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Last Call to Win a Solo Exhibition this February. Juror: Harvey Stein
Last Call to Win a Solo Exhibition this February. Juror: Harvey Stein
Trung Pham Huy
Trung Pham Huy
Trung Pham Huy

Trung Pham Huy

Country: Vietnam
Birth: 1979

Photographer based in Ho Chi Minh City, Vietnam and mainly focus on daily life and landscapes photography. Started with a camera in 2016 and getting some ineternational awards:
- Particular Merit Mention All About Photo Awards 2020
- Sony world photo award 2018: 1st in National award, commended in Travel category
- Sony world photo award 2019: 2nd in National award, shortlist in Travel category
- Skypixel photo contest 2017: 1st in Landscape
- Skypixel photo contest 2018; 1st in Sport category
- Siena photo contest 2018/2019: Honorable mention in Joy & Adventure
- 35 awards 2018: 1st in Drone category and 2nd in top photographer in Vietnam
 

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More Great Photographers To Discover

Janette Beckman
United Kingdom
1959
Janette Beckman is a British documentary photographer who currently lives in New York City. Beckman describes herself as a documentary photographer. While she produces a lot of work on location (such as the cover of The Police album Zenyatta Mondatta, taken in the middle of a forest in the Netherlands), she is also a studio portrait photographer. Her work has appeared on records for major labels, and in magazines including Esquire, Rolling Stone, Glamour, Italian Vogue, The Times, Newsweek, Jalouse, Mojo and others. Beckman was at King Alfred School, in Golders Green in north London, from 1953 to 1967. She spent a year at Saint Martin's School of Art, and then three years at London College of Communication studying photography. After initially working for Sounds magazine with Vivien Goldman – her first shoot was with Siouxsie and the Banshees – she had a job shooting for music magazines such as Melody Maker and The Face, with a studio and darkroom in central London. Her primary focus was the UK's burgeoning punk subculture. Beckman moved permanently to New York City in 1982 and continued her career, shooting for her UK clients as well as new ones in the U.S. After moving to New York, Beckman presented her portfolio to American record companies looking for work shooting album covers, but the gritty feel of her work did not fit the "airbrushed" aesthetic preferred at the time. She was passed on to smaller rap and hip-hop labels, where she photographed acts such as Salt-N-Pepa, LL Cool J, Public Enemy, and the Beastie Boys in their early days. In a 2015 interview with American Photo magazine, she recalled "It is amazing, 30 years later, people going 'oh you photographed legends.' I guess I did, but they weren’t legends when I was taking pictures of them".Source: Wikipedia As a child growing up in London in the 1960s, Janette Beckman visited the National Portrait Gallery. Entranced by the portraits of people from distant times and places, she instinctively knew that’s what she wanted to do. “I was always fascinated by people,” she remembers. “I’d see them at the bus stop on the way to school but I was too shy to talk to anybody, so I’d stare at them. My mother would say, ‘Don’t stare,’ but I couldn’t help myself.” Drawn to the irrepressible expression of style, character, and personality, Beckman forged ahead with her dream of becoming an artist. In the early 1970s, she enrolled at Central St. Martins to study art while living in a semi-squat in Streatham, South London, with her classmates. “We lived on four floors, shared a bathroom, and there was no heat — but my rent was only £5 a week,” she recalls. Beckman’s foray into photography happened by sheer serendipity. “We would sit around drawing each other endlessly,” she says. “My dear friend Eddie was a fantastic artist; he could draw as well as David Hockney. I would look at his work, then mine, and realize I was never going to be that good. When the end of the school year came, I had to decide what I was going to do, and I thought, I’ll try photography.” After enrolling in photography school, where she was just one of three women in the class, Janette Beckman quickly realized she didn’t want to learn by instruction — she wanted to do it herself. Determined to chart her own path, Beckman gave herself portrait assignments, and only went into class to learn the things she needed to know, like how to make prints. “I was in my really rebellious stage,” says Beckman, who followed this guiding light throughout her career. Her love for subversives, innovators, and activists is collected in the new book, Rebels: From Punk to Dior, which brings together four decades of photographs celebrating artists, musicians, and movements on the fringe that have redefined mainstream culture and society. Beckman’s photographs have played a seminal role in these seismic shifts — one so undeniable that institutions are finally taking note. In a truly full-circle moment, earlier this year, the National Portrait Gallery acquired four Beckman prints of British musicians including the Specials and Laurel Aitken as part of “Inspiring People,” a major curatorial redevelopment project to represent cultural and gender diversity across both sitter and artists.Source: Blind Magazine
