Pubs of Edinburgh, Scotland

Historic Pubs in Edinburgh | A Photographer’s Study of Cultural Spaces

I recently spent time photographing pubs throughout Edinburgh, focusing not only on the historic interiors the city is famous for, but also on newer establishments that are quietly building their own character. What interested me wasn’t simply age. It was atmosphere — and how authentic that atmosphere can feel regardless of when a pub first opened its doors.

Walk around Edinburgh for any amount of time and you’ll come across countless pubs in famous places like The Royal Mile, Princess St. and Victoria St. And sure they do serve beer and haggis, but they are tourist traps cloaked as pubs. Venture out a little further and you’ll find some incredible communal living rooms filled with people from all walks of life enjoying a Proper Pint.

Old Edinburgh Pubs: Age You Can Feel

Some of Edinburgh’s traditional pubs carry centuries in their walls. In places like The Bailie, the wood is darkened by time, mirrors show their age in softened edges, and the floors lean slightly from generations of use.

These rooms don’t need to advertise their history. You sense it in the walls and in the unselfconscious way people occupy the space. Regulars move with familiarity across the carpeted floor to their regular stool. The bartender doesn’t perform; he or she simply works. The architecture frames the experience, but it doesn’t dominate it.

There is restraint in these historic pubs. Nothing feels curated for spectacle. The room exists to welcome conversation and return visits.

Newer Edinburgh Pubs with the Same Atmosphere

What surprised me most was how similar the feeling remained in newer pubs. In spaces like The Standing Order, which was once a bank, the design may be more grand, the lines cleaner, the lighting slightly more intentional — yet the atmosphere carries the same steady rhythm.

The bar still anchors the room. People still return to the same seats. Conversations still expand and contract in familiar corners. The success of the space has less to do with its age and more to do with intention and the quiet accumulation of evenings spent there enjoying cask ales.

Authenticity, I was reminded, isn’t guaranteed by centuries. It’s built through use.

What Edinburgh’s Pubs Share with American Dive Bars

Sitting in the back of one Edinburgh pub, I was struck with familiarity. For years I’ve been documenting American dive bars and roadside motels across the West and Midwest. Many of them are far younger than Scotland’s historic pubs, yet the emotional architecture is strikingly similar.

In a small-town dive bar in Wyoming or Nevada, the makings are humbler — paneled walls instead of stone, fluorescent light instead of filtered daylight — but the function is identical. The bar is an anchor. The room absorbs stories. The regulars give it gravity.

The same is true of roadside motels. Some are mid-century survivors with neon signs buzzing against the night. Others have been partially updated. Yet they continue to serve as quiet infrastructure for travelers and locals alike.

The geography changes. The timeline stretches or contracts. The human need remains consistent.

Photographing Cultural Spaces That Endure

Whether historic or newly established, a pub succeeds when it becomes woven into daily life. The same can be said for a dive bar in rural America. Age may add texture, but continuity builds meaning.

Photographing these spaces — in Scotland and in the United States — is less about nostalgia and more about record-keeping. These rooms function as cultural anchors. They are democratic environments. They hold celebration, argument, solitude, and routine without demanding attention.

Edinburgh reinforced something I’ve long believed: authenticity isn’t a design choice. It’s the result of intention and presence.

View the American Dive Bars & Roadside Motels Gallery

If you’re drawn to spaces with atmosphere, history, and lived-in character, I invite you to view my ongoing series documenting American dive bars and roadside motels throughout the United States.

→ View the full American Dive Bars & Roadside Motels gallery
→ Licensing inquiries welcome

Worn red leather stools rest quietly on patterned carpet, the kind of small detail that reveals how long a pub has been lived in rather than designed.

Through the window, a quiet exchange unfolds at the bar — a familiar posture, a familiar ritual, the steady rhythm of an evening in an Edinburgh pub.

Kay’s Bar glows against the dark stone of the city, a small corner pub holding its ground beneath the streetlight and chimney-lined skyline.

The facade of Cafe Royal stands with carved stone and hanging greenery, its Victorian architecture hinting at the grandeur waiting just inside.

Inside Cafe Royal, carved columns and gilded ceilings frame a room that feels almost theatrical. Conversations move between tables while the architecture quietly holds the weight of another century.

A moment of stillness at the bar — one hand at his chin, the noise of the room fading as he stands briefly alone in his thoughts.

Lettering on glass announces “Purveyor of Quality Cask Ales,” a quiet declaration of standards that predate modern branding.

Boots and corduroy pants planted firmly on worn carpet — the kind of grounded detail that says more about a place than any wide shot ever could.

The Oyster Bar entrance at Cafe Royal stands beneath carved wood and etched glass, a narrow threshold between the noise of the main room and a more intimate corner of the pub.

At the Cafe Royal in Edinburgh friends lean in close at a small round table, their laughter rising into a room that has held a century of similar evenings.

The Bailie Bar- Edinburgh, Scotland

Beneath gilded ceilings and carved arches, the bar hums with conversation — architecture and atmosphere sharing the same space at The Standing Order in Edinburgh

Spanky’s Barbershop, Covington KY: Modern Design Rooted in Craft

Spanky’s Barbershop in Covington, Kentucky

Covington, Kentucky sits just across the river from Cincinnati, but in recent years it has developed a rhythm all its own. Historic storefronts are being restored. Independent businesses are opening their doors. There’s a steady sense of momentum — not loud, not flashy — but real.

Spanky’s Barbershop is part of that shift.

I first met Sean Caudill — known to most simply as Spanky — years ago at his first shop in the same area. It was a beautiful shop, but when I returned to photograph this second location, it was clear he was building something much bigger.

A Second Shop Built from Experience

Spanky’s new Covington location wasn’t opened just for a bigger footprint — it’s the result of his unique personality, years behind the chair, and having a distinct vision for the future of his business.

When I first photographed Spanky at the old shop, he was know for his skills behind the chair. The foundation was there: strong cuts, loyal clients, a clear identity. What stands out now is the confidence that comes from time.

This shop feels curated. Every design decision — from layout to lighting to branding — carries the weight of experience. It’s what happens when a barber has spent years refining his craft and understands exactly how he wants a space to function.

Sean is damn fine human being. As kind and welcoming as they come. He’s also part of the crew at Uppercut Deluxe, a globally respected pomade company known for aligning with some of the strongest barbers in the industry. That level of professional connection shows. Not in excess, but in execution.

The result is a shop that feels intentional without feeling over-designed. Confident without trying too hard. Built by someone who knows the culture from the inside and wants everyone who walks through his door to feel like they belong.

Inside Spanky’s Barbershop – Design & Atmosphere

From a design standpoint, the shop is as good as it gets these days.

The materials feel grounded and intentional. The lighting is clean but warm. The stations are arranged with space to move, but without losing the intimacy that makes a traditional barbershop work.

There’s balance here — modern but not sterile. Classic but not nostalgic.

This is what makes strong barbershop interior design compelling: it respects tradition without being trapped by it.

The chairs, mirrors, floor color, and decor work together as a unified environment rather than individual pieces. It feels cohesive. Confident. Functional.

And above all, it feels lived in — not staged. Stepping into Spanky’s place, you know it was put together by a person with passion, not a group of executives in a highrise.

For a city like Covington, where small businesses are helping redefine entire blocks, spaces like this matter. They become visual anchors. They build neighborhood identity.

Covington’s Growth and Independent Energy

Northern Kentucky has been steadily growing, especially with its proximity to Cincinnati. But Covington has developed its own personality — one built around independent restaurants, bars, and retail rather than chains.

Spanky’s Barbershop fits that model perfectly.

It’s not corporate.
It’s not trend-driven.
It’s personal.

As neighborhoods evolve, businesses like this often become the steady presence — the kind of place people return to weekly or monthly, long after other storefronts have changed hands.

Barbershops, at their best, are consistent. They operate on routine and relationship. That consistency becomes more valuable as cities shift.

Barbershops of America – The Long View

This shop is part of my ongoing 15+ year project, Barbershops of America, documenting traditional and independent barbershops across all 50 states.

Most shops I photograph represent continuity — decades in one location, sometimes passed down through generations.

Spanky’s second location represents something slightly different: progression.

It shows what happens when a barber grows with his city.

It shows what happens when craft meets momentum.

Not every shop closes. Not every shop fades. Some expand. Some adapt. Some refine their space and raise their standard.

Those stories deserve to be documented too.

Fine Art Prints & Licensing

Photographs from Spanky’s Barbershop are available as limited edition fine art prints and for editorial or commercial licensing.

For interior designers, hospitality spaces, and collectors interested in contemporary American craftsmanship and small business culture, this body of work reflects both design and identity.

View the full Barbershops of America gallery here.
Explore fine art prints+photobook here.
Contact for licensing inquiries - rob@robhammerphotography.com

Continue Through the Archive

Spanky’s Barbershop is one of hundreds of shops photographed across all 50 states.

→ View a traditional barbershop in Marfa, Texas

The striped awning and traditional barber sign anchor the storefront along a historic Covington block.

Natural light filters through the striped awning as a barber finishes a cut

The waiting area at Spanky’s Barbershop in Covington blends vintage barber ephemera, red vinyl chairs, and natural light from the street, setting the tone for the shop’s design-forward interior.

Vintage neon wall clock above a Wildroot refrigerator inside Spanky’s Barbershop in Covington, Kentucky.

Conversation and humor are as much a part of the shop as clippers and combs.

Barbers at work inside Spanky’s Barbershop in Covington, where layered wall art and Americana details form the backdrop to daily ritual.

Personal objects and religious iconography add another layer to the shop’s visual identity.

A fade cut in progress—straightforward, precise, and rooted in tradition.

A wide view reveals the shop’s layered design—vintage signage, trophies, and a glowing clock anchoring the space.

Spanky’s Barbershop sits along a historic Covington street just across the river from Cincinnati.

Inside One of America’s Oldest Barbershops, Before It Closed

Tony’s Barbershop, Brooklyn, New York

For more than 200 years, Tony’s Barbershop stood in the Sunset Park neighborhood of Brooklyn as a constant—outlasting wars, economic cycles, and generations of change. Inside, little evolved by design: the same chairs, the same mirrors, the same daily rhythms shaped by friendship and conversation rather than efficiency or trend. It was a place where time moved at a human pace, where neighbors returned year after year not just for a haircut, but for continuity. When the owner passed away in 2020 and the shop closed soon after, that unbroken history ended quietly, marking the loss of not just one of America’s oldest barbershops, but a form of community that is becoming increasingly rare.

