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Mital Patel
Mital Patel
Mital Patel

Mital Patel

Country: United States

Mital Patel is an internationally recognized nature and wildlife photographer who focuses on capturing beauty in all its forms—whether natural or manmade. From architecture and landscapes to the creatures of the wild, Patel has a distinct passion for capturing the most remarkable elements of life through his visual representation of movement, emotion and mood. From behind the lens, he strives to bring viewers his very unique view of nature, telling a story without words and conveying a feeling in the abstract. He challenges his audience to let their imaginations run free, taking the journey with him on his travels and opening their minds beyond the confines of static photography.

In each of his pieces, Patel hopes to offer his audience a way to view the world around them a bit differently – to appreciate the beauty of moments and places that are often overlooked. An intrepid traveler and lover of adventure, Patel’s passion for creative and imaginative photography is a great asset to his exploration of the world, which spans six out of the seven continents. His work is admired worldwide for its unique and artistic perspective.

Exclusive Interview with Mital Patel

Websites

www.mitalpatelphotography.com

@mitalpatelphoto

 

Inspiring Portfolios

Marijn Fidder
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Julien Chatelin
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Marcus Yam
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All About Photo Awards 2026
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More Great Photographers To Discover

Maurice Pellosh
Maurice Pellosh
Congo
1951 | † 2023
Maurice Bidilou was born on August 15, 1951, in Bouansa (formerly Le Briz). At the age of 16, he moved to Pointe-Noire to live with his brother. After taking on a few odd jobs, his uncle encouraged him to learn a trade. This led Maurice to a 19-month apprenticeship at "Studio Jeanot Père," which he began in exchange for a bunch of bananas, a demijohn of wine, a chicken, and 20,000 CFA francs. During this time, he mastered the art of being a portrait photographer, a craft that would become his lifelong passion. At the time, it was fashionable to have a nickname. Maurice explained that around the age of 11, he played with letters and came up with the word "Pellosh," giving it an American-sounding ending. Long before becoming a photographer, his friends and family were already calling him Pellosh—a name that seemed to foreshadow his destiny. [NB: In French, the word péloche (which sounds the same as Pellosh) means "film."] In December 1973, Maurice Bidilou opened his own photo studio, "Studio Pellosh," near the main market in a bustling neighborhood. The studio remained open until 2016. It quickly became a success. In addition to offering traditional ID photos, "Studio Pellosh" gained a reputation as the go-to place for families, couples, friends, and "sapeurs" eager to immortalize their happiness and symbols of success on film. In the evenings, Pellosh frequented bars, dance halls, and concerts, mingling with the Congolese youth reveling in their newfound independence. Across from Studio Pellosh, the bar-dancing club "Chez Fofo" became his favorite weekend hangout. During the 1970s, the Sape movement—The Society of Ambiance-Makers and Elegant People—was in full swing. The clientele of Pointe-Noire sought carefully crafted souvenir portraits to share with loved ones, often ordering enlargements. These photos became elaborate compositions featuring symbolic accessories of wealth (transistor radios, mopeds, books, cigarettes) and beauty (bags, sunglasses, hats, suits). Artificial lighting allowed for photography at any time of day or night. Starting in 1985, the disappearance of black-and-white development products in Congo forced Pellosh to transition to color photography. A decade later, the rise of digital photography signaled the inevitable end of his studio. Maurice passed away on May 25, 2023, surrounded by decor from his former studio, dozens of Kodak boxes filled with negatives, and photographic equipment. His death, at the age of 71, was caused by severe malaria and a hip fracture. He leaves behind his wife, Jackie, and their six daughters—Mauricette, Aude, Inès, Alida, Ghéraude, and Carmelle—as well as 17 grandchildren, all of whom are proud and dedicated to preserving Maurice’s legacy. Since 2020, this work has been championed by Emmanuèle Béthery, who has brought new recognition to Maurice's artistry.
Delphine Quême
Delphine Quême
France
1969
