Buliisa, Uganda

John Gafabusa, custodian of the Mutyona natural sacred site, points at a place of significance on Lake Albert. As Total Energies invests billions into oilfield development and acquires more land, Bagungu people worry about the impact on the the spiritual power of sacred sites

Photograph: Hajarah Nalwadda/AP

Can nature make you happier? Make you feel less stressed? Heal you? That’s the idea behind the nature photography by Todd Winslow Pierce at Vail Health.

“Research studies have shown that incorporating art, specifically nature scenes, in health care settings can have a positive impact on patients’ restoration,” said Amy Keller, vice president of the Vail Health Foundation. “At Vail Health, our Art Council collaborates with local photographers to showcase nature photos from our area in public spaces throughout our facilities.”

Pierce grew up in the valley and knows the landscape and wildlife patterns well enough to get the perfect shot to showcase it in an almost larger-than-life setting at Vail Health. The timing to be involved in this project worked out for Pierce as well as he had just finished reading up on the topic of nature’s restorative benefits.

“I had just read the book called “The Nature Fix,” by Florence Williams, that examines the benefits of nature on health and wellbeing, both physically and mentally,” Pierce said. “I already believed in the healing powers of the natural world from my own experience growing up here in the mountains, but the scientific and medical references throughout the book were really inspiring and sparked the idea about collaborating with Vail Health.”

In 2019, Vail Health started looking for permanent exhibit artwork for the new east wing, so it worked with Pierce to place a number of images in public areas as well as hospital and imaging rooms. During that time, Pierce was also developing a concept called Eagle Valley Wild, which is a nonprofit enterprise that provides professional photographic services to conservation organizations and initiatives in Eagle County. The project educates and inspires locals and visitors with compelling content to increase awareness, appreciation and protection of Eagle County’s land, water and wildlife.

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“Although I couldn’t bring actual forests, waterfalls and wildlife into the hospital, I thought I could offer compelling imagery of all that in ways that could resonate with patients, staff and visitors,” Pierce said.

“We currently have 12 images on display at three different locations within Vail Health Hospital and the Shaw Cancer Center building,” Keller said. “These images will be periodically rotated to maintain visual variety in these spaces. The exhibit has received great interest from patients and staff, with many expressing their appreciation for the photography.”

Alongside the photos are extended captions that go into more detail about each photograph, whether it’s an elk herd in the Brush Creek Valley, the bighorn sheep in East Vail, or a black bear bathing in a small watering hole in Cordillera.

“The photo of the black bear in the water is a staff favorite,” Keller said.

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There are also scenery shots that are very soothing, such as the pond lilies in the Homestake Valley, the fall colors along the Eagle River, or the change of seasons in November on Homestake Creek after a storm has passed through. The large photographs make it almost seem like you are right there in nature.

Along with informative and inspirational exhibits, Pierce is continuing to develop relaxing video segments and creative outings for staff and patients as well.

“My goal with sponsors is to design true win-win relationships that of course help fund the project, but also provide unique benefits and opportunities for them that ultimately promote the importance of our land, water and wildlife in a way that’s informative, inspirational and honest, not preachy or depressing, but rather reveal and educate in a balanced way that evokes reflection, appreciation, affection and a subsequent desire for protection,” Pierce said.

Pierce said the positive feedback so far has been really encouraging and certainly helps drive him through a lot of the difficult and tedious work that’s involved.

“I really enjoy catching someone pausing to look carefully at the images, and I really enjoy it when they actually take a moment to read the extended captions,” Pierce said.

Surprising coincidences, charming moments, and quirky details—nothing seems to escape the lens of Tavepong Pratoomwong, an award-winning photographer based in Bangkok, Thailand. His passion for street photography has led him to capture slices of life that make you stop and think.

We’ve curated an inspiring and occasionally witty collection of Pratoomwong’s photographs. From the bustling streets of India to the captivating landscapes of Thailand, Pratoomwong’s camera is like a magic wand that turns ordinary scenes into extraordinary tales. With each click, he invites us to see the world through his perspective, finding beauty in the unexpected and joy in the everyday.

More info: Instagram | tavepong.com | Facebook | flickr.com

Owning a photography business comes with numerous risks, making business insurance essential to protect you from financial losses. Photographer insurance can replace expensive camera equipment if it’s stolen, or pay for medical bills for injured employees.

To choose an appropriate policy tailored to your specific needs, you’ll need to have a good understanding of how photography business insurance works.

What Is Photographer Insurance?

