Modern Photographers / Q

In the spring of 2022, my mother passed away after a long illness. I was her primary caregiver for two and a half years. While she was ill, my mother advised me to get a storage unit so that I could take my time in making decisions regarding letting go of her things. I followed her advice and stored treasures from my mother's house for over a year. I kept boxes of books, buttons, knitting needles, empty envelopes, wooden stools, and cut-out squares of green paper, which meant something to my mother thus meant something to me.

In the delicate tapestry of human existence, vulnerability weaves its intricate threads, exposing us to the caprices of fate and the relentless march of time. This vulnerability is often accentuated by the chasm that exists between the raw immediacy of lived experiences and the filtered veneer of their representation through media and technology. Nowhere is this divide more pronounced than in the contrast between the serene rhythms of rural life and the tumultuous currents of global events. As I found myself immersed in the tranquil embrace of countryside existence, I was struck by the palpable disconnect between the intimate realities of communal living and the distant spectre of world affairs. Here, amidst the verdant fields and time-honoured traditions, the fragility of human existence stood juxtaposed against the enduring resilience of community bonds.

In the 3+ years since I began photographing birds in earnest, I have seen so many changes, the loss of habitat being the most dramatic and devastating.

The long-awaited calendar by renowned photographer Manfred Baumann for the upcoming year promises once again to captivate the world of photography. In this current edition, Baumann has captured twelve internationally leading top models in his lens, showcasing their beauty and elegance in an impressive manner.

I grew up idealizing the natural world as a refuge from urbanity, a place of solace and spiritual renewal, and a source of awe and transcendence. But as urbanization and other human activity continue to erase them, these pristine wildernesses have become few and far between.

The series "Perspectives in Motion" is derived from my "Rear Seat Diaries," captured from a moving car –my wheelchair-accessible VW Caddy with a rear ramp. I sit in my electric wheelchair at the back of my Caddy, facing forward.

I am a photographer who documents unrecorded areas of society. In the 1970s, I took environmental portraits of children from more than a hundred families in New York City with different socioeconomic backgrounds.

A Sparrow on the Floor of a Cathedral is a series of B&W inkjet photographs of underwater geologic elements, the seafloor, and marine creatures printed on high quality matte paper and bordered with information relevant to the image, such as the vessel, sponsoring organization and where/when I came upon the scene. Linking the images to physical reality, these details nod to the work of nineteenth-century U.S. geological survey photographers like Thomas O’Sullivan.

During my visit to Armenia, I was interested in the life of the Yazidis, an ancient ethno-religious community whose members are mainly Kurds. Many Yazidis came to Armenia during the 19th century and at the beginning of the 20th century to escape religious persecution.