Born in 1969, lives and works in Paris, France. Self taught photographer. Fine art photographer (shooting mainly places) and commissioned interior photographer for the past 7 years.Part of Hans Lucas collective since 2018 EXHIBITIONS : 2019 : group exhibition “20 ans de la SAIF”, Espace Niemeyer, Paris, FRANCE 2018 : group exhibition "Interiors", curateur Elizabeth Avedon, galerie A Smith, Johnson City, TX, USA 2015 : solo exhibition : "Delphine Quême, Peoplelessness", galerie Art'inn Concept Store, Paris, FRANCE 2014 : solo exhibition : "Delphine Quême, Théâtres", Théâtre de l'Etoile du Nord, Paris, FRANCE REWARDS: 2018 : Juror prize "Interiors" competition, curator Elizabeth Avedon, galerie A Smith, Johnson City, TX, USA 2019 : Merit Award AAP Magazine #8 'Street', competition, curator Sandrine Hermand-Grisel, CA, USA
Joshua Irwandi
Joshua Irwandi
Indonesia
1991
Joshua Irwandi (Jakarta, Indonesia) is a freelance documentary photographer based in Jakarta, Indonesia. Irwandi received a B.A. in English literature from the University of Exeter, and pursued graduate studies in photojournalism and documentary photography at London College of Communication. While working in West Papua, Indonesia, Irwandi focused on a long-term project on the changes in identity and landscape of the Asmat people. His project 'Not A Blank Canvas' has been awarded the National Geographic Society exploration grant in 2021. Irwandi was a participant in the 2014 New York Portfolio Review, as well as the Eddie Adams, Magnum Photos, and VII Photo workshops. In 2020, his work is part of the Forhanna Foundation Fund for Young Talent grant and National Geographic Society's COVID-19 Emergency Fund for Journalists project. One of his images, 'The Human Cost of COVID-19', sparked controversy in Indonesia when it went viral after publication by National Geographic. He has exhibited at Breda Photo Festival in the Netherlands. In 2021, he was selected as one of the speakers for the National Geographic Society's Storytellers Summit. Recently, he was nominated for 2021 World Press Photo Award in General News. Irwandi's work has been featured in National Geographic, TIME, The Times of London, and The Guardian.
Leigh Ann Edmonds
Leigh Ann Edmonds
United States
1980
Leigh Ann is a freelance photographer located in a small town just north of Birmingham, Alabama. Her freelance career spans over 20 years as a professional with portrait, commercial and documentary/editorial work for publications and the entertainment industry. Her work has been in ROLLING STONE, VINTAGE GUITAR and B&W MAGAZINE. She is also an award-winning photographer for her portrait titled 'RODEO'. She is an avid trail runner married to a full-time working musician and her work often reflects that of her lifestyle, showcasing her love of adventure, people and the great outdoors. She received a BA in Studio Art and minor in Journalism from the University of Alabama in 2004 and considers photography more about her visual journey than a professional destination. STATEMENT Over the years I have noticed a pattern with my personal works. I often seek out the road less traveled rather it be within my living environment and community or during my travels. The isolation feels comforting and safe for me, as it allows me to slow down, it is here in these moments, when photography becomes my therapy. I've always been intrigued by the unplanned photograph and my work never is pre-conceptualized. I typically don't know what I will end up photographing and often feed off the energy I am given within that moment when I decide to take the image. The act of shooting is more important to me than the image I capture because it is about the connection I have found with the individual or space I come across. I tend to shoot more on sporadic intuition than thinking the shot through. If I feel something, I don't hesitate and click the shutter only to discover the image later, which can add to the excitement of this experience with my camera. The days I find myself inspired to shoot are days that I long for a connection, rather it be connection with others or the space I am in. I have found that over the years, my photography has become more about a glimpse into who I am more than a means to make a living as a professional. The pattern of my work tends to primarily focus on portraits of locals and the environment of small towns documented in black and white. This approach is to give the sense of isolation and nostalgia of small-town living. I don't want my work to feel 'dated' as I hope those viewing my work will also connect them to that place or person without feeling dated or current. I want my work to gather a sense of timelessness to the viewer and to me. I consider my personal works a journal of my life, my adventures, and a sense of belonging somewhere as I hope others will stumble across and 'read' my photographs when I am gone.
Alfred Eisenstaedt
Alfred Eisenstaedt
Germany
1898 | † 1995
