Mitch Epstein’s early work was distinguished by a riot of color, but his recent photographs are in a more contemplative greyscale. That chronology only accounts for surface phenomena. Since he began working in the 1980s, Epstein has displayed a Breughel-esque ability to organize chaotic events and tones into cool, harmonious frames. Indeed, his photographs have a decidedly soothing feel – whether shot in color (like his marvelous work in India and eerie study of Vietnam) or black and white (like his more recent project on the trees of New York).
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