Uncategorized | Suspect Photography

January 26, 2026

From the Vault: “Definitive Erotica” and the Early Days of Suspect Photography

Looking at this video for the first time in 32 years—more than half my life ago—is an incredibly emotional experience. It unlocks so many memories, and as the faces walk into Suspect Photography, little details present themselves that I haven’t thought about in decades. I showed it to Juliette, and her immediate reply was, “We were babies!” This video was captured with a common compact Panasonic VHS camcorder I had on loan at the time, and because it was shot long before the age of smartphones, you can see how people really engaged with the art and each other without a screen in sight. The tape was recently transferred by Legacybox and has been lightly edited and titled.

The early days of Suspect Photography were filled with experimentation and a drive to get closer to both the medium and the photographers themselves. My gallery partner at the time was Susan Cicotte, a photographer from Port Angeles whose work centered on her daughter, Molly. Susan was a feminist who had an uneasy relationship with my early explorations into fetish photography. She flatly declared the work was “porn,” while I took artistic umbrage, and we would spend hours debating the distinction. That friction is where I came up with the name for the exhibition: Definitive Erotica. I wanted to showcase a curated range of work by contemporary photographers so that the viewer could understand the breadth of the genre and effectively build their own definition. We aimed to define and present evidence in a conclusive manner that would elevate the theme of eros.

The two living photographers chosen to exhibit were as diverse as their gender. I met both of them while they visited the gallery to share their portfolios. Karen Johanson, who went by Karin back then, was a local photographer with a disarming smile that granted her access to a wide panoply of young, hip Seattleites. I eventually came to understand that female photographers often have a level of access that male photographers have to work much harder to achieve. The resulting work Karen produced was honest and non-threatening, moving from studio setups to living rooms in equal measure. Regardless of the camera she used, she made her work with love. She is still producing work today, and you can find her at her website, karenjohanson.com.

Karen was a stark contrast to Michael Donnell. Michael was an educated African American artist who had served as a field medic in Vietnam. He was a complex, easily misunderstood man whom I embraced wholeheartedly. Under a tough exterior—complete with a dent in his head from a hit in ‘Nam (which sent him home)—he had a heart of pure gold and was always the first person to throw himself into a situation to help someone. His work was extremely well-crafted; he handled the entire process himself, developing and printing meticulous studio setups with mythological themes. His work was very “alt 90s” and reflected the aesthetic of fetish, shock, and hetero-explorative desire, heavily influenced by Joel-Peter Witkin. When considering his work, you have to remember that his youth was spent in the hell of war. The stories he told me while we drank scotch from his collection were brutish, and the fact that he could contain that darkness to produce the art he made was a testament to his strength. I used to call him the finest stallion in the Suspect Photography gallery stable, and I’m planning to call that old GOAT soon to catch up.

We also included work from an unknown photographer of the 1920s and 30s, printed from a collection of wet plates that English photographer Mark Palmer had acquired. Mark and I spent many nights in the Suspect Photography darkroom contact-printing a selection of those plates. Nothing written survived to give us clues about who this photographer was, but the work was vital to the narrative of the exhibition because it provided a historical anchor from sixty years prior. The resulting video has three chapters: the Installation, the Opening, and a catalog of the work. I should give a fair warning that the catalog of work may be considered NSFW, or however you wish to define it. I hope you enjoy this look back at a very specific moment in our history.

~David Brommer

Leave a comment

January 13, 2026

Lives in Motion: Vera Hershenberg’s Photography Exhibition

Two years ago I received an email from one Vera Hershenberg asking questions about our NYC Spring Street & UN workshop. It took a little pushing and logistical maneuvers, but she joined us on our inaugural workshop. I spent some time working with Vera, making sure she was in control of the camera and getting what she saw in the files. That was Vera’s strength. She “sees” and she goes for it. Over the workshop she earned the nick name “Fearless” because when she raises her camera chasing what she sees, Vera knows no fear. So it was that we worked in the Bronx, Harlem, East Village and the rougher edged neighborhoods for over a year where Vera shined. Her fearlessness rubbed off on the other work-shopers and made them go a little further too. Vera has chosen street photography late in her life and I am honored to be her camera whisperer. She attended the first Suspect Photography Retreat In the Woods and took advantage of the wise instructors to show them her work and help her organize it for an upcoming exhibition. This past weekend was the opening of her show, Lives In Motion – Captured. The show was so excellent, that I’m going to compare Vivian Maier to Vera Hershenberg, albeit with a conditions. For now, let’s let the work speak for itself.

