Adedolapo Boluwatife, a photographer and filmmaker from Lagos, Nigeria, born in 1996, uses natural lighting and intense compositions to express his experiences and beliefs. His work captures societal realities, highlighting complex issues with themes like beauty, gender, politics, mental health, climate, and culture. His accolades include the Lens Culture Fine Art Award, Agora Images World 'Eyes' competition, CAP Prize, Prazzle Inc. Galaxy Artist Grant, and Lens Culture Critics Choice Award. He photographed the cover of Ayobami Adebayo's Booker Prize-shortlisted novel. His work is published in various international magazines. Currently, he focuses on mental health and climate projects.
"Invitation to Invade"
"Invitation to Invade" depicts the impact of plastic pollution through metaphorical imagery to elicit emotional reactions and raise awareness. Growing up in Lagos, I witnessed plastic pollution's devastating effects. This project transforms plastic waste into art, inspiring a vision of a disaster-free environment. Using inventive lighting and impactful compositions, I highlight the burden of plastic waste and its impact on growth and development. My experiences have fueled my determination to raise awareness, advocate for change, and promote sustainability. These images urge collective responsibility to protect our ecosystem and combat plastic pollution.
Ahmad Halabisaz is a freelance photographer and visual artist focused on social issues and the impact of conflict. He began photography at 14 and studied photojournalism at the Iranian Journalists Association University. His work has appeared in major outlets like Time, The New York Times, and The Guardian, earning awards including World Press Photo 2023. After being jailed while covering the Women, Life, Freedom protests in Iran, he left his homeland to rebuild his career and deepen his photography practice
The series captures portraits of Iranian women without hijabs in public spaces, challenging the mandatory hijab law. Massive protests erupted in 2022 after the arrest and death of Mahsa Jina Amini, a 22-year-old Kurdish woman detained by the morality police. These protests quickly spread across Iran, encompassing diverse age groups, social classes, ethnicities, and genders. The government's response has been harsh, with many protestors injured, killed, or arrested, and independent journalists facing intimidation. In defiance, women have taken to the streets without hijabs, transforming daily life into acts of civil disobedience. The photographer initiated this project prior to the street demonstrations.
Alanna Airitam is a photographer who fuses traditional and contemporary elements, incorporating materials like metal and gold leaf into her portraits and still lifes. Her work explores the complexities of truth and representation, particularly concerning Black Americans, drawing inspiration from art history and the resilience of Black culture. With exhibitions in notable institutions, Airitam aims to connect with diverse audiences, encouraging reflection and creativity. A co-founder of the Southwest Black Artists Network, she resides in Tucson, Arizona.
Ghosts (2021-in progress)
Ghosts is a photographic self-portrait series that intimately explores code-switching as a survival mechanism for Black Americans in a discriminatory society. This project unveils the performative expressions necessary for acceptance, highlighting how code- switching affects language, body language, and identity. Originating during the Covid lockdown, Ghosts scrutinises my own identity, revealing the blurred lines between authenticity and adaptation. Through self-portraits and multimedia works, it addresses themes of duality, reclamation, and resilience. Ghosts engages viewers with the complexities of identity and societal expectations, aiming to deepen understanding of power dynamics, personal identity, and the effects of trying to blend into an unwelcoming society.
Ali Drabo, a passionate photographer since 2018, made his debut with his first exhibition in the same year. Since then, he has paved his artistic path by creating his own photo studio, demonstrating his total commitment to the world of photography. Despite creating numerous works, some have not yet seen the light of day due to time constraints. Ali Drabo devotes himself entirely to his art, capturing unique moments and exploring visual beauty full-time.
Mother Nature
My collection, titled "Mother Nature," is a series of five digital artworks highlighting the necessity to preserve our endangered environment. Each piece illustrates a distinct aspect of this struggle. "Symbiosis" depicts the vital interconnectedness between humans and nature. "Mother Protector" portrays a maternal figure as guardian of the endangered natural world. "Hope" shows the mother carrying the remaining fauna, symbolising her determination to protect life. "Love" celebrates the bond between mother and nature. The fifth artwork, "Fabulous," showcases the beauty and wonder of nature. Created from studio photos and digitally reworked, this series raises awareness of the urgent need to harmonise our relationship with nature.
