Toby Binder

By capturing the gritty reality of Belfast youth, photographer Toby Binder has earned 1st place in the People/Children category of the 2024 International Photography Awards. In his series, titled Wee Muckers – Youth of Belfast, Binder documents the lives of working-class Belfast children and adolescents through their streets, parks, and neighbourhoods. These images, with their raw and dynamic quality, communicate to us authentically about the daily lives of the youth that reside in post-conflict Northern Ireland. More than that, the series is a deeply empathetic portrait of young lives shaped by the ramifications of historical conflict, infiltrated by epidemics of suicide and drugs. 

We had the pleasure of speaking with Toby Binder about his experience creating this powerful series, and his insights into the lives of his subjects. Now, we invite you to explore the journey that shaped Wee Muckers – Youth of Belfast. In his reflections, Binder shares the endearing meaning behind the series’ title, his strong sense of social responsibility, and the ethical choices that guided his approach.

Q: What is the meaning behind “Wee Muckers” and what is the inspiration behind this title? 

I tried to find a more sonorous name in addition to the working title ‘Youth of Belfast’ and also wanted to include the special terms of local language used in Northern Ireland. The idea ultimately came from a teacher I was in contact with because I photographed his pupils for the project. It just means “little friends” and thus captures the content of the book quite well, in that it is also about the importance of friendship and solidarity.

Q: Do you feel any sense of social responsibility towards the youth of Belfast? If so, how does that shape your approach to photography? 

Of course! As in all my work, I feel connected to the people I photograph. This always creates a responsibility for how I photograph and also how I use the images. Because in documentary photography you have to deal with real people and your work often has concrete impact on their lives, which can be both good and bad. I always try to approach people honestly and responsibly, which is all the more important when you’re working with vulnerable groups. Young people in particular are not always able to judge the consequences correctly when a great closeness has developed through trust. Of course, it’s this authenticity that you want as a photographer, but I also have to fulfil a responsibility and sometimes protect the protagonists. This is not to be understood in the sense of censorship, but some pictures, for example, I have only published after a time when they were no longer relevant under criminal law – but they are still socially relevant. In Belfast, I’m also trying to get involved in suicide prevention for teenagers, as this topic – regardless of the photography I came into contact with it through – simply concerns me personally.

Q: You’ve documented youth on both sides of the historical Irish sectarian conflict. How similar or different are the struggles they face, and do you see any common ground between them?

Absolutely, that was actually the idea behind the book: to show that so many years after the peace agreement, many things in people’s everyday lives, especially those of young people, are exactly the same. Same clothes, same hairstyles, same drugs, same problems… Catholics used to be discriminated against when it came to getting a job back then, but now many Protestants also have to struggle with unemployment, for example. It is now much more obvious that it is actually a social conflict that is being kept simmering by a few. Please keep in mind, I’m talking here about the situation in the working-class neighbourhoods, which are still mostly homogeneous in terms of denomination. This idea of tradition and culture here, of how you have to be in order to fit into certain patterns, exerts enormous pressure on young people. Because belonging and solidarity have long been paramount. What if I’m not like that? But little by little, a liberation from these structures modelled by the elders is already taking place. In recent years, I have met more and more mixed-denominational teenage couples, for example. Something that would have been unthinkable until a few years ago.

Q: How do you approach capturing the raw, everyday moments in Belfast? Do you have a specific process or style that guides your work? How do you go about building trust with the teenagers?

It’s pretty simple and it’s all about time and honesty. The kids have a good sense of whether you’re really interested in their situation, their life. And whether this interest is authentic and continues even when there’s no photo to be taken. And you’re just chatting. Having a cigarette or revealing something from your own life.

Q: Can you describe a moment or a photograph that particularly stands out to you in the “Wee Muckers” series? What was it about that moment that you felt was important to capture?

I don’t think there’s a single moment or photo. Especially because I see the work as long-term documentation, as a process. I’m waiting for moments, strong individual pictures, of course. But these should come together to form a complete story. Personally, it is always very touching for me to come back and see what has become of the teenagers I photographed. When they grow up, when they’re doing well, when they get their lives together, you’re happy. But of course there is also the other side: death, drugs, mental problems, prison.

