SEASIDE IN GREECE: THE CLARA HRANEK PORTFOLIO

May 22, 2020 by David Coggins in Travel

I can’t tell the story of Clara Hranek without talking about her father, Matt. One of the first trips we took for work, if you call going to Scotland work, was back when the Condé Nast Traveler US was still a going concern. We went to Harris, along with Jake Mueser, to see where the famous tweed was made. I was writing the story, Matt was photographing it, and I was shocked at how quickly he worked. He had a few cameras, didn’t fuss over them much, knew in his mind what he wanted but remained open to surprise. He was able, nimble and opportunistic.

LE CORBUSIER IN PARIS: THE CHRIS BLACK PORTFOLIO

April 03, 2020 by David Coggins in Travel

Chris Black is not slowing down during or current lockdown—and you wouldn’t expect him to. He just can’t stop creating what the kids call “content." He’s hosting the How Long Gone podcast with Jason Stewart, and he’s just launched his newsletter from his other podcast, Public Announcement. I imagine we’re all thinking about favorite places that now seem impossibly far away. So I asked Chris, one of my favorite photographers, to share some images from a trip to Paris.

BASEBALL IN PUERTO RICO: THE ALEX TRAUTWIG PORTFOLIO

March 14, 2020 by David Coggins

Alex Trautwig is a terrific photographer, angler and friend, though not necessarily in that order. We fished in Patagonia in January, which was wonderful and now seems like it was a few decades ago. He’s a staff photographer for Major League Baseball, and travels widely to shoot games, exhibitions, spring training and the rest of it.

PORTFOLIO: RICHARD BAKER

September 24, 2019 by David Coggins in Etc.

Richard Baker’s wonderful still life paintings are both disarming and slightly improbable. Their collection of objects is familiar and jarring (why is a pickle jar near a paintbrush?). For a traditional art form—still lives have been a staple of Western art for centuries—they seem almost radical. We’re just not expecting to see things we know arranged like this, and the effect is magnified by the distorted perspective.