Alfred Eisenstaedt (December 6, 1898 – August 24, 1995) was a German-born American photographer and photojournalist. He is best known for his photograph of the V-J Day celebration and for his candid photographs, frequently made using a 35mm Leica camera. Eisenstaedt was born in Dirschau (Tczew) in West Prussia, Imperial Germany in 1898. His family moved to Berlin in 1906. Eisenstaedt was fascinated by photography from his youth and began taking pictures at age 14 when he was given his first camera, an Eastman Kodak Folding Camera with roll film. Eisenstaedt served in the German Army's artillery during World War I, and was wounded in 1918. While working as a belt and button salesman in the 1920s in Weimar Germany, Eisenstaedt began taking photographs as a freelancer for the Pacific and Atlantic Photos' Berlin office in 1928. The office was taken over by Associated Press in 1931. Eisenstaedt successfully became a full-time photographer in 1929. Four years later he photographed a meeting between Adolf Hitler and Benito Mussolini in Italy. Other notable, early pictures by Eisenstaedt include his depiction of a waiter at the ice rink of the Grand Hotel in St. Moritz in 1932 and Joseph Goebbels at the League of Nations in Geneva in 1933. Although initially friendly, Goebbels scowled for the photograph when he learned that Eisenstaedt was Jewish. Because of oppression in Hitler's Nazi Germany, Eisenstaedt emigrated to the United States in 1935 where he lived in Jackson Heights, Queens, New York, for the rest of his life. He worked as a staff photographer for Life magazine from 1936 to 1972. His photos of news events and celebrities, such as Dagmar, Sophia Loren and Ernest Hemingway, appeared on 90 Life covers. Eisenstaedt was awarded the National Medal of Arts in 1989 by President George Bush in a ceremony on the White House lawn. Eisenstaedt, known as "Eisie" to his close friends, enjoyed his annual August vacations on the island of Martha's Vineyard for 50 years. During these summers, he would conduct photographic experiments, working with different lenses, filters, and prisms in natural light. Eisenstaedt was fond of Martha's Vineyard's photogenic lighthouses, and was the focus of lighthouse fundraisers organized by Vineyard Environmental Research, Institute (VERI). Two years before his death, Eisenstaedt photographed President Bill Clinton with wife, Hillary, and daughter, Chelsea. The photograph session took place at the Granary Gallery in West Tisbury on Martha's Vineyard, and was documented by this photograph published in People magazine on September 13, 1993. Eisenstaedt died in his bed at midnight at his beloved Menemsha Inn cottage known as the "Pilot House" at age 96, in the company of his sister-in-law, Lucille Kaye (LuLu), and friend, William E. Marks. Source: Wikipedia Born in Dirschau (now Poland), Alfred Eisenstaedt studied at the University of Berlin and served in the German army during World War I. After the war, while employed as a button and belt salesman in Berlin, he taught himself photography and worked as a freelance photojournalist. In 1929, he received his first assignment that would launch his professional career--the Nobel Prize ceremony in Stockholm. From 1929 to 1935 he was a full-time photojournalist for the Pacific and Atlantic Picture Agency, later part of the Associated Press, and contributed to the Berliner Illustrierte Zeitung and other picture magazines in Berlin and Paris. In 1935, he came to the United States, where he freelanced for Harper's Bazaar, Vogue, Town and Country, and other publications. In 1936, Henry Luce hired him, along with Margaret Bourke-White, Peter Stackpole, and Thomas McAvoy as one of four staff photographers for the new LIFE magazine. Eisenstaedt remained at LIFE for the next 40 years and was active as a photojournalist into his eighties. In 1988, he was honored with ICP's Infinity Master of Photography Award. Eisenstaedt was among those Europeans who pioneered the use of the 35-millimeter camera in photojournalism as they brought their knowledge to American publications after World War I. He was also among the earliest devotees of available-light photography. Unlike many photojournalists in the postwar period, he was not associated with a particular kind of event or geographic area: he was a generalist. As such, he was a favorite among editors, not only for his quick eye, but also for his ability in making good photographs of any situation or event. His nonjudgmental but acutely perceptive eye and his facility with composition have made his photographs memorable documents of his era both historically and aesthetically. Source: ICP
Tom Flathers
Tom Flathers
England
1991
Tom Flathers is an Award Winning Senior Club Photographer at Manchester City Football Club, Having been at the club for more than 8 years and covered the entirety of the Pep Guardiola era at the club, Tom has had the opportunity to cover the incredible success of the club – from the treble to 4 Premier League’s in a row. Tom has had the chance to capture elite players from Erling Haaland, Kevin De Bruyne to Steph Houghton and Phil Foden. With another exiting season ahead Tom looks forward to covering further success at the club
