All About Photo
A blog dedicated to fine art photography all around the world.
It is the extension of the website www.all-about-photo.com
Saturday, August 2, 2025
All About Photo Presents 'The Witching Hour' by Anastasia Sierra
Discover the Solo Exhbition Here
Solo Exhibition August 1 -31, 2025
I become a mother and stop sleeping through the night. Years go by, the child sleeps soundly in his bed but I still wake at every noise. My father comes to live with us and all of a sudden I am a mother to everyone. As I drift off to sleep I can no longer tell my dreams from reality. In one nightmare my father tells me he’s only got two weeks left to live, in another I am late to pick up my son from school and never see him again. I am afraid of monsters, but instead of running, I move towards them: we circle each other until I realize that they are just as afraid of me as I am of them.
My images follow the logic of my dreams, where we are trapped in a strange colorful world, playing a never ending game of hide and seek in a labyrinth of love, care and fears, pushing against its walls, with no way to escape but wake up.
This work explores the emotional landscape of caregiving: tenderness, joy, fears, and a constant sense of what could be lost.
Discover the Solo Exhbition Here
Saturday, July 19, 2025
Letter to the Editor Regarding AAP Magazine #48: Portrait by Tom Zimberoff
First, let me say how much I admire the work All About Photo continues to do, broadly recognized as an essential platform for photographers worldwide. And that’s precisely why I feel compelled to write candidly.
There are untold works of portraiture by my contemporaries, younger and older alike, with whom I’d feel honored to share company in a juried competition—even as a runner-up. But in this instance, I was dismayed by the context in which my own work appeared. With respect, I’ve asked that my photographs be withdrawn from the print edition of AAP Magazine #48: Portrait.
Robert Flynn Johnson, Emeritus Curator of the de Young Museum © Tom Zimberoff
Sour grapes? Nope. My concern is broader—and more pressing. It has to do with how portraiture has come to be ill-defined, misrepresented, and, therefore, contextually misjudged.
The First Prize-winner—representing a series of photographs (not just one), while admirable in many ways, is explicitly described by its author as the work of a documentary photographer. Her term, not mine. The Third Prize image closely mimics a well-known portrait by Herb Ritts (Djimon Hounsou with Octopus)—which, while perhaps an homage, raises serious questions about its originality in a juried context. And many of the remaining photographs blur lines between genres to the point of making portraiture itself unrecognizable as a separate category.
This kind of categorical slippage may feel inclusive, even progressive. But it threatens to erode the expressive ethos that distinguishes portraiture from documentary photography, photojournalism, and conceptual art. A photograph is not a portrait simply because it includes a person in the frame. And a photographer’s portfolio of portraits need not represent a series to be taken seriously; it can be discursive without losing its semblance of singular style.
First Place Winner: 'That place he goes' © Carole Mills Noronha
A bit of context: Having been published prolifically when magazines ruled the media, throughout the heyday of editorial photo assignments, I had little use for contests. Few working pros did. We relied on steady publication—backed by photo credits—to reach additional editors, art directors, and curators. And we got paid.
I quit shooting just as my career reached escape velocity, coincidentally on the cusp of the industry going digital. That’s another story. Nevertheless, having returned to photography after a 20-year hiatus, I now find myself in unfamiliar territory. To get my work seen again, in a world where I am as unknown now as any newbie, I splurged on entering contests—an experiment if you will. The upshot was, with regard to earning a living, or even just self-approbation: it’s not even close to the value of cultivating personal relationships with the gatekeepers who now hide behind a curtain of contests.
Because of my long absence, I have a clearer picture of how radically this change has affected photographers. Unlike the proverbial frog, I didn’t get imperceptibly boiled—I jumped back in the pot and found it immediately scalding.
