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Just as the world finally figured out why Snap relabeled itself as a camera company, last week Facebook proclaimed it’s not just a camera company, it’s a camera company built on the world’s ambitious augmented reality platform.
Just as the world finally figured out why Snap relabeled itself as a camera company, last week Facebook proclaimed it’s not just a camera company, it’s a camera company built on the world’s ambitious augmented reality platform.
Just as the world finally figured out why Snap relabeled itself as a camera company, last week Facebook proclaimed it’s not just a camera company, it’s a camera company built on the world’s ambitious augmented reality platform.
Just as the world finally figured out why Snap relabeled itself as a camera company, last week Facebook proclaimed it’s not just a camera company, it’s a camera company built on the world’s ambitious augmented reality platform.
Last October Stacy Kranitz was making the rounds in New York, so I jumped at the chance to have her swing by Bushwick to talk about her photography and few photobooks I had laying around that we’d yet to discuss. I knew my friend, and season 2.19 guest, Paul Kwiatkowskiadmired her work, so I tossed out the idea of having him co-host, which he thankfully thought was a good idea. It definitely created an interesting dynamic for a conversation, since they both work from a similar impulse in many regards.
Over the last six years, Los Angeles-based photographer Stacy Kranitz has been working on a personal project about the Native American community living on the disappearing Isle de Jean Charles in the Louisiana bayous
Each year in Pennsylvania, 500 people come together to reenact the Battle of the Bulge. During the reenactment, I portray Leni Riefenstahl and behave with soldiers, as she would have. I am intrigued by the complex story of a woman with a problematic set of morals