Photo I • Assignment 1: Pinhole Cameras and Photograms

From Man Ray to Thomas Ruff—article
Good description with images
Latticed_window_at_lacock_abbey_1835 LatticedWindowAtLacockAbbey| Photogenic Drawings | Arts Connected




Festuca grasses from ‘British and Foreign Flowering Plants and Ferns’, c.1854
Brief Bio | The Getty | University of Texas, Austin



Exhibition at Rijksmuseum [Amsterdam]


Anna Atkins Refracted: Contemporary Works in Cyanotype,
New York Public Library, 2018

• Review of the show | Musée

• Another review in the New York Review of Books


ARTISTS responding to Anna Atkins



• Eric William Carroll | Blue Line of Woods

Ellen Ziegler | Chemistry Is The Emotion of Matter

Meghann Riepenhoff | Littoral Drift

Susan Degeres | Danziger Gallery

Ulf Saupe | Res Navalis


kuniesugiura2• Kunie SugiuraAt MOMA | The Kitten Papers

baum1• Erica Baum | Guggenheim | Aperture Magazine | Ubuweb | Frieze






Letha Wilson | web | Grimm gallery | Galerie Gaillard |

Maria Martinez-Canas | FGT photogram | Traces of Nature Smithsonian Video  |Julie Saul Gallery |

Katherine Hubbard | Bend the Rays More Sharply |



• Penelope Umbrico | Screens, Scans, Suns | web


MAN RAY-Rayograms
Metropolitan Museum of Art
At Aqua Velvet
General description of photography and surrealism



At MOMA | At the Getty Musuem




• At Cheim & Reid
• At Fraenkel Gallery
• At Artists and Alchemists
• Good article with terrible formatting
Interview in BOMB magazine.


ALISON ROSSITERGuilleminot-Riviera-ca30-diptych 516dcd9059f80photo_high_8690

• Represented by Stephen Bulger (Toronto)
Yossi Milo (NY)
• Canadian Art profile
Article in Le Rencontres d’Arles
Video at Gallery Intell


GARY FABIAN MILLER2010_002_night-cell

• Artist Website
• Video and images at Victoria and Albert Museum
• At Ingleby Gallery

SHADOW CATCHERS at The Victoria and Albert Museum
• Camera-less photo techniques at Victoria and Albert Museum
• A History of Camera-less Photography at the Victoria and Albert Museum.
• A listing of all of the artists plus video interviews in the Camera-less Photography exhibit.



• Susan Derges
• Prix Pictet
• Paul Kasmin Gallery
• Video, commissioned by the Victoria and Albert Museum.
• At Oxford University
• At Danziger Gallery



Flashlight and Salt, photogram on 8×10 film
More of his photograms



Photograms for the new age (interview in Aperture magazine)
See more work at David Zwirner gallery



Interventions | Text and Image and TV

Mark Morris Dance Group

The Hard Nut, a reinterpretation of The Nutcracker!
Part One | The Party Scene | New York Times article about a regular production of the Nutcracker (adorable children) versus The Hard Nut (drunken adults).

Mark Morris explaining The Hard Nut

Danger Mouse

The Grey Album: Wikipedia
Encore, from The Grey Album

Brian Burton (Danger Mouse) is quoted as saying:

A lot of people just assume I took some Beatles and, you know, threw some Jay-Z on top of it or mixed it up or looped it around, but it’s really a deconstruction. It’s not an easy thing to do. I was obsessed with the whole project, that’s all I was trying to do, see if I could do this. Once I got into it, I didn’t think about anything but finishing it. I stuck to those two because I thought it would be more challenging and more fun and more of a statement to what you could do with sample alone. It is an art form. It is music. You can do different things, it doesn’t have to be just what some people call stealing. It can be a lot more than that.[2]

Nikki S. Lee

From the Creator’s Project

A critical response to her interventions


The Whiz!

An all Black cast (yay!!!) reinterprets of The Wizard of Oz (both the 1939 movie and the original 1900 children’s novel, The Wonderful Wizard of Oz). The Whiz starts in Harlem.
Staring Dianna Ross, Michael Jackson and Nipsy Russell

The Original Trailer


Christian Bök


The poet reading Eunoia


Barbara Kruger

On Art 21, Part of the Discourse

At The Broad Museum (Los Angeles)


David Levinthal

Hitler Moves East | Bad Barbie


Hells Belles!

