Suspect Photography

October 20, 2026

Don’t Subtract, Add: A Philosophy on Aging, Photography, and Life

I’m 58 years old. If my run goes to 90, which hopefully it should, I consider myself about two-thirds of the way through.Around halfway through, I started noticing a shift. Things started going away. They were being subtracted from my general perception and daily life.

At first, it’s physical markers. The home I grew up in was sold, basically erased from my life. Cars I owned were sold or totaled. my favorite pair of levi 501’s disintegrated, film stocks I loved discontinued. In my mid 20’s my hair began to thin on the top of my head, that was tough! But then came the more profound subtractions: relatives and old friends. Losing my mother was a massive subtraction. I graduated from Colonia High School in 1985, and looking back, we’ve had a sobering number of deaths and suicides. Between growing up with radon in basements and a cancer scare at the school, it feels like we paid a price, and people started dropping off. Losing one of my best friends, someone I had known since the fifth grade, was particularly tough.

Of course, while these subtractions were happening, there were major additions too. My career was budding, I was figuring out photography, becoming more secure in who I was and how I was evolving. I met the love of my life, married her, and built an incredible relationship and life. A life lived, I’m skipping so much that was gained for the sake of brevity. Now, at the two-thirds point, the subtractions really start to add up. On the scale of life, those subtractions begin to weigh heavily against the additions. Muscle mass decreases, mobility shifts, places disappear, and social circles shrink.

!+++++++-++++—+++++++–+++++++++—-+++—–+———–.

I’d rather be:

!+++++++-++++—+++++++–+++++++++—-+++–+++++-++++!

Three years ago, I made one big subtraction from my own life: I moved on from my career at B&H Photo to return to Suspect Photography, pushing our workshops and diving deeper into photographic learning. In particular, I really immersed myself in street photography. I’m very happy with where my street work has gone over the past couple of years.

That shift got me thinking about the service Suspect Photography provides and who it serves.

Arguably, my main demographic is retired boomers. They have the two tangible things needed to take a workshop: time and money. But the intangible thing they bring is a deep passion for photography. When you retire, you experience a major subtraction of daily structure, work, and routine. But getting up and getting out with your camera every day offers a powerful counterweight. Taking a workshop or traveling to places like Normandy, certain corners of Paris, or 6th Street in the Village to find hidden portholes outside the IFC Center where you can watch films from the sidewalk, those are real additions.

Walking miles on the pavement, carrying your gear, reacting to light and people, it’s an aerobic, physically fit, and mentally stimulating lifestyle. It keeps your mind sharp and your body moving.

Beyond the health benefits, there’s another lovely addition: community. It’s hard to make new friends as you get older. You usually make your core friends when you’re younger and actively engaged. But on a workshop, people share meals, walk miles together, exchange emails and phone numbers, and become real friends long after the trip ends.

When you multiply all of this with photography, the additions keep giving. First, there’s the immediate physical thrill of being out in the world, having new experiences, and making new memories. Then comes the lasting echo when you return home to edit the work, print the images, create a book, or revisit those places through your photographs years later. Ultimately, it becomes a living legacy where the work lives on long after the moment has passed.

All these additions way outweigh the subtractions we face as we age. We have to balance life’s natural subtractions with deliberate additions so we enter the last trimester of our lives fulfilled, active, and continually making new memories.

Investing in yourself, getting out with your camera, and engaging with the world isn’t just about making pictures. It’s a wonderful lifestyle to move forward with.

Don’t subtract. Add. In a world of subtractions, be the addition.

~David Brommer

PS If you are excited about these prospects, head on over to Suspect Photography Education and book yourself a workshop in a really cool place with David!

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August 23, 2026

Jay Maisel: A Legacy of Visual Clarity in Photography

Jay Maisel (1931-2026) was an absolute force, a photographer whose impact was measured not by a single iconic image, but by an undeniable commitment to seeing the world with relentless clarity. You don’t pin his legacy on one famous frame the way people do with Cartier Bresson or Avedon; instead, his monument is the sheer weight and consistency of his entire body of work, a lifelong testament to light, gesture, and color.

