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A Sum of One is a compilation of photographs from nine years of travel to six continents. While the photographs (landscapes, streets, people, and abstract) are a documentation, their existence is deeply personal and contemplative to the photographer. The courage to take the journey outward leads to a healing journey inward by the emotional connectivity and embraceable response received.  The journey, chances for illumination and cultural tributes aim to create a positive stimulus of growth in the reader.

New York City subways ‿ the century-old transit system has survived two World Wars, the Great Depression, and Hurricane Sandy. It and the millions of citizens that rely on it as their daily lifeline will also survive the COVID-19 pandemic. Subwaygram captures mobile phone street portraits of the diverse community of riders two years before and two years after the first case was confirmed in New York City and the commonalities in the fleeting moments of their journeys.

America through the eyes of a Canadian photographer.

The Photographs in Silent Stages are platforms specifically built as settings for narratives; they are akin to theatrical stages or movie sets. At the same time, they are artifacts from various stages of my life, visual traces of the sedimentary layers that have quietly accumulated over time, each atop its predecessors. As stage or movie settings, these images aim to spark viewers' imagination, to spur them to conjure up a story, a narrative laced with mystery and alienation. That's why I make the lighting dramatic, why I shoot in black and white, why some elements may be too dark and/or fuzzy to see clearly. I generally start with the background, searching the streets for a suitably dramatic setting. Then I wait for something to happen, perhaps for players to enter or exit. Sometimes I arrive too late; the last player has exited. As artifacts from my own story, the images give voice and body to times, experiences and feelings I hardly knew subsisted within me. It was only years after the project was undertaken that I began to understand how the choices I make - of subjects, settings, lighting, composition - reflect the particularities of my life and sensibility. In this sense, these images are relics from a personal archeological dig, a visual memoir of sorts -- an unsurprising undertaking perhaps for a septuagenarian.All of the images were shot over the past five years, either in or around New York or Paris. This reflects the dual nature of my life and culture, split between my native home and my adopted one. I have spent half of my adult life in France and identify as both French and American. My objective is not to highlight the Franco-American split but rather to demonstrate the parallels and how they compose into a single identity.

A meditation on coming out and love through the decades.

Season's Greetings includes reproductions of handmade art objects or limited printings that come from the Estate of Monroe.

Putting a new spin on old histories as my ten year old daughter stands in for a youthful me-the one I remember and the one I was never quite allowed to be-"Stories, 1986-88" pairs deadpan portraits with short narrative texts to bring the past into the present as we relive and rewrite my childhood stories through a restorative approach to image-making and storytelling.

Since moving to New York from Kuwait City Maha Alasaker learned that the everyday American has no conception of what daily life is like for women in modern-day Kuwait. Seeking to address this, Alasaker began making portraits of women in their bedrooms and asking them about their lives. This intimate collection of environmental portraits provides a never-before-seen look at what it means to be a young woman in Kuwait.

A Crack in the World explores empathy for all sentient beings and the planet in the face of global warming.

American Psyche consists of visual metaphors mirroring Elssaser's emotional reactions to America's colonialism and it still lasting effects.

Kingdom of Sand and Cement by Peter Bogaczewicz explores the challenges Saudi Arabia faces today as it rapidly transforms from a conservative and tribal desert culture to an influential world power. In less than a century the Saudis have experienced profound change as they transitioned from living in traditional mud buildings to commencing work on the world's tallest skyscraper. Examining this legacy through large-format color photographs, Peter Bogaczewicz documents a country of sharp contrasts where visual traces of an old reticent society can be seen in the midst of a burgeoning modern culture reflecting the ambitious agenda of the new King and his charismatic son and successor, the Crown Prince, a decisive risk-taker whose bold policies have received a warm welcome by some, yet have alienated others.

Family Amnesia honors the current and past stories of immigrant workers in the U.S. and examines the impact that the 1882 Chinese Exclusion Act continues to have on the Chinese immigrant experience. This is a painful part of our American history. Betty Yu reclaims that narrative through her own personal family’s story.

