Tag Archives: featured

Featured photographer Rachael Banks

© Rachael Banks, Grady after Benson, 2016

Rachael Banks is a photographer from Louisville, Kentucky, and is an Assistant Professor of Photography at Northern Kentucky University. In a recent issue of F-Stop Magazine, I was fortunate to interview her and feature her work in the thematic context of animals  – while acknowledging her work focuses primarily on family dynamics, relationships, and nostalgia. She is also especially interested in social subcultures and identity informed by place. Banks’ creates work about her family and the uneasiness of those relationships that are strained but also incredibly involved. The inclusion of numerous pets or animals in her family’s life conveys the importance animals play in our lives as she explores feelings of loss, identity, and meaning in the context of family, love and acceptance. It is immediately apparent that she cares deeply for her family – a tough subject to be subjective with, and also intimately close to. 

 

I am the oldest of three, but more like a mother than a sister.

I constructed a family of siblings, both real and assumed.
‘Between Home and Here’ addresses deeply internalized
guilt and the essence of loved ones.

There is a history of pain and an apparent inwardness in my family.

My brother has a rage inside of him that I know others can see. 

But, I can’t help noticing the way he delicately handles a small rabbit in his arms, gently stroking its ears and shielding its eyes from the fear of the unfamiliar.

I am a witness to their sensitivity and empathy in how they revere animal life, despite human failure.

This is a story about hating and loving where you are from.
It comes from doing anything to go back to a place that you left.

I left my heart in Kentucky and came back to find it.
The photographs are artifacts from my search.

Rachael Banks – ‘Between Home and Here’

Cary Benbow (CB): Your project Between Home and Here explores very powerful tropes of Family and inclusion. Let’s talk about the level of trust and intimacy in your work, and I’d like to ask about the project in terms of portraiture versus straight documentary style photography.

Rachael Banks (RB): While I am extroverted at work (I have to be), I am actually pretty shy and slow in how I go about making work, so it isn’t always as viable for me to photograph strangers. There is definitely a level of intimacy I have to achieve with a person to make work about them extensively. I really like to invest in whoever I am making work about. I go back and forth about my work being more portraiture based vs. documentary. In the beginning, I was interested in the concept of aesthetic beauty and portraiture allowed me to explore that. However, as the work has continued, I’ve thought more about my relationships with people and the place I feel I have in the world. I never considered myself a documentary photographer because I wasn’t sure if photographing my family fit within the scope but as the work expands, I definitely feel like the work is more heavily influenced by documentary photography. Portraiture is something I naturally gravitate towards in respect to my working methodology but my intent goes beyond the mode in which I present my images.

CB: Let’s discuss the role animals play in your work; how much of a role do they play in the lives of your subjects, or in your own life?

RB: I’m not sure if this is a regional or family influence (maybe a little bit of both) but I grew up surrounded by animals. My family members have always had a wide array of pets and my dad lives on a farm. I was definitely raised in an environment that placed a heavy emphasis on respect for animals and to treat pets as family. Because my work is so centrally focused on my relationships with immediate family, it is inevitable that animals become a part of that. Additionally, I see that animals often serve as an extension of the subject I am photographing and that they can help inform the viewer with more insight into the personality traits of the individual. On a personal note, I spend a lot of time driving to make work and I bring my dog Ghost with me as much as possible. If there isn’t an animal in the photograph I’m making, there is most likely one sitting next to me while I’m shooting.

CB: With regard to your earlier statement about your portraits documenting your family, what do you feel are the “obligations” of a photographer, or what obligation do you have to the people, your family, in your photos?

RB: I think it is important to have the ability to stand behind every image that you make. I understand that anything I put out into the world for others to see is coming from my own specific gaze and that I am actively selecting how the subject is framed and presented. I feel that I have a responsibility to myself and others to be able to understand that not everyone will see my images the same way that I do and that I have the ability to contribute (both negatively and positively) to how an individual/region/situation is represented. There is always the possibility that something I make can be misunderstood or that I can even cause harm, so with that in mind, I try to make sure that I don’t share anything that I can’t live with later on in life.

CB: What compels you to make the images you create? Why do you photograph?

RB: My mom photographed my entire childhood – and I mean she photographed everything constantly. While she has never identified as being creative/artistic, I feel that her compulsions have influenced me greatly and my need to document as much of my life/surroundings as possible. I have a lot of anxiety about forgetting defining moments or losing sight of what informs my identity. Photography has always provided a way for me to stay connected to who I am and what matters to me.

CB: Who are your photography inspirations or how to they influence your work?

RB: This is a question where I can go overboard so I will attempt to be as concise as possible. I really love Doug Dubois and the way he documents youth in addition to integrating a graphic novel in his series My Last Day at Seventeen. When I think about the muse in the photograph, I always look at Emmet Gowin; because who wouldn’t want to be loved the way that Edith is? I’m really inspired by Nathan Pearce and the way he photographs his life in the Midwest – he also has an incredible work ethic that always pushes me to be better. Jake Reinhart is another big inspiration for me because of his extensive approach to research and his ability to articulate his work in such a thoughtful way. I am also currently excited about Amy Powell, Caiti Borruso, Susan Worsham, and Dylan Hausthor.

CB: Do you feel there is a significant difference between “documentary” style photography versus “portrait” photography as a label? Or are those labels significant as a category to your work?

