Seamus Murphy tells Stephanie McBride that, when photographing Ireland, he was looking for what often goes unnoticed and unrecorded, what moves and surprises him
The figures in Clare Langan’s The Heart of a Tree become a metaphor for the precarity of existence in an age of environmental crisis and collapse, writes Stephanie McBride
Akihiko Okamura’s photographs show people persisting with some semblance of routine during wartime, when the unreal and absurd invade the everyday, writes Stephanie McBride
Stephanie McBride regards the work of an accomplished 19th-century photographer who sensitively recorded portraits of people and place
Betty Conlon’s photographs of Dublin’s historic market reveal living histories, writes Stephanie McBride
Debbie Godsell tells Stephanie McBride that she used natural light in her photographs of harvest displays in churches in Co Cork to portray as honest an image as possible
Stephanie McBride meets Dominic Turner whose art photography is created with a finesse reminiscent of a bygone age
Photographer and filmmaker Martin Healy tells Aidan Dunne how there’s something magical in using an analogue camera, ‘an alchemy’
Dianne Whyte’s images elevate the mundane and the overlooked with a sublime grace, writes Stephanie McBride
Mary Furlong tells Stephanie McBride how her photographic project with accompanying text delves into the memories of her childhood
Stephanie McBride looks at Sharon Murphy’s latest photographic series, which is informed by magic realism
Stephanie McBride finds that Andrew Nuding’s photobook Hunt the Wren mixes tradition and modernity, revitalising ways of belonging in place and history
For her ‘Life Imitating Art‚’ series, Jeanette Lowe tells Stephanie McBride that she looked at scenes in Dublin as Edward Hopper might and created images using him as her influence
Stephanie McBride looks at the work of Dublin-born photographer Alen MacWeeney
Roseanne Lynch’s images are an engagement with the act of seeing and the experience of light and space, writes Sarah Kelleher
Stephanie McBride regards Norman McCloskey’s unpeopled images that expose the West of Ireland landscape in all its temperaments
David Davison looks at the photographs in the last chapter of the National Library of Ireland’s recent digitisation project
Experimentation is very much a part of Linda Plunkett’s process and her new series seems something of a departure for her, but Stephanie McBride finds her approach is firmly rooted in her engagement with the natural landscape
Stephanie McBride explores Deirdre Brennan’s photographic response to James Joyce’s Ulysses
Stephanie McBride discovers that, like Banksy and French music duo Daft Punk, threadstories is using her own masked identity and anonymity as a riff on celebrity status, or an inversion of it
In a world where the analogue is routinely discarded, Aoife Shanahan’s explorations invite us to look more closely and more intensely at the image, writes Stephanie McBride
Using satellite imaging, photographer David Thomas Smith echoes the Arecibo radio message transmitted into deep space forty-five years ago, writes Stephanie McBride
James Fraher’s black-and-white images of Derrinlough Briquette Factory document the manufacturing process, from gathering the turf to the distribution of the polished bales, writes Stephanie McBride
The collection of 19th century stereo negatives of the Gap Girls of Dunloe in Kerry comprise a rare and unique body of work, writes Julian Campbell
Dianne Whyte’s images elevate the mundane and the overlooked with a sublime grace, writes Stephanie McBride
Ros Kavanagh tells Stephanie McBride how the influence of architecture permeates his photographic work
While the patterns set by drystone walls on Inishmore present a harmonious picture of land and occupant, Daragh Muldowney’s overarching concern is for the planet, writes Stephanie McBride
Eamonn Doyle’s portraits of Dubliners are unposed, untroubled by vanity and full of momentum, writes Stephanie McBride
