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

Melissa Lazuka

Country: United States
Birth: 1977

I am an artist and mother living in rural Ohio with my three teenage sons, 8 year old daughter, and husband. I always thought I would be a writer and studied English Literature at Ohio State University, but at the age of 30 I discovered the art of photography when my husband gifted me a camera. My earliest inspiration came from literature and my work has been described as "emotional, full of stories, and feminine." I am also inspired by the simple beauty of nature which is woven into my images. I am acutely aware of how time is passing and my children are growing up and from that awareness stems much of my work. I use techniques such as free lensing and multiple exposures to give my work a dreamlike, layered feeling, much the way the years passing in our lives feels. My series "Fly Away" and "Song of the Cicadas" have been exhibited nationally and I am now making handmade artist books of this work.
 

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Constant Puyo
France
1857 | † 1933
Constant Puyo, born in France on August 10, 1857, was a pioneering photographer who made significant contributions to the art of photography in the late nineteenth and early twentieth century. He was instrumental in the growth of Pictorialism, an artistic movement that aspired to raise photography to the realm of fine art through creative techniques and an emphasis on aesthetic expression. Puyo began his artistic career as a painter, where he studied under great artists such as William-Adolphe Bouguereau and Tony Robert-Fleury. His exploration of photography, however, was what truly released his creative potential. Puyo joined the Photo-Club de Paris in the 1890s and began experimenting with the Pictorialist style, which aspired to move photography beyond basic documentation and into a medium for artistic expression. Puyo's images had a dreamlike aspect to them, with soft focus and diffused lighting. To produce a painterly impression in his photos, he used a variety of processes, including gum bichromate printing. His pictures, in particular, were admired for capturing the inner essence of his subjects, showing their emotions and personalities. Puyo's work in the invention of autochrome photography was one of his noteworthy contributions to the Pictorialist movement. He investigated the possibilities of color photography with the Lumière brothers at a period when the medium was largely black and white. His mastery of color and ability to create ethereal, atmospheric images distinguishes him as a top figure in the area. Puyo's themes frequently centred around beauty, femininity, and the natural world. He used female models frequently, photographing them in poetic settings filled with flowers, textiles, and delicate objects. His images radiated nostalgia and romanticism, closely fitting with the ideas of the Art Nouveau movement. Puyo exhibited frequently throughout his career and received acclaim for his contributions to the art world. His images have been shown at prestigious exhibitions such as the Salon de la Société Française de Photographie and the Exposition Universelle in Paris. Puyo's photographs have also appeared in prestigious journals such as Camera Notes and Photo-Gazette. Puyo's influence also expanded beyond his personal photographic practice. He taught and mentored prospective photographers, passing on his knowledge and techniques to the next generation. He co-founded the Pictorial Photographic Society of France in 1909, cementing his status as a pivotal participant in the Pictorialist movement. Constant Puyo's legacy as a pioneer of Pictorialist photography goes on, reminding us of the power of artistic expression in the field of photography. His ability to capture the fleeting and provoke emotions through his photos continues to inspire photographers and artists all around the world.
Marsha Guggenheim
United States
1948
Marsha Guggenheim is a fine art photographer based in San Francisco. Storytelling is a guiding influence in her work. Marsha is deeply interested in photographing people and uses her diverse city to capture their stories. A street photographer for many years, her comfort and ease while shooting on the street has provided numerous opportunities for closer connections within her community. Complementing her street photography, Marsha spent years working as a photographer with formerly homeless women. This work resulted in the monograph, “Facing Forward,” which highlights these hard-working, proud women through portraits and stories of their life experiences. Without a Map is a personal project Marsha has developed over the past five years. Through the use of family photos, creating pictures from her memories and by turning the camera on herself, she has found the means to evoke, reinterpret and address unanswered questions that were buried long ago. Without a Map "How does one move through life with the scars of the past? When I was ten, my mother died unexpectedly from a heart attack. I couldn’t understand where she went or when she would return. Just as I began to comprehend this loss, my father died. I was without support from my family and community. I was lost. Without a Map reimagines this time that’s deeply rooted in my memories. Visiting my childhood home, synagogue and family plot provided an entry into this personal retelling. Working with family photos, creating new images from my past and turning the camera on myself, I found the means to evoke, reinterpret and address unanswered questions born from early imprints that were buried long ago."
