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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
Jakub Wencek
Jakub Wencek
Jakub Wencek

Jakub Wencek

Country: Poland
Birth: 1981

My name is Jakub Wencek and I am forester and nature photographer. Nature photography is my passion since I remember. I love to take photographs of the forest and nature because in this particular moment I'm often in awe of all the secrets it has within it. Taking photos of nature I would like to invite you on a journey to my forest, which shows me its secrets very often... You can find stories closed in frames in my photos. You can see there the eternal fight between light and shadow. Every scene tells us about different story, which really happened. All my photos, which are placed here, are unique because they are a record of a very short, little moment which will never happen again.
 

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Heinrich Kühn
Austria / Germany
1866 | † 1944
Carl Christian Heinrich Kühn (25 February 1866 in Dresden – 14 September 1944 in Birgitz) was an Austrian–German photographer and photography pioneer. Heinrich Kühn is regarded as one of the forefathers of fine art photography, which helped photography establish itself as an art on its own. His photographs closely resemble impressionist paintings, with their frequent use of soft lighting and focus. Kühn was part of the pictorialist photographic movement. Kühn mainly used the gum bichromate technique, applied in several layers, and thus allowing for previously unseen color tonalities. In 1911, Kühn invented the Gummigravüre technique, a combination of photogravure and Gum bichromate. In 1915 he developed the Leimdruck technique, which uses Animal glue as Colloid and produces pictures similar to gum prints. He also invented the Syngraphie, a forgotten technique that uses two negatives of different sensitivity to obtain a larger tonal spectrum. Kühn used Autochrome from its appearance in 1907; his Autochromes have been called "ethereal dreams of childhood, full of vaulted sunny skies and giddy perspectives, as gloriously cathartic as they are emotionally charged".Source: Wikipedia Heinrich Kühn, originally Carl Christian Heinrich Kühn was born on February 25th, 1866 in Dresden, Germany. Kühn was one of the central figures of international art photography at the beginning of the twentieth century. His lifelong goal was to establish the photographic image as a medium for rendering an artistic vision as precisely and creatively as in painting and drawing. Along with Alfred Stieglitz and other friends, Kühn made the stylized photographic an element of the gesamtkunstwerk, which translates to "ideal work of art", which the Secessionists aspired to create. The most important tool for this was the gum bichromate process that he had perfected and the free choice of paper and pigment, which made the picture look more like a print than a conventional photograph. This allowed him to deliberately alter the brightness contrasts to fit his notion of the image and dissolve its sharpness. Too much sharpness was considered "non-artistic" because it veered away from painting, thus eliminating it where he saw fit. Kühn reduced the romantic cosmos of "Pictorialism" to the point of abstraction, thus exhibiting a sense of timelessness and balance. Kühn's work is represented in many collections, including Eastman House Rochester (New York), Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Museum of Fine Arts (Boston), Kupferstich-Kabinett (Dresden), Hanmburgische Lichtbildstelle (Hamburg), Museum of Fine Arts (Houston), and Musée d'Orsay (Paris).Source: Peter Fetterman Gallery
Evan Anderman
United States
1964
Evan Anderman is a fine art photographer based in Denver who is best known for his aerial images of Colorado's Eastern Plains, and other less-traveled landscapes across the American West. His work is held in the Denver Art Museum collection and has been exhibited at institutions nationally and internationally, including the DongGang International Photo Festival/South Korea, Mt Rokko International Photo Festival/Japan, The Midwest Center for Photography, The Dairy Center for the Arts, The Arvada Center, American Mountaineering Center, Denver International Airport, Carmen Wiedenhoeft Gallery, The Colorado State Capitol, Robischon Gallery, Lamont Gallery, Buttonwood Art Space, and in his own gallery in Denver's Santa Fe Arts District. In November 2013, Anderman was honored for his unique environmental photography with the inaugural Photo District News (PDN) Duggal Image Maker Award. Prior to becoming a full-time photographer, Anderman spent decades working as a geologist, and holds a Master's and a PhD in Geological Engineering from the Colorado School of Mines and a BS in Geological Engineering from Princeton University. Anderman's work aims to challenge our understanding of the relationship between human development and the natural world by documenting the way we use the land. "As a geologist, when I fly over the high plains of eastern Colorado, I look at the overlapping layers and how the land has been modified by a combination of processes, both natural and manmade," he writes on his website, EvanAnderman.com. "The lowest layer, the land itself, has been created over literally millions of years and forms the foundation. Draped on top of that is what mankind has imposed in various ways; activities and structure that are collectively called 'progress.' While my main interest is the subtle beauty of the landscape itself, I also like to tease out what man has done with that land, and make the viewer wonder what is going on and why. The images are fundamentally aesthetic, but leave you questioning the subject matter."
