"I turned to the landscape as a way of holding on to moments, to light, and to the often overlooked persistence of life. Photographing has always been, for me, an act of remembrance: a way to slow time and preserve what is still growing and still breathing, even as loss reshapes our experience of the world."
"My mum used to tell me how, back in her day, people would go to clubs and fall in love, and at the end of the night, the DJ would play slow music. I don't think that happens anymore."
Exploring Transgender Identity in South Carolina is a candid photographic and interview-based documentation of transgender life in South Carolina. This project offers a contemporary visual record of a community that exists largely outside of that narrative yet within its realities.
Misan Harriman states, 'this exhibition isn't about one cause', highlighting that it reflects a broader social impulse to protest during times of upheaval.
Chelsey Nelson sued Louisville in 2019, arguing the city's Fairness Ordinance could force her to create content celebrating marriages that conflict with her religious beliefs.
Camera (1) is a compact, metal-bodied camera designed for ease of use, featuring a single-edge control layout that allows for quick adjustments without navigating a touchscreen. This design is particularly beneficial during cherry blossom season when moments are fleeting and require immediate capture.
Evelyn McHale wrote in her suicide note that she didn't want her family to see 'any part' of her body. Instead, a photo of her death would become one of the most famous photographs of all time.
There was a real feeling of community, and many of the houses felt like open studios; artists had taken over spaces to exhibit and sell their work. Ogilvie didn't know it at the time, but the Ford Cortina in the shot is a familiar feature of the area, and is known affectionately as Cortie.
CUBES is a long-term photographic series, developed between 2018 and 2025 by Seb Agnew, composed of 27 hand-built miniature architectural environments. Structured across three interconnected chapters: CUBES I, CUBES II, and CUBES III, the project examines how spatial design reflects human presence, historical continuity, and technological systems. Each image originates from a physically constructed model room built from scratch. Traditional model-making methods are combined with contemporary fabrication tools, including laser cutting and 3D printing.
The debut event, featuring Queer Eye's Carson Kressley, will include the voices of Jim Obergefell, George and Brad Takei, Judy and Dennis Shepard, and many more from the 100 stories featured in the book. The beautiful LOVE book brings together vivid photographs and compelling stories to make you feel as if you're right there for each and every twist and turn of the many decades of queer and marriage equality activism that culminated in the 2015 nationwide marriage equality victory at the U.S. Supreme Court.
Films seen long ago but unavailable for rewatching often loom large, like myths shadowed by fear: Will a second viewing confirm or dispel the initial impression? I first saw "Caught in the Acts" ("Délits flagrants"), a documentary by the French director Raymond Depardon, in Paris, a few months after it opened there, in 1994, and it struck me as one of the greatest documentaries I'd ever seen.
Born in East Germany just a few years before the fall of the Berlin Wall, her work ruminated on reunification. It often incorporated furniture and found domestic objects and mass-produced home goods from the era as carriers of ideologies, politics, and social truths. She passed away of cancer just three months before the opening of the Venice Biennale, where she was set to co-represent Germany with artist Sung Tieu.
I grew up in New York. We were very, very poor. We were living in the basement of an apartment building in the South Bronx, and, because my stepfather was the superintendent, I would get up every morning and straighten up all the garbage. And then I would sweep the halls down, and I'd mop the halls down. We had no money to travel.
Dörte Eißfeldt's photography is grounded in the experience of seeing: a relational seeing that holds in view not only the self and the world, but also the photographic object itself, which can act as a vital intermediary between the two. Making us encounter gentler close-ups of a neck pressed into sheets of silver, nebulated, spectral hands and snowballs that seem to glow far beyond the print's surface, her largely self-taught photographic practice probes phenomenological questions of appearance, perception and form.
The light fades earlier, city lights turn on before the afternoon is over, and the wind bites the skin. During Scandinavian autumn and winter, people dress more warmly, and time slows down. I carry the memories and connections from summer longer than I should, still feeling them in my body. The longing for closeness and warmth is there, but it does not come easily. As everything around me changes, I do too.
