Adam Krawesky started photographing people on the streets of Toronto in the summer of 2002. At first, he was hesitant to approach strangers with a camera, so he instead approached them with a concession; he asked to photograph them with their hands covering their faces, to assuage his own fear of confrontation and the stranger's suspicion of the lens.
The result, in this brief but telling body of work, are portraits of people
with hands that can't lie, of fashions and clothing that do not deceive,
of hairstyles, hats and the ornamentation of jewelry, of surroundings
and backgrounds that inform and color the character of their primary subjects.
What I notice is the truth that comes through from the hands and the postures
of the people behind them. The play-acting of hiding reveals more than
a common portrait might ever reveal.
— Jim Casper
Featurehands faceToronto photographer Adam Krawesky took to the streets and asked strangers to pose for him — by covering their faces. View Images
Toronto photographer Adam Krawesky took to the streets and asked strangers to pose for him — by covering their faces.View Images
Toronto photographer Adam Krawesky took to the streets and asked strangers to pose for him — by covering their faces.
Trending this Week
The North Fork
This intimate series is the result of the photographer’s decades-long fascination with a remote valley, its idiosyncratic inhabitants and a long, personal history of family strife.
Announcing the Winners & Finalists—LensCulture Portrait Awards 2017!
Portraits are unique in their power to captivate our gaze and show us something new and unexpected about each other and the world we live in—discover the 44 international photographers who were selected for this year’s award, an inspiring showcase...
Life in the City: Michael Wolf’s Major Retrospective at Les Rencontres d’Arles 2017
The phrase “street photography” comes loaded with expectations—which is what makes Michael Wolf’s always-original bodies of work an important reminder of why the world’s streets continue to captivate our attention.
A newly published interview with the young, talented photographer behind this award-winning work about the Soviet (or human) impulse towards utopia and technologically achieved perfection—dreams of progress that came to a crashing, frozen halt.
A Shaded Path
How does a fledgling country form a national identity while the pressures of globalization increase everywhere? Kyrgyzstan’s youth chase modernity in a landscape marked by its Soviet past.
Nobody Important, No One Else
Growing up, moving on, and grappling with change—“When I meet my old friends, I suddenly see very clearly the changes that happened inside of us, the transformations, the quiet and subtle movements of the tectonic plates within ourselves…”