A Barbershop Shaped by Time

There is no faking what Tony’s has. It’s the kind of place you’d want to use as inspiration for the classic American barbershop in a movie, but achieving that look is impossible because the grit and patina, the thing that truly makes it special, is time. Centuries, in fact. Hard to say for sure, but you could argue that Tony’s was one of, if not the oldest barbershop in America?

Routine, Relationships, and Community

Ever since he moved to American from Italy, Tony has been cutting hair in the same Brooklyn barbershop, decade after decade. There is no way to measure the effect his shop and his presence has had on a neighborhood. It’s people like him that have made barbershops more than just a place to get your haircut. They are about community and friendship. In a lot of ways, Tony is a true American success story. When he first arrived here with just a few dollars to his name, his English was so bad that he could barely communicate with customers. They would come in and he’d introduce himself by his real name - Felice. Only his accent was so thick that everyone thought his first name was Phil. This caused a lot of frustration until one day a “Tony” came in and asked his name, to which he replied “I’m like you, Tony!” Later when he bought the shop, it became Tony’s. Years passed and he was able to buy the apartments above the shop too!

The Quiet End of a Long Continuity

Most traditional barbershops do not disappear by choice. Across the country, many are forced out by rising rents and landlords eager to replace long-standing tenants with more profitable uses, cutting short decades of continuity with little regard for the communities those shops served. Tony’s Barbershop was spared that fate. Because Tony owned the building, the shop did not end in eviction or displacement, but concluded on his own terms, following his retirement and passing in 2020. Even so, the outcome is no less final. Ownership could protect the space from outside pressure, but it could not preserve what mattered most—the accumulated history of daily routines, relationships, and shared memory built over more than two centuries. Once that continuity ends, there is no way to replicate it, only to acknowledge what has quietly been lost.

Documenting America’s Vanishing Barbershops

Projects like Barbershops of America exist not just out of nostalgia, but necessity. As traditional barbershops disappear—often quietly and without record—their absence leaves a gap that is cultural as much as physical. Over the past 15 years, documenting these spaces across all 50 states has revealed how deeply they are woven into the fabric of American life, particularly in working-class and rural communities. These shops are not interchangeable businesses; they are long-term social institutions shaped by trust, routine, and presence. Photographing them is an effort to preserve evidence of places that once held communities together, before they vanish without acknowledgment.

More work from the Barbershops of America series can be found here:

Barbershop Photography Gallery

Blog: Granville Barbershop - North Carolina

The exterior of Tony’s Park Barber Shop in Brooklyn, New York. The shop operated for more than 200 years before closing following the owner’s passing in 2020.

Barber chairs and workstations inside Tony’s Barbershop in Brooklyn, New York, reflecting decades of continuous use.

A barber laughing with his client inside Tony’s Barbershop in Brooklyn, New York. The shop served generations of neighborhood residents and functioned as a long-standing community space.

A barber chair reflected in the mirrors at Tony’s Barbershop above a sign reading “If you leave you lose your turn”. The walls showing decades of use and an interior largely unchanged over time.

A wide interior view of Tony’s Barbershop in Brooklyn, New York, where the layout and tools reflected decades of daily practice.

A barber and client during a routine haircut at Tony’s Barbershop in Brooklyn, New York.

A haircut in progress near the front window of Tony’s Barbershop in Brooklyn, New York. The shop’s street-facing layout reinforced its role as an open, accessible community space.

A haircut in progress at Tony’s Barbershop in Brooklyn, New York, where barbering was practiced through experience and repetition.

A barber and client reflected in the mirrors at Tony’s Barbershop in Brooklyn, New York, emphasizing the intimacy and routine of the barber–client relationship.

The interior of Tony’s Barbershop in Brooklyn, New York. The space remained largely unchanged for decades, preserving a traditional working environment.

A barber pauses between appointments at Tony’s Barbershop, a place where relationships extended beyond the chair.

Hoi An’s Open Air Market: Color, Chaos, and Culture Through the Camera Lens

Photographs of Hoi An’s Open Air Market in Vietnam

First Impressions of Hoi An’s Market

Hoi An has a rhythm all its own, and nowhere is that more alive than in its open air market. The morning I walked through, the air was heavy with the scent of lemongrass and fresh fish. Woman in colorful clothes and conical hats called out aggressively, bargaining with customers who darted from stall to stall. I felt like I had stepped straight into the city’s pulse and was stimulated by all five senses. There is a reason Vietnam’s markets are so famous, because there is nothing else like them in the world!

It wasn’t staged for tourists. It wasn’t polished or quiet. It was busy, messy, colorful—and absolutely real. Come to think of it, I can’t remember seeing one other person at the market who wasn’t Vietnamese. As a photographer, that kind of energy is gold. Every direction I turned, there was a new scene unfolding: a pile of dragon fruit glowing under the morning sun, women throwing water on their fish, and scooters weaving through crowds loaded with fresh greens.

The Details That Make It Special

Markets like this are all about details. The textures of weathered hands scooping rice, the metallic shine of fish laid out on woven mats, the soft lines of conical hats leaning in the corner. Light spilled in from gaps between tarps, bouncing off everything—bright oranges, deep greens, pale pinks.

I slowed down, tried to blend into the background, and let the camera do the watching. The result was a series of photographs that capture not just what the Hoi An market looks like, but what it feels like to be there. These are the kinds of images that carry memory and emotion, long after the morning rush has faded.

Hoi An Market Photography and Prints

Photographs from Hoi An’s market aren’t just travel snapshots—they’re visual records of daily life in Vietnam. For collectors, designers, or editors, these images translate into striking prints or versatile editorial visuals.

Whether it’s a wide scene of the market’s bustle or a close detail of produce piled high, these photographs work as fine art wall prints, as editorial spreads for travel publications, or as authentic imagery for brands looking to highlight Southeast Asian culture.

Authentic Vietnamese Market Images for Licensing

For anyone searching for stock photos or licensing imagery of Vietnam, authenticity matters. These photographs were taken on the ground, in the real flow of the market—not staged or recreated. That means they carry the credibility that audiences are drawn to.

Editors can use them to anchor travel stories. Brands can bring them into campaigns that celebrate culture, color, and connection. Interior designers might even use them to create a vibrant focal point in a restaurant or office space.

If you’re looking for images that convey the spirit of a Vietnamese open air market—colorful, crowded, and deeply human—this collection is available for licensing and prints. Contact me for details.

Hoi An Market - Vietnam

Vietnamese woman in blue Non La

Buy meat at the Hoi An Market

Bowls of fresh seafood at open air market

Seafood street vendor in Hoi An

Motor biking through Hoi An Market

Fresh squid for sale at open air market

Fresh chickens marked with ink stamp

Cutting up fish at Hoi An Market

Motorbike piled with fresh eggs

Woman in conical hat buying meat at open air market

Kids sleeping at Hoi An Market

Woman in traditional Vietnamese hats selling food on street

Man on motorbike buying meat from street vendor

Piles of fish for sale at open air market

Woman in Non La riding bicycle

Open air market - Hoi An

Street vendors - Hoi An, Vietnam

Seafood for sale on the street in Vietnam

Bustling streets at the Hoi An Market in Vietnam

Western Artist William Matthews

William Matthews – Legendary Western Artist and His Creative Studio in Denver

William Matthews (born 1949) is one of the most influential painters of the American West — best known for his evocative watercolors of working cowboys, landscapes, ranch life, and Western culture. Though he didn’t grow up in the West, his artistic journey has taken him from New York City to studios and ranches across the region. I recently spent time photographing him in his Denver studio to document both the man and the creative space that shapes his work.

Meeting William Matthews — A Western Artist Icon

Although he doesn’t come from The West and wouldn’t restrict himself to the title of Western Artist, there is no denying the indelible effect William Matthew’s work has had on Western culture.

As with most of my subjects in any genre, it’s important that I have a genuine interest. And I’ve long been a fan of Matthews’ art, which was the reason for this collaboration. At 76 years young he’s full of life and still has an insatiable desire to create art at a prolific pace. So having the opportunity to meet and photograph Matthew’s at work in his Denver, CO studio was a gift i’ll always be grateful for. A lot of artists can’t be bothered with this kind of thing, but he was welcoming and generous with conversation throughout our time together.

Shared Stories from Historic Ranches Across the West

Of the many compliments you could say about an artist, perhaps the best is that their style is instantly recognizable. And there’s no mistaking the renowned paintings he created of the American West, specifically of the buckaroos in nothern Nevada. There isn’t another artist alive whose work even vaguely resembled Matthews’. Which could be a big reason for his success, but it was also what drew me to him. Digest his paintings for a while and you’ll know they were created by a person that truly became part of the life. He was there. The light, colors, and textures, and the body chemistry of his subjects could only be made by a person with first hand experience. So naturally we talked a lot about our experiences having visited a lot of the same ranches. Oddly, a few days before writing this post, I came back from the Winecup Gamble Ranch - a place he frequented. A number of his paintings of the ranch grace the walls there and his book “Working The West” sits proudly on the coffee table at the big house. To further the conversation about shared experiences we also spoke about Western Spirit: Scottsdale’s Museum of the West, where I was honored to have work on the walls at the same time as his incredible exhibition.

Capturing the Atmosphere of an Artist’s Workspace

Matthew’s has lived a life in art. It is his life, and that’s obvious when you walk into his beautiful studio, which I’m told he hadn’t ever granted access to. The shelves are filled with books about design - previous profession and gateway into art. The floors are a beautiful hard wood that accents the rich walls filled with momentos from decades of travel, and of course, art. The upstairs loft feels like a break room of sorts, where Matthews goes to play one of the dozen guitars that line the space. All of this is obviously bathed in beautiful light from the north facing window that he designed along with the rest of the studio.

Photographing an artist like this in his sanctuary should never be taken lightly. And there is also a lot to consider when it comes to the plan of attack. First and foremost is respecting their time. Beforehand I had it in my head to set up a few strobes, but quickly realized that half hour would be better spent photographing documentary style as a fly on the wall with available light. For someone like Matthews, all that matters is the art. He doesn’t care about having his photograph made, nor does he need it. So I made it a point to be as effective as possible in as little time as possible so he could get back to it.

How Matthews’ Work Connects to Cowboy Photography

William Matthews has spent decades painting working cowboys — not the Hollywood version, not the myth, but the real men who ride out before the sun and come home only when the work is done. His watercolors aren’t loud or romanticized. They’re quiet, restrained, and deeply observant. The details matter: the way a hat sits after a long day, the posture of a rider checking cattle, the weight of open country pressing against a lone figure.

That’s the same thread that runs through my own cowboy photography, and I have and continue taking heaps of inspiration from Matthews’ Buckaroo paintings.