The most seismic change I see? So-called “content,” dominated by politically relevant images, tinged with poignant social justice issues, too often outweighs the intellectual rigor and technical skill that clarify any given photographer’s vision. A distinctive voice—evident across a broad range of subjects—is no longer enough. Work must now conform to a project, a theme, a narrative arc that can be easily pitched and parsed on an Instagram feed—or a contest. And photographers are now obliged to enter them all, hoping that someone who can hire them, if not the judges themselves, will see their pictures. It’s part of a pay-to-play protocol that is distasteful to me in a world where getting a magazine assignment is like finding a payphone that still works, and “photobooks” rule the day. Good luck making a living at that!
Third Place Winner: 'Wet Plate Collodion Portraits' © Paul Adams
The lack of a straightforward path to publication, online or in print, editorial or commercial, let alone to print sales and books, plus the demise of a once-prevalent system of photo agencies (thanks to the rank ignorance of Getty Images and the erstwhile Corbis about the pecuniary value of photography), has engendered not only a prevailing culture of contests but a greater proliferation of photographers who enter them. But don’t get me wrong; I’m seeing more and better work than ever before. Yet when an even bigger firehose of mediocrity dilutes that stream of talent, photography is celebrated less for its quality than its subject matter, and ill-defined borderlines between genres diffuse the power of creativity.
Specifically, the conflation of portraiture with both documentary photography (which proselytizes a specific agenda) and photojournalism (which bears witness to unfolding events) are the most egregious examples of this homogenization of genres. The advocacy of political, societal, and moral issues has begun to eclipse the importance of photographic craft and the expressive ethos of portraiture itself. Mixing apples, oranges, and bananas may make a tasty smoothie, but you'll miss the individual textures and flavors of each individual fruit.
This is not a call to reject work with social or political substance—far from it. It’s a call to restore balance: to reaffirm the value of formal rigor, genre clarity, and the vision that defines great photography in every category. We urgently need to resist a flattening of standards—where “portrait” becomes a catchall for any image with a face, and reject initiatives that value form over substance, content over quality. We can do that and still make room for eclectic, rigorous, and idiosyncratic bodies of work without contradicting the inherent differences between photographic genres when they're forced to compete indiscriminately with each other in the same arena.
Thank you for the space to share these thoughts. I hope this letter contributes to a larger, necessary conversation—one that challenges, yes, but also clarifies what we mean when we say something is portraiture.
Respectfully,
Tom Zimberoff
More information about Tom Zimberoff here
Principles of Portraiture on Camera by Tom Zimberoff
There are untold works of portraiture by my contemporaries, younger and older alike, with whom I’d feel honored to share company in a juried competition—even as a runner-up. But in this instance, I was dismayed by the context in which my own work appeared. With respect, I’ve asked that my photographs be withdrawn from the print edition of AAP Magazine #48: Portrait.
Robert Flynn Johnson, Emeritus Curator of the de Young Museum © Tom Zimberoff
Sour grapes? Nope. My concern is broader—and more pressing. It has to do with how portraiture has come to be ill-defined, misrepresented, and, therefore, contextually misjudged.
The First Prize-winner—representing a series of photographs (not just one), while admirable in many ways, is explicitly described by its author as the work of a documentary photographer. Her term, not mine. The Third Prize image closely mimics a well-known portrait by Herb Ritts (Djimon Hounsou with Octopus)—which, while perhaps an homage, raises serious questions about its originality in a juried context. And many of the remaining photographs blur lines between genres to the point of making portraiture itself unrecognizable as a separate category.
This kind of categorical slippage may feel inclusive, even progressive. But it threatens to erode the expressive ethos that distinguishes portraiture from documentary photography, photojournalism, and conceptual art. A photograph is not a portrait simply because it includes a person in the frame. And a photographer’s portfolio of portraits need not represent a series to be taken seriously; it can be discursive without losing its semblance of singular style.
First Place Winner: 'That place he goes' © Carole Mills Noronha
A bit of context: Having been published prolifically when magazines ruled the media, throughout the heyday of editorial photo assignments, I had little use for contests. Few working pros did. We relied on steady publication—backed by photo credits—to reach additional editors, art directors, and curators. And we got paid.
