Crossing Over: Immigration Stories is a storytelling documentary made by Jackie Neale using the historical photographic process, cyanotype (made popular by Anna Atkins), to create large format anonymous portraits that accompany audio interviews with immigrants, descendants of immigrants, and asylum seekers living either on the border of Mexico, within Mexico, and Europe in Northern and Southern Italy and Malta; an epicenter of asylum seeker and refugee entries. This project intends to discuss immigration in various forms and the pursuit of residence, citizenship, education, asylum seeking, migrant farming, and the process of crossing over in the immigration process. All stories are personal and meaningful. When you listen, you learn. When you learn, you see. You can see a deeper humanity, a deeper thread, a common ground. Please continue to StoryCorps Archive to listen to their oral histories and stay tuned to my Social Channels for exhibition dates around the world. Upcoming viewing will be at Spazju Kreattiv in Capital City Valletta, Malta 5/13/2023–6/15/2023. Opening Reception 5/18/2023. Interview Audio: https://archive.storycorps.org/communities/crossing-over-immigration-stories/

The Union Gospel is Dejha Colantuono and Mike Squires, a prolific and powerful rock band from Brooklyn, NY. Photographed for their forthcoming album which is self titled.

Threading needles through analog formats and pushing the capacities of digital negatives culminate in these beautiful and stackable plexiglass and metal works. As the plexis and metal pieces layer against and in front of each other a visual illusion replicating the real life romance of subways threading through peoples lives like ships passing in the night.

Producer and Director Christian Ditlev Bruun from Ditlev Films.

#SubwaySeriesII - the second series of #SubwaySeries photographed over 2015-2016 Original Project ethos from book published 2015: If captured at the right time, an image can become a relic, and always becomes an artifact/historical document of the time. A suspension of time. The irony of the constant motion of the subway and being on it and suspending it in time permanently appeals to me on the daily. #SubwaySeries is presented in the order in which the photographs were posted to my Instagram account, @jackiephotog. I posted these in the spur of the moment, with these exact comments, and was confined strictly to the crude, inflexible limitations of Instagram at the time, 2012–13. I was strict with myself to remain rudimentary. Instagram is a consumer mobile photography phone “app” that allows people to share daily photographic journals with friends and strangers. Just from the hashtag, #SubwaySeries, I found like-minded photographers shooting the subway travel phenomenon, and they became instant virtual inspirations. Since this project began, iPhone technology has advanced and Instagram has changed. This is a time capsule in the history of new photography and technology, on top of being a photographic time capsule of 2012–13 in New York City. // FOREWORD by Charles W. Bechtel - Mesa, Arizona 2014 A universe contained in a metal tube hurtling down steel tracks, and for a brief while it hosts specters, strange ghosts that appear real, but which are vague shadows of others from other worlds. When each steps onto a car of the New York subway, each undergoes a metamorphosis, a conversion into someone retracted, the outer shell hardly capable of revealing what is buried deep inside. Each is an island, entire of itself. Each may be part of the continent of humanity, but something in the pneumatic shush of the closing doors cuts all off from the main. They sit alone, they stay alone, they turn away, they turn inward. Jackie Neale captures ghosts in haunting black and white, the medium itself extracting, reductionist, in the same manner of the train. All of her subjects make the effort to disappear, to disconnect, yet the lens of her camera seeks them, follows them into their privacies, and by doing so draws out the flickers of humanity still on their skins. A man turns toward his destination, his heart, mind, and senses already there rather than here. A woman locked away by her culture and language further retreats into cataloging her purchases. A child, who already knows loneliness, may be staring at this woman with a camera, but probably not. And everywhere: the ubiquitous preferred estrangement of iPods, the salvation of sounds in a wordless world. Every one a person with somewhere to get, and not one who is where they are. //