Photography insurance is a specialized form of small business insurance created to safeguard photographers and their businesses from risks and liabilities in the work of picture taking. Small business insurance offers financial protection and peace of mind by providing coverage for legal disputes, injuries, and equipment damage or loss from theft, accidents and natural disasters.

Consider a scenario in which a client files a lawsuit against you, claiming breach of contract. In this example, the general liability insurance component of your small business policy would cover your expenses for legal representation and any potential judgment or settlement.

Who Needs Photographer Insurance?

Photographer insurance can play a significant role in protecting your business from unexpected costs. Photography professionals who would benefit from business insurance include:

• Event photographers
• Freelance photographers or videographers
• Nature photographers
• Passport photographers
• Operators of photography studios
• Portrait photographers
• School photographers
• Sports photographers
• Wedding photographers

What Does Photographer Insurance Cover?

Because you have many insurance options, starting with a business owners policy (BOP) is wise. A BOP offers three types of coverage for a range of potential issues. Buying a BOP often proves more cost-effective than purchasing the coverage individually.

A business owners policy bundles together these three coverage types.

General liability insurance. This insurance provides financial protection if your photography business is blamed for accidental injuries or property damage. It also covers legal expenses if the situation leads to litigation. For instance, during a birthday celebration photoshoot, the general liability coverage could pay for medical and legal expenses if a guest trips over your camera equipment and is injured.

Business property insurance. This insurance provides coverage for a business’s physical premises and equipment in the event of damage caused by an incident covered under the policy, such as a tornado. It protects leased and owned equipment, including studio furniture, backdrops, cameras, memory cards and business records.

Business income insurance. Also known as business interruption coverage, this portion of a business owners policy can keep your business afloat if you’re forced to shut down by unforeseen circumstances, such as a fire.

What’s Not Covered by Photographer Insurance?

Certain situations fall outside a photographer’s small business insurance, including:

• Flood damage to a business. For protection against flood-related losses, a separate commercial flood policy is necessary.
• Earthquake damage to your business. Similar to flood losses, you’ll need a separate policy if you want to cover earthquake damage.
• Intentional or fraudulent acts: Small business insurance typically does not cover damage resulting from deliberate or fraudulent activity.
• Unlawful dismissal. Without an employment practices liability policy, small business insurance may not cover claims about wrongful termination matters.

It’s important to be aware of these exclusions and consider additional or specialized insurance policies to cover any gaps.

Examples of Photographer Insurance Claims

Here are claim scenarios and the corresponding photographer insurance that would address them.

How Much Does Photography Insurance Cost?

Insurance companies take numerous factors into account when calculating a policy’s cost. Common ones include:

• Coverage needs. Your policy details, such as coverage types and limits, play a significant role in determining your premium. Policies with lower coverage limits generally come with lower costs than those with higher limits.
• Business size. The number of employees and the size of your payroll directly impact the cost of workers compensation insurance. More employees typically mean higher premiums.
• Other considerations. To estimate costs accurately, insurance companies also factor in elements such as your business assets, property ownership, claims history and location.

Ways To Save on Photographer Insurance

To cut your business insurance costs, try these savings strategies.

Gather quotes from several insurance companies. Business insurance policies can vary in price among insurers. To find the best deal, compare quotes from multiple insurance providers.

Bundle coverage with a BOP. Consider a business owners policy that combines essential coverages like general liability, business interruption, and commercial property insurance. Bundling these together is often cheaper than purchasing separate policies.

Correctly classify your employees for workers compensation insurance. Ensure they have accurate and detailed job descriptions that align with their duties. Proper classification can lead to savings on workers comp insurance. If you need more clarification, consult your insurance agent for guidance.

Join a professional organization or association. It may be possible to reduce your insurance premiums by joining a professional organization or association.

Pay insurance premiums annually. Consider paying your insurance premiums yearly rather than every month. The switch may qualify you for a discount from your insurer.

Bump up your commercial auto insurance deductible. Select a higher deductible for your commercial car insurance policy. A higher deductible will result in lower premiums, though you’ll be responsible for paying a larger amount out of pocket if you file a claim.

Where Can You Get Photographer Insurance?

A reliable photographer insurance policy combines essential coverage types tailored to address the specific risks your company encounters. These insurance companies offer standard business insurance options such as business owners insurance, commercial auto insurance and workers compensation insurance, allowing you to customize a policy according to your needs.