Jill Freedman
United States
1939 | † 2109
Jill Freedman was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of the Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale de France, Paris, among others. She appeared in solo and group exhibitions throughout the world, and contributed to many prominent publications. Jill Freedman was best known for her street and documentary photography, recalling the work of André Kertész, W. Eugene Smith, Dorothea Lange, and Cartier-Bresson. She published seven books: Resurrection City; Circus Days; Firehouse; Street Cops; A Time That Was: Irish Moments; Jill’s Dogs; and Ireland Ever. Jill Freedman lived and worked on the Upper West Side of New York City. The Joy of Photography "When I was seven I found old Life Magazines in the attic. My parents had kept the ones from the war and for a year I used to go up there after school, look at the pictures, cry, then go play softball. When my parents realized that I had found them and how they affected me, they burned them, but it was too late, those pictures had burned into my brain. Outwardly I was normal, but those images were always with me, and in my dreams. Even now I can see them, the man who had tried to escape the burning barn, the concentration camp. I majored in Sociology in college, then spent a few years traveling around Europe singing for my supper. I’d spend the days wandering around, searching for adventure, meeting all kinds of eccentric characters and loving their stories. When I ran out of money I’d sing again. I settled in New York, got a job, tried to figure out what I wanted to do. Something meaningful, not just work. I was starting to worry. Then one day I woke up and wanted a camera. I borrowed one. I had never taken a picture before, and as soon as I held it in my hands it felt good. I never had the sense of holding a machine. I read the instructions, went out into the street, shot two rolls, had them developed. I was thunderstruck. It were as though I had been taking pictures for years, but in my head, without a camera. “That’s it,” I said. “I’m a photographer.” What a relief. Photojournalism was always it for me. Those pictures in the attic had set my course. Those, and all the characters I’d met. To tell a story in the blink of an eye, have it printed so that millions of people could see it and wrap their fish in it, to have my pictures reach people the way those Life magazines had reached me, now that was doing something. I am self taught. I got a copywriting job to support myself and I started learning, devouring books and looking at good work, walking a lot, and shooting. Those early years were fired with an intensity and passion I had never felt before. I was obsessed and driven. I thought about photography all of the time. And my pictures, if no one else had liked them, it wouldn’t have mattered, I loved them. Sometimes I’d look at them and think, What if I wake up one day and it’s gone? What if it goes away like it came? With each paycheck I bought equipment and built a darkroom and when I finally made my first print, I was hooked for good. It was the first time that I had ever finished something I had started. My father used to say, “You blow hot and cold.” But it was magic, watching it come up in the developer. I still feel it. I worked hard, learning my craft. I like to work two ways, either on a specific idea or just wandering around, getting lost, snapping. Eventually, all the wanderings go together, and then I find out what I’ve been doing. Photography is magic. You can stop time itself. Catch slivers of moments to savor and share time and again. Tell beautiful silver stories, one photo alone, or many playing together to form a book. A photograph is a sharing, it says “Hey, look at this!”, it’s a miracle, is what it is. And when you’re going good and you get a new picture you love, there’s nothing better. That’s the joy of photography, and the fun." -- Jill Freedman Source: www.jillfreedman.com Freedman was born in Pittsburgh in 1939 to a traveling salesman and a nurse. After college, she traveled to Israel and England before taking up copywriting jobs in New York to sustain herself. She had not grown up taking photographs, but she said in New York one day she “woke and wanted a camera,” according to an essay she published on her website. She wrote that she was inspired by copies of Life Magazine she had pored over as a child. Looking back on a photograph from the early years of her career in a 2017 interview with The Guardian, Freedman said activism and protests had been the catalysts for her photography: "I studied sociology and anthropology and now realise that what I’ve been doing with my camera all these years is documenting human behavior. But I was taking pictures in my head long before I became a photographer. It was the Vietnam war that changed everything for me. I was angry and wanted to photograph anti-war demonstrations, so got my first camera." After her stint in activism, Freedman joined the circus for several months, taking mesmerizing photographs