Amanuel Sileshi is an Ethiopian photojournalist based in Addis Ababa, acclaimed for documenting Breaking news , feature stories, conflicts, and political reforms. Starting his career in 2016, he shifted from engineering to photography, inspired by the power of visual storytelling. Sileshi works as a stringer for Agence France-Presse and has earned honors for his poignant depictions of societal impacts during crises. His notable work includes capturing the recent conflict in Ethiopia.
From Shadows to Goals: Tigray's Pursuits for Joy
In the aftermath of a devastating conflict, Mekelle, the capital of Tigray, is bouncing back with renewed determination. The city is rebuilding both its physical structures and its sense of community. As part of this resurgence, Tigray's football teams, like Mekelle 70 Enderta, are back in action, competing in national leagues like the Ethiopian Premier League. Their return is not just about sports; it's a symbol of hope and unity for a region healing from trauma. Amidst this rebuilding, the sound of church prayers echoes through the streets, offering solace and strength to a community on the mend.
Antalya Jaël is an artist from the Democratic Republic of Congo. She currently lives in Kinshasa, where she is studying photography at the Académie des Beaux-Arts. In her recent projects, she has experimented with art that questions her origins and identity, highlighting the impact of human exploitation on landscapes. By revisiting post-colonial ethnographic photography, she seeks to reveal the identity of her subjects. Antalya has been selected to take part in the Picha workshops at the Lubumbashi 2024 Biennial and in the artistic residency at the Institut Français in Libreville.
MIZIZI PROJECT
The “MIZIZI” (Swahili for roots) project explores the legacy of Arab occupation in the eastern Democratic Republic of Congo, focusing on the concepts of identity, nation and memory, as well as the complex consequences of centuries of migration and trade. Antalya Jaël, originally from Maniema, explores the history of her region during the Arabo-Swahili occupation, focusing on environmental, clothing, cultural and linguistic aspects transmitted orally. As a photographer, she documents this history visually by consulting archives, conducting interviews and exploring her environment.
Born in Lagos, Nigeria. Monday Anthony is a visual storyteller who started his career in documentary and conceptual photography with a journalistic approach. Monday’s work often explores personal confronting issues, sociocultural issues, etc. using photography as a medium of communication.
“Na Young We Young, No Be Craze We Craze”
In a world where conformity is celebrated and the difference is feared, “Na Young We Young, No Be Craze We Craze” explore self-expression, acceptance, and fashion through unique hair styles taking back control from the norms.
Apah Benson, a visual artist and photographer from Delta State, Nigeria, transitioned from poetry to fine art and portraiture photography. Specialising in celebrating dark skin tones and exploring social-political narratives, Apah’s work uses shadows and vibrant colours to create captivating imagery. His portraits elevate the ordinary and challenge viewers to engage in meaningful dialogues about fashion, culture, and socio- political issues. Apah has exhibited internationally, including at Art Basel and the African Foto Fair, making a significant impact on the global art scene.
THE COLOUR OF HAPPINESS
In today’s demanding world, happiness is entangled with fleeting material pursuits and societal expectations. Once rooted in self-realisation, joy now bends to modern pressures. The Colour of Happiness explores how happiness manifests amidst these complexities, highlighting the rise in mental health issues. Through my lens, I reveal the darkness that lingers behind bright smiles, the struggles behind cheerful facades, redefining true happiness free from conformity. By incorporating yellow, the series juxtaposes genuine joy with darkness, urging viewers to contemplate that which is seen and not spoken.
The alleys of Goma, a cradle of courage and resilience in eastern Democratic Republic of Congo, a young artist stands, camera in hand. Aubin Mukoni, aged 23, a photographer and videographer; he is a soul storyteller, a silent witness to the struggles and hopes. Inspired by the yellowed photographs of his grandfather, himself an enthusiast captured by the art of light, photography for him is not just a technique, but an intimate dance with the moment, an embrace between time and emotion. Through his lens, Aubin has traversed steep paths, covered with heartbreaking conflicts and solemn commemorations. The war in the DRC, the shadows of the Rwandan genocide, the faces of displaced persons—all have found refuge in his images. Each click is a muted cry, each frame a prayer for peace. And through each image, he writes a story of hope, compassion, and change. Because beyond pixels and film rolls, there is love for his people, for his land, for peace.