While Matthews works in watercolor and I work with a camera, the intent feels similar — to pay attention to the people who actually live this life. To show the labor behind the image. To acknowledge that raising cattle and maintaining ranch traditions is demanding, physical work that still feeds communities and shapes the American West.

His paintings slow the viewer down. They invite you to notice subtle shifts in light, gesture, and atmosphere. Photography, at its best, can do the same. Both mediums rely on observation. Both depend on trust — the kind that allows you to step into a rancher’s world without turning it into spectacle.

Spending time in his studio made that connection even clearer. Matthews’ walls are lined with studies, reference images, and decades of visual research. The work doesn’t happen by accident. It’s built on repetition, discipline, and showing up again and again — something I’ve learned firsthand while photographing working cowboys across the West for more than a decade.

Different tools. Same subject. Same respect for the culture.

Photographing Working Cowboys of the American West

If you’re drawn to Matthews’ iconic interpretation of working cowboys, you may also appreciate my ongoing photographic project documenting ranch life across the American West. You can view the full series of working cowboy photographs here.

Another Voice in Contemporary Western Art

William Matthews’ work has helped define the modern image of the working cowboy. I’ve also spent time photographing iconic Western artist Teal Blake — another painter deeply rooted in the culture of the American West. See those photographs here.

William Matthews in a candid moment inside his studio. His paintings of working cowboys and ranch life have become a defining voice in contemporary Western art.

Matthews at work in his Colorado studio, surrounded by reference books, studies, and decades of accumulated material that inform his paintings of the American West.

A quiet portrait of William Matthews inside his working studio, where his celebrated cowboy paintings take shape.

Pigment-stained palettes and well-worn brushes — the quiet tools behind Matthews’ watercolor interpretations of cowboy country.

A wall of well-worn art books lines the studio shelves. Even an established Western painter remains a lifelong student of the craft.

Seated beneath the studio windows, Matthews reflects between works. His paintings have shaped how many collectors visualize the modern cowboy.

A watercolor study of the American West, where open sky and distant mesas echo the same landscapes that inspire generations of cowboy artists.

Reviewing a recent watercolor study, Matthews considers light, atmosphere, and restraint — hallmarks of his Western landscapes.

Pinned studies, reference photographs, handwritten notes, and brushes crowd the desk — a working studio shaped by decades devoted to painting the West.

Between studies and finished pieces, Matthews pauses at his drafting table — a reminder that Western art begins with careful observation and discipline.

Weathered Edges: Photographs from Twillingate, Newfoundland

Twillingate, Newfoundland: Coastal Photography from a Weathered Fishing Village

Raw and Honest Travel Photography from the North Atlantic Coast of Canada

Twillingate isn’t a polished resort town catering to tourists with deep pockets and that’s what makes it worth photographing. It sits out there on the far edge of Newfoundland facing the North Atlantic like it’s been in a long, quiet standoff with the sea. You don’t end up in a place like this by accident. It’s not on the way to anywhere. It is the end of the road.

What you find when you get there is a real working town. Fishing boats that still leave the docks. Lobster traps stacked high. Salt-stained siding on colorful houses that have stood up to more storms than most people ever will. Everything here feels like it’s been through something and come out the other side tougher.

I didn’t go looking for the postcard version of Newfoundland. I was more interested in the cracks in the paint. The soft fog that swallows the landscape. The feeling of standing in a place that’s been shaped by time, wind, and water.

What to Do in Twillingate (Besides Freeze Your Face Off)

Iceberg Tour

Admittedly I was less than enthusiastic when Emily said she signed us up for an iceberg tour on our first day in Twillingate. It just seemed like a gimmick where you spent too much time on a boat driving out into the middle of the ocean to look at an unimpressive chunk of ice. Now, having done it, I’d say the tour is a must-do!! Pulling out of the harbor we could see an iceberg off-shore, which the captain informed us was 14 miles away!! The ride to get there took about an hour and a half, which might seem long, but the anticipation and changing views of the iceberg makes it a lot of fun. The closer you get, the more details and features reveal themselves. We were both completely blown away. Truly stunned at how magnificent it was up close. One of those things you can try explaining to people but the only way to understand is to experience it for yourself.

*** Bring binoculars - it’s very entertaining to look at all the whales, waterfowl (Puffins), icebergs, and coastline from the boat.

Food in Twillingate

Twillingate isn’t a culinary mecca. It’s a fishing town, so the local offerings are either bar food or seafood (cod), and of course the obligatory Chinese take-out. Annie’s Harbour Restaurant is your best bet for lunch or dinner, and like the name suggests, it’s right on the water so the views are great. Crow’s Nest Cafe is the spot for breakfast. If you’re looking for a drink, head over to Stage Head Pub. They have a bunch of beer on tap including the local Split Rock Brewing Company - made in Twillingate but they don’t have a tasting room, so it’s only available on tap around the island.

Go For A Hike

All around town you’ll see subtle signs for Rockcut - A Walk on The Edge. Rockcut is a series of trails that cover the entire Twillingate area and offer amazing elevated views of the rugged coastline and have offerings for all level of hiker. We did one that started from the Long Point Lighthouse that was a lot of fun and could see all the way (14 miles) out to the iceberg from the previous days tour.

Walk Around Town (with or without a camera)

I’ve always believed that the best way to see and learn about a new place is to walk. And Twillingate isn’t a big place, so walking is an easy option. Early mornings there seem to be quite foggy, providing the perfect vibe for poking around the fishing docks and getting a feel for the locals daily life.

Fine Art Prints Available

If any of these scenes from Twillingate stuck with you, prints are available, and licensing is always an option for editorial and commercial usage. Contact me directly for options.

Iceberg seen during a tour from Twillingate, Newfoundland

Lobster pots stacked up on the fishing docks in Twillingate

Homes on the rugged coastline of Twillingate

Early morning in a small Newfoundland town

Photograph of boats in the fishing docks in Twillingate

A rocky island off the northern coast of Newfoundland, Canada

A private fishing dock in Newfoundland

The town of Twillingate, Newfoundland, Canada

Fog covering abandoned barns in Twillingate, Newfoundland

Old wooden fishing docks

Commercial fishing boats fill the docks in Twillingate

The rocky coastline of Newfoundland

Colorful dockhouse in the harbor of Twillingate

A stack of commercial lobster pots

A rocky island off the coast of Twillingate

Commercial fishing boats in the harbor of Twillingate, Canada

Black and white photograph of homes in a small cove on the coast of Newfoundland

Martin Gerdin: Glass Trout and the Art of Fly Fishing

From Wild Fish to Glass Art: Photographing the Work of Martin Gerdin

A Fly Fishing Artist Who Honors the Fish

If you spend much time around fly fishing and have an appreciation for art, then you’ve heard the name Martin Gerdin. His hand-blown glass fish are more than just decorative pieces, they’re immaculate tributes. To the fish. To the places they live. To the hours spent chasing them in silence with and without victory. When I had the opportunity to photograph Martin for a recent magazine story, I knew right away this wasn’t just another artist profile. It was a chance to document someone who truly understands what makes fly fishing special.

Photographing the Process Behind the Glass

Martin’s Gerdin’s studio is located in Crawford, a small town in a remote section of southwest Colorado, which tells you a bit about him already. He doesn’t need the fancy street facing storefront, because for him, it’s only about the work. And that’s obvious seeing him in action. He cares. Sure, creating stunning glass blown fish is how he earns a living, but it’s also his passion. Glass blowing is a very delicate art, especially when dealing with a pieces the size of Gerdin’s fish. There are so many steps along the way that can cause each one to be ruined. And when that happens all is lost. Back to the beginning. As a photographer intent on documenting a process that cannot be faked, the only option is to be a fly on the wall and not get in the way. Martin and his team are constantly moving, back and forth from the work bench to the furnace, over and over. For this shoot I wanted to use strobes to light the scene in a way that wouldn’t draw attention to the light itself. Rather as more of a subtle enhancement. So the hard part was finding those places within the studio that the strobes and light stands wouldn’t impede his flow. Which was difficult at times, but he graciously told me when they needed to be moved and everything worked out just fine in the end. To be honest, there were times when I just wanted to sit back and watch. Looking at Gerdin’s work on his website or Instagram is impressive, but to see a final piece come to life before your eyes, is something else altogether.

**If you think creating glass trout for a living is all glamour, think again. It’s well over a hundred degrees in Martin’s studio when the furnace is running.

Where My Work Intersects with His

Martin Gerdin doesn’t create custom glass trout for fly fishing collectors by accident. It started out of his rabid obsession with the sport itself. The assignment to photograph Martin at work also didn’t happen by accident. As a photographer, it’s very important to me that the people and stories I work on, are ones I truly care about and have an interest in. So I pitched the idea to a magazine because I was a fan of his work and am also violently obsessed with fly fishing, which has led to a somewhat unhealthy amount of time on the river with both a fly rod and a camera. Like Martin, it’s my happy place.

See the Full Collection

Want to see more?
You can view my full collection of fly fishing photography prints [here]. Each image is available for purchase, and select pieces are also available for editorial or commercial licensing. If you’re a collector, or simply someone who loves the water, I think you’ll find something that speaks to you.

Martin Gerdin - Glass Fish Artist

Fine art glass fish artist Martin Gerdin at work in his studio in Crawford, Colorado

Glass fish art

Fly fishing artist at work

Hand blown glass shark

Photograph of an arist creating a hand blown glass shark

Hand blown glass brown trout art

Photograph of glass trout being made

A glass blown brown trout going into the furnace

The Spanish Ranch - Nevada

Historic Cowboy Photography at the Spanish Ranch in Nevada

Documenting a Legendary Nevada Cattle Operation

Northern Nevada is home to some of the most historic cattle ranches in the country. North of I-80, the landscape becomes a patchwork of sagebrush and working land, a region shaped by generations of ranchers. I recently had the chance to photograph life on the Spanish Ranch in Tuscarora, Nevada, part of the legendary Ellison Ranching Company, which has been operating there since 1910. But the history of this land goes back even further. Buckaroos were running cattle here long before the Ellisons arrived, and luckily, many of the old traditions are still alive there today. You see it in the way the cowboys move through their day, in the gear on their horses, and in the quiet pride they carry.

Why Nevada’s Buckaroo Country Feels Different

Every ranch has something unique, but I’ll admit I’m especially drawn to those in Nevada. The Sagebrush Sea has its own kind of pull; wide open, endless, and meditative. The buckaroo style itself, the horsemanship, the gear, the rhythm of the work all feels timeless and intentional. Even just driving onto the ranch, you know you’re entering a special place.