I quit shooting just as my career reached escape velocity, coincidentally on the cusp of the industry going digital. That’s another story. Nevertheless, having returned to photography after a 20-year hiatus, I now find myself in unfamiliar territory. To get my work seen again, in a world where I am as unknown now as any newbie, I splurged on entering contests—an experiment if you will. The upshot was, with regard to earning a living, or even just self-approbation: it’s not even close to the value of cultivating personal relationships with the gatekeepers who now hide behind a curtain of contests.
Because of my long absence, I have a clearer picture of how radically this change has affected photographers. Unlike the proverbial frog, I didn’t get imperceptibly boiled—I jumped back in the pot and found it immediately scalding.
The most seismic change I see? So-called “content,” dominated by politically relevant images, tinged with poignant social justice issues, too often outweighs the intellectual rigor and technical skill that clarify any given photographer’s vision. A distinctive voice—evident across a broad range of subjects—is no longer enough. Work must now conform to a project, a theme, a narrative arc that can be easily pitched and parsed on an Instagram feed—or a contest. And photographers are now obliged to enter them all, hoping that someone who can hire them, if not the judges themselves, will see their pictures. It’s part of a pay-to-play protocol that is distasteful to me in a world where getting a magazine assignment is like finding a payphone that still works, and “photobooks” rule the day. Good luck making a living at that!
Third Place Winner: 'Wet Plate Collodion Portraits' © Paul Adams
The lack of a straightforward path to publication, online or in print, editorial or commercial, let alone to print sales and books, plus the demise of a once-prevalent system of photo agencies (thanks to the rank ignorance of Getty Images and the erstwhile Corbis about the pecuniary value of photography), has engendered not only a prevailing culture of contests but a greater proliferation of photographers who enter them. But don’t get me wrong; I’m seeing more and better work than ever before. Yet when an even bigger firehose of mediocrity dilutes that stream of talent, photography is celebrated less for its quality than its subject matter, and ill-defined borderlines between genres diffuse the power of creativity.
Specifically, the conflation of portraiture with both documentary photography (which proselytizes a specific agenda) and photojournalism (which bears witness to unfolding events) are the most egregious examples of this homogenization of genres. The advocacy of political, societal, and moral issues has begun to eclipse the importance of photographic craft and the expressive ethos of portraiture itself. Mixing apples, oranges, and bananas may make a tasty smoothie, but you'll miss the individual textures and flavors of each individual fruit.
This is not a call to reject work with social or political substance—far from it. It’s a call to restore balance: to reaffirm the value of formal rigor, genre clarity, and the vision that defines great photography in every category. We urgently need to resist a flattening of standards—where “portrait” becomes a catchall for any image with a face, and reject initiatives that value form over substance, content over quality. We can do that and still make room for eclectic, rigorous, and idiosyncratic bodies of work without contradicting the inherent differences between photographic genres when they're forced to compete indiscriminately with each other in the same arena.
Thank you for the space to share these thoughts. I hope this letter contributes to a larger, necessary conversation—one that challenges, yes, but also clarifies what we mean when we say something is portraiture.
Respectfully,
Tom Zimberoff
More information about Tom Zimberoff here
Principles of Portraiture on Camera by Tom Zimberoff
Tuesday, July 1, 2025
All About Photo Presents 'Street Photography At The End Of The 80s' by Henk Kosche
Step into East Germany before the Wall fell.
Rediscovered after nearly 40 years, Henk Kosche’s haunting black-and-white photos capture the soul of Halle an der Saale in the late 1980s. A rare glimpse into a city—and a way of life—on the brink of disappearance.
Discover the Solo Exhibition here Discover the Solo Exhibition here
Rediscovered after nearly 40 years, Henk Kosche’s haunting black-and-white photos capture the soul of Halle an der Saale in the late 1980s. A rare glimpse into a city—and a way of life—on the brink of disappearance.