Survive and Thrive
This project is a window into the courage and inner strength of these war displaced individuals. It aims to shed light on their achievements, tell their stories, and raise awareness of the situation they find themselves in. In the heart of conflict zones in the Democratic Republic of Congo, thousands of people have been forcibly displaced, fleeing clashes between the M23 and the Armed Forces of the Democratic Republic of Congo (FARDC). Driven from their homes, these displaced individuals have been forced to seek refuge in makeshift camps, far from everything they once knew. However, despite the horrors they have experienced, these brave men and women refuse to be defeated. In their struggle for survival, they have discovered within themselves an unexpected strength and unparalleled resilience. Thus, instead of resigning themselves to their fate, they have chosen to fight for a better future by engaging in generous activities to meet their needs.
Blessing Atas is a photographer and storyteller, a visual artist based in Abuja, Nigeria. Her artistic style revolves around merging tradition and culture with contemporary living. While also creating works that reflect on life and her surroundings. She is enthusiastic about creating photographs that make the viewer feel. Growing up, she used to paint, but eventually transformed into making art with photography as her medium. In 2022, her work ‘The Egrets’ was included in Vogue Italia’s February issue (physical and digital copies) celebrating the photo vogue community, titled ‘A Love Letter to Photo Vogue. She was part of ‘The Ascension’ art exhibition by Anny Roberts, curated by Kukoyi, in Victoria Island, Lagos. 2022. She is also a member of Black Women Photographers
The Egrets
This collection was inspired by real egrets that I first observed flying freely and landing in their secure haven (their home), it is also inspired by certain internal struggles and the need to break free from those restraints. It attempts to document our continuous journey to finding freedom within a chaotic reality. The Egrets reflect a visual stamp of the freedom that we yearn for by using dance; each halt, sway, hop or twirl subtly reveal nested emotions, dogmas and prejudice that clips our feathery wings. These movements act as a fabric for healing, transcending the bodies I capture from one sunset sky, to dewy pastures, to warm rivers... Which makes me better understand our individual essence and tell stories of the quality of freedom each human deserves - freedom of self through self
Charles Egbengwu (b. 1998) is a photographer known for his experimental approach in crafting surreal and dreamlike imagery. Through adept manipulation of light and shadow, Charles aims to evoke profound introspection and provoke meaningful discourse on the human experience. He believes his photographs serve as catalysts for personal reflection, offering insights into emotions and existence. Charles's work has garnered recognition in esteemed publications such as Prazzle. As a pivotal member of Pond Collective, he contributes creatively to collaborative artistic ventures. Through his photography, Charles invites viewers to contemplate life's complexities and the universal bonds that unite humanity, igniting curiosity and dialogue.
VIVID EMOTIONS
The collection that delves into the depth of human feelings. Each piece, from "Vast Oblivion" to "Fazed," explores the emotions that shape our lives. "Patience" and "Surrender" invite reflection on perseverance and acceptance. "Echoes of the Abyss" and "Silence" evoke introspection, while "Seek" and "Strike" inspire a desire for change. "Sonder" and "Veiled" reveal the complexities of human connections, and "Ready" and "Lost" confront uncertainty. "Hollow" and "Grief" delve into loss and longing. "Vivid Emotions" celebrates the resilience of the human spirit amidst life's kaleidoscope of feelings.
Chelsea Odufu is a first-generation Nigerian and Guyanese American Filmmaker and multi-disciplinary artist from Newark, New Jersey, who works across narrative, experimental film, video art, installation, and photography. She is deeply concerned with how traditional aspects of African and Caribbean culture are being preserved in the face of urbanisation and globalisation. Chelsea seamlessly integrates mysticism into her art, collapsing time to create pieces where the future, past, and present harmoniously coexist. Through the juxtaposition of afro-futuristic imagery, archival footage, and journalistic aesthetics, she demystifies stigmas often attached to African Diasporic identities. Chelsea participated in Kehinde Wiley’s Black Rock Senegal Residency in Dakar; her visual art works have been exhibited at the Dakar Biennale, Paris Photo, Photo London, Alabama Contemporary Art Museum, Seattle Art Museum, Museum of Contemporary African Diasporic Art, and Leila Heller Gallery.
