Harry Williams is a San Francisco-based photographer dedicated to capturing the unseen narratives of marginalized communities. Originally from rural Ohio, he developed an early appreciation for storytelling through imagery, which led him to pursue a degree in photography at The Ohio State University, graduating in 1995.

In 1999, Williams sold all his possessions to travel through Southeast Asia, embarking on a year-long journey that deepened his commitment to documentary photography. Since then, his work has centered on street photography, with a particular focus on marginalized and indigenous communities both abroad and in the U.S.

His current project in San Francisco’s Tenderloin district transforms the streets into a living gallery, wheat-pasting large-scale portraits of local residents on Jones and Ellis Street, as well as 6th Street. These installations challenge common perceptions of the neighborhood, offering a dignified and uplifting portrayal of its residents. Every few months, Williams refreshes the images, ensuring the work remains a reflection of the people who live there. Alongside this, he distributes small printed portraits to community members, reinforcing a personal and reciprocal approach to photography.

Williams’ work has been exhibited in The DeYoung Open 2023 and Metaphors of Recent Times at San Francisco City Hall. He has shown and been published internationally, with an upcoming exhibition in Beijing expanding his global reach.

Through his photography, Williams seeks to foster connection, challenge stereotypes, and amplify the voices of those often overlooked.

ARTIST’S STATEMENT

My work is about light, shadow, and texture—the elements that define not just an image, but the way we feel it. I want my photographs to extend beyond the frame, to reach out and touch the viewer, to carry the weight of a moment in the details of a face, the grain of a wall, or the way light cuts through a city street.

I move between subjects like turning the dial on a radio, shifting frequencies from intimate close-up portraits to the quiet solitude of San Francisco’s streets. One moment, I’m capturing the depth of a person’s gaze or the story etched into their hands; the next, I’m drawn to the fog rolling through empty avenues, the glow of neon reflected on wet pavement, or a burnt tree standing in stark contrast to the sky. Each scene is part of a larger rhythm—portraits of people and portraits of place, woven together by a common thread.

If you placed my images side by side—a weathered hand, a charred tree, a timeless San Francisco street scene—you would know they were all mine. Not just because of the subjects, but because of the feeling within them. My photography is about more than what is seen—it’s about what lingers, what stays with you long after you look away.