Hair is so ubiquitous, it’s a common thread not unlike the weather. Seemingly everyone has a comment or observation about the subject. ‘How does my hair look?’, ‘I cried when my hair was cut,’ or ‘I’m having a ‘bad hair day’. Hair Stories is centered around the experience of women and their hair, yet the experience is still universal to some degree. Who among us has not had a bad hair day, bad haircut, or the experience of being happy when their hair looks exactly like they want? Through this project, Hoffman specifically addresses female identity, personality, femininity, history, and many of the aspects that are attached to the subject. Each woman in the book presents her own story about themselves and their hair. Hoffman also includes an inserted sheet where the reader can scan a QR code and hear excerpts of audio interviews of the women sharing their stories as well. By presenting the womens’ voices along with their portraits, I thought this made the stories even more personal.
In her essay in the book, Hoffman writes: “What I discovered is that hair is a language, a shield, and a trophy. Hair is a construct reflecting our identity, history, femininity, personality, our innermost feelings of self-doubt, aging, vanity, and self-esteem. Hair also has deep sociological roots. It can be indicative of a certain religious or political belief system and like its genetic code, is complicated and touches our very core.”
Hair Stories is a series of excerpted interviews and color portraits of a diverse array of women, that explores the complex relationship women have with their hair. Indian-born, Los Angeles–based photographer Rohina Hoffman used the interviewing skills she has developed in her training as a neurologist to establish an intimate rapport that allowed for a truthful dialogue about the role of hair in these womens’ lives. Though it was conceived and shot before the #MeToo movement, this salient project presents hair as a metaphor for identity, femininity and the manner in which women struggle for control over their own bodies in a misogynistic world. Hair Stories does not present itself as a politically charged story, however, and it also shows that hair is more than just style or aesthetics; it is a physical manifestation of the ongoing hope and history of women. I reflected upon the women in my own life in a way that was unexpected for me. The universal became personal. Being cognizant of their own hair stories, and the differences which make them strong individuals, allowed me to learn more about them in a way that is accessible to all of us.
Hair Stories Text and photographs by Rohina Hoffman Introduction by Emily Lambert-Clements, Art Advisor and Former Assoc. Fraenkel Gallery. Essay by Esther R. Berry, Fashion and Gender Studies Scholar and Curator, Ryerson University. Hardcover 7.25in x 10.5in 92 pages with insert 38 color photographs and excerpts of interviews. ISBN 978-8862086400
Rohina Hoffman is a fine art portrait photographer working in southern California. Born in India and raised in New Jersey, Hoffman grew up in a family of doctors spanning three generations. While an undergraduate at Brown University, Hoffman also studied photography at Rhode Island School of Design and was a staff photographer for the Brown Daily Herald. A graduate of Brown University Medical School and resident at UCLA Medical Center, her training led to a career as a neurologist. Taught to be a skilled observer of her patients, Hoffman was instilled with a deep and unique appreciation of the human experience. Hoffman now works full time as a photographer.
Sarah Belclaire is a photographer and writer based in Boston, Massachusetts, Her writing is mainly focused on women artists, and she recently launched a social media campaign called #1woman1review to encourage more women writers to review the work of women artists.
Belclaire’s photographic work also focuses on women’s issues, both personally and broadly. Her current/ongoing series “Unmending” is an attempt to relate her own story about disability and chronic illness to healing as a universal and varied experience. She uses large pieces of fabric to create in-studio scenes and costumes embodying the dichotomy of covering up or hiding one’s self, as compared to emerging from trauma.
This featured photographer comes from a blind submission to Wobneb Magazine. Like many things in life, a blind leap of faith is called for. In this particular case, it means the curtain is pulled aside and Sarah Belclaire’s work comes to the front of the stage. Her work is presented with a dignified grace rather than a clanging gong. Her cathartic work in ‘Unmending’ uses her own body, and her own life experience to explore meaning of her own recovery from illness; and in the larger sense, what it truly means to heal.
Artist Statement for ‘Unmending’
“These self-portraits began with one year of photographing myself as I experienced chronic illness and, primarily, recovered from surgery. I photographed my healing scars and my life with those scars and presented these images to friends through Instagram and Facebook. As my healing progressed, the reactions of those who took my scars at face value drove me towards a different narrative: one of healing as a lifelong and universally relatable process, less tied to scars than to identity.
