Portfolios & Galleries

Moments Big and Small in Vintage Photos – The New York Times

Lee Shulman, an English-born filmmaker based in Paris, decided to buy a random bundle of slides from eBay on a lark. Almost instantly upon examining the contents, “I felt very close to the image,” he said, “and close to the emotions that were transferred.”

Searching for Memory of the Gulags in Putin’s Russia | The New Yorker

The photographer Misha Friedman and I travelled in Russia in 2016, looking, as we put it in the subtitle of a new book, “Never Remember,” “for Stalin’s Gulags in Putin’s Russia.” We wanted to document memory—or the lack of memory. We began in places where I had reported two decades earlier, when memory activists, then often with the aid of local officials, created memorials or museums. We wanted to see how those sites had changed in the twenty years since, as Joseph Stalin’s image was being burnished—to the point that he now consistently tops polls asking Russians to choose the greatest man who ever lived.

Capturing Photos of Corporate Office Life in 1970s America – The New York Times

When Susan Ressler returned home from photographing a Native American community in northern Canada, something didn’t sit well. She had been there for three months in 1973 with an anthropologist, following families as they battled alcoholism and poverty. She had dreamed of becoming a documentary photographer like Dorothea Lange, but her time in Canada left her questioning her privileged status as a photographer.

Another Piece of the Jigsaw that is North Korea – Feature Shoot

Photographer Tariq Zaidi’s most recent project Photographing North Korea was undertaken during a journey from Dandong, on the North Korea-Chinese border, to the DMZ in the south, and across the country from the capital Pyongyang to Wonsan. The final edit shows what the North Korean guides allowed Zaidi to photograph, and not what was deleted from his SD card upon leaving the country.

Looking at the Paralympics With a New York Times Photographer – The New York Times

PYEONGCHANG, South Korea — After parking his car at the Paralympics Alpine skiing venue, Chang W. Lee climbed 40 steep steps, scaled a hill with an imposing gradual incline, passed through security, climbed some more steps, walked up another hill, climbed two more sets of metal steps labeled “Caution: Slippery Surface,” trudged across a flat expanse of snow, scaled another small hill to ride a chair lift, climbed still more slippery steps, trudged across more snow and then finally lumbered down a ramp.

Patricia Morosan – Sun Stands Still « burn magazine

The images in the photoseries “Sun Stands Still” were shot during the years 2014-2016, while traveling through my homecountry Romania, as well as through Poland, Portugal and Germany. But the concrete places dissolve in this work and they become my own personal metaphorical space. In this space and through this images, I tell stories both of intimate encounters, as well as from a brief glance at the little stories I met along the way, which may have happened, or will still happen while passing by. And in doing so, images came along and have been found (again); as if they could arise from my memories, hunches and dreams. The images in ‘Sun Stands Still’ are therefor seen as momentary reliefs, which may be found in reality as in a dream.

Pride and Self-Love in the L.G.B.T.Q. African Diaspora – The New York Times

When Mikael Owunna returned to his family’s home in Pittsburgh after finishing a Fulbright Fellowship in Taiwan, it was unsettling. He and his family were originally from Nigeria, where gay Africans like him were scorned and mistreated. While grappling with long suppressed anxiety and depression because of that cultural tension, he saw an exhibition of the work of Zanele Muholi, the chronicler of queer experience in South Africa.

The Mesmerizing Mundane Objects of Ordinary North Korean Life

LONDON — Made in North Korea: Everyday Graphics from the DPRK, a new exhibit at London’s House of Illustration, shows that interesting graphic design can be showcased in utterly prosaic objects, from cigarette boxes to bottled water labels and wrapping paper.

A Mexican-American Photographer’s Divided View of Postwar L.A. | The New Yorker

Last week marked the fiftieth anniversary of the East L.A. “blowouts,” in which thousands of Mexican-American high-school students protested their crowded, understaffed classrooms and outdated textbooks with an organized walkout. At the time, George Rodriguez was a thirty-one-year-old photographer working at Columbia Pictures. It was a good job, working on the publicity stills of stars like Frank Sinatra and Jayne Mansfield. Rodriguez, who is also Mexican-American, had grown up at a different time, and in a different part of the city—South L.A., not the Eastside, which was the hotbed of the burgeoning Chicano movement. But he recognized that something important was happening. During lunch breaks, he grabbed his camera and drove across town to take pictures. Who else would document this moment? One photo features a teen-ager, his hair parted down the middle, holding a sign in each hand: in the right, roosevelt chicanos demand justice; in the left, fuck the pigs. A visual reminder, in light of the recent Parkland student protests, that teen-agers have long been at the forefront of demanding political change.