When I visited, it was branding season, and the cowboys were camped in teepees out in the desert, hours from the nearest town. Each night, I’d fall asleep staring out at the fading light on the horizon, just the wind, the birds, and the slow color shift of the sagebrush. No noise. No phones. No traffic. It’s the kind of peace you can’t buy or download.

Mornings started early with breakfast at 4:30 a.m., and then the day unfolds just the same way it has for ages, horseback across giant swaths of pristine country. Watching these cowboys work in such a remote, beautiful place is something I’ll never take for granted.

Photographing the Spirit of the American West

Photographing working cowboys on historic ranches like the Spanish Ranch isn’t just about documenting a job, it’s about capturing a way of life that’s still deeply rooted in purpose, patience, and hard work. Every trip out to a ranch like this reminds me why I do what I do. It’s always hard to leave after spending time with great people that deserve so much respect, knowing the road home means traffic, screens, and emails stacked up like fence posts. But I carry the stillness of these places with me and I try to pass that along through the photographs.

View More Cowboy Photography

Click HERE to see more photographs of working cowboys in the American West.

Fine Art Prints - Western Home Decor

Click HERE to shop my fine art cowboy photography prints

Contact me directly if you’re interested in licensing my cowboy photographs for editorial and commercial usage - rob@robhammerphotography.com

A roper at work on the Spanish Ranch—timing, balance, and decades of horsemanship distilled into a single loop of the rope.

Horses kicking up dust in a corral at The Spanish Ranch in Nevada

Riding through open range

Buckaroos dragging calves to the branding fire

Sunset on the Spanish Ranch

Branding morning on the Spanish Ranch: heat, dust, smoke, and the kind of teamwork that defines ranch life in Nevada’s high desert.

Pack of horses in a cloud of dust

Cowboys push a herd across the wide Nevada desert at the Spanish Ranch—one of the oldest and most storied cattle outfits in the Great Basin.

A fleeting moment from horseback on the Spanish Ranch—motion, dust, and the worn-in leather that speaks to a life spent working cattle.

Roping calves on a working cattle ranch in the American West

Nick Donker

The Spanish Ranch - Tuscarora, NV

Buckaroo getting into his teepee

Dust hangs in the air as a cowboy braces at the branding grounds, surrounded by the grit and rhythm of a long ranching tradition.

Cow Camp at The Spanish Ranch in Nevada

Morning light hits the branding grounds at the Spanish Ranch as cowboys and horses move in tight coordination, each role essential in the workflow of a big outfit.

Makayla Fulfer - Cowgirl

Group photo of cowboys on the Spanish Ranch

Early morning bronc ride

Cody Braucher - Cow Boss - Spanish Ranch

Cowboys working cattle on a ranch in Nevada

Western Saddle Maker

Western Saddle Maker

Inside a Working Saddle Shop

Western saddle shops are becoming harder to find, but they remain an essential part of Western culture. This post documents time spent inside the shop of master saddle maker Doug Cox and tells a story of the lifetime he’s spent creating one of a kind pieces of functional art for cowboys and collectors all over the world.

Doug Cox and the Craft of Custom Saddle Making

“If I created a really, really goddamn nice saddle, and some cowboy—or buckaroo or vaquero—rode that son of a bitch, but took care of it; if he burned the damn edge of the cantle binding off from draggin’ calves, or burnt the fork cover down with a groove where his rope ran, and he wore the flowers down to nothing, that’s a success. It ain’t the son of a bitch in mint condition that’s hanging in a barn somewhere.” That quote from Doug Cox might give you an insight to his personality, but there’s a lot more to know about the obsessed saddle maker from Grangeville, Idaho that’s still feverishly working toward better saddles 50+ years later. His stoic demeanor and unfiltered vocabulary might offer a rough first impression, but he’s sharp as a whip and two steps ahead of everyone. Despite being a world class artist, he retains no ego, is quick to laugh, and only answers your questions with honest thoughts. The kind of guy you never once doubt when he starts a sentence with “Fact is…..”. 

Born in 1950, Doug’s earliest memories formed on the steer ranch his family lived and labored on for 17 years before renting their own. “When you were old enough to work, they worked your ass off”, Doug recalls. For him that was age 7, and a typical day started in the morning, milking cows and feeding saddle horses. In the winter they fed 2,000 head of steer with grain around noon and again with hay at night. Then it was back to milking cows, feeding saddle horses, fixing equipment, supper, sleep, repeat - a typical routine for everyone Doug knew, so he never thought to complain. At 8 or 9 he was put on a horse to start moving cows around, at which point, “you passed the dogs in rank”, he joked. In high school Cox found a job nearby working for a man who raised registered quarter horses, because he didn’t get paid at home, just fed. Other jobs followed; day working for a slew of ranches in the area. He also started stamping leather belts for beer money. The first one came out of shop class. “I backed the teacher up. He couldn’t imagine anybody in high school could do something like that.” Still, all of Doug’s long waking hours were spent horseback in big country where he met a lot of “shittin’ saddle makers”, until moving south in 69’ for an Ag college in Sheridan, Wyoming that had two sports - basketball and rodeo! So began his career riding broncs and showing reining cow horses and cutting horses. More importantly though, he was hanging out at King’s Saddlery after school - drinking coffee, shootin’ the shit, and becoming a recipient of the trickle down effect. Shortly after, the fascination with school vanished, and he was once again enjoying life as a drifting cowboy. 

Towards the end of 1970 his number was picked for the military where he spent 4 years as a corpsman on an Orthopedic Ward. There he received forced knowledge of anatomy and physiology. Being up close and personal with broken people day in and day out taught him about “human construction”, as he calls it. More specifically it cued his one track mind into a would be blueprint for the opposite of a shittin’ saddle. 

After the service, he wound up back in Idaho working in the logging industry, running a Cat and riding broncs on the weekend. That fall, his crew got snowed out and told to sign up for their “rocking chair money”. Never one to welcome idle time, he got the leather bug and decided to get serious, combing Burton’s Leather Craft catalogue and “ordered me a shit ton of tools”. First up were belts and women's handbags which didn’t exactly quench his thirst. Then out of nowhere, he received a call from an old rodeo friend wanting the interior of his Cadillac El Dorado stamped. His first real job! The arm rests and doors were barely finished before the owner got drunk one night and wrapped it around a telephone pole. So his big money job went out with a hangover, but business still progressed and people took notice. In 76’ the legendary saddle maker Ray Holes offered him an apprentice job, as it seemed Cox’s particular knowledge and talent was taking away customers. An incredible opportunity for Doug to learn the business from the ground up! His days were now spent repairing equipment and crafting leather into pouches for vice grip pliers, chaps, and axe scabbards that got sent all around the world. “There was no scrap. We used everything till there wasn’t any left, and turned it into money” says Cox. $2.85/hour sat just fine with him because the real payment was education, and the promise of a position building saddles after 5 years. 

He became a sponge. “You’d go home and try to do everything they did as good as they did. Some things you pick up pretty rapid, and some things I’m still working on today. Nothing is a done deal. Every day is brand new.” Aside from Holes himself, Bob Kelly was Doug’s biggest mentor up to that point. 3 years after Cox signed on at Holes’, Kelly, who built 1,326 saddles in that shop, retired. So Cox was thrown into the job simply because there wasn’t anyone else. He was forced to figure everything out on the fly. “I asked Ray Holes, what happens when you cut out a seat and stamp it, and it stretches, and you can’t get it to go?” Holes bluntly replied “you cry a lot”. By April of 81’ Cox had an Ivy League Degree in making saddles and successfully co-authored 210 riding saddles as well as 360 pack saddles.

Next chapter: Montana - 3 Forks Saddlery. There, letters started coming in complimenting Cox on his seats, and the reality of his seeing his own name on the marquee began to materialize. He left 3 Forks before too long and did some ranch work for a guy in Madison Valley to earn rent money, but made it clear from day 1 that building saddles was the priority. Next came an opportunity to sell those saddles at a Western store on the four corners in Bozeman. And not much later, with 200 saddles to his sole credit, he moved into an old vet clinic building and things went gang busters. “You’re always wondering if you’re gonna starve to death when things go to shit. So I was surprised when the business kept coming”, says Cox. The Montana winter of 97’ didn’t quit. Or as he puts it, “the one that soured my ass”. That October he helped a friend sort replacement heifers and ween and ship calves. “There was 2 feet of snow and it was 21 below zero. On May 15th we still had all that snow in the yard with a whole lot more on top of it. I had enough”, Doug recalls with tangible disdain. In December of 2000 he and his wife Deb, closed on a house in Gardnerville, Nevada, where you’ll still find him today. They did all the moving themselves. Tools, leather, 10 horses, and every barn/house furnishing you can imagine. 14 hours each way. Over and over and over. That put him 3.5 years behind on orders with people calling wanting to know where their saddles were. He just kept plugging along and tinkering with better designs. Cox got very intense over the structure of his seats, asking tree makers to institute changes that would allow for necessary improvements. 911 struck a massive blow to the world, launching a political and economic roller coaster directly impacting his business. Amongst the obvious wreckage, big outfits were getting scooped up by mining companies, and kids didn’t want to cowboy anymore. Fewer cowboys equals less demand for saddles. In classic Cox fashion, he took the ride but didn’t spend too much time worrying. Instead, focusing on getting better, and really, that’s been his psychology all along. He knows the grandest peaks are always followed by a valley no matter who you are, and the only answer is to keep putting out exceptional products. “I ponder a lot of shit and wonder why the hell am I doing what I’m doing? And then you start to think back about how everything that you did taught you what you’re doing now, and that gives you the path to continue”. 

The full time saddle maker/part time philosopher has damn sure earned his loyal and diverse clientele. Everyone from the working cowboy to folks in Texas who never bother to ask the price of a custom Full Flower. His saddles have been shipped to countries like Dubai, Mongolia, Australia, and Canada, “but probably not all 50 states.” Advertising has never been a priority for Cox, trusting that his faultlessly functioning art will lead to word of mouth referrals. There’s one family in Montana that’s bought close to 20 of his saddles over the years, so imagine the conversations they’ve had with neighbors. He believes in taking care of people and appreciates unwavering loyalty. So if you’re buying a custom Cox, then chances are your package will arrive with a little something extra. That might be added stamping, a breast collar, or whatever else he feels like throwing in. After all his years in business you could count on a few fingers the number of clients he’s had trouble with, but they didn’t know what they wanted to begin with. One such customer who couldn’t tell a mare from a mule had the nerve to complain after receiving his custom Cox. So Doug spent months ripping it apart and building it back to the new abhorrent specifications. “Right before I was about to disconnect the phone in Montana, that son of a bitch called wanting to order another saddle”, he recounts with a chuckle. 

