Fatma Fahmy is an independent visual storyteller based in Cairo, Egypt. Before being awarded the Daniele Tamagni Grant in 2020, she was an amateur photographer with a degree in industrial chemistry , working as a part time engineer. In 2020, Fahmy received the Daniele Tamagni Grant at the Market Photo Workshop in South Africa. The International Jury stated : “We were impressed by Fatma’s strong storytelling, withimages rich of poetry, values, nostalgia. Fatma focuses her attention on societies and communities who are still holding and preserving their traditional and ancient roots, creating images which amplify such historical and environmental bonds and lighten people’s lives.” The winning project “There was a tram” represents the story of an Alexandria’s old tram. Fatma, the Grant recipient, says: “I applied to the Grant looking for an international experience, in the rich and complex cultural environment of Johannesburg and with the aim to elevate my expertise in photography to a professional high standard thanks to the Market Photo Workshop. The team of theSchool and Marco Longari helped me overcome many constraints due to Covid and to move around in Joburg and gave me their constant and valuable advice on the learning process. Giordano Tamagniwas always open and ready to help me when necessary. Back to Egypt, I left my job as a chemicalengineer and now I feel confident to start my new career in photography.” Then back to Egypt shededicated full time to photography. She participated in the Photojournalism and DocumentaryPhotography Program of VII Academy. In the same year, she was recognized as one of the AfricanPhotographers by the PhMuseum. Fahmy’s work has been exhibited internationally, spanning acrossEthiopia, Germany, London, Ivory Coast, Ecuador, France, Jordan, Switzerland, Italy, Morocco, SouthAfrica, and the United Arab Emirates. She was showcased at prominent venues, including the CitéInternationale des Arts in Paris and the Festival della Fotografia Etica in Lodi, Italy. She achievedrecognition as one of the top ten finalists for the Everyday Projects grant for her ongoing long-termseries ‘The Lost Lake’. The same project received attention as a shortlist finalist for the Sony WorldPhotography Awards in the Environment category.

Fawaz Oyedeji is a photojournalist, a documentary photographer and historian based in Nigeria.Fawaz holds a degree in Mass Communication and a degree in History Education. Fawaz’s artisticpractice largely focuses on examining political consciousness within African social groups. Hebelieves it’s important to record daily life, not simply for higher awareness and understanding of ourtimes, but for individuals in the future to be able to reflect on who they are and how they got there.Fawaz has been commissioned by various publications and organizations, such as The FinancialTimes, Sahelien, and the ICLEI – Local Governments for Sustainability. He has showcased his works inLagos, New York, Kigali, and Germany and he is also a beneficiary of the Eugene Smith Memorial FundStudent Grant (2019)and the Bronx Documentary Center Grant (2020). He followed the PDPprogramme at Market Photo Workshop online from Lagos, as he was not awarded the visa from SouthAfrican consular authorities. Fawaz emphasizes how he could fully explore his passion forphotography and gain a greater sense of creativity and purpose. ”I attribute this positive change to thecomprehensive curriculum and the guidance of our dedicated instructors.” In 2023 he was a recipientof Prince Claus Seed Awards , while in 2024 of the Magnum Photos/Lagos Photo for the project‘Beyond The Silence’ Also in 2024 he was a laureate of Dior Photography and Visual Arts Award forYoung Talents.“ My project ‘Yours In Arms’ highlights how surrounding circumstances have shaped the day-to-daystruggles and resilience of students preserving the history of a civilian-run infantry in Nigeria. Theestablishment of paramilitary in institutions dates back to the Nigerian Second Republic [1976] undera militia regime headed by General Olusegun Obasanjo as a prospect to coax more educated fellowsinto the armed forces, soldiers would regularly come to inculcate military training in drills and parades,self-defense, physical fitness, first aid, citizenship, and leadership. Culturally, since its establishment,the program has been responsible for breeding a relative number of civilian youths dispersedthroughout the nation, attached to a grass-rooted political scheme like this. In modern times, thedegree of pressure from being both CADET and STUDENT is considered an exhausting task. At YabaCollege of Technology alone, out of over 16,000 student enrolment, statistics show that approximatelyonly 0.2% of this population usually makes the brave decision and chose to combine thisextracurricular activity with schoolwork and personal life.” The Jury members underlined the wellthought presentation and focused ideas. More specifically the story on the recruits cut deep, as deepas possible for the difficult access and the resources at hand; while the other story in B&W was potent,fluent, captivating.