Gabi Pérez – Our Mind; A Weapon « burn magazine

During our journey, my father learned about, and introduced me to Project Semicolon; a “non-profit movement dedicated to presenting hope and love for those who are struggling with mental illness, suicide, addiction, and self-injury.” We joined the movement, and I held his hand as he got his first tattoo, a semicolon on his left arm. I have no doubt that, even on the darkest days, my father fought relentlessly for his life. However, the ending to his story was traumatic and unexpected.

A Midwestern High Schooler’s Intimate, Imperfect Portrait of Adolescence | The New Yorker

Far more affection than angst figures in the adolescent wasteland where the eighteen-year-old photographer Colin Combs portrays his friends, most of them high-school seniors from Dayton, Ohio. Combs’s home town is sometimes called the heroin capital of the United States. His mother, a respiratory therapist, has stories of patients who have overdosed or suffered from trafficking; his father, a car salesman, speaks warily of a gas station near his workplace that attracts opioid addicts. “It’s pretty much everywhere,” Combs said. But he has no interest in succumbing to the specious glory of drugs. In his vivid, unvarnished stills, Dayton instead assumes a melancholy splendor, sheltering artists and skaters whose insouciant dignity resists the clichés that accrue to youth.

On Collaboration: Hillerbrand+Magsamen | LENSCRATCH

The team of Mary Magsamen and Stephan Hillerbrand are masters at brilliantly and continually weaving the complexities of daily life into their work as they probe the essence of the suburban nuclear family. From fog enveloping their dinner table to a chronicle of a family trip to the moon (complete with a gift shop), their staged documentary work exposes the tenuous underpinnings of existence. We admire their practical impracticality as they hold the line between immersion and satire – bending, breaking, mending, taping, reordering, and illuminating life.

Pamela Littky: American Fair | LENSCRATCH

“I drove thousands of miles to experience and document this most ‘American’ of American traditions,visiting fairs all over the country teeming with the people who call the surrounding area home. Begun in the 19th century for primarily agricultural purposes, state and county fairs remain as popular as ever.And as these traditions endure so do the people who keep them alive.” — Pamela Littky

The Works of Photographer Toni Frissell – The Atlantic

Toni Frissell began her career in photography in the 1930s, at first working as a fashion photographer for Vogue magazine. During World War II, she was, for a time, the official photographer for the American Red Cross,  and later, the Women’s Army Corps. Her work took her to Europe, where she photographed soldiers and civilians affected by the war, including a famous series featuring the Tuskegee Airmen at an air base in Italy. In later years, she continued a career of photographing both famous and ordinary people for decades, amassing a collection of some 340,000 images. In 1971, Frissell donated her photographs to the Library of Congress, preserving the images and making them available to everyone. Below, a small collection of Frissell’s work. These images from this pioneer in her field are windows into our recent past.

Ryan Casson – Deconstruction « burn magazine

I want to believe. I want you to believe. Something. Anything. Crave it. Authenticity. The real. Feeling. To me, this is what is most important. For the absence of the real is fiction. I point the camera outward–and inward–as I frame and re-frame my reality–and yours. Choices. A coming to an understanding. This is what my deconstruction feels like. Yes, deconstruction.

Stolen Moments of Solitude at the World’s Busiest Airport | The New Yorker

Mark Steinmetz, a photographer based in Athens, Georgia, and best known for his black-and-white portraits of strangers—accumulated through prolific wandering and watchfulness—has, in recent years, turned his attention to Hartsfield’s labyrinthine spaces. As he explained in an episode of the “Magic Hour” podcast, he photographed the airport from all sides: “outskirts, the people on the sidewalk, the drop-off, the pick-up locations, in the terminals—because I fly so much—and pictures of the planes taking flight, pictures in planes, pictures of planes.”

A Rare and Intimate Look at the Lives of Irish Traveller Children – Feature Shoot

The Los Angeles photographer Jamie Johnson first gained access to the Irish Travellers through the children of the community. They were intrigued by the artist and her camera, and quickly, they accepted her as “the crazy American photographer.” Once the young people trusted her, the adults followed.