Basterland: Namibia’s In-Between Community
Deep in the Namibian desert lives an ethnic group descended from European settlers and indigenous Africans—the proud and hardy Rehoboth Basters.
Flesh, Fragility, Vanity: Portraits in Brazilian Water Parks
Water parks in southern Brazil are isolated microcosms where vanities, bodies, and fantasies are on display. A look at the self-conscious interactions between photographer and subject in this unorthodox landscape.
A Bridge to the Market Basket
Last year, inflation in Venezuela hit 800% and basic goods became scarce—forcing all kinds of people to travel many hours, spend (relatively) vast sums of money and cross international borders just to acquire the simplest everyday products.
I am a woman and I feast on memory
A complex, multi-layered series that confronts the swirling questions of identity, womanhood, and the fundamental assumptions of portraiture.
Unguarded Moments: The Portraits of WSJ. Magazine
“There is a certain alchemy that goes into a successful portrait shoot; as a photo editor, I try to assemble the best ingredients and then let the process happen…”
Staying Power, Natural Glamour: Three Decades at Vanity Fair
“At the end of the day, it’s the photographer who drives it all…” A generous look behind the scenes with Vanity Fair’s long-time photographic visionary, Susan White.
Trending this Week
Irish-born Tom Wood photographed the working-class people of Liverpool for almost three decades — at once affectionate and grimly realistic. Review by Sean Sheehan.
Selections from William Eggleston’s Masterwork, The Democratic Forest
A wide-ranging review of Eggleston’s newest collection of photographs that touches on his influence on David Lynch as well as the unique “silence” in his photographs.
In My Backyard: Iceland
Set against the grand, wild majesty of the eastern Icelandic landscape, these searching self-portraits are one woman’s attempts to connect with herself and forge a basic understanding with her environment.
Tourists vs. Refugees
In an oddly jarring sequence of photos from the Greek island of Kos, we are confronted with well-off European tourists taking selfies, while all around them refugees camp in make-shift shelters.
YU: The Lost Country
“By its very nature, Yugoslavia was a land of displaced peoples…” A photographer and writer grapples with the widespread denial of her country and nationality.
Mixing historical and contemporary photographic practices, these multi-layered images push beyond the edge of artistic control and emerge as complex and unconstrained.