"Laurie Freitag is a self-taught, digital photographer making pictures with her iphone based in Los Angeles, California. Her early years, spent in the Bronx, Coney Island & Far Rockaway, influence her work with themes of family, childhood, memory & home.

After 20 years working behind the scenes in TV news, she took a buyout & went back to school where she took every Child Development class offered. She's been working the past 12 years as a nanny where she has intimate access to documenting children. Freitag says, "I enter their world. Watching them puts me into positions I could have never thought up. This latest series, 'In the Garden at Chislehurst' had me sitting very low as a 4 year old played in the dirt next to me. As I looked up, I found the wonder of the dracena trees above me. Those are the images that comprise this newest series."

Laurie's Chislehurst work is represented by Susan Spiritus at

Laurie's work has been sold numerous times to private collectors through YourDailyPhotograph via Daniel Miller of the Duncan Miller Gallery in Los Angeles. She was also recently invited to join the CollectorWorks Gallery. CollectorWorks, sponsored by Your Daily Photograph, is a hybrid gallery concept that combines virtual representation and in-person exhibitions.

Freitag is the Founder and Director of L.A. Photo Curator & N.Y. Photo Curator, online international competitions that promote emerging photographers with the added feature of philanthropy with 20% of each competition's fees donated to various charities.

She is also an independent curator curating for L.A. Photo Curator with the most recent 'Life's Work' competition and also the L.A. Photo Curator's Top 40 images 2019

Freitag was the featured speaker at Pasadena Photography Arts Forum: Photographic Influencers in 2019. Douglas Hill invited her to speak and show her work saying that, "...she is a leading light in the photographic community."

For information regarding editioned prints & lectures...
email Laurie at

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The Work:

'In the Garden at Chislehurst':

This work, 'In the Garden at Chislehurst' is my navigation
through 2020. My day job is a nanny and by entering the world of a four-year-old I was able to escape the stress of the pandemic and find a beautiful space in the garden, a reminder that beauty is always here for us, no matter what unfortunate circumstance is around us.

It raises the question, do we believe, as Einstein said, "Is the universe a friendly place?" I had forgotten that it was. The news was telling me everyday that it wasn't. So many
deaths. Every sneeze, every cough, was it the pandemic?
Was death closing in? How close could I get to another human? Would this child understand why I was masked, why he couldn't see my smile, why we couldn't hug? What
a way to live! 

I was lucky to be in a situation where we could be outside in nature and to remember how lucky I was to live in Los Angeles where we have access to nature most of the 365 days of the year. It was the nature and curiousity of a four-year-old that led me into the world of order and harmony, sunshine and flowers. 

As the child played in the dirt pretending to make berry pie, I looked up from my low vantage point and saw these dracaenas and captured the bounty of life above me. I leaned close to the stalks of dracaenas with my iPhone and entered another world.

'The Lost Years​':
"I have been working on 'The Lost Years' since 2012. It documents the years that most adults cannot remember, before the age of seven.

Working as a nanny I have intimate access to everyday life that makes up what appears as mundane moments, but in fact these moments are stories that define a life. I became the witness to these stories and I took on the honor on documenting them.

When I left my 20 year career in local TV news, I worked jobs here and there but nothing felt like I had hit the jackpot like when I became a nanny. I went back to school and took every Child Development class offered.

Working with infants and children watching them day to day, I was hit with the realization that these wonderful days filled with giggles and struggle would not be something the child would remember. I became a witness to their stories and took on the role of documenter.
When Covid-19 hit, we entered a bubble and I expanded my documenting to the children in that bubble.

Luckily the children had access to a large yard so they could just be kids. It will be interesting to see if, as adults, they remember what they are told of the pandemic, or of these days that I documented.

Laurie Freitag