From a Smithsonian Magazine online review:
At first glance, Stephen Wilkes’ photographs look like a single moment in time. It is only upon closer inspection that viewers discover that each of his works is actually the result of shooting thousands of photographs from a stationary position over the course of a day and stitching them together digitally to create one cohesive panorama. The painstaking task of editing all of this information and whittling it down into one image can take months to complete, but the results capture a sense of place that can’t be expressed by a single frame alone.
Wilkes expands on this concept in his new book, Day to Night, which features panoramas of iconic places like New York’s Coney Island, Moscow’s Red Square and Arizona’s Grand Canyon seen over the course of a day. Time-lapse photos these are not, as Wilkes carefully selects the exact frames he’ll compile into the final image. (The book release coincides with “A Witness to Change,” a photographic exhibition to be held at Bryce Wolkowitz Gallery in New York City beginning September 12.)
To many nature photographers, no muse is quite as magical as a field of flowers. This tried and true subject is particularly popular with aerial photographers, whose atmospheric shots allow us to explore the mesmerizing meadows from soaring perspectives. One photographer taking this trend to new heights is 
I have always loved the ocean and also photography. I started taking pictures as a teenager and was very inspired by black and white masters like Ansel Adams and 
Dubbed “The Father of American Surrealism,” Clarence John Laughlin (American, 1905-1985) was the most important Southern photographer of his time and a singular figure within the burgeoning American school of photography. Known primarily for his atmospheric depictions of decaying antebellum architecture that proliferated his hometown of New Orleans, Laughlin approached photography with a romantic, experimental eye that diverged heavily from his peers who championed realism and social documentary.
The exhibition surveys Laughlin’s signature bodies of work made between 1935 and 1965, emphasizing his inventiveness, artistic influences, and deep connection to the written word. The High began collecting Laughlin’s work in 1974 and Strange Light: The Photography of Clarence John Laughlin is the first major presentation of Laughlin’s photographs by the High Museum following a landmark acquisition of his work in 2015.
CutUp is closely linked to Oefner`s
JAY MYSELF documents the monumental move of renowned photographer and artist, Jay Maisel, who, in February 2015 after forty-eight years, begrudgingly sold his home—the 36,000 square-foot, 100-year-old landmark building in Manhattan known simply as “The Bank.” Through the intimate lens of filmmaker and Jay’s protégé, noted artist and photographer Stephen Wilkes, the viewer is taken on a remarkable journey through Jay’s life as an artist, mentor, and man; a man grappling with time, life, change, and the end of an era in New York City.
Boomers Daily 