Gold with a Mind of Its Own
"Gold with a Mind of Its Own" explores the Akan people's deep connection with gold in Côte d'Ivoire. From spiritual taboos and socio-political symbolism to the haunting legacy of the gold trade, this series captures gold's profound influence on their history. Showcasing their territorial expansion, wealth, and power, it offers a futuristic yet pre-colonial perspective on the Akan people.
Daro Sulakauri is a Georgian photojournalist and visual artist. Her work, using mixed media, depicts the social and political issues in the Caucasus. She graduated from the International Center of Photography in New York and returned to document a hidden narrative of the Chechen conflict in an outpost of refugees, winning the 2009 Young Photographers in Caucasus Award from Magnum Photos. Her work on early marriages in Georgia won the LensCulture and EU journalism prizes.The first Georgian TED Fellow (2024), Sulakauri has contributed to The New York Times, Reuters, and National Geographic. She is also a screenwriter and protagonist in the documentary "Double Aliens" and has authored two hand-made books.
Shifting Borders
Imagine waking up one morning to find out that your bedroom is now located in a different country. Literally. While your living room and kitchen are still in the country where you fell asleep...overnight the border has been unofficially “redrawn” by the occupying forces from a hostile northern neighbour. Such nightmarish vulnerability has been real for thousands near the Russian-occupied parts of my homeland, in the country of Georgia. The “Shifting Borders”, depicts the ongoing reality and conflict along the occupied lines of Georgia’s two breakaway regions of South Ossetia and Abkhazia.
Born on September 16, 1983, in the city of Abidjan, Dean Marshall has always had a path traced in the world of art. Under his signature Barachiel, he is a born enthusiast. Trained as a graphic designer and a self-taught multidisciplinary artist, he has shaped his knowledge and nurtured his passion through travels in Europe, Africa, and collective exhibitions in Côte d'Ivoire (his home country), Togo, Burkina Faso, and most recently Morocco. His resolutely ecological approach reveals him in his latest pieces more rooted than ever, touching and authentic, uniting both the younger generation and the older, the laymen as well as the connoisseurs. A blend of genres that will convince all photography lovers.
THE TRAVELLERS
Dean Marshall draws from his daily life for his pictorial subjects and enriches his photographs with everyday scenes and human encounters experienced during his travels. He sees everyday life as an unwritten film script, capturing magical moments. From minibuses decorated by vehicle artists to ambulant vendors around these painted vans, adorned with drawings, symbols, and messages of hope. Each of these life scenes, unfolding at its own pace before our eyes and consciousness, takes on the vividness of personal memories that we cherish: from photomontage, collage, and painting to photography, everything is interconnected because Dean Marshall's canvases are a place of multiple, urban narratives always imbued with the poetry of daily life.
Eric Adé Tanauh, known as Rickii Ly, is a photographer and artistic director from Côte d'Ivoire. He combines Africanity and futurism through his works. His "Humaliens," captured in their daily lives on Earth between reality and surrealism, create a unique aesthetic that highlights beauty in an intriguing form. Rickii aspires to develop projects on these Humaliens, reflecting themes of Afrofuturism and the vast potential of Africa.
"Humalien Being"
Humalien Being is a captivating series of portraits documenting the unique lifestyle of my Humaliens on Earth. Through these works, I capture the daily life of these beings with long necks and arms, in various scenes and moments, oscillating between reality and surrealism. Each portrait reveals an aesthetic that blends Africanity and futurism. Humalien Being invites contemplation of a new aesthetic, celebrating futuristic Africanity and offering an innovative look at the infinite possibilities for Africa.
