Book Review: Right Place Right Time by Robert Rutöd

robert_rutoed_righttimerightplace_02Being at the right place at the right time is usually associated with happiness and success. But what happens when we are at the right place at the wrong time? Do we even know that this is the right place? And what if it turns out that it is the wrong place after all, but the right time?! It may seem like a tired cliche, but an enormous aspect of good photography really is about being at the right place at the right time. Truly good photography makes it easy for the viewer to say “I could have done that”. But to make something look easy takes a great deal of skill and effort. Rutöd provides nothing less than the proper combination of visual irony, juxtaposition of people, place, and timing.




In her foreword, Aline Smithson mentions the impression and staying power of Rutöd’s images. Her observations of his work quantify the ability of a photographer to produce images that convey far more than first meets the eye. For myself, reviewing Rutöd’s images made me recall a time in my publishing career when I was viewing literally thousands of images each day, but Rutöd’s images are the contrast to the rule. In general, stock photography being used in educational publishing is a flood of generalized, banal images that are mostly meant to illustrate broad topics. Before the widespread use of the internet for image research, editors relied on books shipped out from agencies. Amid the volumes of general stock photography catalogs, there were gems that an editor would pull out for special projects; the ones you remember and value for the visual wealth they could provide. Images that would make an editor plead to the Art Director to spend extra budget on certain images – because they would make the project sing. For me, Rutöd’s images would be in that special set of images.



The images Rutöd presents are often ones with a dark humor or tragicomic view: The blind man who finds orientation by putting his stick in a tram track, the helpless swan that finds itself frozen to the vast stretch of ice, or the amputee operator of a shooting range set up in a ruined building. It gets macabre with the portraits of the Pope, Hitler and Mussolini decorating the labels of wine bottles. Again, as Smithson’s foreword attests, “We need Robert’s photographs to make us realize what we are missing, and allow the levity of his work to not only see ourselves with amusement, but to simply, see ourselves.”

Rutöd’s book made me smile, smirk, and comment aloud at the visual wit and insight he possesses. His humor that exists in moments of reflection, or moments of keen observation, are perhaps exactly what we need in a time when so much of the world is anything but humorous.


Right Time Right Place by Robert Rutöd
Foreword by Aline Smithson
120 pages, 55 color plates, 21 x 24 cm.
Language: English
Print run: 300 copies.
Red metal foil embossed hard cover
ISBN 978-3-200-04200-1

Robert Rutöd is a photographer from Vienna, Austria. He has been photographing for almost four decades, and has had numerous international exhibitions of his work. Right Time Right Place received several awards, including the New York Photo Award, the Special Prize of the Czech Center of Photography, and most recently Artist of the Year at Dong Gang International Photo Festival in South Korea.

To find out more, and order a book, signed copies are available on Rutöd’s website:

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Interview with photographer Charlotte Woolf



Sarah Hadley: How did you first become involved in photography and what led to you working in this medium as an artist?

Charlotte Woolf: I have always taken pictures. My mom was my first influence, documenting our family and scrapbooking avidly. I would borrow my mom’s cameras and eventually she started giving me my own.

In middle school I brought disposable cameras with me everywhere to document my friends and our most awkward years. Even though my friends did not appreciate the constant documentation at the time, they do now. I took my first photography class when I was in tenth grade and turned out to have a knack for developing in the darkroom. Outside of class, I spent hours uploading photos of my friends on Facebook, thrilled to have the chance to share my images with everyone online.

When I got to college, I continued taking photo classes and worked as a darkroom monitor at Kenyon College. When I studied abroad in Stockholm, Sweden, I would carry my point-and-shoot with me, spending hours exploring the city solo, especially in the low light months of the winter.The most influential class I took there was Documentary Photography with Gregory Spaid. Being in rural Ohio inspired me get out there, beginning my long term project Women in Agriculture. It wasn’t until after that I began to call myself a photographer – finally realizing that I had always been a photographer and that is what I wanted to pursue learning.