The gallery was located in the Cherry Hill Public Library. Excellent wall space to fill with work. Vera invested in quality framing and had a friend from the local photo group help with the printing (Canon Printers were used).

Vera’s work engaged the viewers.

Girl Talk was made on our spring NYC workshop. I recall discussing it with the class during our review sessions. While I liked the image then, to see it printed properly made the image sing. The geometry is stunning, the gesture beacons, and it’s a true Street Photo of the candid nature.

Gone in a Flash is perhaps my favorite image. It begs a long look and tells so much of a street story taking place across an elaborate composition.

The obligatory old guys sitting behind a bike photo. I think this show hit a number of high notes and many mid-highs, it’s images like these that are the brick and mortar of a show.

And then a Blind Eye is presented. A perfect street photo worthy of a Magnum photographer.

I lead workshops through Williamsburg Brooklyn into the Orthodox enclave. Vera inserted herself into this world with zero hesitation and made compelling work. It’s interesting how the subject reacts to the gender of the photographer. Vera being jewish meant she understood the basic layers of the orthodox, but was also surprised at the depth of religion that plays out in this neighborhood of tennements and storefronts.

Then there is Smoking Dude. This photograph has a long story behind it, and you’ll have to take a street photography workshop from me to hear it or ask in person. To me, this photo is everything that happened leading up to it’s making, and down the block after it’s making.

I believe any exhibition can lead to a meaningful experience. The highest goal is to be featured at MoMa, but until then, start with local libraries, cafes, bars, and shops with nice walls. From there, aim for gallery representation or art shows. If you want to try this world, look for a group show; it lets you enjoy opening night with low costs for printing and framing. If you’re bold, go for a solo show!

You can’t mention Vera with out mentioning Bernie. Bernie is Vera’s loving husband of many years. He may very well be the most reasonable man I know and is a keen photographer as well. Vera keeps him on his toes, and they have a relationship to admire. At the opening Bernie read a touching testimonial to Vera’s accomplishment.

To me, an exhibition of work is the highest form of artistic fulfilment. Websites, Social Media while all playing a part, nothing beats a printed, matted and framed photograph. Yes, I am a traditionalist. But I feel it’s simply the best way to enjoy an image. To complete an exhibition of quality is a major undertaking from a logistics and artistic standpoint. Vera activated her network, set the goal and reached it with aplomb.

I’m not big on birthdays or other “automatic” celebrations. To me, if you want to celebrate, I’d be much more impressed if you celebrated what I did, and so a show is true celebration on accomplishment. To see Vera among her freinds, family and strangers showcasing her work was very warm and well deserved.

My Granny was cool in a horse racing sort of way, but she didn’t make the work that Vera makes. Her children and grand children were in attendance and I wonder how the show will impact them. Certainly Vera has shown them that she is not your average Ma- but a talented, strong, smart and defining exemplar of street photography. Earlier I made a comparison of Vivian Maier to Vera Hershenberg and I’d say that had Vera spent her life in a near hermetic state she would have produced a body of work very similar to Vivian. Except no selfies, Vera is all about the world around her, not about her in that world.

Follow Fearless Vera on IG

If the goal of a photo show is something that attracts you, stay tuned for more inspirational photography from Suspect Photography Education or book a private one hour review to discuss your work.

-David

1 Comment

November 11, 2025

Exploring NYC’s Fall Colors: A Photography Workshop

The Inaugural NYC Fall Colors and Shades workshop was an absolute triumph! Our class of five intrepid photographers crossed islands and boroughs, immersed in the brash display of predominantly yellow and deep red foliage that defined the season. This workshop was designed to challenge you to see the city in a new, integrated light, focusing on city parks (both large like Central Park & Governors Island, and micro-sized). We spent our days mastering two distinct and powerful aesthetics: the timeless drama of black & white and the stunning visual feast of fall color, capturing the narrative of the city through graphic lines, stark contrast, and the warm, rich hues of autumn.

