Rosecrans Baldwin co-founded TMN with publisher Andrew Womack in 1999. He is the author of three books, including his latest novel The Last Kid Left (NPR’s Best Books of 2017). His articles and essays appear in a variety of magazines, including GQ, Travel + Leisure and The Paris Review, and he’s written opinion pieces for the New York Times, the Los Angeles Times, the Wall Street Journal, and the Guardian. More information can be found at his website.
Haunting portraits of ancient old-growth forests in Northern California and the people who live in the former boom town next door.
Sumptuous, extremely close-up paintings of hair gel, body wash, and other beauty products, using 5-hour Energy powder, Viagra, and MDMA to create pigments along the way.
The power of architecture, the architecture of power—it’s all one and the same (and occasionally beautiful) in the business of high-tech.
An artist observes her own process of making art, from daily encounters with her computer to personal reflections on how life itself unfolds.
Aerial views made from direct observation, enlivened by composite viewpoints, heightened color, and the manipulation of light and scale.
Found photographs hand-altered with embroidery and collage, transforming pictures that were somehow incomplete.
Street photography has never been more popular, now that everyone has a camera in their pocket. But truly good work requires constant failure—and constant walking.
Luminous portraits taken by a pediatrician-photographer, of people considered to be outside beauty’s dominant ideal.
Human beings captured behind closed doors, in their most animal state. Some images may be considered NSFW.
A project to document Wisconsin’s broad variety of deer stands takes on new meaning after a round of chemotherapy.
In training centers around the world, American soldiers are taught to kill at close range—a “personal kill.” Pictures of the places where soldiers practice, and a discussion of the U.S. military’s increasing reliance on machines.
Sometimes beauty appears only for a short instant, as a flash of visual energy. It’s the photographer’s job to wait, observe, and then pounce.