Flokje Van Lith
Netherlands
1969
Flokje van Lith (1969, Leiden, NL) studied photography at the Royal Academy of Arts, the Hague. Van Lith belongs to the first generation of artists to make full use of the newest Photoshop techniques. With apparent ease, she plays with the different realities that have developed independently of one another within the media of painting and photography. But appearance deceives; the making of the photograph is merely the first in a long line of decisions. The task of achieving the right result takes Van Lith weeks and sometimes months. In her work she explores childhood and its underlying traumas and issues as well as the beauty of innocence and adolescence. The final results, complex portraits of children and young adults, not only have a very aesthetic quality but also seem to tell the story of the subject.The influences of the Flemish Primitives, which can be found in the serenity of the works, but also the personal experience of the artist, resonate from the artworks. Van Lith won several awards for her work, such as the Silver Award (International Photography Awards), Silver Award (PX3 - Prix de la Photographie) and Third Place (Kontinent Awards). In addition her works have been exhibited at photo festivals nationally and internationally, such as Photo Festival Naarden and Photoville, New York. Awards: Kontinent Awards: Third Place, Fine-Art/ Single Image/ Professional, International Photography Awards: 8 x Honorable Mention, Fine-Art/ Portrait/ Professional, Fine Art Photo Awards: Professional Nominee, Portrait/Professional, International Color Awards 2015: Honorable Mention, Portrait/ Professional - International Photography Awards 2014: Silver Award, Fine-Art/ Professional - PX3-Prix de la Photographie, Paris, 2014: Silver Award, Fine-Art/ Professional - International Photography Award 2014: 8 x Honorable Mention, Fine-Art/ Professional - New Dutch Photography Talent 2013 - International Photography Award 2013: 4 x Honorable Mention, Fine-Art/ Professional - Photography Masters Cup 2011: 4 x Honorable Mention, Fine-Art/ Professional - International Photography Award 2011: 7 x Honorable Mention, Fine-Art/ Professional. Exhibitions: (Selection), 2015: Aqua Art Miami (USA), Art Fair COLOGNE (Germany), PAN Amsterdam, KunstRai, Rotterdam Contemporary Art Fair, LXRY (the Netherlands), 2014: Affordable Art Fair Hamburg (Germany), PAN Amsterdam, LXRY, Affordable Art Fair, Raw Art Fair, Realisme (the Netherlands), 2013: LXRY, PAN Amsterdam, Affordable Art Fair, (the Netherlands), 2012, Art Miami Context, Photoville New York, Art Wynwood (USA), PAN Amsterdam (the Netherlands), 2011: PAN Amsterdam, Photofestival Naarden (the Netherlands). Publications: 2015: LXRY Magazine, PF Magazine, 2014: Art Photo Feature (USA), 2013: Gooi en Eemlander (the Netherlands) 2012: Volkskrant Magazine, De Telegraaf, Haarlems Dagblad (the Netherlands)
Todd Webb
United States
1905 | † 2000
Todd Webb (September 5, 1905 – April 15, 2000) was an American photographer notable for documenting everyday life and architecture in cities such as New York City, Paris as well as from the American west. His photography has been compared with Harry Callahan, Berenice Abbott, Walker Evans, and the French photographer Eugène Atget. He traveled extensively during his long life and had important friendships with artists such as Georgia O'Keeffe, Ansel Adams and Harry Callahan. He photographed famous people including Dorothea Lange. His life was like his photos in the sense of being seemingly simple, straightforward, but revealing complexity and depth upon a closer examination. Capturing history, his pictures often transcend the boundary between photography and artistic expression. Webb was born in Detroit in 1905 and grew up there and in a Quaker community in Ontario. From 1924 to 1929 he worked as a bank teller and clerk at a brokerage firm in Detroit; in another account, he was a successful stockbroker during the 1920s but lost his earnings during the Crash before the Depression. During the Depression beginning in 1929, he moved to California and worked as a prospector and earned a meager living. During these years he also worked as a fire ranger for the United States Forestry Service. Webb reportedly wrote short stories which were unpublished. After 1934, Webb returned to Detroit and worked for the automobile manufacturer Chrysler in their export division. In 1937, he visited a friend in Panama in search of gold, but had little success. But in Panama, he brought along a camera donated by his former employer, Chrysler. Webb returned to Detroit and studied at the Detroit Camera Club. He met photographer Harry Callahan. In 1940, he completed a ten‑day workshop with Ansel Adams as his teacher. In 1941, he visited Rocky Mountain State Park with Harry Callahan, and realized during this trip that he was drawn more to the urban cityscape, and although he found Adams to be an inspiration, he would not make photographs like his teacher. During World War II, Webb was a photographer for the United States Navy and