REID SAMUEL YALOM is a Northern California photographer, whose work has been widely published and exhibited. He began taking pictures as a teenager and took courses through-out his time as an undergraduate, first at Bowdoin College then at Stanford University under the direction of Leo Holub where he graduated with a degree in Philosophy in 1978. He continued his education with a degree in International Relations at the Monterey Institute in 1983. In 1989, Reid rededicated himself to photography, taking courses at UC California extension, where he studied with photographer Mark Citret. Reid became Mark Citret’s photo assistant for the next 5 years and with his tutelage learned large format photography and the fine art of black and white printing.


THE AMERICAN RESTING PLACE: A HISTORY OF AMERICAN CEMETERIES w/writer Marilyn Yalom, Houghton Mifflin 2008 (82 black and white images). This book was recently reviewed in such publications as: Camerawork’s Journal, Newsweek, Washington Post, NY Times OP-ED, SF Chronicle, Honolulu Observer and other publications.

COLONIAL NOIR: IMAGES FROM MEXICO Stanford University Press 2004, a monograph of 72 duotones. A highly personal series of images that combine visual elements of Film Noir, Surrealism and Modernism, and attempts to capture some of the visual elements of Latin American fiction’s magical realism. These images reflect on Mexico’s unique colonial heritage as a mestizo society and on how this past and the present coexist.

(IN PROGRESS) COLONIAL LEGACY: VIETNAM this current project focuses on the influence of the French colonial period in Vietnam by focusing on remaining infrastructure and architecture with a particular emphasis on Prisons and Churches.


2010 Thessaloniki Museum Photo-Biennale “The American Resting Place”
2008 Mission House Museum, Hawaii “The American Resting Place”
2008 Michelle Clayman Institute, Stanford University, “The AmericanResting Place”
2008 Mechanics Library, SF “The American Resting Place”
2008 Marin Osher JCC “The American Resting Place”
2005 Bolinas Museum. “Forces of Nature”
2004 Scott Nichols Gallery, SF, “Colonial Noir”
2003 Bank of America Hdq.Building, SF “California Landscapes”
2002 Scott Nichols Gallery, San Francisco. “Travels in the Industrial Age”
2000 SK Josefsberg Studio, Portland, OR. “Selected Works”
2000 Scott Nichols Gallery, San Francisco. “Modern Images”
1997 Portland State University, “Works from Mexico and Indonesia”
1997 Sightings Gallery, San Francisco. “Images from Mexico”
1996 Vision Gallery, San Francisco. “Works from Indonesia and America”

2008 Scott Nichols Gallery, SF, Gallery Exhibit “Images of Mexico”
2007 Padova, Italy, “On the Breast”
2006 Candace Dwan Gallery, Katonah New York, “Gallery Artists”
2004 Corcoran Museum of Art. Group exhibition: “Common Ground: Discovering community in 150 years of art, Selections from the Collection of Judy Norrell.
2000 Vision Gallery, Jerusalem. Selected Gallery Artists
1998 Paul Kopeikin Gallery Los Angeles. “At the Circus”
1995 Oakland Museum. “Architecture in Focus”
1994 Aura Gallery, Santa Fe, NM.
1992 Robert Koch Gallery, "Fire and the Aftermath"

MAGAZINES AND NEWSPAPERS: Popular Photography, Black and White Magazine, Art Week, Wired, Historic Traveler, Zyzzyva, Self, San Jose Mercury News, INC Magazine, Mirabella, Solon Online, The Industry Standard, San Francisco Chronicle Magazine, Cameraworks Journal, Honolulu Star Bulletin, The Washington Post, New York Observer
RADIO, TELEVISION AND WEBSITES: KQED –Michael Krasny, FORUM (live-podcast),KALW – Sedge Thompson, West Coast Live (live),KRON4 – Henry Tenenbaum, News Weekend (live),WYNC.ORG (website) (website) (website)
COLLECTIONS: Corcoran Gallery of Art, Yale Gallery of Art, Fischer Collection/Banana Republic, Bancroft Library/UC Berkeley, US State Department/ Embassy Division. Chiron Corp., Intuit Corp., Alga Corp., Wells Fargo Bank, Private collections include: Judy Norrell, Steve and Lorene Jobs, Pam Bonino, Julius and Ann Kaplan, Bill and Lia Poorvu

END NOTESI love many aspects of photography: the time spent seeing and photographing in the field close to home or overseas; the time developing the negatives and prints, continually adding to the creative process; the mounting of exhibitions or creation of books where there is the ability to create larger narratives as the connections between images can be seen and accentuated.