazaar. She produced portrait and fashion photographs totaling 86 covers, 600 color pages and countless black-and-white shots. She worked with editor Carmel Snow, art director Alexey Brodovitch and fashion editor Diana Vreeland, and traveled widely. In 1950, she was selected for "America's Outstanding Woman Photographers" in the September issue of Foto. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Louise Dalhl-Wolfe lived many of her later years in Nashville, Tennessee. She died in New Jersey of pneumonia in 1989. The full archive of Dahl-Wolfe's work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson, which also manages the copyright of her work. In 1999, her work was the subject of a documentary film entitled Louise Dahl-Wolfe: Painting with Light. The film featured the only surviving modern footage of Dahl-Wolfe, including extensive interviews. It was written and directed by Tom Neff, edited by Barry Rubinow and produced by Neff and Madeline Bell.Source: Wikipedia Born in Alameda, California, Dahl-Wolfe studied at the San Francisco Institute of Art. In 1921, while working as a sign painter, she discovered the photographs of Anne Brigman, a Pictorialist based in California and associated with the Stieglitz circle in New York. Although greatly impressed by Brigman's work, Dahl-Wolfe did not take up photography herself until the early 1930s. Travel with the photographer Consuelo Kanaga in Europe in 1927-28 piqued her interest in photography once again. In 1932, when she was living with her husband near the Great Smoky Mountains, she made her first published photograph, Tennessee Mountain Woman. After it was published in Vanity Fair in 1933, she moved to New York City and opened a photography studio, which she maintained until 1960. After a few years producing advertising and fashion photographs for Woman's Home Companion, Saks Fifth Avenue, and Bonwit Teller, she was hired by Carmel Snow as a staff fashion photographer for Harper's Bazaar in 1936. Dahl-Wolfe remained with the magazine until 1958, after which time she accepted freelance assignments from Vogue and Sports Illustrated until her retirement in 1960. Dahl-Wolfe was especially well-known during the infancy of color fashion photography for her exacting standards in reproducing her images. Her insistence on precision in the color transparencies made from her negatives resulted in stunning prints whose subtle hues and unusual gradations in color set the standard for elegance in the 1940s and 1950s. In addition, she pioneered the active yet sophisticated image of the "New Woman" through her incorporation of art historical themes and concepts into her photographs.Source: International Center of Photography "I believe that the camera is a medium of light, that one actually paints with light. In using the spotlights with reflecting lights, I could control the quality of the forms revealed to build a composition. Photography, to my mind, is not a fine art. It is splendid for recording a period of time, but it has definite limitations, and the photographer certainly hasn't the freedom of the painter. One can work with taste and emotion and create an exciting arrangement of significant form, a meaningful photograph, but a painter has the advantage of putting something in the picture that isn't there or taking something out that is there. I think this makes painting a more creative medium." — Louise Dahl-Wolf, 1984 Dahl-Wolfe preferred portraiture to fashion work, and while at Harper's she photographed cultural icons and celebrities including filmmaker Orson Wells, writer Carson McCullers, designer Christian Dior, photographer Cecil Beaton, writer Colette, and broadcast journalist Edward R. Murrow. In addition to her Harper's responsibilities, Dahl-Wolfe was able to pursue her own vision in the studio and sometimes even while on assignment. For example, she asked a model to pose for the unpublished Nude in the Desert while on location in California's Mojave Desert shooting swimsuits that would appear in the May 1948 edition of Harper's. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Major exhibitions of her work include Women of Photography: An Historical Survey at San Francisco Museum of Modern Art; The History of Fashion Photography and Recollections: Ten Women of Photography at International Museum of Photography, George Eastman House, Rochester, New York; and Portraits at the Center for Creative Photography, University of Arizona, Tucson. Retrospectives include shows at Grey Art Gallery, New York University; Cheekwood Fine Arts Center, Nashville, Tennessee; and Louise Dahl-Wolfe: A Ninetieth Birthday Salute at the Museum of Contemporary Photography, Chicago. Louise Dalh-Wolfe lived many of her later years in Nashville, Tennessee, though she died in New Jersey of pneumonia in 1989.Source: International Center of Photography
Qingjun Huang
China
1971