Discover the Solo Exhibition here Discover the Solo Exhibition here
Thursday, June 19, 2025
Final Call to Win a Solo Exhibition in July 2025
DEADLINE JUNE 20, 2025
Maximize Your Exposure: Enter the Solo Exhibition Competition for a Month-Long Online Showcase
At All About Photo, we celebrate extraordinary photography that inspires, transforms, and connects with us on a deeper level.
WHY ENTER THE SOLO EXHIBITION?
Global Reach: The Solo Exhibition allows you to showcase your work to a wide audience through one of the most dynamic photography portals on the web.
Open to All Genres: Whether you're into photojournalism, street photography, fine art, landscapes, or portraiture—this competition welcomes all categories and subjects. Unleash your creativity!
For All Photographers: Open to both professional photographers and enthusiasts alike. Submit a cohesive body of work or portfolio that reflects your unique vision.
EXCLUSIVE BENEFITS:
Featured Solo Exhibition: Your work will be showcased for a full month across our Home Page, Competition Gallery and Photography Exhibition Directory.
Exclusive Interview: In-depth insights and unique exposure
Permanent Online Presence: Your Solo Exhibition will be permanently accessible on All About Photo Showroom + A dedicated portfolio page showcasing 20 images in our Photographers Directory
Social Media Exposure: Reach a global audience through our Instagram, Facebook, and Twitter accounts.
A Special Edition Newsletter exclusively dedicated to announcing your Solo Exhibition.
International Press Coverage: Get featured in major media outlets with guaranteed publications on Bored Panda, Visura and Photophiles Magazine.
Sell Your Work, Commission-Free: Sell directly to buyers with no commission fees—maximize your earnings!
SUBMISSION GUIDELINES:
Open Theme
Submit 6 to 14 images for a flat fee of $45.
Only cohesive projects or portfolios will be published as a Solo Exhibition.
Why Wait? Submit Today! Seize the opportunity to gain international visibility, connect with industry experts, and elevate your photography career. Enter the Solo Exhibition competition now!
MORE INFORMATION HERE
Maximize Your Exposure: Enter the Solo Exhibition Competition for a Month-Long Online Showcase
At All About Photo, we celebrate extraordinary photography that inspires, transforms, and connects with us on a deeper level.
WHY ENTER THE SOLO EXHIBITION?
Global Reach: The Solo Exhibition allows you to showcase your work to a wide audience through one of the most dynamic photography portals on the web.
Open to All Genres: Whether you're into photojournalism, street photography, fine art, landscapes, or portraiture—this competition welcomes all categories and subjects. Unleash your creativity!
For All Photographers: Open to both professional photographers and enthusiasts alike. Submit a cohesive body of work or portfolio that reflects your unique vision.
EXCLUSIVE BENEFITS:
Featured Solo Exhibition: Your work will be showcased for a full month across our Home Page, Competition Gallery and Photography Exhibition Directory.
Exclusive Interview: In-depth insights and unique exposure
Permanent Online Presence: Your Solo Exhibition will be permanently accessible on All About Photo Showroom + A dedicated portfolio page showcasing 20 images in our Photographers Directory
Social Media Exposure: Reach a global audience through our Instagram, Facebook, and Twitter accounts.
A Special Edition Newsletter exclusively dedicated to announcing your Solo Exhibition.
International Press Coverage: Get featured in major media outlets with guaranteed publications on Bored Panda, Visura and Photophiles Magazine.
Sell Your Work, Commission-Free: Sell directly to buyers with no commission fees—maximize your earnings!
SUBMISSION GUIDELINES:
Open Theme
Submit 6 to 14 images for a flat fee of $45.
Only cohesive projects or portfolios will be published as a Solo Exhibition.
Why Wait? Submit Today! Seize the opportunity to gain international visibility, connect with industry experts, and elevate your photography career. Enter the Solo Exhibition competition now!