I began to explore the body language and inadvertent messages that remain when I photograph my healing body without explicitly including the physical wounds. In covering my scars I uncovered themes of affectation, evasion, and discomfort as well as self-awareness, poise, and resilience. Recognizing that I am neither sickly nor immune to damage, I experiment with draped cloth costumes, which when molded, re-folded, and altered, can transform me into any state of mind: exposed, invincible, or somewhere in between. I see myself as a soul-searching woman, hiding, concealing, revealing and adorning herself with fabric: first a curtain drawn, then a twisted rope; a hospital gown or a ballgown; sheath or shaper. This work is intended to address recovery as a self-aware and sometimes painful process through which we mend, unmend, hide, emerge, lean upon others, evolve, and reinvent ourselves in search of a narrative for our healing experience.”
“At the age of twenty-six I opted for surgery to potentially, one day, save my heart. All at once it was comforting, terrifying, scarring, and curative. I addressed the complexity of this journey by photographing myself every day, starting the day after my surgery. Even when I could barely walk I was taking photos, not because it was a challenge but because it was a relief.”
“My wardrobe and backdrops made from draped fabric are inspired by traditions of European painting from the Baroque era to early Impressionism. Fabric backdrops allow me to create a diorama of sorts in which to install my human still-lifes. Inspired by the elaborate use of costume and gesture in an exhibit of the Pre-Raphaelites at the National Gallery of Art in London, I have transformed myself into the heroine of my own anti-tragedy: an Ophelia risen from the lake.”
Sarah Belclaire is a photographer, writer, and researcher from Boston, Massachusetts. She has been writing about the arts and music and shooting portraits for 10 years. Her writing has been featured on BobDylan.com, Folk Radio UK, and No Depression. Her photos have appeared in international print and online publications such as Vogue Italia, PH Magazine, F-Stop Magazine, Photographer’s Forum, and Amy Poehler’s Smart Girls. To see more of her work from ‘Unmending’ and other photography projects, please visit her website at https://www.sarahbelclaire.com/ — to read Belclaire’s interviews, features and editorials, visit https://www.sarahbelclaire.com/redshoes
Rachael Banks is a photographer from Louisville, Kentucky, and is an Assistant Professor of Photography at Northern Kentucky University. In a recent issue of F-Stop Magazine, I was fortunate to interview her and feature her work in the thematic context of animals – while acknowledging her work focuses primarily on family dynamics, relationships, and nostalgia. She is also especially interested in social subcultures and identity informed by place. Banks’ creates work about her family and the uneasiness of those relationships that are strained but also incredibly involved. The inclusion of numerous pets or animals in her family’s life conveys the importance animals play in our lives as she explores feelings of loss, identity, and meaning in the context of family, love and acceptance. It is immediately apparent that she cares deeply for her family – a tough subject to be subjective with, and also intimately close to.
I am the oldest of three, but more like a mother than a sister.
I constructed a family of siblings, both real and assumed.
‘Between Home and Here’ addresses deeply internalized
guilt and the essence of loved ones.
There is a history of pain and an apparent inwardness in my family.
My brother has a rage inside of him that I know others can see.
But, I can’t help noticing the way he delicately handles a small rabbit in his arms, gently stroking its ears and shielding its eyes from the fear of the unfamiliar.
I am a witness to their sensitivity and empathy in how they revere animal life, despite human failure.
This is a story about hating and loving where you are from.
It comes from doing anything to go back to a place that you left.
I left my heart in Kentucky and came back to find it.
The photographs are artifacts from my search.
Rachael Banks – ‘Between Home and Here’
Cary Benbow (CB):Your projectBetween Home and Here explores very powerful tropes of Family and inclusion. Let’s talk about the level of trust and intimacy in your work, and I’d like to ask about the project in terms of portraiture versus straight documentary style photography.
Rachael Banks (RB): While I am extroverted at work (I have to be), I am actually pretty shy and slow in how I go about making work, so it isn’t always as viable for me to photograph strangers. There is definitely a level of intimacy I have to achieve with a person to make work about them extensively. I really like to invest in whoever I am making work about. I go back and forth about my work being more portraiture based vs. documentary. In the beginning, I was interested in the concept of aesthetic beauty and portraiture allowed me to explore that. However, as the work has continued, I’ve thought more about my relationships with people and the place I feel I have in the world. I never considered myself a documentary photographer because I wasn’t sure if photographing my family fit within the scope but as the work expands, I definitely feel like the work is more heavily influenced by documentary photography. Portraiture is something I naturally gravitate towards in respect to my working methodology but my intent goes beyond the mode in which I present my images.
