Michael is a New York based documentary and portrait photographer. His visual story-telling approach is based on creatively adapting to the multi-faceted global work cultures of 21st century industries and corporations. In addition to more than a decade photographing behind the scenes of NASA and its aerospace contractors, Michael’s experience brings not only trust, but measurable skill in knowing how to photograph in secure, limited access work environments that result in both a visual sense of craft and unscripted humanity.
With an introduction by John Glenn, Simon & Schuster published Infinite Worlds, a coffee table book of Michael’s portraits and behind-the-scenes photographs on the labor and tools that saved the Hubble Space Telescope.
His work has appeared in media like Wired, Smithsonian Magazine, New Scientist, New York Times, Washington Post, NPR and Time.
Images from his decade long documentation of the New Horizons mission to Pluto appeared in Picador's Chasing New Horizons by Alan Stern and David Grinspoon.
Several images have also been published in Taschen's The NASA Archives: 60 Years in Space by Piers Bizony.
Eight mural size images from his series on astronaut space tools are in the permanent collection of the Smithsonian’s National Air & Space Museum.
He appeared on MSNBC's The Cycle interviewed by Ari Melber, Krystal Ball, Toure and Abby Huntsman.
Please refer to MEDIA > for additional publications, appearances and exhibitions.
Based on his participation in the historic STS 125 / Hubble SM4 mission, Michael received a NASA commendation— signed by NASA Administrator Charlie Bolden: "... for contributions that rival the best that NASA has achieved in innovation and overcoming challenges."
And, as a result of photographically documenting the New Horizons mission to the Pluto System since 2005, Soluri received a Group Achievement Award "for exceptional contributions in the successful completion of the initial reconnaissance of the Pluto system ..."
In honor of his project documentation of the New Horizon's mission to Pluto, the asteroid 2001 QL307 has been named "187981 Soluri"
Soluri is represented by Carrie Hannigan, of the New York based literary agency Hannigan Salky Getzler.
His corporate sponsors include: Canon USA, Legion/Moab papers, EIZO, Cineo Lighting, Glyph Technologies and LiveBooks.
In addition, Michael has been donating his photographic services for the Challenger Foundation since 2014.
I am a documentary photographer who explores obscure locations, objects and the behind-the-scenes of micro cultures in human and robotic space exploration ... on Earth.
On these journeys, the meaning of space exploration unfolds in many unanticipated ways. Self portraiture in space was one. Among the most revealing: an insightful conversation with Neil Armstrong who acknowledged his intent on consciously photographing his shadow in context to his Apollo 11 landing craft; guiding Scott Altman— the Commander of STS125 and John Grunsfeld, lead mission specialist on STS 125 Hubble SM4 and crew in documenting their mission while on orbit at the Hubble Space Telescope; visually exploring flown astronaut spaceflight tools as pieces of minimalist sculpture; discovering the profound in the year to year since 2005 and eventually the day to day documentation of New Horizons flyby mission of the Pluto system in 2015 with Principal Investigator Alan Stern and the New Horizon's science and engineering teams.
There's also the transcendent:
A film-based metaphysical exploration of surfaces and symbols in a high-walled trench under a historically restricted Apollo era launch pad in context to cave art.
Inaccessible to the public, the launch pad's cave like flame trench revealed a sublime record of fleeting, frozen-in-the-moment abstract forms, shadowed shapes and textured flaking surfaces from the decades of rocket exhaust flames and water from the Saturn V Apollo Moon and Space Shuttle eras.
Although technicians had hand painted imperfect + O 0 ⏥ ⎕ ☐ ⏤ often in black, white, and red ochre to reference structural changes or the need for utilitarian repairs in the flame trench before or after a shuttle launch, their archaeological context to similar color schemes found in early human cave art became evident.
Please see Evidence of Spaceflight ...On Earth > Flame Trench Series > Artist Statement