Eyoeal Kefyalew, a photographer from Addis Ababa, Ethiopia, blends his early passion for graphic design into his profound exploration of street and documentary photography. Selected for the Canon Student Development Program in 2020, he published "Encourage," a collection reflecting his artistic journey. His works have been showcased at Addis Foto Fest 2018, UPPA: East African Photography Award 2019, and exhibited at Melrose Gallery, Johannesburg, 2021. Featured in "Out of the Phone: Mobile Street Photography" (2017) and by Fotosfer in 2021, Eyoeal was also nominated for the Inspire Art Award at the Nitja Centre for Contemporary Art, Norway.
The element of water I am
The project revolves around my uncle Kahsaye's briefcase, containing project files, cassettes, and postcards, which hold deep sentimental value. It explores the enduring impact of war on families, including mine, shedding light on my mother's struggles during turbulent times. Through 190 archival photos and personal anecdotes, the project chronicles Kahsaye's life from his deportation during the Ethio-Eritrean war to his passing, aiming to unravel the mystery of his life. Visiting Eritrea in 2019, I embarked on a journey to understand his story through the artefacts he left behind—a poignant exploration of identity, memory, and family history.
Born in 1997 in Lagos, Nigeria, Fawaz Oyedeji is a historian dedicated to documentary photography. He holds a degree in Mass Communication from Yaba College of Technology and a B.A.E. in History Education from the University of Lagos. He recently obtained training from the Market Photo Workshop in Johannesburg. His photographs have already been exhibited in Lagos, New York, Kigali, Germany and France. He was awarded the Eugene Smith Memorial Fund Student Grant in 2019, the Daniele Tamagani Grant in 2021 and in 2023 he was a recipient of a Prince Claus Fund Seed Award.
Mo’ Advert, Mo’ Power
Every four years, as elections approach, party-political posters flood our cityscape. These posters have become a campaign weapon, allowing parties to assert dominance over urban spaces and display power. In Nigeria, political posters are a staple of election seasons. The printing industry, though still largely artisanal, is growing and crucial to political culture, worth millions. Posters, banners, and billboards continuously increase in size and dominance each campaign. Candidates use these visuals to portray themselves as ideal leaders, with portraits mimicking historic political figures. For a few months, politics becomes hyper-visible, until the images fade and promises are forgotten.
Florian Sulzer works as a documentary and portrait photographer in Vienna and Graz, Austria. He holds a BA in photojournalism and documentary photography from the University of Applied Sciences and Arts, Hannover. He interned as a photojournalist at the daily newspaper Weser-Kurier in Bremen and spent a semester abroad at the Pathshala South Asian Media Institute in Dhaka, Bangladesh. Florian Sulzer's work focuses on long-term projects that deal with the human impact on climate, wildlife and the environment.
The European eel
The European eel is considered to be critically endangered. Compared to the 1960s/70s, stocks have collapsed by around 99% in the North Sea and 90% in the rest of Europe. Hydropower, habitat loss, and climate change are just a few of the factors threatening the eel on its 7,000-kilometre journey across the Atlantic to the Sargasso Sea. The International Council for the Exploration of the Sea calls for a complete ban on eel fishing and the restoration of their habitats. For commercial fisheries, the European eel is an important economic factor and eel fishing despite increasing regulations is still allowed.
Genaye Eshetu is a humanitarian photographer based in Addis Ababa, Ethiopia. She believes that photography can be a powerful tool for social change, and can raise awareness, promote empathy, and ultimately inspire action. Through her lens, she strives to capture the humanity, resilience, and hope that exists in even the most difficult circumstances. By telling peoples’ stories with dignity and respect, she wants to ignite a love for people, value for stories and a better worldview to recognize the power we all have to create positive changes in our community. Genaye earned her bachelors in Language and Literature and her masters in Journalism and communications from Addis Ababa University. She has extensive experience in the development sector in Ethiopia and has helped various international non-profit organisations tell their stories visually by capturing high-quality, rich content images.