#SubwaySeriesIII - the third series of #SubwaySeries taken over 2016. Original Project ethos from book published 2015: If captured at the right time, an image can become a relic, and always becomes an artifact/historical document of the time. A suspension of time. The irony of the constant motion of the subway and being on it and suspending it in time permanently appeals to me on the daily. #SubwaySeries is presented in the order in which the photographs were posted to my Instagram account, @jackiephotog. I posted these in the spur of the moment, with these exact comments, and was confined strictly to the crude, inflexible limitations of Instagram at the time, 2012–13. I was strict with myself to remain rudimentary. Instagram is a consumer mobile photography phone “app” that allows people to share daily photographic journals with friends and strangers. Just from the hashtag, #SubwaySeries, I found like-minded photographers shooting the subway travel phenomenon, and they became instant virtual inspirations. Since this project began, iPhone technology has advanced and Instagram has changed. This is a time capsule in the history of new photography and technology, on top of being a photographic time capsule of 2012–13 in New York City. // FOREWORD by Charles W. Bechtel - Mesa, Arizona 2014 A universe contained in a metal tube hurtling down steel tracks, and for a brief while it hosts specters, strange ghosts that appear real, but which are vague shadows of others from other worlds. When each steps onto a car of the New York subway, each undergoes a metamorphosis, a conversion into someone retracted, the outer shell hardly capable of revealing what is buried deep inside. Each is an island, entire of itself. Each may be part of the continent of humanity, but something in the pneumatic shush of the closing doors cuts all off from the main. They sit alone, they stay alone, they turn away, they turn inward. Jackie Neale captures ghosts in haunting black and white, the medium itself extracting, reductionist, in the same manner of the train. All of her subjects make the effort to disappear, to disconnect, yet the lens of her camera seeks them, follows them into their privacies, and by doing so draws out the flickers of humanity still on their skins. A man turns toward his destination, his heart, mind, and senses already there rather than here. A woman locked away by her culture and language further retreats into cataloging her purchases. A child, who already knows loneliness, may be staring at this woman with a camera, but probably not. And everywhere: the ubiquitous preferred estrangement of iPods, the salvation of sounds in a wordless world. Every one a person with somewhere to get, and not one who is where they are. //

Original set taken 2012-13 within the rigid technologies of Instagram of the time. In 2015 the technology progressively became more flexible, and maintained a higher, better quality image file upon uploading to the platform. Enabling a more beautiful image tonality, with less compression allowing for larger output. Original Project ethos from book published 2015: If captured at the right time, an image can become a relic, and always becomes an artifact/historical document of the time. A suspension of time. The irony of the constant motion of the subway and being on it and suspending it in time permanently appeals to me on the daily. #SubwaySeries is presented in the order in which the photographs were posted to my Instagram account, @jackiephotog. I posted these in the spur of the moment, with these exact comments, and was confined strictly to the crude, inflexible limitations of Instagram at the time, 2012-13. I was strict with myself to remain rudimentary. Instagram is a consumer mobile photography phone “app” that allows people to share daily photographic journals with friends and strangers. Just from the hashtag, #SubwaySeries, I found like-minded photographers shooting the subway travel phenomenon, and they became instant virtual inspirations. Since this project began, iPhone technology has advanced and Instagram has changed. This is a time capsule in the history of new photography and technology, on top of being a photographic time capsule of 2012–13 in New York City. FOREWORD Charles W. Bechtel - Mesa, Arizona 2014 A universe contained in a metal tube hurtling down steel tracks, and for a brief while it hosts specters, strange ghosts that appear real, but which are vague shadows of others from other worlds. When each steps onto a car of the New York subway, each undergoes a metamorphosis, a conversion into someone retracted, the outer shell hardly capable of revealing what is buried deep inside. Each is an island, entire of itself. Each may be part of the continent of humanity, but something in the pneumatic shush of the closing doors cuts all off from the main. They sit alone, they stay alone, they turn away, they turn inward. Jackie Neale captures ghosts in haunting black and white, the medium itself extracting, reductionist, in the same manner of the train. All of her subjects make the effort to disappear, to disconnect, yet the lens of her camera seeks them, follows them into their privacies, and by doing so draws out the flickers of humanity still on their skins. A man turns toward his destination, his heart, mind, and senses already there rather than here. A woman locked away by her culture and language further retreats into cataloging her purchases. A child, who already knows loneliness, may be staring at this woman with a camera, but probably not. And everywhere: the ubiquitous preferred estrangement of iPods, the salvation of sounds in a wordless world. Every one a person with somewhere to get, and not one who is where they are.

