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Africa Foto Fair : An exhibition and virtual publication bringing the world together through images.

Africa Foto Fair is a new project extending from the photography festival Addis Foto Fest which was established in 2010 by photographer Aida Muluneh. As part of promoting photography from Africa and creating links with the international photography community, the Africa Foto Fair serves as a unique event that is also an online publication which continues the dialogue beyond the festival and boarders. The virtual component of the festival offers in-depth podcast interviews, online portfolio reviews, database of resources and an online gallery that promotes and sells works by emerging talents from Africa and beyond. The launch of the new brand t**e place on December 8th, 2022, in Abidjan, Côte d'Ivoire through an exhibition as part of connecting East and West Africa in a new approach of creating a virtual and physical event that bridges with different parts of Africa as well as the world through creative and cultural exchanges.

04/09/2026

Bullets have no borders by Ebrahim Alipoor 🇮🇷

Project description:

In the Kurdish regions of western Iran, Kolbari refers to carrying goods across the Iran–Iraq border for a small income. Driven by poverty and unemployment, Kolbars, aged roughly 12 to 73, cross the harsh mountains carrying heavy loads for 8–12 hours, facing dangerous terrain, extreme weather, and the risk of being shot by border patrols.
Kolbari is considered illegal and is not recognised as a profession by the Iranian government. According to available statistics, around 300 Kolbars are killed or injured each year.

Bio

Ebrahim Alipoor is a Kurdish Iranian documentary photographer based in Kurdistan, Iran. Born and raised in a region shaped by political restrictions and limited artistic resources, he has spent the past decade documenting the social, political, and cultural realities of Kurdish communities and the wider Middle East.
His long-term practice explores borders, labor, displacement, conflict, identity, and cultural preservation. Working closely with the communities he photographs, he combines photography with moving image and sound. His work has received international recognition, including the 2025 World Press Photo award for Bullets Have No Borders, and has been published by numerous international media outlets.

01/09/2026

At a Peter Pan Moment by Sara Younes 🇪🇬

Project description

At a Peter Pan Moment follows Danny, who was eight when he moved from Lebanon to Alexandria with his family. Feeling lost and alone in a new city, his sense of isolation deepened after his father passed away when he was eleven.

Danny later discovered parkour through a community of street athletes. Through movement, he began to navigate both the city and himself in a new way. For Danny and others in Alexandria’s parkour community, the free movement of their bodies through public space becomes a form of resistance. Jumping and flipping across tram stations, the Corniche, and city streets transforms the repetition and exhaustion of everyday life into moments of freedom.

Bio

Sara Younes is a documentary photographer and visual storyteller who explores representations of the body, public spaces, and photographic norms, experimenting with visual language. Holding a BA in Media Studies, she has freelanced for independent Egyptian media since 2014. Her work has been presented in exhibitions like The Arab Street Vol. II and Africa Foto Fair, as well as a 2025 solo show at Darb 1718. She was awarded the 2022 ADPP grant for her Alexandria Parkour project and a 2024 finalist for the Albert Camus Incipiens Award. Currently, Sara is an ADPP Alumni Fellow developing her first photobook.

28/08/2026

Six open calls worth your time this month. Swipe through, save this post, and mark your calendar.

- No Wahala Issue 5: Interconnectedness | deadline Aug 31
- Action Against Hunger, Grant for a New Humanitarian Perspective (4th edition) | deadline Aug 31
- The Ian Parry Photojournalism Grant 2026 | deadline Sep 1
- Xposure International Photography Awards 2026/27 | deadline Sep 5
- PhotoVogue Regional Open Call: MENA Panorama | deadline Sep 24
- SAM Residencies Cycle 4 (2027/2028) | deadline Sep 30

All free to apply.

Tag a photographer who needs to see this.

27/08/2026

Weaving the Earth by Wadah Omer 🇸🇩

Project description:
Weaving the Earth, is a photographic project documenting the lives of Sudanese refugees in Uganda after the 15th of April, 2023 war in Sudan. The project explores the relationship of newly arrived refugees that have farming backgrounds, with a foreign land—metaphorically and literally—and the innovative ways they integrate into this environment and how agricultural knowledge works as a cultural heritage. Adapting Sudanese farming methods and products, while collaborating with the local community and learning from local knowledge.