Thunderstruck | Thunderstruck


I can’t believe I’m listing this

1962: Sabrina The Teenage Witch appears in Archie’s Madhouse #22

1996-2003: Live action series with Melissa John Hart as Sabrina, lives with 500 year old aunts/witches (Hilda and  Zelda) in a suburb of Boston.

2004: Manga version of Sabrina

2009: 4 issue spin-off mini-series about Salem the cat who was actually a young boy before he became a cat

2017: Riverdale TV series

2018: The Chilling Adventures of Sabrina The Teenage Witch

Sherrie Levine

At Guggenheim | After Walker Evans (Metropolitan Museum, NY) | Mayhem at Whitney | At David Zwirner



Jump | Jump


Kara Walker

On Art 21 |A Subtlety, Domino Sugar Refinery, Williamsburg, Brooklyn.
(A project of Creative Time.)

David Carson

Interviews with David Carson in Magenta | David Carson Design |


Kristan Horton

Dr. Strangelove, Dr. Strangelove | In Reframing Photography | Artist’s website


Rachel Whiteread

At TATE Modern |


Guerilla Girls

Website |


Ann Hamilton

Tropos | Indigo Blue


Public Art Interventions

Werner Reiterer, Street Chandelier
Itay Ohaly, Elevated Bench
Carmichael Collective, Urban Plant Tags

Yasumasa Morimura

At Saatchi Gallery | Luhring Augustine |


Christian Marclay

The Clock | Article in The Guardian | The artist explains the work | The TATE modern explains the work | A snippet of the work, Just After 3pm






Final Project Research


“Creation is an uncontrolled muscle” according to Arik Levy (born 1963).

Artist, technician, photographer, designer, video artist, Levy’s skills are multi–disciplinary and his work can be seen in prestigious galleries and museums worldwide. Best known publicly for his sculptures – such as his signature Rock pieces –, his installations, limited editions and design, Levy nevertheless feels “The world is about people, not objects.”

Hailing originally from Israel and moving to Europe after his first participation in a group sculpture exhibition in Tel–Aviv in 1988, Levy currently works in his studio in Paris.

His formation was unconventional where surfing, as well as his art and graphic design studio, took up much of his time back home. Following studies at the Art Center Europe in Switzerland he gained a distinction in Industrial Design in 1991.

After a stint in Japan where he consolidated his ideas producing products and pieces for exhibitions, Levy returned to Europe where he contributed his artistry to another field – contemporary dance and opera by way of set design.

The creation of his firm then meant a foray back to his first love, art and industrial design, as well as other branches of his talents. Respected for his furniture and light designs on all continents, Levy also creates hi–tech clothing lines and accessories for firms in the Far East.

Considering himself now more of a “feeling” artist, Arik Levy continues to contribute substantially to our interior and exterior milieu, his work including public sculpture, as well as complete environments that can be adapted for multi use. “Life is a system of signs and symbols,” he says, “where nothing is quite as it seems.”



I enjoy his work because the materials he uses distort what you are looking at. I find he uses his materials in different forms whether it being a closed form or a bunch of planes stuck together. I enjoy his pieces outside and love how they change throughout the day due to lighting.


Born 1985 in a small village in Canton Valais, Switzerland, surrounded by mountains, Sebastian Magnani discovered photography whilst training as a media designer in 2006. After 5 years as a creative in an advertising agency, he decided 2011 to turn his passion into a profession. Since then he has been making a living as a photographer, based in Zurich Switzerland. He currently works on various subjects and several free projects, like the «Underdogs» and «Undercats», where got a lot of media attention and been published on many newspapers, magazines, websites and tv-shows around the globe.


I enjoy his work because it takes one thing (the sky) and puts it somewhere else (the ground) which kind of makes you question what you are looking at and trying to imagine the environment. I feel like it causes a 2D photo experience to be more immersive as you actually what to know what is happening outside the frame.


Denise Riesen is an award-winning photographer with more then 16 years experience. Her work has varied in style and has evolved as she travels both physically around the world, and through the stages of her own life. Her work expands and alters that of a traditional scene into a complex visual interest. She enjoys the constant challenge of new ways of seeing and the creative output of self expression.

Denise has both studied and photographed extensively throughout the North America and Europe through personal travel and professional involvement. Her work has been shown in a number of galleries within the United States and Mexico. Denise has worked as a photo editor, and curator for a number of exhibits both in Chicago and New York City.