was deployed to the South Pacific theater of operations. After World War II, in 1945, Webb moved to New York City and began his career as a professional photographer. He made key friendships with Alfred Stieglitz and Georgia O'Keeffe as well as Beaumont Newhall, Berenice Abbott, Helen Levitt, and Minor White. Webb began a remarkable project of walking the streets of New York City with his heavy camera and tripod and photographing people and buildings he encountered. What set these photos apart was their "straightforward, descriptive clarity" even though they were often of familiar views. One large 10-foot–long panorama photograph which was critically acclaimed showed a section of Sixth Avenue from 43rd–44th streets which, in 1991, was seen as a "visual time capsule of the city" and was described as a "stunner." Webb's photos reflected the photographer's sense of discovery and captured the times, such as photos of hand-painted banners over apartment house doors saying "Welcome Home, G.I.s". In one photograph, Webb went to the top of the RCA Building and shot south using a backlit technique, which captured the Empire State Building at night. The best photographs, according to New York Times art critic Charles Hagen, contained the "simple geometries of urban architecture" in a "simple elegance"; Hagen thought Webb's New York City photographs were his best. In 1946, he had the first solo exhibition of his photographs at the Museum of the City of New York. In 1947, Webb was hired by Fortune magazine and he worked with professional photographers funded by the Standard Oil Company led by Roy Stryker and the group included notable photographers such as Sol Libsohn. According to the New York Times, the team of professional photographers was "given amazingly free rein by its corporate sponsor" to produce a documentary about oil. One of these photographs, Webb's Pittsburgh Panorama (ca. 1950) shows a grim industrial view towards Pittsburgh from a hill near Westinghouse Bridge that takes in a bare river valley across which snake highways and railways and a row of tall smokestacks in the distance. Curator Edward Steichen selected it for the 1955 Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors on its world tour. However, in his memoir, Webb records his disappointment with the way images were "over-enlarged to billboard size" losing "all the qualities that make photographs unique." Webb traveled to Paris in 1949 and married fellow American Lucille Minqueau. In Paris, Webb produced a "vivid record" of the city which earned him recognition. Then, Webbs moved back to New York City to live in Greenwich Village in 1952. In 1955, he was awarded a Guggenheim Fellowship to photographically record pioneer trails of early settlers of the western United States. He was hired in 1957 by the United Nations to photograph its General Assembly. He won a contract to photograph Sub–Saharan Africa in 1958. The Webbs moved to Santa Fe in New Mexico around 1961. Webb's photos of his friend Georgia O'Keeffe suggested not only a "loner, severe figure and self-made person" but that there was an "intense connection" between Webb and O'Keeffe. While O'Keeffe was known to have a "prickly personality", Webb's photographs portray her with a kind of "quietness and calm" suggesting a relaxed friendship, and revealing new contours of O'Keeffe's character. Webb's landscape photographs as well as photos of the artist walking among the sagebrush bring O'Keeffe to life "even in pictures where she doesn't appear", according to Chicago Tribune art critic Abigail Foerstner. His photos suggest an "ageless spirit" which was "weathered and indomitable" like desert rock formations. These photos were done using matte finish paper and appear in a book entitled Georgia O'Keeffe: The Artist's Landscape. The Webbs lived in the Provence region of France, around 1970, and he continued to photograph regularly, and later lived, for a period, in Bath, England. The Webbs finally settled in the state of Maine, living in the city of Portland, based on the suggestion of a friend. In 1978, Webb won a grant from the National Endowment for the Arts, and continued to live and work in Maine. Source: Wikipedia Up until the 1980's, Todd Webb photographed and produced a unique body of work, which has attained an important place in the annals of American photographic history. Frequently referred to as "an historian with a camera," Webb's rich images document life all over the world. His work has been exhibited nationally and internationally, and is included in numerous museum collections including the Museum of Modern Art, the Metropolitan Museum of Art, the Minneapolis Art Institute, and the Chicago Art Institute. Todd Webb died in May, 2000 at the age of 94 in Central Maine. His life was like his photographs; at first they seem very simple, without obvious tricks or manipulation, but upon closer examination, they are increasingly complex and marvellously subtle.Source: Todd Webb Archive Todd Webb used documentary photography to convey a sense of intimacy and curiosity in the relationship between history, place, and people. Although Webb initially pursued photography to augment his writing, by 1940 he saw it as his central passion. In his hometown of Detroit, Webb attended camera club meetings where he took up with fellow novice Harry Callahan, and the more experienced Arthur Siegel. In 1941, Ansel Adams led a workshop for the camera club that profoundly influenced the ambitions of both Webb and Callahan. Todd Webb’s humanistic approach to documentation allowed him to create a compelling narrative whether he was working in the great cities of the world or within the vast American landscape. The Todd Webb Archive contains personal papers and photographic materials related to his long career as a photographer, including correspondence, biographical files, exhibition documentation, manuscripts, journals, extensive files of negatives, contact sheets, and over 1,400 fine prints.Source: Center for Creative Photography
Michal Cala
Poland
1948
Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF – the Union of Polish Art Photographers. Relatively unknown outside of his native country, his work is in several museum collections in Poland; in the Silesian Museum of Katowice, the Silesian Library in Katowice, the Upper Silesian Museum in Bytom, the Coal Mining Museum in Zabrze as well as local government building in Duisburg in the Ruhr (Germany) and various private collections. His work has received much acclaim and won numerus awards; among which are the Grand Prix at the Polish Landscape Biennale in Kielce twice, 1979 and 1983 and won the first prise at the Pilsner International Photo Awards in the Industrial category in 2007. His work from Galicia series and the Paysages de Pologne exhibition was shown in France in 1980's. The Silesia exhibition was shown widely in Katowice (1984, 2002, 2008), Krakow (1986, 2006), Warsaw (1986, 2009), in Enschede, the Netherlands, (2012), at the Photo Biennale Mannheim – Ludwigshafen – Heidelberg (2007) and part of group project at the Noorderlicht Photo Festival in the Netherlands (2008). In 2007 he was classified as one of most important Polish photographers in last century and participated in the group exhibition Polish Photography in XX Century (Warsaw, Poland and Vilnius, Lithuania). In the same year, Cala's photography was featured in British Journal of Photography and Foto8 magazine. Publications on his work include The Anthology of Polish Photography 1839 – 1989, The Masters of Polish Landscape and The Polish Photography in the 20th Century. His past exhibition Metropolis on Silesian urban landscapes was held at the Silesian Museum in Katowice in 2013 and a solo show Silesia and Galicia in the Museum of History of Photography in 2016 in Krakow (Poland). His photo book based on the same series was recently selected in the Open Submission at Belfast and Athens Photo Festivals respectively (2017). The latest solo exhibition at MMX Gallery; SILESIA 1975-1985, was the first time his work has been shown in UK.MMX Gallery about the exhibition Silesia 1975-1985 Michal Cala is regarded as one of the most important Polish photographers of the last century. Cala started taking pictures in his youth and has been working professionally as a photographer for nearly 40 years. Silesia is an industrial district in Poland which at the time of 1970's and early 1980's was experiencing its peak of development and activity. Although providing massive employment for the area, the environmental issues were ignored. Stepping off the train, Cala encountered the other-worldly landscape for the first time and decided this is what he wanted to make of photographic record of. Fascinated by the subject matter, he devoted himself to photographing the Silesian landscape between 1975 – 1992, which resulted in the series entitled Silesia (Śląsk in Polish). Cala's photography took on various influences ranging from surrealism, which inspired a movement in Poland called "fotografia kreacyjna" (creative photography), and the realism of British New Wave cinema of the late 1950's and early 1960's. Poland's isolation during the Cold War made it very difficult for photographers to obtain artistic publications. However, some Czech and Polish magazines were publishing Western photographers work such as Edward Weston, Bill Brandt, Robert Frank and Diane Arbus who acted as a window for inspiration. Cala was influenced by landscape, reportage and social documentary photography, which he always portrayed in his personally stylised images. In Poland, political and material conditions were harsh under Soviet influence. Using a basic 35mm Exa 500 camera, he managed to produce images of such a lyrical beauty only to be emphasised again with a dark graphic printing style, to further enhance his vision of the sometimes-apocalyptic looking landscape before him. A single house surrounded by huge cooling towers, majestic slagheaps, lonely figures microscopic when compared to the massive scale of industrial surroundings are subtle metaphors of living in a communist reality. The majority of photographs in the exhibition are vintage silver gelatin prints, made by Cala at the time they were taken.Source: MMX Gallery
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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