Brandon Remler showed up and did our class picture in infra red

What an amazing three days! We concluded our journey through NYC’s most beautiful and compelling locations with a gallery-ready collection of stunning images. Our core focus on blending landscape and street photography allowed us to capture the quiet, timeless grandeur of Central Park’s massive oak trees, only to pivot and frame the fleeting, human moments of urban life. The assignments were met with incredible dedication, showing students expertly incorporating experimental techniques like ICM (intentional camera movement), Pans and specific concepts like thinking in triptych.

Day One: Park Elegance and Museum Inspiration

Using the Nikon Z9 14-24 f2.8 & 24-120 f4 made it easy to nail the “postcard” shot

Our first day was a study in classic New York elegance, beginning in Greenly Square and quickly immersing us in the golden light of Central Park. We circumnavigated the lakes, explored the iconic Bethesda Terrace, and captured the classic New York vistas. After a restful lunch, the Man Ray show at the Met provided profound inspiration, shifting our focus to stark contrast and surreal narrative. The evening culminated in capturing the warm, directional light of sunset at Cleopatra’s Needle, ending the day with dramatic, silhouette-ready images.

Day Two: Water, History, and Greenwich Village Grit

Govenors Island is a photo composition paradise

We kicked off Day Two with a nautical adventure, sailing out from the Battery Maritime Building to Governors Island. This provided essential, clear-air perspective on the Lower Manhattan skyline and Lady Liberty—a powerful exercise in urban landscape photography. Massive oaks with turning leaves in a maritime enclave was explored with an eye for ruinism. After returning, the focus shifted to “urban park” street photography in the Village. From the vibrant life inside Washington Square Park and across the village to Tompkins Square park’s skater haven, we explored the rich character to these parks, pushing our cameras to capture the fleeting moments that define New York’s personality on a perfect fall day. After dinner at Momofuko, we all began the task of editing for the next day’s critique session.

Fishermen in silhouette with Lady Liberty in the background. How much more NYC can you get?

Day Three: Chelsea and the Hudson River Canvas

Little Island is a city treasure- in all seasons but Fall is very special

Our final morning began with bagels, coffee and an inspiring critique session, where the group submitted 12 final images, demonstrating huge leaps in editing confidence. Afterwards, energized, we took to the streets of Chelsea, documenting the architecture, townhouses, and creeping foliage. The afternoon was devoted to the waterfront, starting at the modern, organic architecture of Little Island and concluding with a walk on the High Line. This blend of nature and modern design provided the perfect final challenge, allowing everyone to synthesize the week’s lessons and complete the workshop with a fresh, comprehensive portfolio.

One of the assigments was to present a triptych of the days locations.

WORKSHOP GALLERY

I was pleasantly surprised at the adoption of color to my vision. I’ve been living in a black and white photography universe exclusively for the past decade when I swore off color. I really enjoyed seeking out the color of the landscape, as opposed to the contrast. I think this workshop has opened me up to a softer stance on making color work.

Washington Square Park Legend, Joey Chess

If you were concerned about my satisfaction with working in color, I did make a series of images in black and white during the three-day workshop. Yes, black and white does have its place in the fall colors. Long live the B&W image!

Having the Man Ray exhibit anchor day one was key, because one of the assignments for day two was to make an image in homage to Man Ray. It proved to be very difficult, but the class pulled through and leveled up.

We are repeating this workshop in 2026. I’m sure it will sell out, so if the above tickels your aperture, then hop on over the NYC Fall Colors & Shades 3 Day Workshop Home and seize your spot. Limited to 6 and will sell out as it’s priced with a good value.

Learn More & RSVP 2026 Workshop

November 6 – 8 2026

Leave a comment

October 20, 2025

Mastering Photographic Styles: Insights from a Five-Day Workshop

I recently taught the “Finding & Developing Photographic Style” workshop for the second time, and it was a very positive experience. With only three students, the personalized instruction and individual feedback were exceptional, making it feel more like mentorship than a regular class. I am amazed by the students’ work over the five days.

