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

Dorrie Mcveigh

Country: United States/United Kingdom
Birth: 1975

"I am a British fashion, portrait and art photographer, born in New York into a family of artists, my family emigrated to London in the late 70s where I grew up in an around west London. I have travelled a lot over the years, perhaps always searching for my allegorical "homeland". I finally settled in Marseille, a city I love more than any other and I have been living and working here for the last 8 years.

My photography has become a means for me to forage into my unconscious and reveal the world as I see it. Having grown up in a country that is not my homeland, I am fascinated by what unites, separates and defines us humans and I am aware that my images are born from this. Since a young age I have always been captivated by the classical elements of tragedy. At school I studied the plays of Sophocles and Euripides, seduced and fascinated by the notions of hubris and hamartia and how even the most powerful amongst us can be just a breath away from fragility and loss. I fell in love with the plays of Shakespeare in my final years at school, my favourite being Macbeth.

There is something acutely touching in watching the fall of somebody great. I am drawn to the idea that as their ego and influence crumble and the mirrors of the ego fall away we can find that beneath humanity that has so much more potential for beauty, tenderness and creativity then when we are alone on the pedestal of power. Whilst I am drawn to the iconography and sheen of modern life, I find what really interests me is to strip this back to reveal the fragile, quiet and sometimes empty spaces that lie beneath. I have always loved the paintings of Edward Hopper whose work encapsulates so perfectly the constant possibility for loneliness and vulnerability in our fast lives whilst also reminding us that it is these moments that are perhaps the most poignant.

I work as a fashion and portrait photographer but essentially I am an artist and I am always looking for opportunities to express myself through my photography whether it be through my commercial work or in my personal projects. "
-- Dorrie Mcveigh

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All About Photo Awards 2026
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More Great Photographers To Discover

