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Haymes\u2019s love for the next generation lies at the core of his work. \u200b\u201c<\/span>I photograph <\/span>youth culture<\/span><\/a> because there\u2019s something intrinsically fantastic about it,\u201d he says. \u200b\u201c<\/span>There is an optimism that at some point you lose. It\u2019s like, oh my God, the world is falling apart, what are we going to do? But at some point you\u2019ll listen to a\u00a020<\/span>-year-old, and think, maybe you\u2019re right, maybe it can change, and why not? It\u2019s good to\u00a0hear.\u201d\u00a0<\/span><\/p>\n With\u00a0<\/span>Chronograph<\/i>, Haymes devoted a\u00a0quarter of a\u00a0century to photographing his family, allowing the story to unfold at the natural pace of life, while his publisher Bruno Ceschel waited patiently for 15<\/span>\u00a0years until the story was complete. Bookended by death \u2013 collective and personal \u2013 Haymes reimagines the domestic narrative through the lens of fatherhood, a\u00a0vantage point unexplored despite the preponderance of men across all disciplines of the photo industry.\u00a0<\/span><\/p>\n For the better part of photography history, the domestic interior has been largely disregarded as a\u00a0serious space, in no small part due to the fact it has been dominated by women artists such as Sally Mann, Tina Barney, Melonie Bennett,\u00a0<\/span>Judith Black<\/span><\/a>, and\u00a0<\/span>Susan Kandel<\/span><\/a>. But in more recent years, institutions have finally embraced what visionaries have always known: our first, most profound experience of photography is the family photo album. Here we discover ourselves and loved ones cast against the backdrop of ancestry and lineage cast among snapshots of moments both grand and intimate.<\/span><\/p>\n<\/div>\n