Highlights of the Content and Structure:

The structure of the five-day workshop was superb, perfectly balancing inspiration, practical application, and in-depth review. The daily profiles of master photographers, such as Andre Kertesz, Helen Levitt, and Sally Mann, provided essential historical context and tangible examples of established photographic styles. This foundation made the field assignments feel more purposeful.

The itinerary was meticulously planned to maximize both learning and shooting opportunities. From the practical “Rock Leaf Tree” assignment on day one, designed to immediately engage with editing and style deconstruction, to the stunning outdoor locations like Elmer’s Barn, Beauchamp Point, the Rusty Truck Quarry, we were constantly applying new concepts in varied settings.

Every Student got a turn at the control sticks of a DJI Mavic to explore Drone Photography.

Sending out the Drone past Beuchamp Point unlocked hitherto unavailable vistas to photograph like a Seagull at flight.

The full-day devoted to The Narrative Morning & Model Session at Vesper Hill was particularly invaluable for learning how to direct a subject while maintaining a personal vision. Some would say, the work with famed Maine Media Character Model, Peter Patton was out of this world (yes I brought up a space NASA space suit that I’ll be recycling on Halloween).

A Culture of Constructive Growth:

The most significant takeaway was the focus on real-time feedback. The regular editing and review sessions and the rigorous final edit leading up to the mini gallery showing on the final evening, instilled a strong sense of accountability and professionalism. This process helped the students hone the top images and articulate the style we were developing. I was very proud of the work in our class that the students made.

We took a deep dive into Brommer’s Six Points of Photographic Style; Attitude & Emotions, Genre, Technique, Treatment and Presentation.

For anyone serious about moving beyond technical competence to creating work with a distinctive voice, this small-group workshop is an outstanding investment. The high level of personalized attention, refined curriculum, killer locations all make for a great time while achieving photographic style.

2026 Date is Live! This time we’re heating things up with the class from July 13-17. Unlike the quiet fall workshop at the Maine Media Campus, the summer vibe is lively with many students and renowned instructors. Join us; this workshop will fill up quickly—Mid Coast in July is beautiful.

Book Your July 13-17 2026 Workshop Here

Leave a comment

July 11, 2025

Exploring the TTArtisan Tilt 50 Lens: A Hands-On Review

As many of us, I’m a gear freak and love optics. I was poking around the Nikon Z lens options on the B&H Website and came across this lens, the TTArtisan Tilt 50. It’s part of this wave of ‘cheap cost’, but ‘not cheaply made’, Chinese lenses. The 70’s were a hey-day of weird, wide, and tele lenses from oddball companies; and then in the 2000’s Lensbaby hit the market. Now with the rise of easy manufacture (barring tariffs) lenses, and manual film/video lens needs, there is a plethora of this type of equipment to try out. Long story short: I bought the lens on speculation, and was pleasantly surprised on all fronts!

I slapped the lens on a Nikon Zf with focus peaking turned off (I found it hard to “see the image” with the shimmering distraction), auto iso on, aperture mode, B&W switched on, Raw. Making sure “ok to shoot without lens” setting is checked. I took a morning stroll on the Highline excited to try out this fine feeling lens.

The lens has two unique controls, one for the tilt and the other direction of the tilt axis. By strategically turning these two, in tandem with the manual aperture, you gain access to a “strip” of in focus view. You can “spin” the lens to make that strip go anywhere. The lens also has a wonder full depth of field bokeh and close 19.7″ / 50 cm minimum focus.

The actual sharpness of the lens is questionable, it’s not a view camera, but that’s not the point. Straight on at F8 it’s sharp, but it falls off the more wide we open. However I found it sharp enough to certainly buy and keep in my gear bag. It’s fun to use and produces unique results.

The lens likes height to give it perspective. Walking the Hhighline was actually perfect with its vantage points and strong horizontal lines.

We cruised out to celebrate the fourth of July out in the Hamptons in the Buick and I grabbed the same combo.

Couple of notes, you have to have deft and strong fingers to maneuver the tilt and rotation functions. A tripod couldn’t hurt, but I used it handheld during my exploration of the lens.

My favorite wall north of MoMa. Vintage camera wall by Brandon Remler.

Shot this one at f16 amined up into the sun through the trees. I wanted to see how much wackadoodle the flare would cause. The result, enough!

