Lenscratch recently held its annual(-ish) call-for-projects, and the response was impressive. In total, there were over 500 submissions. We are eager to look through each of these entries and share some highlights over the months to come. Today I am in conversation with Constance Jaeggi about her collaborative project Escaramuza, the Poetics of Home. Constance Jaeggi
In the face of growing anti-immigrant sentiment, Sachiko Saito explores the struggles of the Kurdish community of Japan — building a nuanced portrayal of her neighbors as they grapple with identity, exclusion, and cultural survival.
Her timeless pictures reflect her ability to not only document specific moments, but to also create images that today – detached from the original occasion – reveal much more about the personality portrayed and the sensitive machinery of political staging. We spoke with the great photographer about her beginnings and her experiences.
In Adali Schell’s “New Paris,” which documents his family in the aftermath of death and divorce, individuals are more complicated than the worst thing happening to them.
As resistance to integration mounted, Florence Mars bought a camera and began to photograph thousands of subjects, including the trial of the killers of Emmett Till.
Earlier this year, I was able to participate in the New England Portfolio Review hosted by The Griffin Museum of Photography. I am always happy to sit down and discuss the creative work with other artists who are genuinely excited about what they are making. It is informative, rousing, and delightful. Over the next few days,
I recently had the pleasure of meeting Tracy L Chandler in person at ICP Photobook Fest in New York. In advance of that first hello, I did a close read of Tracy’s new book, A Poor Sort of Memory, released in September [2024] by Deadbeat Club, as well as a re-read of Tracy’s archive on
This week, we will be exploring projects inspired by memory, place, and/or intimacy. Today, we’ll be looking at Nic Umbs’s series Memento Vitae. I first met Nic Umbs at the 2019 Society of Photographic Education Midwest Conference in Milwaukee, WI. Before the world shut down, I was lucky to see his work in person, and
The White Line | by Rosa Rodriguez A vast ice desert unfolds, inhospitable and enigmatic, with untouched beauty. In the regions of Kulusuk and Qaanaaq in Greenland, Yamalia in Siberia, and Norwegia…
You can feel when everything is coming into place, the subject, the light and the mood. When you’ve captured that moment, it is very special, very exciting. The whole parade is like a kind of dance with strangers and you need to be at the rhythm of the street. Then it’s fun and challenging. Even when you miss the moment or are not seeing it, it’s ok, it will come soon enough. Patience is key and great photographs come from those who wait.
The darkroom has been an integral part of my practice, almost as important as taking photos, irretrievably connected. I tried digital in the past, but I was never satisfied with the results or the process. In front of the screen, it’s easy to be too controlling, to be perfect, it’s too mental. Analogue work is organic, you touch it, you smell it, you feel it
Not all painters use a paint brush. In the case of Peter Essick, he creates artful aerials with a drone and a particularly inspired vision. Essick has recently released a book of his efforts, Work In Progress, published by Fall Line Press. This four-year project of drone photographs of construction sites is an extraordinary re-seeing
Susan Lapides brings a lifetime of deep seeing to her photographs, straddling the editorial and fine art arenas with finesse and humanity. Her multi-year project of territory close to home, St. George: Ebb and Flow, opened as an exhibition at the Beaverbrook Art Gallery on August 2nd and will run through November 17th with an opening