Today more than ever before, documentary photography is a moving target. Its definition as a style is in a decade-long collision with incredible emerging tools of news gathering and the radical ease of distributing information in the 21st century.
Whereas in time past being a documentary photographer usually meant working in a single format, shooting "objective" black and white images of a relatively narrow band of social and political issues, a new generation of photographers have exploded the term and idea with projects that both expand the role of the photographer in the process and stretch the end result into a multimedia buffet of storytelling whose future seems limitless, even as its present is sometimes a bit awkward.
Within issue 18 we see this rich potential more specifically trapped between the work of photographers Travis Dove and Chris Crisman, who through completely different methods both bring us personal documents of two very different cultures from two vastly different eras of American history. From rural Ohio, Dove captures the spirit and chaos of a counter culture skater's paradise, while just 300 miles down the road in Titusville, Crisman uses highly stylized portraits to dig into the nation's and his own family's history in steel country.
These essays are joined by a new portfolio of from NYC-based photographer Jacob Silberberg and a new Document piece featuring an incredible conversation about the UK editorial photography market between photographers Andrew Hetherington and Chris Floyd.
As always, we give thanks to our great photographers - Travis, Chris, Jacob, and Andrew - and also to you, kind viewers, for your support.
John Loomis, Editor in Chief