For decades, Jay shaped the landscape of editorial and advertising photography, proving that commercial work did not have to compromise artistic integrity. He brought fine art sensibility, bold color theory, and geometric precision to major magazine covers, high stakes commercial campaigns, and cultural milestones like his iconic cover photograph for Miles Davis’s Kind of Blue in 1959. That moody, blue drenched portrait of Miles blowing into his trumpet became an indelible symbol of jazz history, proving how a single frame can capture the exact mood of a sound.

The most profound lesson Jay imparted to me was uncompromising in its discipline: “You are responsible for every millimeter of your view.”

That single phrase changes how you stand behind a camera, demanding total ownership of the frame. There are no excuses for a distracting element in the background, a soft corner, or a sloppy edge. If it exists inside the four borders of your viewfinder, you put it there, or you allowed it to stay there. Jay forced photographers to stop taking snapshots and start constructing compositions with radical intentionality.

One of my students who was a good amateur photographer once had a portfolio review conducted by Jay and was famously told by Jay, “Stick with the camera clubs kid”. That was the brutal honesty that Jay imparted. He did not suffer the fool, and told it like it was. He was painfully honest, like it or not.

Beyond frame ownership, Jay left us with several other foundational principles that every working photographer carries into the field:

Gesture Trumps Subject: Jay consistently taught that a mundane object illuminated with energy and gesture makes a far better photograph than a famous landmark captured flatly.
Color as Content: He treated color not as a decorative accent, but as a core narrative element capable of carrying emotional weight on its own.
Protect the Work: Decades after shooting Kind of Blue, Jay fiercely defended his copyright against unauthorized adaptations, showing that a creator must protect the integrity of their work just as intentionally as they craft the frame.
Always Be Looking: Up until his final days, documented so movingly in the film Jay Myself, Jay walked out the door with a camera around his neck. He lived the philosophy that inspiration is not something you wait for, it is something you actively hunt by staying present.

His presence in the medium showed the world what it truly means to live a life devoted entirely to visual awareness. His legacy lives on in every photographer who pauses before pressing the shutter, steps back, checks the edges of the frame, and takes full responsibility for the picture they are about to make.

Thank you, Jay, for your contribution to photography and for being that voice in my head every time I compose an image in my viewfinder.

Hail the traveler.

~David Brommer August 23rd, Milan

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August 15, 2026

Join the Suspect Photography Retreat 2026 in the Catskills

Suspect Photography is proud to announce the return of its highly anticipated creative gathering, the Suspect Photography Retreat in the Woods, taking place from September 22 to September 25, 2026. Nestled in the heart of the scenic Catskill Mountains, this immersive four-day educational experience will be hosted at AutoCamp Catskills in Saugerties, NY, where attendees will reside in premium private Airstream cabins nestled in the woods.

This year’s event centers around the theme, “Dance in the Woods.” Attendees will have the exclusive opportunity to collaborate with a professional ballet dancer leaping through the forest canopy, along with participating in several other intricately styled editorial shoots. These sessions are designed to push creative boundaries, allowing photographers to work in complex setups and bring their unique visual concepts to life.

The 2026 retreat features a highly structured curriculum offering dedicated tracks, each led by our all-star faculty of industry leaders. This system allows attendees to deep dive into specialized fields and fast track specific goals, or they can custom choose the individual lessons they’d like to experience. These exclusive tracks include:

Cliff Hausner (Lighting): Harnessing strobe foundations, action-freezing flash techniques, and balancing artificial light with ambient forest conditions using the Profoto system.
Vincent Versace (Fine Art Printing): An exclusive, hands-on printing course and portfolio development track utilizing state-of-the-art Epson printers.
Chloe Ramirez (Contemporary Portraits): Focusing on human connection, organic posing, and the business architecture of modern portraiture.
Sean Kernan (Unlocking Creativity): Utilizing improvisational and conceptual exercises to break creative barriers and renew your artistic vision.
Mat Thorne (Book Creation & Design): Guiding students through the sequencing, layout, and editing required to turn a body of work into a compelling photography book.
Dakota Lee (Styling Photoshoots): Orchestrating the relationship between photographer and model, professional wardrobe styling, and on-set art direction.
Sara Fox (Landscapes & Lightroom): Leading excursions capturing the breathtaking Catskills landscape as well as Adobe Lightroom file management & processing.
David Brommer (Retreat Director): Leading core discussions on photographic style, curation, and helping students maximize their overall creative direction during the retreat in the woods.

To ensure a completely supportive environment, the retreat is limited to just 30 participants. Attendees will have full access to loaner gear and technical support from world-class industry sponsors, including Nikon, Profoto, Epson, Neewer, thinkTANK, and B&H Photo, whose experts will be on-site with equipment and advice. In addition to intensive classroom instruction in the forest amphitheater, the experience includes landscape excursions to the Platte Clove Preserve and the scenic Kaaterskill Falls, communal dining, Sunrise shoots, evening campfire gatherings, and wellness activities such as morning yoga.

“This retreat is designed to be a complete creative reset,” says David Brommer, Retreat Director and founder of Suspect Photography. “We remove all daily distractions so that dedicated photographers can focus entirely on refining their technical skills, developing their distinct voice, and returning home with a renewed passion and a portfolio of stunning physical prints.”

“Our faculty represents a handpicked group of instructors who are highly respected leaders in their fields,” Brommer adds. “Whether you are shaping complex light on location, designing a cohesive narrative for a book, producing physical prints, unlocking your creative vision, or building your photography business, you are getting direct, personal guidance from the absolute best in the industry.”

Registration is now open, with limited spots remaining. The fully inclusive package includes four days of instruction, portfolio critiques, styled model shoots, premium Airstream lodging, and gourmet catering.

To secure your registration, view the full curriculum, or learn more about the event, please visit the official event page at https://www.eventcreate.com/e/suspectretreatinthewoods.

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

January 19, 2026

Chasing the Decisive Moment: Reflections on our NYC Winter Workshop By David Brommer

There is a specific kind of silence that falls over New York City when the snow starts to come down. As a street photographer, you spend your life looking for those rare moments where the light, the subject, and the environment align perfectly. This past weekend (January 16–18), during our Passionate Street Photographer Winter Workshop, the city gave us exactly that.

Co-teaching alongside Steve Simon is always a masterclass in itself, but this year was truly unique. We were met with cold, biting wintry conditions, but the reward was a beautiful, magical snowfall that transformed the grit of the Manhattan streets into a cinematic dreamscape.

Chasing the Steam
One of the highlights of this workshop was what I call “chasing the steam.” It’s a bit of NYC lore that many visitors miss: Manhattan is the only city in the world with such a massive district steam system running beneath the streets, allowing buildings to hook up directly for heating.

For a photographer, those iconic white plumes rising from the asphalt are pure gold. They provide layers, texture, and a sense of mystery that is quintessentially “New York.” We spent time teaching the students how to use that steam to back-light subjects and create atmosphere. It was a thrill to see them master the technical challenge of metering for those ephemeral clouds against the dark, wet city streets.

An Intimate Circle of Talent
While the weather and the steam were highlights, the real story of the weekend was the group. With a total of four participants, the workshop became an incredibly intimate intensive. I’ve led many workshops, but I have to say, it was a true honor to be surrounded by such talented students. In such a small group, there is nowhere to hide—and these four didn’t want to. They leaned into the cold, pushed their creative boundaries, and showed a level of technical proficiency and “eye” that made our critique sessions some of the most vibrant I’ve ever been a part of.

Three Days of NYC Soul
We pushed the group hard, covering a massive amount of ground to ensure they saw every facet of the city’s winter personality:

Day 1: The Highs. We kicked things off in Williamsburg before a high-energy shoot at Herald Square. We ended the day at the Edge Observatory and thawed out over a fantastic group dinner at Electric Lemon.

Day 2: The Heart. We moved from the curated art of MoMA to the raw energy of Washington Square Park. The snow began to work its magic as we hit Chinatown, eventually capping the night under the golden light of Grand Central Station.

Day 3: The Icons. We focused on the “Fearless Girl” and the skeletal beauty of the Oculus, wrapping up in the vibrant streets of Nolita and the Lower East Side.

The 10,000 Photographs
We often cite Henri Cartier-Bresson’s famous line: “Your first 10,000 photographs are your worst.” This weekend, I watched four photographers fast-track their way through that count, producing work that was mature, thoughtful, and evocative.

To our four students: thank you for your resilience in the cold and for sharing your vision with us. Seeing the city through your lenses reminded me why I love this craft. I’m already looking forward to our post-workshop Zoom session to see how those snowy, steamy frames look after a final edit.

Keep shooting.

Day One and Day Three images created using Nikon Z9, 24-120 and 14-24. Day two Fujifilm X100VI was used.

What do you think of making work like this in the deep of winter? Leave a comment.

~David

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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

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December 12, 2025

When is a Photograph Truly “Done”?

DJI Mavic Air 3 Tele Lens, Processed in Camera Raw- Ready to print

We’ve all been there: the meticulous packing of camera gear, the careful selection of lenses, and the anticipation of chasing light. We scout locations, wait for the perfect moment, and then, click. The shutter fires, the photograph is made, and a fleeting piece of time is frozen. But is that precise moment, that initial capture, when a photograph is truly “done”? Hint, it’s not.

For many photographers, the creation process of an image is far from over when the memory card fills. The initial capture is merely the spark, the raw material, a digital or analog negative holding immense potential. The process is a creative continuum that extends well beyond the field, into the necessary and transformative stage of editing. The digital darkroom is where your vision truly takes form; here you refine the light, enhance the mood, crop for impact, and bring out the crucial details that tell your story. This stage is essential in translating what you saw with your eyes to what you felt with your heart. It is the critical step of giving emotional intent a physical, visual language that speaks clearly to others.

Edward Weston’s Darkroom

The final act of creation is the output, the moment you publish, print, or post your photograph to its audience. This is when the work moves from potential energy to a tangible reality. Is it a gallery-quality print, carefully matted and framed, ready to hang on a wall and command attention? Is it a thoughtfully placed image on a page in a book or zine, contributing to a larger narrative? Or is it meticulously prepared and uploaded to the web or a social media site, destined to connect with a global audience, spark conversation, and inspire? Once you put it out there, it’s essentially done.

A photograph isn’t merely “taken”; it’s made. It’s a process that begins with your intent as you pack your gear and culminates when it takes its final, finished form, ready to be seen, experienced, and remembered. Shared. It is done when you’ve expressed your vision to its fullest and prepared it for its intended destination, whether that’s a single discerning eye or the whole wide world.

Warning, continuing with this blog post might contain NSFW images.

A few nights ago my wife Barbara and I attended the Whitney Museum of American Art’s holiday member’s night. When we were about to leave I reached for my Fujifilm X100mkVI and then thought better of it, we’d be going to dinner at Pastis afterwards and the camera would be a lightweight burden, besides, I have my trusty Iphone 16 Pro. What is the best camera? Yea, you know the answer to that if you’ve read this far into the article.

As we walked through the galleries, past surreal camels, we came upon this scene and I pulled out the iPhone and ran to frame and make this photo. The subject was standing still, admiring the piece and my usual luck is “get in position, subject moves out of position”. But not this time. I was able to make a few photos fast zeroing on composition.

Crooked horizon, poorly cropped feet.. my first shot was off.

Made some corrections and then she began to walk away. The window for this photo was over. However, due to all those years of making bad photos I was able to capture a good photo. Later that night I sat in bed editing the image in Apple’s proprietary editing suite and adjusted to this final image.