Shooting the Tilt 50 at f. 2 to 4 seems best. Shooting wide open at 1.4 makes the circle very tight. Opening up two stops is the “sweet spot”. It’s the dreamy effect. I dig it. Is it gimicky like full frame fish eye? yes. But the Tilt 50 does have its place. I’m thinking a start and finish workout project, shot only with the Tilt 50. The tilt effect makes things tiny and if used correctly, can help telling the story by highlighting via focus on subjects.

I don’t recommend it for straight shooting. Not having the effect makes it less desirable, but still, the bokeh is outstanding and for the cost… Certainly less than Eisenhower’s collar.

That’s the great night photographer Gabriel Biderman and the president of the Duran Duran fan club, Nancy (only kidding, Nan is one of the finest people I call a friend). But in all seriousness, this image illustrates the way the tilt 50 can assist story telling.

It’s a heavy weight lens at 15.9 oz / 452 g. The focus is smooth as well as the click less aperture ring for those who might consider using it for film making. Which by the way, I suspect would be outstanding. Like a way to shoot a memory or a dream sequence. The lens also has satisfactory knurled rings if you were to use with a follow focus device.

Here’s my plan. I’m keeping the lens. At $229 using a payboo card it has great potential with insignificant investment. In the spring I bought the 14-24 2.8 S lens and love it, but at it’s hefty 2k price it doesn’t do what this little extra nifty fifty can do. It comes in all the mounts including Fuji X, Canon, Sony and micro 4/3. Go buy it at B&H and tell me how you like you it.

~David July 2025

1 Comment

June 30, 2025

Inside the Massive No Kings Protests: A Peaceful Dissent

NYC does things big, and this march was no exception. The call was out on social media and being discussed, I actually heard about it while I was parking my Vespa on 35th street.

The “No Kings” march was a series of nationwide protests held on June 14, 2025, coinciding with a large military parade in Washington, D.C.

These protests aimed to voice opposition to the Trump administration’s policies and what they perceived as authoritarian tendencies.

Organizers said the protests were a response to what they saw as an attempt by the Trump administration to project dominance and militarize the country.

The protests drew large crowds in cities across the U.S. and even internationally, with organizers claiming millions participated in hundreds of events. Demonstrations took place in major cities like New York, Philadelphia, and San Francisco, as well as smaller communities.

The protests were generally peaceful, with a focus on expressing dissent and concerns about the direction of the country.

While the protests were not explicitly anti-monarchy, the “No Kings” name was chosen to convey the message of rejecting authoritarianism and what organizers saw as an overreach of executive power under the Trump administration.

The timing of the protests, alongside the military parade, was meant to create a contrast between the perceived militarization of the government and the public’s desire for a more democratic and inclusive society.

Above is a one minute 38 second video of stills mixed in with audio I recorded on my iPhone. The video was edited in iMovie.

My feelings photographing this protest were one of duty and respect. As Americans, there is something sublime to exercising your first amendment rights. The key is peaceful, and this protest march was certainly peaceful. I witnessed no aggressive or destructive behavior from my walk of 42nd street to 23rd street. There were families and many other older New Yorkers on the periphery and no counter protesting. The rain was relentless and it did not dull the numbers. I estimate 50K showed up. It was a solid mass of marchers from 42nd to 23rd for well over an hour.

I used a Nikon Z9 with 14-24 2.8 and 24-120 4.0. I had originally planned on two bodies, but the rain was really coming down and I didn’t want the extra weight. At one point I was changing lenses under a scaffolding and was quite cautious in the operation! That’s the merit of two bodies- no lens switching. Noted for next time.

~David

“I have friends everywhere”

1 Comment

October 30, 2024

Year One of Suspect Photography’s Rebirth- and What a Year It Has Been!

It’s been one year since I reignited the fire that is Suspect Photography and struck out on my own by leaving my position at B&H Photo after 26 years. The year, with its unexpected highs, reinforced my decision that the time was right for change and investing my efforts into what had begun all those years ago in 1993. Suspecting so much was possible when you take smart chances. Here is the year in review for Suspect Photography.