A freelancer artist, photographer. He was born in 1971 in China. He has been engaged in photographic art creation for 30 years, currently lives and works in Peoria, IL USA. Qingjun's representative work is series from 2003 and it is still on-going. The series has reached 150 works till 2023. Robert Frank reviewed Qingjun’s works in 2012 and evaluated “ Your work is an open window to look at China. 'Family Stuff' contains the main series and some sub-series includes 'Online Shopping Family Stuff', 'Homeless People’s Family Stuff', 'China Intangible Cultural Heritage Inheritor’s Belongings', 'The Stuffs of Live Streamers', and 'Family Stuff USA'. BBC interviewed Qingjun four times, Various international media, such as New York Times, Bloomberg, Harvard Business Review and Wired, have also covered his works. His works have also been published widely on paper media, online media, photo books such as National Geographic, Architecture Boston, Business Insider, GEO, Chinese National Geography, Discovery Cultural Geographic Monthly, Guardian Weekend, China Daily, Chinese Photography Magazine, Grazia France, Dutch Weekly Magazine, Vrij Nederland, Dutch Financial Daily, Family Photography Now etc. Some of his works appeared in textbooks published by Oxford University Press, and National Geographic learning. Family Stuff I have been making my long-term project "Family Stuff" series for 20 years, which now includes 150 photographs. I gather a family’s belongings from different spaces in the home and arrange them in one place to take a photograph with the family members. Most of these photos are taken outdoors, with the home as the background. Ninety percent of my previous works were shot in China during a time of rapid economic development, modernization and globalization. I used this method of staged photographs to record history. In the photos, a household’s real interior space is briefly exposed in an external space; also can be seen are environment changes, urban expansion, technological advancements and shifts in people's lifestyles. Through static documentation of the above, I create a dynamic social panorama. From 2022, I started photographing American families. The family is the smallest unit that forms society, and many such units make up this society. I continue to use the "Family Stuff" series to reflect the internal structure and diversity of contemporary American society. I have observed that among American families, whether they live in big cities or small townships, there isn't much difference in their basic material living standards. Therefore, I pay more attention to showcasing their cultural and spiritual life. I spend a significant amount of time preparing for each photo, getting to know the story of the subjects, visiting their rooms, contemplating the concept of the shoot, and carefully selecting the items for display. The concepts of these works cover the lifestyle of native-born Americans, immigrants' nostalgia for their homeland, as well as themes of love, work, identity, gender and the passage of time. Each material object is carefully chosen to reflect the subject’s interests and aspirations. I move these items and arrange them in overlapping frames, visually enhancing the familiar scenes and highlighting the current life status, beliefs and emotional memories of the family or individual. In Oct.2023, I had photographed a Swiss man living in a camp, with his Harley motorbike and sports car living a different lifestyle in Switzerland, which makes me thinking about to document different lifestyles around the world as much as I can. I then came back to China and photographed two more interesting subjects in December 2023. I hope to move on to showing people’s spiritual life through their material life. Through a single photograph, I depict both the external reality and their inner world. The images help viewers to look at humanity itself, understand the stories and often provoke contemplation.
Advertisement
AAP Magazine #59 Shapes
Win a Solo Exhibition in July
AAP Magazine #59 Shapes

Latest Interviews

Exclusive Interview with Trevor Cole: Pastoral Peoples and Practices
For this interview, we wanted to focus specifically on The Face of the Mundari and the wider Pastoral Peoples and Practices series. We spoke with Trevor about his long-term work among the Mundari, what continues to draw him back to their cattle camps, and the experience of documenting a culture whose identity remains deeply connected to livestock, tradition, and the natural environment.
Exclusive Interview with Frank Meo
In our latest exclusive feature for All About Photo, I speak with veteran photography representative Frank Meo about what it truly takes to build a sustainable creative career today. Frank brings decades of experience working with Fortune 500 companies, major agencies, and documentary photographers to the table. We dive into the critical business skills often left out of art school curriculums, the power of mentorship, and the inspiring evolution of PROJECTIONS—his international salon platform for visual storytellers. It’s an essential read for anyone navigating the commercial or editorial photography landscape today.
Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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.
Exclusive Interview with Marijn Fidder
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.
Call for Entries
Win A Solo Exhibition in July
Get International Exposure and Connect with Industry Insiders