Q: There is a recurring backdrop in almost all of the photographs. How important is the setting, or the backdrop, in your work? Do you consider the physical surroundings to be as much a part of the story as the people themselves? 

My work always starts with people; they are always my focus. But I do think that the environment has a massive influence on the people who live there, and vice versa. There are lots of examples for this interaction. Once a house on a street has boarded up its windows, the inhibition for vandalism of other buildings also drops. If someone plants flowers in their front garden, the neighbor’s rubbish is no longer thrown on the street, etc. On the other hand, in Belfast, for example, a fenced-in water reservoir that young people used to gain unauthorized access to was always a popular meeting place. It looked wild there, with fire pits and lots of rubbish. Then the city turned the area into a park, and it’s much nicer now. People go for walks with their dogs. But today’s young people are missing precisely this kind of retreat the kids used to have before…! And in Belfast in particular, the physical shape of the city by history cannot be obscured. There are simply so many fences, walls, and dead ends.

Conclusion

Toby Binder’s Wee Muckers – Youth of Belfast is far more than a documentary series. It is a raw, empathetic portrait of a generation navigating the remnants of a divided past while forging paths toward a shared future. Through gritty backdrops, Binder invites us into the lives of Belfast’s youth with a lens that is both socially conscious and deeply human. His work reminds us that, despite the persistent shadows of conflict and deprivation, there is resilience, connection, and even hope within these communities.

View the full series here. 

Read about other winning photographers 

• Dale May’s “Last Trip Home”: A Powerful Fusion of Photography and CGI
• In the shadows of Silent Women: Exploring Identity, Womanhood, and Community Through Photography with Maryam Firuzi
• “Fine Art of Resilience,” : Paul Szimák’s Award-Winning Photography Series

TIFA celebrates global talent and connects photographers to Tokyo’s vibrant creative scene, while IPA honors the achievements of professional, amateur, and student photographers worldwide. Together, they represent the global photography scene. 

Set on the idyllic island of Koh Samui, the House of Lucie is a cultural hub that showcases award-winning work from around the world. This joint exhibition will feature striking images from recent TIFA and IPA winners, highlighting diverse perspectives across genres like fine art, documentary, and editorial photography.

More than just a gallery show, the event offers an immersive experience with talks, tours, and a celebration of photography. Don’t miss this rare opportunity to see the world through the eyes of today’s most compelling visual storytellers.

Opening May 3 at House of Lucie Koh Samui

For more information, check out the Facebook event, or visit www.houseoflucie.org.

The International Photography Awards (IPA) is an annual competition that honors photographers across 11 categories. One of the standout sub-categories is “Children,” which falls under the broader category of People.

In this article, we take a journey through the 2024 IPA winning photographs of children and adolescents from around the globe. These images, captured in both the Children sub-category and other categories such as “Fine Art/Portrait”, invite reflection and admiration. Explore the raw, unfiltered expressions of the children in these powerful photographs.

Wee Muckers – Youth of Belfast 

Toby Binder

1st Place / People / Children

Toby Binder’s Wee Muckers – Youth of Belfast captures the daily lives of teenagers in Belfast, Northern Ireland, offering a powerful look into the complexities of identity in a city shaped by history and politics. After the Brexit referendum, Binder focused his lens on working-class youth in Belfast, exploring how culture, religion, and nationalism are often dictated by the “accident” of where you are born. This notion by Belfast-born novelist Paul McVeigh resonates with Binder’s work. 

McVeigh poignantly observes,“If I had been born at the top of my street, behind the corrugated-iron border, I would have been British. Incredible to think. My whole idea of myself, the attachments made to a culture, heritage, religion, nationalism and politics are all an accident of birth. I was one street away from being born my ‘enemy’” 

In these raw, intimate images, Binder portrays the resilience and vulnerability of the youth, whose expressions reveal both the scars of the past and a hopeful gaze toward the future. As jury member Daria Bonera notes, the work is “powerful and intense,” challenging us to reflect on how children inherit not just their environment, but the tensions that come with it.

