• THE ISLAND THAT TAUGHT ME TO SEE PEOPLE

    David Clark retired three years ago and bought his first serious camera. Since then he has been making up for lost time. A week in Havana on a portrait workshop led by legendary photographer Peter Turnley changed how he thinks about photographing people.

    Photographs by David Clark

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  • Ten Days Ten Shadows

    Ten days. Ten images. One singular pursuit of light. This series explores the quiet drama of Mexico’s streets and the power of finding the "main character" within the shadows.

    Photographs by Darren Pellegrino

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  • CUBA 25 YEARS AGO

    Twenty five years ago, Eduardo Cerda Sanchez boarded a plane to Cuba. He was not going as a photographer with a project. He was going as a student, with a camera, three months, and no agenda. Cuba, it turns out, does not need a photographer with a project. It just needs one willing to show up.

    Photographs by Eduardo Cerda Sanchez

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  • INTO THE COLD

    For over a century, Milwaukeeans have started their new year the hard way. André Saint Louis has spent the last four years documenting the chaos, the cold, and the characters who keep coming back.

    Photographs by André Saint Louis

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Does Being Creative Mean Being Original?
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Does Being Creative Mean Being Original?

Most photographers use creative and original as if they are the same word. They are not. The confusion is causing real anxiety and getting in the way of real work. Here is a more honest and more useful way to think about what being creative actually means.

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Is Photojournalism Broken?
Originals, Tips The Monochrome Collective Originals, Tips The Monochrome Collective

Is Photojournalism Broken?

Photojournalism presents itself as the gold standard of honest photography. The unmanipulated truth. The moment as it actually happened. The reality is more complicated and the gap between the claim and the practice is worth looking at honestly.

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Photographer Spotlight: Matt Hodson
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Photographer Spotlight: Matt Hodson

Matt Hodson calls his style post-street. Not the decisive moment but the moment after. Not the person but the space they left behind. It sounds like a stylistic choice. It is also a philosophy that grew directly out of grief. Here is the photographer behind it.

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How Project Photography Can Elevate Your Work
Originals, Tips The Monochrome Collective Originals, Tips The Monochrome Collective

How Project Photography Can Elevate Your Work

Most photographers shoot reactively. Something interesting appears and they respond to it. Project photography is the opposite and the difference in what it produces is significant. Here is why committing to a subject over time is one of the most powerful things a photographer can do.

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Weekly News Roundup
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Weekly News Roundup

A big week for gear. GoPro has made the most ambitious product announcement in its history. DJI launched the Osmo Pocket 4. NAB opened in Las Vegas. And Viltrox keeps expanding its lens lineup in ways that matter to serious photographers.

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A Photo Story: The Island That Taught Me to See People
Stories The Monochrome Collective Stories The Monochrome Collective

A Photo Story: The Island That Taught Me to See People

David Clark retired three years ago and bought his first serious camera. Since then he has been making up for lost time. A week in Havana on a portrait workshop led by legendary photographer Peter Turnley changed how he thinks about photographing people. Here is the story.

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A Photo Story: The Block
Stories The Monochrome Collective Stories The Monochrome Collective

A Photo Story: The Block

For the past several months Joe Moro has been returning two or three times a week to the same corner in Melbourne. The same stretch of footpath. The same light. The same cast of strangers who are slowly becoming familiar. This is what it looks like when a photographer decides to go deep instead of wide.

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