Steeve Luncker
Switzerland
1969
Born in 1969 in Switzerland, Steeve Iuncker lives and works in Geneva. He studied at the Photography School in Vevey and is Agence VU' member since 2000.“Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way…[his work] aims to get close to the taboos relating to the body, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.”Christian Caujolle.He has recently finished the first phase of a project dealing with the subject of death. He wishes to expose to Geneva the realities that its police department, University Institute of Legal Medicine and the Murith Funeral Services must face regularly. The second ongoing phase of the project consists of photographing the places and traces behind individual deaths in order to reveal an often unknown reality that is tossed into the realm of fiction by Hollywood movies. Source: Agence VU
Chuck Kimmerle
United States
Despite knowing little about photography at the time, I knew I was destined to make my living as a photographer when I received my first camera, a Canon Canonet QL17 GIII, as a high school graduation present. The entire process mesmerized me. I was hooked. However, a prior enlistment in the U.S. Army Infantry, which began shortly afterwards, put that dream on the back burner for a few years.Following my discharge, I enrolled in the Photographic Engineering Technology program at St. Cloud State University, thinking it a solid career backup plan should my dream of being a photographer be unrealized. The technically-focused program provided me with a solid background in photographic science, chemistry, processes and sensitometry.While at the university, I began working at the school paper, which was followed by a photojournalism position at the St. Cloud Times and, subsequently, jobs at newspapers in Pennsylvania and finally North Dakota, where I was part of a four-person staff named as finalists for the 1998 Pulitzer Prize for Spot News Photography. In 2000, I left the erratic schedule of photojournalism to the more predictable hours as the staff photographer at the University of North Dakota, where I remained for the next 10 years.In 2010 I followed my wife, a New York City native, to her new job in the least populated state in the U.S., Wyoming, where I now work as an educational and commercial freelance photographer.Throughout the years working as a photographer for others, I spent a great deal of my free time doing personal work for myself. These images, which were infinitely more important to me that the work images, were primarily landscapes. However, I have never considered myself a nature photographer. Instead, I tend to gravitate towards those areas which are influenced by both man and nature.Despite having embraced the digital medium, I consider myself a landscape photographer in the traditional sense of the word. My style is straightforward and formal, with a deep depth-of-field and an unabashed honesty to the subject matter, and is in direct contrast to the contemporary trend of highly conceptualized pictorials. Who says newer is always better?In the past few years I've had the honor to study with such esteemed photographers as Alan Ross, George DeWolfe, Jean Meile, Jay Dusard, Jack Dykinga and Bruce Barnbaum. Source: chuckkimmerle.com
Lucas Barioulet
France
1996
Lucas Barioulet, born in Angers, France in 1996, is a french freelance photojournalist based in Paris, focusing on islamic republics. He graduate from Ecole de Journaliste de Tours and San Diego State University. The same yearn he began working in between the United States and Mexico in 2016 and 2017 as a correspondent for french newspaper, following the presidential elections and the migrant crisis. He then came in France and worked for the daily french newspaper Le Parisien as a staff photographer for one year. In march 2018, he began working as a stringer photographer for the world news agency Agence France Presse, covering the world cup, the yellow vests movements and daily news in France. During the Covid-19 crisis, he extensively covered the situation in France, from intensive care units to funerals parlors. He also contributes regularly to french newspaper Le Monde and magazine GEO. Since 2018, he works on a long term project on islamic republics, starting with Mauritania and then Pakistan exploring the different aspects and the young generations of these misunderstood countries. His last serie "The Long and Difficult Path of the Mauritanian National Women's Football" won the 2nd place in the "Sport" Category at the Sony World Photography Award 2020. "Camera is the best passport to my eyes. To not be a tourist, but a traveler. To not be only a photographer, but also a journalist. Trying to understand be fore judging, Watching and listening so that other can also see, go where the others cannot go for putting light on shadows areas. Take the time necessary to do photography, when the all industry is rushing. Build human connections that goes over the simple photographer - subject relationship. "
Eszter Halasi