Congolese Flower

Reiny Bourgonje

3rd Place / Fine Art / Portrait

Reiny Bourgonje’s Congolese Flower is a striking portrait from his series on adoption and refugee children. The image features a young Congolese girl, radiating grace as she stands in a gleaming gold dress. The shiny fabric captures and reflects the light, adding a layer of elegance to her presence.

As jury member Paris Chong aptly describes, the portrait is “simply elegant”, showcasing not just the beauty of the subject but the strength and dignity that children from challenging backgrounds often embody. The photograph is a testament to Bourgonje’s ability to capture both the vulnerability and resilience of youth.

Natan with His Neighbour

Tariq Zaidi

2nd Place / People / Children

Captured in Kinshasa, Democratic Republic of the Congo, Tariq Zaidi’s portrait shows 8-year-old Natan (left) with his neighbor (right). Natan, a school student and “sapeur” (a member of the stylish subculture of the Congo) for three years, is dressed in stylish, carefully chosen attire that reflects his pride and individuality. The photograph beautifully captures the bond between these two young friends, highlighting both their youthful spirit and the unique cultural expression they embody.

Parallel Universes of Children

Ugur Gallenkus

1st Place / Book/Other

Ugur Gallenkus’s Parallel Universes of Children is an impactful and thought-provoking series that shines a light on the stark contrasts between privileged and oppressed children worldwide. This 108-page hardcover book presents 50 striking photo collages, blending images of children in drastically different circumstances. From those suffering in conflict zones and poverty, to children enjoying the comforts of modern life, Gallenkus masterfully juxtaposes these realities to highlight the disparities that define childhood for so many around the globe.

As Jury member Jamason Chen notes, the book’s design and thoughtful layout elevate the project from just an online montage to a tangible and collectible visual statement—an “important statement for the human bibliothèque.” 

Conclusion

The 2024 International Photography Awards not only celebrates the skill of talented photographers but also highlights the diverse realities of childhood across the globe. These award-winning photographs, ranging from intimate portraits of youth in conflict zones to celebratory depictions of cultural pride, offer a powerful glimpse into the resilience and spirit of children. Through these visual stories, we are reminded of the universal nature of childhood—no matter where in the world a child may live. As the IPA winners demonstrate, photography has the profound ability to bridge cultural divides and bring attention to the voices of children who often go unheard.

View the 2024 IPA winners gallery here.

Whilst committed to nurturing emerging talent, the agency also represents established, renowned photographers such as Annie Leibovitz, Nadav Kander and Steve McCurry – all known for creating iconic images that have become part of photographic history.

Splitting his time between London and New York, Craig represents artists globally, overseeing projects across all territories. Given Craig’s experience working with artists across both the fine art and commercial worlds, he brings a well-rounded perspective as a juror for the IPA.

Descendants of Black civil combatants by Drew Gardner: Analog/Film Photographer of the Year

Drew Gardner has been awarded the prestigious title of Analog/Film Photographer of the Year for his exceptional work in the “Descendants of the Civil War” series. Shot on a 5×7 TinType camera, Gardner’s portraits are not merely images—they are history brought to life. In his series, Gardner explores the descendants of Black Civil War combatants, carefully tracing their lineage over three years of research.

One of the standout images features Neikoye Flowers, a direct descendant of David Miles Moore, a drummer boy in the 54th Massachusetts Infantry, who served in the Civil War. Gardner’s decision to use the TinType process—an early photographic technique known for its vintage, tactile quality—gives these portraits an authenticity and gravity that resonates with the weight of history. His work not only honors the legacy of these individuals but also serves as a profound meditation on heritage and identity.

View Gardner’s series.

Portraits, Wet Plate Collodion by Miguel Angel Cruzado: 2nd Place Winner for Analog/Film Portraits

The 2nd Place award in the Analog/Film/Portrait category went to Miguel Angel Cruzado for his outstanding series, “Portraits, Wet Plate Collodion”. This project delves into the richness of human diversity through portraits captured using the wet plate collodion process, a labor-intensive and highly artistic method from the 19th century.