• Acuity
• Allianz
• Allstate
• American Family Insurance
• AmTrust Financial
• Auto-Owners Insurance
• Berkshire Hathaway
• Chubb
• Cincinnati Insurance
• Clear Blue Insurance Co.
• CNA
• Erie Insurance
• Farmers Insurance
• Frankenmuth Insurance
• The Hanover
• The Hartford
• Liberty Mutual
• Nationwide
• State Farm
• Tokio Marine
• Travelers
• Utica First Insurance
• Westfield Insurance

Other Small Business Insurance Types

A business owners policy (BOP) provides a solid foundation. But your specific business needs may require additional types of coverage. Discussing your options with an insurance agent is wise to ensure you have sufficient protection.

Here are some valuable additional coverage options worth considering.

Commercial Auto Insurance

If you use a vehicle in your photography business for any task involving work, a commercial auto policy is a must. For example, a commercial auto policy is necessary if you use a van to transport camera equipment and backdrops from your studio to an event, because your personal auto insurance typically does not provide coverage when your vehicle is used for business purposes.

Like a business owners policy, commercial auto insurance policies combine several coverages.

• Bodily injury liability. It covers injuries to others that result from accidents caused by you or your employees.
• Property damage liability. This coverage pays for accidental property damage to a third party that you or your employees are responsible for.
• Combined single limit (CSL). This type of policy blends bodily injury and property damage coverage into a single overall limit, instead of having separate limits for each.
• Medical payments and personal injury protection (PIP). Regardless of fault in a car accident, PIP pays for medical expenses for you and your passengers.
• Collision insurance. If you or your employees are involved in an accident, this insurance covers the repair or replacement costs of your vehicle.
• Comprehensive insurance. This insurance provides coverage for incidents other than vehicle collisions, such as theft, vandalism, fires, floods and collisions with animals. It pays to repair or replace your vehicle.
• Uninsured motorist (UM) coverage. If you’re hit by a driver without car insurance or with insufficient coverage, UM covers injuries to you and your passengers. Certain states extend coverage to include damage to your car caused by an uninsured driver.

Workers Compensation Insurance

If you have even one employee, workers compensation insurance is required in most states. This insurance covers medical expenses, lost wages and disability benefits when your employees become ill or injured while performing job-related tasks.

Commercial Umbrella Insurance

With commercial umbrella insurance, you have an extra layer of liability protection that becomes effective if your other liability coverage limits have been reached. It’s like a safety net that goes beyond your existing policies, covering claims against you that exceed the thresholds listed in your policy.

Errors and Omissions Insurance

Errors and omissions insurance, also referred to as professional liability insurance, pays out if a client alleges that you didn’t fulfill your professional duties, regardless of the claim’s validity.

Consider a scenario in which you’ve been hired to photograph a wedding but accidentally miss the wedding date and fail to show up for the big day. The client could sue you for breach of contract. This insurance acts as a safety net for your business and covers the costs of legal representation, court judgments and settlements.

Hired and Non-owned Auto Insurance

When you or your employees drive rented or personally owned vehicles for business purposes, this insurance offers coverage for injuries and property damage to others. For example, if an employee uses a rented van to transport props for a photoshoot, the insurance would cover costs arising from an accident caused by the employee.

Inland Marine Insurance

Because a typical commercial property policy covers business property only in a specific location, photo and video professionals frequently opt for what’s called inland marine insurance. With this insurance, your cameras and other business property are covered wherever you take them.

Photographer Business Insurance Frequently Asked Questions (FAQs)

The prize commends photos which “capture the essence of the North East of England”

Ernest Hemingway once said, “There is nothing to writing. All you do is sit down at a typewriter and bleed.” The same could be said about any form of art, including photography. There are times when, at the end of a long shoot, I look down at my fingers, half expecting to see some physical manifestation from the currents of creativity flowing out of my fingertips. There is a lot of advice floating around the internet on how to learn photography. And while some of it is good, even great, few really convey that photography is a balance of both the technical and the art. That, without a little metaphorical “blood,” you’re just adding to the noise.

When you set out to learn photography, education around the rules and tricks of the trade is a must. But, of equal or probably even more importance, is establishing your own unique style. Learn to take photos like other photographers — and then do something entirely different. In all creative disciplines, learning to photograph, paint, or draw something is a necessary starting point. But, if you only learn how to reproduce something, you are simply a recycler. To become an artist, you have to both learn the technical steps and how to put your own unique spin on that technical know-how.

Learn the technical side of photography first.