I am Eszter Halasi, a self-taught photographer from Hungary currently residing in England. With a passion for capturing meaningful moments, I specialize in portraits of children and families, and the ethnic group lifestyle. My goal is to challenge stereotypes and promote understanding through my images. Throughout my journey, I have received recognition for my work, including a bronze prize in the Budapest Photo Awards and honorable mentions in International Competitions. I continually seek opportunities for growth. I achieved second place in the Hungarian Press Photo, Portrait and Human Portrait category in 2021. I has been shortlisted on : Portrait of Britain (2022) and ( 2023), Global Peace Photo Award (2023), International Women in Photo Award 2023, Finalist at the BCN-DH International Photo Festival 2023 My photographs have been featured in online publications and exhibited at festivals, showcasing the diverse narratives I strive to capture. Through my lens, I aim to evoke empathy, challenge perceptions, and celebrate the beauty of life. As I continue to explore the art of photography, I am dedicated to telling compelling stories and making a positive impact through my images. I hope my work is a visual journey into the essence of human experiences. Whoever believes in the miracle of Csatka It will happen to them Every year around Mary’s Day, the Csatka Pilgrimage is held - this is when Roma families from all over the Carpathian Basin who believe in the mystery of the Csatka Holy Well travel to the village in Komárom-Esztergom county. . This year I visited the Csatka Pilgrimage for the first time, which I had only heard of before, and it became clear to me on the spot that it is a duty for a photographer of Roma origin to take pictures. This event still brings families together. Many meet their relatives once a year, who live far away. They settle down in the meadow next to the church, cook, chat, walk down to the wonderful spring, pray, light a candle. Joy, happiness and quiet humility permeate the whole pilgrimage - I tried to capture this in the pictures. Károly Eötvös, a renowned jurist and equally famous storyteller of the turn of the century, said that the Csatka pilgrimage began in 1867. The Catholic Church did not officially recognize Csatka as a place of pilgrimage, only as a place of worship. The pilgrimage is also a real social event in the life of the gypsies, besides religion: many baptize their children here, but marriages are also common, and business deals are made in the tents and tables set up on the nearby hilltop. Many poured the healing water of the holy well into empty bottles, fewer into smaller ones, and before or after they all visited the Virgin Mary chapel, which József Csöbönyei built in 1862 in the middle of the beautiful valley, because the mother of the Son of God appeared to the hermit. at this place.
Stefano De Luigi
I was born in Koln and spent all my life so far, between Rome, Milan and Paris. Even if we are living in a time where is not really trendy, I feel myself deeply Europeen. I choose photography to became my language, because I felt it is universal, the only filter you have to use is your own mind-eyes. Below the essential of my biography I am a photographer since 1989. I attended 2 years of courses at ISF (Instituto Superiore di Fotografia) in Rome between 1987/89 and moved, for the first time, to Paris from 1989 to 1996, working, among others for the Louvre Museum. Back and forth from France to Italy In 2000 I received the Honorable Mention of Leica Oskar Barnack Award. That same year I started the project Pornoland, a photographic journey on pornographic movie sets around the world. In 2004 Pornoland became a book enclosing 16 pages of text by English writer Martin Amis. Pornoland has been published by : Thames & Hudson, Knessebeck, La Martinière and Contrasto. This work has been exhibited at REA gallery (Paris 2004), Santa Cecilia gallery (Rome 2005), Lanificio (Naples 2006), Festival Transphotographiques (Lille 2007), New York Photo Festival (NY 2011). Personal exhibitions in these years, among others, include WHO Headquarter (Geneva 2010), VII Gallery (New York 2010), 10b Gallery (Rome 2010), Museum of Modern Art (Rovereto 2011), Photofestival (Athens 2011/15), Fondazione Stelline (Milan, 2013) FotoIstanbul (2015) , Candiani Cultural Center ( Venice 2017) Plenum Gallery ( Catania 2018) Museum of Palazzo Ducale ( Genes 2019) Image Gibellina 2021, Photolux (Lucca 2022) Planches Contact (Deauville 2022). From 2003 to 2010, I worked on Blindness-, my main work, which lasted 8 years. A photographic project on the life condition of blind and low vision people, around the world. Blindness received the patronage of Vision 2020- World Health Organisation and won the W.E. Smith Fellowship Grant in 2007. In 2006 I embarked on the project Cinema Mundi, a World Cinema exploration of the alternative cinematographic scene external to the Hollywood dream factory including China, Russia, Iran, Argentina, Nigeria, South Korea and India. Cinema Mundi has been also transformed into a 7 minutes short movie screened at Locarno International Film Festival on August 4th, 2007. I have been awarded in the World Press Photo contest four times in different categories (1998-2007-2010-2011). In 2009 the Moving Walls of Open Society Foundation exhibited my work in Washington and New York. In 2010 I was the recipient of the Days Japan International Photojournalism Award and the Getty Grant for Editorial Photography, Syngenta Prize 2015, CNC grant for the documentary"Mare Amarum" 2019, Planches Contacts grant 2021 and I was the recipient of Strategie Fotografia grant from the Italian Ministry of Culture in 2022. I published 6 books Pornoland (Contrasto 2004), Blanco, (Trolley book 2010) iDyssey, (Edition Bessard 2017) Babel with Michela Battaglia (Postcart 2018) Pornoland Redux (Self-published 2021) Il Bel Paese (L'Artiere 2023). T.I.A Africa is a continent. But Africa is also a well-defined place in my mind. Africa is unique. Every time I have had the opportunity of going there I have come face to face with incredible tragedies but also with the unwavering hope of its people. Ever since my first journey to South Africa in 1989, where I saw Walter Sisulu walk free in Soweto after years of imprisonment, I continue to be both deeply moved and deeply shocked by all the stories I have witnessed and heard. Every time I step onto African soil I know I will experience something deep, something that inevitably leads to a search for the meaning of life, something that, for me at least, surfaces from deep within when I am in Africa. The questions raised call for humbleness, since often they are without answers. We know that the truth often lies in the middle folds of things. This project aims to raise questions and provoke thoughts which could, perhaps, lead to some answers and which in turn could correspond to some truths. I have tried to conceive this project as a poem. Or perhaps it would better be described as a ballad. The ballad with verses which challenge and play with each other. In the space between two facing photographs there is a story. One of the thousand stories I witnessed in Africa, one of the thousand questions I asked myself, one of the thousand experiences I was fortunate to live. The photographs represent the two extremes of the story that links them: the beginning and the end. I couldn't find a better form of expressive language to convey how Africa is an all-encompassing experience for any human being wishing to embrace it to its full. A painful yet joyful ballad of my personal and ongoing relationship with this continent. This is why I have called it "This is Africa". I should probably have called it "This is my vision of Africa" but it didn't sound the same. By no means does this mean it is the only view of Africa. I know it may seem inadequate and subjective. But so is everything in life, I guess. So, This is Africa. Blanco How does the look of a blind person look like? Can the blind show joy, happiness, disappoint, pain, suffering, pity, regret, with the only use of their eyes? The absence of sight can mean also the absence of complicity behind the camera's lens? We always use the term blind to characterize a person, such as blond, fat, poor, rich. And maybe, in some way, it is the truth. It doesn't matter if it happens in Africa, Asia, or the old Europe. The fact is, they cannot see the light, the colors, the daily scenes, how awful or gorgeous they can be. The blind are a contrast. It is easier to ignore them, their handicap is hidden, but they do have it. It's not necessary to turn the face to something or someone else, they won't see it. They seem 'normal', but they're not. They have their own world, the same and another than ours, made of different feelings, different images, different colors. And dark.
Bruce Davidson
United States
1933
Bruce Davidson began taking photographs at the age of ten in Oak Park, Illinois. While attending Rochester Institute of Technology and Yale University, he continued to further his knowledge and develop his passion. He was later drafted into the army and stationed near Paris. There he met Henri Cartier-Bresson, one of the founders of the renowned cooperative photography agency, Magnum Photos. When he left military service in 1957, Davidson worked as a freelance photographer for LIFE magazine and in 1958 became a full member of Magnum. From 1958 to 1961 he created such seminal bodies of work as “The Dwarf,” Brooklyn Gang,” and “Freedom Rides.” He received a Guggenheim fellowship in 1962 and created a profound documentation of the civil rights movement in America. In 1963, the Museum of Modern Art in New York presented his early work in a solo show. In 1967, he received the first grant for photography from the National Endowment for the Arts, having spent two years witnessing the dire social conditions on one block in East Harlem. This work was published by Harvard University Press in 1970 under the title East 100th Street and was later republished and expanded by St. Ann’s Press. The work became an exhibition that same year at the Museum of Modern Art in New York. In 1980, he captured the vitality of the New York Metro’s underworld that was later published in a book, Subway, and exhibited at the International Center for Photography in 1982. From 1991-95 he photographed the landscape and layers of life in Central Park. In 2006, he completed a series of photographs titled “The Nature of Paris,” many of which have been shown and acquired by the American Academy of Arts and Letters. Davidson received an Open Society Institute Individual Fellowship in 1998 to return to East 100th Street His awards include the Lucie Award for Outstanding Achievement in Documentary Photography in 2004 and a Gold Medal Lifetime Achievement Award from the National Arts Club in 2007. Classic bodies of work from his 50-year career have been extensively published in monographs and are included in many major public and private fine art collections around the world. He continues to photograph and produce new bodies of work.Source: Magnum Photos
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All About Photo Awards 2026
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry