Barry Tanenbaum

Carol Freeman began the Endangered Species Photography Project 15 years ago. Her aim was to photograph all the endangered species in her home state of Illinois, in the hope that awareness would foster protection for the threatened species and their habitats.

As he neared the end of the process of making prints for an exhibition of his large- and medium-format photography, Geoffrey Roberts was ready to spread the word about the upcoming event. “I was in the darkroom once or twice a week for eight or nine months leading up to the show,” he says, “and to promote it I took pictures in the darkroom and posted them to Flickr, Facebook, Instagram—basically everywhere.”

There are stories we tell to explain ourselves, to clarify who we are, and to account for why we are who we are. And no matter what the apparent subject of these stories, what they are always really about is the past. “The past is never dead,” William Faulkner said. “It’s not even past.”

About four years ago, Alvanas, a photographer, filmmaker, educator, digital artist, and postproduction retoucher, was attending a week-long advanced printing workshop at John Paul Caponigro’s studio. “The first day of portfolio review featured lots of prints of grand vistas from big film cameras—4x5s and 8x10s,” Alvanas says. “I showed on the second day, but I digitally projected my images.”