This was the first year Wobneb Magazine hosted an online exhibtion, Sense of Place. We featured the work of over 50 contributing photographers from around the world, and the exhibit drew tens of thousands of viewers. Next year will bring our second online exhibition for photographers completing a BFA/MFA or equivalent degree program. The exhibition will be juried by photographer Mark Sawrie. We are really looking forward to this opportunity to present work from photographers who’ve worked intensely on a unified body of work, and are on the verge of the next big ‘something’ in their life and career as a photographer.
There have been so many great photo books this past year, and I had the opportunity to review a number of them through writing for F-Stop Magazine. And increasingly photographers are contacting me directly to review their work and published books. I couldn’t be more honored to help spread the word about great work here via Wobneb Magazine, as well as a couple other publications where I contribute as a writer.
Please check out the website for a list of books and featured photographers who I’ve had the great fortune to work with this past year. Hopefully 2019 will bring much more of the same!
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.
Are you completing a photo degree program? What comes afterward? Career, continued education, gallery or museum work, or ???
In a few months, Wobneb Magazine will host a free juried exhibition for photographers who’ve reached the final stage of their current studies. This will be an exhibition for a photographer’s portfolio of work. Full details to follow – please share this opportunity!
The inaugural exhibition hosted by Wobneb Magazine - with essay by Rob Hudson
Wobneb Magazine wants to provide opportunities for photographers to exhibit in group online exhibitions with no entry fee. This series of exhibitions is open to any amateur or professional photographer around the globe — with the goal of providing the chance for many different people to contribute to the theme. The inaugural theme for 2018 is Sense of Place.
On some level, each photographer tries to convey an observable sense of a place within a slice of a second; hopefully transcending mere documentation of physical appearance to impart a feeling of their experience or emotions. This exhibition is fortunate to have a range of styles and methods used to address the theme. Photojournalist Louise Wateridge’s image of a Syrian refugee child playing with a pigeon is reflective of her sense of place as an observer; capturing a moment of joy within a life of hardship, and creating a strong image without being overly invasive. The work of photographer J.M. Golding is connected to specific locations and presents a spiritual and philosophical connection to the world around her. She observes and transforms the views into what exists internally as well. The landscape by Ellen Jantzen takes a step further into how an artist can capture an image or images of a place, and create new realities in her process of looking beyond surface and trying to reveal something emotional through her manipulations.
Rob Hudson is a special contributor to this exhibition. In his essay, Hudson addresses the idea of place and how photographers try ultimately to show the uniqueness and insight each person brings to the table. In addition, Hudson and photographer Al Brydon contribute images from their respective regions of Wales and England to share their sense of place with respect to their own relationship with the land.
For this exhibition, we asked photographers to consider the following: What is the social or physical landscape where you live? How do you define your sense of place in the world? A sympathetic understanding is the goal of any photographer. Each one asks the viewer to look at what they’ve captured with their camera, recall their own personal experiences, and draw meaning from the connections. We asked contributors to show how they document or interpret the world around them, and convey a sense of place using their unique visual voice. This exhibition is an exploration of that idea, our surroundings, as well as ourselves.
A Sense of Place by Rob Hudson
I’ve just returned from spending a few days in somewhere that, to me at least, has a strong sense of place — the St. David’s peninsula in the far southwest of Wales. It was one of the places in Britain where the first Christians arrived from Ireland, now memorialized in both the place’s name, and the cathedral tucked into a little valley to hide it from Viking marauders. There’s a sense of human history here that is so close to the surface and obvious in such a sparsely populated area. It seems to shine forth in a way I don’t recognize or feel about in the city I live within.
The tilted rock strata produces a long line of low hills that seem to rise up from the surrounding plane with the character of mountains. They look like leaning triangles, and that feature is carried all the way to the sea cliffs and the outlying islands. If you imagine that line of hills to be the dorsal fins of a giant subterranean whale, several miles long, then the cliffs and jutting rocks are its teeth having taken giant bites out of the coastline.
I could tell you these things, and create the idea of a sense of place in your mind to illustrate how the uniqueness of a place makes it stand out. Is it uniqueness, or because I’ve been visiting here since I was a boy, and have a strong emotional connection to this place? Perhaps it is because there’s a commonality of features which we recognize as having a sense of place. I can also tell you that six different people from varying ages, genders or cultures have independently described this place as having something ‘magical’ about it (and it’s a term I’d happily subscribe to myself); but this brings us no closer to explaining or identifying any features that give a sense of place.