Garry Winogrand
Garry Winogrand
United States
1928 | † 1984
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. Winogrand worked as a freelance photojournalist and advertising photographer in the 1950s and 1960s. Between 1952 and 1954 he freelanced with the PIX Publishing agency in Manhattan on an introduction from Ed Feingersh, and from 1954 at Brackman Associates. Winogrand's beach scene of a man playfully lifting a woman above the waves appeared in the 1955 The Family of Man exhibition at the Museum of Modern Art in New York which then toured the world to be seen by 9 million visitors. His first solo show was held at Image Gallery in New York in 1959. His first notable exhibition was in Five Unrelated Photographers in 1963, also at MoMA in New York, along with Minor White, George Krause, Jerome Liebling, and Ken Heyman. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977, and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer, and Photography Annual. Critic Sean O'Hagan wrote in 2014 that in "the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York"; and in 2010 that though he photographed elsewhere, "Winogrand was essentially a New York photographer: frenetic, in-your-face, arty despite himself." Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame." In his lifetime Winogrand published four monographs: The Animals (1969), Women are Beautiful (1975), Public Relations (1977) and Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). At the time of his death, his late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realized as far as contact sheets being made.Source: Wikipedia Photography is not about the thing photographed. It is about how that thing looks photographed. -- Garry Winogrand A native New Yorker, Garry Winogrand became known for his street photography blending documentary and photojournalist styles and freezing his subjects in spontaneous and bizarre moments. Winogrand typically used a wide-angle lens mounted on a Leica 35mm camera and photographed prolifically, leaving 2,500 rolls of shot but undeveloped film and 300,000 unedited images upon his death. The tilted horizon and feeling of chaos in his images belie his careful compositions concerned with capturing surface detail and energy. Winogrand believed that the act of framing and photographing something transformed it. His images are often confrontational and take moments out of context, positioning Winogrand as an outside observer of human gestures and actions. Among Winogrand’s favorite subjects were women, and he described himself as being “compulsively interested in women” and having “compulsively photographed women.” A large part of Winogrand’s images in the collection of the MoCP form part of the Women are Beautiful portfolio (1981), which was initially published as a monograph in 1975. For the monograph, John Szarkowski, curator of photography at the Museum of Modern Art in New York at the time, selected eighty-five images featuring women from hundreds of photographs by Winogrand. The resulting book offers a random collection of women caught on the street, in parks, getting into cars, at parties, marching in parades, skinny-dipping in ponds, etc. The images capture not only Winogrand’s attraction to the women he photographed, but also the styles, activities, gestures, and energies pertaining to gender in the 1960s and 1970s, an era of transition during second-wave feminism and the sexual revolution. In the monograph and in the portfolio, Winogrand wrote: “Whenever I’ve seen an attractive woman, I’ve done my best to photograph her. I don’t know if all the women in the photographs are beautiful, but I do know that the women are beautiful in the photographs.”Source: Museum of Contemporary Photography
Alisa Golovkina
Alisa Golovkina
Russia
2000
Alisa Golovkina was born and raised in Moscow, though her early years were spent navigating diverse worlds between Moscow, Khakassia in Siberia, and Italy. This rich cultural upbringing laid the foundation for her artistic passions and explorative nature. Her journey into education and the arts began when she moved to the UK to study abroad, attending CATS College Canterbury. Here, she thrived both academically and artistically, becoming the head of the music club, art club, and head of house, while also serving as class president. For her high school years, Alisa relocated to Canada, where she completed her education at Shawnigan Lake School. During this time, her love for the arts deepened as she pursued Advanced Placement Art and became the head of the arts team in her house. Photography, in particular, became a defining passion that would carry her through her artistic endeavors. Always interested in capturing the raw beauty of life, she found joy in immortalizing intimate moments through the lens of her camera. After high school, Alisa continued her academic journey, studying at