Denise currently works primarily as a freelance photographer and artist based in the Chicago area.


She gave me the idea of water being a reflective surface or a material to distort the surroundings for my photographs.

Final Thoughts

With ideas from these artists I also want to try working with tin foil, glass, mirrors, water, acetate, and cutlery to create a distorted perception of what the viewer is looking at while also creating a visually beautiful image.

Photography is not Reality

Erik Johansson:

Conceptual Methodologies

Johansson thinks that traditional photography is not based off of talent, but is about being at the right place at the right time. Anyone can do this. Therefore, he is inspired by creating something where the process of the image starts when you press the trigger. His images have an unexpected twist, but they still retain elements of photographic realism. This is accomplished by creating something that cannot exist in the real world, but appears as it could have been captured as a photograph. These are not photographs that are realistic, but what we think looks realistic. With these, a brief moment is required for the viewer to understand the “trick” in the image; therefore, the importance is more focused on capturing an idea, rather than capturing a moment.

In his TED Talk, he relates his images to optical illusions. This is because they do the same thing as the most important part of his photographs; that is, they combine different realities. Here is the example of the optical illusion that he shows in his TED Talk:


Technical Methodologies

In order to make his photographic ideas come to life, Johansson uses Photoshop to combine elements from different photographs.  Erik Johansson includes three rules when creating his photographs to achieve a realistic result:

  1. Photographs combined should have the same perspective
  2. Photographs combined should have the same type of light
  3. Seamless photographs: make it impossible to distinguish where the different images begin and end

Johansson matches colour, contrast, and brightness in order to make an image compressed of hundreds of different layers look like one singular image.

Formal Methodologies

In contrast to taking a good photograph by being in the right place at the right time, Johansson’s images require lots of planning. As a result of the heavy Photoshop editing that are contained in his images, the more he plans out the idea, the more realistic his image becomes. He starts this process by beginning with a sketch of an idea. Once he takes the photographs, the next step is combining them with Photoshop.

There is often informal balance in his images. The following are great examples of what I am interested in for my final project:

Screen Shot 2018-11-06 at 4.07.49 PM

Screen Shot 2018-11-06 at 4.11.30 PM

“All of the tools are out there, the only thing that limits us is our imagination”. 

–  Erik Johansson

Pol Úbeda Hervàs: I’m Not There (Series)

Conceptual Methodologies

Each image has the same pair of shoes placed perfectly, then a shadow of a man wearing the shoes. These suggest a sort of “ghost-like” quality; similar to the images by Johansson, they are doctored images that appear as if they could exist in reality. They are meant to reference the fact who we are at this moment will disappear, but there will be a trail which remains as evidence of your past existence. This relates to the feeling he has that he is constantly changing. Furthermore, these images focus on photography is often human interaction with its surroundings, while these capture the absence of the human from these surroundings of industrial spaces. These are places that humans have created, enforcing the idea again that even if humans are not inhibiting these spaces, they still leave their mark by creating these spaces in the first place.

Technical Methodologies

I could not find anywhere the photographer explains his process, but I assume he had the help of another person, and a tripod. I’m assuming he took two images here, one where he is standing and wearing the shoes, and one where his shoes were placed in the same position where they were when he was standing. Then, I assume he merges the two images together with Photoshop by copying only his shadow in the image he is in, then dragging and aligning it onto the image of just his shoes.

Formal Methodologies

Each image only contains the shoes, shadow, and an empty background within an man-made space. There are no other powerful elements in the image to distract the viewer. There are often leading lines in these spaces, adding more interest for the viewer to allow further looking into the image.

Screen Shot 2018-11-06 at 5.12.00 PMScreen Shot 2018-11-06 at 5.12.11 PMScreen Shot 2018-11-06 at 5.12.16 PMScreen Shot 2018-11-06 at 5.12.06 PM