of clowns, chained elephants, and beartamers. Freedman applied a similar level of vigor and rigor to documenting the lives of public servants, photographing intimate moments of firefighters’ and policemen’s work. She followed firefighters in Harlem and the South Bronx for two years at a time women tended to not be allowed in these environments, offering her an unguarded view of their lives. She also took a positive view of cops and thought they faced unfair criticism. “I set out to deglamorize violence,” Freedman told the New York Times in 2015. In the 1980s, Freedman started to work less due to health complications, receiving a breast cancer diagnosis in 1988 and breaking her pelvis later. She had hoped to create one last photobook before she died, to be titled Madhattan, and was featured in the street photography documentary Everybody Street (2013), alongside the likes of Bruce Davidson and Joel Meyerowitz. The Steven Kasher Gallery organized an exhibition spanning four decades of her career in 2015 and, in 2017, a show devoted to her Resurrection City photographs.Source: Artsy
James Hayman
United States
After attending The American University for photojournalism, Hayman's first photography assignment was to photograph Nixon and Brezhnev at the 1973 Washington Summit in the White House Rose Garden. Disenchanted with the paparazzi-like frenzy, Hayman went on to study film at the University of California, Santa Barbara, and post-graduate work at New York University, though his photojournalistic roots still inform his practice today. Both his photojournalism and film education led him to travel around the world. He notably traveled to Central America, working for the UN's disaster relief efforts after the 1976 earthquake in Guatemala. This led to several series of photographic work in the region. In the 1980s, Hayman began shooting various independent films in New York City, gaining recognition as the cinematographer for An Autumn's Tale, starring Chow Yun-Fat, which swept the Hong Kong Film Awards in 1987. This led to several years of Hayman working as a cinematographer in China, Japan, and more series of photographic work documenting Asia in the 1980s. As indie film production in New York City began to end in 1989, he moved to Los Angeles, where he went on to direct and produce multiple television shows and films. Since then, he has directed numerous pilots, including Dangerous Minds and Drop Dead Diva, as well as episodes of The Sopranos, ER, Law & Order, House, Desperate Housewives, and others. Hayman has also worked as an executive producer, most notably on Ugly Betty, which led to winning a Golden Globe Award. He has also been nominated for two Emmy Awards, and a Director's Guild Award. Read the Exclusive Interview
Khalik Allah
United States
1985
Khalik Allah (born 1985) is an American filmmaker and photographer. His 2015 documentary film Field Niggas and his 2017 book Souls Against the Concrete depict people who inhabit the notorious Harlem corner of 125th Street and Lexington Avenue in New York City. His film Black Mother (2018) depicts people on the island of Jamaica. "He favours visual portraits of people on the street – filming their faces for several seconds as they pose as if for a still camera." In June 2020 he became a Nominee member of Magnum Photos. Khalik was born in Brookhaven, New York. His mother is Jamaican and his father is Iranian. He grew up in Suffolk, Long Island, New York, but moved between Queens and Harlem throughout his childhood. His parents met at university in Bristol, England. He is a dual Jamaican-American citizen. He started making movies at age 19 with a Hi-8 video camera. His first feature film, Popa Wu: A 5% Story (2010), was a "normal, talking heads documentary" about Popa Wu, "Wu-Tang Clan's de facto spiritual advisor" and a member of Five-Percent Nation. It took four years to make. Khalik took up still photography in 2010.Source: Wikipedia Despite challenges early in life, Allah managed to maintain discipline and focus on self-improvement. He credits these qualities, in part, to the teachings of the Five-Percent Nation, a movement whose name comes from its concept that only five percent of the world knows the truth about existence and is dedicated to enlightening the rest of the world. Founded in Harlem in the 1960s the movement emphasizes intellectual growth and enlightenment for black men in particular. Inspired and empowered by their message Allah seriously pursued the study of metaphysics, black history, and literature. Likewise, with no formal art training, he pursued video work first at the age of 14, and then photography, making his first pictures in 2010. He taught himself how to use a camera from videos on YouTube and later devoured books at the library on work of Henri Cartier-Bresson, Robert Frank, Nobuyoshi Araki, Daido Moriyama, and Bruce Davidson. Khalik Allah finished his first film at the age of 19 and after getting it into the hands of the rapper Killah Priest, Allah went on to direct music videos for different members