In his project, Piedmont, Graham Hamby comments on the cycle of land development—creation, disrepair, and abandonment—with photographs of painted murals, abandoned storefronts, and spare landscapes.

Sensing herself “growing damp and static,” Grace Ann Leadbeater left Florida in 2012, thrilled by her escape. But soon she began to recognize—and long for—the joys of the place she once begrudgingly called home.

Thinly populated, rich in tone, and defined by wide, flat spaces and structures, Paradise’s images display the peculiar mix of isolation and liveliness unique to Dorsa’s home state.

With Cracker Politics, The Limit of Colonial Knowledge, photographer Michael Adno rethinks Florida’s complex colonial eras alongside the state’s present-day idiosyncrasies.

For more than thirty years, photographer Benjamin Dimmitt has visited a fragile spring-fed estuary on Florida’s Gulf coast.

Rylan Steele’s Ave Maria is an investigation of the 5000-acre unincorporated town that goes by the same name. Founded in South Florida by pizza mogul Tom Monaghan, Ave Maria was built in 2005 and marketed as a utopia for strict Catholics to retirees and young families alike.

Davie exploits Melanie Metz’s relationship with her hometown, Davie, Florida. By studying the unmediated movements of her childhood neighbors, Metz considers the impulse people share to join and build community.

Side of the South is a rumination on Southern culture, particularly in the photographer’s home state of Florida.

I’ll See You On The Beach addresses sites that commemorate the American legacies of exploration, conquest, and the instillation of nationalism by way of stimulating displays.

At the beginning of 2013, a contest in the Florida Everglades opened, allowing the public hunting of invasive Burmese pythons. Hunters from across the country descended on the Florida wetlands in search of the prey.