Waste Collectors
As the sun rises in Addis Ababa city, Ethiopia, a group of waste collectors also rise armed with gloves, masks and large bags to collect waste. They go from door to door, call out for people to take out trashes and collect solid waste.The community calls these people “ቆሻሾች” ‘koshasoch, ’ directly translated as ‘trashes.’ While the name may seem derogatory, as an expression of what they do, the name has stuck. Mostly women and a few men work tirelessly to collect and sort waste for recycling. Pictured here are the waste collectors transporting waste to a temporary storage site where they sort and load the waste to be transported to a final damping site in the city. At the helm of this waste collection group is Elfnesh, a remarkable woman who initially started collecting waste using a simple cart by bringing together people living on the streets, former criminals, and single mothers without income. Besides providing employment, this endeavour has fostered a supportive community for its members. The waste storage site, even though it has an unpleasant odour, serves as their safe space, where some take a nap, play with the dogs they adopted and read discarded books they found in the trash. They even find humour in teasing their co-worker that his girlfriend (the mannequin) is looking over him so that he wouldn't cheat. The government pays the collectors based on the amount of waste collected and transferred to the city’s dumping site. The group also sells plastic and metal waste separately for recycling. The waste collectors' efforts not only created employment opportunities but also played a crucial role in sustainable waste management practices that benefit the environment. Nevertheless, despite their significant contributions, the waste collectors encounter challenges like meagre wages, poor working conditions, and inadequate safety gear. This photo series is taken in a Waste storage site in the Kolfe area, Addis Ababa.
An aerospace engineer by education, Gökhan's interest for photography started in 2010. When photographing, he tries to sense the spirit of a place and connect to its people. His ambition is to create visual poetry in black and white that evokes mystery or ambiguity and sparks the viewer's imagination. In 2023, his photo „Three Men“ was chosen as the winning entry out of more than 1700 submissions in an Instagram competition organised by Calumetphoto and sponsored by Leica Germany. He opened his first exhibition „Ballade à la Pluie“ in September 2023 in Darmstadt, Germany.
It’s a dogs life
Rather than describing the set of my photos, my intention is to invite the viewer to engage with a series of thought-provoking questions.
Grey Area Studios Ghana, founded in 2022 by Mr. Sampong, Dennison Osei, and Edem Adjah, is a leading creative studio in Ghana. We are committed to pushing the boundaries of creativity, specialising in a seamless fusion of hyper-realistic computer- generated imagery, traditional photography, and captivating videos. Our journey began with a desire to push the boundaries of imagination and creativity in photography and videography. Today, Grey Area Studios Ghana is a home to a diverse team of Photographers, CGI artists, stylists, creative directors, project
managers, and more, each bringing their unique skills and perspectives to our projects.
NEVERLAND
Neverland is a sanctuary where acceptance knows no bounds, and the celebration of diversity is woven into the very fabric of its existence. Here, the essence of who you are acknowledged and embraced with open arms. It's a realm where the richness of human differences is cherished, where people from all walks of life come together in harmony, recognizing that our unique backgrounds, experiences, and identities make The tapestry of Neverland is so vibrant and beautiful.
Augustus Poku Sarkodee (b. 2000) is a portrait and editorial photographer from Accra, Ghana. His distinct style, rich in cultural tones, vivid colours and surreal compositions, celebrates human expressions and connections. His work represents a contemporary interpretation of what it means to see and be seen, reflecting his deep connection to the people and places that inspire him. As co-founder of Surreal Vision Studios, he has created captivating visuals across various industries. His work, featured in Vogue and Levi’s, has been exhibited nationally and graced various EMY Africa covers. He has photographed notable personalities, including Stevie Wonder, Black Sherif and Mohammed Kudus.
Soul Sounds: The Symphonic Convergence of Man & Music
Music connects people in a way few other things do, transcending language, culture, society, and time to tap into what is primal and universal. This unsung power inspired Gus Sarkodee’s series Soul Sounds: The Symphonic Convergence of Man and Music. Recognizing music's integral role in African and Black communities as an infinite medium of expression, Sarkodee's magnetic monochromatic photos explore musicianship with instruments like the Axatse and Grand Piano. Through these reimagined encounters between maestro and instrument, Sarkodee invites us to acknowledge the profound impact of music in our own lives.