CB: Let’s discuss the role animals play in your work; how much of a role do they play in the lives of your subjects, or in your own life?
RB:I’m not sure if this is a regional or family influence (maybe a little bit of both) but I grew up surrounded by animals. My family members have always had a wide array of pets and my dad lives on a farm. I was definitely raised in an environment that placed a heavy emphasis on respect for animals and to treat pets as family. Because my work is so centrally focused on my relationships with immediate family, it is inevitable that animals become a part of that. Additionally, I see that animals often serve as an extension of the subject I am photographing and that they can help inform the viewer with more insight into the personality traits of the individual. On a personal note, I spend a lot of time driving to make work and I bring my dog Ghost with me as much as possible. If there isn’t an animal in the photograph I’m making, there is most likely one sitting next to me while I’m shooting.
CB: With regard to your earlier statement about your portraits documenting your family, what do you feel are the “obligations” of a photographer, or what obligation do you have to the people, your family, in your photos?
RB: I think it is important to have the ability to stand behind every image that you make. I understand that anything I put out into the world for others to see is coming from my own specific gaze and that I am actively selecting how the subject is framed and presented. I feel that I have a responsibility to myself and others to be able to understand that not everyone will see my images the same way that I do and that I have the ability to contribute (both negatively and positively) to how an individual/region/situation is represented. There is always the possibility that something I make can be misunderstood or that I can even cause harm, so with that in mind, I try to make sure that I don’t share anything that I can’t live with later on in life.
CB: What compels you to make the images you create? Why do you photograph?
RB:My mom photographed my entire childhood – and I mean she photographed everything constantly. While she has never identified as being creative/artistic, I feel that her compulsions have influenced me greatly and my need to document as much of my life/surroundings as possible. I have a lot of anxiety about forgetting defining moments or losing sight of what informs my identity. Photography has always provided a way for me to stay connected to who I am and what matters to me.
CB: Who are your photography inspirations or how to they influence your work?
RB:This is a question where I can go overboard so I will attempt to be as concise as possible. I really love Doug Dubois and the way he documents youth in addition to integrating a graphic novel in his series My Last Day at Seventeen. When I think about the muse in the photograph, I always look at Emmet Gowin; because who wouldn’t want to be loved the way that Edith is? I’m really inspired by Nathan Pearce and the way he photographs his life in the Midwest – he also has an incredible work ethic that always pushes me to be better. Jake Reinhart is another big inspiration for me because of his extensive approach to research and his ability to articulate his work in such a thoughtful way. I am also currently excited about Amy Powell, Caiti Borruso, Susan Worsham, and Dylan Hausthor.
CB: Do you feel there is a significant difference between “documentary” style photography versus “portrait” photography as a label? Or are those labels significant as a category to your work?
RB:I think that there is crossover between portraiture and documentary in my work. In terms of there being a difference, I believe the intent of the photographer is significant in making distinctions between the two. I’ve seen documentary work that is mainly consistent of portraiture so there isn’t much a difference between the two in that situation but I have also seen a lot of portraiture work that is more about visual aesthetics than it is about being documentary. I feel that my work falls in both categories in that I work primarily in portraiture but I am approaching my subject matter as a documentarian. Portraiture is a natural habit for me but I am more interested in the research and document component of making work. I don’t want to be the person that says I don’t fall into a category because I definitely fall into a few! If I had to describe my work in one sentence to a stranger I would summarize it as a documentary approach to family (assumed and biological) portraiture.
CB: Please talk about the role of a photographer as “publisher” and what you think about the recent increased push for photographers to publish photo books and/or zines. I know you are a strong advocate for publishing work.
RB: I am 100% supportive of photographers working in self-publishing and its one of my favorite components of photography. I think there is a lot that self-publishing/zines allow for a photographer in regard to the opportunity for exposure that it provides. While I feel it is still important to show work in galleries, a zine allows a photographer to share work without being weighed down by so many financial burdens. Accessible art is really important to me and I feel that self-publishing allows for photography to be more readily distributed and shared which fosters such a dynamic community that I value being a part of. On another note, I think that there is an over saturation of photobooks in the world right now, but I’m not terribly upset about having more books to collect. If there is a project that isn’t ready to be presented to the work as a traveling solo exhibition or a monograph, it can still be shared/distributed as a zine. Publishing also allows for photographers/viewers to see work as a physical object as opposed to looking at everything through a screen. I definitely appreciate the photograph more as a physical object and publishing encourages this.
