The ground-breaking Waffenruhe, by Michael Schmidt. See his latest, Lebensmittel, also up at Have A Nice Book.

Karin Apollonia Müller, from Angels in Fall.

“Depending on how I’m feeling on a particular day or week, I’m constantly changing my mind about what they mean.  I’m wrestling with my own ambivalence while trying to rule out whether I love or hate this place. I seem to not want to commit to either. The landscape continues to be full of messages that complicate my feelings about the past and present.”

— from a conversation with Sean Stewart just uploaded at thegreatleapsideways.com

(Source: thegreatleapsideways.com)

Pink Eye, from “Zulu Time” by Justin Thomas Leonard.

From “South Philadelphia” by Justin James Reed, (2005 - 2007).

“While it’s certainly true that photographing unknown subjects is a privilege, I don’t claim deep intimacy or insight into the lives of those I photograph. That being said, I am committed to treating my subjects seriously. My interest is in understanding people as individuals, not the fallout of a social problem. I approach people because I’m simply curious about them. I hope the pictures of people convey some semblance of dignity, because they are precisely the type of individuals who are often wrongly perceived of as disadvantaged or outsiders. For me the picture making process has always served to prompt contact, and remove some of the indifference we have for each other — it supplies a reason for human exchange when I wouldn’t have one otherwise.”

— from Something more felt than known: a conversation with Curran Hatleberg, up at thegreatleapsideways.com

(Source: thegreatleapsideways.com)

From Magredi, by David Wilson.

Alec Soth