Photographer Fabrice Lassort is the Edge of Humanity Magazine contributor of this photo essay. From the project ‘Mechanics’. To see Fabrice ’s body of work, click on any photograph.

Mechanics comes from car collectors’ reserves. This work was carried out during my Nouaison artist residency in the Saint-Émilion region. This work was carried out using a large pinhole camera with negatives measuring 50 × 66 cm. The positives are cyanotypes produced in natural light.

Démarches

I’ve always had a peculiar relationship with my photographic process.
As a pinhole photographer, I seek to be the true agent of my creation—to engage in a personal, tactile dialogue with the very matter I work with.
I need that physical connection, that raw, deliberate touch.

Crafted from wood, plastic, or metal, my cameras are blind by design—and so I become both the eye and the viewfinder.
For each place, a new pinhole. For each image, a different sensitive surface.

By setting up my darkrooms on-site, by embracing the weight of long exposures and the format’s constraints, I surrender to the place.
It’s the location that dictates the rhythm, and from this quiet communion, an image is born.

My photographs capture perceptions of time and light that unsettle our familiar bearings—as in solargraphy, or when the negative itself becomes the final image.
It is the beginning of my long journey with time—a time that erases the visible and reveals the unseen.