A retired rabbi turned street photographer stumbled onto a Brooklyn Chabad camp trip on a ferry to Governors Island. What he found
Rob Sutherland is a commercial and landscape photographer who has shot a photo a day for sixteen years. On a family trip
Ty Nelson picked up a camera because he loved wrestling, and started shooting the action the way most beginners do. What he
Kenneth Nelson had one goal on June 26, 2004. Document the Mermaid Parade. Then the music found him first, and it never
Andre Vallgren spent a day photographing a Swedish luthier who has built guitars for Keith Richards and Ryan Adams. What he found
Andrés Gonzalez started asking questions about Portugal's wildfires in 2023 and has not stopped since. He rides hundreds of kilometers on a
A figure appears in the mist at the Osaka Expo, caught on a Leica M3 loaded with Ilford Delta 3200. Jasper Bancroft
Mark Archibald had long kept a quarter mile gravel road in mind as a good sunset vantage point over an Amish farm
Michael Houghton and his wife fell in love with the Isle of Harris on their first visit in 2015 and have returned
Flora van Wageningen took a solo weekend to the mountains during a genuinely low point in her life, expecting nothing more than
Mark Archibald bought six acres of fallow farmland twenty five years ago and spent decades planting trees, scattering acorns on walks, and
The Milky Way never showed. Two nights of clouds over the Vermillion Cliffs erased the whole reason for the trip. A dinner
Kayleigh Morin started as an artist frustrated that drawing could not capture light the way she wanted. Self portraits led to photographing
Leighton Phillips describes his work as Urban Still Life, drawn to the mundane, the ignored, and the visually familiar rather than anything
Flora van Wageningen picked up a camera in her late thirties, restless and bored with the city she had settled in, and
Damian Ward is drawn to woodland and solitary trees, especially in winter when the branches are bare, in a landscape he describes
Edward Boches was pulled into photography by John Filo's 1970 image of a woman kneeling over Jeffrey Miller at Kent State, the
Andrew Griffiths has been photographing since he was four or five years old, carrying a bakelite Brownie camera through the Pennine hills
Leica’s new Summicron-M 66 f/2 reinterprets a rare lens built for US Navy reconnaissance. Here is what Leica announced, and why its unusual focal length and high contrast rendering might appeal to black and white photographers.
A new film from Alina Marazzi tells the story of Gerda Taro, the photographer who shared the name Robert Capa and was nearly written out of it. Here is what we know about the film, and why her story matters.
The grayscale setting on our phones is usually sold as a way to cut screen time. For black and white photographers it is something better, a way to see which photographs actually hold up without their color.
A figure appears in the mist at the Osaka Expo, caught on a Leica M3 loaded with Ilford Delta 3200. Jasper Bancroft on waiting twenty minutes, taking a single frame, and wanting a form rather than a person.
Seeing in tone gets easier when we stop trying to see every gray at once. Notan, an idea from Japanese art that was taught to American photographers a century ago, starts with just two.
OM System has revived the PEN with a rangefinder body, a built in viewfinder and a switch on the front marked Color and Mono. Here is what it offers black and white shooters, and where it falls short.
Long before anyone pointed a camera at anything, painters were already proving that color was not required to create convincing depth, weight, or emotional force. Grisaille, the centuries old technique of painting entirely in shades of gray, has a lot to teach anyone working in black and white today.
Phones have faked depth of field for years. The iPhone 18 Pro has six metal blades that actually move, and for once the choice about how much of the frame is sharp is yours.
Mark Archibald had long kept a quarter mile gravel road in mind as a good sunset vantage point over an Amish farm near his home. When near whiteout conditions hit instead, wind whipping snow until sky and farmland became indistinguishable, he drove out before the roads got too bad, hoping a photograph could actually convey…
When photography was invented, it was received as something radically different from painting, a mechanical, objective record of reality rather than an interpreted one. That belief was flawed from nearly the very beginning. Here is the real history of photographic truth, and how far we have actually strayed from it.