RB: I think that there is crossover between portraiture and documentary in my work. In terms of there being a difference, I believe the intent of the photographer is significant in making distinctions between the two. I’ve seen documentary work that is mainly consistent of portraiture so there isn’t much a difference between the two in that situation but I have also seen a lot of portraiture work that is more about visual aesthetics than it is about being documentary. I feel that my work falls in both categories in that I work primarily in portraiture but I am approaching my subject matter as a documentarian. Portraiture is a natural habit for me but I am more interested in the research and document component of making work. I don’t want to be the person that says I don’t fall into a category because I definitely fall into a few! If I had to describe my work in one sentence to a stranger I would summarize it as a documentary approach to family (assumed and biological) portraiture.

CB: Please talk about the role of a photographer as “publisher” and what you think about the recent increased push for photographers to publish photo books and/or zines. I know you are a strong advocate for publishing work.

RB: I am 100% supportive of photographers working in self-publishing and its one of my favorite components of photography. I think there is a lot that self-publishing/zines allow for a photographer in regard to the opportunity for exposure that it provides. While I feel it is still important to show work in galleries, a zine allows a photographer to share work without being weighed down by so many financial burdens. Accessible art is really important to me and I feel that self-publishing allows for photography to be more readily distributed and shared which fosters such a dynamic community that I value being a part of. On another note, I think that there is an over saturation of photobooks in the world right now, but I’m not terribly upset about having more books to collect. If there is a project that isn’t ready to be presented to the work as a traveling solo exhibition or a monograph, it can still be shared/distributed as a zine. Publishing also allows for photographers/viewers to see work as a physical object as opposed to looking at everything through a screen. I definitely appreciate the photograph more as a physical object and publishing encourages this.

 

© Rachael Banks, Ghost in the Snow, 2017
© Rachael Banks, The See Him in You, 2018
© Rachael Banks, Dad Holding Mabel, 2017
© Rachael Banks, In the Garden, 2015
© Rachael Banks, from Between Home and Here
© Rachael Banks, Ghost, 2017
© Rachael Banks, My Dream of a White Horse, 2018
© Rachael Banks, Basil, 2015
© Rachael Banks, from Between Home and Here
© Rachael Banks, from Between Home and Here
© Rachael Banks, Bo Jackson, 2015
© Rachael Banks, from Between Home and Here
© Rachael Banks, from Between Home and Here
© Rachael Banks, from Between Home and Here
© Rachael Banks, from Between Home and Here
© Rachael Banks, from Between Home and Here

Rachael Banks (b. Louisville, KY) is an Assistant Professor of Photography at Northern Kentucky University and is based in Covington, KY. She received an MFA in photography from Texas Woman’s University (Denton, TX). Banks is an avid supporter of self-publishing, accessible art, zines, and collecting. Her work has been shown at The Center for Fine Art Photography, The Kinsey Institute, Black Box Gallery, Darkroom Gallery, and several other institutions. She has also been featured in a number of online photography publications and frequently participates in panel discussions and invited speaker presentations.

To see more work by Rachael Banks, please visit her website at www.rachaelbanksphoto.com


An edited version of this article was first published in F-Stop Magazine in April 2019.

Solargraphs by Al Brydon – A conversation with the Sun

Solargraphs by Al Brydon © JW Editions

A new book, Solargraphs by Al Brydon is available from JW Editions. Brydon’s understated approach to making engaging images is disarming. There is a beautiful serendipity that comes out of his seemingly casual method for making work. He makes it look easy, but make no mistake Brydon has been steadfast for decades in making photographic work of and about his surroundings. He is continually trying techniques old and new to strive for a meaningful conversation with the land. Solargraphs is definitely one of those engaging conversations.

“Solargraphs are pinhole cameras with exposure times measured in months rather than fractions of a second. This slowing down of time produces the arcs of the sun as it traces its way across the sky. The ‘how’ isn’t anywhere near as important as the ‘why’, but it gives you an idea of what’s involved in making the work.

The length of time involved raises certain questions. Is it a different me collecting the solargraph than the person who left it? Maybe a window into what the landscape looks like when I’m not there to experience it?

What’s implied in the image is as important as what you can see. Anything moving quickly isn’t pictured but is in there. Solargraphs see everything (metaphorically) like photographic black holes. Every moment of joy and sadness you have experienced while each exposure was made is in there somewhere. A newborns first breath and another person’s last. The chaos of the universe condensed into photographic form. More than a moment. A tumbling cascade of moments set within the confines of a 5×7 piece of darkroom paper. With Solargraphs we are able to experience time almost in a geological sense and gain a glimpse into a differing reality than our own. A looped reminder how wonderfully fleeting our lives are.”

– Al Brydon

 

Solargraphs by Al Brydon © JW Editions
Solargraphs by Al Brydon © JW Editions


Solargraphs by Al Brydon

210 mm x 295 mm, hardback
96 pages, thread sewn
Introduction by contemporary photographer Rob Hudson

A Limited Edition is also available:
Signed copy of the book
Signed and numbered print – ‘Death of a Wood’
Print is exclusive to this book edition (Digital print on fine art photo paper)
Limited to 50 copies only

Published by JW Editions – an independent publisher of photobooks, producing affordable fine quality short run commercially produced edition-based releases, and handmade artist limited editions.