Cruzado’s portraits are deeply introspective, capturing the unique character and emotional depth of each subject. The wet plate collodion process, with its rich tonalities and timeless aesthetic, highlights the individuality of each person, making every portrait an evocative piece of art. 

Cruzado reflects on the project, stating,

“The project “Portraits Wet Plate Collodion” explores human character diversity through portraits captured using the wet collodion technique. Each image highlights the depth and uniqueness of the individuals, offering an introspective and nostalgic view. The richness of individual stories is manifested through the timeless aesthetic of the photographic process.” 

He further describes the special moment shared with his models during development, saying,  “The most magical moment happens during the fixing process in the darkroom, when the image progressively appears on the plate. It is at this point that the model experiences a profound sense of wonder, often describing the emergence of their portrait as magical. “It’s magic” is the phrase I hear most often.” 

View Cruzado’s series.

”People to whom I have invited myself” by Martina Holmberg: 3rd Place Winner for Analog/Film Portraits

In 3rd Place, Martina Holmberg was recognized for her poignant portrait of Voukko, a woman who has faced significant health challenges, particularly severe rheumatism. Captured in 2008 using a Pentax and Kodak 120 film, Holmberg’s portrait is part of her ongoing project, “People to Whom I Have Invited Myself”.

Holmberg’s project is an exploration of human connection, vulnerability, and the search for meaning in the fleeting moments of our lives. She met each of her subjects through chance encounters and then invited herself into their homes to capture intimate, revealing portraits. 

Explaining the inspiration behind this series, Holmberg shared

“I have been working on the project for a couple of years. By inviting myself to strangers, tension arises. I have no idea who the person is and what the person will tell me or how the meeting and the photo shoot will crystallize. Every person is unique and has a unique story. We are all people who are trying to create a meaningful existence for ourselves. Therefore, every person carries a story that is worth telling.”

Holmberg’s work embodies the essence of analog portraiture, where the imperfections and organic qualities of the medium enhance the authenticity of the human experience. The analog process allows her to create timeless portraits that speak volumes about the individuality of her subjects and the connection between photographer and subject. 

Visit Holmberg’s website to learn more about her.

Conclusion

These three winners—Drew Gardner, Miguel Angel Cruzado, and Martina Holmberg—demonstrate the enduring power of analog photography in capturing the soul of their subjects. Whether using wet plate collodion, TinType, or Kodak 120 film, each photographer brings their own distinct approach to the medium, but all share a commitment to creating art that transcends the limits of time.

View all IPA 2024 winners here.

In this article, we explore May’s project, Last Trip Home, that has garnered him IPA’s 2024 title of Special Photographer of the Year. The International Photography Awards (IPA) is a globally recognized annual competition that celebrates the achievements of professional, non-professional, and student photographers across a diverse range of categories, including fine art, nature, events, and architecture. View the full list of categories here.

This image, a poignant narrative captured through the fusion of photography and CGI, highlights May’s extraordinary ability to merge the real and the imagined, creating an unforgettable emotional experience for his audience.

ale May’s “Last Trip Home”

About Dale May

Dale May’s career has spanned over three decades, during which he has earned a reputation for blending traditional photography with cutting-edge CGI. With a client list that includes major brands like Sony, Puma, and Universal Music, May’s work is recognized for its richness, character-driven narratives, and impeccable technical execution.

But it’s his recent project Last Trip Home which earned him the title of Special Photographer of the Year at the 2024 International Design Awards, highlighting just how deeply he understands the power of visual storytelling.

A Heartfelt Story Captured Through Artistry and Technology

Last Trip Home is a highly verisimilitudinous image that merges the actual with the surreal. The photograph depicts a pivotal moment in the life of a young woman, portrayed by Emerson Croasdale, as she returns to her hometown to care for her father, a war veteran battling cancer. 

The scene is simple yet profound: while tending to the garden, the woman spots black smoke rising in the distance, signaling an event that will change everything. It’s a moment filled with quiet tension.

What makes this image particularly striking is how May combines traditional photography with CGI to convey this emotional turning point. The black smoke in the background, which could not have been captured in a real-life setting, is seamlessly integrated into the composition.