SCROLL DOWN TO SEE THE PHOTOS I admire provincial lifestyles. They feel community-centric. They seem to need a lot less than metropolitan cities. But most of all, the lives of individuals seem to not be complicated with traveling for long distances everyday and dealing with crowded public transportation or hot asphalt playgrounds or aggravated locals for the aforementioned reasons. They seem to not have to make an astronomical wage or work long and hard hours to afford an efficiency apartment. But rather have a good amount of space to move around from bedroom to kitchen to living room. To have a parking space, and a grill. I desire that so much. To feel like the money I work hard to earn is enough for simple comfort. But it’s not. So I dream of a simple life. One not too far, distance-wise, from my own. I conspire with myself of how I could pull it off and keep working on what I love, photography. I spend weeks in places that I believe would bring great joy if I were to move there. But then I realize, my happiness lies in multiple facets of life. One facet would be where I reside. My dwelling. What the space is and where it is located. I’ll say it, it’s by the beach, in a small community known as Ocean City, NJ. Even better, a smaller community, Strathmere, NJ where the population can be counted within the time it takes to crack a beer. That’s where I want to live. Another facet to my happiness is my family and friends. Where are the majority? Within 60 minutes of my above happiness facet and within 90-180 minutes of my below happiness facet. They all live around Philadelphia, PA. Here I find great happiness in holidays, birthday parties, weekend town festivals, and last minute porch gatherings. I love my Mom, my brother and sister and my extended family so much. I really feel such satisfaction seeing them often. Witnessing life together. And finally, the facet that dictates the rest, I get great satisfaction and intellectual stimulation from my career. It’s not a job, it’s a career. What do I mean by that? I mean that, my financial support comes from my choice to work in a place where I can use my most prized skill, photography. I get to do it, day in, day out. Further, I am so lucky that i now work on a creative team where we are asked to dream up ways to engage the world with our institution through audio and visual based features. When I say visual, this means either video or photography. If I am not shooting the photography, I am working closely with the photographers to see through the vision. Beyond that, in this facet, I work on commissioned outside projects and am hired to photograph outside personalities, to write photography books, and to teach at an accredited school in NYC. I LOVE IT! I do. I work so hard. And it all happens…so far from my other two facets. It’s like I am in a different world entirely from the other two... Read the whole project statement here: http://www.jackiephoto.com/2014/07/22/third-facet-of-happiness/

11x14 Prints sold in limited editions of 10 for $175

Washington, D.C. January 21, 2017 - Women's March on D.C.. The Women's March in Washington D.C. was a protest on January 21, 2017 to advocate for human rights, women's rights, LBGQT rights, immigration reform, healthcare reform, reproductive rights, environmental concerns, racial equality, and freedom of religion, among others. With the inauguration of 45th United States President Donald Trump this march was in direct reaction to the actions of Trump.

Art Reproduction Photography Portfolio

✨I'm Sorry | I Love You | Thank You✨ Grids of 9 beautiful Gelatin Silver Prints Of 25 People and Counting ReEmergence - A Group Exhibition June 2022–April 2023 NJ State Museum - @nj_statemuseum 205 West State Street Trenton, NJ This work documents and shares the expressions while saying words that I feel, after 3 years of a worldwide epidemic, we should say more often to those we care for. I now refuse to wait one second before expressing these words. Who knows what tomorrow brings? Love, care, gratitude, why would ever hold that back? I can no longer find a good reason to ever.

Bullet the Blue Sky - This body of work is a branching off of my larger fabric cyanotype series exploring immigration and assimilation, the series, Bullet the Blue Sky explores my cultural heritage as an Italian-American, and its progression through initial cultural rejection to assimilation of "white" cultural tendencies, and then an appropriation of ill-fitting patriotism. The use of the American Flag as symbolism in its distressed form (upside down) in each piece, I incorporate various symbols ranging from cultural symbols of Italian-Americanism to cultural oppression of those with a uterus to symbols of patriotism/service often used to justify violence and weapons. Each piece independently expresses a struggle with patriotism as a whole, but mostly an expression of disbelief of the hypocrisies within my surrounding and upbringing in the US.