To order a copy of Solargraphs, visit their website: www.jweditions.co.uk


Al Brydon is a photographer based in the North of the UK. He has been exhibited and published both in the UK and internationally, and has just completed his five-year series ‘Solargraphs’ which have just been exhibited at the ‘Inside the Outside’ collective group show ‘Out of the woods of thought’. He is prone to working on various long-term bodies of work. See more of his work at his website: www.al-brydon.com


All images used with permission. Photographs © Al Brydon, and the printed book © JW Editions.

Taradiddle by Charles H. Traub

A taradiddle by definition is a petty lie, a little falsehood or trifling told often to amuse or embellish a story. But the Oxford English Dictionary also offers a second meaning: Pretentious or empty talk; senseless, unproductive activity; nonsense. Ironically, it’s a self deprecating term for such meaningful work. But then, that’s part of the fun.

So many of the images created by Traub involve witty visual interplay, tongue-in-cheek sight gags that beg the viewer to look again. But that summary sells them short. There’s much more going on here, there is wit and a sophisticated way of seeing what is in front of the camera. Traub’s work in Taradiddle is a collection of discoveries built around the idea of seeing — not just looking. He is a photographer’s photographer; demonstrating mastery of the medium without hubris or egotism. There is keen observation without embellishment in Taub’s oeuvre. As David Campany writes in this introduction to the book, the unifying element to Traub’s work is that “they are all in one way or another about photography. They may even amount to a commentary upon photography as a phenomenon of daily life. Photography as something we do daily, and photographs as things we encounter daily, often by chance. To this extent at least, these are meta-photographs.” Photos about photography.

An assistant to Traub suggested the term ‘taradiddle’ during the process of curating the images that would ultimately comprise the book. It stuck. An influence and friend early in Traub’s photo career was fellow Kentuckian Ralph Eugene Meatyard. Meatyard kept a collection of names he found funny and/or interesting. One could easily imagine the list might include a Miss Tara Diddle, of Lexington. In that spirit, Traub’s images ask the viewer to see and absorb an inside joke: the landscape painting of Death Valley on the side of a building located in front of the actual mountain range of Death Valley. A large red rock with hand-painted white letters in Monte Vista, Colorado prompting the visitor to bring the camera. He did. Ironic tongue-in-cheek humor with signage and whimsy like the Estate of Confusion building in Chattanooga, Tennessee. Or the compositional use of a natural frame-within-a-frame in a street scene in New Orleans to highlight we are viewing a selective representation of the three-dimensional world — an image akin to the work of Luigi Ghirri, one of the most influential conceptual photographers of the 20th century.

Over the span of the book we see the Michelangelo fresco painting of the Creation of Adam in several iterations. We see it in a hardware store, a poster reproduction poorly framed within a larger gold frame mounted to a wall, or in a faded wallpaper pattern behind a framed photo of a wedding portrait with bride and groom in a similar pose, touching hands, creating a future together. Traub captures an image of faux wooden boards with painted shadows on a flat metal door, mimicry of floral patterns on upholstery and carpet placed in front of a nature scene right outside the window. These witty visual interplays beg the viewer to think about visual reproduction, visual representation, and realistically… it can be humorous how people often choose to replicate a natural environment in such unnatural ways.

It is always a joy to pour over artwork in a book where the next image can’t come quickly enough, or there can’t be too many of; like a child who eagerly begs their parent to repeat a joke or trick they adore — again…do it again. Taradiddle is one of those books where I found myself soaking in the images, laughing to myself or making a interjection of appreciation, then quickly turning the page to see the next one, and the next, then the final one, only to work my way back toward the front of the book again. I have seen Traub’s work before the opportunity came to review this project, but critically thinking about it prompted the realization that I hadn’t fully recognized how much his photography was interconnected to other masters of photography who inform my comprehensive view of photography.

Taradiddle brings out the simplistic joy of creating images; photographing without pretense or strict conceptual confinement. “For me, serendipity, coincidence and chance are more interesting than any preconceived construct of our human encounters”, Traub says. Make no mistake, creating images and understanding the concepts and implied meanings and interpretations is required in endeavors such as this. Traub believes one should not front-load the creative process for fear of restriction, “All image making is basically conceptual and needs introspection. However, a self-conscious praxis often constipates it.“

Whether the final image is simple to describe, or built upon a complex relationship of elements within the frame, Traub’s work transcends subject matter and speaks most importantly to what we are seeing. It’s more than documenting a place, it’s more than a portrait of a person, it’s more than capturing the essence of a place. His work connects conceptual ideas with a visual interpretation of the world we live in, and also experience through photography. His images strive to lay bare the profound commonality of our lives; serendipity and humor included.

Taradiddle by Charles H. Traub

Essay by David Campany

Published by Damiani

Hardcover, 11.75 x 9.5 in / 116 pgs / 100 color

ISBN 9788862086219


Charles Traub was born in Louisville, KY and has been photographing for 50 years. He has eleven books to his credit and sixty major exhibitions including one person shows at the Art Institute of Chicago, the Hudson River Museum, the Historic New Orleans collection, and is in the collections of more than two dozen international museums. For the past 30 years, he has been the Chairperson of the MFA Photography, Video and Related Media program at the School of Visual Arts and presently is the Co-Director of the Aaron Siskind Foundation.

David Campany is a writer, curator, and artist who is widely recognized for his award-winning essays and books regarding the lens and screen arts. He teaches at the University of Westminister in London and is the recipient of the ICP Infinity award and the Royal Photographic Society’s award for writing.


To purchase a copy of Taradiddle please visit www.artbook.comTo find out more information about Charles H. Traub and view his work, please visit his website at www.charlestraub.com/


This review was first published in F-Stop Magazine in December 2018.

Here and Now: Street Portraits of Londoners by Niall McDiarmid

The photo exhibition, Here and Now, is now open at the Museum of London. It runs through till October 15th. The work of London based photographer Niall McDiarmid will be mounted in the Rotunda space outside the museum and is open all day and night. It features 34 large scale prints from across the capital shot over the past 6 years.

Brushfield Street, London — April 2012 © Niall McDiarmid

Two of McDiarmid’s long-term projects, Crossing Paths: A Portrait of Britain, and Via Vauxhall, were published in book format; in addition to publishing the work online in dedicated websites. Both projects are series of portraits made by McDiarmid in his encounters with people throughout the UK over the past six years or so, and specifically for Via Vauxhall in the area surrounding the Vauxhall neighborhood of London. “Individually these photos represent the moment that we crossed paths, but collectively they represent my portrait of London — a confident city, a city of the future, a city I call home.”

From Via Vauxhall © Niall McDiarmid
McDiarmid’s photographic style can be described as ‘straight’, ‘documentary’ or even ‘street photography’. But make no mistake, McDiarmid’s stylistic approach often plays upon subtle use of color or pattern that is never arbitrary; it functions in highly sophisticated ways to connect elements and patterns in his subject’s clothing with their surroundings. In this manner, the people in his portraits are woven into the scene they occupy — an integral part of their surroundings.
Surrey Street, Croydon – January 2016 © Niall McDiarmid
For more info on the exhibit, see the site for Museum of London. To see more of Niall McDiarmid’s work, please visit his website. To read an in-depth interview with McDiarmid, see this article in Vantage, Niall McDiarmid Captures the Faces of our Times

After the Firebird – Magical images by Ekaterina Vasilyeva

Storytelling is something we humans have always been doing, to some degree. Telling all sorts of tales has been an important part of our lives for millennia. Themes that all great storytellers use; birth, growth, destruction, death, and rebirth are important aspects of what it is like to be human, and what its like to experience life. There are a number of Russian folktales that speak of a mythical firebird whose feathers glow and can even protect the person who possesses it, but the firebird can be both a blessing and a curse. Variations of this story include princes and princesses, magical creatures, omens of the future, immortality, and lessons that test the virtue of the people who encounter the firebird.   

Ekaterina Vasilyeva’s project, After the Firebird, uses these themes as a springboard to show us what life is like in the village where her family has lived for generations, and where she has been photographing for the past few years. Her selective use of color, light and environment set the stage for these scenes. The people she photographs include her own family members. Without romanticizing the lives they live, we can view their homes, their activities, and their village through the transformative lens of myth. Vasilyeva captures magical scenes of life – those little parts of common everyday occurrences that suddenly transcend into something more. Her scenes allow us to see a common object as a talisman suddenly made visible, or the relationship between two specific individuals as something that crosses over into a universal relationship for all of mankind… but only if we are watchful.


After the Firebird – project statement

The Russian village is rapidly sinking into oblivion. The sad statistics show that in Russia over the last two decades almost 25 thousand rural settlements disappeared within the map of Russia. Moreover, according to the sociologists, about the same number of them is on the verge of extinction.

My story begins long time ago when my grandmother and grandfather, both from the Pskov region (Russia), met in Leningrad (St. Petersburg now), got married and stayed there for the rest of their life.

But it could have turned out very different. I, now a modern city dweller, could have been born among those flowering fields and hard-working people.

In his village, my grandfather used to be called a gypsy because he could predict the approaching of someone’s death. As for himself, he always knew that he would survive two wars and wouldn’t be injured. And so it happened. With regard to my grandmother, he said that she would outlive him by exactly ten years. This prediction also came true.

Over the last five years that I have been documenting people from the small village Andrushino in Pskov region, I have been subconsciously looking for overt or covert manifestations of people’s magic.

I think that it is as much a part of our being, as history and geography. Faced with a fabulous world of folklore you soon realize that it is rooted in a totally real ground and that all the beliefs and superstitions, charms and rituals, tales and fables are not just a warehouse of archetypes of the collective unconscious, but an immediate response of the collective soul to the mysterious currents of the natural elements. 


Q&A

Cary Benbow: Why do you photograph? What compels you to make the images you create?

Ekaterina Vasilyeva: One can ask yourself this each year – and respond it every time in different ways. At the moment, I would say I do not take pictures in a normal, casual way, as much as I do it to visually study or research something. I consider photographing only in conjunction with the history, geography, mythology and literature on the theme of project. So, the photography becomes a reflection of the knowledge I’ve gained or its interpretation.

CB: Why did you become a photographer? What was your start into photography?

EV: My serious interest in photography arose in 2009 during my two years of residence in the United States, in Alabama. Simple, amateur pictures of nature became unsatisfying to me. I often remember one random picture I made at the beach of the Gulf of Mexico in Florida. A couple was walking along the beach among a lot of birds, and the man suddenly raised his hands up and waved them like wings. At that time, I also realized that I wanted to change something in my life. Maybe even my profession. This time also changed my way of life essentially; I had more time to be alone with myself. Living in a foreign country, being quite closed off, helped me to find, I can confidently say now, my matter of life. I decided that after returning to St. Petersburg, I was going to study photography.

