70
miles
a photographic campaign for the durham farmers' market, 2027 season. everything on the table was made by the seller, within seventy miles. the distance is the brand.
anh do, she/her, sophomore
visual & media studies
shoot oct–dec 2026
launch april 2027
a market, shot like a season.
the durham farmers' market runs on one rule: producer-only, seventy miles. that rule becomes the campaign's device. every picture carries the miles an item travelled, the way a fashion house carries a season, and the produce is photographed the way editorial shoots skin. two registers in one frame: flash, wit and hard edges on the surface; a straight celebration of the people whose work is on the tables underneath. it is my second market study after berlin, and the first made for a client rather than for an argument.
four things
leave the market.
one of every seller, theirs to keep and post. shown to each person before it is kept.
saturday frames for the market's channels: produce, hands, tote bags, the thing only here for three weeks.
16 pages, 300 copies, handed out at the gate. the season's lookbook.
two copies for display. this ships even if no funding comes through.
someone from the editorial or commercial side who has run a job with a client and a deadline; who will say what an art director or a picture editor would actually say about a frame; who cares more about the pictures than about being liked. i have made everything so far alone. this is the first time the work has to please.
martin parr
& sophie green
direct flash, saturated colour, the ordinary made loud. parr's leek and his sweet factory are what a vendor portrait can be: a person, the thing they made, and no apology. green, shown by the parr foundation this summer, brings the same seaside brashness to a younger britain.
anh nguyen
the new york times, vogue, the kitchen god series (openwalls 2025 winner). food shot like fashion, crowds shot like a party, and the subject always treated as the point. her vogue cheese story is the closest existing thing to what i want a saturday in durham to look like.
the good
inheritor
berlin, summer 2026. five weeks inside dong xuan center, the vietnamese wholesale market in lichtenberg, following the second generation taking over the stalls. 8,400 words, 35 photographs, ousf-funded. shot under two rules i will keep in durham: no identifying individual stalls without consent, and every person sees the frame before i keep it.
a transnational
study of cool
how people carry themselves in public, city by city: posture, dress, the glance at a stranger with a camera. this is the eye the market campaign borrows, the tote bags and the hands as much as the produce.
$1,020
camera and lenses are my own. without funding the campaign still launches, with the a0 flip book and online distribution.
the berlin study was ousf-funded fieldwork that grew out of jaeyeon yoo's writing 120 seminar, where i first paired photographs with an argument about diaspora. this fall the market is my shooting practice for cinematography, alongside kristine stiles's theories in visual and media studies.
art, art history & visual studies
thompson writing program