The poet Edward Thomas wrote the phrase, ‘Within the spaces between’, which simply sums up the connection we make to the often unappreciated places we visit — especially when we engage with making an artistic response to them. A sense of place isn’t a simple concept to understand. We all recognize it when we feel that connection, but like many emotional responses it is more difficult to explain in words. Perhaps this is because a sense of place isn’t an inherent aspect of a place’s identity at all, but something we project onto it. In short, it is a social and cultural construct. This isn’t to suggest that a sense of place is lesser because of its human roots; landscape itself is an idea, and it doesn’t exist outside the human realm. Both terms express the power place can hold over us, the depth of our emotional connection.
Equally important is to consider what the opposite of a sense of place might entail — what is ‘placenessness’? Placeless spaces are just as valuable in artistic expression as those that have a sense of place. A few years ago my good friend and fellow founder member of the Inside the Outside collective made a series of photographs he termed ‘None Places’. Like others engaged with a radical interpretation of landscape, Al Brydon’s ‘None Places’ are sites of freedom, which allowing for a more anarchic expression. It is arguable that after we put a frame around a photograph of a place, it ceases to be placeless because we’ve begun the process of myth making and story telling, which contribute to the creation of a sense of place. This doesn’t mean they are invalidated, they are worthy of our exploration and expression, but we should also be aware of our own contradictions. As Gertrude Stein said, “There is no there there”.
The truth is, we make or find a sense of place if we look long and hard enough. After all, that is the job of the artist or photographer — to show others our insights. In essence we’re trying to understand and express ourselves through the medium of our relationship to place. But, and this is an important ‘but’, we don’t all share the same experiences of place. Our world is so full of imagery; only an individual’s unique response to place will stand out. That’s easier than it sounds. We have to do the legwork. It’s taken me approximately 40 years to visually consummate my love for St. David’s peninsula; I hope you’ll achieve success somewhat faster.
Rob Hudson is one of the co-founders of Inside the Outside, a collective of landscape photographers based in the UK. He has contributed to a number of books and projects on landscape photography, and his photographs have been shown in a number of prominent exhibitions throughout the UK. www.robhudsonlandscape.net
This exhibition is also published at on Medium.com. All images are used with permission. I want to sincerely thank all the contributors and artists for sharing their work. —Cary Benbow, Publisher, Wobneb Magazine
Wobneb Magazine will provide opportunities for photographers to exhibit in group online exhibitions. The exhibition is open to any amateur or professional photographer around the globe – with the goal of providing the chance for many different people to contribute to the theme. All entries will be exhibited.
Final deadline is 11:59pm September 30, 2018 (GMT-4:00). The exhibition will be posted online starting October 5 – October 31, 2018.
The theme for our first online exhibition is Sense of Place. What is the social or physical landscape where you live? How do you define your sense of place in the world? This does not need to be a literal translation of the term – send your images that convey a sense of place using your unique visual voice.
Photographers will be allowed ONE maximum entry per exhibition. Please do not send images that are unrelated to the theme. We reserve the right to exclude submissions if they do not fit the theme. Images can be made with any camera you choose, (large format, medium format, digital, lomo, camera phone, etc) and in any style.
Image Guidelines Size: 72dpi, sRGB, 1000px wide Save as .jpg Submit Via Email
Submissions It is FREE to enter. Send only ONE image to: firstname.lastname@example.org In the subject of your e-mail, type the name of the exhibition (example: SENSE OF PLACE)
Filter Photo announces the 10th Annual Filter Photo Festival. This four-day Festival celebrates the vibrant art community in Chicago through photography-inspired programming. Nearly 30 photography curators, collectors, and critics from across the country and abroad will conduct over 800 portfolio reviews with aspiring artists and photographers. The Festival will also host a variety of photography workshops exploring everything from historical processes and creative production, to professional practices and career development. Additionally, the Festival will welcome photographer, Mona Kuhn, as the keynote speaker. Finally, there will be several artist talks and presentations, special receptions for three juried exhibitions featuring over 80 artists at Filter Space gallery, and a Portfolio Walk showcasing the work of nearly 100 emerging, mid-career, and professional photographers. All midday artist talks and evening programs are free and open to the public. Portfolio reviews and workshops are paid events that require advanced registration.
The 2018 Filter Photo Festival will take place September 27-30, 2018 at the Millennium Knickerbocker Hotel. Additional evening events and programming will occur at several partner galleries, institutions, and organizations around Chicago.
Cristóbal Carretero Cassinello is a Spanish designer and photographer who “uses photography to capture beauty, detail and unique moments of our daily life and existence; also to surprise and play with the spectator, questioning the prism with which he observes the reality of things. Photography tells us and helps us to understand our relationship with the world through our own narrative and visual language.”