CB: How does ‘After the Firebird’ relate to your other projects?

EV: This project is the only one which is connected, though not directly, with my family and my ”roots”. I am dedicating the book I’m preparing, After the Firebird, to the memory of my grandparents who were born in the Pskov region. And, of course, it is the most mystical among my projects.

The connection of After the Firebird with other projects is the important subject of the relationship between people and nature. For creating my story I was inspired by Russian fairy tales and folklore, literature on Slavs mythology, paintings by famous Russian artists such as Viktor Vasnetsov and Ivan Bilibin, Palekh miniature (Russian folk handicraft of a miniature painting), and movies based on the books of Russian writer Valentin Ivanov (”Russ at First” and ”Russ Great”)

CB: In your opinion, what makes a good photograph?

EV: I think that first of all, in view of your one’s personal experience, it is an opportunity to surprise yourself. Second, the photograph should resonate with a viewer, regardless if he/she is the editor of a photo magazine or an ordinary visitor of an exhibition.

CB: Where do you get the ideas for your personal photography?

EV: Everything somehow connected with me and the place (territory) where I live, which I love to visit or that I want to explore.

CB: Is it relatively easy, or do you find it a struggle to be an artist where you live? Do you feel isolated in the larger artistic community?

EV: I do not think there is a lot of ”rivalry” among photographers in Russia who are engaged in contemporary photography (the example of contemporary photography for me is the ”Institute” Agency). And almost no magazines, galleries (except Moscow), or good photo competitions, or people who are interested in purchasing photos.

This market is very poorly developed in Russia so far. Therefore, I concentrate on foreign audiences and opportunities offered by the foreign photographic industry. Due to the Internet, and the fact that I occasionally live in Europe (thanks to my husband’s work), I can visit photo and art exhibitions, search and buy books on photography and art.

So there is a minus, but there is also a plus. You need to work harder to delve into all of this, and so you probably only get stronger. By nature I think I am an optimist.

CB: Do you keep a journal or do you keep notes or write about the places and people you see?

EV: Unfortunately, I do not keep a personal diary. For each project I just collect useful information from different sources: quotes, images for inspiration, excerpts from articles, books, etc. I write a plan and some words for the better understanding of what I do want to find for my project. All this is mostly working materials.

CB: Who are your personal photography inspirations?

EV: I am inspired by so many things. For example the movies of such film directors as David Lynch, Wim Wenders and Ingmar Bergman. So I love weird movies. As for photographers – I’m currently attracted to the energy and temperament of Cristina de Middel. And because of calm judgment and a nearly perfect photography narrative, I’m a big fan of Alec Soth.

Art plays an important role for me. Some of my favorites are Americans artists: Edward Hopper for his brevity, realism and melancholy; and Andrew Wyeth for his ”wind” in pictures, a singular style and fantastic sense of place and home.

CB: I would love to learn more about the “mysticism” in your work. What parts of your work are mystic, and how you wish the viewer to “see” the photographs?

EV: I like the idea of combining documentary photography and a certain mystique conditionally. Each viewer has to decide for himself where is the truth and where is fiction for him. Given the fact that I do not make the staged photos and everything happens as in reality, it becomes itself a strange and mysterious. If we want to see something unusual,  we will see it. I am convinced of that each time I work on a project.

After the Firebird talks about the mystery and magic of the hidden world and the amazing discoveries that can occur in front of everybody. You need only to look around carefully. With the documentary style of my work, I strive to endow each photograph with a sufficient degree of strangeness and mystery. I think this is the most truthful reflection of my inner world and attitude towards the life. Despite the quite rational mind, the analysis of things and actions, in my soul I also feel the presence of a child whose mother often told and read her tales.

I want to see something beyond everyday life, filled with encrypted symbols. Or maybe just something that brings back memories and the atmosphere of a unique place. More generally, I’m always looking around for magic.

CB: Also, I would like to understand how the relationship between man and nature is important to you? Many people do not live close to “nature” settings, and some people are very connected to the natural world… how does nature influence the way you create?

EV: For me the relationships between nature and people play a very important role . I think that without a clear understanding of its important role in our life, a person to some extent deprives itself of its support, and even health. All my projects are in some way connected with nature, with long hiking (10, 15, 20,… km) combined with deep attention to the environment around me.

I would like to believe that my projects could assist a new understanding and interest in the nature around us and respect for it.


Ekaterina Vasilyeva is an independent photographer from St. Petersburg, Russia, working at the intersection of the genre, documentary and art photography.

In most of her projects, she explores the theme of a particular place (space, territory, it changes in the context of time and historical landmarks, environment problems, interaction with human activity, personal relationship and the myths of the place. To see more of her work, please visit her website: http://www.ekaterinavasilyeva.ru/ 


This is an edited version of the interview published in Art Narratives in March 2017.

