Sam Wolson is a visual storyteller whose works at the intersection of documentary and emerging technology. He currently serves as the Visual Features Editor at The New Yorker, an advisor at Agog, and a director, photographer, and journalist. His projects have premiered at major festivals including Sundance, Venice, and SXSW. Notable credits include co-directing We Who Remain, the first character-driven VR film shot in an active warzone. His immersive project Reeducated earned both a Peabody Award and an Emmy, and his interactive documentary Cleared by Fire won a second Peabody Award in 2026.
Sam Wolson is a visual storyteller and director working at the intersection of documentary journalism and immersive technology. Currently serving as Visual Features Editor at The New Yorker and an advisor at Agog, Wolson has spent nearly two decades documenting global events, first as an international photojournalist working and living across sub-Saharan and North Africa, and increasingly as a pioneer of immersive and interactive narrative forms.
Wolson's early career took him across the world as a documentary photographer and filmmaker for editorial outlets including the San Francisco Chronicle, Newsweek, and The New York Times. He attended the prestigious Eddie Adams Workshop early in his career, and was later a member of the French photo agency VU'. This foundation in traditional photojournalism would shape his later turn toward experimental storytelling.
In 2017, Wolson co-directed "We Who Remain," a VR film. Shot in Sudan's Nuba Mountains during an active conflict, it was the first character-driven narrative VR experience filmed in a warzone. The project premiered at SXSW and won Best VR Film at the Seattle International Film Festival, establishing Wolson's reputation for executing technically ambitious work in challenging circumstances. It was a collaboration between The New York Times, AJ+, and ARTE, and with VR pioneer Nonny De La Peña. That same year, he also contributed several projects to The New York Times' pioneering Daily 360 project.
In 2018, Wolson worked with National Geographic on "The Okavango Experience," a four-part VR series following conservationists on an expedition across the Okavango Delta in Botswana.
In 2019, Wolson was part of a team that received a National Geographic Society grant for "Documenting Human Migrations," creating educational materials that became part of a pioneering climate justice curriculum used in schools across Scotland. That same year, he received a Knight Foundation grant for immersive journalism exploring field-deployable volumetric video capture technology techniques that would later be deployed during the Sudanese revolution.
In 2020, Wolson co-directed an experimental documentary about Fukushima that premiered at Sundance. That same year, he began work on "Reeducated," a VR film about Xinjiang's detention camps for Uyghurs and other predominantly Muslim minorities. Funded by the Knight Foundation, the Pulitzer Center, and The New Yorker, the project combined firsthand testimony and immersive cinematography to offer viewers an unprecedented window into a system deliberately obscured from international scrutiny.
"Reeducated" premiered in 2021 to widespread critical acclaim. Recognition followed from across the industry: a Special Jury Prize at New Images Festival, the VRHAMMY Grand Prize, and recognition from the ONA Awards for Excellence in Immersive Storytelling. In 2022, the film earned both a Peabody Award and an Emmy for Outstanding Interactive Media, as well as accolades from the Overseas Press Club and the Deadline Club.
Wolson joined The New Yorker's staff in 2023 as Visual Features Editor. In 2024, he extended his reach into audio-visual storytelling, co-creating the interactive component of "In the Dark: Season 3," an investigative audio documentary series. The series won the Pulitzer Prize for Audio Reporting, with Wolson's immersive web experience, Cleared by Fire, which went on to win his second Peabody Award.
At The New Yorker, Wolson has continued to push the boundaries of interactive storytelling, introducing cutting-edge tools and techniques to the 100-year-old institution for ongoing documentary projects.
Wolson grew up on a flower farm in suburban Detroit and currently resides in New York City.
You can now make a virtual replica of a loved one. The question is what it can give you in return.
In an interactive story, a civilian in Tehran chronicles a country trapped between bombardment and repression — too terrorized to move, let alone start an uprising.
Under the cover of an internet blackout, Iranian security forces killed hundreds of demonstrators. Only now are details of the carnage starting to emerge.
After the ceasefire, many Palestinians who were displaced during the war are still grieving the homes they can't return to—and which they often had to evacuate in minutes.
Video for Helen Rosner's restaurant review of I Cavallini, the new Italian spot from the Four Horsemen team in Williamsburg, Brooklyn.
The Interactives Visual Features Editor discusses the intersection of VR, interactive design, documentary work, and reporting.
After President Trump issued an executive order restricting access to gender-affirming care for minors, one family made the difficult choice to relocate to Mexico City.
A behind-the-scenes look at the visual storytelling behind the acclaimed Broadway musical.
Can Danny Meyer make the View transcend its touristy gimmick?
Simpson's wryly evasive photos, films, collages—and now paintings—peel back the layers of our looking.
An illustrated interactive documentary that uses 3D reconstructions of witness testimony to investigate the killing of 24 civilians by U.S. Marines during the Iraq War.