Hanae Boutayeb (1990) is a Moroccan photographer from Oujda. Her interest in photography and storytelling guided her to resume her studies in Photojournalism in France (2023-2024). Previously, she worked in the banking sector and
humanitarian field. Hanae is passionate about travel, culture, and storytelling. In the past 7 years, she had the opportunity to live in different countries and connect with people from multicultural environments. She first used photography as a hobby, until she participated in the Amman image festival with her friend (May 2023), then she decided to embark on a professional journey in photography. Her first duo exhibition was a photo series on the city of Nablus, Palestine. Through her work, Hanae focuses on topics related to cultural heritage, roots, and craftsmanship.
This collection is an invitation to dive into the big tannery of Marrakech in Morocco. It’s one of the oldest in the world that houses an ancestral craftsmanship: Traditional leather-making process. The idea behind this project is to highlight the work of artisans in a tannery and celebrate all the workers who keep this Moroccan heritage alive, despite the many socio-economic challenges they face.
Jahi Chikwendiu (b. James Clay Fishback, 1968) was born of an amateur mathematician mother and an amateur photographer father in Lexington, Kentucky, USA, in 1968. Nurturing seeds of mathematics and photography alongside love for storytelling, he earned university degrees in mathematics and taught high school math for a year before joining the photo staff of his hometown newspaper in 1998. In 2001, he joined the photo staff of The Washington Post, where he has told visual stories from more than 40 countries on five continents.
Black Maternity Health in the United States: Taking Life Into Their Own Hands
Among high-income nations, the United States is the deadliest place to give birth. For Black women and their babies, who are more likely to experience discrimination and disrespect in institutional hospital settings, the crises of rising maternal deaths and critical complications are more acute. In Texas state, a coalition of Black birth workers is taking life into their own hands by providing home-birth services that are safer, more peaceful, and less deadly than giving birth through U.S. medical systems.
Joseph Kofi Awumee (b.1998) in Tema, Ghana, is a visual artist that explores the depths of human experience through photography and metal sculptures. With a BA in Industrial Arts specialising in Metals from Kwame Nkrumah University of Science and Technology, he captures the intangible nuances of the human condition. Driven by curiosity about the human psyche and a love for storytelling, Awumee believes in art’s power to provoke thought, elicit emotion, invite introspection, and spark dialogue.
Dark Clouds
The Photo series Dark Clouds explores the intangible, capturing the turbulent emotions of those battling depression and anxiety through conceptual photography. My goal is to transport viewers into the inner world of mental health struggles. Each carefully composed photograph reveals the complexities of these conditions, inviting viewers to experience the daunting 'dark clouds' faced by many.
Film and photography are Khalid Alarabi’s chosen mediums for his vivid visual tales. His childhood adventures in photography evolved into a flourishing career with over a decade of practice. Khalid’s versatile photography style ranges from street and portraiture to cinematic documentaries and commercial work. His work is recognized across the MENA region and Africa, featured on “In the City”, “The Room-Locale” magazines, and at Dubai Expo 2020 on "Sudan Pavilion '' exhibition. Other remarkable exhibitions by Khalid; "Modern Time", "Times in Change", "Stories from Karary", "Photo Identity", and "Climate and Change”.
Dear Home
"Dear Home" is a personal photographic series that was born out of the chaotic moments that Khalid spent in Khartoum during the ongoing Sudan’s conflict. Khalid captures the details of the heartbreaking uprooting of his family as they leave the comfort of his family's home in Khartoum and travel 350 kilometres to his grandfather's birthplace of Berber. The photos act as Khalid’s visual journal of resiliency, openness, and grief during his pain of saying goodbye to family and homeland. "Dear Home" is a tribute to the courage of those who navigate the mayhem of war and the difficult choices it imposes, all while carrying the innate connection to one's homeland.
I am Kevin Kimani, (KYmani) a self-taught photographer and artist based in Nairobi, Kenya. I am a co-partner at The Photo House (The pH), a photography and design studio, working alongside Nala Ayieta and frequent collaborator Kibe Nduni. My works are mostly contemporary although I strive to create work that would be considered timeless without the boundaries/constrictions of space and theme. I consciously refrain from confining myself from a single genre of both art and photography, appreciating the diverse channels of expression that art and photography have to offer.
AGULET
The submitted pictures are from the series AGULET, named after the muse. This collection is an expression of shape and form, colour and contrast, and ambiguity of space and time all coming together in harmony to create a set of images for this collection. The theme of this collection is open-ended and the viewer has the freedom to formulate their own interpretation(s) upon interacting with the pictures from this collection.
Born on June 20, 1996, Landry Ndungi is a Congolese photographer residing and working in Kinshasa. He has collaborated with AFP and exhibited his work at the Belgian Embassy. A winner of a photography contest organised by UNICEF early in his career, he is constantly seeking to develop a distinctive approach to his work. His work highlights his city, its people, their daily lives, and their stories with a sensitive perspective. He is currently pursuing his graduate studies in the photography department at the Académie des Beaux-Arts in Kinshasa.
Lipipi
Lipipi is a Lingala word meaning ‘scar’. This project aims to explore scars as carriers of certain stereotypes in contemporary society. Often regarded as scarification, which convey cultural and/or personal information in traditional societies, scars now lead to prejudices. Lipipi invites us to view scars as a form of visual language capable of interpreting our memory, both temporal and timeless.
Born in 1996 in Niamey, the capital of Niger, Mahamadou Hamidou is a computer engineer and audiovisual producer with a passion for photography. He ventured into this field in 2018, without any formal training. Through numerous online courses and interactions with professionals, he has honed his craft. Although he explores various photographic styles, he primarily focuses on photojournalism. His first photography training took place in Abidjan during the AFF 2023 photography workshop at Aida Muluneh Studio, led by Marvin Joseph (The Washington Post). Mahamadou currently lives in Niamey, where he practises his passion daily.
Small Game Hunting
Small game hunting is an ancient tradition in the sandy steppes of the Sahel, but the violence of conflicts with Islamist insurgents in Niger has restricted this activity. Abdou Kouda, a long-time hunter, views hunting as a vital family heritage for the protection of the community. Despite insecurity and restrictions, he uses traditional methods (dogs, slingshots, sticks) and modern techniques (motorcycles) to teach this practice to his children, hoping to preserve this tradition for future generations
Malick Welli (b. 1990) is a Senegalese visual artist who lives and works in Dakar. His work lies at the intersection of fine art, photography and installation. Recently shown at the National Museum of World Cultures in Leiden, Netherlands, and at the Chanel Fashion house’s 19M gallery in Paris, France. Through his work Welli explores themes of religion, spirituality, power and how they shape visual culture. Previous exhibitions include: 1-54 Contemporary African Art Fair, New York (USA); 1-54 Contemporary African Art Fair, Marrakech ( Morocco), Art X Lagos ( Nigeria) EXPO CHGO (USA); Cairo Biennial (Egypt); and AKAA (Also Known As Africa (France) amongst others. His work is included in the permanent collection of the Chazen Museum of Art , Madison, Wisconsin (USA) as well as several other public and private collections internationally.
The ANONYM(US)
The ANONYM(US) series explores the deep connection between humans and nature, drawing on the spiritual traditions of the Manjak people and African spirituality. Welli’s work emphasises anonymity, human spirit in nature, and the sacred bond between humanity and the natural world. Through discussions on sacred wood,ancestral reincarnation, and the symbolic importance of trees, Welli challenges us to recognize how modern life has disconnected us from nature.
The series highlights the urgency of integrating nature into our lives for collective well-being and environmental preservation. Welli’s experiences in Casamance during the pandemic inspired a contemplation on harmonious coexistence with nature. The series serves as a reminder of ancient wisdom that venerates nature as vital for life. It calls for reflection on our relationship with nature and each other, urging us to prioritise nature’s well-being alongside our own. Amidst modern challenges, the ANONYM(US) series prompts us to embrace our role as Earth stewards and commit to safeguarding the sanctity of nature. It encourages us to view nature not just as a resource but as a sacred entity deserving of reverence and protection. Welli’s work invites us to reevaluate our connection to nature and underscores the importance of preserving the delicate balance between humanity and the natural world.