Through Darkness to Light by Jeanine Michna-Bales

Look for the Grey Barn Out Back. Underground Railroad Station with Tunnel Leading to Another Conductor’s House; Centerville, Indiana

They left during the middle of the night – oftentimes carrying little more than the knowledge that moss grows on the north side of trees. An estimated 100,000 slaves between 1830 and the end of The Civil War in 1865 chose to embark on this journey of untold hardships in search of freedom. They moved in constant fear of being killed outright or recaptured then returned and beaten as an example of what would happen to others who might choose to run. Under the cover of darkness, ‘fugitives’ traveled roughly 20 miles each night traversing rugged terrain while enduring all the hardships that Mother Nature could bring to bear. Occasionally, they were guided from one secret, safe location to the next by an ever-changing, clandestine group known as the Underground Railroad. Whether they were slaves trying to escape or free blacks and whites trying to help, both sides risked everything for the cause of freedom. From the cotton plantations just South of Natchitoches, Louisiana all the way north to the Canadian border, this series of photographs can help us imagine what the long road to freedom may have looked like as seen through the eyes of one of those who made this epic journey.

Moonrise over Northern Ripley County. Overlooking Southern Decatur County, Indiana

Much like fellow Hoosier Michna-Bales, I grew up hearing about how Indiana played a role in the Underground Railroad. I recently found myself travelling at night through some of the same towns listed in Michna-Bales’ photographic journey. Both Richmond and rural Centerville, Indiana appeared and disappeared in the headlights of my car while travelling recently on a clear, starry night. Driving these lonely country roads made me think about trying to navigate those same hills, valleys, and rivers with only the stars as a guide. As she mentions in her introduction, Michna-Bales’ experience of shooting her photos at night made her think about how she felt history surrounding her, and how strange and forbidding these remote places must have felt to the people making the journey. These words were on my mind as I travelled silently through the same countryside as so many had done before me.

Decision to Leave. Magnolia Plantation on the Cane River, Louisiana

Michna-Bales photographed numerous locations along a journey from Louisiana to Ontario, Canada. Her mysterious, haunting images of Underground Railroad locations are printed in the book on black paper stock, which intensifies that feeling of strangeness and uncertainty. The images emerge from the darkness and give even greater importance to the light captured during her long exposures. That same light was the guide and the hope that so many oppressed people were drawn by, and moved toward freedom. Light plays such an important role in this book. It is important enough that Michna-Bales chose the last image in the series, the sunrise in Canada, to be the only daylight image – symbolizing the final destination and realized freedom.

Hidden Passageway. Mammoth Cave, Kentucky
Eagle Hollow from Hunter’s Bottom. Just across the Ohio River, Indiana, 2014

I was especially glad to be able to review this book during Black History Month, and bring attention to this project and Michna-Bales’ photography. The book includes text by Fergus M. Bordewich, Robert F. Darden, Eric R. Jackson, and Andrew J. Young. Young is a former congressman, diplomat, and member of the Southern Christian Leadership Conference as a key strategist and negotiator in the Civil Rights movement in the 1960s. Through Darkness to Light is a wonderful collection of researched historic documents, engaging photographs and text that creates an insightful narrative to events that occurred over 170 years ago. When one considers how many people are still fleeing oppression and moving toward freedom around the world, the Underground Railroad is just as poignant today when seen through the lens of present day social injustice. The desire for freedom and the interracial assistance of others was, and is, an important lesson to be told and retold.

Freedom. Canadian soil, Ontario, 2014

Through Darkness to Light by Jeanine Michna-Bales
Hardcover: 192 pages
Publisher: Princeton Architectural Press (March 21, 2017)
Language: English
ISBN-10: 1616895659
ISBN-13: 978-1616895655


Jeanine Michna-Bales is an award winning photographer based in Dallas, Texas. To see more work, visit her website at http://www.jmbalesphotography.com. To purchase a copy of Through Darkness to Light, visit Amazon.com

This is an edited version of the article originally published in February 2017 in F-Stop Magazine.

Book Review: Palm Springs: The Good Life Goes On by Nancy Baron

the-promontory

Nancy Baron is a documentary filmmaker and photographer who lives in Palm Springs, Calif. In Palm Springs: The Good Life Goes On, she picks up where she left off from her 2014 book, The Good Life: Palm Springs, documenting her community of mid century modern enthusiasts. The collective community of self-proclaimed modernists are committed to the mid century modern lifestyle and the preservation of its architecture. Their homes, cars, and clothes pay homage to this carefree post-World War II time in US history that glows warmly in their vintage rear view mirrors. These informal images casually document the carefree Palm Springs lifestyle as though captured in passing, in the seemingly effortless way that most things happen in Palm Springs.

entry-to-paradise

“The dreamy Palm Springs vibe washes over the traveler at the first sight from land or air of the vast windmill farm sprouting from the Southern California desert, surrounding the town like guards at the gate to paradise.”

blue-gown-and-pooch

pompeii-del-las-palmas

In the book, Hugh Kaptur, an American architect of mid century modern residences and buildings throughout the Coachella Valley, writes: “Once after a meeting with William Holden, we stepped outside my office and I asked him why, with houses all over the world, was he settling in Palm Springs. Bill replied, ‘because the air is like velvet.’”

