In the early nineties, I worked briefly as an assistant editor at Aperture, a job that involved considering unsolicited submissions of photographs. It was my good fortune that one such set of submissions was delivered to the office by the photographer himself, Milton Rogovin, and his wife, Anne, a writer and teacher. They lived in Buffalo, Anne’s home town, where Milton, a Jewish New York City native, born in 1909, was once a practicing optometrist and had long been photographing residents of his adoptive city’s relatively poor neighborhoods. The Rogovins brought a batch of his recent photos, from Buffalo’s Lower West Side, near where he had an optometry practice; some of his earlier work had been published by Aperture, and I hoped the same would happen with these newer images. It didn’t happen, but a spate of books from other publishers nonetheless followed, starting in 1994, showcasing an extraordinary body of work and with it an extraordinary couple—Milton wielded the camera, but the life project that his images embodied was a joint venture of his and Anne’s.