Yes, blurry photos are trending on Instagram. But, these blurry photos are created by artists who know how to use their camera to take a sharp shot — and when and why not to. Start your photography journey by learning the technical side of photography: how to use a camera. 

The first thing to learn is exposure and how to manually set the aperture, shutter speed, and ISO. The next thing to learn is light: how light plays a role in photographs, how to work with existing light, then how to create your own light using a flash. The third thing to tackle is genre-specific knowledge, such as posing for portrait photographers or astrophotography for landscape photographers.

There are several ways to learn the technical side of photography, including articles like the one you are reading now. Other resources for learning the technical side of photography include but aren’t limited to:

• Books and eBooks
• Online classes
• In-person classes
• Video tutorials
• Hands-on experimenting
• Mentorship with another photographer

Take photos, then take more photos.

There are many different learning styles — maybe you’re an auditory learner, or perhaps you learn best through reading and writing. But no matter your learning style, hands-on experience is necessary for learning photography. Take photos, then take more photos. Analyze your photos. What do you like about them? What do you not like about them? Get feedback from other photographers, then put that feedback to use and take more photos.

One of the best exercises to do when learning photography is to photograph the same thing multiple times — this is both great for generating new ideas and learning how different scenarios impact an image. Grab a random household object and take 50 or even 100 different photos of that one item. Play with different compositions. Shoot from different angles. Find a window and see how many ways you can move the object so the light hits a different spot. When you are done, analyze the images — which ones do you like best, and why? How did changing where the light falls or adjusting your composition or changing your aperture change the resulting photo?

Break the rules and define your own style.

Here’s where the non-traditional advice comes in: Once you’ve learned all the technical tricks and the photography rules, break them. Did you really just put all that work into figuring out how to learn photography only to create something that’s already been done before? Did you just spend months learning photography only to create something so familiar everyone will scroll right past it in seconds? 

…blurry photos are trending on Instagram right now. Not because blur is the new black, but because it brings out the emotions of that moment, the feeling of movement and a whirlwind of emotions

The world doesn’t need more cookie-cutter photographs — but it does need new and unique perspectives. Once you know how to take photos like everyone else, learn how to take photos that are uniquely yours. No, you didn’t learn all the technical stuff for nothing — you must know how to use your camera. You need to know the photography rules in order to break them with intentionality and creativity.

Take a step back and ask yourself:

• Why do I take photos?
• What photographs or photographers do I find most inspiring? How can that work inspire something new, rather than an illegal, unethical copy?
• What’s different about my photos?
• Is there a consistent element running through all of my photos, whether that’s emotion, colors, perspective, or something else?
• What is it about my past, my current, my [fill in the blank] that gives me a unique perspective?
• What can I achieve by putting the camera aside and reworking what’s in the scene? Creativity isn’t limited to just camera settings. Many photographers have built a creative style around what’s in front of the camera, from DIY props to unique posing prompts to photography tricks.
• What is trending right now and why? Don’t just blindly follow the trends, but find inspiration in the reason behind those trends. For example, blurry photos are trending on Instagram right now. Not because blur is the new black, but because it brings out the emotions of that moment, the feeling of movement and a whirlwind of emotions. Use that why — not the trend itself — as a launching point for new, unique ideas.
• Ask the what-ifs. What if instead of striving for a technically sharp photo, I used blur to create emotion? What if I shot from this angle instead? What if, instead of trying to eliminate lens flare, I embraced it? What if I shot with prisms or odd filters?

Finding your own unique style in photography is a process. Don’t expect to come up with the answer in five minutes. This is where you sit (stand) at your camera and bleed. Style and perspective is a question that photographers need to continually ask themselves. Mix the technical know-how learned from books, videos, and mentors with your unique take. 

The final step on how to learn photography? Never stop learning.

Photography isn’t something where you graduate from a course, hang a piece of paper on your wall, and you’re done. Becoming an artist is a continual process of growing, experimenting, and evolving. Learning how to use a camera is only part of it — the rest is a gradual transformation of creating art that speaks to viewers.

The Phoblographer may receive affiliate compensation for products purchased using links in this blog post.

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• Courtesy of Nathaniel Thompson
• Adam Scher and Monica Jane Frisell in the Nomadic Photo Ark

Monica Jane Frisell and Adam Scher can’t quite pin down why, two years ago, they left Seattle to live as nomads and photograph people across America. “Just [to] try and figure out what it’s all about, I guess,” Frisell said. “Sounds kind of cheesy.”

