Photographers Nadia Lee Cohen and Scarlett Carlos Clarke have released Podunk, a collaborative photobook that reframes femininity and motherhood through a surreal, cinematic lens. Published by IDEA Books, the project merges analogue process with narrative photography, positioning the book within contemporary image-making discourse.
Analogue Process and Desert Minimalism
Shot in Lancaster, California, Podunk draws on the visual language of isolation embedded in its title. The term, often used to describe an insignificant or remote town, informs both the setting and conceptual tone. As a result, the Mojave Desert landscape becomes an active component of the work’s atmosphere.
The project comprises 128 stills extracted from Super 8 film, marking a deliberate departure from Carlos Clarke’s typically saturated aesthetic. Instead, the images adopt a restrained, monochromatic quality. Consequently, the work evokes the texture of experimental cinema rather than conventional fashion or editorial photography.
The photographers told Dazed, the spontaneous, freezing desert shoot captured a distinctly “matriarchal” energy. “The stills felt like a black and white art movie,” Cohen noted. “There was something matriarchal about the whole thing—not a grown man in sight.”
Cinematic Reference and Thematic Framing
The decision to launch the book in Japan reflects a clear cinematic influence. Cohen drew a parallel between Podunk and Onibaba, a film centered on women navigating survival in the absence of men. Therefore, the project situates its narrative within a lineage of female-driven storytelling shaped by tension and resilience.
This thematic alignment informed the choice of Tokyo as the site of the book’s debut. The launch took place at Dover Street Market Ginza, reinforcing the connection between the project’s visual language and its cultural references. As a result, the exhibition context extended the book’s narrative beyond print into spatial experience.
Collaborative Practice and Image Authenticity
Cohen and Carlos Clarke’s decade-long friendship underpins the project’s methodology. This established trust enabled a stripped-back production process, where a minimal crew and analogue tools replaced conventional commercial workflows. Moreover, the decision to shoot on Super 8 film introduced unpredictability into the process, allowing for a more intuitive approach to image-making.
By rejecting high-definition digital precision, the photographers foreground texture, imperfection, and spontaneity. Consequently, Podunk resists the polished aesthetics commonly associated with contemporary visual culture. Instead, it emphasizes a raw, embodied perspective on femininity and motherhood.
Ultimately, the photobook reflects a broader return to analogue practices within art and design. Through its combination of cinematic reference, material experimentation, and collaborative authorship, Podunk positions itself as both a visual archive and a conceptual exploration of identity shaped by place, process, and perspective.