Dialogues His project, Dialogues is a presentation of coupled images. These apparently unrelated stories, spontaneous encounters, whimsical shapes, colors and textures play against each other, speak and intertwine – showing us a new and visual vision of the city of Almeria, Spain. ‘Dialogues’ is a visual puzzle that reveals images with their own identity about the unexpected relationship of their people, objects, shadows, neighborhoods, beaches, streets and buildings with their surroundings, where everything acquires a unique meaning.
Dialogues tells us about beauty, old age, multiculturalism, poverty, luxury, religion, love and our existential step through the city of light. They are seemingly unconnected stories, but a third plane generated by our visual perception connects us with our lives, our cities and, ultimately, ourselves.
Cristóbal Carretero Cassinello is a photographer, graphic designer, web designer, professor of economics, expert in financial excel and professor of advanced office automation. Passionate about photography and design, for more than 20 years in the advertising graphic sector, he is the founder of the design and training studio for companies: www.kritodesign.com
Fluvial — transforming personal geography into a fictional world of shapes and forms
Project Statement — Fluvial is a meditation of the beaches and villages of interior northern and central Portugal. Photographed between 2011 and 2017, these fluvial scenes transmute personal geography into a fictional atmosphere. Testifying to the author’s lifelong relationship with northern and central Portuguese riverside beaches and villages, they act not in the manner of a topographic survey, but rather by equating erosion with vision. Just as the river currents have shaped the natural elements, time’s passage appears to have depurated irony off his gaze, predisposing it to form and analogy, and to kindness towards his equals.
Capturing families at informal moments of Portuguese society, predominantly emigrant workers home for summer from northern European countries, bodies, tree trunks and riverbed rocks resemble small sculptures (some of which are anthropomorphic); the human body, here almost amphibious, is often reduced to a simple form, to the submerged surface, either adopting the stream bed as an optical instrument, or by shaping it with light.
The human and non-human bodies emerge from chiaroscuro schemes, either as elements of an illusory mise-en-scène, or defamiliarized, reduced to mere form, as if by casting a spell on them.
Realistic yet dreamlike, conveying a pagan sense of nature, creating the atmospheric effect of an infinite Sunday, it reminds one of a summer dream — a visual ode to human leisure.
Peter Ydeen studied painting and sculpture at Virginia Tech, under Ray Kass, (BA), Brooklyn College under Alan D’Arcangelo and Robert Henry, (MFA Fellowship) and at Skowhegan School of Painting and Sculpture with visiting artists, Francesco Clemente, Judy Pfaff, William Wegman, Mark Di Suvero and others.
Over the past several years, Peter has concentrated on photography where he is able to use the many years spent learning to ‘see’. Shown below are examples from his latest series ‘Easton Nights’, which are all night photos from the Easton, Pennsylvania area where he lives.
Ydeen’s work from the Easton Nights series will be in an exhibition at Saint Joseph’s University, Merion Station, PA, from August 20th to September 25th, 2018.
Sandrine Hermand-Grisel grew up in Paris, France and in London, UK. She studied in Paris International Law before deciding to dedicate her life to photography in 1997.
Hermand-Grisel has exhibited nationally and internationally, including exhibitions at the Carroussel du Louvre (Paris, France), Rayko Photo Center (San Francisco, USA), Maison de la Culture (Luxemburg), City Hall, SFAC Galleries (San Francisco, USA), Europ’art’, (Geneva, Switzerland) Espace Bontemps (Gardanne, France), Centre Iris (Paris, France), Fotofever Photography Art Fair, (Brussels, Belgium), Le Pavé d’Orsay, (Paris, France), Viewpoint Gallery (Sacramento, USA)…
Shown below are examples from her project ‘Sea Sketches’:
Influenced by her late mother’s sculptures and her husband’s paintings and films, she worked on several personal projects before her series Nocturnes was recognized in 2005 by Harry Gruyaert, Bertrand Despres and John Batho for the Prix Kodak de la Critique Photographique. In 2006 she moved with her family to the United States and began experimenting landscape photography with her series Somewhere and On the road.
Despite the diversity of her projects she has a unique, very intimate, relationship with her subjects. Photography provides her with a way to express her feelings, like in the series ”Nocturnes” where she photographed only close friends and family members peacefully abandoning themselves in front of her camera. ”Somewhere” is her dream of America, a road trip through her adopted country. And ”Waterlilies” is full of joy and love for her two children as she watched them jumping and playing in pools over and over again. Sandrine Hermand-Grisel not only photographs what she loves, she breaks free from her own reality in her poetic vision of the world.
In 2013, Hermand-Grisel created the acclaimed website All About Photo and now spends most of her time discovering new talents while still working on personal projects.