of the Wu-Tang family. His filmmaking changed radically after he became a photographer. His camera work slowed down and he made prolonged eye contact with the individuals he filmed. His 2015 film, Field Niggas (inspired by Malcolm X's 1963 speech, "Message to the Grassroots”) received high acclaim and numerous awards including the 2015 Le Prix Scribe, Paris. He also served as one of the cinematographers for Beyoncé's Lemonade. His most recent film, Black Mother, will premiere at the True/False Film Festival in March and will have its New York premiere at the New Directors/New Films Festival April 4th at MoMA and April 7th at Lincoln Center. It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And his photographs in turn allow us to see them, to acknowledge who we might ignore, to look through Allah’s eye and into theirs, and to recognize them as individuals. This is the power of Allah’s work: to give us a deeper sense of people as people, to share and enlighten, even when the message may not be clean or easy. Made at night on 125th Street and Lexington Avenue in Harlem, the images in his recent book Souls Against the Concrete (University of Texas Press, 2017), provide a glimpse into a world and people that many choose to ignore. His subjects are often drug addicts, homeless, or both. Using only the available light from shop windows, street lights, or subway platforms, he photographs them with a slow color film, a combination that produces images full of grain and texture, a visual shorthand for the roughness and intensity of life on the street, and his own struggles early in life. The light is also often harsh or even surreal, resulting in figures awash in blues and reds. Luc Sante, in The New York Times Book Review, wrote, "The result is a panorama of human emotion: sadness, passion, bewilderment, pride, suspicion, amusement, exhaustion — all the faces of the night."Source: Gitterman Gallery Allah has led a life of many perspectives; he recounts, as a 20-year-old, walking all night to take portraits before working in a nursing home in Harlem during the day. His work and life is immersed in the teachings and sensibilities of The Five-Percent Nation, a cultural movement influenced by the Islamic faith and founded in Harlem in 1964. When he was nominated by Magnum, Allah told the agency: “The first thing black students are taught is that they were slaves. From second-grade on, your self-esteem is a couple of notches below the white students because you’ve been told you are inferior. That sticks with you and follows you into your adulthood. The Five-Percent Nation taught me not to take anything on face value,” Allah says. “That teaching has bled into my work. This is a spiritual film. And it’s a holographic film; a piece contains the whole and a whole contains the piece. And it’s an experiential film, one that brings you into an environment that most people would avoid.” The New York streets Allah shoots are indivisible with the history of street photography. Allah is working in the legacy of New York icons like Diane Arbus, Weegee, Garry Winogrand and Nan Goldin as well as fellow Magnum photographers Bruce Gilden and Bruce Davidson. But, perhaps unlike some of his current colleagues of the Magnum collective, Allah is deeply concerned with the question of photographic consent. In that sense, Allah perhaps embodies the attitude of a new generation of street photographers; ones who see the camera as a way of being alert and alive to social and racial injustice. “It’s important to speak to whoever you’re working with,” Allah says. “To share your intentions with your subjects. To properly introduce yourself, and to get permission and consent. As photographers, we’re responsible for the work we make, and we need to be conscious of that. That involves not shooting somebody that doesn’t want to be shot. That’s a basic thing. And don’t shoot children without a parent’s consent. That is very important to me.”Source: The Art Newspaper
Charles Harbutt
United States
1935 | † 2015
Charles Henry Harbutt (July 29, 1935 – June 30, 2015) was an American photographer, a former president of Magnum, and full-time Associate Professor of Photography at Parsons School of Design in New York. Harbutt was born in Camden, New Jersey, and raised in Teaneck, New Jersey, and learned much of his photography skills from the township's amateur camera club. He attended Regis High School in New York City where he took photographs for the school newspaper. He later graduated from Marquette University. Harbutt's work is deeply rooted in the modern photojournalist tradition. For the first twenty years of his career he contributed to major magazines in the United States, Europe and Japan. His work was often intrinsically political, exhibiting social and economic contingencies. In 1959, while working as a writer and photographer for the Catholic magazine Jubilee, he was invited by members of the Castro underground to document the Cuban Revolution on the strength of three photographs he had published in Modern