Towing a trailer called the Nomadic Photo Ark that doubles as a kitchen pantry and darkroom, the married couple create portraits and accompanying audio recordings of locals in cities and towns all over the U.S. The result is an ongoing multimedia collage of American life. In fall 2021, Frisell and Scher brought the project to North Hero, and this August they returned to Vermont, parking for several weeks at the White Market in Lyndonville.

They have a few concrete goals: to meet new people, make art and document stories, which will be presented in a pop-up exhibit on Lyndon’s Sanborn Covered Bridge on Thursday, August 31.

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• Courtesy of Monica Jane Frisell
• Dorian of Lyndon

When pressed, the pair offers a deeper motive for their project. Divisiveness baffles Frisell, who is tired of “grandiose noise and exceptionalism” making the front page. Nomadic Photo Ark’s “Portrait of US” aims to show what unites Americans at a time when it’s rare for people to slow down and listen, the couple said.

“I read the news, and it just doesn’t fit what I’ve experienced,” Frisell said. “Even when I talk to somebody who I know does not think how I think, I still don’t leave wanting to scream at them.”

Frisell shoots with a 1940s large-format film camera and develops the negatives as 8-by-10-inch black-and-white photos. Sometimes she shoots near where the trailer is parked, but she prefers to follow subjects to a place that’s meaningful to them, such as a park, garden or home.

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• Courtesy of Monica Jane Frisell
• Katy of Raleigh, N.C.

The full-body portraits capture locals’ distinctive outfits and postures. Subjects maintain a straight face and gaze directly into the camera, almost as if to say, “I see you” to the viewer. In Cleveland, a woman wearing a T-shirt that reads “Love yourself” poses beside a motorcycle. In Birch Bay, Wash., a woman matches her background, sporting thick black sunglasses and an American flag T-shirt while posed in front of the real thing.

Scher runs the tape recorder and edits the audio down to a few minutes. The couple open every interview with the same prompt: “Tell us about a pivotal moment in your life.” The question often leads their subjects to speak about struggling with loss, sobriety, race, or sexual or cultural identity, Scher said.

The stories often unfold as a crescendo. Sharina in Cleveland talked about switching jobs before speaking about her son’s murder. Tobi in Green Mountain Falls, Colo., segued from a conversation about finishing graduate school to one about dating after her late husband’s death. Kim in Cleveland spoke about combating the prejudice with which she was raised.

“It was very brave and candid of her to be able to talk about that stuff,” Frisell said of Kim’s interview. “It was really inspiring to me to see an older woman who has actually gone through the work to try and change.”

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• Courtesy of Monica Jane Frisell
• Saxon of North Hero

Martha Elmes, founder and director of the Satellite gallery and community space in Lyndonville, invited the Nomadic Photo Ark to town. She heard about the traveling artists through her son, a friend of Frisell’s. Local organizations usually sponsor the project, so Elmes secured funding from the Town of Lyndon and two nonprofits, the Vermont Community Foundation and Burklyn Arts Council. She’s also hosting Frisell and Scher at her home.

The deaths of two local historians in recent years have highlighted the importance of having someone record the people of Lyndon, Elmes said.

“I wanted to document some of these people who are older, or people who you see walking by all the time and you wonder, What’s their story?” Elmes said. “Well, now you’ll know.”

Originally planning to hit the road by herself, Frisell started constructing the mobile darkroom in December 2020 with the help of a mechanic friend. They built the back half of the 84-square-foot trailer as a darkroom and the front half as a kitchen — now complete with a sink, spice rack, ice maker and propane pizza oven.

Then Frisell and Scher matched on Tinder. Nomadic living appealed to Scher, who had completed long-distance bike rides from Seattle to San Diego and across Europe and the American South.

So, after just a few months of knowing Frisell, Scher quit his job at a pizza shop to take charge of the project’s audio component.

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• Courtesy of Monica Jane Frisell
• Mark of Rochester, N.Y.

“That kind of desire to meet people and talk to people throughout the country was there,” Scher said. “So it fit very well, and we meshed very, very quickly.”

Frisell and Scher also share a philosophy when it comes to attracting people who want their stories told. They rely on word of mouth and a “Share your story” banner hung on the trailer, hoping to draw subjects who won’t shy away from meaningful conversation or acknowledgment of their hardships.

Frisell said she thinks deeply about the ethics of interviewing. “I’m always hyper-concerned that we’re not doing something right,” she said. “We’ve talked to people who have had bad experiences with journalists and then are really hesitant to speak with us because they were taken advantage of by that person. And that really breaks my heart.”