Rachael Banks (b. Louisville, KY) is an Assistant Professor of Photography at Northern Kentucky University and is based in Covington, KY. She received an MFA in photography from Texas Woman’s University (Denton, TX). Banks is an avid supporter of self-publishing, accessible art, zines, and collecting. Her work has been shown at The Center for Fine Art Photography, The Kinsey Institute, Black Box Gallery, Darkroom Gallery, and several other institutions. She has also been featured in a number of online photography publications and frequently participates in panel discussions and invited speaker presentations.
Sandrine Hermand-Grisel grew up in Paris, France and in London, UK. She studied in Paris International Law before deciding to dedicate her life to photography in 1997.
Hermand-Grisel has exhibited nationally and internationally, including exhibitions at the Carroussel du Louvre (Paris, France), Rayko Photo Center (San Francisco, USA), Maison de la Culture (Luxemburg), City Hall, SFAC Galleries (San Francisco, USA), Europ’art’, (Geneva, Switzerland) Espace Bontemps (Gardanne, France), Centre Iris (Paris, France), Fotofever Photography Art Fair, (Brussels, Belgium), Le Pavé d’Orsay, (Paris, France), Viewpoint Gallery (Sacramento, USA)…
Shown below are examples from her project ‘Sea Sketches’:
Influenced by her late mother’s sculptures and her husband’s paintings and films, she worked on several personal projects before her series Nocturnes was recognized in 2005 by Harry Gruyaert, Bertrand Despres and John Batho for the Prix Kodak de la Critique Photographique. In 2006 she moved with her family to the United States and began experimenting landscape photography with her series Somewhere and On the road.
Despite the diversity of her projects she has a unique, very intimate, relationship with her subjects. Photography provides her with a way to express her feelings, like in the series ”Nocturnes” where she photographed only close friends and family members peacefully abandoning themselves in front of her camera. ”Somewhere” is her dream of America, a road trip through her adopted country. And ”Waterlilies” is full of joy and love for her two children as she watched them jumping and playing in pools over and over again. Sandrine Hermand-Grisel not only photographs what she loves, she breaks free from her own reality in her poetic vision of the world.
In 2013, Hermand-Grisel created the acclaimed website All About Photo and now spends most of her time discovering new talents while still working on personal projects.
The photo exhibition, Here and Now, is now open at the Museum of London. It runs through till October 15th. The work of London based photographer Niall McDiarmid will be mounted in the Rotunda space outside the museum and is open all day and night. It features 34 large scale prints from across the capital shot over the past 6 years.
Two of McDiarmid’s long-term projects, Crossing Paths: A Portrait of Britain, and Via Vauxhall, were published in book format; in addition to publishing the work online in dedicated websites. Both projects are series of portraits made by McDiarmid in his encounters with people throughout the UK over the past six years or so, and specifically for Via Vauxhall in the area surrounding the Vauxhall neighborhood of London. “Individually these photos represent the moment that we crossed paths, but collectively they represent my portrait of London — a confident city, a city of the future, a city I call home.”
McDiarmid’s photographic style can be described as ‘straight’, ‘documentary’ or even ‘street photography’. But make no mistake, McDiarmid’s stylistic approach often plays upon subtle use of color or pattern that is never arbitrary; it functions in highly sophisticated ways to connect elements and patterns in his subject’s clothing with their surroundings. In this manner, the people in his portraits are woven into the scene they occupy — an integral part of their surroundings.
Cary Benbow (CB): Why did you become a photographer? How did you get started?
Carrie Schreck (CS): I messed around a bit with film as a kid but the real answer this: when I first lived in San Francisco, my boyfriend and I never locked our car. It’s best just to leave it unlocked with nothing in it; if someone breaks in, at least you don’t have to replace your windows. One night someone must have been ripping off cars, got into ours and fell asleep. The next morning my boyfriend walks in with a Canon AE-1 left in the back seat. That’s how I got in to photography. Seriously. I still have that camera.
CB: Where do you get the ideas for your personal photography?
CS: I’m looking for genuine moments, powerful moments, and I hope to have the right mix of luck and speed to be able to catch them and do them some justice.
CB: Explain the idea behind your Moped portfolio images – How do they relate to your other projects?