Sarah Hadley: The current issue of F-Stop Magazine includes images from your project “Second Skin”. Can you tell us about this project? What led to this work?

Charlotte Woolf: The project was my senior thesis culminating my four years in rural Ohio at Kenyon College. I worked on it for all of undergrad, starting with an Intro. Photography assignment called “The Body.” This is when I became comfortable photographing nude subjects. As I continued my studies, I had an interdisciplinary focus on Women’s & Gender Studies and Dance. The combination of gender, dance, and photography led me to thinking about how the visual wisdom of the body can replace spoken dialogue.

Sarah Hadley: Can you discuss your process for making these images?

Charlotte Woolf: I was taking a contact improvisational dance class and performing in the dance company at Kenyon College. I was able to gather volunteers that were my colleagues to pose in the studio. The premise was that they would be posing nude and I would project a drawing of mine onto their bodies that was inspired by anatomy textbooks.

We went into the studio with music and we would flow similar to dance class. I searched for poses that aligned the dancer’s bodies to the projected drawings. The biggest breakthrough was when I discovered that it was best to use a slide projector rather than a high-resolution digital projector because I preferred the quality of the grain of the slides rather than the digital pixelation.



Sarah Hadley: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

Charlotte Woolf: My favorite image in the series is “Throat”. It features a striking red tone that was a good self-portrait at the time of the series. Red is my favorite color and it also represents feeling grounded. The way the lines centrifugally radiate give the image a pulsing sensation.

Sarah Hadley: How do you feel this work relates to the theme of the Human Body?

Charlotte Woolf: The projection of anatomical drawings onto the outer skin of the subjects is a juxtaposition of the abstract wisdom of both the inside and outside of our bodies. Your body is your instrument and vessel to navigate life. Everyone’s experience is unique and depends on intersections of gender, class, etc. Second Skin portrays the complicated relationship between the form of the human body and the implicit wisdom it reveals.

Sarah Hadley: I know this work is a few years old, so what are you working on currently?

Charlotte Woolf: The past few years I have been working on a project called “Water Under the Bridge” featuring photography in different formats like digital, instant film and found postcards. The project was inspired by the death of my father, which in-turn inspired me to seek comfort and solace from the wilderness and urban areas of our country.

I recently began my MFA in Visual Arts at SUNY Purchase College to further my photographic and educational studies. I am working closely with Joshua Lutz and Stanley Wolukau-Wanambwa. Josh is a master sequencer and pushes me see interesting connections and narratives. I am learning effective and efficient photoshop workflows and how to print high quality images from Stanley.

Currently my work is returning to gender and sexuality in a surreal sense – trying to figure out what I want to say about my world as a queer person. I am casting a wide net since I have the time to explore in my first semester of grad school. I am trying to take risks and experiment with my work by keeping an open mind, saying “Yes!” to any idea that goes through my brain.



Sarah Hadley: How do you feel “Second Skin” relates to other work or projects you have done or are working on?

Charlotte Woolf: Second Skin relates to my other work because I see the world through a lens of gender and sexuality. I also think it speaks to my interest in abstraction. While I often use digital cameras, I also have developed an interest in using instant film for the way it abstracts light and form.

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

Charlotte Woolf: My father once told me that he lived his life to have memories and that he wished that everyone could have a memory bank so that they could hold onto those happy memories. I feel in some ways that I have genetically inherited this sentiment. Photography is also the way that I find I best communicate narrative and emotion.

Sarah Hadley: How do you choose what or who to photograph, what are you looking to capture?

Charlotte Woolf: I have an interest in markings on the body be they temporary, like paint, or permanent, like tattoos and scars. How do these markings represent signs of aging? What are the stories behind them? I pick subjects that will collaborate with me, so we can bring stories out in each other. I am constantly asking myself, what is the story I am meant to tell?

Sarah Hadley: What do you hope people experience or feel when they look at these or any of your photographs?

Charlotte Woolf: I want people to feel a sense of bodily empowerment. A lot of my documentary work is about strong women. I want people to get a feeling of questioning what is real about their memories of loss and love.