Photography. An editor at Jubilee while Harbutt was working there, Robert Lax, used photographs taken by Harbutt for the front and back cover of his first book of poetry, The Circus of the Sun. Harbutt joined Magnum Photos and was elected president of the organization twice, first in 1979. He left the group in 1981, citing its increasingly commercial ambitions and the desire to pursue more personal work. He taught photography workshops, exhibited in solo and group shows around the world, and joined the faculty of the Parsons School of Design at New School University as a full-time professor, in addition to serving as guest artist at MIT, Art Institute of Chicago, and the Rhode Island School of Design. Harbutt was a founding member of Archive Pictures Inc., an international documentary photographers' cooperative, and a member of the American Society of Magazine Photographers. His work was exhibited at the Museum of Modern Art, the National Museum of American History, the Corcoran Gallery of Art, the U.S. Library of Congress, George Eastman House, the Art Institute of Chicago, the International Center of Photography, the Center for Creative Photography, and at the Bibliothèque Nationale de France, the Beaubourg, and the Maison Européenne de la Photographie in Paris. In 1997, his negatives, master prints, and archives were acquired for the collection of the Center for Creative Photography in Tucson, Arizona. He mounted a large exhibition of his work at the Centro de la Imagen in Mexico City in December 2000 and received the medal of the City of Perpignan at a retrospective of his work there in 2004. He died in Monteagle, Tennessee, on June 30, 2015, at the age of 79. He had emphysema.Source: Wikipedia Charles Harbutt’s early fascination with magic and the elusive line between perception and reality steered him toward journalism and its documentary role, first as a writer. But he altered his course in 1959, when he was 23, after being invited by Cuban rebels to document the Castro revolution. Immersing himself in Havana’s convulsive and euphoric newfound freedom, he recalled, “I soon understood that I could get closer to the feel of things by taking pictures.” Mr. Harbutt went on to become an accomplished photojournalist for major magazines and the renowned agency Magnum Photos. “He and Burk Uzzle took photojournalism and pushed it in a direction away from literalism or classicism,” Jeff Jacobson, a former colleague, told The New York Times, referring to a contemporary whose pictures of the Woodstock music festival in 1969 gained wide attention, “away from certainly the European paradigm of Cartier-Bresson, and away from the narrative paradigm of Gene Smith to something very, very different, very involved with metaphor.” But Charles Harbutt became disillusioned with his craft, questioning the veracity of the events he was covering, particularly after witnessing undercover government agents provoke violence at a rally in New Haven in 1970 in support of jailed Black Panthers. “The kinds of stories I chose to do, I later realized, were mostly about American myths,” he wrote in his last book, Departures and Arrivals (2012). “I photographed small towns, immigrants, the barrio in New York, and then the enormous changes that came with the ’60s. I tried to be a witness as well as show my feelings about all of this. But maybe I had a sell-by time — expiration date — for being a witness,” he continued. “In the early ’70s, I started questioning this reportage for myself. A host of manipulators had so corrupted and warped public events, I could no longer trust the authenticity of what I was seeing. I realized that I was more interested in pajamas on a bed one Brooklyn morning, or a Dublin woman hauling groceries to her house, than I was in the machinations of politics and history ‘writ large.’ ” Mr. Harbutt experimented with surreal composition and juxtaposition of quotidian forms in a style he described as personal documentary and facetiously branded “superbanalisms.” Among his most famous black-and-white photographs was one of a blind boy, seemingly trying to transcend his sightlessness by reaching for a ribbon of light on a wall. In another, a bride in a flowing white gown poses pensively below exposed pipes and empty tables in a large basement before her wedding reception. Charles Harbutt’s own favorite, called “Mr. X-Ray Man,” was shot through a car window on the Rue du Départ near the Montparnasse train station in Paris, where fragments of the cityscape and even of the photographer himself can be seen reflected in the glass. What made it special was that it was unexpected, he explained in Arrivals and Departures. “What I like best,” he wrote, “is that however the picture is made, it’s a surprise to me when I see the photo come up in the developer.”Source: The New York Times
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All About Photo Awards 2026
Win a Solo Exhibition in February
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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