At 75 Doug is still pushing his art. After long days wrestling with leather he sits on the couch under a Bison mount, with sketchpad and pencil in a relentless attempt to crack the code on a perfect wild rose to elevate the stamping on his next saddle. When asked why, he stops, stares off for a while in contemplation, then says “it’s just my nature”. Cox wants to feel good about every final product leaving his door because he won’t sleep at night knowing you aren’t 100% satisfied, but that’s not the whole story. In the most humble way possible, with money and fame aside, he yearns to be the best. Your baseline Doug Cox saddle goes for about $4,500, and he’s happy to make that for anyone who asks, but the unconventional creator in him requires ambitious challenges. Doug has been inspired by so many of his predecessors and contemporaries over the years; Ray Holes, Jerry Holes, Billy Gardner, Don King, Merve Ringelo, and Al Stoleman to name a few. According to Doug, “Hamley’s put the best seats in saddles that ever was, but they never made anything fancy”. Visalia on the other hand, is top of the heap in his eyes because of their combination of functionality and stunning aesthetics. Visalia stopped making saddles in the 60’s, yet he still sees them on a pedestal as daily inspiration. “When you saw something you liked, you were a coyote. You just kept chasing it till you got it”, he says. That’s why he decided to make a Visalia style saddle that took up 3 years of his life. Mounting silver to the horn, gullet front, and swell caps alone took he and Ron Meuws (silversmith) three 18 hour days. Nobody asked him to build a $165,000 saddle full of silver and rose gold (currently for sale). It was purely an itch that demanded scratching. Doug genuinely cares about the art he puts into the world, regardless of whether it gets purchased or not. His cumulative life experience in and out of the saddle fuels an insatiable desire to create the perfect saddle. Of course this is a futile effort, but Cox will be the first to tell you that “insanity is cheap”. And as Bob Kelly once told him, “the day you make the perfect saddle, you’re dead”. On the other hand, if a guy like Doug doesn’t have something to shoot for, he’s as good as dead. 

I pulled into Doug’s house one day as another pickup drove off in a huff. Turns out that person had come to offer $50,000 for one of his bridal horses, which he promptly turned down. Why? “Oooohh…….I think a lot more of my horses than that” he said sentimentally. Driving by you’d never know what happens in the nondescript building that turns out world class leather products, and that’s the way he likes it. Interruptions are undesirable at best. The work is all that matters. If you’re lucky enough to get in, seeing the artist at play is something to behold. He’s the only one there, but you never think twice about who the owner might be. It’s Doug’s place and they have a relationship. One complimenting the other, almost symbiotically. It’s the Western version of a one man barbershop that’s organically and unknowingly grown over time. In winter months, the wood stove holds a perpetual fire that warms the walls adorned with hunting trophies, Charlie Russell prints, photos of saddles, memorable bronc rides, head stalls, breast collars, hundreds of hand tools, and a beautiful set of long horns. Piles of the finest leather here, there, and everywhere. Archaic leather equipment foreign to anyone outside his industry. Scattered saddles in various stages of completion - some made for fun, for customers, and others just to look at. The only soundtrack is a crackling fire, his grazing horses, and whatever Mother Nature decides to muster up that day. He’s locked in to the work with no need for entertainment. His eyes never divert from the leather when reaching for tools and you get the feeling he could maneuver through the impeccably cluttered shop blindfolded and never miss a beat. If you poke around too long you’re sure to stumble on a few revolvers and Winchester repeaters, loaded of course. His shop is exactly what you’d expect of someone that has spent a life in leather. As usual, Doug is currently back ordered on saddles for clients new and old, near and far. He’s in a good place - people still want a Doug Cox saddle. He jokingly baulks with frustration about being busy, knowing full well that’s all he wants. Then goes on about a new saddle he’s cooking up. A Mother Hubbard,which was a popular style in the 1860’s, but people don’t think about them much anymore. They are absolutely hellacious to build, even for a veteran with 923 saddles to his mark. “So, why”?, I asked. Again, he looks off for a while, then says with a grin, “just because”. 

Keeping the Craft in View

This work is part of a broader effort to photograph Western makers, artists, and working traditions, including ML Leddy’s - makers of handmade cowboy boots since the 1920’s.

Related Photographs from the American West

If you’re someone who appreciates the heritage of the West — whether you’ve ridden the range or just admire it from afar — I invite you to take a look at my collection of cowboy photographs and prints. These are real working ranches, real cowboys, and real moments, captured with the same authenticity Doug brings to every saddle he makes.

View Fine Art Prints

View the cowboy photography gallery

Western saddle with lariat, rifle, and scabbard

Doug Cox working at the bench inside his saddle shop, where most days are spent cutting and shaping leather by hand.

A drawer of hand tools collected over decades, each one tied to a specific task and way of working.

Doug Cox works alone in his shop, surrounded by the tools and materials that shape each saddle from start to finish.

Close detail of floral leather carving, where small variations in pressure and line give each saddle its own character.

A well-worn leather sewing machine continues to play a role in the daily rhythm of the saddle shop.

Close detail of leather being shaped by hand, a process that relies more on feel and experience than measurement.

Doug Cox stands inside his workshop, surrounded by the tools and materials that have defined his working life.

A silver-mounted saddle combines engraved metalwork with deeply tooled leather, reflecting a long tradition of Western craftsmanship.

Leather is carved by hand at the bench, guided by experience rather than pattern alone.

A custom saddle in progress rests on the stand, showing the hand-tooled leather that defines Doug Cox’s work.

Rows of hand tools line the walls of the shop, each shaped by years of use and familiarity.

Leadville Colorado Wall Art Prints – Fine Art Photography

Leadville, Colorado Wall Art

Photographs of The Two Mile High City

Sitting at 10,151 ft above sea level, Leadville is one of Colorado’s more unique towns, and that’s saying a lot for a state with such incredible mountain culture. Not a big place but it’s still racked up a number of nicknames over the years: The Two Mile High City, Oro City, Cloud City, and Slab Town. That alone provides a great hint into Leadville’s rich mining history that began in 1859 during the Pike’s Peak Gold Rush, and that hunt for gold, silver, and lead continued for 130 years. Visiting the small town today, you can still feel what Leadville once was, and that’s a lot of the draw. Only 2 hours from Denver, but it feels a world away, with unprecendented views of the surrounding mountains and no crowds. The architecture is gorgeous and well preserved in a lot of cases like the Delaware Hotel which first opened in 1886. Of course the local jewel is the Silver Dollar Saloon. You’d be hard pressed to find another like it anywhere in the country. Inside you can feel the years (established 1879), and that feeling only gets better once you learn more about it’s history with noted regulars like Doc Holiday! The most surprising part of Leadville is the fact that it has delicious food! I’d recommend checking out The Silver Llama Market and Eatery for breakfast and Treeline Kitchen for dinner. They are conveniently located right next to each other and Treeline has a great rooftop patio that’s open in the warmer months. Mineral 1886 also has good food for lunch and dinner.

Historic Buildings and Local Flavor

Walking through the neighborhoods is always fun because you’ll get a feel for daily life, and Leadville has some colorful houses that are intricately shingled. If you are looking for more of a workout, the Mineral Belt Trail (12 miles) can provide year round recreation with top notch views of the mountains and will take you up close to some of the old mining claims. Walking, running, and biking in the summer. Fat biking and cross country skiing in the winter. There is a nordic center just outside of Tennessee Pass and endless access to backcountry skiing/snowboarding from all routes in/out of town. And If there’s any reason this little hideaway would sound familiar, that’s because it’s home to one of the hardest mountain bike races in the country - The Leadville 100! That and Melanzana, which is supposedly on a year waitlist for hooded sweatshirts. Perhaps the most redeeming quality about their main drag though, is you won’t see a single chain restaurant or business. They are all locally owned and there is no mistaking that fact! Leadville is a gem of a place that you hope will retain it’s small town charm for decades to come. If you’re looking for a fun getaway with resort crowds, check out Leadville for a couple nights.

Get Your Leadville Print

If you’d like to have a little piece of Leadville to remember your trip and brighten your walls with Colorado culture, contact me directly about photography prints and custom framing options for your home, office, or commercials space. These photographs are also available for editorial and commercial licensing.

Leadville, Colorado Wall Art

The Golden Burro Cafe - Leadville

Black and white photograph of the Silver Dollar Saloon in Leadville, CO

Photograph of the bar inside the Silver Dollar Saloon

Leadville, CO

Manhattan Bar - Leadville, CO

High Mountain Pies - Leadville, CO

Colorful house in Leadville, CO

Leadville Saloon

Tile floor in the Leadville Saloon

Pool table and taxidermy inside the Silver Dollar Saloon - Leadville, CO

Beer - Leadville, CO

Western Lifestyle Photographer

Capturing Authentic Western Apparel in Action

Photographing Real Cowboy Gear at Work

It’s no secret that the daily life of a cowboy is demanding. Early mornings that start in the saddle, turn into late nights, all while dealing with the country’s harshest weather and big, wild animals that have an opinion. So the gear they choose to wear has to be just as tough as they are. Through the lens, we highlight real cowboys in real western apparel that holds up to the rigors of ranch life, offering a vivid, authentic showcase perfect for brands looking to demonstrate the quality and style of their products.

Our photography captures working cowboys on the legendary Silver Spur Ranch in Colorado as they gear up in rugged western apparel, blending traditions with contemporary fashion. From the intricate designs of the leather boots to the timeless durability of denim shirts and wool jackets, each piece is tested by the true dnecessities of cowboy life. It's here, among the dust and cattle, where western brands can see their products come alive, telling a story of authenticity, resilience, and style that truly resonates with their target audience. Let's collaborate to bring the essence of your brand to life in settings that inspire and appeal to your customers - rob@robhammerphotography.com

Click here to view a gallery of my authentic cowboy photography

Shop Western Photography Prints

Silver Spur Ranch - Colorado

Western lifestyle photography

Calving season on a Colorado cattle ranch

Cowboy gear photographer

A cowboy caring for a newborn baby calf

Black and white portrait of a Colorado cowboy

Authentic cowboy photography

Cattle herd

Colorado cattle ranch

Black and white cowboy photograph

Bottle feeding a baby calf

Cowboy counting ear tags

Colorado cowboy riding his horse through thick country

Photographs of Cohoes, New York

Cohoes, New York Street Photography

I grew up in the Capital Region, so places like Cohoes have never felt exotic to me. They were just there — part of the background of everyday life. You drove through them. You crossed the river. You passed the mills and brick buildings without thinking much about it. It’s only later, after leaving and coming back, that you realize how much character was hiding in plain sight.

