Ali Al Shehabi’s images of the Gulf kingdom dwell on the texture of a homeland he felt alienated from for most of his life.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-bahraini-photographer-returns-home
Ali Al Shehabi’s images of the Gulf kingdom dwell on the texture of a homeland he felt alienated from for most of his life.
https://www.newyorker.com/culture/photo-booth/a-bahraini-photographer-returns-home
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
via LENSCRATCH: http://lenscratch.com/2024/11/constance-jaeggi-escaramuza-the-poetics-of-home/
Through photographic portraiture, poetry, and in-depth interviews, Escaramuza, the Poetics of Home considers how the escaramuza tradition persists in the present-day United States, what it means for the identity of its Mexican and Mexican-American female practitioners, and how it fosters a profound sense of belonging
http://lenscratch.com/2024/11/constance-jaeggi-escaramuza-the-poetics-of-home/
“Widening the Lens” at the Carnegie Museum highlights the ways images can reveal the long-forgotten and unseen histories of ecology.
via Aperture: https://aperture.org/editorial/how-can-photography-shape-our-relationship-to-the-environment/
An exhibition in Pittsburgh highlights the ways images can reveal the long-forgotten and unseen histories of ecology.
https://aperture.org/editorial/how-can-photography-shape-our-relationship-to-the-environment/
https://www.lensculture.com/articles/sachiko-saito-dardo-is-a-kurdish-word-for-pain
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.
The Bigger Picture – The Leica camera Blog:
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.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-grandsons-urgent-chronicle-of-family-life-in-small-town-ohio
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.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/florence-mars-a-forgotten-eyewitness-to-civil-rights-era-mississippi
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.
A photographer took a road trip across the country during the Presidential race. What did he see?
via The New Yorker: https://www.newyorker.com/culture/photo-booth/living-in-the-shadow-of-an-american-election
For Nasseri, politics are, first and foremost, about people—their faces, their gestures, their often mundane interactions and environments—and he’s interested in exploring this theme even when not on explicitly newsy assignments. Luckily, the R.N.C. provided opportunities for additional discovery: instead of flying to the Convention, Nasseri decided to drive from Los Angeles to Milwaukee and back, spending three weeks on the road capturing what he encountered in some seventeen states. “I wanted to see how we live as Americans in the shadow of the Presidential election,” he told me recently.
https://www.newyorker.com/culture/photo-booth/living-in-the-shadow-of-an-american-election
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,
via LENSCRATCH: http://lenscratch.com/2024/10/new-england-portfolio-review-ann-hermes-local-newsrooms/
AH: I’ve been a newspaper photographer for nearly 15 years and the early part of my career was spent in local newsrooms, so I understand how they work and what to highlight. I known to look for the police scanner, I know to ask where the newspaper morgue is and I know that I can usually find a bottle of whiskey in the office supply closet.
http://lenscratch.com/2024/10/new-england-portfolio-review-ann-hermes-local-newsrooms/
In the eighties, the Puerto Rican photographer Ricky Flores captured the parties and the people that shaped his teen-age years.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-bronx-family-album-from-hip-hops-early-days
“The bastards,” Flores said, when I spoke with him recently. “They used my shit as source material, and all they gave me was a free subscription to The New Republic.” They gave him no credit, and little compensation. But Flores kept capturing images of his neighborhood, and beyond
https://www.newyorker.com/culture/photo-booth/a-bronx-family-album-from-hip-hops-early-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
via LENSCRATCH: http://lenscratch.com/2024/10/a-poor-sort-of-memory-by-tracy-l-chandler/
The work has definitely evolved over time. It initially started with a personal journey of self inquiry in an effort to preserve my past, but the camera revealed the limited subjectivity of both memory and photography. As I revisited sites of specific memory, things would not be quite as I remembered, small details were amiss, and the camera framed more out than in
http://lenscratch.com/2024/10/a-poor-sort-of-memory-by-tracy-l-chandler/
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
via LENSCRATCH: http://lenscratch.com/2024/09/nic-umbs-memento-vitae/
I just have to accept that not everything can be recorded factually. To me, this helps to break down the idea that photography is truth, where most well-captured images, even ones showcasing a profound intimacy with their subject, lack the entire story. I feel that our histories will all fall victim to time’s eternal melt, despite how hard we try to preserve them. That, however, will not stop me from attempting to capture and share moments worth remembering.
Three Ukrainian photographers featured in the show “Essential Goods” share how Russia’s full-scale invasion has changed their lives.
via Aperture: https://aperture.org/editorial/a-collective-portrait-of-contemporary-ukraine/
Three Ukrainian photographers speak about how Russia’s full-scale invasion has changed their lives and work—and how Ukrainian identity itself has been transformed by the war.
https://aperture.org/editorial/a-collective-portrait-of-contemporary-ukraine/
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…
via burn magazine: https://www.burnmagazine.org/essays/2022/06/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 Norwegian and Finnish Lapland
https://www.burnmagazine.org/essays/2022/06/the-white-line-by-rosa-rodriguez/
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
For “Big Sky,” the Australian photographer Adam Ferguson went in search of his own country, and found a place he both did and didn’t know.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/the-outback-observed-and-transformed
Many of Ferguson’s photographs appear to be of the moment between someone making a decision and their next move, but the images also reveal a certain helplessness, as though the people in them have not reached this point entirely by choice. Climate change will do that to a person at the mercy of rain; as will the need for love
https://www.newyorker.com/culture/photo-booth/the-outback-observed-and-transformed
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
via LENSCRATCH: http://lenscratch.com/2024/09/peter-essick-work-in-progress/
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 of the Atlanta Metro
http://lenscratch.com/2024/09/peter-essick-work-in-progress/
In remote Kazakhstan, the photographer Andrew McConnell captured the places where astronauts return to Earth.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/out-of-the-sky
What I see in McConnell’s photographs is the Soviet empire receding. In its wake it leaves monuments to its hubris and carelessness. Chernobyl, in Ukraine, is one such monument; the naval base at Sevastopol, which Russia has retained by annexing Crimea, is another. With regard to Baikonur, the Russians have largely squandered the incredible work done during the Soviet period
https://www.newyorker.com/culture/photo-booth/out-of-the-sky
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
via LENSCRATCH: http://lenscratch.com/2024/09/susan-lapides-2/
Susan Lapides has the intuition and courage to give St. George and its inhabitants an honest visual record of themselves to spectacular effect. Her photographs transport us to that polished blue horizon, those fishers, and the humanity of the citizens, all ebbing and flowing as they always will.