The project is currently following the story of four protagonists (three men and one woman) over the course of more than a year so far, after their return to agricultural activities in Uganda. Depicting the resilience, and the resistance to starting a life from scratch like weavers, but this time on the fabric of the earth.

Bio:
My name is Wadah Omer, I’m a Sudanese photojournalist and documentary photographer based in Kampala-Uganda. I believe that images can communicate complex stories more effectively than words, whether it be about social unrest, Sufism, refugees, or environmental issues. Capturing moments that can give context to these global and local issues inspired me to explore photography as a way to contribute to positive change. Whether it's documenting resilience in challenging situations or photographing the scene from social activism, I’ve come to see photojournalism & visual storytelling as an essential tool for raising awareness and inspiring action.

Image caption:
Yousif returns the sheep to the pen after grazing while the sun is setting.

Every morning he wakes up before sunrise and goes to a nearby small river to bring water for poultry

Yousif puts water out for the poultry on his old farm.

Before moving to a new farm and his family leaving for Bweyale city, Yousif used to go every weekend to visit his wife and his son, Muhammad, who was studying at a school in the neighbouring city of Anaka. Yousif left the old farm because of legal problems in the land rent contract, but he did not give up and started f

27/08/2026

THE IMPRINT OF THE ABSENT by Aurélie Tiffy 🇨🇮

Project Description
THE IMPRINT OF THE ABSENT

There are presences that we cannot see, but which we can feel.
In certain ceremonies, the living are never alone. The gestures, the songs, the bodies and the silences seem to open a passage between the visible and the invisible. Something flows through the air: anancient memory, a presence, a legacy.
Between Côte d’Ivoire and Ghana, through the Abissa in Grand- Bassam and the Aboakyer in Winneba, I seek to photograph this fragile space where the world of the living meets that of the absent. Faces and bodies thus become territories of memory. They carry what has been passed down, what has been forgotten, but also what continues to live on through them.
I am interested in these invisible traces: the memory of ancestors, spiritual forces, inherited gestures, the silences and presences that endure beyond time.
*The Imprint of the Absent* therefore does not merely seek to show what is there.
It attempts to photograph what cannot be seen.
That which connects the living to the dead.

BIOGRAPHY

Aurélie Jocelyne Tiffy is a contemporary Ivorian photographer. Her black-and-white work explores memory, the body, vulnerability, and transmission, at the intersection of documentary and conceptual photography.

Her work has been exhibited at the Dak’Art OFF Biennale, the Bamako Photography Festival, the Donwahi Foundation, the French Institute of Côte d’Ivoire, AKAA – Also Known As Africa in Paris, and the Abuja Photography Festival.

24/08/2026

Michel “Papami” Kameni (c. 1935 to 2020) 🇨🇲
was a pioneering Cameroonian studio photographer whose remarkable archive offers an intimate portrait of a nation finding its identity in the decades following independence.

Born in western Cameroon, Kameni was introduced to photography by his uncle, a former soldier and photographer. He developed his craft in the streets before establishing Studio KM in Yaoundé’s Briqueterie district in September 1963, where his camera would become a witness to generations of Cameroonian life.
For decades, people from every corner of society passed through his studio: farmers and professionals, Christians and Muslims, families, lovers, young people and city dwellers. His portraits capture more than faces. They reveal the aspirations, fashions, relationships and changing social identities of a newly independent Cameroon, where tradition met modernity and local culture encountered new global influences.

Kameni was known for the warmth and sensitivity with which he portrayed his subjects, often collaborating with them to create expressive, imaginative portraits that reflected how they wished to be seen and remembered. His photographs are therefore both personal records and an extraordinary visual history of postcolonial Yaoundé.

Over the course of his career, Kameni produced an extraordinary body of work, with more than 120,000 photographs according to curatorial sources. Much of this archive remained largely unseen until French photographer and filmmaker Benjamin Hoffman encountered Kameni and his studio in 2017, helping bring the work to a wider international audience.

Today, Kameni’s photographs stand as an essential record of Cameroon’s social and cultural history: joyful, stylish, tender and deeply human.

Michel Kameni reminds us that a portrait can be more than a photograph. It can be a declaration of identity, memory and possibility.

21/08/2026

GOLELA by Ericke Tjiueza 🇳🇦

Project Description
GOLELA began in Oranjemund, a small mining town suspended between the Namib Desert and the Orange River, where I found myself thinking about the land, the body and transformation.
In a landscape shaped by extremes, I became interested in the ways we transform ourselves to endure. The masks became both protection and possibility - a passage between who we are, what we have survived and what we might become.
Inspired by birds, Southern African folklore and the landscapes that surround us, GOLELA considers freedom not as escape, but as the imagination of another self.