Sarah Hadley: What photographers or other artists inspire you?

Charlotte Woolf: The female photographer I am most inspired by right now is Frances F. Denny. I am fortunate to work closely with her and have been her assistant for the past year. We both have an interest in photographing empowered women so being able to see how she works is amazing for me.

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

Charlotte Woolf: “Second Skin” begins as disorienting and then it becomes clearer, almost like an ISpy or MagicEye. My more recent work reads almost like a scrapbook. Overall, there is a lot of visual information to analyze when looking at my work.

Sarah Hadley: Do you prefer working in the studio or outside?

Charlotte Woolf: I prefer working outside because it is a much more organic way of taking photos. “Second Skin” required me to step out of my comfort zone because they are shots I came to in a prior shoot through dance improvisation and then developed the idea, coming into the final shoot with one or two positions I knew I wanted to get of my models.

Sarah Hadley: What defines a good photograph for you?

Charlotte Woolf: A good photograph makes me want to know more about the story and also leaves a sense of mystery to the viewer.

Sarah Hadley: What is your process for working on a project? Do you preconceive of your images in your head before you shoot or have an idea and shoot until you feel it has been realized?

Charlotte Woolf: I work in both modes. I go into my projects with an open-minded outlook. Frances Denny once passed down the wisdom that “pictures make pictures.” Sometimes you just have to get out there, get in the rhythm and find something unexpected – that is the beauty of it.

Sarah Hadley: Has living in NYC affected your work?

Charlotte Woolf: Absolutely. NYC raised my standards. Working alongside high profile photographers requires competitive technical skills and flawless outcomes. The people that I have met and the desire to learn more about the craft challenge me to push my limits. You truly have to hustle in NYC but it will pay off, even if you have to wait for it sometimes.

Sarah Hadley: Is there anything else you would like to tell us about your work or life that would inform us about your work?

Charlotte Woolf: Sometimes photographers are encouraged to pick an expertise and stick with it. I have always rejected that notion, keeping my interest and style wide open. This is why I make work challenging the assumption that opposite ends of an artistic tradition must exists separately – work that is both abstract and documentary, analog and digital. In the grand scheme of my art-making life, I am still young and it’s too early to limit myself and reject exploring new facets of myself just because of other people’s expectations. I’m excited for my future work and that’s an amazing feeling.

For more of Charlotte Woolf’s work see the current issue of F-Stop: or visit her website:

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Kurt Tong @ Impressions Gallery

Aberdeen, Hong Kong © Kurt Tong

Aberdeen, Hong Kong © Kurt Tong

The Queen, The Chairman and I Kurt Tong
16 December 2016 to 18 March 2017

Described by Tong as a photographic ‘who do you think you are’, The Queen, The Chairman and I was made over four years across three continents. In this multi-stranded saga of love, hope, and tragedy, Tong uncovers family secrets and reveals the impact of political and economic forces on individual people. Drawing on Tong’s Chinese, Hong Kong and British connections, the exhibition combines new large-scale photographs, alongside heirloom photographs and rare colour film footage from the 1940s. Central to the exhibition is a contemporary Chinese teahouse installation where visitors are invited to drink tea, read Tong’s artist book, and share their own family stories.

Impressions Gallery, Centenary Square, Bradford, BD1 1SD

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Sight Seen @ SVA Chelsea Gallery

Sight Seen the 2016 Thesis Exhibition of the Masters in Digital Photography department.
October 19th – November 5th, 2016

SVA Chelsea Gallery
601 West 26th St., 15th floor
New York City

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Never Leave Me: Photographic Images in Germany Today @ On Stellar Rays Project Space

Never Leave Me: Photographic Images in Germany Today
November 15 – December 12, 2016

Opening Reception: November 15th, 2016, 6-8pm;

The exhibition explores how Germany’s rich photographic past still influences artists today. The show also demonstrates how coming of age after the fall of the Berlin Wall in 1989, and in an unprecedented era of image saturation has simultaneously strengthened and challenged the artist’s position to photography.