Meseret Argaw is an Ethiopian Documentary and Conceptual photographer. Since 2015 she hasstarted to create various projects focusing on identity, culture, religion, migration, and environmentalissues. Throughout her career, she participated in various workshops including the Canon StudentDevelopment Programme, New York Times portfolio review, Addis Foto Fest (AFF) internationalworkshop and UNESCO journalism workshop. She has exhibited her works in Africa, Europe, andUnited States of America in various group exhibitions such as Reframing Neglect at Cromwell Place inLondon and at The Africa Centre in New York, and in the “Africa collection” at Africa Foto fair at Muséedes Cultures Contemporaines Adama TOUNGARA (MuCAT) in Abidjan, Côte d’Ivoire.The artist states: “Until I embarked on this journey, I didn’t know how much I was affected by it. Howdeep I have swum under it and surrendered without a fight. I voluntarily let the memory consume methrough the years. But I finally found the courage to face it; with the intention I might close the door itleft opened for the unknown. I was abducted twice when I was four years old. Each time I was found bypeople who either knew me or my family. I understood the endless possibilities if the unknown hadhad become my reality. But I also needed to face my current self and figure how it relates to thewomen I wanted to portray. I started this project to make peace with a memory that keeps remindingitself to me without any warning when I am usually at my lowest. I would not have had the courage toface it if photography had not been available. Even though I began the project believing that I wasfighting my own battle, I soon realized that through my story, I was also telling the story of womenwho walk the path I could have taken every day.” Jury members underlined the consistency of theportfolio, showing vision, creativity and conceptuality.

Ahmed Khirelsid, born in 2001 in Omdurman, Sudan, is a photographer and visual storyteller whofocuses on capturing the realities of life in his country. His journey into photography began duringthe Sudanese revolution when he was driven to document the fast-moving and often chaoticevents around him.Khirelsid's work is known for its emotional depth, particularly in portraying the effects of war anddisplacement. His project "Under Control," which won him the 2024 Contemporary AfricanPhotography (CAP) Prize, is a personal reflection on his experience of fleeing conflict in Khartoum. Theproject highlights the mental and emotional challenges faced by those caught in the turmoil of war.“On April 15, I woke up to the noise of my family in distress and many missed calls on my phone. Warhad broken out in Khartoum. Within hours, we heard the sounds of artillery, realizing we were stuck inthe middle of a battlefield. we had to leave. Death, violence, political and economic instability,upheaval, and doubt have become inherent to the Sudanese people in the last five years, from therevolution to the pandemic to the military coup in 2021."Under Control" is a personal project thatdocuments my experience of being forced to leave my family home and my attempts to adapt to thisnew situation. Through this work, I try to explore and understand the psychological and emotionaltrauma received as a result of this war, as well as those around me. It is both a commentary on themental state we are going through during this challenging time and indirectly a political commentaryon the news and propaganda. We fled to a village called Al-Hasaya, where my uncle offered us anabandoned house. We don't know what the next step is. It is a time of waiting and uncertainty.”The Jury was impressed by Ahmed talent, his passion and his skilful combination of artistic gaze anddocumentary content. As emphasized the jury president “his work is an abstractionof African realities,framed in the unique corners of his vision. It was clear he wasn’t simply taking photographs; hisimages are like poems, filled with questions and inner reflections.”The Daniele Tamagni Foundation, the Market Photo Workshop and other patrons tried to liaise with theSouth African authorities to grant a student visa to Ahmed. In consideration of the prolonged andunjustified denial by the South African government, the Daniele Tamagni Foundation had tointerrupt the collaboration with the Market Photo Workshop for the 2025 scholarship with deepregret. It has been a privilege to work with the Market Photo Workshop, especially with the greatsupport of the then director, Lekgetho Makola at the beginning of the project, and throughout the yearswith the valuable and generous work of Khona Dlamini. It was in this unfortunate context that AidaMuluneh proposed to Ahmed a field education programme in Côte d'Ivoire. Aida's project outlinesAhmed's involvement in various photography-related activities through the Aida Muluneh Studio andthe Africa Foto Fair (AFF), from March to the end of 2025. The training programme will includementoring and workshop participation, photographic assignments and social media documentation.The proposed activities will ensure a structured and effective engagement, maximising hiscontribution to the AFF, while fostering his professional development. The Internship