CS: I’ve been shooting moped riders and moped gangs for 7 years. I shoot it because it’s my life and what’s going on around me, but it’s such a close-knit community, it’s a brotherhood and sisterhood. The story lines around each gang, each ride, each rally are a total challenge to capture. I wanted to save the memories for the people in them, that was always my first priority. Say, if Ashlee ever has kids and they are able to see a photo of her bombing the Coronado bridge after racing hundreds of miles, fixing her bike on the side of the road, doing something silly and dangerous but daring… maybe they’ll be inspired. With a photograph, that inspiration can happen long after I’m gone, after she’s gone.
CB: Seven years definitely counts as a large, long-term project. What work are you currently shooting?
CS: ‘Larger series’ is about right. I’ve taken about 50,000 photos over the last 7 years. This fall I’ll be showing a slice of them at Haphazard Gallery in Santa Monica opening October 29. I’ve gotten the selects down to about one thousand, so I’m still editing. This coming week I’m traveling to Europe to meet with some moped gangs over there, tour a factory, follow a race, then I’ll be back in the states for the big national rally in San Francisco. That will be 8 years in total shooting bikes, I’m about ready to find a new subject.
CB: What will you be doing while you are in Europe? Where will you be traveling?
CS: I’ll be in Slovenia and Croatia, so I’m very interested in the lives of people displaced passing through from Syria and Jordan. I’m drawn to human ingenuity and how people excel at making the best of their situation. If I can find people willing to be photographed, I might. There are some moments that just don’t need to be photographed, I’m always aware of that, too.
CB: What or who are your personal photography inspirations?
CS: You know, strangely enough I found out a few years ago that my great Aunt was one of the first famous female photographers, Nancy Ford Cones. Like me, she liked documenting life’s moments. In her later years she started to become more experimental, creating scenes, when her husband died she stopped shooting altogether. Weirdly, I learned all of this way after my own interest in photography began. In a way I feel like I’m continuing to shoot for her, so she’s a big inspiration for me.
CB: How would you describe your work to someone viewing it for the first time?
CS: If Arthur Pollock had a 5D and hung out with grimey gear-head punks. Something like that.
‘MTWTFSS: Chapter 1. 2010-2015’ is a vulnerable, honest and intimate photo book by the emerging photographer Sophie Harris-Taylor whose autobiographical body of work is made of images taken from her photographic diary of the past five years.
The book is laid out in a traditional journal form, much like a decent sized Moleskin notebook, complete with a strip of fabric to mark your place. The front and back cover are stamped/faux-embossed with the book title and short statement. I appreciated its understated presentation, especially in a time when larger photobook publishers are really trying to vie for the attention of their customers. The handcrafted design esthetic of MTWTFSS is definitely in the ‘Win’ column.
Harris-Taylor has compiled a collection of images spanning a five year period, in a diary-style fashion. Her images are presented almost exclusively as single image pages, with the occasional blank or two-page spread for visual pacing. The limited first edition of 500 copies are hand numbered and signed.
In describing the book, Harris-Taylor says, “MTWTFSS is an autobiographical, fragmented, sporadic photo diary. It is a reflection of myself and those I know and love. In familiar, often mundane surroundings I seek to capture some element of truth of our lives. For me these ‘everyday, forgotten nothings’ are more important and truthful than any other. These are the moments between the momentous.”
Harris-Taylor relates the personal aspect of the book by saying, “MTWTFSS is the most personal to me. It’s only become apparent recently that although I’m representing aspects of other people, I’m seeking the aspects I’m familiar with and which I can relate to the most. So I’m really using them to express myself.”
I truly did get the feeling I was privy to a photo diary, where the author had chosen certain places, people and images that evoked a sense of vulnerable moments captured between her and the people in her life. The book’s presentation didn’t feel forced, and while the promotion for the book describes the images as “spontaneous”, I would be more apt to describe the style as “informal” despite the acute attention Harris-Taylor gives to light, composition, and the connection to the people sitting before her lens.
“At the same time as seeking their vulnerability I was in awe of their confidence and ability to be comfortable in their own skin. In truth, I was in awe of my friends. One girlfriend in particular; she let me in, she gave me what to capture and I became almost obsessed with the act of photographing her. There were moments of sadness, moments of vulnerability, she never put up a front or undermined what I was doing, she let her guard down and this is what I became interested in.”
