Adam
Amengual


Adam Amengual
Winner of the Sony Emerging Photogapher Award



A majority of the subjects I photographed at Homeboy Industries have had a mug shot taken of them. I have flipped that image, showing them proud and iconic, a metaphor for the transformation they are bringing to their own lives.
(Image 1 of 6)

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Adam Amengual
Winner of the Sony Emerging Photogapher Award



A majority of the subjects I photographed at Homeboy Industries have had a mug shot taken of them. I have flipped that image, showing them proud and iconic, a metaphor for the transformation they are bringing to their own lives.
(Image 2 of 6)


PhotoServe/Contact Info
Adam Amengual
Winner of the Sony Emerging Photogapher Award



A majority of the subjects I photographed at Homeboy Industries have had a mug shot taken of them. I have flipped that image, showing them proud and iconic, a metaphor for the transformation they are bringing to their own lives.
(Image 3 of 6)


PhotoServe/Contact Info
Adam Amengual
Winner of the Sony Emerging Photogapher Award



A majority of the subjects I photographed at Homeboy Industries have had a mug shot taken of them. I have flipped that image, showing them proud and iconic, a metaphor for the transformation they are bringing to their own lives.
(Image 4 of 6)


PhotoServe/Contact Info
Adam Amengual
Winner of the Sony Emerging Photogapher Award



A majority of the subjects I photographed at Homeboy Industries have had a mug shot taken of them. I have flipped that image, showing them proud and iconic, a metaphor for the transformation they are bringing to their own lives.
(Image 5 of 6)


PhotoServe/Contact Info
Adam Amengual
Winner of the Sony Emerging Photogapher Award



A majority of the subjects I photographed at Homeboy Industries have had a mug shot taken of them. I have flipped that image, showing them proud and iconic, a metaphor for the transformation they are bringing to their own lives.
(Image 6 of 6)


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Jehad
Nga


Jehad Nga
"Libya: For My Country's Good." From a series of photographs taken in Tripoli, Libya, from August through September 2011.
(Image 1 of 6)

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Jehad Nga
"Libya: For My Country's Good." From a series of photographs taken in Tripoli, Libya, from August through September 2011.
(Image 2 of 6)

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Jehad Nga
"Libya: For My Country's Good." From a series of photographs taken in Tripoli, Libya, from August through September 2011.
(Image 3 of 6)

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Jehad Nga
"Libya: For My Country's Good." From a series of photographs taken in Tripoli, Libya, from August through September 2011.
(Image 4 of 6)

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Jehad Nga
"Libya: For My Country's Good." From a series of photographs taken in Tripoli, Libya, from August through September 2011.
(Image 5 of 6)

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Jehad Nga
"Libya: For My Country's Good." From a series of photographs taken in Tripoli, Libya, from August through September 2011.
(Image 6 of 6)

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Thomas
Prior


Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous recreations in beautiful places.
(Image 1 of 6)

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Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous recreations in beautiful places.
(Image 2 of 6)

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Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous recreations in beautiful places.
(Image 3 of 6)

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Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous recreations in beautiful places.
(Image 4 of 6)

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Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous recreations in beautiful places.
(Image 5 of 6)

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Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous recreations in beautiful places.
(Image 6 of 6)

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John
Cyr


John Cyr
"Ansel Adams' Developer Tray." I am photographing developer trays so that the photography community will remember specific, tangible printing tools that have been a seminal part of the photographic experience for the past hundred years. By titling each tray with its owner's name, I hope to evoke thought and introspection about what images have passed through each tray.
(Image 1 of 6)

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John Cyr
"Sally Mann's Developer Tray." I am photographing developer trays so that the photography community will remember specific, tangible printing tools that have been a seminal part of the photographic experience for the past hundred years. By titling each tray with its owner's name, I hope to evoke thought and introspection about what images have passed through each tray.
(Image 2 of 6)

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John Cyr
"Linda Connor's Developer Tray." I am photographing developer trays so that the photography community will remember specific, tangible printing tools that have been a seminal part of the photographic experience for the past hundred years. By titling each tray with its owner's name, I hope to evoke thought and introspection about what images have passed through each tray.
(Image 3 of 6)

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John Cyr
"Developer Tray from the Collection of the George Eastman House." I am photographing developer trays so that the photography community will remember specific, tangible printing tools that have been a seminal part of the photographic experience for the past hundred years. By titling each tray with its owner's name, I hope to evoke thought and introspection about what images have passed through each tray.
(Image 4 of 6)

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John Cyr
"Bruce Davidson's Developer Tray." I am photographing developer trays so that the photography community will remember specific, tangible printing tools that have been a seminal part of the photographic experience for the past hundred years. By titling each tray with its owner's name, I hope to evoke thought and introspection about what images have passed through each tray.
(Image 5 of 6)

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John Cyr
"O. Winston Link's Developer Tray." I am photographing developer trays so that the photography community will remember specific, tangible printing tools that have been a seminal part of the photographic experience for the past hundred years. By titling each tray with its owner's name, I hope to evoke thought and introspection about what images have passed through each tray.
(Image 6 of 6)

