Donald Weber, Photographer 01 / 0302 / 0303 / 0301 Anomalies // Bureaucratic VisionRotterdam, 2020–present — Photographed from the public edges of Rotterdam's Maasvlakte, these panoramas investigate how the Port regulates what can be seen and known. What happens when the landscape has already determined the photograph?. (See Project...) 01 / 0502 / 0503 / 0504 / 0505 / 0502 Inclinations // Bureau of Operational LandscapesRotterdam and beyond, 2023–present — The Bureau of Operational Landscapes is an ongoing, quasi-institutional artistic research project investigating the landscapes that sustain contemporary life. Borrowing the language of administration, it creates situations that invite new ways of seeing and experiencing these often overlooked places. (See Project...) 01 / 0202 / 0203 Incendiaries // Temporary Seeing SectionTrenčín, Slovakia, 2025–2026 — A temporary orange viewing platform travels between overlooked sites across the city, inviting residents to photograph places usually absent from its public image. Its changing locations form the basis of a Map of Temporary Seeing, tracing another way of encountering Trenčín. (See Project...) 01 / 0202 / 0204 Interferences // Office for Public InterruptionsTrenčín, Slovakia, 2025 — For ten days, a self-appointed office borrowed the city's public loudspeakers to broadcast residents’ memories across the main square. Tales of near-drownings, secret cigarettes, and vanished places became matters of public announcement. (See Project...) 01 / 0302 / 0303 / 0305 Provocations // War SandNormandy, France, 2013–2018 — The beaches of D-Day still contain microscopic fragments of the 1944 invasion. War Sand examines these remnants, moving between the material traces of battle and the larger myths of war, to ask what remains of history as its physical evidence gradually disappears.. (See Project...) 01 / 0402 / 0403 / 0404 / 0406 Utterances // InterrogationsUkraine and Russia, 2005–2012 — For six years I travelled among people caught in the ruins of the Soviet century. That journey eventually led me into police interrogation rooms, where the State's power could be read on the faces of those it held. (See Project...) 01 / 0302 / 0303 / 0307 Investigations // MolotovKyiv, Ukraine, 2014 — During the Euromaidan uprising, protesters transformed everyday materials into the equipment of revolt. These photographs examine the improvised weaponry of a street uprising, where objects became both instruments of confrontation and expressions of political imagination. (See Project...) 01 / 0302 / 0303 / 0308 Insubordinations // Monumental PropagandaUkraine, 2016–2019 — In the wake of the Maidan uprising and war in eastern Ukraine, new laws accelerated the removal of Soviet monuments from public space. I photographed these empty monuments, asking what happens to a place when its familiar points of reference disappear. (See Project...) 01 / 0402 / 0403 / 0404 / 0409 Suggestions // The Information FrontUkraine, 2022–present — We knew the war would eventually slip from the headlines, so in the first weeks of Russia's full-scale invasion, we launched a DIY newspaper of photographs made by Ukrainians living through it. The idea was simple: get the pictures moving, keep the war visible, and send the proceeds back to the photographers. (See Project...) 01 / 0302 / 0303 / 0310 Perturbations // The Underclass and Its BossesUkraine, 2003–2006 — In the aftermath of the Soviet Union's collapse, I travelled through Ukraine photographing people struggling with the promises and consequences of a new political and economic order. The work examines the intimate relationship between power and desperation, and the contradictions of a society undergoing profound transformation. (See Project...) 01 / 0302 / 0303 / 0311 Inversions // Bastard Eden, Our ChernobylChernobyl, Ukraine, 2005–2007 — Twenty years after the nuclear disaster, I travelled through villages around Chernobyl, photographing people who had stayed or arrived seeking refuge from life elsewhere. Their everyday existence complicated the familiar image of Chernobyl as a deserted and irreparably ruined place. (See Project...) 01 / 0402 / 0403 / 0404 / 0412 Deviations // Life After Zero HourFukushima, Japan, 2011–2014 — In the weeks following the nuclear disaster, I entered evacuated towns where people had left behind the ordinary arrangements of their lives. Returning in 2012 and 2014, I photographed the slow transformation of a landscape caught in the aftermath of an invisible catastrophe. (See Project...) 01 / 0202 / 0213 Instigations // The Geography of Our GeographyGlobal, 2018–2021 — The sky appears limitless, yet military drones have transformed it into a vast infrastructure of surveillance and control. Using Google Earth's satellite archive, I turn the aerial gaze back on itself, tracing the hidden geographies of American drone warfare. (See Project...) 01 / 0302 / 0303 / 0314 Insinuations // Quniqjuk, Qunbuq, QuabaaIgloolik, Nunavut, Canada, 2011 — Nearly a century after Robert Flaherty illuminated Inuit portraits with seal-oil lamps, I photographed residents using the light of their own electronic devices. The portraits explore a generation encountering extraordinary technological change at the edge of a rapidly changing Arctic. (See Project...) 01 / 0202 / 0215 Intimations // Welcome to My CountryAround the world, early 2000s — For several years, writer Larry Frolick and I travelled the world on assignment for Outpost magazine. Somewhere between Kurdistan, the Canadian Arctic, and assorted misadventures, we became characters in our own recurring back-page comic strip. (See Project...)