The understated moments that make up much of what we construct in our minds as the memories of what has taken place, where we have gone, and who we have encountered, are the memories we recall when reminiscing. Harris-Taylor has taken the reader/viewer into her own memories and revealed the mostly hidden, simple moments by being our (sometimes literally) bare and vulnerable self, our true moments without facade.
Limited 1st edition of 500 (hand numbered)
Leather-effect binding and blind embossed cover.
16x20cm, 176 pages
Offset lithograph printed on 140gsm uncoated paper.
Designed by Joseph Carter.
Sophie Harris-Taylor is a British fine art photographer and lecturer in photography. Born in 1988 in London, where she still resides, she received both her MA and BA (Hons) in Photography from Kingston University.
Harris-Taylor’s work has been nominated for the Taylor Wessing Photographic Portrait Prize and The Renaissance Photography Prize. Her work has also been exhibited in a range of shows, including The Young Masters.
I came across a series of images by Tarah Sloan when reviewing work in the F-Stop Magazine exhibition, Family, earlier this year. The exhibition took place at a time when Sloan was not able to give her input for an interview, but I had the chance to revisit her work; and I am glad for the opportunity. In our interview, she revealed the back-story for her series of images dealing with her mother, cancer, and loss. By dealing with her Mother’s life after the loss of family members, one could presume this work is catharsis for her as well.
Cary Benbow (CB): Why do you photograph? Why did you become a photographer?
Tarah Sloan (TS): I photograph because it is a way of expression and a form of storytelling, for myself and the viewer. The environment I am surrounded by typically compels me to create images. I started photographing at a young age, so over time my skills developed and my love never wavered. After graduating from high school, I knew I wanted to attend an art college to receive my BFA in photography, and that’s exactly what I did.
CB: Your images in this series definitely come across as storytelling. Can you please explain the idea behind your series?
TS: These images are unlike any other project I have created before. My concept behind this photo series is the emotional plunge of grief a person will face in their lifetime. This project is significantly different because it is personal to my family and me, documenting my mother as the subject. I also normally would not have one person as my main focus through a whole body of work. Many of my ideas for my personal work come from observing the behaviors of others in my environment; such as, this work of my mother.
CB: In your opinion, what makes a good photograph?
TS: A good photograph should pull you in and make you think, feel, react or respond in some way. Photography, after all, is art.
CB: How would you describe your work to someone viewing it for the first time?
TS: That’s a hard question for me, because I can be a little too critical of my own work. I want the viewer to gain some sort of emotional connection from the image. Whether that’s from wonder, amazement, sadness, or joy. Within this series of photographs, I documented my mother.
“I started documenting my mother a few months after my brother Daron passed away in July of 2015.
I watched her daily struggle with grief after the loss of her husband, sister, and her only son – each who had suffered with cancer; all within 5 years.
I watched her put on the daily brave face and try to continue with life as usual.
I watched as the feelings of depression kept her in its grip.
After many lonely hours, days, and nights, I began to see her gaining strength as she finds new life in the comfort of her garden and the surroundings of her music and art students.”
CB: What/who are your photography inspirations – and why?
TS: Paul Strand, Ansel Adams, Sally Mann, Diane Arbus, Uta Barth, and Shelby Lee Adams- to name a few from a broad range of individually talented and inspirational photographers. There are many people who I draw inspiration from, including my past professors and colleagues. Why are these people my inspirations? The majority of their photographs are captivating and striking on a number of photographic levels. I think it would be hard for someone to not find inspiration in some way.
CB: What work are you currently working on? Any new projects?
TS: This past summer my mom and I spent 40 days straight on the road, traveling a full circle around the US to visit different grad schools I have looked into. From visiting family in West Virginia, we journeyed upwards to the first art school in Chicago, across to the University of Oregon, down to San Francisco Art Institute, across to the University of New Mexico, then back across to Georgia. Of course, we stopped at as many National Parks as we could along the way, including Devil’s Tower, Yellowstone, Grand Tetons, Yosemite, Grand Canyon, and the Rocky Mountains in Colorado. It was an amazing, exhausting, and eye-opening experience to see the grand, ever changing landscapes of the United States- totally worth it! As a (mostly) landscape photographer, I was in heaven the majority of the trip. I’m pretty excited to see where my future leads me.
A big congratulations to British photographer Niall McDiarmid on his gallery exhibition from now through Oct. 14th. The show contains images from his long-term and ongoing project of making portraits of people throughout the UK.