More References Images from Other Artists


Screen Shot 2018-11-06 at 4.16.39 PM

Photographer: Gustano Terzaghi

Screen Shot 2018-11-06 at 4.24.01 PM

Photographer: Laura Greco

Screen Shot 2018-11-06 at 5.40.55 PM

Photographer: Lee Materazzi


Collage Maker: Deger Bakir



Roger Newton: The DIY Lens Guy

One artist that really interested me is Roger Newton. He is a photographer who creates large abstract images and whose determination to create nonrepresentational work has lead him to create his own camera, lenses and film. He originally became interested in photography when he was attending art school in New York during the 1980s. It was during this time he discovered the pinhole camera and was at once drawn to the blurry and unpredictability of the images created. He would eventually go on to make numerous pinhole cameras eventually branching out to create lenses made of mineral oil, corn syrup, water, glycerin, or other refracting liquids. At one point taking a break from his photographic practice in order to research and develop the kind of black and white film he desired (Margarett, 2001). In his artist statement Newton goes to say that, “by designing and fabricating my own lenses I can control the quality of the light collected, the size and shape of the image field, and the colors in the scene. This allows me to work more directly with fundamental problems in the processes of seeing and perception, and ultimately the ontological problems of the thing and or scene depicted” (Foundation for Contemporary Arts, n.d.). He fabricates his photographs by layering up various liquid substances to create a lens. The lens purposely made to “exists out of the normal range of our visual faculties”. To reject standard photographic imaging systems and photography as a medium of representationalism. Instead focusing on the optical experience of looking.

bomb_59_newton3_body (1)newton_crary_01-e1338313743927-580x454


It is Newtons rejection of photo-representalism and focus on the methods of imaging making that interests me when looking at my own idea for the final project. The reason I say this is because for this project I will be continuing my role as art researcher, and focusing on unearthing photographic practices; removing all subjective interpretations and limiting definitions. Instead focusing on the facts, presently that means understanding photography as the use and manipulation of light to maintain an image. An image which as author and curator Lyle Rexler points out isn’t always based on realism (Rexer, 2013) . With this definition in mind I intend to conduct several experiments ones which like Newton’s will circulate around methods of light manipulation to produce what can be describe for all intensive purposed as undisclosed images. Always keeping in mind my definition of photography and excluding anything from this experiment which would distract or hinder it. A second reason I am interested in Newtons work is that his use of liquids to create lenses has given me another possibility to consider in my own experimentation and manipulation of light for this project. Other methods/ elements I’m looking at include (but not limited to); types of light sources, the chemical composition of types of light and things that give off light, Photographic paper manipulation, reflection/ refraction, filtered light, aperture, shutter speed/ exposure, light wave lengths, energy, Inference of light.



Foundation for Contemporary Arts. (n.d.). Roger Newton. Retrieved from Foundation for   the Contemporary arts web site:

Margarett, L. (2001, June 8). Photography Review; Reinventing the lens for large   abstraction. The New York Times.

Rexer, L. (2013). The Edge of Vision: The Rise of Abstraction in Photography. New York:   Apature.

Additional Sources

Micheal Paul Smith

About The Artist:

Micheal Paul Smith is an artist whose work concerns small toys in the place of real life objects, therefore, making realistic scenes through the use of plastic toys and thoughtful placement. He then photographs these scenes in a way that makes them look very convincing. He makes these photographs by creating a 1:24 scale ratio to recreate everyday scenes from the mid 20th century to -mid 60s America.

How did it begin?

Smith started off with an interest in making scale models of objects as well as an interest in photography. This combination later grew into something magical. He used his sculptural skills and photography skills to create convincing photographs of olden day scenes. Smith wanted to recreate the town in which he grew up in which was a town in America in the 20th century to mid 60s. His work is not an exact replica of the town he grew up in but it does what he wants it to do and that is to create the feeling of the town he grew up in and bring back his childhood memories.

How is it made?

The buildings are constructed of resin-coated paper, styrene plastic, and basswood, plus numerous found objects. The vehicles are from Michael’s collection of 300+ commercially produced, diecast models.

These photographs were all made through the use of placement. No Photoshop was used in these images; they’re all composed in the camera. He refers to it as  the oldest trick in the special effects book: lining up a model with an appropriate background, then photographing it.

How does his work relate to my work?

I am interested in a similar idea that Smith uses within his work. For my final project I am interested in taking recognizable items/objects, constructing a sculpture and then using photography to make the objects look like much more then they really are. Through photography I will change the reality of the object so it is seen as something different then what it is seen as in person. This relates to Smith’s work because he builds structures and then uses photography to change the structure he built into realistic photographs of a fictional town.