I resigned from B&H on Halloween Day 2023, like I had started on Halloween Day in 1997 working the camera counter (where I always felt comfortable). That night I celebrated with Barbara and My Life with the Thrill Kill Kult at the Bowery Ballroom.

I started to have lunches with other teaching photographers in my network and was offered partnerships. Maine Media Workshops, which had been such an influence in my early marketing days, offered me the opportunity to lead a workshop in the fall of 2024. I began to map out a plan. I literally ‘broke the ice’ on a cold Winter weekend with my first workshop I co-taught with Steve Simon (the Passionate Photographer). An ambitious Milan workshop followed in April.

On a solo Washington Square Park Walkabout, I also met a photographer who would become a star student of mine, to prove that acorns do indeed become oaks (thank you Kim C.).

My plan entailed activating my old network and buidling & promoting some intricate educational programs such as the Spring NYC UN Workshop and a Fall Photo Retreat. Digital infrastructure and offerings were promoted and executed with live zooms and edited videos.

An online audience was growing, and websites were built while workshops went off flawlessly. Suspect Photography along with partner the Passionate Photographer sponsored a table at the International Photographers Council UN Awards Luncheon.

To see that logo alongside the best the photo industry offers, and a full table of students to share the experience with, was a momentous occasion. And all this only six months into the rebirth of Suspect Photography! (We have already filled the NYC Spring UN 2025 Workshop, but you can join the waitlist here.)

What has been truly thrilling this year has been getting to be a photographer and making work daily. It’s true that if you practice it, you will get better. It’s hard to juggle a full-time intense job and practice photography. This year was the year of photographing in the streets for me, and thus I discovered what was missing in my definition of the genre, humans in the photo.

I learned so much, and made a number of images I’m quite proud of, including one, “Personal Jesus”, that won a street photography online contest. I owe this mostly to Steve Simon, who opened my eyes and challenged me to be the photographer I wanted to be and supported my educational aspirations. I took my Street Photography practice in a formal manner not only in NYC, but to Paris, Mont Saint Michel and Milan.

The Milan 2025 workshop is live and taking deposits, so be sure to secure your spot.

I spent a hot summer in Italy continuing to plan future workshops. My north star was building a workshop and retreat that I would want to attend myself, and so Suspect Tulum, a Photo Workshop in Paradise was born!

I first went to Tulum in 1982 with my family and have returned many times since. It’s one of my favorite places on earth and I can’t wait to share it with photography lovers.

Learn More About Suspect Tulum- Photography Workshop In Paradise

I also dig the woods. Like a real lot, and have always been hiking and exploring them from the Appalachian Trail to Denali. I’m a big fan of Tree Beard the ‘Ent from the Lord of the Rings and have dreamed of creating a photo school in the serenity of the woods, so I created Suspect Photography Retreat In the Woods! I recruited the best of the best instructors and Barbara found the ultimate place to conduct the retreat, AutoCamp in the Catskills, featuring deluxe Airstreams sprinkled about pristine Mountain woods.

Expert instruction: Check! Killer Location: Check! Styled Models: Check! Workflow and a Printed Portfolio of the work- CHECK. Located in the Catskills, B&H Photo is providing shuttle service from the Super Store to Retreat and back. All the boxes are checked! Tulum has a limit of 6 students and the Retreat 25. They are filling up. Dream big, the only limit is one you set yourself.

Learn More About Retreat In the Woods

At the start of October I brought Finding and Developing Photographic Style to the Maine Media Workshops. That “acorn” I met at Washington Square Park back in January, along with a student from B&H’s Portfolio Development Program and a few new students, criss crossed across the Maine mid coast diving deep into my theories of photo style. It went so well I have been invited back. Stay tuned to the Suspect Photography Newsletter when registration goes live.

I’m spending the fall of 2024 doing photowalks and building the 2025 program. It’s very exciting. I hope you can be part of it- join a workshop or come to the Retreat. You’ll invest in yourself and have a great time.

Our complicated world can be understood with the power of images, so it truly pays to practice Photography. I can’t wait to see how the next year plays out, and I hope you can join me along the way. Did anyone say Street Photography in Paris?

David

Leave a comment

Category: Uncategorized

Share this:

Share this:

WORKSHOP GALLERY

Share this:

Share this:

Share this:

Share this:

Share this: