The February 2026 edition of FRAMES Digital moves beautifully between the intimate and the urgent—between photography as a way of thinking and photography as a way of witnessing. It opens with James Dyer’s feature on Michael Lozano, “In the Gathers of Life’s Fabric,” a conversation and body of work that treats the street as a place of uncertainty, drift, and cinematic suggestion—less about “capturing” a world than staying alert to how slippery it really is.
From there, the issue shifts into a quieter, almost meditative register with Michał Korta’s essay, “The Language of Light,” a love letter to attention—light as a daily practice, a teacher, and a constant companion that shapes portraits, rooms, and inner life as much as it shapes photographs. The tone then deepens into history and responsibility in Gina Williams’ “Rich Frishman: Part II – History is All Around Us, Good and Bad,” continuing her exploration of Frishman’s long-term work documenting the visible traces of racism and injustice in American landscapes—and pairing that with her own poetry as a way of keeping memory active and awake.
In Thomas Wunsch’s “Statute Of Limitations,” time itself becomes the subject: long exposures, movement, and layered moments turn the everyday—stations, windows, wet pavement, stray details—into images that feel like memory doing its work in real time, hovering between abstraction and recognition. And with Lauren Walsh’s “Double Exposure: How Motherhood Amplifies Inequality in Photojournalism,” the edition takes on the personal costs and structural blind spots of the industry—using the documentary Love + War and the lived realities of photojournalist mothers to ask what support, fairness, and representation should actually look like.
The second half of the issue brings conversation, reflection, and community into focus. Alasdair Foster presents Elena Givone in “Dreams of What May Be,” centering her hopeful approach to photographing hardship—inviting people to imagine a life beyond circumstance, and letting that imagined future become part of the image itself. W. Scott Olsen’s Reading Frames installment looks closely at Alex Kilbee’s “Cuddle Up,” showing how a seemingly simple photograph can become a powerful engine for memory, nostalgia, and participation. Marty Gervais, in “Words of Wisdom,” draws inspiration from Photographers on Photography, treating great quotes as gentle prompts to stay curious, avoid self-stereotyping, and keep the subject—rather than style—at the center.
And finally, the edition closes by spotlighting the FRAMES community with Roberta Mantell and Andreas Goldmann—two distinct photographic paths and sensibilities brought into the magazine’s shared space: Mantell’s reflective street-seeing (including a puddle that flips Manhattan into an “upside-down world”), and Goldmann’s long-running projects that range from Sontag-in-the-age-of-Instagram questions to ongoing documentary work and print-focused series.
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Each year, we publish twelve issues of FRAMES Digital – PDF publications complementing the main printed editions of the FRAMES Magazine. They feature additional imagery and written content in a high-resolution digital publication delivered directly through the FRAMES Subscriber Area.
