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Win a Solo Exhibition this February. Juror: Harvey Stein
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Danièle Michel
Danièle Michel
Danièle Michel

Danièle Michel

Country: France/Scotland
Birth: 1979

I am French-Scottish born in 1979 in Annemasse,France,a small town between Geneva and Chamonix .For as long as I remember I always had a camera around to document my life.

I am passionate about family photography, the mundane and the little things.My photography is emotive, mostly in natural light. I love portraiture and currently I am working on analog double exposure.
 

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Edward S. Curtis
United States
1868 | † 1952
Born in 1868 near Whitewater, Wisconsin, Edward Sheriff Curtis became one of America's finest photographers and ethnologists. When the Curtis family moved to Port Orchard, Washington in 1887, Edward's gift for photography led him to an investigation of the Indians living on the Seattle waterfront. His portrait of Chief Seattle's daughter, Princess Angeline, won Curtis the highest award in a photographic contest. Having become well-known for his work-with the Indians, Curtis participated in the 1899 Harriman expedition to Alaska as one of two official photographers. He then accompanied George Bird Grinell, editor of Forest and Stream, on a trip to northern Montana. There they witnessed the deeply sacred Sundance of the Piegan and Blackfoot tribes. Travelling on horseback, with their pack horses trailing behind, they emerged from the mountains to view the valley floor massed with over a thousand teepees - an awesome sight to Curtis and one that transformed his life. Everything fell into place at that moment: it was clear to him that he was to record, with pen and camera, the life of the North American Indian. Edward S. Curtis devoted the next 30 years photographing and documenting over eighty tribes west of the Mississippi, from the Mexican border to northern Alaska. His project won support from such prominent and powerful figures as President Theodore Roosevelt and J. Pierpont Morgan. From 1911-1914 Curtis also produced and directed a silent film based on the mythology of the Rawakiutl Indians of the Pacific Northwest. Upon its completion in 1930, the work, entitled The North American Indian, consisted of 20 volumes, each containing 75 hand--pressed photogravures and 300 pages of text. Each volume was accompanied by a corresponding portfolio containing at least 36 photogravures.Source: www.edwardscurtis.com Edward S. Curtis was born near Whitewater, Wisconsin. His father, a Civil War veteran and minister, moved the family to Minnesota, where Edward became interested in photography. In 1892, Curtis purchased an interest in a photographic studio in Seattle. He married and the couple had four children. He later settled in Los Angeles, where he operated photographic studios at various times on La Cienega Boulevard and in the Biltmore Hotel. As a friend of Hollywood producer Cecil B. DeMille, Curtis was commissioned to make film stills of some of DeMille's films, including the epic, The Ten Commandments. In 1899, he became the official photographer for the Edward Harriman expedition to Alaska and developed an interest Native American culture. Curtis is best known for his documentation of Native American cultures published as The North American Indian. From about 1900 to 1930, he surveyed more than 100 tribes ranging from the Inuits to the Hopi, making more than 40,000 photographs. He made portraits of important and well-known figures of the time, including Geronimo, Chief Joseph, Red Cloud, and Medicine Crow. Source: Etherton Gallery
Umberto Romagnoli
Umberto Romagnoli was born in Rome in 1970; in 1994 he attended the European Institute of Design, where he followed photography courses for two years. In 1996 he received a special mention from the jury of the Europe: Crossing Borders competition organized by the European Cultural Foundation in Amsterdam for a work inspired by 100 years of Cinema. Since 2002 he has worked as a photographer, assistant and printer in the studio of Claudio Abate, the "art photographer", eyewitness of the artistic ferment and avant-garde from the 1960s onwards, where he deals with the organization and management of the archive photography and studio. Always interested in the cinematographic medium, often a source of inspiration for his work, in 2008 he made the short film War Box and in 2010 Spiriti del Lago. In the following years he founded the Mister Freedom-Brigata Cinematica, an association that supports and promotes visual culture and cinematographic in all its forms. Parallel to his photographic activity, he organizes and takes care of film clubs, film festivals and themed events such as: Posto Unico, Pape Satàn, Sdrive-In, Arena-Dentro La Storia and Street Cinema. Statement: I think that through a broad vision of photography I try to explore both the intimate and the analytical, creating a dialogue between the human essence and the visual representation, with this approach I try to combine originality and critical reflection. As for the interior and ancestral universe, I have always focused on subjects that reflect intimacy and human nature, from female nudes, to the elements to portraits used in a symbolic or metaphorical way, to still lifes of various inanimate objects that can hide deeper meanings. As for the analysis of the image and the fictional universe, I have worked on the understanding and analysis of the photographic and cinematographic image, examining how the visual image communicates, influencing the viewer, its authenticity and truth, asking myself questions about the nature of the image: how authentic is it? how manipulated is it? This can lead to reflections on perception and reality, passing through works of pure fiction, creating images that tell imaginary stories.
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
Edouard Elias
I chose photography naturally. It is surely the result of a double education: separated between Egypt and France, I learned to consider images both as memories and objects that allowed me to transpose myself into places where I could only remain for a moment, but also as historical documents, more in accordance with my classical instruction. In addition, many cartoons have certainly trained me in a straight, frontal and clear frame, so I was very early aware of geopolitical events as well as of the problems of population movement linked to war or suffering. At the age of 18, after a A level, ignoring which way to choose, and to comply with family expectations, I went to a business school. It was not for me, no compatibility possible. I then attempted a reconversion in the school of photography in Nancy. It was a revelation, I was fitting in the right place. Different encounters, for example with the reporter Luca Catalano Gonzaga in Rome, with the books of the agency Magnum, with some documentaries on photography report, made me eager to watch History in progress, to live it through my camera and especially not to forget it. So, instead of completing my internship at the end of the year in an identity photo shop, I went to Turkey in the Syrian refugee camps and then to Syria, producing my first photoreport. My childhood allowed me to acquire the faculty of movement, not limiting myself to the borders of my village or the cities of my region. So I naturally started on the road of reporting. The conditions and the encounters engendered satisfy the need I have to answer personal questions. All the means necessary to photograph a human being in a difficult situation (pain, loss, war, poverty, suffering) result from a deep desire and a work on personal adaptability. Nevertheless, the essence of our work must be focused first and foremost on the subject. The results today of the image on the international scene leave me skeptical, but I think that these photographs, although they unfortunately are taking the risk of not changing the situation, will allow us to remember. I keep on practicing photo reportage. The Foreign Legion committed to the Central African Republic and then to its surroundings in France, punctuated my work for a year. Lebanon, Jordan on the Syrian refugee crisis with the organization Première Urgence Internationale, the Congo DRC on rape as a weapon of war and its doctor Denis Mukwege or the closed educational centers of the Judicial Police of Youth are, as well as the rescues of migrants in the Mediterranean, part of my subjects. Visa for the image allowed me to sell my first photographs of Aleppo in Syria, to meet professionals who will become dear friends. I have, besides my personal projects orders and projects to realize in France and I dedicate all of my activity to photography. My pictures have been published in: Paris Match, Der Spiegel, Sunday Times magazine, Time Lightbox, VSD, Le Monde, Figaro Magazine, Le Parisien Magazine, Polka, Le Point, Libération, LFI Leica international, Gala..."Source: edouardelias.net
Rasel Chowdhury
Bangladesh
1988
Rasel Chowdhury is a documentary photographer. Rasel started photography without a conscious plan, eventually became addicted and decided to document spaces in and around his birth place, Bangladesh. He obtained his graduation in photography from Pathshala, South Asian Media Institute, and in due course, he found the changing landscapes and environmental issues as two extremely important subjects to document in his generation. Rasel started documenting a dyeing river Buriganga, a dying city Sonargaon and newly transformed spaces around Bangladesh railway to explore the change of the environment, unplanned urban structures and the new form of landscapes. During the same time, he started developing his own visual expression as a landscape photographer to address his subjects with a distinctive look.All about Rasel Chowdhury:AAP: When did you realize you wanted to be a photographer?In 2007, when I dropped my moot study (ACCA). Before that Photography was my hobby.AAP: Where did you study photography?I studied photography at Pathshala, South Asian Media Institute. AAP:Do you have a mentor or role model?Yes, Munem Wasif is my mentor who works in Agency VU. And Jemie Penney was my one of mentor from Getty Image when I was selected for the Getty Image Emerging Talent Award in 2012. AAP: Do you remember your first shot? What was it?Yes, I was 6-7 years old. I got a Yashick Auto camera from my father and I took my teacher’s photo by first click. Still I’ve that film in my archive.AAP: What or who inspires you?So many people specially my Family member and friends.AAP: How could you describe your style?I always like calm and quite frame with special faded tone and less contrast.AAP: Do you have a favorite photograph or series?Many, like The Ballad of Sexual Dependence by Nan Goldin, The Americans by Robert Frank and so on. AAP: What kind of gear do you use? Camera, lens, digital, film?Mostly, I shoot on 35mm film camera and then I crop as 6X7. AAP: Do you spend a lot of time editing your images? For what purpose?Not so much.AAP: What are your projects?Desperate Urbanization, Railway Longing, Life on Water and No Money, No Deal.AAP: Favorite(s) photographer(s)?Lot of photographers like Richard Avedon, Alec Soth, Nadav Kander, Dayanita Singh, Munem Wasif, Antoine D’Agata and so many.AAP: What advice would you give a young photographer?Find your strength and believe in it.AAP: What mistake should a young photographer avoid?Don’t be hurry. Be honest.AAP: An idea, a sentence, a project you would like to share?Desperate Urbanization- a story about dying river.AAP: Your best memory as a photographer?When I shot at Old People Home in Niort, France.AAP: Your favorite photo book?Lots of photo books like Under The Banyan Tree, Belongings, Anticrops and so on.AAP: Anything else you would like to share?Twelve significant photographs in any one-year is a good crop - Ansel Adams.
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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