“I created the entire scene with CGI using Blender | Cycles Render. Emily was photographed in my home studio. The old man is a combination of head and body models from 3dScanStore.com. The dog is a low poly model that I added Blender’s Geometry Nodes Fur system to, which looks amazing. The carpet is also Geometry Nodes Fur!” – Dale May 

https://www-ccv.adobe.io/v1/player/ccv/Ct_MyEqTcrp/embed?api_key=behance1&bgcolor=%23191919

This subtle yet powerful integration of CGI into the narrative is where May’s true talent lies. Known for his ability to create photo-realistic CGI environments, he is a master at blending the real with the imagined. For Last Trip Home, the CGI serves not as a gimmick but as an essential part of the story—an invisible hand that heightens the emotional weight of the scene while still feeling completely organic to the viewer.

Blurring the Lines Between Photography and CGI

This fusion of traditional photography and digital artistry speaks to a larger trend in visual storytelling, where technology and emotion are no longer seen as separate entities but as partners that work together to enhance the message.

For May, it’s not about using technology for technology’s sake, but rather about using it to create a deeper connection between the viewer and the story being told. May’s ability to combine high-tech visual elements with deep, human storytelling is what makes his work so impactful. 

Conclusion

Through his mastery of both photography and CGI, May continues to create images that are not only visually stunning but emotionally resonant, reminding us all of the power of a well-crafted image to capture the essence of life’s most significant moments.

As “Last Trip Home” proves, for Dale May, the line between reality and fantasy is not a hard boundary. It’s a fluid space where the real world meets the imagined.

The event brought together photographers, artists, and industry professionals from across the globe to showcase the best in contemporary photography and foster meaningful exchange and learning within the photography community.

November 21: Best of Show Exhibition Kicks Off the Event

The 2024 IPA celebrations began with the opening of the Best of Show Exhibition at the House of Lucie Gallery in Athens. Curated by Peter Baki, the exhibition featured an exceptional collection of works from the IPA competition’s top winners in both Professional and Non-Professional categories. 

From gripping documentary photography to breathtaking fine art images, the exhibition highlighted the immense talent and diversity in the world of visual storytelling. The evening’s opening reception offered guests an unforgettable first look at the award-winning images, setting the tone for an exciting few days ahead.

November 22: Portfolio Reviews, Photo Talks, and the Jury Panel

On November 22nd, photographers were given the opportunity to refine their craft through Portfolio Reviews, a key component of the IPA experience. Industry experts provided personalized feedback, offering invaluable insights that helped photographers elevate their portfolios and improve their work. 

In parallel, the Photo Talks series featured some of the most renowned photographers in the industry, who shared their creative processes and professional journeys. These engaging sessions allowed attendees to gain a deeper understanding of the nuances of photography, from technical skills to personal artistic vision.

Later in the day, the Jury Panel moderated by IPA founder Hossein Farmani provided an insider look into the judging process of the IPA awards.The esteemed panel also explored topics like photography ethics and the role of social media in today’s photography landscape. This informative session offered attendees the rare opportunity to learn directly from the esteemed panel of judges about what makes a photograph stand out and how submissions are evaluated at the highest level.

November 23: Peer Review and the Awards Ceremony

The final day of the IPA 2024 began with the Peer Review session, where photographers had the chance to connect with one another, share feedback, and engage in collaborative discussions. This session fostered a spirit of camaraderie and mutual support, allowing photographers to refine their work and expand their professional networks.

The event culminated in the IPA Awards Ceremony held at the Basil & Elise Goulandris Museum. The ceremony honored the achievements of the year’s top photographers, with the presentation of the coveted IPA trophies in 11 Professional and 11 Non-Professional categories. 

KIYOSHI KARIMIZU, Architecture Photographer Of the Year

In a highly anticipated moment, the Photographer of the Year and Discovery of the Year awards were revealed, recognizing the outstanding contributions of the industry’s most exceptional talents.