With works by: Nina Beier, Louisa Clement, Buck Ellison, Lindsay Lawson, Alwin Lay, Roman Schramm, Mark Soo and Tobias Zielony

On Stellar Rays Project Space / 1 Rivington Street / New York, New York 10024

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McNair Evans @ EUQINOMprojects

McNair Evans Field Sketches
November 16 – December 23, 2016

Opening Reception with the artist: Friday, November 18, 2016, 6:00-8:00 PM

In Search of Great Men combines original photography with passenger accounts to explore contemporary American culture through the status of our passenger rail system and those currently traveling by train. For over three years, Evans engaged fellow passengers, recorded their stories, and photographed landscapes during biannual two-week Amtrak trips.

1599 Tennessee St. San Francisco, CA

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Hommage à Christian Bouqueret @ Gitterman Gallery

unnamedHommage à Christian Bouqueret
November 16, 2016 – January 21, 2017

Christian Bouqueret became interested in the modernity of Bauhaus photography during his art history studies in Berlin. Bouqueret was co-director of Bouqueret-Lebon Gallery from 1990-1997, which represented both contemporary German and French photography. He published many catalogs during his lifetime, including Assia sublime modèle, Les Femme Photographes, and books on Daniel Masclet, Jean Moral, Roger Parry, André Steiner, Raoul Ubac, and René Zuber. Bouqueret’s seminal 1997 book, Des années folles aux années noires: La nouvelle vision photographique en France 1920-1940, which presented over seventy photographers from the period, won the Prix Nadar photography book award. Bouqueret curated 200 vintage prints from his collection for the 2009 Jeu de Paume exhibition entitled Paris capitale photographique 1920-1940: Collection Christian Bouqueret. In 2011 the Pompidou Centre acquired nearly 7,000 photographs from Bouqueret’s collection, which was considered one of the best privately-owned Modernist photography collections in France. The following year the Pompidou exhibited a selection of the collection and published an accompanying catalog titled Voici Paris: Modernités Photographiques, 1920-1950. As Andy Grunberg writes in the Jeu de Paume catalog: “what we know of the history of photography is a result or sum of what has been preserved, collected, exhibited and published.” Thanks to Christian Bouqueret, that history is richer.

Gitterman Gallery
41 East 57th Street, Suite 1103
New York, NY 10022

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Mark de Paola @ Leica Gallery Boston

l1000266printMark de Paola: “60 Seconds”
November 3rd, 2016 – January 2nd, 2017

Opening reception: Thursday, November 3rd, 2016 from 6pm to 9pm

“60 Seconds” delves into a realm of abstract figures, fluidity, and poetic forms, challenging and seducing the limits of motion contained within still image. With each photograph taken handheld with a 60 second exposure, de Paola has discovered the connection between his physiological make up, the Leica M camera as a tool, and time, the unflinching competitor to the timeless image.

Leica Gallery Boston
74 Arlington St
Boston, MA 02116

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Richard Renaldi @ Benrubi Gallery

Richard Renaldi “Manhattan Sunday”
November 3 – December 23, 2016

Opening reception: November 5, 2016 at 9pm

Manhattan Sunday is a photographic diary from 2010 to the present. As the name suggests, the pictures were all taken in Manhattan, in the wee hours of Sunday morning, usually after a night out on the town. If hedonism informs these images, from the bare skin and muscled bodies in many of its portraits, to the disco balls and bottles of poppers in its still lifes, it’s a sensuality tempered by reflection. The faces are blissed out, maybe even a bit wan after eight or ten hours of clubbing. Black and white lends a coolness to the scenes, merging day with night, while several long exposures capture the euphoria of the club experience, but also its transience.

Benrubi Gallery · 521 West 26th Street, Floor #2 · New York City · New York · 10001

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Linsey Gosper @ Strange Neighbour

Linsey Gosper

The work was taken in Europe and the series looks at the mythological symbolic sculptures and architecture that have protected European cities and remained for centuries.

Strange Neighbour

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