MORE INFORMATION HERE
Fotomuseum in Maastricht presents Italian photographer Franco Zecchin
© Franco Zecchin - Brotherhood of Holy Crucifix. Palermo 1988
27 September 2025 – 25 January 2026
Fotomuseum aan het Vrijthof in Maastricht, the Netherlands, presents an exhibition by Italian social documentary photographer Franco Zecchin from 27 September 2025 until 25 January 2026. The exhibition Life in Sicily features fifty iconic black-and-white photographs taken on the Italian island between 1975 and 1994. During this turbulent period, Sicily faced large-scale mafia violence, political corruption, and social inequality.
In 1975, Franco Zecchin moved to Palermo and began his career as a photojournalist for the daily newspaper L’Ora, paying particular attention to the influential mafia organization Cosa Nostra. The engaged photographer captured assassinations, funerals, protests, and the everyday reality of people trying to live in the shadow of this threat. Zecchin’s images reflect an island in crisis and the resilience of its inhabitants.
The photographer is considered one of the most important visual chroniclers of Sicily’s bloody mafia era. The exhibition offers a penetrating view of the struggle between organized crime, civil society, and government. The images also show the complexity of a society where violence and beauty often coexist uneasily. In 2019, a selection from this extensive photo series is bundled in the book Continente Sicilia.
Franco Zecchin (Milan, 1953) worked intensively with his partner, photographer, and anti-mafia activist Letizia Battaglia. From 1988 to 1991, he was an associate member of the Magnum Photos agency. The photographer explored themes of nomadism and religious feasts in the 1990s. Besides exhibitions in Europe and the United States, his internationally acclaimed work is included in the collections of the Maison Européenne de la Photographie (MEP) in Paris and the Museum of Modern Art (MoMA) in New York. Since 2006, Zecchin has been living and teaching in Marseille.
More information here
© Franco Zecchin - The 'Lapa', a popular and family car. Palermo 1980
© Franco Zecchin - Benedetto Grado's wife and daughters at the scene of his murder. The family was already mourning the son Antonio's murder. Palermo 1983
More information here
27 September 2025 – 25 January 2026
Fotomuseum aan het Vrijthof in Maastricht, the Netherlands, presents an exhibition by Italian social documentary photographer Franco Zecchin from 27 September 2025 until 25 January 2026. The exhibition Life in Sicily features fifty iconic black-and-white photographs taken on the Italian island between 1975 and 1994. During this turbulent period, Sicily faced large-scale mafia violence, political corruption, and social inequality.
In 1975, Franco Zecchin moved to Palermo and began his career as a photojournalist for the daily newspaper L’Ora, paying particular attention to the influential mafia organization Cosa Nostra. The engaged photographer captured assassinations, funerals, protests, and the everyday reality of people trying to live in the shadow of this threat. Zecchin’s images reflect an island in crisis and the resilience of its inhabitants.
The photographer is considered one of the most important visual chroniclers of Sicily’s bloody mafia era. The exhibition offers a penetrating view of the struggle between organized crime, civil society, and government. The images also show the complexity of a society where violence and beauty often coexist uneasily. In 2019, a selection from this extensive photo series is bundled in the book Continente Sicilia.
Franco Zecchin (Milan, 1953) worked intensively with his partner, photographer, and anti-mafia activist Letizia Battaglia. From 1988 to 1991, he was an associate member of the Magnum Photos agency. The photographer explored themes of nomadism and religious feasts in the 1990s. Besides exhibitions in Europe and the United States, his internationally acclaimed work is included in the collections of the Maison Européenne de la Photographie (MEP) in Paris and the Museum of Modern Art (MoMA) in New York. Since 2006, Zecchin has been living and teaching in Marseille.
More information here
© Franco Zecchin - The 'Lapa', a popular and family car. Palermo 1980
© Franco Zecchin - Benedetto Grado's wife and daughters at the scene of his murder. The family was already mourning the son Antonio's murder. Palermo 1983
More information here
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