• Photographer of the Year: Chaz Niell
• Discovery of the Year: Małgorzata Fober

The ceremony concluded with a sense of excitement and pride as the photography community gathered to celebrate the power of visual storytelling and the creativity of photographers from around the world.

Conclusion

The 2024 International Photography Awards event in Athens was a resounding success, bringing together a global community of artists and enthusiasts to celebrate the beauty and impact of photography. 

With its rich program of exhibitions, learning opportunities, and networking events, the IPA continues to be one of the premier events in the photography world, setting a high bar for the industry.

As the final curtain fell on this year’s event, participants left Athens inspired and energized, already looking forward to the next chapter in the ever-evolving world of photography.

Many years later, I transitioned from the theater scene to the advertising industry to channel my creativity into a more lucrative field. I worked as a copywriter. But what I enjoyed most was being part of advertising shoots — those were the coolest days of the year. One day, I picked up a camera that had been gathering dust in a corner of the agency and wanted to see what all the fuss was about. I instantly fell deeply in love with the adventurous world of photography. From that magical moment on, not a single day of my life has passed without engaging with photography, image editing, or visual perception.

Photography gave my life an entirely new direction. It has blessed me with encounters with extraordinary people. Photography is mindfulness, and mindfulness is an inner attitude towards life, a way of connecting with others. Photography supports my desire to bring something exceptionally beautiful into the world and to bring lasting joy to people through my work for many years to come.

Q: What motivated you to participate in the IPA competition, and how has winning impacted your development as an artist and photographer?
Art, to me, has always been something one creates solely for oneself — not to please others or achieve success. You create art because there’s an inner calling you cannot ignore when you possess an artistic soul. You simply follow that inner directive. For this reason, I never had much interest in competitions in the past. Even hosting my own exhibitions was never a priority. However, a fellow artist eventually convinced me to hold an exhibition, and the overwhelming response took me completely by surprise.

Five years ago, I attended a masterclass led by a photographer whose work I deeply admired. During the class, he shared that he had recently been awarded the title of IPA Photographer of the Year — and that left a profound impression on me. There are many photography competitions, but to be recognized as the IPA Photographer of the Year even once in a lifetime is the pinnacle of artistic recognition. It’s like the Oscars of photography. Achieving this means you’re among the best in the world. Honestly, at that time, I never believed it would be possible for me. Yet, on that day, the desire to one day achieve this goal was born.

I didn’t work toward this goal with conscious ambition over the following years. It wasn’t always at the forefront of my mind, but it remained a quiet dream within me. During a walk with a friend, I once said, “In five years, I want to be an internationally recognized artist.” Four grueling and sacrificial years later, my breakthrough came almost overnight.

It took me weeks to fully grasp that I had been named Fine Art Photographer of the Year, and I’m only now starting to realize what it truly means for my life. Suddenly, international photography magazines are reaching out. I’ve been invited to exhibit my work in Paris. A Spanish art university contacted me, asking if they could show my images in their classes. Doors that had remained firmly shut for years, no matter how hard I pushed or pulled, have now opened effortlessly. Stepping through them, I’ve found an entirely new world of unforeseen artistic opportunities.

How has the IPA competition changed my life? Profoundly! I feel as though I’ve finally arrived as an artist. I no longer need to justify my work to anyone or prove anything. This has given me a deep sense of inner freedom and confidence to continue my artistic journey with renewed self-assurance. For this, I am profoundly grateful every single day.

Q: What were the most memorable or challenging moments while working on the award-winning images?
Two years ago, I found myself in a desert, unlike anything I had ever seen before. No water, no birds, no life — just a desolate, silent expanse. The strange thing was, I recognized this place from my childhood. It had once been a beautiful lake, teeming with life and a paradise for birds. Now, it was completely dried up, barren. All that remained was an old fishing boat, lying abandoned on the cracked, lifeless ground.

As I made my way home, images began to form in my mind — of a nature goddess bringing life back to this desert. A figure adorned with flowers, scattering them across the arid landscape. A dream of hope, healing, and resilience.