That concern was on display when Frisell and Scher arrived at a local woman’s house. Beverly greeted them wearing a hot pink shirt and sporting long blond hair that reached her waist. She had reached out to Frisell and Scher by email after seeing an ad for the project. Giving a tour of her backyard, Beverly beamed at her view overlooking the roaring South Wheelock Branch of the Passumpsic River.

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• Hannah Feuer
• Monica Jane Frisell taking Beverly’s portrait in front of the Chamberlin Mill Covered Bridge in Lyndon

The mood shifted as Frisell and Scher started the interview in the front yard. Beverly cried as she shared that her son died in March of a fentanyl overdose at age 29. Her son was someone “who would help anyone do anything,” she said. He kept Narcan, an overdose-reversing drug, taped to the roof of his truck and inside his apartment door, his mother added.

“It’s been months, but it feels like it was just yesterday, over and over every day,” Beverly said, her voice quavering between sobs. “And knowing what he died from, it just pains me that there are so many other families going through this.”

“I’m so sorry,” Frisell said. And then, referring to the opioid epidemic, “It seems to be hitting this place just relentlessly, right?”

“Everywhere,” Beverly said. “And there’s not enough being done.”

After the interview, the trio moved to take Beverly’s portrait in front of the Chamberlin Mill Covered Bridge next door to her house. As Frisell positioned the camera, Beverly said she wasn’t sure she deserved the spotlight, given that many of her neighbors have lived in Lyndon much longer than she has.

“Everyone deserves this,” Frisell replied.

Scher said people seem to find it easy to open up to the couple, a vulnerability he partly attributed to the open-ended prompt that allows them to share as much as they’d like.

“Still, I was not expecting her to say that,” Frisell said. “Some of the hardest ones have been like, we’re just laughing and sitting and then they whack us in the face with a story like that. It’s heartbreaking.”

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• Courtesy of Monica Jane Frisell
• Izzy of Green Mountain Falls, Colo.

The couple are protective of their subjects. They understand that many people are “hurting to open up,” as Scher put it, while others aren’t comfortable publicly sharing their trauma. Referencing their nonconfrontational interview style, they said they don’t consider their work to be journalistic.

“I think it’s different if, like, we were working with the Times and doing a story on fentanyl and went up to her,” Frisell said of Beverly. “That’s a completely different approach of getting a story from the person, instead of just letting them lead.”

The couple’s method has motivated nearly 300 people to participate in the project over Frisell and Scher’s two years on the road. They’re not done yet — they’ll head to Orlando, Fla., next, then to Massillon, Ohio, in 2024. The portraits and audio clips are available on nomadicphotoark.com.

Has the nomadic life helped Frisell figure out “what it’s all about”?

“The more I meet people,” Frisell said, “[the more] I’m constantly learning I really don’t know anything at all. I feel even more confused.”

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Digital Pro Lab’s “Unseen” gathers 12 photographers who depict the city’s often-forgotten people and spaces.  
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Carmen Peña

Digital Pro Lab’s “Unseen” gathers 12 photographers who depict the city’s often-forgotten people and spaces.

This year marks the 29th Fotoseptiembre, an annual festival focused on photography-based exhibitions presented across the Alamo City and Texas Hill Country and an assortment of online galleries.

Founded by photographer and composer Michael Mehl, the celebration provides a platform for photographers from across the community to participate.

Among this year’s exhibitions is Digital Pro Lab’s “Unseen,” which gathers 12 photographers who depict the city’s often-forgotten people and spaces. The exhibit “not only honors the rich tapestry of the San Antonio community but also contributes to a more inclusive and authentic representation of the city’s identity.”

Creative Eye Gallery is presenting “Southtown Obscura,” featuring the photographs of Zan Lee Duroy. The exhibition showcases images of the city produced during the “Golden Hour,” that special moment right before sunset when light is softer, potentially allowing photographers to produce their best work.

Meanwhile, Centro de Artes is presenting “From SA to SA: An Exhibition of Pan-American Documentary Photography.” Curated by Guillermina Zabala, the exhibition features works from 20 Latinx artists “and encapsulates the astonishing power of documentary photography as a direct representation of our realities and as a force of social change.”

Mockingbird Handprints Gallery will present “One-way, Byway, This Way — New York Streets,” an exhibition featuring the work of Austin-based photographer Ed Malcik.

Visit the official Fotoseptiembre website for a full list of online galleries and participating venues.

Various times and locations Aug. 24-Sept. 30, fotoseptiembre.com.

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