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)
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 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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous
recreations in beautiful places.
(Image 2 of 6)
PhotoServe/Contact Info
Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous
recreations in beautiful places.
(Image 3 of 6)
PhotoServe/Contact Info
Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous
recreations in beautiful places.
(Image 4 of 6)
PhotoServe/Contact Info
Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous
recreations in beautiful places.
(Image 5 of 6)
PhotoServe/Contact Info
Thomas Prior
"Eisbach Surfers." This series is one of a few short projects dealing with dangerous
recreations in beautiful places.
(Image 6 of 6)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
Alejandro
Cartagena
Alejandro Cartagena
"Car Poolers." A series showing carpooling
practiced by workers in Monterrey, Mexico.
(Image 1 of 6)
PhotoServe/Contact Info
Alejandro Cartagena
"Car Poolers." A series showing carpooling
practiced by workers in Monterrey, Mexico.
(Image 2 of 6)
PhotoServe/Contact Info
Alejandro Cartagena
"Car Poolers." A series showing carpooling
practiced by workers in Monterrey, Mexico.
(Image 3 of 6)
PhotoServe/Contact Info
Alejandro Cartagena
"Car Poolers." A series showing carpooling
practiced by workers in Monterrey, Mexico.
(Image 4 of 6)
PhotoServe/Contact Info
Alejandro Cartagena
"Car Poolers." A series showing carpooling
practiced by workers in Monterrey, Mexico.
(Image 5 of 6)
PhotoServe/Contact Info
Alejandro Cartagena
"Car Poolers." A series showing carpooling
practiced by workers in Monterrey, Mexico.
(Image 6 of 6)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 2 of 6)
PhotoServe/Contact Info
Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 3 of 6)
PhotoServe/Contact Info
Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 4 of 6)
PhotoServe/Contact Info
Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 5 of 6)
PhotoServe/Contact Info
Dirk Anschutz
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 6 of 6)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
Sam Kaplan
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 2 of 4)
PhotoServe/Contact Info
Sam Kaplan
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 3 of 4)
PhotoServe/Contact Info
Sam Kaplan
"Dead Indian Pass" is a portrait series on bikers
riding the Chief Joseph scenic Highway in Wyoming.
(Image 4 of 4)
PhotoServe/Contact Info
Robert
Whitman
Robert Whitman
An image from a series of photographs of a particular body part.
(Image 1 of 6)
PhotoServe/Contact Info
Robert Whitman
An image from a series of photographs of a particular body part.
(Image 2 of 6)
PhotoServe/Contact Info
Robert Whitman
An image from a series of photographs of a particular body part.
(Image 3 of 6)
PhotoServe/Contact Info
Robert Whitman
An image from a series of photographs of a particular body part.
(Image 4 of 6)
PhotoServe/Contact Info
Robert Whitman
An image from a series of photographs of a particular body part.
(Image 5 of 6)
PhotoServe/Contact Info
Robert Whitman
An image from a series of photographs of a particular body part.
(Image 6 of 6)
PhotoServe/Contact Info
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)
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 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)
PhotoServe/Contact Info
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)
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 2 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 3 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.
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)
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 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)
PhotoServe/Contact Info
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)
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 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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
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 2 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 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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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.
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
Nick
Lee
Nick Lee
"Caviness Sibling Lineup" from a photographic series exploring
the bond and connectivity that exist between siblings.
(Image 1 of 6)
PhotoServe/Contact Info
Nick Lee
"Bean Sibling Lineup" from a photographic series exploring
the bond and connectivity that exist between siblings.
(Image 2 of 6)
PhotoServe/Contact Info
Nick Lee
"Ng Sibling Lineup" from a photographic series exploring
the bond and connectivity that exist between siblings.
(Image 3 of 6)
PhotoServe/Contact Info
Nick Lee
"Clancy Sibling Lineup" from a photographic series exploring
the bond and connectivity that exist between siblings.
(Image 4 of 6)
PhotoServe/Contact Info
Nick Lee
"Kwentoh Sibling Lineup" from a photographic series exploring
the bond and connectivity that exist between siblings.
(Image 5 of 6)
PhotoServe/Contact Info
Nick Lee
"Ladd Sibling Lineup" from a photographic series exploring
the bond and connectivity that exist between siblings.
(Image 6 of 6)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
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)
PhotoServe/Contact Info
Andre
Schneider
Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 1 of 6)
PhotoServe/Contact Info
Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 2 of 6)
PhotoServe/Contact Info
Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 3 of 6)
PhotoServe/Contact Info
Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 4 of 6)
PhotoServe/Contact Info
Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 5 of 6)
PhotoServe/Contact Info
Andre Schneider
Makeup: Ronnie Peterson
MoDel: Marcella Sbraletta
"Shadows."
(Image 6 of 6)
PhotoServe/Contact Info