This vision marked the beginning of a new photographic and artistic chapter for me. The challenge lay in translating such a deeply personal and emotional experience into images that carried the same impact and resonance. But it also became one of the most meaningful creative journeys of my life, as it allowed me to explore themes of renewal and the delicate relationship between humanity and nature.

Q: What key elements do you believe make a truly impactful photo, and how do you incorporate them into your work?
Expression. Presence. Mood. That click.

When selecting my models, I look for individuals who possess a genuine, authentic, and emotionally compelling facial expression. I don’t view the people I work with merely as beautiful models; to me, they are artists who radiate the essence of true femininity.

There must be something magical, fascinating, and unique emanating from the person in the photograph — something that cannot be put into words but can only be felt. Achieving this requires a personal connection with the subject. I never greet my guests in the studio right away. Instead, we first sit down for a coffee in the kitchen, chatting about their life’s journey and the concept for the shoot. Only then do we enter the studio as friends and creative collaborators with a shared goal of creating art.

The mood of the photo comes from the interplay of light and the distinctive elements of the set. During the shoot, there has to come a moment when something just clicks. By that, I mean the split second when you instinctively know: This is the image. You feel the right result on a visceral level, and that’s when the magic happens.

Q: Which aspects of photography challenge you the most, either creatively or technically, and how do you overcome these challenges?
As a photographer, there inevitably comes a time when you feel stuck — creatively or emotionally. You start questioning your work, feeling like you’re repeating yourself or treading water. Over the years, I’ve learned that these moments aren’t failures but signs that you’ve completed a chapter in your life’s artistic journey. You’ve learned all you can in that phase, and it’s time to move forward.

These periods can feel daunting, like being trapped in a narrow, dark tunnel with no visible way out. You’ve come too far to turn back, but the path forward feels blocked. The key in such moments is not to panic but to pause and listen. Sit still, close your eyes, and open your mind to entirely new directions. Explore genres you’ve avoided, master techniques you’ve long resisted, or dive into unexpected areas like color theory, art history, or even painting. It’s often in those unfamiliar realms that you’ll discover a tiny crack of light — a new idea or perspective you previously overlooked. And as you begin to explore it, that crack can widen into an open door, leading you into an entirely new creative space.

One practical challenge that has tested me for years is the financial burden of photography. It’s an expensive art form. Cameras, lenses, studio equipment, models, makeup artists, clothing, props, and ongoing education all come at a high cost. Had I known in the beginning how much money I’d invest for the love of this art, I might have hesitated. But I’ve found that when you’re willing to give everything for your art, life has a way of rewarding you generously in return. The secret is to endure, to persevere, and to never stop creating.

To me, this journey is like standing in front of a beautiful house, longing to reach the balcony where the view is better. At first, the way up isn’t clear. You try to climb, jump, or use a ladder, but nothing works. Then, after a while, you notice a small door around the corner you hadn’t seen before. Through it, you find a staircase. It’s a slower, harder climb, step by step. But eventually, you reach the balcony, look out at the view, and think, How did I get here?

The direct path isn’t always the answer. Sometimes, the detours reveal the most beauty and teach the most valuable lessons. Photography, much like life, is an act of mindfulness. It’s not just about the destination but the journey itself. So, enjoy every step of the way.

Q: What drives your passion for photography, and where do you draw inspiration for your projects?
Long before I became interested in photography, I worked as a copywriter. A good story is always visual, and a good image always tells a story. Whether you write, photograph, paint, or compose music — it’s all the same. They are simply different outlets for the artistic soul seeking expression, using various paths, mediums, or tools. Each influences the others.

Inspiration, therefore, can come from anywhere. A single line in a book of poetry. A song title. A painting by an Old Master. A portrait by a photographic artist. The sight of a woman — and with it, the recognition and deep appreciation of the beauty in divine creation. Everything holds potential to inspire and spark an idea.

Q: Looking ahead, what goals or projects would you most like to pursue in the next phase of your career as a photographer?
I’m captivated by painting, especially the skill and craftsmanship of the Old Masters. Standing in front of a self-portrait by Rembrandt, gazing into his eyes nearly 400 years after he painted them, and feeling his sorrow and pride — that is profoundly moving. It’s a deep desire of mine to infuse my photographs with a painterly quality.