These photographs were made while walking the streets of Cohoes with that perspective in mind — not as a visitor, but as someone familiar with the rhythm of these towns. The work looks at architecture, streets, and surfaces the way they actually exist, without trying to dress them up or turn them into something they’re not.

Street Photography Without the Obvious Moments

When people think of street photography, they often imagine crowds or dramatic interactions. That’s never really been what draws me to places like Cohoes. Here, the streets are quieter. The interest comes from buildings, sidewalks, old industrial remnants, and the way light moves across structures that have been standing for generations.

In that sense, this is street photography rooted more in observation than action. Many of the images are absent of people altogether, letting the town speak through its architecture and physical presence. The results feel more honest to how Cohoes actually exists day to day.

Growing Up Around These Streets

If you grew up anywhere near Albany, Troy, or the surrounding river towns, Cohoes probably feels familiar even if you’ve never spent much time there. The brick mills. The modest houses. The industrial bones that once supported entire communities. These places were built to work, not to impress.

That shared history runs throughout the Capital Region. Towns like Cohoes, Troy, and parts of Albany all carry similar visual DNA — shaped by industry, proximity to the Hudson and Mohawk Rivers, and a kind of quiet resilience that doesn’t announce itself. Photographing Cohoes feels less like documenting a single town and more like documenting a piece of a much larger regional story.

Architecture, Texture, and Time

What interests me most in Cohoes is how time shows itself. Paint peels. Brick softens. Windows reflect newer structures nearby. There’s a layering that happens naturally when places are allowed to age instead of being erased.

Walking these streets with a camera feels less about finding moments and more about paying attention. The photographs come from slowing down and noticing how light hits a wall, how a street curves past an old building, or how a neighborhood quietly carries its past forward.

Part of a Larger Capital Region Project

This post focuses on Cohoes, but it’s part of a broader effort to photograph the Capital Region with the same restraint and familiarity. These towns don’t need to be explained or romanticized — they just need to be looked at carefully.

Seen together, photographs from Cohoes, Troy, and Albany begin to form a more complete picture of this part of New York: interconnected, working-class, architectural, and often overlooked.

Explore More from the Capital Region

If you’re interested in how this work extends beyond Cohoes, you can explore related posts from nearby cities:

• Troy, New York Street Photography

• Albany, New York Street Photography
  

  Together, these posts offer a quieter, more personal look at the Capital Region — photographed not as a destination, but as a place lived in and returned to.

Old homes in Cohoes, New York

Danielle’s House of Hair - Cohoes, New York

Cohoes, New York Photography

Train track running by St. John’s Church in Cohoes, New York

Photograph of the business’ on Remsen St. in Cohoes, New York

Flower shop - Cohoes, New York

Antique shop in Cohoes, NY

Cohoes Armory

Old church in Cohoes, NY

Cohoes, NY architecture

Cohoes, New York Photography

Photographs of Helper, Utah: From coal town to creative heaven

Helper, Utah Photography — Historic Town & Creative Community

Helper, Utah — nestled in eastern Utah along U.S. Routes 6 and 191 is a historic railroad and coal mining town that has become a vibrant creative community with galleries, murals, and architectural character. Through this fine art photography essay, I explore Helper’s unique blend of West-side grit and artistic reinvention, capturing both the visual texture and the spirit of place. These photographs are available for editorial and commercial licensing or fine art prints.

Finding Helper by Accident

Helper is one of the seemingly endless gems available to any road tripper willing to get off the beaten path while exploring Utah. Years ago I was driving up the 191 and stopped to make a photograph of the old sign for the Balance Rock Motel. I’m a sucker for vintage signage anyway, but this was particularly interesting with the stark desert features in the background. Add in the 7up sign and it became a must stop. Looking around there was no inclination of any sort of civilization, let alone an entire town. While standing there making photographs a policeman stopped to ask what I was doing and seemed satisfied enough with the answer. Afterward I continued on my way, thinking there was nothing else in the area at all to photograph. Some ten years later I discovered a thriving artist community in Helper, tucked away off the 191—a stunning backroad for people driving south from Salt Lake City and continuing east on the 70. Driving into town is sort of a “holy shit” moment. Why is this town here and how does it survive? And the only real answer is art! Helper, Utah is an artist community in the middle of nowhere filled with galleries! It’s such an incredibly unique place. In all my travels I’ve never really seen anything like it. And the excitement that comes from discovering such a town is what keep me addicting to road trips!

The History & Character of Helper, Utah

Helper earned its name from the extra locomotives — “helper engines” — that once assisted trains climbing the steep grades of Price Canyon. Built around coal mining and railroads, the town became home to generations of immigrant workers and working families tied to industry.

Today, while traces of that history remain in brick storefronts and aging infrastructure, Helper has evolved into something more layered. Art galleries now sit beside historic buildings. Murals appear along alleyways. The town has quietly become a creative community while still holding onto its industrial backbone.

That mix of railroad grit and artistic reinvention gives Helper a visual character that feels distinctly Western — but not romanticized.

Photographing Main Street & Roadside Landmarks

Much of this series focuses on the visual details that define Helper’s personality. These aren’t dramatic landscape icons. They are quieter observations — architectural lines, faded paint, shadow, typography, and the space between buildings. The kinds of details that reveal how a town actually lives.

Photographing Helper wasn’t about spectacle. It was about slowing down long enough to notice what remains.

Helper Within the Larger American Road Project

This work fits into a long-term body of photography documenting small towns and overlooked places across America. For over 15 years, I’ve driven hundreds of thousands of miles searching for places that feel visually honest — towns shaped by time rather than reinvention.

Helper stands out because it holds both histories at once: the industrial past and a creative present. It reflects a broader story about rural America adapting without fully erasing itself.

In many ways, Helper represents what draws me back to the road again and again — not the famous destinations, but the towns in between.

Image Licensing — Helper, Utah Photography

These photographs of Helper, Utah are available for editorial and commercial licensing. The work documents a historic railroad and mining town in transition — architecture, signage, Main Street storefronts, and the evolving character of a creative Western community.

The images are well suited for:

• Editorial features on small town revitalization

• Travel and regional publications

• Western heritage stories

• Cultural and architectural essays

• Brand campaigns rooted in authentic American settings

Each photograph is available for licensed use in print or digital formats. If you’re interested in discussing usage, publication, or commercial applications, please reach out directly.

Continue Exploring the American West

Helper is just one chapter in a larger body of work documenting small towns, desert highways, and overlooked corners of the American landscape.

View the full Utah Fine Art Photography Gallery to see more images from across the state, or explore the broader American Road Trip Photography Collection featuring small towns and roadside scenes from across the country.

The Balance Rock Motel - Helper, Utah

Historic brick storefronts line Main Street in Helper, Utah, pressed tightly against the towering Book Cliffs.

Vintage signage at Lasalle’s on Main Street in Helper, Utah

Main St. - Helper, Utah

The Lincoln Hotel corner glows in late light — Coca-Cola signage, Texaco branding, and filling station details capturing the Americana character of Helper, Utah.

The Strand Theater in Helper, Utah

The Hotel Newhouse

A Union Pacific freight locomotive rolls into Helper, Utah beneath the Book Cliffs — a reminder of the town’s railroad and coal mining roots in eastern Utah.

Rex Berry Field sits quietly beneath the dramatic Book Cliffs, where high school football and desert landscape meet in Helper, Utah.

A traditional barber pole stands along Main Street in Helper, Utah, framed by layered signage and historic storefronts.

A large “Helper Drawing Crayons” mural reflects the town’s creative revival, set against the rugged cliffs that define eastern Utah.

A bold “Hamburger — Helper, Utah” mural reads “Coming Someday… Maybe?” — small-town humor painted large on a downtown wall.

Parked cars line a quiet residential street while black tanker rail cars stretch across the horizon — industry and daily life intersecting in Helper, Utah.

The restored Continental Oil Company station stands beneath the desert cliffs in Helper, Utah — vintage petroleum branding framed by Western landscape.

A modest hillside home overlooks Helper, Utah, framed by layered desert mesas and distant snow along the Book Cliffs — residential life set against the vast Western landscape.

The former J.C. Penney building now houses a Fine Arts gallery in downtown Helper, Utah — a retail relic reimagined as part of the town’s creative revival.

A “For Sale” sign reflects in the glass of a downtown Helper storefront — a quiet indicator of economic transition in this historic railroad town.

A storefront display on Main Street reads, “Hello… You Think You Know But You Have No Idea” — a subtle reminder of the layered identity of Helper, Utah.

The La Salle Hotel stands at a quiet corner in Helper, Utah — brick facade, vertical hotel sign, and long shadows marking a century of Western travel history.

An exposed Estey piano mechanism reveals aged wood, metal, and string — a close study of craftsmanship discovered in Helper, Utah.

Troy, New York Photographs

Troy, NY Photography — Documentary Prints & Editorial Licensing

Why Troy Still Feels Like Home

Troy, NY is an industrial city that’s been through a lot of change and it shows. I grew up about 20 minutes from Troy and spent a lot of sinful nights there with a bad Fake ID at bars that have long been shut down or turned into pawnshops. At 4am we always ended up at I love New York Pizza soaking up the booze with dollar slices while waiting for the inevitable fight to erupt on 4th St. I love is still there but they shut down at 1am. Just a few of the many changes that have taken place in the Collar City. Visiting now, 20 years later with different eyes, it’s a whole new experience. You can see why the locals have so much pride. Not just for what Troy has become, but also for the history that is written all over the architecture of it’s many historic buildings. You can feel what Troy was in it’s heyday and that almost makes you want to experience the city at that time. Sure it was rough, and still is in parts, but the Italian food alone would be worth the experience. It’s not all gone though. There are still long running institutions like Bella Napoli, DeFazio’s Pizza, and the iconic Famous Lunch Hot Dogs. It’s even got good beer now - Brown’s Brewing Company is well worth the stop for any connoisseur. I never bothered to look deeply at Troy back in the day, but it’s become a favorite place to photograph every time I return home to visit family and friends. The city has a lot of character that deserves to be documented.

Photographing the History and Architecture of Troy, New York

Troy’s nickname, the “Collar City,” comes from its industrial past - but what stands out today is the mix of preservation and grit. The Central Troy Historic District is lined with 19th-century rowhouses, St. Patrick’s Church rises in Gothic stone, and the Sycaway Water Tower still watches from the hillside. From the hill at RPI, you can see the entire city stacked against the Hudson, with the Green Island Bridge tying it all together. These are the scenes that made their way into my prints - quiet, weathered, and timeless.