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Alejandro
Cartagena


Alejandro Cartagena
"Car Poolers." A series showing carpooling practiced by workers in Monterrey, Mexico.
(Image 1 of 6)

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Alejandro Cartagena
"Car Poolers." A series showing carpooling practiced by workers in Monterrey, Mexico.
(Image 2 of 6)

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Alejandro Cartagena
"Car Poolers." A series showing carpooling practiced by workers in Monterrey, Mexico.
(Image 3 of 6)

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Alejandro Cartagena
"Car Poolers." A series showing carpooling practiced by workers in Monterrey, Mexico.
(Image 4 of 6)

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Alejandro Cartagena
"Car Poolers." A series showing carpooling practiced by workers in Monterrey, Mexico.
(Image 5 of 6)

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Alejandro Cartagena
"Car Poolers." A series showing carpooling practiced by workers in Monterrey, Mexico.
(Image 6 of 6)

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Steven
Laxton


Steven Laxton
Winner of the Arnold Newman Prize
for New Directions in Photographic Portraiture




"Circo El Salvador." Portrait series of nomadic Circus families in rural El Salvador.
(Image 1 of 5)

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Steven Laxton
Winner of the Arnold Newman Prize
for New Directions in Photographic Portraiture




"Circo El Salvador." Portrait series of nomadic Circus families in rural El Salvador.
(Image 2 of 5)

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Steven Laxton
Winner of the Arnold Newman Prize
for New Directions in Photographic Portraiture




"Circo El Salvador." Portrait series of nomadic Circus families in rural El Salvador.
(Image 3 of 5)

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Steven Laxton
Winner of the Arnold Newman Prize
for New Directions in Photographic Portraiture




"Circo El Salvador." Portrait series of nomadic Circus families in rural El Salvador.
(Image 4 of 5)

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Steven Laxton
Winner of the Arnold Newman Prize
for New Directions in Photographic Portraiture




"Circo El Salvador." Portrait series of nomadic Circus families in rural El Salvador.
(Image 5 of 5)

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Ilona
Szwarc


Ilona Szwarc
"Maya and Leela, NY, 2011" from "American Girls," a series of portraits of girls in America who own American Girl dolls.
(Image 1 of 6)

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Ilona Szwarc
"Gillian, NY, 2011" from "American Girls," a series of portraits of girls in America who own American Girl dolls.
(Image 2 of 6)

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Ilona Szwarc
"Leah Joi, NY, 2011" from "American Girls," a series of portraits of girls in America who own American Girl dolls.
(Image 3 of 6)

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Ilona Szwarc
"Chloe, NJ, 2011" from "American Girls," a series of portraits of girls in America who own American Girl dolls.
(Image 4 of 6)

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Ilona Szwarc
"Tiffani-Amber, NY, 2011" from "American Girls," a series of portraits of girls in America who own American Girl dolls.
(Image 5 of 6)

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Ilona Szwarc
"Jenna, MA, 2011" from "American Girls," a series of portraits of girls in America who own American Girl dolls.
(Image 6 of 6)

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Lauren
Greenfield


Lauren Greenfield
Former beauty queen Jackie Siegel surrounded by her children in her Orlando, Florida, mansion. she and her husband were in the process of building the biggest house in America, a 90,000-square-foot home, when the financial crisis hit.
(Image 1 of 6)

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Lauren Greenfield
An aerial view of "Versailles," the Siegel family home currently being built. Due to the economic crisis, construction on their dream home has been halted and "Versailles" has been on the market for over a year.
(Image 2 of 6)

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Lauren Greenfield
A member of the family's cleaning staff vacuums one of the kids' room. The Siegel's had a domestic staff of four nannies and 12 housekeepers.
(Image 3 of 6)

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Lauren Greenfield
The Siegel family opens presents Christmas morning. Jackie downsizes this year, shopping at Walmart rather than Versace, as her husband's business and her family's wealth reel from the economic crisis. (Image 4 of 6)

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Lauren Greenfield
Jackie's current dog walks by her former, taxidermied dog, a gift from her husband who knew how much she loved the dog.
(Image 5 of 6)

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Lauren Greenfield
David Siegel, Jackie's husband and the owner of Westgate Resorts, with his wife in their Seagull Island mansion bedroom.
(Image 6 of 6)

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Dirk
Anschutz


Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 1 of 6)

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Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 2 of 6)

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Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 3 of 6)

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Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 4 of 6)

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Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 5 of 6)

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Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 6 of 6)

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Sam
Kaplan


Sam Kaplan
Part of a series titled "Consumables," a project depicting concepts relating to the production and consumption of various mass-produced food items.
(Image 1 of 4)

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Sam Kaplan
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 2 of 4)

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Sam Kaplan
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 3 of 4)

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Sam Kaplan
"Dead Indian Pass" is a portrait series on bikers riding the Chief Joseph scenic Highway in Wyoming.
(Image 4 of 4)