The book addresses an enviornmental and public health crisis in the Imperial Valley of California. The photographs provide a portrait of the Salton Sea in 2018: the first year after water transfers to the lake ceased. From this year forward, playa exposure will escalate and toxic dust in the wind will increase

This is the story in pictures of Atlantic City, the iconic American shore resort, as it emerges from its latest crisis. The city of 40,000 people has been through many transformations in its history: 19th-Century health retreat, Prohibition-Era speakeasy, mid-century nightclub hub and East Coast gambling Mecca. The near-depression of the late 2000s and increasing competition from the spread of gambling across the country upended many schemes of casino impresarios and other developers. Many blocks of the city were leveled for casinos that never opened. The rate of defaults on home loans was the highest in the nation for a time. At the lowest point of the financial crisis the State of New Jersey took over the city's finances. Now it seems the tables may have begun to turn. These pictures are an attempt to capture the city and the people who live there.

N O K documents how American military families cope with loss and memory through the handling of personal effects.

Beach Lovers is a series of intimate moments shared by couples at the beaches of  NYC. These moments hold intimate gestures of couples; some tender, rubbing sunscreen on a partner's back; others lustful, a deep kiss in the water. Being amongst the waves and sand emboldens couples to enjoy more affectionate freedom, their inhibitions less hidden than anywhere else observed in the city. Beach Lovers is about the public display of intimacy between couples from diverse backgrounds, a claiming of public space for private tenderness.

Over the course of the pandemic, Jon Plasse photographed familiar objects around his home. The resulting series, in turns subtle and startling, evokes the intensity, monotony and disorientation of life in isolation.

For years Northern New Mexicös dominant Hispanic population has erected powerful and poignant descansos or roadside memorials to remember family and friends killed in automobile accidents. Mortal Highway offers an intimate view in photographs and verse into the lives of families who find expression of their grief in these increasingly elaborate works of art. The photographs bring into focus details of the descansos and anchor the memorials in the physical context of the dramatic high desert landscape of the Southwest.

Prophetic Kingdom is an ongoing photographic investigation exploring scenes of the everyday and overlooked. The images give an allegorical nod towards a prophesied postlapsarian world.

An expanded account of the Holocaust told through the lens of an experimental documentary. -- Jason Francisco * Jason Francisco *

Viewing Distance compiles and transforms declassified material from US government archives to examine photography as a tool of the military-industrial complex for reconnaissance, surveillance, and documentation of advanced technologies. While many of the source images for this body of work date back to the middle 20th century, they have only recently been released and much information remains secret. These pictures represent the decades-long time delay from when knowledge comes into being and when it becomes publicly accessible. The Cold War period that much of the material originates from is a significant turning point in photography's technological development and use for intelligence gathering. The book combines photographs pertaining to the clandestine innovations and operations of that era with contemporary documents and devices, connecting past and present. Processes including analog printing, digital collage, scanner manipulation, and data bending are used to animate the archival material. Through this disruption and layering, historical fragments are presented in a state of flux, open to alternate associations and implications. What we are allowed to know and see is often incomplete and indeterminate, encouraging speculation and critical vision.

In stark contrast, the photographs in Volume II (subtitled The Present) were taken over a period of seven years and concern the area that I now call home: a rugged and remote location on the western edge of the Great Basin. Again it is centered primarily upon Winter (as in the first volume), but the imagery is broader in scope and describes more of a seasonal arc - from the late dry season, when the cows come in from their high desert grazing allotments, when fire danger is at its peak and there are fresh burn scars, up through the deep Winter and then on into the thaw/melt period.

Made at a swimming hole in Philadelphia where bathing is illegal, the Devil's Pool photographs recognize the human need to revel in our physical selves and commune with the natural world.

Hanford Nuclear Reservation produced plutonium for four decades, initially for the Trinity Test and the atomic bomb in the Second World War. -- Glenna Cole Allee * Glenna Cole Allee *

An artistic examination of nuclear issues, drawing on the ontology of the photographic image that bears witness to process and attempts to make visible the invisible

Although change is slow, it is the rural/small-town south as it is NOW. An honest look at small towns in the rural south -- Peter Stitt * Peter Stitt *