twin-palms

Baron’s photographs of the interiors and exteriors of the homes and buildings in Palm Springs evoke a sense of instant nostalgia – even for the newly initiated fans of this iconic design movement. One cannot help notice the influence mid century modern design has had recently in popular American culture. From high-end reproduction design furniture like Design Within Reach, publications like Dwell Magazine, and the home furnishings featured in Crate and Barrel catalogs – Americans have fallen in love all over again with mid century modern design. This makes paging through ‘The Good Life Goes On’ like sneaking a peek inside 1950s architects’ homes, or getting a guest role on Mad Men. The style Baron brings to the page is everything Palm Springs has to offer; sun drenched lawns, vintage automobiles, manicured-minimalist landscaping, and an invitation to the lifestyle that has so much to offer.

rembrandt-for-breakfast

dogs-on-bed-with-orange-headboard

For me, Baron’s photos bring back nostalgic memories of my grandparent’s house. It was a modest mid century modern home, painted green with a sun porch built out of decorative concrete blocks, with patterns that looked like flower petals when the open sections of the blocks intersected. Their Danish modern stereo cabinet sat in the entryway with geometric side lamps making soft shadows on the imitation terrazzo floor below, while a bakelite kitchen clock quietly hummed as time slowly slipped by. Their house sat unchanging for decades, a testament to the enduring, timelessness of the way they lived – much like the homes in Baron’s photos. They sit like time capsules, yet still retain the feel of homes that are lived in and have personal, human aspects about them… soccer balls amidst the greenery, price tags on the candlesticks, and worn doormats gracing the entryway to their ‘American dream’.
cover

Palm Springs > The Good Life Goes On (2016) by Nancy Baron
Hardcover 8.8 x 8.8 inches
120 pages, 63 color illustrations

To purchase a copy of Palm Springs: The Good life Goes On, please visit Amazon.com

For more information about Nancy Baron and her portfolio of projects, visit her website: http://www.nancybaron.com/


Nancy Baron’s background in documentary filmmaking has led to her current dedication to fine art documentary photography. She documents the world nearby, mostly in Los Angeles and Palm Springs, where she lives. Baron’s work is held in public and private collections and has been exhibited in galleries across the United States. Her work has been published in many notable magazines and newspapers, including The New York Times, Mother Jones, Photo District News, American Photo and California Homes Magazine. Photographs from her previous book The Good Life > Palm Springs (Kehrer, 2014) were exhibited in a solo show at the dnj Gallery in Santa Monica, among other venues.

Photography Is a Marathon, Not a Sprint

2

Wobneb Magazine archives – William Olmsted interview, September 2015

It has been just over a year since the first big interview published in Wobneb Magazine. The old Tumblr site archive is sitting quietly, ready for a travel back in time, but I will point back to the companion post in Vantage on Medium.com so the work of William Olmstead can shine.

Thanks to everyone who has watched Wobneb Magazine patiently evolve and grow. – Cary Benbow

“Photography Is a Marathon, Not a Sprint”


William Olmsted is a photographer originally based in Maine. Follow him on Flickr andTumblr

A Process of Healing – Interview with photographer Tarah Sloan

I came across a series of images by Tarah Sloan when reviewing work in the F-Stop Magazine exhibition, Family, earlier this year. The exhibition took place at a time when Sloan was not able to give her input for an interview, but I had the chance to revisit her work; and I am glad for the opportunity. In our interview, she revealed the back-story for her series of images dealing with her mother, cancer, and loss. By dealing with her Mother’s life after the loss of family members, one could presume this work is catharsis for her as well.

TarahSloan-2- New Day
New Day

Cary Benbow (CB): Why do you photograph? Why did you become a photographer?

Tarah Sloan (TS): I photograph because it is a way of expression and a form of storytelling, for myself and the viewer. The environment I am surrounded by typically compels me to create images. I started photographing at a young age, so over time my skills developed and my love never wavered. After graduating from high school, I knew I wanted to attend an art college to receive my BFA in photography, and that’s exactly what I did.

CB: Your images in this series definitely come across as storytelling. Can you please explain the idea behind your series?

TS: These images are unlike any other project I have created before. My concept behind this photo series is the emotional plunge of grief a person will face in their lifetime. This project is significantly different because it is personal to my family and me, documenting my mother as the subject. I also normally would not have one person as my main focus through a whole body of work. Many of my ideas for my personal work come from observing the behaviors of others in my environment; such as, this work of my mother.

TarahSloan-5 Staying in Bed
Staying in Bed

CB: In your opinion, what makes a good photograph?

TS: A good photograph should pull you in and make you think, feel, react or respond in some way. Photography, after all, is art.

TarahSloan-11 Classroom
Classroom

CB: How would you describe your work to someone viewing it for the first time?

TS: That’s a hard question for me, because I can be a little too critical of my own work. I want the viewer to gain some sort of emotional connection from the image. Whether that’s from wonder, amazement, sadness, or joy. Within this series of photographs, I documented my mother.

“I started documenting my mother a few months after my brother Daron passed away in July of 2015.
 I watched her daily struggle with grief after the loss of her husband, sister, and her only son – each who had suffered with cancer; all within 5 years.
I watched her put on the daily brave face and try to continue with life as usual.
I watched as the feelings of depression kept her in its grip.
After many lonely hours, days, and nights, I began to see her gaining strength as she finds new life in the comfort of her garden and the surroundings of her music and art students.”
TarahSloan-8 Yard Work
Yard Work

CB: What/who are your photography inspirations – and why?