Pieter Henket
The Netherland
1979
Pieter Henket is a Dutch photographer living and working in New York City. His notable work includes shooting the cover of Lady Gaga’s debut album The Fame, and photographing National Congolese acting out their mythologies in the Congo rainforest for the book Congo Tales published by Random House / Prestel Publishing in 2018. He is known for a photographic style that takes inspiration from the 17th-century Dutch Golden Age of painting. Henket was born in Geldrop, Netherlands. He is the son of the Dutch architect Hubert-Jan Henket and the nephew of the Dutch photographer Bertien van Manen. After high school in the Netherlands, Henket moved to the States to take a three-month film course at the New York Film Academy, followed by a documentary-film-making course at the NYU film school. Shortly after, Henket got his start by interning for director Joel Schumacher. In 1999, he worked on the set of the film Flawless, starring Robert De Niro and Philip Seymour Hoffman. He had a long-time collaboration with recording artist and producer Ryan Leslie. He has worked with celebrities such as Anjelica Huston, Mary-Kate Olsen, Sir Ben Kingsley, Kristen Stewart and Lady Gaga for whose debut album The Fame Henket shot. In 2010, the iconic image was presented at the American Woman exhibition at the Metropolitan Museum of Art in New York. In 2015 Henket was commissioned by Tales of Us in Berlin to photograph Congolese from the Mbomo District acting out their mythologies in the Odzala Kokoua National Park for the book Congo Tales. Source: Wikipedia About Congo Tales In the deep heart of Africa lies a tropical rainforest second only in size to the Amazon – the Congo Basin. It measures 500 million acres, spans 6 nations, and is home to some of the largest swaths of intact tropical rainforest in the world, with the pristine Odzala Kokoua National Park as the crown jewel. Known to ecologists as the world’s second lung, the Congo Basin is the Earth’s other Amazon – as vital to preventing runaway Climate Change as the Brazilian rainforest and as vulnerable to deforestation and abuse. Yet the Congo Basin falls far short of the Amazon when it comes to the world’s awareness of it as a major player in the global environment, a cathedral of nature’s treasures, and a stopgap against looming ecological catastrophe. Published in 2018 by Prestel, Congo Tales is intended to help solve this lack of awareness, and help create a conservation infrastructure for this critical pillar of the world’s fragile ecological balance. Upturning the traditional conventions of fear-based environmental messaging and the portrayal of Africa solely as a place of plague and war, Congo Tales takes a completely different approach to communicating the urgency of conservation efforts in this region. Channeling the primal heartbeat of one of the world’s most powerful ecosystems and the people who call it home, the mythological tales of the Congolese – of supernatural forces in control of life and death, of ritualistic initiations into adulthood, of the laws of nature that lie outside the laws of people – are revealed as a treasure trove of universal wisdom that is both existential and pragmatic, with the unspoiled Odzala Kokoua National Park as stage and actor.Source: The Independant Photographer
Jiri Sneider
Czech Republic
1979
Jiří Šneider was born in 1979 and bred in Český Krumlov where my home is. Photography started to fascinate me around the year 1997. I have always been attracted by black & white photography, hence this constitutes of two thirds of my work. I've focused on portrait and travellers documentary. Recently I have developed more thanks to travelling (Ukraine, Bangladesh, Armenia and Nagorno-Karabakh, Japan...). These destinations brought up many topics and situations of people at home, at work, going out, in streets, at religious rituals... Hard Workers The Gulf of Bengal, with a population of more than 156 million, keeps its economy running on hard human labour every day. Across the age, gender... older children take care of young children and infants, while parents earn money for daily survival, medical care, housing and other daily necessities. In such working conditions where the human body is exposed to dust, polluted water, fumes from machines and cars for a long time. So that families do not have to waste time commuting to work, they live in simple shelters around the shipyard, the port, or directly in the areas where bricks are made and baked, in villages where they also manually model clay bowls and bake them in primitive kilns. Even whole families work on a landfill, where they sort and recycle garbage for sale to make a living. Brave young people travel west to work in Arab countries near the Persian Gulf to make many times more money in services, auxiliary work and gastronomy, which they regularly send to their families in Bangladesh. The Hard workers project introduces you to black and white photographs of workers who work hard every day for a very small wage. For a journalist photographer and documentary filmmaker, this country is rough but full of many friendly people.
Henri Cartier-Bresson
France
1908 | † 2004
Born in Chanteloup, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica - his camera of choice thereafter - and began a life-long passion for photography. In 1933 he had his first exhibition at the Julien Levy Gallery in New York. He later made films with Jean Renoir. Taken prisoner of war in 1940, he escaped on his third attempt in 1943 and subsequently joined an underground organization to assist prisoners and escapees. In 1945 he photographed the liberation of Paris with a group of professional journalists and then filmed the documentary Le Retour (The Return). In 1947, with Robert Capa, George Rodger, David 'Chim' Seymour and William Vandivert, he founded Magnum Photos. After three years spent travelling in the East, in 1952 he returned to Europe, where he published his first book, Images à la Sauvette (published in English as The Decisive Moment). He explained his approach to photography in these terms, "For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression." From 1968 he began to curtail his photographic activities, preferring to concentrate on drawing and painting. In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson received an extraordinary number of prizes, awards and honorary doctorates. He died at his home in Provence on 3 August 2004, a few weeks short of his 96th birthday.Source: Magnum Photos His technique: Henri Cartier-Bresson almost exclusively used Leica 35 mm rangefinder cameras equipped with normal 50 mm lenses or occasionally a wide-angle for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white films and sharp lenses, he was able to photograph almost by stealth to capture the events. No longer bound by a huge 4×5 press camera or an awkward medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand [and] the hawk's eye." He never photographed with flash, a practice he saw as "Impolite...like coming to a concert with a pistol in your hand." He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. Indeed, he emphasized that his prints were not cropped by insisting they include the first millimetre or so of the unexposed clear negative around the image area resulting, after printing, in a black border around the positive image. Henri Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing". Technical aspects of photography were valid for him only where they allowed him to express what he saw: "Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing." He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as "my only superstition" as he considered it a 'baptism' of the lens. Henri Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days in hiding from the Nazis during World War II. Although he took many famous portraits, his own face was little known to the world at large (which presumably had the advantage of allowing him to work on the street in peace). He dismissed others' applications of the term "art" to his photographs, which he thought were merely his gut reactions to moments in time that he had happened upon. "In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv."Source: Wikipedia Henri Cartier-Bresson has intuitively chronicled decisive moments of human life around the world with poetic documentary style. His photographs impart spontaneous instances with meaning, mystery, and humor in terms of precise visual organization, and his work, although tremendously difficult to imitate, has influenced many other photographers. His photographs may be summed up through a phrase of his own: "the decisive moment," the magical instant when the world falls into apparent order and meaning, and may be apprehended by a gifted photographer.Source: International Center of Photography
Yael Martínez
Mexico
1984
Yael Martínez (born 1984) is a Mexican Photographer which became a Magnum Photos Nominee member in 2020. Martínez is based in Guerrero, Mexico. Martínez's work has explored the connections between, poverty, narcotrafic, organized crime, and how this affects on the communities in his native Guerrero in southern Mexico. He is trying to represent the relationship of absence and presence and this state of invisibility in a symbolic manner working with the concepts of pain, emptiness, absence, and forgetting. Yael Martínez received the Magnum Emergency Fund, Magnum On religión, and was named one of the PDN´s 30 new and emerging photographers to watch in 2017. In 2015 he was selected in the Joop Joop Swart Master Class Latinoamerica and was finalist in the Eugene Smith grant in 2015, 2016. He was nominated to the Foam Paul Huf Award, the Prix Pictet and the Infinity award of the International Center of Photography.Source: www.yaelmartinez.com Martínez’s work addresses fractured communities in his native Mexico. He often works symbolically to evoke a sense of emptiness, absence, and pain suffered by those affected by organized crime in the region. He is the recipient of the Eugene Smith Award 2019, was fellow of the Photography and Social Justice Program of The Magnum Foundation. He won the 2nd Prize of the World Press Photo contests 2019 in the category of long-term projects. Martínez was grantee of the Magnum Foundation in the grants: Emergency Fund and On Religion in 2016- 2017. His work has been featured in group shows in America, Europe, Africa and Asia. His work has been published by: The Wall Street Journal, Blomberg news, Lens NY times, Time, Vogue Italy, Vrij Nederland, Aperture.Source: Magnum Photos
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All About Photo Awards 2026
Win a Solo Exhibition in February
All About Photo Awards 2026

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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