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Robert
Whitman


Robert Whitman
An image from a series of photographs of a particular body part.
(Image 1 of 6)

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Robert Whitman
An image from a series of photographs of a particular body part.
(Image 2 of 6)

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Robert Whitman
An image from a series of photographs of a particular body part.
(Image 3 of 6)

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Robert Whitman
An image from a series of photographs of a particular body part.
(Image 4 of 6)

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Robert Whitman
An image from a series of photographs of a particular body part.
(Image 5 of 6)

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Robert Whitman
An image from a series of photographs of a particular body part.
(Image 6 of 6)

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Tim
Flach


Tim Flach
"More Than Human." A series of images that encompasses not only my personal beliefs, but also the concepts common in modern and historical religious and cultural symbolism, the human obsession with "cuteness," cross-breeding, the blurred line between human and animal genetic modification, conservation, morphology and plasticity. The viewer is brought into an unnatural proximity to the subjects, encouraging discussion on the human-animal boundary and attitudes toward non-human animals and the changing relationships, both literally and allegorically, between man and animal.
(Image 1 of 3)

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Tim Flach
"More Than Human." A series of images that encompasses not only my personal beliefs, but also the concepts common in modern and historical religious and cultural symbolism, the human obsession with "cuteness," cross-breeding, the blurred line between human and animal genetic modification, conservation, morphology and plasticity. The viewer is brought into an unnatural proximity to the subjects, encouraging discussion on the human-animal boundary and attitudes toward non-human animals and the changing relationships, both literally and allegorically, between man and animal.
(Image 2 of 3)

PhotoServe/Contact Info
Tim Flach
"More Than Human." A series of images that encompasses not only my personal beliefs, but also the concepts common in modern and historical religious and cultural symbolism, the human obsession with "cuteness," cross-breeding, the blurred line between human and animal genetic modification, conservation, morphology and plasticity. The viewer is brought into an unnatural proximity to the subjects, encouraging discussion on the human-animal boundary and attitudes toward non-human animals and the changing relationships, both literally and allegorically, between man and animal.
(Image 3 of 3)

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Anastasia
Taylor-Lind/VII


Anastasia Taylor-Lind/VII
An image from a series of photographs exploring the Nagorno-Karabakh government's "birth encouragement program," which distributes cash payments to newlyweds for each baby born. The aim is to repopulate the region after the devastating war that occurred between 1991 and 1994.
(Image 1 of 6)

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Anastasia Taylor-Lind/VII
An image from a series of photographs exploring the Nagorno-Karabakh government's "birth encouragement program," which distributes cash payments to newlyweds for each baby born. The aim is to repopulate the region after the devastating war that occurred between 1991 and 1994.
(Image 2 of 6)

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Anastasia Taylor-Lind/VII
An image from a series of photographs exploring the Nagorno-Karabakh government's "birth encouragement program," which distributes cash payments to newlyweds for each baby born. The aim is to repopulate the region after the devastating war that occurred between 1991 and 1994.
(Image 3 of 6)

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Anastasia Taylor-Lind/VII
An image from a series of photographs exploring the Nagorno-Karabakh government's "birth encouragement program," which distributes cash payments to newlyweds for each baby born. The aim is to repopulate the region after the devastating war that occurred between 1991 and 1994. Artak Petrosyan and his bride, Armine Baghdasaryan, sit at the main table during their wedding reception. The young couple will receive a payment of approximately 575 euros as part of the program.
(Image 4 of 6)

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Anastasia Taylor-Lind/VII
An image from a series of photographs exploring the Nagorno-Karabakh government's "birth encouragement program," which distributes cash payments to newlyweds for each baby born. The aim is to repopulate the region after the devastating war that occurred between 1991 and 1994.
(Image 5 of 6)

PhotoServe/Contact Info
Anastasia Taylor-Lind/VII
An image from a series of photographs exploring the Nagorno-Karabakh government's "birth encouragement program," which distributes cash payments to newlyweds for each baby born. The aim is to repopulate the region after the devastating war that occurred between 1991 and 1994.
(Image 6 of 6)

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Varial


Varial
"Wakhan Corridor." This 300 kilometer long corridor, located in northeastern Afghanistan, is considered one of the most remote and difficult-to-access regions in this part of the world, but also one of the most stable. It's populated by two tribes, the Wakhi and the Kyrgyz, who live in peaceful coexistence while trying to survive in a great expanse where the altitude and lack of resources render it practically uninhabitable. Equipped with photo, video and sound paraphernalia that was transported on the backs of donkeys laden with solar panels, I traveled the Corridor on foot with a friend to meet villagers, farmers, herders and nomads. After five weeks of daily treks through the particularly difficult conditions of these tribes that are living centuries-old existences, I now aim to share my esthetic and contrasted vision of another Afghanistan.
(Image 1 of 5)

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Varial
"Wakhan Corridor." This 300 kilometer long corridor, located in northeastern Afghanistan, is considered one of the most remote and difficult-to-access regions in this part of the world, but also one of the most stable. It's populated by two tribes, the Wakhi and the Kyrgyz, who live in peaceful coexistence while trying to survive in a great expanse where the altitude and lack of resources render it practically uninhabitable. Equipped with photo, video and sound paraphernalia that was transported on the backs of donkeys laden with solar panels, I traveled the Corridor on foot with a friend to meet villagers, farmers, herders and nomads. After five weeks of daily treks through the particularly difficult conditions of these tribes that are living centuries-old existences, I now aim to share my esthetic and contrasted vision of another Afghanistan.
(Image 2 of 5)

PhotoServe/Contact Info
Varial
"Wakhan Corridor." This 300 kilometer long corridor, located in northeastern Afghanistan, is considered one of the most remote and difficult-to-access regions in this part of the world, but also one of the most stable. It's populated by two tribes, the Wakhi and the Kyrgyz, who live in peaceful coexistence while trying to survive in a great expanse where the altitude and lack of resources render it practically uninhabitable. Equipped with photo, video and sound paraphernalia that was transported on the backs of donkeys laden with solar panels, I traveled the Corridor on foot with a friend to meet villagers, farmers, herders and nomads. After five weeks of daily treks through the particularly difficult conditions of these tribes that are living centuries-old existences, I now aim to share my esthetic and contrasted vision of another Afghanistan.
(Image 3 of 5)

PhotoServe/Contact Info
Varial
"Wakhan Corridor." This 300 kilometer long corridor, located in northeastern Afghanistan, is considered one of the most remote and difficult-to-access regions in this part of the world, but also one of the most stable. It's populated by two tribes, the Wakhi and the Kyrgyz, who live in peaceful coexistence while trying to survive in a great expanse where the altitude and lack of resources render it practically uninhabitable. Equipped with photo, video and sound paraphernalia that was transported on the backs of donkeys laden with solar panels, I traveled the Corridor on foot with a friend to meet villagers, farmers, herders and nomads. After five weeks of daily treks through the particularly difficult conditions of these tribes that are living centuries-old existences, I now aim to share my esthetic and contrasted vision of another Afghanistan.
(Image 4 of 5)

PhotoServe/Contact Info
Varial
"Wakhan Corridor." This 300 kilometer long corridor, located in northeastern Afghanistan, is considered one of the most remote and difficult-to-access regions in this part of the world, but also one of the most stable. It's populated by two tribes, the Wakhi and the Kyrgyz, who live in peaceful coexistence while trying to survive in a great expanse where the altitude and lack of resources render it practically uninhabitable. Equipped with photo, video and sound paraphernalia that was transported on the backs of donkeys laden with solar panels, I traveled the Corridor on foot with a friend to meet villagers, farmers, herders and nomads. After five weeks of daily treks through the particularly difficult conditions of these tribes that are living centuries-old existences, I now aim to share my esthetic and contrasted vision of another Afghanistan.
(Image 5 of 5)

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Howard
Cao


Howard Cao
"Brett Michaels" from the series "All Look Same," which explores the influences of celebrity and cultural identity. It asks the question: Would celebrities be as interesting to American culture if they were Asian?
(Image 1 of 6)

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Howard Cao
"Robert DeNiro" from the series "All Look Same," which explores the influences of celebrity and cultural identity. It asks the question: Would celebrities be as interesting to American culture if they were Asian?
(Image 2 of 6)

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Howard Cao
"Dolly Parton" from the series "All Look Same," which explores the influences of celebrity and cultural identity. It asks the question: Would celebrities be as interesting to American culture if they were Asian?
(Image 3 of 6)

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Howard Cao
"George Burns" from the series "All Look Same," which explores the influences of celebrity and cultural identity. It asks the question: Would celebrities be as interesting to American culture if they were Asian?
(Image 4 of 6)

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Howard Cao
"Marilyn Monroe" from the series "All Look Same," which explores the influences of celebrity and cultural identity. It asks the question: Would celebrities be as interesting to American culture if they were Asian?
(Image 5 of 6)

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Howard Cao
"Willie Nelson" from the series "All Look Same," which explores the influences of celebrity and cultural identity. It asks the question: Would celebrities be as interesting to American culture if they were Asian?
(Image 6 of 6)

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Lluis
Artus


Lluis Artus
"The Beach" consists of a series of portraits focusing on the diverse and colorful mix of people who inhabit Barcelona's many beaches. Above: Swedish couple.
(Image 1 of 6)

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Lluis Artus
"The Beach" consists of a series of portraits focusing on the diverse and colorful mix of people who inhabit Barcelona's many beaches. Above: Sisters from Paris.
(Image 2 of 6)

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Lluis Artus
"The Beach" consists of a series of portraits focusing on the diverse and colorful mix of people who inhabit Barcelona's many beaches. Above: Group of local friends.
(Image 3 of 6)

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Lluis Artus
"The Beach" consists of a series of portraits focusing on the diverse and colorful mix of people who inhabit Barcelona's many beaches. Above: Mohammed from Ghana.
(Image 4 of 6)

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Lluis Artus
"The Beach" consists of a series of portraits focusing on the diverse and colorful mix of people who inhabit Barcelona's many beaches. Above: Friends from Brasil and Ecuador.
(Image 5 of 6)

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Lluis Artus
"The Beach" consists of a series of portraits focusing on the diverse and colorful mix of people who inhabit Barcelona's many beaches. Above: Russian tourist and his dog.
(Image 6 of 6)

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Rui
Nunes


Rui Nunes
"Star America" from an ongoing catalogue of the ships that pass through the Port of Vancouver. Viewed from above, the ships reveal the conflicting ways that we consume the natural world.
(Image 1 of 6)

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Rui Nunes
"Sebarok Spirit" from an ongoing catalogue of the ships that pass through the Port of Vancouver. Viewed from above, the ships reveal the conflicting ways that we consume the natural world.
(Image 2 of 6)

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Rui Nunes
"Hanjin Madrid" from an ongoing catalogue of the ships that pass through the Port of Vancouver. Viewed from above, the ships reveal the conflicting ways that we consume the natural world.
(Image 3 of 6)

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Rui Nunes
"Golden Princess" from an ongoing catalogue of the ships that pass through the Port of Vancouver. Viewed from above, the ships reveal the conflicting ways that we consume the natural world.
(Image 4 of 6)

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Rui Nunes
"Diamond Princess" from an ongoing catalogue of the ships that pass through the Port of Vancouver. Viewed from above, the ships reveal the conflicting ways that we consume the natural world.
(Image 5 of 6)

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Rui Nunes
"Tug Barge" from an ongoing catalogue of the ships that pass through the Port of Vancouver. Viewed from above, the ships reveal the conflicting ways that we consume the natural world.
(Image 6 of 6)

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Peter
Steinhauer


Peter Steinhauer
An image from the series "Cocoons," which shows buildings undergoing a traditional construction technique utilizing bamboo scaffolding that's covered with brightly colored fabric. It is unique to Hong Kong and used on large-scale buildings. After the renovation, the fabric wrapping comes down to reveal a brand new façade.
(Image 1 of 6)

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Peter Steinhauer
An image from the series "Cocoons," which shows buildings undergoing a traditional construction technique utilizing bamboo scaffolding that's covered with brightly colored fabric. It is unique to Hong Kong and used on large-scale buildings. After the renovation, the fabric wrapping comes down to reveal a brand new façade.
(Image 2 of 6)

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Peter Steinhauer
An image from the series "Cocoons," which shows buildings undergoing a traditional construction technique utilizing bamboo scaffolding that's covered with brightly colored fabric. It is unique to Hong Kong and used on large-scale buildings. After the renovation, the fabric wrapping comes down to reveal a brand new façade.
(Image 3 of 6)

PhotoServe/Contact Info
Peter Steinhauer
An image from the series "Cocoons," which shows buildings undergoing a traditional construction technique utilizing bamboo scaffolding that's covered with brightly colored fabric. It is unique to Hong Kong and used on large-scale buildings. After the renovation, the fabric wrapping comes down to reveal a brand new façade.
(Image 4 of 6)

PhotoServe/Contact Info
Peter Steinhauer
An image from the series "Cocoons," which shows buildings undergoing a traditional construction technique utilizing bamboo scaffolding that's covered with brightly colored fabric. It is unique to Hong Kong and used on large-scale buildings. After the renovation, the fabric wrapping comes down to reveal a brand new façade.
(Image 5 of 6)

PhotoServe/Contact Info
Peter Steinhauer
An image from the series "Cocoons," which shows buildings undergoing a traditional construction technique utilizing bamboo scaffolding that's covered with brightly colored fabric. It is unique to Hong Kong and used on large-scale buildings. After the renovation, the fabric wrapping comes down to reveal a brand new façade.
(Image 6 of 6)

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Cristina
De Middel


Cristina De Middel
In 1964, newly independent Zambia started a space program that aimed to put the first African on the moon. Only a few optimists supported the project, founded by Edward Makuka Nkoloso, a school teacher in charge of presenting the ambitious program and getting funding. But the financial aid never came, and one of the young astronauts got pregnant and had to quit. As a photojournalist I have always been attracted to the eccentric lines of storytelling—avoiding the same old subjects told in the same old ways. Now, with my personal projects, I respect the truth but also allow myself to break the rules of veracity and try to push the audience into analyzing the patterns of the stories we consume as real. "Afronauts" is based on the documentation of an impossible dream that only lives in the pictures. I start from a fact that took place 50 years ago and rebuild the documents, adapting them in my personal imagery.
(Image 1 of 6)

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Cristina De Middel
In 1964, newly independent Zambia started a space program that aimed to put the first African on the moon. Only a few optimists supported the project, founded by Edward Makuka Nkoloso, a school teacher in charge of presenting the ambitious program and getting funding. But the financial aid never came, and one of the young astronauts got pregnant and had to quit. As a photojournalist I have always been attracted to the eccentric lines of storytelling—avoiding the same old subjects told in the same old ways. Now, with my personal projects, I respect the truth but also allow myself to break the rules of veracity and try to push the audience into analyzing the patterns of the stories we consume as real. "Afronauts" is based on the documentation of an impossible dream that only lives in the pictures. I start from a fact that took place 50 years ago and rebuild the documents, adapting them in my personal imagery.
(Image 2 of 6)

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Cristina De Middel
In 1964, newly independent Zambia started a space program that aimed to put the first African on the moon. Only a few optimists supported the project, founded by Edward Makuka Nkoloso, a school teacher in charge of presenting the ambitious program and getting funding. But the financial aid never came, and one of the young astronauts got pregnant and had to quit. As a photojournalist I have always been attracted to the eccentric lines of storytelling—avoiding the same old subjects told in the same old ways. Now, with my personal projects, I respect the truth but also allow myself to break the rules of veracity and try to push the audience into analyzing the patterns of the stories we consume as real. "Afronauts" is based on the documentation of an impossible dream that only lives in the pictures. I start from a fact that took place 50 years ago and rebuild the documents, adapting them in my personal imagery.
(Image 3 of 6)

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Cristina De Middel
In 1964, newly independent Zambia started a space program that aimed to put the first African on the moon. Only a few optimists supported the project, founded by Edward Makuka Nkoloso, a school teacher in charge of presenting the ambitious program and getting funding. But the financial aid never came, and one of the young astronauts got pregnant and had to quit. As a photojournalist I have always been attracted to the eccentric lines of storytelling—avoiding the same old subjects told in the same old ways. Now, with my personal projects, I respect the truth but also allow myself to break the rules of veracity and try to push the audience into analyzing the patterns of the stories we consume as real. "Afronauts" is based on the documentation of an impossible dream that only lives in the pictures. I start from a fact that took place 50 years ago and rebuild the documents, adapting them in my personal imagery.
(Image 4 of 6)

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Cristina De Middel
In 1964, newly independent Zambia started a space program that aimed to put the first African on the moon. Only a few optimists supported the project, founded by Edward Makuka Nkoloso, a school teacher in charge of presenting the ambitious program and getting funding. But the financial aid never came, and one of the young astronauts got pregnant and had to quit. As a photojournalist I have always been attracted to the eccentric lines of storytelling—avoiding the same old subjects told in the same old ways. Now, with my personal projects, I respect the truth but also allow myself to break the rules of veracity and try to push the audience into analyzing the patterns of the stories we consume as real. "Afronauts" is based on the documentation of an impossible dream that only lives in the pictures. I start from a fact that took place 50 years ago and rebuild the documents, adapting them in my personal imagery.
(Image 5 of 6)

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Cristina De Middel
In 1964, newly independent Zambia started a space program that aimed to put the first African on the moon. Only a few optimists supported the project, founded by Edward Makuka Nkoloso, a school teacher in charge of presenting the ambitious program and getting funding. But the financial aid never came, and one of the young astronauts got pregnant and had to quit. As a photojournalist I have always been attracted to the eccentric lines of storytelling—avoiding the same old subjects told in the same old ways. Now, with my personal projects, I respect the truth but also allow myself to break the rules of veracity and try to push the audience into analyzing the patterns of the stories we consume as real. "Afronauts" is based on the documentation of an impossible dream that only lives in the pictures. I start from a fact that took place 50 years ago and rebuild the documents, adapting them in my personal imagery.
(Image 6 of 6)

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Jonathan
May


Jonathan May
I met Lina at the Thika School for the Blind in Kenya. The day had such a profound impact on me that I ended up sponsoring a child. Lina's vision is better than most in the school and I saw her proudly guiding other children in need to class.


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Marc
McAndrews


Marc McAndrews
View of the Bunny Ranch outside Carson City, NV. This image appears in my book, Nevada Rose: Inside the American Brothel. Due to its relationship with HBO, the Moonlite Bunny Ranch was very different from the other brothels in the book and therefore had its own section.
(Image 1 of 5)

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Marc McAndrews
Bunny Ranch owner Dennis Hof's girlfriend Cami Parker, with Bella, at the Bunny Ranch. This image appears in my book, Nevada Rose: Inside the American Brothel. Due to its relationship with HBO, the Moonlite Bunny Ranch was very different from the other brothels in the book and therefore had its own section.
(Image 2 of 5)

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Marc McAndrews
Prostitute Nikki Breeze on a patio at the Bunny Ranch. This image appears in my book, Nevada Rose: Inside the American Brothel. Due to its relationship with HBO, the Moonlite Bunny Ranch was very different from the other brothels in the book and therefore had its own section.
(Image 3 of 5)

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Marc McAndrews
Bunny Ranch prostitute Buuny Love standing in the doorway to her deck. This image appears in my book, Nevada Rose: Inside the American Brothel. Due to its relationship with HBO, the Moonlite Bunny Ranch was very different from the other brothels in the book and therefore had its own section.
(Image 4 of 5)

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Marc McAndrews
Bunny Ranch owner Dennis Hof sits in the parlor of his brothel. This image appears in my book, Nevada Rose: Inside the American Brothel. Due to its relationship with HBO, the Moonlite Bunny Ranch was very different from the other brothels in the book and therefore had its own section.
(Image 5 of 5)

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Kevin
Twomey


Kevin Twomey
"Mechanical Calculator Study 01" from a personal project that documents a collection of mechanical calculators from the Fifties and Sixties and focuses on the complex engineering that went into these machines. Collection courtesy of Mark Glusker. (Image 1 of 3)

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Kevin Twomey
"Mechanical Calculator Study 02" from a personal project that documents a collection of mechanical calculators from the Fifties and Sixties and focuses on the complex engineering that went into these machines. Collection courtesy of Mark Glusker. (Image 2 of 3)

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Kevin Twomey
"Mechanical Calculator Study 03" from a personal project that documents a collection of mechanical calculators from the Fifties and Sixties and focuses on the complex engineering that went into these machines. Collection courtesy of Mark Glusker. (Image 3 of 3)

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Melanie
Cleary


Melanie Cleary
An image from the series "New Year's Day, Durban, South Africa, 2012." I started this series last year, taking photos of children among the masses. Close to 100,000 people usher in the New Year on this beach. Every year hundreds of children get separated from their parents, and most of them get reunited 24 hours later.
(Image 1 of 6)

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Melanie Cleary
An image from the series "New Year's Day, Durban, South Africa, 2012." I started this series last year, taking photos of children among the masses. Close to 100,000 people usher in the New Year on this beach. Every year hundreds of children get separated from their parents, and most of them get reunited 24 hours later.
(Image 2 of 6)

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Melanie Cleary
An image from the series "New Year's Day, Durban, South Africa, 2012." I started this series last year, taking photos of children among the masses. Close to 100,000 people usher in the New Year on this beach. Every year hundreds of children get separated from their parents, and most of them get reunited 24 hours later.
(Image 3 of 6)

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Melanie Cleary
An image from the series "New Year's Day, Durban, South Africa, 2012." I started this series last year, taking photos of children among the masses. Close to 100,000 people usher in the New Year on this beach. Every year hundreds of children get separated from their parents, and most of them get reunited 24 hours later.
(Image 4 of 6)

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Melanie Cleary
An image from the series "New Year's Day, Durban, South Africa, 2012." I started this series last year, taking photos of children among the masses. Close to 100,000 people usher in the New Year on this beach. Every year hundreds of children get separated from their parents, and most of them get reunited 24 hours later.
(Image 5 of 6)

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Melanie Cleary
An image from the series "New Year's Day, Durban, South Africa, 2012." I started this series last year, taking photos of children among the masses. Close to 100,000 people usher in the New Year on this beach. Every year hundreds of children get separated from their parents, and most of them get reunited 24 hours later.
(Image 6 of 6)

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Markku
Lahdesmaki


Markku Lahdesmaki
"Mumbai Taxi." While traveling the city's endless roads and hopping from one taxi to the next, I photographed the drivers. This collection of portraits allowed me to intimately connect and isolate a singular moment in time with the drivers, people and landscape of a city that otherwise moves without pause.
(Image 1 of 6)

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Markku Lahdesmaki
"Mumbai Taxi." While traveling the city's endless roads and hopping from one taxi to the next, I photographed the drivers. This collection of portraits allowed me to intimately connect and isolate a singular moment in time with the drivers, people and landscape of a city that otherwise moves without pause.
(Image 2 of 6)

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Markku Lahdesmaki
"Mumbai Taxi." While traveling the city's endless roads and hopping from one taxi to the next, I photographed the drivers. This collection of portraits allowed me to intimately connect and isolate a singular moment in time with the drivers, people and landscape of a city that otherwise moves without pause.
(Image 3 of 6)

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Markku Lahdesmaki
"Mumbai Taxi." While traveling the city's endless roads and hopping from one taxi to the next, I photographed the drivers. This collection of portraits allowed me to intimately connect and isolate a singular moment in time with the drivers, people and landscape of a city that otherwise moves without pause.
(Image 4 of 6)

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Markku Lahdesmaki
"Mumbai Taxi." While traveling the city's endless roads and hopping from one taxi to the next, I photographed the drivers. This collection of portraits allowed me to intimately connect and isolate a singular moment in time with the drivers, people and landscape of a city that otherwise moves without pause.
(Image 5 of 6)

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Markku Lahdesmaki
"Mumbai Taxi." While traveling the city's endless roads and hopping from one taxi to the next, I photographed the drivers. This collection of portraits allowed me to intimately connect and isolate a singular moment in time with the drivers, people and landscape of a city that otherwise moves without pause.
(Image 6 of 6)

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Stephen
Wilkes


Stephen Wilkes
Winner of the Breakthrough Photography Award



An image from "Day to Night," a personal series of images photographed in New York City.
(Image 1 of 5)

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Stephen Wilkes
Winner of the Breakthrough Photography Award



An image from "Day to Night," a personal series of images photographed in New York City.
(Image 2 of 5)

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Stephen Wilkes
Winner of the Breakthrough Photography Award



An image from "Day to Night," a personal series of images photographed in New York City.
(Image 3 of 5)

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Stephen Wilkes
Winner of the Breakthrough Photography Award



An image from "Day to Night," a personal series of images photographed in New York City.
(Image 4 of 5)

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Stephen Wilkes
Winner of the Breakthrough Photography Award



An image from "Day to Night," a personal series of images photographed in New York City.
(Image 5 of 5)

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Nick
Lee


Nick Lee
"Caviness Sibling Lineup" from a photographic series exploring the bond and connectivity that exist between siblings.
(Image 1 of 6)

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Nick Lee
"Bean Sibling Lineup" from a photographic series exploring the bond and connectivity that exist between siblings.
(Image 2 of 6)

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Nick Lee
"Ng Sibling Lineup" from a photographic series exploring the bond and connectivity that exist between siblings.
(Image 3 of 6)

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Nick Lee
"Clancy Sibling Lineup" from a photographic series exploring the bond and connectivity that exist between siblings.
(Image 4 of 6)

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Nick Lee
"Kwentoh Sibling Lineup" from a photographic series exploring the bond and connectivity that exist between siblings.
(Image 5 of 6)

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Nick Lee
"Ladd Sibling Lineup" from a photographic series exploring the bond and connectivity that exist between siblings.
(Image 6 of 6)

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Daniel
Cronin


Daniel Cronin
"Juggalo #24" from "The Gathering of The Juggalos," an ongoing series about fans of the music group Insane Clown Posse. The images were shot over the last two years at the Gathering of the Juggalos.
(Image 1 of 6)

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Daniel Cronin
"Juggalo #4" from "The Gathering of The Juggalos," an ongoing series about fans of the music group Insane Clown Posse. The images were shot over the last two years at the Gathering of the Juggalos.
(Image 2 of 6)

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Daniel Cronin
"Juggalo #60" from "The Gathering of The Juggalos," an ongoing series about fans of the music group Insane Clown Posse. The images were shot over the last two years at the Gathering of the Juggalos.
(Image 3 of 6)

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Daniel Cronin
"Juggalo #56" from "The Gathering of The Juggalos," an ongoing series about fans of the music group Insane Clown Posse. The images were shot over the last two years at the Gathering of the Juggalos.
(Image 4 of 6)

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Daniel Cronin
"Juggalo #35" from "The Gathering of The Juggalos," an ongoing series about fans of the music group Insane Clown Posse. The images were shot over the last two years at the Gathering of the Juggalos.
(Image 5 of 6)

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Daniel Cronin
"Juggalo #12" from "The Gathering of The Juggalos," an ongoing series about fans of the music group Insane Clown Posse. The images were shot over the last two years at the Gathering of the Juggalos.
(Image 6 of 6)

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Michael
Schnabel


Michael Schnabel
In these raw, virgin landscapes I found tranquility day and night. These locations have a clarity and depth that one can feel. This body of work contains subjective images of awe-inspiring natural spaces where I am experimenting with the boundaries of photography as it relates to paintings or works on paper.
(Image 1 of 6)

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Michael Schnabel
In these raw, virgin landscapes I found tranquility day and night. These locations have a clarity and depth that one can feel. This body of work contains subjective images of awe-inspiring natural spaces where I am experimenting with the boundaries of photography as it relates to paintings or works on paper.
(Image 2 of 6)

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Michael Schnabel
In these raw, virgin landscapes I found tranquility day and night. These locations have a clarity and depth that one can feel. This body of work contains subjective images of awe-inspiring natural spaces where I am experimenting with the boundaries of photography as it relates to paintings or works on paper.
(Image 3 of 6)

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Michael Schnabel
In these raw, virgin landscapes I found tranquility day and night. These locations have a clarity and depth that one can feel. This body of work contains subjective images of awe-inspiring natural spaces where I am experimenting with the boundaries of photography as it relates to paintings or works on paper.
(Image 4 of 6)

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Michael Schnabel
In these raw, virgin landscapes I found tranquility day and night. These locations have a clarity and depth that one can feel. This body of work contains subjective images of awe-inspiring natural spaces where I am experimenting with the boundaries of photography as it relates to paintings or works on paper.
(Image 5 of 6)

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Michael Schnabel
In these raw, virgin landscapes I found tranquility day and night. These locations have a clarity and depth that one can feel. This body of work contains subjective images of awe-inspiring natural spaces where I am experimenting with the boundaries of photography as it relates to paintings or works on paper.
(Image 6 of 6)

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Andre
Schneider


Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 1 of 6)

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Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 2 of 6)

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Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 3 of 6)

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Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 4 of 6)

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Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 5 of 6)

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Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 6 of 6)

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