Progress photos vs final photos :


His Links:


Photography III: Final Project

The idea for my final project will stem off of Experiment #1: What is colour. Through this project I identified colour as a tangible object, that I was able to manipulate through photographic digital media. I would like to continue this experiment in order to develop a technical, and conceptual focus through the use of digital, and analogue practices. Inspiration has been identified from the following four artists: Jessica Eaton, Keith Rankin, Holly Roberts, Alex Mcleod. I found that each artist has contributed to my idea appropriately, and operate through a range of different photographic elements. I am interested in creating conflicting environments, subjects, and objects in my composition, which will contradict their physical spaces in their environments.


These are the images that were produced previously for Experiment #1

I hope to create surreal images based off the influences below.

Jessica Eaton


cfaal 519, 2015. archival pigment print 40 x 32 inches


Jessica Eaton, cfaal (mb RGB) 18, 2010, archival pigment print, 50 x 40 inches


cfaal 505, 2015. archival pigment print 40 x 32 inches


  • Great technical attention
  • Ability to create and identify conflicting colours, shapes
  • Experimentation with different ways of abstraction
  • Presentation quality

Keith Rankin


  • Integration of different gradients through the use of digital media
  • Interesting, compelling, confusing composition
  • Inspiration for the surreal

Holly Roberts


Horse Resting (2014)


Boy Barefoot Rider (2013)


A Bird I Saw Walking (2007)

  • Use of photographic elements which contribute to its creation
  • Interesting uses of imagery to explain the anatomy of nature
  • Inspiration for the photographic element of the project
  • Difficulty in the surreal

Alex Mcleod



Distant Lands (2011)


  • Environments created from digital media
  • Attention to colour composition, detail in each object
  • Compositions that are grand in detail and size

Julian Schulze


Photographer and artist based in Berlin who focuses on geometric abstraction and minimalistic compositions. His shots are often made up of one or two colours or elements and are of every day scenes, mostly architecture.

In his latest series Some Thoughts on Composition he states, “Whereas I think that these “rules” can be a useful guide for the beginner, I think that strictly following them (as suggested by the term “rule”) can seriously impede your success in finding interesting angles, interconnections, and the true character of a picture”. Relates to how I try to come up with new ideas, ignore rules in order to get better sense of certain aspects of a medium.



  • Takes images of geometric shapes with interplay of colors, turns image in order to create further abstraction.
  • Taken in natural setting in daylight.



  • Thinking outside the “rules” of photography can expand the possibilities even within the most common subject matter.
  • Giving viewer a different perspective on familiar subjects.



  • Each shot is composed using light, shadow, and color to create the illusion of a 2D scene within a 3D subject.
  • Minimal detail as well as unorthodox lines/angles give different perspective on familiar subjects.
  • Often little content within image in order to emphasis obscurity.
  • Shot frontally to emphasize 2D plane.Julian-Schulze-Photography-P13-6I feel that his work is a prime example of breaking the boundaries of what makes up photograph and creating something new out of familiar subject matter. This is the goal of my final project, to demonstrate a larger subject whist only providing minimal details. 


    Photogrist stuff. (2016). Geometric Abstraction and Minimalistic Compositions by Julian Schulze. Retrieved from

    DL Cade. (2017). 13 Beautiful Examples of Minimalist Photography by Julian Schulze. Retrieved from

    Julian Schulze. (2017). Julian Schulze Photography. Retrieved from








Matthew Brandt


Matthew Brandt is an American artist, born in Los Angeles, California in 1982; and is known for creating large-scale photographs through “labour-intensive processes” that elicit the origins of 19th century photography. The question Brandt most often refers to in his art is the questions of “What is a photograph?” A question we are very familiar with from our class work. Brandt calls his approach, “A little bit messy and experimental”, as he believes that in order to create distinctive images, he must first separate his work from the rest. His approach often incorporates the use of found materials from the locations in which he captures his images to further represent what he sees in front of him. This is evident in his series “Lakes and Reservoirs” (2011). Experimentation is a notion Brandt is familiar with as he states, “Only through experimentation can you arrive at something new” (Paginton, 2011).

Matthew Brandt has showcased works throughout the United States as well as Europe, and in November 2016, produced his third solo show at the Yossi Milo gallery titled, “Night Skies” (2016). Often combining methods of image-making, such as painting, silkscreen and photography, Brandt successfully creates innovate and experimental pieces that capture the attention of the viewer. Methods of alternative photography are often used by Brandt, as in his series, “La Brea” (2014), where he explored archeological subject matter through the use of a heliograph. (What is a heliograph?)