TS: Paul Strand, Ansel Adams, Sally Mann, Diane Arbus, Uta Barth, and Shelby Lee Adams- to name a few from a broad range of individually talented and inspirational photographers. There are many people who I draw inspiration from, including my past professors and colleagues. Why are these people my inspirations? The majority of their photographs are captivating and striking on a number of photographic levels. I think it would be hard for someone to not find inspiration in some way.

 

tarah_sloan19tarah_sloan12tarah_sloan10tarah_sloan3tarah_sloan2

CB: What work are you currently working on? Any new projects?

TS: This past summer my mom and I spent 40 days straight on the road, traveling a full circle around the US to visit different grad schools I have looked into. From visiting family in West Virginia, we journeyed upwards to the first art school in Chicago, across to the University of Oregon, down to San Francisco Art Institute, across to the University of New Mexico, then back across to Georgia. Of course, we stopped at as many National Parks as we could along the way, including Devil’s Tower, Yellowstone, Grand Tetons, Yosemite, Grand Canyon, and the Rocky Mountains in Colorado. It was an amazing, exhausting, and eye-opening experience to see the grand, ever changing landscapes of the United States- totally worth it! As a (mostly) landscape photographer, I was in heaven the majority of the trip.  I’m pretty excited to see where my future leads me.


See more of Tarah Sloan’s images at her website: www.tarahsloanphotography.com

Book Review: Out of the Ordinary: A Journey Through Everyday Scotland | Vol. 1 by Iain Sarjeant

739d22442e2e0db52e0d068b44936ddd-original
Inverness – 25/10/2011

Book Introduction by Iain Sarjeant:

Much of my photography is spontaneous in nature – I enjoy wandering, exploring, discovering, observing – often in everyday places. It’s a way of working that I find very fulfilling – just drifting and seeing what is round the next corner.

Out Of The Ordinary has developed from this approach, and reflects my interest in people’s relationship and interaction with their environment. The series explores the kind of places that most of us walk or drive past every day, without really noticing – places where the infrastructure of human habitation interacts with the natural environment. These are dynamic landscapes, constantly being altered, and part of the fascination for me is the element of chance involved in the photographs – coming across scenes that may look very different the following week or month.

I try not to have any plan or pre-conceived ideas when exploring. Sometimes I am simply drawn to the play of light and shadow, or colour and form, but often I am looking to create images that have an element of ambiguity, hopefully leaving the viewer with questions. By playing with composition and balancing visual elements, I hope to transform the ordinary and common-place into something interesting and unusual.

The project is ongoing and for me has become a journey through everyday Scotland.

tumblr_o7binf4h2q1rdmgllo1_1280
Macduff, Aberdeenshire – 04/05/2016

Sarjeant’s images of “everyday” Scotland are not ones you might find gracing the pages of glossy travel magazines trying to attract visitors to his country. Rather, these images would be more likely to be found in the galleries of Edinburgh or Glasgow, attracting many people nonetheless. His book, Out of the Ordinary: A Journey Through Everyday Scotland | Vol. 1 was published in the summer of 2016, and quickly sold out. A second printing of 100 copies was done, and a limited number of copies are available hereAn anticipated Volume 2 is in the works for 2017.

His views of his everyday surroundings are largely devoid of people. In the few images that include people, Sarjeant has carefully chosen to include them as elements in the scene to give us either a sense of scale, or mystery and inform the viewer that the spaces are not without use. The collection of images in this project are landscapes where the structures and infrastructures of the people of Scotland are revealed – often with blocks or lines of saturated color that punctuate the scene.

tumblr_nn7al0rxrh1rdmgllo1_r1_1280
Hawick, Borders – 03/04/2015
tumblr_ns8nbgb1zj1rdmgllo1_r1_1280
Balerno, Edinburgh – 17/07/2015
tumblr_np3y91imrk1rdmgllo1_1280
Dunbeath, Caithness – 21/05/2015

His visual lexicography includes vehicles in all manner of use and function (or disfunction), buildings both commercial and residential, markings on pavement, graffiti, shadows and shipping containers. Sarjeant’s wanderings take him through areas of Scotland that, in his words, “often look very different the following month, day, or even hour.” The decisive moments he choses are ones worth taking in and really looking at.

tumblr_o5o68ymdpb1rdmgllo1_r2_1280
Cowdenbeath, Fife – 14/04/2016
tumblr_ntmv0s8ilr1rdmgllo1_1280
Selkirk, Borders – 19/03/2013
tumblr_ndwnug3og71rdmgllo1_1280
Lossiemouth, Moray – 01/11/2013

“Ultimately all photography is about light and I am fascinated by how it interacts with the lie of the land, whether in wild places or, as in this project, in man-made places. Light can create interest from the most ordinary of subjects.” Iain Sarjeant

These landscapes, communities, structures, and the geography created by them, reveal what exists beyond the ordinary. The way Sarjeant frames the images to draw our eyes through the scene, the way he juxtaposes forms, shadows, blocks of colors, and even tire tracks in snow covered lots, reveal a Scotland of beautiful repose; places for us to stop, and become drawn into the scenes.


cover

 

Iain Sarjeant is the founder and editor of Another Place, and Another Place Press which showcases contemporary landscape photography. He is a member of Documenting Britain, and works as a stock photographer.

For more information, or to view his personal work; please visit:

http://iainsarjeant.tumblr.com/

http://www.iainsarjeant.co.uk/

http://www.iainsarjeant.com/