When U.S. Marines killed twenty-four people in an Iraqi town, they also recorded the aftermath of their actions. For years, the military tried to keep these photos from the public.
When Israel invaded Kamal Al-Mashharawi's neighborhood, he crowded into a basement with his extended family. "The world is closing in on us," he wrote on WhatsApp.
The artist arches an eyebrow at our robot overlords in the magazine's first AI-themed interactive cover, inviting readers to generate their own New Yorker covers.
Doctors in southern Gaza are overwhelmed by the dead and the wounded—and by displaced Palestinians sleeping on the floor.
China has invested heavily in an armada of far-flung fishing vessels, in part to extend its global influence. This maritime expansion has come at grave human cost.
Wong Kar Wai's 2000 masterwork has influenced filmmakers ranging from Barry Jenkins to Sofia Coppola—and innumerable teens on TikTok.
The pop singer's trial for copyright infringement of Marvin Gaye and Ed Townsend's "Let's Get It On" highlights how hard it is to draw the property lines of pop.
The magazine publishes its first synesthetic, collaborative, and interactive cover — a piece that merges sound, color, and motion in a single visual experience.
A new satellite, funded by a nonprofit, aims to pinpoint emissions of methane—a gas that plays a major role in global warming.
Three iconic Tatooine filming locations still standing in Tunisia — the Lars Homestead dome, Hotel Sidi Idriss in Matmata, and the Mos Espa marketplace — brought to life in an immersive 3D virtual tour for the 45th anniversary of A New Hope.
A new film takes viewers inside Xinjiang's secret detention camps for Uighurs and other predominantly Muslim minorities.
"Reeducated offers a glimpse into a horrifying world obscured from public view. … It's a striking piece of 360 cinema that makes a clear argument for the unique affordances of immersive formats for telling stories."
— SXSW Virtual Cinema Jury, 2021An in-depth interview on the making of Reeducated, a VR documentary that takes viewers inside Xinjiang's reeducation camps through the recollections of three former detainees.
Survivors detail the scope of China's campaign of persecution against ethnic and religious minorities.
Portraits commissioned by The New Yorker for Inside Xinjiang's Prison State.
A 360-degree immersive documentary evoking life in Fukushima ten years after the 2011 nuclear disaster — shot in the exclusion zone with photogrammetry recreations of the Daiichi plant control room.
A collection of portrait and single images from projects and publications worldwide.
An open-source multi-camera volumetric video system built to make field-friendly volumetric capture accessible to journalists and storytellers — freeing the technology from studio environments for the first time.
A 4-part VR series following a team of conservationists on an expedition across the Okavango Delta in Botswana, one of the last surviving wetland wildernesses on the planet.
For years, activists have been protesting the expansion of coal mining in the Hambach Forest in Germany by living in treehouses.
Enter Hallstatt, Austria, a small town in the Alps, and its replica in southern China in 360 video.
Here are three ways to spy wildlife, large and small, in the Laikipia region of Kenya.
While reporting at Sweetwaters Chimpanzee Sanctuary in Kenya, a chimp stole Sam Wolson's camera. What resulted: an extended 360 selfie.
An immersive experience that takes you into the heart of a forgotten conflict in the Nuba Mountains of Sudan.
Behind the scenes making We Who Remain in the Nuba mountains of Sudan.
Behind the scenes on the Okavango Experience series for National Geographic.
Inside the artisanal cobalt mines of the Democratic Republic of Congo, which supply the raw materials for the world's electronics.
John Colone, the unofficial mayor of Hell, Mich., has put Hell up for sale. He's run the roadside attraction for 18 years, exploiting nearly every joke imaginable.
From giraffe kisses to country music, spend some time with the delights of Kenya's capital.
Urbanization and drought have depleted pastureland around Kenya's capital, leaving cattle to graze along highways and in cemeteries of the city.
Mathare settlement, Nairobi — one of Kenya's largest informal slums, home to an estimated 400,000 people.
The Rwandan cycling team and international development — turning young men and women of humble origins into world-class athletes.
A long-form photo essay following Shanon Fulcher through the ups and downs of life in Oakland over three years.
BLM coverage for the San Francisco Chronicle — lyrical, confusing, ghostly images invoking the spirit of protest and the slow nature of social change.
An interview about documentary photography, e-waste in Kenya, early influences, and the cross-section between beauty and impact — conducted walking around Lake Merritt in Oakland.
Exploring the meaning of a cliché.
Electronic waste in Kenya — the country's fastest-growing waste stream, hidden inside a system that profits from discarded technology.
Transportation in Bogotá, São Paulo, and Nairobi — exploring how cities of the global south move more than half the world's population.
Reymond Mapakata travels from his cramped life at the Central Methodist Church in Johannesburg to his home village in Zimbabwe.
Burning Man — shot for Slate Magazine in the Black Rock Desert of Nevada.