Fine Art Prints: Sizes, Editions, and Pricing

Every photograph of Troy in this collection is available as a fine art print, made on museum-grade archival paper. Open edition prints start around $50 for smaller sizes (8×10"), while large limited edition prints are signed, numbered, and produced at sizes up to 65". Each piece is crafted to last a lifetime and can be framed to fit your space. Whether it’s for a living room, office, or gallery wall, these prints bring a piece of Troy’s story into your everyday environment.

Licensing Troy Photographs for Editorial & Commercial Use

For businesses, publishers, or art directors looking to license Troy imagery, these photographs are available for editorial and commercial licensing. From historic architecture to atmospheric black-and-white cityscapes, the images can work for magazines, marketing campaigns, and creative projects. Licensing terms are flexible depending on your needs—just reach out directly to start the conversation.

Troy has always been a mix of nostalgia and resilience for me. These photographs hold on to that character, offering more than just a view—they carry the texture of a city that built its name on hard work and history. Contact me directly if you’d like to discuss licensing or to purchase a photography print of Troy, NY for your home, office, or commercial space - rob@robhammerphotography.com

See My Albany, New York Photography Prints →

The Green Island Bridge over the Hudson River in Troy, New York

Historic architecture in Troy, New York

St. Patrick’s Church - Troy, NY

Rodino’s Tuxedo Shop - Troy, NY

Sycaway Water Tower

Church spires in Troy, NY

Famous Lunch Hot Dogs - Troy, NY

Soda for sale at Famous Lunch in Troy, NY

World Famous Hot Dogs since 1932

Train bridge on the Hudson River in Upstate New York

Uncle Sam Lanes

Overlooking the city of Troy from the Renssalaer Polytechnic Institute

Troy Basketball

Homes in the city of Troy, NY

Architecture of an old church in Troy, NY

Barbershop - Troy, NY

Used book store in Troy, NY

Livingston Avenue Bridge

Troy, NY

Photographs of Albany, New York - Historical Landmarks & Architecture

ALBANY, NEW YORK PHOTOGRAPHS

Growing Up Around Albany, New York

I grew up in the Albany area, and my relationship with the city has always been shaped by familiarity rather than novelty. It’s a place I knew long before I ever photographed it—through daily routines, changing neighborhoods, and the quiet rhythms of a city that rarely tries to impress anyone.

That familiarity is what eventually pulled me back with a camera. Photographing Albany wasn’t about rediscovery so much as paying closer attention. I wasn’t looking for defining moments or iconic views. I was interested in the spaces that felt ordinary enough to be overlooked, yet permanent enough to hold memory.

Photographing Albany as a Lived-In City

This photography series is rooted in observation rather than spectacle. Albany is a city layered with history—Federal and Victorian architecture, civic buildings, industrial remnants, and residential streets shaped by decades of quiet change. Much of that history lives in plain sight.

I gravitated toward scenes that reflect that lived-in quality: empty streets, weathered facades, winter light, and moments where architecture and atmosphere intersect. These photographs are intentionally restrained. They aren’t meant to dramatize the city, but to reflect it honestly.

The goal is not to explain Albany, but to let it exist as it is.

Architecture, Atmosphere, and the In-Between

Many of the photographs in this series focus on architecture, but not in a formal or celebratory way. I’m less interested in buildings as symbols than as backdrops for daily life—structures shaped by use, time, and weather.

Light plays an important role. Fog, snow, and low winter sun soften edges and slow the pace of looking. These conditions reveal details that might otherwise go unnoticed, and they echo how the city often feels to move through: quiet, deliberate, and grounded.

This approach mirrors how I work across my broader documentary projects—allowing place to speak without forcing a narrative.

A Long-Term Documentary Project

This Albany photography project is ongoing. The city continues to change, and my relationship to it continues to evolve as well. Returning with a camera allows me to see familiar spaces with fresh attention, while still photographing from a position of understanding rather than distance.

The photographs aren’t meant to define Albany, but to contribute to a broader visual record of American cities—particularly those that exist outside the usual spotlight.

From the Project to the Prints

While this page focuses on the documentary work itself, many of these photographs are available as fine art prints. The prints are produced with the same care and intention as the photographs, emphasizing longevity, material quality, and thoughtful presentation.

If you’re interested in viewing available work from this series, you can explore the print collection below.

→ View available Albany photography prints

Click HERE to view my photographs of Troy, NY

The New York State Capitol recedes behind bare winter trees as fog softens its presence in Albany, NY

Empire State Plaza emerges through fog, emphasizing clean lines, scale, and negative space.

Classic black and white photograph of Albany, NY

Cathedral spires of the Church of the Immaculate Conception in Albany, NY rise quietly through dense fog, reducing the city to silhouette and form.

Empire State Plaza - A close architectural study of The Egg, where curve and concrete dominate the frame.

A flock of birds breaks the stillness above the Alfred E. Smith building, adding movement to an otherwise rigid form.

Decorative stonework and lampposts lead the eye toward the Capitol as fog softens the background.

Symmetry, fog, and restrained contrast reduce the the New York Sate Capitol building to pure form. This photograph is offered as a fine art print that works especially well in offices and interiors where quiet authority matters.

A black and white architectural photograph of Albany, New York, shown here installed in a high-end attorney’s office. The fog-softened historic architecture and bare winter trees bring a quiet sense of permanence and authority to a refined professional space.

The Egg appears as a softened form within heavy fog, emphasizing scale and negative space.

Photograph of the New York State Education Department building in Albany, NY

A statue of George Washington stands quietly framed by winter branches and softened by fog.

Timeless black and white photograph of Albany, NY architecture

A long row of columns fades into fog along a quiet Albany street, emphasizing repetition and scale.

A single lamppost anchors an empty Albany street as fog dissolves the surrounding architecture.

The sweeping curve of The Egg floats above Albany’s softened skyline as fog reduces detail and scale.

Leucadia Barbershop in Encinitas, CA

Leucadia Barbershop – A California Chapter of Barbershops of America

Leucadia Barbershop has been part of Encinitas since 1996, when Emiliano Zermeno’s family first opened the doors at its original location. Like many small barbershops, the business was eventually forced out due to landlord pressures—a familiar story across the country. Instead of closing, Emiliano rebuilt the shop in a new space, carrying forward what his family started while shaping it into something distinctly his own.

A Family Barbershop Rooted in Leucadia Since 1996

Emiliano grew up inside the shop his family created. The rhythm of haircuts, the conversations, the regulars—it wasn’t a concept or aesthetic. It was daily life. When displacement forced the original location to close, the continuity of that space could have ended. Instead, it shifted. The new Leucadia Barbershop carries the same foundation, just reinterpreted through a different generation.

Southern California Skate Culture Inside a Barbershop

The new space reflects Emiliano himself—a Southern California kid who grew up with a love for skateboarding and still carries that passion today. The shop feels less like a preserved relic and more like a lived-in extension of coastal California: relaxed, personal, rooted in community. The design choices, the atmosphere, even the pace of the room mirror the culture that shaped him.

Emiliano didn’t just take over the business to make his family proud, he took it to the next level. Which is obvious when you look at his shop, but more importantly, you see it in his cuts. He’s a member of the Uppercut Deluxe team - a sign of quality, and another layer that further represents the skateboarding culture.

Photographing Leucadia Barbershop

Leucadia Barbershop was photographed as part of a long-term effort to document traditional American barbershops in all 50 states before they disappear or change beyond recognition. Each shop carries its own story. In Encinitas, that story includes family continuity, displacement, and the culture of Southern California itself.

View More Traditional Barbershops

Leucadia Barbershop is one of many shops documented across the country as part of a 15-year archive focused on preserving everyday American spaces.

→ View the full Barbershops of America gallery
You can also view another California barbershop photographed as part of the same series:

→ Read the blog post about a traditional barbershop in San Diego

Portrait of Emiliano Zermeno, who continued the family barbershop after the original 1996 location was lost to landlord displacement.

The neon sign at Leucadia Barbershop glows over the sidewalk in Encinitas, California. Opened in 1996, the shop has remained part of the coastal community through change and relocation.

Window lettering at Leucadia Barbershop in Encinitas, California. Established in 1996, the shop blends traditional barbering with Southern California character.

Inside Leucadia Barbershop in Encinitas. The space combines traditional barber chairs with personal artwork and skateboards, creating a shop shaped by the owner’s history.

Emiliano Zermeno inside Leucadia Barbershop. The skateboards lining the wall reflect his Southern California upbringing and lifelong connection to skate culture.

Barbershop in Encinitas, CA

A Traditional American Barbershop - A Neighborhood Fixture

An Old School Neighborhood Barbershop

I first photographed this barbershop in San Diego in 2011, early on in what would eventually become the Barbershops of America project. At the time, I didn’t fully realize how important these photographs would become. I was simply drawn to places like this — shops that felt unchanged, where time moved a little slower and the barber knew everyone who walked through the door.

This shop, run by Johnny Lovato, was one of those places.

A Shop That Felt Lived In

Walking into Johnny’s barbershop felt like stepping into another era. The space wasn’t curated or styled — it was simply lived in. The chairs, the mirrors, the worn floor, the little personal details scattered throughout the shop all told a story without trying to.

These weren’t decorations meant to evoke nostalgia. They were just the things that had accumulated over time. That honesty is what made the shop special and what kept the doors open to the same neighborhood of friendly customers for decades.

The Barber and the Community

Johnny was always kind and welcoming, the type of barber who made time for conversation as easily as he made time for a haircut. His shop wasn’t just a place people came to get cleaned up — it was a place where stories were shared and relationships were maintained.

One of the small details I always remember is how happy Johnny was feeding his bird Cheetos. It’s a simple moment, but it perfectly captures the personality of the space and the rhythm of the shop. Those are the moments I’m always looking for when I photograph places like this.

Returning Years Later

I returned to photograph the shop again in 2019. By then, Johnny’s son had taken over the business. Much of the spirit of the shop remained, but time had clearly moved forward — as it always does.

Not long after, the barbershop closed, and the space was eventually transformed into something new, and in my opinion, soulless. That’s the reality for many traditional barbershops across the country. Rising rents, retirement, and redevelopment quietly erase places that once anchored their neighborhoods. Luckily another barber took over the space, so it remains a barbershop, just without the decades of character and memories that once filled it.

Why These Photographs Matter

Barbershops like this rarely close with ceremony. They disappear quietly, often without anyone realizing that a piece of local culture has gone with them.

This series exists so that those places aren’t completely lost. These photographs are not about nostalgia for nostalgia’s sake — they’re about acknowledging the importance of everyday spaces that shaped communities for generations.

Part of a Larger Archive

Johnny Lovato’s barbershop in San Diego is just one small part of a much larger body of work documenting traditional barbershops across the United States. Together, these images form an archive of a disappearing American tradition — one shop, one barber, one story at a time.

