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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
