Paul Hynes-Allen is an English photographer based in Brighton, where, as a mature student, he clarified his photographic beliefs at the University of Brighton gaining a BA. 
Hynes-Allen is slowly finding recognition for his trademark; unflinching documentary practice that focuses’ on the roll of the male victim. His work conveys a strong empathy with his subjects, steadfastly refusing to objectify their states of distress and social marginalization. 
His work has been published in magazines newspapers and  online websites, such as, Camera Austria no102, the Berlin Tageszeitung,  Ant-Bad Magazine and is featured on the LensCuture's public website.
He has exhibited in galleries, such as, the Brotfabrik Galerie, Berlin, the Art Forum, Berlin,  Escola Massana, Barcelona, the Sallisbenny Gallery, Brighton. 
Most recently he was a prizing winning photographer in the Bruce Gilden's Street Life competition, Life framer:
''You’re left fascinated by what is out of shot. The man, tightly, brilliantly framed is entranced by the scene above him – the light glistening in his eyes. There’s something hopeful, almost spiritual about it. It’s an intriguing, captivating image''. Bruce Gilden, Magnum photos.
“My work is driven by self and the scars I bear from a turbulent past. I attempt to expose the ever-present trauma that waits in the shadows, the trauma that is but one instance away from being revealed, the trauma I find within the everyday. I choose to photograph the area I inhabit - generally I always have.”
A major theme of Hynes-Allen's practice is focused on ''Western stigmatised figures''. Take for example, the series: Beautiful Beggars  a collection of spiritual portraits of homeless people, caught in a world ravaged by austerity, where wealth and materialism are sadly the  dominant and defining factors in the everyday of his subjects. 
Hynes-Allen's aim, with this work, and in general, is ‘’to find and record the secret, overlooked beauty of the everyday.” offering a challenging perspective to a contemporary world predicated on the self and the superficial. (Micheal Gale).

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