I love the craftsmanship of art. Spending nights retouching, solving the puzzles and challenges of complex composites, is something I enjoy immensely. There’s something meditative and fulfilling about working in the quiet of the night, listening to music, and fully immersing myself in the process of creating images.

The rapid rise of artificial intelligence is shaping an entirely new genre of art. While I find it fascinating to observe, I prefer a slow, deliberate, and hands-on approach. For me, the joy lies in the process itself — in the challenge and the craftsmanship. AI tools, with their speed and shortcuts, would take away the pleasure of creating. I want to make art, not generate it artificially.

AI offers tempting shortcuts and unprecedented visual possibilities, but it can never replace the irreplaceable experience of working with an interesting person in the studio. That shared, human connection — collaborating to create something beautiful — is something no technology can replicate. That is where the true magic lies, and it’s a magic I want to continue exploring in my art.

Website: www.alexisvasilikos.net

The event will bring together some of the world’s best photographers, artists, and industry professionals to showcase the very best in photography, provide valuable learning opportunities, and celebrate visual storytelling.

November 21: Best of Show Exhibition

The event kicks off on November 21st with the opening of the Best of Show Exhibition at the House of Lucie Gallery in Athens. Curated by Peter Baki, the exhibition will feature this year’s IPA competition winners in both Professional and Non-Professional categories. 

Visitors can enjoy a diverse range of work, from documentary to fine art photography, and experience the creativity of some of the world’s top photographers. The opening reception will offer an unforgettable evening of award-winning photography.

November 22: Portfolio Reviews, Photo Talks, and Jury Panel

On November 22nd, photographers can take part in Portfolio Reviews, where they will receive personalized feedback from industry professionals. This is an invaluable opportunity for photographers looking to refine their portfolios and gain insights into their work.

Later, Photo Talks will feature renowned photographers discussing their creative processes and experiences. These sessions will provide attendees with a deeper understanding of the craft and industry.

The Jury Panel will give insight into what makes a great photograph and how the IPA awards are judged. Moderated by IPA founder Hossein Farmani, it offers a chance to learn directly from the experts.

November 23: Peer Review and Awards Ceremony

On November 23rd, the event wraps up with the Peer Review session, where photographers can engage with one another, exchange feedback, and collaborate.

The festival will conclude with the IPA Awards Ceremony at the Basil & Elise Goulandris Museum, where we’ll celebrate the outstanding achievements of the year’s top photographers. The 11 Professional and 11 Non-Professional Category Winners will receive the IPA trophy, and the Photographer of the Year and Discovery of the Year will be revealed.

The IPA 2024 promises to be a highlight for photographers, enthusiasts, and art lovers alike. Don’t miss this chance to be part of an extraordinary celebration of photography in Athens this November. 

At the event, you will see exhibited works of the following photographers:

IPA Category Winners

Andrea Paolini Merlo, Benjamin Yavar, Pete Muller, Dale May, Drew Gardner, Paul Szimák, Gleici Rufatto, Maryam Firuzi, Sebastian Copeland, Mark Fromson, César Guardia Alemañi, Kiyoshi Karimizu, Yuji Haikal, Jakub Laichter, Renée Barron, Markus Naarttijärvi, Małgorzata Fober, Blake Burton, Yukihito Ono, Isabella Franceschini, Sandra Hernandez, Bahar Azhgan

Curator Selection

Rollo Hollins, Mustafa Hassona, Nicola Okin, Jorge Delgado-Ureña + others, Michael Dorohovich, Bienvenido Velasco, Jeff Gilbert, Toby Binder, Svet Jaqueline, Marco Marcone, Anna Surinyach, João Coelho, Jörg Rubbert, Tariq Zaidi, Gabriele Rossi,  Jan Banning, Giuseppe Cardoni, Pablo Vergara, Maho, Elwira Miezal, Christian Bobst,  Chaz Niell, Tom Franks, Ibrahim Iqbal, Maya Hed,  Eduardo Amaya. 

 You can view their winning photographs here.

Visit the event page to see more.