I am drawn to the work of Matthew Brandt because similar to him, I often use outside materials as a way of physically altering film to convey meaning. In my personal practice, I frequently manipulate the physicality of the image to further enhance the message, and question “what really is a photograph?” and “when does an image stop being a photo?” I enjoyed reading about Brandt’s similar approaches and am interested in his use of alternative photography as a way to create images.

Technically, Brandt uses a wide range of materials and resources to create his works as a way of deepening the meaning and relationship between the piece and the message it is trying to convey. Through the incorporation of natural material, Brandt is also able to create a unique relationship that physically connects the image to the place.  Conceptually, Brandt is attempting to create a physical connection between photo and place, and examines the overall notion of photographic materiality. Through the intentional destruction of the image, Brandt is undoing the process of photography and ultimately exposing hidden meanings that can exists between the photo and the place. This methodology is something that I would like to try and incorporate in my final project.

Paginton, F. “Matthew Brandt”. Dazed. 2011.

“Matthew Brandt”. Artspace. 2017.

“Matthew Brandt”. Yossi Milo Gallery. 2014.

“Process”. Harry Ransom Center. N.d.

Experiment #2(part 1): Environmental portraiture


The Original Papparazzo: WEEGEEWeegee
Weegee, Murder Is My Business
The Weegee Exhibition is coming to Ryerson Image Centre from October 14-December 13 (Toronto field trip, anyone?)



Garry Winogrand (American, 1928–1984) New York, 1968 Gelatin silver print; The Metropolitan Museum of Art, New York, (GW.SFMOMA.003)

Garry Winogrand (American, 1928–1984)
New York, 1968
Gelatin silver print;
The Metropolitan Museum of Art, New York, (GW.SFMOMA.003)

Exhibition at the MET | check out the video in the middle of the page

At National Gallery of Art (Washington,DC)

Questioning the ethics of street photography
Excellent perspective on Winogrand’s portrayal of women

Fraenkel Gallery | Winogrand’s In The Street portfolio

10 Things Gary Winogrand Can Teach You About Street Photography



Great audio interview with Helen Levitt (images too)

Helen Levitt at MOMA
Helen Levitt: The New York Streets 1938-1990s

7 lessons Helen Levitt can teach you about street photography


parr-bird-attack the-last-resort-martin-parr-2 the-last-resort-martin-parr-7

Martin Parr | The problem with The selfie stick

Too Much Photography?

The Facebook Problem!

Twin1 Twin2

These images are from the Behold :The Photog blog at SLATE magazine. The first two images are portraits by Maja Daniels who was commissioned by New York magazine to photograph french identical twins, Monette and Mady. The project won the Contour by Getty Images Portrait Prize.
More images + Article

Rineke Dijkstra | Tate Modern | Cruel and Tender | Guggenheim | MORE Guggenheim

Sleeping By The Mississippi | A conversation with Alec Soth

MOMA | Amber Online | August Sander. com

Girl Culture | THIN

Museum of Contemporary Photography | Google

A Conversation

A conversation | portraits

The portraits | PDN gallery



LARRY SULTAN | Pictures From Home

(an interview)

Mary Ellen Mark

BILL OWENS | Suburbia

STUDENT WORK | Andy Huckle


24 hours; 90 years (good environmental portrait example)



Museum of Contemporary Photography | The Creator’s Project, overview

Museum of Contemporary Photography | The Creator’s Project, overview


Toy Stories by Gabriele Galimberti

Anyone doing environmental portraiture for their final? Mostly Lauren, because you’re working with people and their possessions! This artist traveled around the world and photographed children with their most prized possessions over the course of 18 months. These might be nice images to look at in terms of arrangement people with objects.
(click the image to see the rest of the project)


This list is by no means exhaustive, but it’s a start. Please add your contributions in the comments.

Fans in a Flashbulb
A blog from the folks at the International Center of Photography (ICP) in NY

APERTURE magazine | Aperture Magazine | blog | The library has the print version. Go there, you can check out books for free, it’s like a torrent but psst, it’s legal.

FOAM magazine

British Journal of Photography


Prefix The latest copy is usually in the lab. Headquartered in Toronto.

Conscientious (daily content)  and Conscientious Extended (longer articles/interviews)


Behold: The photo blog of SLATE magazine The photo blog at SLATE magazine

Photo Booth: The view from the photo department at the New Yorker magazine

PHOTO at the Atlantic Magazine at The Atlantic

St. Lucy

Ain’t Bad: started by the students at SCAD