David Sokosh

was raised in Bethel, Connecticut, the son of two amateur photographers. As a result, he began taking pictures at an early age. He graduated from Western Connecticut State University in 1989 with a BA in Photography and settled in Brooklyn, New York that fall. 

Sokosh worked at Kelton Labs from 1989 to 1997. During that time he had the honor of working with Lillian Bassman, Steven Klein, Brigiitte Lacombe, Helen Leavitt, Mary Ellen Mark, Mark Seliger, Lou Stettner, and many others.

By 1991 he had become interested in the Polaroid Transfer process and received a number of grants from the Polaroid Corporation, culminating in a 20x24-studio grant in 1992, and inclusion in their permanent collection. This led to participation in a group show entitled Colore Sfumati at Robin Rice Gallery in 1993.

By 1994 a contact at Bergdorf Goodman led to a number of exhibitions in their spaces, the most successful being a solo show at Bergdorf Goodman Men, of 35 architectural images in 1996.

1996 saw the purchase of a townhouse in the Clinton Hill section of Brooklyn, where he established a studio and darkroom.

While in Provincetown, MA, in 2001, he began a study of the relationship between power lines and architecture. Forty eight images from this series were published as the book "Provincetown Lines" by St. James Workshop in 2004. He has been represented in Provincetown by Galleria Artemisia, Esmond - Wright Gallery and A Gallery. 

He was the director of the gallery Underbridge Pictures in the DUMBO section of Brooklyn from 2005 - 2008.

His interest in historic process has led to his current body of work: images created using the 19th- century process of Wet-Plate Collodion, creating images on metal plates (tintypes).

He shot tintypes for The New York Times fashion story “The New Victorians” in 2011.

He is represented in San Francisco by Robert Tat and had a successful show there titled “American Tintypes” in 2014.

He recently moved to Clavereack, NY, and is building a new daylight studio there.

His work is in the Polaroid Corporation collection and is in the Pfizer collection, the Kinsey Institute and many private collections.