(Left) Viktoria Sorochinski’s series Poltavaland features the residents and the creative community of Poltava, Ukraine. The project was made before Covid, and the portraits are fascinating in their own right, but they take on a new urgency in 2025.

(Right) Nella Stücker’s images channeled little pieces of spirit and soul from Argentina. It’s a testament to a good project when it captivates while it’s still in the process of being resolved. We love meeting with artists who want to think through possible directions for a project during a review.

Two excerpts from the show On Country: Photography from Australia. James Tylor, painting over half his prints here. And Lisa Sorgini’s work The Bushfire, the Flood, on parenting during the age of global warming.

Keisha Scarville’s Alma, an exhibition exploring grief, reminded us that seeing work in person will never be rivaled by photographs on a screen. Shimmering light made her images feel like living entities emerging from the darkness, while the silhouettes of people walking through space seemed like apparitions.

Todd Hido — ​“I already know this work; I don’t need to see that show.” said Lisa, who conceded she was entirely wrong in that conclusion. Hido’s prints in-person are worth the trip.

During the Rencontres, truly, there are photographs in every nook, on every street corner. In Actes Sud, an hour easily disappears as you’re happily buried in photobooks.

Brandishing equally precious objects…