Artist Biography
Ericke Tjiueza is a Namibian visual artist, photographer, and filmmaker whose practice explores identity, memory and belonging. Working across photography, moving image and storytelling, he examines the relationship between people, place and the narratives that shape them.
He regards the book form and exhibition space as important tools for preserving and transporting Southern African stories to global audiences. He is an alumnus of the Prince Claus Fund Seed Award, having been selected as one of 100 emerging artists in 2024.

19/08/2026

Cairo Return by Ahmed Qabel | أحمد قَابِل

Project description:
While traveling to university by train, I noticed a sound coming from afar and getting gradually louder. A traveling salesman was inviting random passengers to his brother’s wedding.

The words “Cairo Return” are written on third-class roundtrip train tickets from the capital Cairo to my hometown of Ashmoun, located in the south of the Delta of Egypt. When I started university, the train became a regular part of my life, and I would make the four-hour round trip several times a week.

Every single person on the train has their own worlds and imaginations, gathered together by fate for a few hours a time.

Bio:
Ahmed Qabel (b. 1999) is a documentary photographer based in Egypt. Through his long-term projects, he documents the communities and ways of life that are closely connected to him. His project "Cairo Return" received the Arab Documentary Photography Program from the Arab Fund for Arts and Culture (AFAC) in 2021 and won the Canon Student Development Programme in 2023.

17/08/2026

How to trace a disappearance by Hashim Nasr

Project description:

After the war broke out in Sudan, my concept of home changed. It was no longer a fixed place to return to, but a mental image weighted with longing and nostalgia.
War here is not only a political or military event, but a force that continues to reshape life despite my distance from its battlefield. Displacement is not limited to the act of leaving itself, but extends to becoming an internal state that accompanies the body wherever it goes.

In this project I treat home as a state of being rather than a geographical location, a fragmented psychological space that is rewritten from memory and imagination. The images do not seek to restore what has been lost, but rather to question the possibility of living with this loss.
At its core, this project does not offer direct answers so much as it opens up space for questions about memory, about the place that inhibits us even when we are unable to reclaim it, and about the hope that remains possible even in time of war and the possibility of finding an inner homeland that can not be taken away by displacement.

Biography:

Hashim Nasr is a Sudanese visual artist and photographer based in Alexandria, Egypt.
Graduated as a dentist. His conceptual and surreal artistic practice started as an experimental act to explore themes of displacement, memory, and gender identities through staged images and symbolic visual language that reflect emotional and psychological landscapes. He uses experimental handcrafted objects to navigate exile, identity, and the search for belonging . His recent projects focus on the experience of war and migration. His works have been exhibited locally, internationally, and in several publications and virtual exhibitions.

16/08/2026

MONDOUKOU by N’cho Jean-Louis

COLLECTION DESCRIPTION:
Mondoukou is a natural continuation of my previous series, Les Abidjanais. While Les Abidjanais explored the encounter between ancestral heritage and contemporary urban life, Mondoukou extends this dialogue into a coastal fishing village in Côte d'Ivoire, where tradition and everyday life coexist in a different rhythm.
By integrating traditional Ivorian masks into ordinary scenes, I continue to question the relationship between memory and the present, suggesting that ancestral identities are not relics of the past but living presences that still inhabit contemporary spaces.
The project is further enriched by the presence of Adinkra symbols from the Akan tradition. More than decorative elements, these symbols carry philosophical meanings that deepen the narrative. Gye Nyame evokes the power of the invisible, while Sankofa reminds us that understanding the future begins by reconnecting with our roots.
Through Mondoukou, I seek to create a visual dialogue between heritage and modern life, inviting viewers to reconsider tradition not as something distant or frozen in time, but as a living force that continues to shape our identities and everyday experiences.

Bio:
Jean-Louis N’cho is an Ivorian visual artist based in France. Through photography, he explores the dialogue between ancestral heritage and contemporary life, creating images that reconnect memory, identity, and African traditions.
His work has been exhibited internationally and featured by platforms including PhotoVogue, Okay Africa, Afrodysée, Osengwa, Afriquette, and The Bright Continent. He is the recipient of the 2024 Prazzle Galaxy Grant.

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