Ramadan Delights with Kiri by Ali El Awji
Captured for Kiri’s Ramadan campaign, this photograph presents a curated spread of golden cheese pastries, vibrant fresh greens, plump olives, and steaming tea. The composition emphasizes the warmth and hospitality central to the Ramadan season, inviting viewers to experience the rich flavors and communal spirit of the celebration. By balancing textures and colors, the photographer elevates a simple meal into a sophisticated visual narrative. The image is award-worthy for its meticulous arrangement and its ability to evoke a sense of togetherness, effectively blending commercial food styling with the authentic, inviting atmosphere of a traditional holiday gathering.
Ali El Awji
Based in Riyadh, Saudi Arabia, and originally from Saida, Lebanon, Ali El Awji is a dedicated photographer whose creative journey began during his studies in interior design. He successfully bridges the gap between his design background and his photographic practice, having collaborated with prestigious brands across portrait, landscape, and event genres. Through his work, El Awji strives to capture authentic emotions and compelling narratives, consistently pushing the boundaries of visual art to inspire his audience.
Resonance Score Breakdown
Transparency Note: The resonance score (6.7/20) is calculated based on social engagement metrics collected before the award announcement.
Expert Photography Reviews · 7
The Table That Holds Us
When I was seven, my grandmother would lay out a spread on the low wooden table that seemed to stretch for miles. She never let us eat until the tea was poured and the steam had finished its dance toward the ceiling.
Read the reflection →The Grace of Gathering
There is a sacred rhythm to the act of setting a table. It is more than the arrangement of sustenance; it is an offering of time and presence. When we prepare a space for others, we are weaving a thread of connection that transcends the simple need for nourishment.
Read the reflection →Reviews & Comments
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The table acts as a datum, grounding the scene, yet I’m struck by the absence of the room’s threshold. It’s a tight frame, omitting the walls that define this communal void. The light hits the pastries with a crispness that suggests a controlled, interior environment, but it’s the lack of spatial context that bothers me. I’d love to see how the fenestration shapes this warmth. It’s technically sharp, but it feels like a stage set.
Before the eye identifies the pastries, a sudden, quiet hunger settles in the chest. It’s the steam rising from the tea that triggers a phantom warmth, a sensory memory of dusk settling over a long day. I’ve found myself returning to the olives, their saltiness almost tangible. It doesn’t just sell a product; it mimics the physiological relief of breaking a fast. It’s a rare, quiet intimacy that lingers, making me ache for a seat at that table.
It’s a polished spread, certainly, but it feels sterile compared to the messy, unpredictable reality of the field. Where is the life? I’ve spent weeks in blinds waiting for a single, authentic movement, and this feels entirely extracted, not earned. It’s all styling and no soul. Honestly, looking at these perfectly placed olives makes me crave the grit of a real, unscripted moment. It’s technically precise, but it lacks the heartbeat of true connection.
Most food photography is disposable, destined for a trash folder once the campaign ends. Of the thousands I’ve reviewed, this one survives because the steam rising from the tea isn’t just a prop; it’s a heartbeat. It makes me hungry for a home I’ve never visited. The precise geometry of the olives against the golden pastry creates a tension that keeps the eye moving. It’s rare to find such warmth in a commercial frame.
The chiaroscuro here feels like a nod to the Dutch masters, yet the vibrant greens and golden pastries pull it firmly into the commercial present. It’s a polished update to the still-life traditions of the nineteenth century, though I’ve seen this precise warmth in countless editorial spreads. Still, the steam rising from that tea—it’s genuinely evocative, catching the light with a delicacy that makes me want to reach out and pull up a chair.
Steam rises from the tea. It’s a ghost, vanishing into the frame’s edge. The pastries sit in gold. The olives, dark anchors. I’ve spent minutes watching the light settle on the ceramic. It’s quiet. The composition doesn’t crowd the eye. It leaves room for the breath between bites. I feel a sudden, sharp hunger for that stillness. Nothing here is accidental. The empty corner is not empty. It’s where the evening waits.
We look at these golden pastries and we don’t just see food; we see the quiet hum of a family waiting for the sun to set. Ali El Awji has listened to the rhythm of Ramadan, capturing the anticipation in the steam rising from the tea. It’s a portrait of a table, yet it feels like a homecoming. I’ve felt this warmth before, and it makes me hungry for the stories shared over these olives.