More Barbershops of America

View The Book

View The Gallery

Interior of a traditional barbershop in Point Loma, San Diego, where time-worn chairs and details reflect decades of community history.

Johnny Lovato, the barber, shares a moment feeding the shop’s pet bird — a small gesture emblematic of daily life in the space.

Johnny Lovato smiles after feeding his pet bird at his barbershop in San Diego

Portrait of a barber standing behind his chair — a quiet testament to the people who made these shops more than just businesses.

An old rotary telephone inside the shop — one of the many small artifacts that speak to the barbershop’s lived-in past

A barber sits in his chair during a quiet moment — a human pause captured in the rhythm of the shop.

A customer receives a haircut — a simple everyday moment that also anchors the narrative of barbershop culture.

Jackson, Mississippi Photography Prints

Bring Home the Charm of Jackson, Mississippi: Wall Art Prints of Historic Landmarks

Jackson, Mississippi, known as the "City with Soul," boasts a rich tapestry of history, culture, and striking landmarks. For photography collectors, the city offers a treasure trove of opportunities to acquire fine art photographs that capture its essence. Whether you're drawn to historical architecture, vibrant street scenes, or serene natural landscapes, Jackson's landmarks provide a stunning canvas for artistic expression.

Why Collect Fine Art Photography of Jackson, Mississippi?

Fine art photography transcends mere documentation—it captures the emotion, texture, and unique character of a place. Jackson’s landmarks, from historic sites to modern attractions, tell stories that resonate with both locals and visitors. Collecting photographs of these iconic scenes allows you to preserve and celebrate the city’s spirit while enhancing your space with meaningful art.

Jackson’s Most Historic Buildings

1. Mississippi State Capitol
A masterpiece of Beaux-Arts architecture, the Mississippi State Capitol has stood proudly since 1903. With its grand dome, intricate columns, and marble interiors, this building serves as the seat of government and a symbol of Jackson’s political heritage. Its grounds feature notable monuments, including the towering Women of the Confederacy statue.

2. Old Capitol Museum
The Old Capitol, constructed in 1839, is one of the most significant landmarks in Mississippi's history. This Greek Revival-style building served as the state’s capitol until 1903 and was the site of major historical events, such as Mississippi’s secession from the Union in 1861. Now a museum, it offers a glimpse into the state’s political past and architectural grandeur.

3. Standard Life Building

The Standard Life Building in Jackson, Mississippi, is a striking example of Art Deco architecture that has stood as a symbol of the city’s history and resilience since its completion in 1929. Once the tallest building in Mississippi, this iconic structure was designed with intricate details, including geometric patterns, elegant terracotta ornamentation, and distinctive setbacks that embody the architectural trends of the era.

4. Cathedral of St. Peter The Apostle
The Cathedral of St. Peter the Apostle in Jackson, Mississippi, is a breathtaking testament to the city's deep religious and architectural heritage. Established in 1847, the cathedral's stunning Gothic Revival style stands tall as a beacon of faith and history. Its pointed arches, intricate stained glass windows, and towering spires evoke a sense of grandeur and spiritual serenity. The cathedral’s presence on the Jackson skyline is both a visual and emotional anchor for the community.

5.LaMar Life Building
The Lamar Life Building is a historic building in Jackson, Mississippi, USA. It was designed in the Gothic Revival architectural style, and it was completed in 1924. It is the twelfth tallest building in Jackson, and was considered Jackson's first skyscraper.

6. Saint Andrew’s Episcopal Cathedral

Saint Andrew’s Episcopal Cathedral is one of Jackson’s most cherished landmarks, a stunning example of English Gothic architecture that blends historical significance with striking beauty. Built in 1903, the cathedral’s soaring spires, intricate stonework, and lush stained glass windows create a visual narrative of both strength and grace. Its hallowed halls have witnessed generations of worshippers, making it a significant symbol of Jackson’s spiritual and cultural life.

Tips for Collectors:

Choosing the Perfect Piece

• Focus on Quality: Look for prints that showcase exceptional composition, lighting, and attention to detail. High-quality materials such as archival paper or metal prints ensure longevity.

• Consider the Artist’s Perspective: A fine art photograph should reflect the unique vision of the artist. Consider their ability to tell a story or evoke emotion through their work.

• Think About Your Space: Consider where the artwork will be displayed. A vibrant cityscape might suit a modern living room, while a tranquil nature scene could enhance a cozy study.All photographs are available as prints for your home of office - rob@robhammerphotography.com
  

  The Enduring Appeal of Jackson’s Fine Art Photography

  Jackson’s landmarks offer an endless source of inspiration for photographers and collectors alike. Each image tells a story of the city’s past, present, and future, making it a meaningful addition to any art collection. By investing in fine art photography, you’re not only celebrating Jackson’s beauty but also supporting the artists who bring its soul to life. Explore, collect, and let the vibrant spirit of Jackson, Mississippi, enrich your walls and your heart.

  Click here to shop Jackson, Mississippi Wall Art

Photography print of the State Capitol Building in Jackson, Mississippi

Mississippi Capital Building Wall Art

Black and white print of the Standard Life Building in Jackson, Mississippi

The Old Capitol Museum

Black and white print of the LaMar Life Building in Jackson, Mississippi

Cathedral of St. Peter The Apostle

Fine art print of St. Andrew’s Episcopal Cathedral

Texas Plains Photography: Llano Estacado

Llano Estacado Photographs

The Llano Estacado is easy to misunderstand. It’s often described as flat, empty, or featureless, but spending time there reveals something very different. This high plains region of West Texas is defined less by landmarks and more by distance — by how far the horizon stretches, how light moves across open ground, and how small human presence feels once you slow down enough to notice it.

These photographs were made while traveling through small towns, farmland, and back roads that sit quietly within that vastness. They are not meant to explain the Llano Estacado so much as sit with it.

A Landscape Defined by Absence

There are few visual interruptions on the Llano Estacado. Roads run straight for miles. Fields repeat themselves. Buildings appear only occasionally, and when they do, they often feel temporary — as if they were placed there out of necessity rather than permanence.

That absence becomes the subject. Empty intersections, wind-worked soil, distant structures, and isolated signage take on weight simply because there is so little competing for attention. The photographs rely on restraint: space, quiet geometry, and light doing most of the work.

Small Towns, Everyday Objects

Scattered across the plains are towns built around utility rather than spectacle. Hardware stores, abandoned buildings, hand-painted signs, school stadiums, and roadside memorials all reflect daily life shaped by isolation and self-reliance.

Rather than searching for dramatic moments, this work focuses on ordinary details — objects left where they were last used, buildings holding onto their purpose a little longer than expected. These elements reveal how people adapt to scale, weather, and distance without needing to announce it.

Wind, Agriculture, and Modern Presence

The Llano Estacado is both deeply agricultural and increasingly shaped by modern infrastructure. Wind turbines rise above fields that have been worked for generations. Long rows of crops trace patterns across land that feels otherwise unbroken.

This overlap between old and new is quiet but persistent. The turbines don’t overwhelm the landscape; instead, they become another line on the horizon — another marker of how the region continues to evolve while remaining visually spare.

Photographing the In-Between

These images are less about destinations and more about what exists between them. They were made by pulling over often, driving slowly, and paying attention to what most people pass without stopping.

The goal is not nostalgia, but observation. Not commentary, but presence. The Llano Estacado rewards patience, and these photographs reflect that pace — measured, minimal, and unforced.

Interested in These Photographs?

A selection of photographs from this series is available as fine art prints, and the full body of work is available for editorial and commercial licensing.

If you’d like more information, feel free to get in touch.

View more photography from the American West

“It’s a long way, round the Llano Estacado” - Colter Wall

A hand-painted water-for-sale sign along a remote Texas highway, underscoring the scarcity and scale of life on the Llano Estacado.

A rural intersection on the Llano Estacado, where roads stretch outward and towns feel held together by distance.

A spare horizon broken only by distant farm buildings and turbines, emphasizing scale and emptiness on the Llano Estacado.

Inside a small-town hardware store on the Llano Estacado, where tools, shelves, and light speak to decades of daily use.

Dust moves across freshly worked earth, softening the horizon on the wide, exposed plains of the Llano Estacado.

Roadside crosses stand against the open plains, marking memory, faith, and loss across the Llano Estacado.

Handwritten letters from an abandoned Texas home, marked by distance, memory, and everyday life on the Llano Estacado.

Farmland stretches ahead and behind, reflected in a car mirror while crossing the open roads of the Llano Estacado.

A lone midcentury tower rises above a quiet town, emphasizing the scale and openness of the Llano Estacado.

Wind turbines rise over aging structures, where modern infrastructure meets long-standing rural life on the Llano Estacado.

A fading brick wall sign promises trust and familiarity, echoing the economic rhythms of Llano Estacado towns.

Photograph of a long dirt road on the Llano Estacado in Texas

A modest brick house on the Llano Estacado, where handwritten signs and quiet streets reflect a self-reliant rural economy.

A nearly empty frame holds a thin horizon and distant turbines, emphasizing restraint and scale on the Llano Estacado.

A high school football stadium sits among cotton fields, reflecting the cultural center of small towns on the Llano Estacado.

An abandoned building on the Llano Estacado, where discarded fixtures and faded walls blur the line between utility and quiet absurdity.

Water tower in Littlefield, Texas - Hometown of Waylon Jennings

Wind turbines line a distant ridge above the canyon, where industry and landscape quietly coexist on the Llano Estacado.

A lone basketball hoop stands behind a chain-link fence, hinting at everyday life and quiet routines on the Llano Estacado.

A simple directional sign stands between plowed fields, offering choice without urgency on the Llano Estacado.

The Griffin Museum of Photography

Photography Museum - Winchester, Massachusetts

13+ years now I’ve been photographing traditional barbershops in all 50 states of the USA and the layers continue to peel. In the beginning it was just a thing to do because I love barbershops. Then as time went on I felt responsible for documenting them before they all disappeared. Now, in 2024, I see the collective body of work as a historical document of the barbers and shops that served as a staple in their respective communities for 30, 40, 50, 60+ years. On the surface the theme of this project is about a place to get your haircut. Really though, it’s about community, friendship, and human connection. So I’m honored to announce that a selection of these photographs will be shown at the Griffin Museum of Photography in Winchester, MA for their upcoming group show “Vision(ary) which focuses on communities, cultures, and environments. Please go check out the show as well as the other great exhibitions from June 7th-September 27th.

Click here to purchase a copy of Barbershops of America (photo book) and HERE to purchase prints from this series.

Barbershops of America at The Griffin Museum of Photography