the prestigious London College of Communication, where she completed a foundation course in Design, Media, and Screen. This experience was further enriched when she pursued a Bachelor of Arts degree in Design for Art Direction at the same institution, part of the University of the Arts London. These formative years gave her a broader understanding of design and its connection to storytelling, as well as honing her ability to express her worldview through visual mediums. Photography remained a consistent thread throughout Alisa’s life. She began at a young age, capturing the world around her, driven by a desire to seize private and intimate moments, freezing them in time. Street photography, in particular, became a genre that resonated deeply with her sensibilities, as it allowed her to reflect the world in its most authentic form. Perhaps Alisa's most passionate and meaningful project is *Transcending Vulnerability*, a photographic exploration that spanned from 2015 to 2023. In this project, she documented rural life in Khakassia, Siberia, capturing the fragile beauty and resilience of communities that exist in the delicate balance between tradition and the pressures of the modern world. Through her lens, she revealed the stark contrasts of daily life in these remote regions, where the immediacy of rural rituals exists alongside the distant reverberations of global change. Her work poetically encapsulates the interwoven nature of vulnerability and survival, highlighting the grace and endurance of the people she encountered. Alisa Golovkina continues to use her photography as a means of interpreting and expressing her understanding of the world, with a focus on moments of human connection, cultural landscapes, and the transient beauty of life. Statement: My artistic practice is an exploration of the complexities of existence, capturing moments that resonate with personal significance and universal themes. Drawing inspiration from the philosophies of photographers like Daido Moriyama and writers like Moyra Davey, I embrace the notion of photography as a medium for raw expression, devoid of pretense or expectation. In my work, I employ photography as a personal diary, documenting the intricacies of my own experiences and the myriad ideas that captivate my mind. Like a curator of memories, I confront the fear of forgetting by immortalising fleeting moments in visual form. Each photograph serves as a portal to my past, a testament to the enduring power of memory amidst the relentless march of time. I navigate between spontaneous street photography and meticulously staged portraiture, oscillating between the accidental and the deliberate. Transitioning from digital to film photography, I have discovered a profound appreciation for the unique texture and depth that analogue processes offer. Film, with its inherent unpredictability, becomes a collaborator in my artistic journey, imbuing each image with a rich narrative of the circumstances in which it was created. Through my lens, I seek to interrogate the world around me, probing the wounds of time and uncovering the hidden beauty in neglected spaces. My work delves into the complexities of identity, history, and sentimentality, inviting viewers to contemplate the intricacies of human existence and the transient nature of life itself
Steven Stanley Manolakis
Steven Stanley Manolakis
United States
1995
Steven Stanley Manolakis is an award-winning fine art aerial landscape photographer, celebrated for his captivating images of Australia’s wilderness from above. His work has earned over 110 international photography awards and has been exhibited worldwide. Beyond photography, Steven is a philosophy student at Sydney’s Macquarie University. When not studying, he’s soaring the skies in helicopters or small planes, continually adding to his collection of masterpieces and accolades. Artist Statement: As an aerial photographer, I hire fixed-wing aeroplanes and helicopters to capture remote landscapes from above. I prefer working with a medium-format camera during flights to ensure the highest possible image quality. This approach allows me to print and frame my artwork in large dimensions, highlighting the intricate details and textures of the landscapes I photograph. My images blur the line between photography and fine art, with surfaces that resemble brushstrokes and colours that evoke the essence of a painted canvas. My work is deeply personal, inspired by a beautiful girl I once met and fell in love with. Although we are not together, she remains someone special to me. Through my photos, I strive to capture the feelings she evokes in me. As I soar above vast landscapes, I seek out distinct natural features—things that remind me of her beauty, personality, and the profound impact she has had on me.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Fernando Morales Roca
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