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COOL, CREATIVE AND CONTEMPORARY

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2 M AY –
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BLACK + WHITE wo things happened in the

T
last few weeks that I find

PHOTOGRAPHY interesting and useful (and


fun). Firstly, I got to the end
EDITORIAL of a project I’ve been working
Editor Elizabeth Roberts on for some time, which was
email: elizabethr@thegmcgroup.com both pleasing and a relief. I found that,
Deputy Editor Mark Bentley by working on one particular subject
email: markbe@thegmcgroup.com (with a couple of others rumbling in the
Features Editor Anna Bonita Evans background), I had become a bit
email: anna.evans@thegmcgroup.com obsessive, which in turn felt rather
Designer Toby Haigh © Vicki Painting
limiting. Often when I finish something
EDITOR’S LETTER JULY 2018 I feel a bit lost as to what to start next,
ADVERTISING
Advertising Sales Guy Stockton but this time it was quite the opposite –
tel: 01273 402823
email: guy.stockton@thegmcgroup.com THE POWER I found I was taking my camera
everywhere I went and simply pleasing
myself as to what I took pictures of,
PUBLISHING
Publisher Jonathan Grogan OF INFLUENCE regardless of any idea of what I should
do with them. I admit I felt I had
MARKETING
Marketing Executive Anne Guillot permission to carry on in this way
tel: 01273 402 871 because it replicated Dayanita Singh’s
approach to her photography. She shoots
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Production Manager Jim Bulley
‘Suddenly I was enjoying what appeals to her and only later looks
Origination and ad design GMC Repro
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photography at its most for connections and themes in her work.
It seems to work beautifully for her so
Distribution Seymour Distribution Ltd
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SUBSCRIPTIONS could be interesting.
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archive and found quite a number of themes and threads. I made around five new collections
SUBSCRIPTION RATES from a mix of old and new work, giving new life to the old and meaning to the new.
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£75.45 ( Rest of world) I came across a photographer’s work that I thought was beautiful but I also registered it
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GMC Publications Ltd. Current subscribers We are never in isolation – we are never truly original – and taking inspiration from
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© Xyza Cruz Bacani © Bryan Schutmaat

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BLACK+WHITE PHOTOGRAPHY ISSUE 217 JULY 2018 NEXT MONTH’S ISSUE IS OUT ON 5 JULY

COVER southern landscape NEWS


Picture by Tim Gainey by Sally Mann 04 NEWSROOM
The movers and shakers
FEATURES 44 EXPERIMENTAL TIMES in the B&W world
10 WORLDS APART Sarah Allen on a major
Hotly-tipped photojournalist new exhibition 06 ON SHOW
Xyza Cruz Bacani Work by two top photographers
50 SMALL WONDERS on display
26 GOODBYE FREEDOM Beautiful insect pictures
Bryan Schutmaat’s affecting by Jan C Schlegel 20 IN THE FRAME
pictures of a man about to Your guide to top
go to prison 68 FACE TO FACE photography exhibitions
Portraits of artists by Mark Perrott
34 BRED FROM A PLACE 25 ON THE SHELF
Poignant photographs of America's The best new photography books
© Tim Clinch © Eddie Ephraums

70 62

© Mark Perrott © Steve Hynes

68 74

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FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 86 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK

COMMENT Lee Frost on shooting handheld 62 TALKING ABOUT 72 SMARTSHOTS


22 AMERICAN CONNECTION OUR PHOTOGRAPHY Your pictures could win a prize
Susan Burnstine on the work 58 PROJECTS IN Eddie Ephraums on the power
of Steve Banks VISUAL STYLE of sharing ideas 74 SALON
Explore the world of collage A story in photographs
40 REFLECTIVE PRACTICE with Tim Daly TESTS & PRODUCTS
Vicki Painting on the photographic 80 CHECKOUT 86 HOW TO GET PUBLISHED
power of forests 70 SMART GUIDE Six of the best tripods We want to see your best work
TO PHOTOGRAPHY
66 A FORTNIGHT AT F/8 Making the most of 84 BLACK+ WHITE LOVES 90 NEXT MONTH
Tim Clinch on the delights bad conditions Pick of the latest kit Fabulous pictures coming your way
of doors in Malta
INSPIRATION YOUR B+W 96 LAST FRAME
TECHNIQUE 48 THINKING PHOTOGRAPHY 42 SUBSCRIPTION OFFER Prize-winning single image
52 TOP TIPS Alex Schneideman on beauty Have B+W delivered to your door
NEWS
NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
© Derek Snee

HIGH CONTRAST
Thousands of early photographs
collected and commissioned by
Prince Albert are to be published
online. The Prince Albert
Digitisation Project features
more than 10,000 pictures,
including work by Roger Fenton
and Oscar Rejlander. The
pictures will be published on the
website of the Royal Collection
Trust over the next two years.

Five top photographers will be


speaking at Foto Fest Central
in July. Charlie Waite, Mark
Littlejohn, Tom Way, Ted Leeming
and Morag Paterson will discuss
their work at the one-day
04 festival at Patchings Art Centre,
Tapas upon Tyne by Derek Snee
B+W Nottingham, on 15 July. The

GLORIOUS FOOD
event, organised by Fotospeed,
also features a market place
where visitors can try the latest
gear and talk to industry experts. Congratulations to black & white photographer was Bangladeshi photographer Noor Ahmed
Derek Snee, who was one of the category winners Gelal, who won a prize of £5,000. Martin Parr
Entries are invited for an in the Pink Lady Food Photographer of the Year was presented with the Outstanding
international photography awards. Derek was also shortlisted in the recent Achievement award and B+W Photography
festival. Photomonth takes B+W Photographer of the Year awards. contributor Tim Clinch took second place in
place in October and November The overall winner of the food awards the smartphone category.
in east London and aims to
demonstrate the diversity of
contemporary photography.
Deadline: 16 July.
TOP OF THE WORLD
A black & white photographer has won the
Jessops has radically Sony World Photography Awards.
redesigned some of its stores. Alys Tomlinson won the $25,000 first prize for
The next generation photo stores Ex-Voto, a series of pictures of pilgrims in France,
are intended to attract Ireland and Poland. The judges praised her work
smartphone photographers and for its beautiful production, technical excellence
families. Space has been given and sensitive illustration of pilgrimage as a
to allow people to turn their journey of discovery and sacrifice.
pictures into prints and gifts. Alys is the first British photographer to win the
award for 10 years. She said: ‘I am very surprised to
A new photography gallery have won, there is so much amazing photography
has opened in London – Wren
in this competition. This is a huge boost both
London is based in Featherstone
personally and professionally. It’s a project I invested
Street and aims to showcase
artists working at the forefront
so much in, so this recognition makes it all worth it.’
of contemporary photography. The competition attracted 320,000 submissions
The first exhibition features work from around the world. Winning pictures were
by New York photographic artist shown at Somerset House in London and can
Robin Broadbent and continues be seen in a new book.
until 30 June.
Left One of the pictures from Ex-Voto by Alys Tomlinson.
© Alys Tomlinson, United Kingdom, Photographer of the Year, Professional,
Discovery, 2018 Sony World Photography Awards
© George Rodger/Magnum Photos

ON FILM
A new short documentary film
celebrates the work of renowned
darkroom printer Melvin
Cambettie Davies.
The film, Mastermono, is directed
by Ken Kamara and Arianna Marin
and presented by Magnum General view of the ruins of Palmyra. A man on horseback passes as he would have done when Palmyra
photographer David Alan Harvey. was originally a trading city in the first century AD. Picture by George Rodger, 1966.
It describes the world of one of the
last black & white photographic
printers in London and was recently
shown at the Cheap Cuts Film
NEW MAGNUM PAPER
A new newspaper series has been launched The newspapers will cover a range of social
Festival in London. by Magnum Photos. and political issues, as well as lighter subjects.
The Magnum Chronicles are designed to Each one will be curated by a different
inform, engage and entertain through the use Magnum photographer.
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of visual narratives. The first issue is called Papers will be available for free from a variety
A Brief Visual History in the Time of ISIS and is of cultural venues and bookshops across Europe
curated by Magnum photographer Peter van and the USA, including the Photographers’
Agtmael. It features more than 40 photographs Gallery in London, ICP Bookshop and Gallery
from the Magnum archive plus an essay by in New York, Magnum Print Room in Paris
Middle East expert Peter Harling. and World Press Photo in Amsterdam.
© Ken Kamara and Arianna Marin

FIRST FOR SPORT


This black & white photograph
by Oli Scarff won first prize in
the sports single category of
World Press Photo. The picture
was taken at the Royal
Shrovetide Football match,
which is an extraordinary
annual game played in
Ashbourne, Derbyshire, that
dates back hundreds of years.
The overall winner of World
Press Photo was Ronaldo
Schemidt for his picture of
a man on fire during riots in
Venezuela. He wins €10,000 plus
Canon camera equipment. The
competition attracted 73,000
pictures from around the world,
the best of which can be seen in
a touring exhibition that travels
to 45 countries.
Left Royal Shrovetide Football
by Oliver Scarff.
© Oliver Scarff, Agence France-Presse
NEWS ON SHOW: DOUBLE BILL
Two major exhibitions run in tandem at the Barbican in London this summer.
The first is a retrospective of one of the founding figures of photojournalism,
Dorothea Lange; the second presents work by Vanessa Winship, the unsung
chronicler of our time. Anna Bonita Evans reports on the unique double bill.

DOROTHEA LANGE: POLITICS OF SEEING


ituated in the Barbican’s lower art galleries, Politics of Seeing is from 1919 to 1957 are sequenced in loose chronological order,

S the first UK retrospective of the great American photographer


Dorothea Lange. While her images of the Great Depression
have cemented Lange’s legacy (her portrait of Florence Owens
Thompson with her children is emblematic), this exhibition sheds
light on her lesser known yet equally powerful work.
with vintage prints, letters and other fascinating ephemera helping to
paint a comprehensive portrait of the American photographer.
Particularly notable works include her documentation of the
internment of more than 100,000 American Japanese citizens, which
remained unpublished during the Second World War. This is the first
The 300 objects making up the display present Lange’s lifelong time the series has been exhibited outside of America and Canada.
commitment to photography and her passionate belief in social equality Another highlight is her project with Ansel Adams on Californian
and environmental conservation, helping to place her as a leading critical shipyards; here we see Lange’s distinct approach to covering a story:
voice in 20th century socio-political photography. Eight series that range the focus is on celebrating female African American workers and their

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Opposite Drought Refugees, circa 1935 Above Migratory Cotton Picker, Eloy, Arizona, 1940 Below Manzanar Relocation Center, Manzanar, California, 1942

defiance of sexist and racist attitudes.


Other bodies of work put in the spotlight include early studio
portraits of affluent West Coast families and her contemporaries
(Edward Weston, Imogen Cunningham and Willard Van Dyke) as
well as her artful depictions of vernacular architecture and
landscapes. While these overlooked series are a welcome insight
into a side of Lange we might not have known otherwise,
photography’s power to affect change was central to her
photographic practice and is at the core of the show.
Death of a Valley, a compelling documentation on the
disappearance of a small Californian rural town, is sure to be of
interest, and Ireland, the first series Lange made outside America,
will garner attention. An original copy of the seminal photo book
An American Exodus: A Record of Human Erosion in 1939 is
exhibited, which Lange co-created with her second husband,
prominent social economist Paul Schuster Taylor. Through careful
curation, Politics of Seeing presents Lange as a feminist, civil rights
activist and environmental campaigner and a woman who used the
camera as a tool to communicate her message of social change.  All images © The Dorothea Lange Collection, the Oakland Museum of California
 VANESSA WINSHIP: AND TIME FOLDS
n contrast to Dorothea Lange’s politically charged imagery are the poetic. She captures the beautiful places where serenity and hardship

I
150 works on show in the Barbican’s upper galleries. The pictures combine to offer portraits of places like no other.
are by British photographer Vanessa Winship who, despite The series are sequenced chronologically, starting with Imagined
international success, has largely been overlooked in her home States and Desires: A Balkan Journey and finishing with She Dances
country. This is her first major UK solo exhibition with selections on Jackson – the outcome of her winning the Henri Cartier-Bresson
from seven long-term projects, including her new, ongoing body award in 2011. Those familiar with Winship’s oeuvre will enjoy
of work which shares the same name as the exhibition. discovering more about her thought processes, working methods and
While some describe her as a portraitist, others a documentary
photographer, seeing her work en masse acts as a reminder that
categorising her work into a genre is too limiting. Although Winship’s
work might tell us people’s stories, it goes far deeper than straight
narration, as curator of the exhibition Alona Pardo explains: ‘This
exhibition sheds new light on Vanessa’s practice, which is very
complex. She is a chronicler of our world through a very different
approach to others; her pictures are ultimately about her grappling
with the world around her and making sense of it through the lens.
She doesn’t have a utopian vision about the power of photography,
her work really comes back to her own biography.’
A remarkable artist who uses photography to connect with the
world and its people in a meaningful way, Winship works slowly,
allowing a theme to emerge and take form over time. She often lives
in the regions she photographs and her engagement with her subjects
is brief but powerful. There is an astonishing tenderness to her work;
it is delicate, understated, compassionate and of course endlessly Untitled, Black Sea: Between Chronicle and Fiction, 2002 to 2006

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Untitled, Humber, 2010


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All images © Vanessa Winship


Untitled, Sweet Nothings: School Girls of Eastern Anatolia, 2007

the importance of the written word for her creativity. Her new series overdue but this show is testament to it being well worth the wait.
will also be of great interest. Very much in its early stages, And Time A deserving artist who has a unique way of looking at the world,
Folds is quite different from her previous series. Colour images are this is an utterly compelling show.
set alongside black & white prints and there’s an intriguing addition
of archival material alongside found objects. We also see Winship POLITICS OF SEEING & AND TIME FOLDS
experimenting and playing with different processes – there’s a small are open from 22 June to 2 September; both shows are part of
collection of tintypes. the Barbican’s yearlong season The Art of Change. One ticket
Acknowledgement in the UK for Vanessa Winship might be gains entry to the two exhibitions. barbican.org.uk
NEWS FOOD PHOTOGRAPHER OF THE YEAR
EXTRA We present some of the best black & white pictures from this year’s Pink Lady
Food Photographer of the Year awards. The competition attracted entries from
photographers in 60 countries and the overall winner received £5,000.

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© Derek Snee
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© Karolina Wiercigroch
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© Mark Unsworth
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© Matt Wilson
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© Max Robinson
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© Fernando Lazaro
© Philip Field

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FEATURE

All images
© Xyza Cruz Bacani

WORLDS
APART
At 20 years old Xyza Cruz
Bacani moved from the
Philippines to Hong Kong
to work as a domestic helper
while photographing the
people she met and the
places she saw. Eleven years
on she’s gaining recognition
for her photo-essays on
migration and human rights.
Tom Seymour reports.

yza Cruz Bacani sits


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with her gallerist and
agent. We’re in a huge
hangar right on the
water’s edge of San
Francisco’s Bay Area.
Take a stroll outside and you’d see
the sun setting over the Golden
Gate Bridge, the ferries of tourists
returning from Alcatraz. The
hangar is empty of people but full of
photography from every corner of the
globe. In a couple of hours the room
will fill with the city’s very moneyed
art scene, for the 2018 San Francisco
PhotoFairs is about to open.
The 31-year-old has a highly
anticipated solo exhibition at the fair.
Just across from her display Todd
Hido is exhibiting his new work; to
her left are Robert Mapplethorpe’s
unseen Polaroids and just around
the corner is the latest imagery from
renowned photographer Chen Wei.
Bacani is dressed elegantly in black,
typing away on her mobile phone. 

Left Daisy Benin Santos was forced into


debt and became undocumented when
her trafficker, now in jail, let her visa
expire. New York City, 2015
A child labour victim from Myanmar closes the door of the shelter. Singapore, 2016
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 Throughout the interview, she exhibits a ‘My mum doesn’t take time bought her first camera. ‘I had no idea what
relaxed and familiar confidence, as if she’s I was doing,’ Bacani says, ‘And the pictures
catching up with an old friend. She looks like off, she’s a workaholic, so were dreadful and ugly.’ But she persevered.
she very much belongs in such a high-end she’s never really seen Hong Every Sunday, she would spend the day
setting. It would be easy to assume she’s been walking the streets with her camera,
doing this kind of thing all her life – how Kong. Every time I went out, taking remarkably adept monochrome
very wrong that assumption would be. I was able to find something photographs of the small, momentary
Amid all of the photographers at the micro-dramas she witnessed.
fair, Bacani’s story is singularly unlikely, of the city to show her.’ ‘My employer didn’t want me to see
remarkable and inspiring. Hong Kong as a prison,’ Bacani says. At
Bacani was born and raised in a village in and she found a good job with a kindly, first, she saw her photography, ‘as a way to
Nueva Vizcaya, a rural outpost of the ageing woman. At 19, after a decade caring relax, to decompress from the week.’ But she
Philippines. She was eight years old when her for her two younger siblings, Bacani made quickly realised her camera facilitated a more
mother announced she was leaving the the decision to follow her mother to Hong important function: ‘I realised I was able to
family. A travelling salesman had visited their Kong and at 20 left the quiet, simple family bring something home every time I went out,’
village and promised lucrative employment life of Nueva Vizcaya and travelled to one of she says. ‘My mum doesn’t take time off, she’s
with good, rich people in Singapore. She the largest, busiest and most unequal cities in a workaholic, so she’s never really seen Hong
would be paid more than enough to send the world. She stayed there for seven years, Kong. Every time I went out, I was able to find
plenty back to Xyza and the family. Yet her working side-by-side with her mother. On something of the city to show her. It became
mother’s experience was one of abuse. She her Sundays off, Bacani would try to pursue a way for us to communicate with each other.’
was trafficked into Malaysia on a tourist visa her interest in painting. But Hong Kong, She gained the courage to post them on
and in her first job (which lasted two years) a metropolis she only glimpsed at during her Facebook page and in 2014 she came
she was allowed out into the daylight on just the week, lay on her doorstep. She started to the attention of professional Filipino
three separate occasions. She slept in what to wander the streets of the city by herself. photojournalist Rick Rocamora, who alerted
amounted to little more than a storage Beyond her employer and her mother, she the New York Times, who promptly published
cupboard. Her main contact with Xyza knew no one. She saw herself as invisible: ‘A a selection of her work. ‘I shouldn’t admit
was through photographs she sent through stray cat in the city,’ she says. this, but when I got the email from them,
the post. Eventually, she found the courage to ask I didn’t really know what the New York Times
Xyza’s mother later made it to Hong Kong her employer for an advance. With it, she was. My world was small,’ she says. 
Karamjit weeps as she share her story with other runaways in the shelter. She was physically abused by her employer. Singapore, 2016
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Erwiana Sulistyaningsih (centre) leaves the hearing where her former employer was sentenced to six years in prison. Hong Kong, 2015
Members of F15, a group of Filipino trafficking survivors, during barbecue night. Jersey City, 2015
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Xi Feng is a noodle factory worker. After her hand was injured at work the agent responsible refused to return her agency fee. Singapore, 2016
Runaway migrant workers in Singapore share a meal inside the kitchen of the shelter. Singapore, 2016
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Daisy Benin Santos on a Skype call with her children in the Philippines. New York City, 2017
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Left Lilibeth was


fired when she
asked for maternity
leave pay and her
employer illegally
kept her passport
and tore it up.
Hong Kong, 2015
18 Cherry was forced to clean houses for food and lodging but after fighting for her rights she now works as a teacher. New York City, 2015
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er rise in recognition since has rights to immigrant workers, so there’s It would be Bacani’s first photo project in her


H been vertiginous. Less than a
year later she was awarded the
Magnum Foundation Human Rights
scholarship at the Tisch School of the Arts in
New York. Susan Meiselas, one of the most
very little these women can do in response.
Bacani captures women with serious burns
spreading across their back, or scars across
their face. ‘My former employer treated
me with dignity,’ she says. ‘I went to the
homeland. This was no easy task. Mindanao
is home to the largest Muslim population
in the Christian-dominated Philippines. It’s
also a war zone as it’s home to a multifaceted,
decades-old conflict between rebel groups
celebrated documentarians in the world, led shelter and saw how these women had been the Moro National Liberation Front and
the course, and encouraged her new student physically hurt or emotionally abused – the Al Qaeda-influenced Abu Sayyaf. Amid
to further mine into her own experience. I think the hardest challenge for me was this violence lies a school called Klasrum ng
‘She’s a straight shooter, and she’ll tell you containing the anger I felt. I had to try and Pag-Asa (Classrooms of Hope). Here, Bacani
as it is,’ Bacani says of Meiselas. ‘But it’s channel the anger into something useful.’ photographed children of both Christian
very rare to find a mentor like her. She will But Bacani learned to use her own and Muslim heritage as they study in the
support you not just in work but in your experiences to further her photography. same classrooms.
personal life as well.’ Many of the women at Bethune House had The work is ongoing; another trip is
Bacani is now in the midst of working on left children at home and hadn’t seen them planned soon, so the photographs on the
a photobook documenting the lives of other for many years. ‘They weren’t interested in walls of San Francisco PhotoFairs are just the
migrant domestic helpers who suffered abuse me because I worked the same job as them, beginning. ‘It’s a lot of work,’ she says. ‘I’m
at the hands of their employers. As well they were interested because I am a child of working in a war zone, so I have to spend a
as looking at workers in America, most of a migrant worker, because that’s the thing lot of time working out how to photograph
her images have been taken at the Bethune that they can’t know; the feelings of their responsibly and safely.’ The series means a lot
House Migrant Women’s Refuge in Hong children. They ask me how I felt growing up to Bacani, for it speaks to the girl who grew
Kong, a shelter for abused migrant workers. without my mum and how my relationship up in the village in Nueva Vizcaya, with no
‘If domestic workers need help, or get with my mum is now.’ idea what lay in store. ‘I know why I wanted
terminated in the middle of the night, that’s to work on the story,’ she says. ‘These children
where they go,’ she says. ast summer, the Magnum Foundation have to fight to go to school everyday. I believe
As her pictures testify, many of the women
were physically abused by their employers.
Hong Kong doesn’t give any citizenship L asked Bacani to go out on commission.
They sent her back to Mindanao, the
second largest island in the Philippines.
everybody deserves a school education –
because I was never able to have one.’
xyzacruzbacani.com
NEWS IN THE FRAME
If you would like an exhibition to be included in our listing, please email
Elizabeth Roberts at elizabethr@thegmcgroup.com at least 10 weeks in advance.
International listings are on the app edition of the magazine.

LONDON BRUNEL GALLERY


To 23 June
China and Siam:
AUTOGRAPH Through the Lens of John Thomson
To 7 July Thomson’s work in Asia from 1862 to 1872.
Frankly Rodgers: SOAS, Thornhaugh Street, London WC1
Devotion – A Portrait of Loretta soas.ac.uk
Rodgers pays homage to a figure sacred
in his life, his mother, Loretta. 5TH BASE GALLERY
To 7 July 1 to 6 August
Marcia Michael: Points of Departure:
I Am Now You – Mother Tilbury to Harwich
Michael visualises the act of matrilineage An exploration of the piers and landing
through the body of her mother, stages along the Essex coast by MA
Myrtle McKnight. student Simon Fremont.
Rivington Place EC2A 23 Heneage Street E1
autograph-abp.co.uk 5thbase.co.uk

BARBICAN ART GALLERY ECAD GALLERY Schenck House, 1953


© The Archives LLC / Iconic Images
22 June to 2 September 20 June to 25 July
Dorothea Lange: Before Winter UP CLOSE WITH MARILYN:
Politics of Seeing Solo exhibition by Croatian
The first UK retrospective of one of photographer Olga Karlovac. PORTRAITS BY MILTON H GREENE
the most influential photographers The White Building, Unit 6, To 24 June
of the 20th century. 71 Consort Road SE15 Rare photographs of Marilyn Monroe that challenge
22 June to 2 September ecadgallery.photography the dumb blonde stereotype.
20 Vanessa Winship: And Time Folds
B+W The first UK solo exhibition by the ESTORICK COLLECTION PROUD CENTRAL
award-winning British contemporary OF MODERN ITALIAN ART 32 John Adam Street WC2N proud.co.uk
photographer. See pages 6-9. To 24 June
1 Silk Street EC2Y Glamour and Modernity in
barbican.org.uk 1930s Italian Cinema An exhibition that looks at a little known PHOTOFUSION
period of Italian cinematic history. To 18 June
39a Canonbury Square N1 Form & Function
estorickcollection.com Chloe Rosser’s work transforms the
familiar into unfamiliar sculpture.
HAUSER & WIRTH 17A Electric Lane, Brixton SW9
To 28 July photofusion.org
August Sander
An extensive selection of rare large-scale PHOTOGRAPHERS’ GALLERY
Sander portraits made between 15 June to 14 October
1910 and 1931. Alex Prager: Silver Lake Drive
23 Savile Row W1S The first mid-career survey of the
hauserwirth.com American photographer and filmmaker.
16-18 Ramillies Street W1F
JEWISH MUSEUM tpg.org.uk
To 1 July
Elsbeth Juda: SAATCHI GALLERY
Grit and Glamour To 15 June
A retrospective of the late British The Trap by Lizzie Sadin
Robin Broadbent, Factor, 2012 female photographer. Sadin’s reportage of women and girls
© Robin Broadbent. Courtesy Wren London
Albert Street NW1 from Nepal trafficked into slavery.
ROBIN BROADBENT: jewishmuseum.org.uk Duke of York’s HQ, King’s Road SW3
REDUCTION, REDUCTION saatchigallery.com
MUSEUM OF LONDON
To 30 June To 11 November TATE MODERN
A solo exhibition by the internationally acclaimed photographic artist London Nights To 14 October
in which he explores today’s material culture in abstract form. Contemporary and historical images that Shape of Light: 100 Years of
focus on the familiar and unknown of Photography and Abstract Art
WREN LONDON London after dark. The intertwining stories of photography
39 Featherstone Street EC1Y wren.london 150 London Wall EC2Y and abstract art.
museumoflondon.org.uk Bankside SE1 tate.org.uk
THE VINYL FACTORY Viviane Sassen: Hot Mirror
18 to 27 May Work by the internationally renowned
Home Dutch artist and photographer.
Magnum photographers explore 22 June to 7 October
the notion of home. Lee Miller and Surrealism
18 Marshall Street, Soho W1F in Britain
thevinylfactory.com An exhibition that explores surrealism
in Britain through Miller’s lens.

MIDLANDS Gallery Walk, Wakefield


thehepworthwakefield.org

BIRMINGHAM MUSEUM LONGSIDE GALLERY


& ART GALLERY To 17 June
To 1 July In My Shoes:
Vanley Burke: Photographing Art and the Self since the 1990s
Birmingham (1968-2011) Explores how UK-based artists have
The lives and experiences of the African represented themselves in their work. Steve Stange and Stephen Jones by Terry Smith
© Terry Smith
Caribbean community. Yorkshire Sculpture Park,
Chamberlain Square, Birmingham West Bretton, Wakefield ysp.co.uk TERRY SMITH: BLITZ AND PIECES
birminghammuseums.org.uk
LOTTE INCH GALLERY 7 June to 21 July
MAC BIRMINGHAM To 16 June Unseen Blitz Club pictures and 80s bands.
To 1 July Lucy Saggers:
Miss Black and Beautiful Of Life and Land LUCY BELL GALLERY
Raphael Albert’s pictures celebrating the Documentary of a disappearing way 46 Norman Road, St Leonards on Sea lucy-bell.com
black is beautiful aesthetic of the 1970s. of life in rural Yorkshire.
Cannon Hill Park, Birmingham 10 Bootham, York
macbirmingham.co.uk lotteinch.co.uk nature of the body. An Tobar Arts Centre, Tobermory,
Albert Dock, Liverpool Isle of Mull comar.co.uk
PHOTO SPACE QUAD tate.org.uk/Liverpool
To 28 June To 24 June FOTOSPACE GALLERY
Paul Hill and Maria Falconer
Series of exhibitions from the two
acclaimed photographers.
Battle Against Stigma
Mark Neville’s pictures look at mental
health problems in the military.
SOUTH To 16 June
Tanera Mhor (Ar Duthaich)
Work by Kevin Percival.
Castle Street, Ludlow Market Place, Derby CHARLES HUNT CENTRE Rothes Halls, Rothes Square, 21
thephotospace.co.uk derbyquad 18 to 23 June Glenrothes sca-net.org B+W
Hailsham Photographic Society’s

NORTH TATE LIVERPOOL


To 23 September
Life in Motion:
Annual Exhibition
Open from 10am to 4pm each day.
Vicarage Field, Hailsham
THE 13TH NOTE
2 to 30 July
Transient Moments
HEPWORTH WAKEFIELD Egon Schiele/Francesca Woodman hailshamphotographicsociety.co.uk An exhibition of B&W images on the
22 June to 7 October Pictures that highlight the expressive theme of impermanence in modern
GALLERY 64a Japan by John McKenna.
7 to 28 July 50-60 King Street, Glasgow
Monochrome Delectus 13thenote.co.uk
A group show of some of the best
practitioners in black & white.
64 Oxford Street, Whitstable
gallery64a.co.uk
WALES
CYNON VALLEY MUSEUM
THE LIGHTBOX 15 June to 14 July
14 July to 7 October A Year in their Lives and Other Work
Photographs around Woking: Roy Carr’s documentary of sheep farming
Sidney Francis in the 1920s in the Cynon Valley.
and 1930s Depot Road, Aberdare
Prints from glass plate revealing life rctcbc.gov.uk
in the town and surrounding areas.
Chobham Road, Woking, Surrey NATIONAL MUSEUM CARDIFF
thelightbox.org.uk To 11 November
Women in Focus

BRIGHTON BEACH SCOTLAND An exhibition that looks at the role


of women in photography, both as
producers and subjects of images.
To end of September EAGLE FEET GALLERY Cathays Park, Cardiff
An outdoor exhibition by Brighton and Hove Camera Club 9 June to 17 August museum.wales/cardiff
held on the beach. Aros Revisited:
Photographs by Sarah Darling
BRIGHTON BEACH An exploration of the timeless nature of Send your international exhibition details
Opposite the Grand Hotel bhcc-online.org light, water and plant life at Lochan a to anna.evans@thegmcgroup.com
Ghurrabain, Aros, on the Isle of Mull.
NEWS OUTSIDE THE FRAME
If you would like an exhibition to be included in our listings, please email
Mark Bentley at markbe@thegmcgroup.com at least 10 weeks in advance.
for Arbus’ posthumous career.
AMERICA
ANNENBERG SPACE FOR
600 Maryland Avenue, Washington DC
si.edu
PHOTOGRAPHY
To 9 September STEVEN KASHER GALLERY
Not an Ostrich: And Other Images 7 June to 28 July
from America’s Library Dan Weiner:
An estimated 500 images selected Vintage New York 1940-1959
from the vast Library of Congress Reportage imagery of New York
archive go on show. during a rapid economic change.
2000 Avenue of the Stars, Los Angeles Sandra Weiner:
annenbergphotospace.org New York Kids, 1940-1966
Images of children affected by
ART INSTITUTE OF CHICAGO the city’s vast socio-economic gap.
To 19 August 515 West 26th Street, New York
Volta Photo stevenkasher.com
Sory Sanlé’s upbeat portraits
of 1960s Burkina Faso youth. Yokohama, Japan, 2003 WALTHER COLLECTION
To 28 October © Elliott Erwitt / Magnum Photos PROJECT SPACE
Never a Lovely So Real: To 28 July
Photography and Film AUSTRIA Mistaken Identities
in Chicago, 1950-1980 Images of gender and transformation.
A survey of photographers and FESTIVAL LA GACILLY-BADEN PHOTO 526 West 26 Street, New York
filmmakers working in Chicago 8 June to 30 September walthercollection.com
neighbourhoods during the mid Popular French festival travels to Baden.
to late 20th century. Includes work by 34 photographers including Elliott Erwitt, YOSSI MILO GALLERY
111 S Michigan Avenue, Chicago Brent Stirton and Seydou Keïta. 28 June to 24 August
20 artic.edu Summer Group Show
B+W DUMBAGASSE 9, BADEN Inspiring collection curated
CLICK HERE
BALTIMORE MUSEUM OF ART festival-lagacilly-baden.photo for the gallery’s summer show.
To 19 August 245 Tenth Avenue, New York
We are Ghosts yossimilo.com
Mary Reid Kelley and Patrick Kelley’s San Carlos and 9th, California GEORGE EASTMAN MUSEUM
quirky, narrative-led B&W imagery. photography.org To 14 October
10 Art Museum Drive, Baltimore
artbma.org CHINA INSTITUTE GALLERY
History of Photography
Images by Margaret Bourke-White,
AUSTRALIA
BRISBANE POWERHOUSE
To 2 December Julia Margaret Cameron and Anna Atkins. 30 June to 22 July
BENRUBI GALLERY Art of the Mountain: Through the 900 East Avenue, Rochester World Press Photo
To 7 July Chinese Photographer’s Lens eastman.org International photojournalism at
Unwired Group show of 20 photographers’ work its best; includes disturbing imagery.
Jacqueline Hassink’s provoking depicting major mountains in China. NAILYA ALEXANDER GALLERY 119 Lamington Street, Brisbane
landscape and portrait images 100 Washington Street, New York To 13 July brisbanepowerhouse.org
which ask us to confront our chinainstitute.org Life in Colour
addiction to technology. Ann Rhoney’s painterly images
521 West 26 Street, New York
benrubigallery.com
CHRYSLER MUSEUM OF ART
To 12 August
of America and its culture.
41 East 57th Street, New York
BELGIUM
KNOKKE-HEIST
Photographs Take Time nailyaalexandergallery.com 9 June to 1 July
BOCA RATON MUSEUM OF ART Distinctive images from the Chrysler World Press Photo
To 21 October Museum’s collection, includes works PÉREZ ART MUSEUM MIAMI The best photojournalism from
Lisette Model: Photographs from by Harold Edgerton, Vera Lutter and To 28 October this year’s competition.
the Canadian photography institute William Christenberry. Sid Grossman Meerlaan 32, Belgium
of the National Gallery 1 Memorial Place, Virginia Grossman’s pictures of New York’s Lower cultuur.knokke-heist.be
Definitive pictures from the street and chrysler.org East Side, Panama and Dust Bowl life.
documentary photographer’s oeuvre. 1103 Biscayne Blvd, Miami
Mizner Park, Florida
bocamuseum.org
CLEVELAND MUSEUM OF ART
To 7 October
pamm.org FRANCE
CENTRE PHOTOGRAPHIQUE
The Destruction of Lower SMITHSONIAN AMERICAN D’ILE DE FRANCE
CENTER FOR Manhattan: 1966-67 ART MUSEUM To 8 July
PHOTOGRAPHIC ART Danny Lyons’ intriguing To 27 January 2019 The Discrete Channel with Noise
To 1 July documentation of a changing Diane Arbus: New work by Clare Strand.
America in Black and White New York during the mid 20th century. A box of ten photographs 107 Avenue de la République,
Documentary images of 1950s 11150 East Boulevard, Ohio An intriguing exhibition that traces the Pontault-Combault
America by John Zimmerman. clevelandart.org portfolio that established the foundation cpif.net
FESTIVAL PHOTO LA GACILLY Major retrospective of the renowned
To 30 September photographer’s diverse oeuvre.
The 15th edition of the French 22-24 Hardenbergstrasse, Berlin
photography festival. This year’s co-berlin.org
theme is the planet.
Various locations, La Gacilly GALERIE HILANEH VON KORIES
festivalphoto-lagacilly.com 16 June to 31 August
La Bravade du Sud
GALERIE THIERRY BIGAIGNON Mario Marino’s B&W images of the
To 31 August festival Les Bravade de Saint Tropez.
Graciously Yours Belziger Strasse 35, Berlin
Harold Feinstein’s B&W documentary galeriehilanehvonkories.de
images from 1966 to 1988.
9 rue Charlot, Paris IMMAGIS FINE ART
thierrybigaignon.com PHOTOGRAPHY
22 June to 4 August
GALERIE MIRANDA Best of Me & Co and Pool Party
16 June to 28 July Highlights from Jean Pigozzi’s
Family Matter two celebrity centered series.
Marina Berio’s pictures of her family, Blütenstrasse 1, Munich
each print is processed in a unique, immagis.com
highly experimental way.
21 rue de Château d’Eau, Paris
galeriemiranda.com GREECE
ATHENS PHOTO FESTIVAL
JEU DE PAUME To 29 July
16 June to 28 October International contemporary
The Time of Colour photographers exhibit their work.
Daniel Boudinet’s distinctive Hellenic Centre for Photography, Athens
colour imagery of cities. photofestival.gr
25 avenue André Malraux, Tours
jeudepaume.org
HOLLAND
FOAM MUSEUM
GERMANY
C/O BERLIN FOUNDATION
29 June to 29 August
Structures of Identity:
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To 1 July Photography from Yves Saint Laurent, Paris, 1978
Irving Penn: Centennial The Walther Collection © Alice Springs

GERMANY
HELMUT NEWTON FOUNDATION
To 18 November
Between Art & Fashion: Photographs from the collection
of Carla Sozzani / Alice Springs: Portraits
A dual display, the first comprises 200 prints – including works by Sarah
Moon and David Bailey. The second presents 30 portraits by Alice Springs,
images of Karl Lagerfeld and Yves Saint Laurent are among those on show.

JEBENSSTRASSE 2, BERLIN
N CLICK HERE
helmutnewton.com

Includes images by August Sander To 16 September


and Richard Avedon. Shomei Tomatsu
Keizersgracht 609, Amsterdam Major retrospective of the
Latidoamerica foam.org Japanese photographer.
© Javier Arcenillas Garriga Nogués exhibition hall,
JAPAN HUIS MARSEILLE MUSEUM
VOOR FOTOGRAFIE
Barcelona
fundacionmapfre.org
TOKYO METROPOLITAN MUSEUM To 2 September
A Beautiful Moment
OF PHOTOGRAPHY
9 June to 5 August
Japanese photography by Naoya
Hatakeyama, Syoin Kajii and Nao Tsuda.
SWEDEN
FOTOGRAFISKA
World Press Photo 401 Keizersgracht, Amsterdam To 10 June
Compelling photojournalism from this year’s
ar s competition.
competition huismarseille.nl The Extraordinary World
of Christian Tagliavini
1-13-3 Mita Meguro-ku, Tokyo Imaginative portraits by Christian Tagliavini.
worldpressphoto.org
CLICK HERE
SPAIN Stadsgardshamnen 22, Stockholm
FUNDACIÓN MAPFRE fotografiska.eu
COMMENT
AMERICAN CONNECTION
Steve Banks’ photographs capture the noise, energy and spirit of the
drag racing world of the 1960s. Now they are available in a new book
susanburnstine.com
from Nazraeli Press. Susan Burnstine finds out more.

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‘I love the way they capture the power of

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hile strolling the years 1964 to 1966 Banks
around the Classic created images at a variety of
Photographs Los the engines, which you can almost hear southern California drag racing
Angeles fair I was screaming out of the prints.’ strips including Lions Drag Strip,
thrilled to run into publisher Long Beach, San Fernando Drag
Chris Pichler at the Nazraeli Press. Nitro will be one of the six books classic muscle car, a 1964 Pontiac Strip, Fontana Drag Strip, Orange
Pichler is a truly gifted publisher included in Nazraeli’s upcoming GTO, which he drove across the County International Raceway
who has a remarkable talent for fall release of NZ Library: Set 4. country to California. in Irvine, Irwindale Raceway,
finding undiscovered vintage work In the early 1960s Banks The combination of two Bakersfield Drag Strip, Bakersfield
to publish and this year his new worked for the Leo Burnett of his loves, his GTO and his Carlsbad Raceway and Carlsbad
offerings did not disappoint. Company in Chicago and then adored Nikon camera, which San Gabriel Drag Strip.
He introduced me to the work accepted a position as the head he purchased while attending During those years Peterson
of one of his newest artists – of commercial production and art school at the Art Institute Publications published a host of
Steve Banks, who shot images of an executive art director with of Chicago, inspired him to car magazines including Motor
drag races in and around southern Erwin Wasey Advertising in Los spend most of his weekends Trend, Rod and Custom, Motor
California from 1964 to 1966. Angeles in 1964. Before leaving photographing southern Life, Hot Rod and Car Craft. Banks
His gritty, high-powered series Chicago, Banks purchased a California drag races. During met the editor for Peterson, Dick
All images © Steve Banks

EXHIBITIONS

USA
CHICAGO
Art Institute of Chicago
Until 28 October
Never a Lovely So Real:
Photography and Film in Chicago,
1950-1980
artic.edu

FORT WORTH
Amon Carter Museum
of American Art
Until 16 September
Day, at the 1965 Winternationals itro remained dormant before that random meeting, but Multitude, Solitude:
and was thrilled when Day
gave him press credentials and
complete access to the drag racing
in return for his promise to show
him future work.
N until Pichler met Banks
while visiting with Lee
Kaplan, the owner of
the legendary Arcana Books in
Culver City. Pichler recalls that
right away I knew that a book of
these pictures would be great for
the NZ Library series.’
Nazraeli’s fourth instalment
of the NZ Library series that
The Photographs of Dave Heath
cartermuseum.org

HOUSTON
Catherine Couturier Gallery
A number of Banks’ images after Kaplan introduced him to Nitro will be part of will include Until 31 August
were published in the 1965 to Banks, he suggested he should two editions of the book: the Kate Breakey: Golden Hour 23
catherinecouturier.com B+W
1966 editions of Car Craft and view a series of photographs slipcase version, which is
Hot Rod magazines. But Banks Banks made in the 1960s. When numbered and signed in an
says he was not interested in viewing Nitro for the first time, edition of 350 copies, and LOS ANGELES
photographing standard images Pichler was hooked. He says, ‘I a deluxe edition, to include The Getty
that were typically seen in those know next to nothing about the a signed and numbered print Until 7 October
magazines. Instead, he was sport of drag racing but I love together with a copy of the book In Focus: Expressions – images
inspired to capture what he these photographs. I love the way in a custom made clamshell box. focusing on the human face
getty.edu
describes as the soul of the races, they capture the power of the Currently Banks is working
which included creating images engines, which you can almost on several projects including
of the people, the life and the grit hear screaming out of the prints; a series entitled Prison about an MONTEREY
of the time. Banks continued to the photographer’s obvious abandoned New Mexico state Monterey Museum of Art
photograph drag strips until the passion for his subject; the way penitentiary and one entitled Until 17 December
images were no longer fresh and they make me think about the Death Management, which Into The Light:
California Women Photographers
he stopped being challenged. period during which they were documents the death and
Featuring Anne Brigman,
Afterwards he spent the majority made, when there was so much funeral industry.
Dorothea Lange and
of his career in the advertising turmoil in the world that these studio6art.com Imogen Cunningham
industry in both the United machines seem to be echoing. nazraeli.com montereyart.org
States and Brazil. I had never heard of Steve Banks josephbellows.com
NEW YORK
China Institute in America
Until 2 December
Art of the Mountain:
Through the Chinese
Photographer’s Lens
chinainstitute.org

SAN FRANCISCO
De Young Museum
Until 12 August
Art of the Machine:
Precisionism and American Art
deyoung.famsf.org
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BLACK+ WHITE PHOTOGRAPHY
SUBSCRIBE TO OUR DIGITAL EDITION

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NEWS
ON THE SHELF monograph of French LONDON NIGHTS

A photographer Lizzie
Sadin’s 8th edition
of the Carmignac
Photojournalism Award,
The Trap investigates the
Anna Sparham / Museum of London
Hoxton Mini Press
£19.95, hardback

trafficking of women and ublished to accompany

JOHN MYERS:
THE PORTRAITS
Limited edition of 450 THE TRAP:
children from Nepal to India.
A committed photojournalist,
Sadin spent the first 10 years of
her career on socio-educational
issues, with this particular
P the Museum of London’s
new exhibition of the
same name, this is a
delight of a book and a good
incentive to visit the exhibition.
subject in the foreground. Colour and black & white images
RRB Publishing TRAFFICKING OF The uneasy truth behind her sit comfortably together as do
Harback, £75 / Collector’s edition
with signed print £300 WOMEN IN NEPAL images reveals a devastating story the broad spectrum of artists
Lizzie Sadin of young women and girls tricked from the early and well-known –
aving almost slipped or forced into modern slavery Bert Hardy, Bill Brandt – to the

H
Skira
out of sight in the Hardback, £40 and prostitution, with little or no contemporary – Dougie Wallace,
photographic world, hope of escape but for the border Nick Turpin – with some lesser-
John Myers is now police who try to intervene or at least monitor the situation. known, but equally intriguing.
acknowledged – through the Shot in vibrant colour, Sadin’s images reveal a world that for most The subject – London after
re-discovery of his work by of us is unthinkable. She doesn’t over dramatise but simply shows us dark – is of course, seductive.
gallerists in 2012 – as one of the the facts – the daily lives lived by these women, their ‘employers’, their People and places that can
most important British portrait co-workers and their customers. We can only hope that her work appear vibrant or sinister,
photographers of our time. will have far reaching effects. mundane or tragic; the stark
Working in the Midlands Elizabeth Roberts high contrast lighting that
in the 1970s and using a 5x4 enhances the mood – all this
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Gandolfi camera, he made hile India is a draws us into the capital after
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portraits that have a hint of country rich hours, and what it might offer.
Atget, a mood of Arbus and a in creativity its Divided into three sections
glance at Walker Evans, but are, mainstream that reveal the architecture, the
ultimately, Myers. Honest, but acceptance for contemporary stories and the people of the city,
not cruel, these portraits depict photography as an art form has London Nights allows us to turn
an era in time and the people been slow over the past 20 years. the corners and see the places we
who lived through it, people who This intriguing relationship was might never have ventured into.
Myers knew or came across and the headline focus for the 2018 The sixty images are
who were willing to sit for him. FotoFest (held in Texas earlier accompanied by an essay from
Curiously, the pictures also this year), now showcased in this the Museum of London’s Curator
have an unsettling quality to accompanying 300-page catalogue. of Photographs, Anna Sparham,
them, they disturb you in a Each of the 46 photographers and poems by Inua Ellams that,
quiet, understated way. And this included have contributed a through their artistry and polish
was, clearly, Myers’ intention. statement, brief biography and make a powerful match.
A much-overlooked artist who strong set of pictures – all laid Elizabeth Roberts
is now receiving the acclaim out in a variety of engaging ways. INDIA:
he deserves. Of particular interest may well be CONTEMPORARY
Elizabeth Roberts Forgotten Frames, Manoj Kumar PHOTOGRAPHIC
Jain’s long-term project on the
Bastar people and their ancient AND NEW MEDIA ART
connection to nature, as well Steven Evans and Sunil Gupta
as Vicky Roy’s Street Dreams, Schilt Publishing
a compelling documentation Hardback, £45
looking at the homeless children
across India. The unusual portfolios of Ram Rahman and Samar
Singh Jodha place photography within intriguing political frameworks
and Nandinni Valli Muthiah’s use of religious iconography in a
technically innovative way is sure to open up your creative thinking.
This is an endlessly fascinating book full of new and exciting work
and while the essays might be a little too academic they do communicate
the relevance of the book and the reasoning behind its creation.
Anna Bonita Evans
F E AT U R E
GOODBYE FREEDOM
Shot in under a week last year, Good Goddamn presents one man’s final days of
All images freedom before going to prison. It’s since garnered much attention for the creator
© Bryan Schutmaat
Bryan Schutmaat’s ability to build a narrative into his work. Vicki Painting reports.

ver the course of our moments of freedom and perhaps to reflect with a friend had meant it was easier to

O
discussion it becomes on how we might feel if we were to find direct Kris and to ask him to repeat actions
clear that the American ourselves in a similar situation. or hold a pose. Schutmaat used a small Sony
photographer Bryan The ability to foster such a strong sense of digital camera, an Alpha 7R II, which he feels
Schutmaat does not empathy from the viewer is present in all of also contributed to producing images
seek to direct the viewer Schutmaat’s work but is heightened here as a imbued with energy and gesture.
towards any particular conclusions of his result of the friendship between the two men. Previously Schutmaat has used a 4x5
work, and tells me that he’s more interested Schutmaat is clear that he has Kris’ best field camera, including his 2013 publication
in the numerous and varying interpretations interests at heart and feels that this is how he Grays the Mountain Sends – an elegy to the
that people may make of it. He stresses was able to make this empathy visible. I ask if disintegrating blue-collar communities in
that this is particularly true of his most he had felt responsible or constrained in midwest America. For this previous series,
recent publication Good Goddamn when some way to do right by Kris and whether the he describes shooting as a much slower and
he says: ‘I’m generally never doing anything project had been a close collaboration. considered process. By way of contrast,
consciously. For me, the act of photography Schutmaat describes the process as more Good Goddamn was shot over a few days and
is one of improvisation.’ Good Goddamn is collaborative than previous projects where this condensed timespan meant Schutmaat
however, undeniably an emotionally charged he’d worked with strangers; collaborating was shooting more vigorously which, to him,
personal essay following the last days of produced, ‘a series of vignettes that don’t
Schutmaat’s friend Kris, who’s about to begin ‘I’m generally never doing stray far from one another.’ He believes this
a prison sentence for an undisclosed crime. anything consciously. For me, gives the work a cinematic quality: ‘There’s
Crucially, we’re not asked to judge him but a sense of setting and, more importantly,
instead to focus on Kris’ world which is the act of photography is there’s a sense of duration, and implied in
now closing in as he contemplates his last one of improvisation.’ 
that is a definitive end.’
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he result is an incredibly strong ‘There’s a sense of setting shoot photos after Kris had finished working


T narrative derived from a tight edit
of 27 images. Schutmaat tells me that
although he took a large number of
pictures of the same scenes, that in terms
of breadth of content, there was not an
and, more importantly,
there’s a sense of duration,
and implied in that is
on a nearby ranch at the end of the day just
as the light was diminishing. I suggest these
details informed by the ephemeral qualities
of light, such as the burning headlight of
the truck or the light reflected in Kris’ eye,
overwhelming number of images to choose a definitive end.’. seem to act as a metaphor for the little time
from, unlike his long-term projects shot Kris has remaining before his sentence.
on large format film. He jokes about how work makes clear Kris’ emotional state Schutmaat agrees and as we finish our
he cowers at the thought of editing and and his disquieted anticipation. A sense conversation he quotes Robert Adams: ‘Light
says: ‘I find it like a masochistic puzzle.’ of anxiety and vulnerability permeates is a physical thing that you’re working with,
However, he believes the time constraint throughout. The Texan landscape but it’s also obviously a metaphor. It’s what
was beneficial for this work, helping him as represented in Good Goddamn is you’re working with to arrive at metaphors.
to put the pieces together more easily. This oppressive and hostile. Although Schutmaat It’s the age-old symbol for truth, or an
focus on just one person, one place and draws the line at my description of it as expression of truth.’
largely one time of day, formed a rhythm and claustrophobic, he tells me, ‘I wanted to
drove the narrative towards a conclusion impart a bit of a suffocating feeling, given
which we are left to interpret. Schutmaat what was impending in Kris’ life.
reveals the project had come about with very Schutmaat puts to good use the
little forethought and there weren’t many melancholic relationship between land
expectations of it as a whole: ‘There was and psyche through the tangled forest and
certainly no aim to try and capture the true the roads leading to nowhere, conveying
character of Kris,’ he says, adding: ‘I don’t a sense of things being in limbo, yet we
think that’s how photography works.’ are also aware this is a countdown to Kris’
We talk about the work’s emotional incarceration. The fading light also acts
potency which I suggest may have come out as a metaphor; Schutmaat has previously
of this intense way of working; Schutmaat described how light is nearly always the
isn’t sure this is a direct result of his process trigger to his picture-making. He recounts Good Goddamn is published
but acknowledges that in large parts the how he and Kris would meet up for beers and by trespasser.pub
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FEATURE BRED FROM A PLACE
Sally Mann: A Thousand Crossings is a record of the great American
photographer’s 40-year exploration into how the Southern landscape is linked
All images to history, identity and mortality. Anna Bonita Evans takes a look at Mann’s
© Sally Mann
poignant pictures that speak the language of her terrain.

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Opposite rom the day she was born Sally Mann Peabody Essex Museum hopes to shift focus

F
On the Maury, 1992 – was bound to the history of her towards her landscape imagery. Through 155
courtesy of artist homeland as her mother gave birth in images, 47 of which haven’t been exhibited before,
Above
a hospital once the home of Thomas we’re shown what lies at the core of Mann’s
Deep South, ‘Stonewall’ Jackson – a general who photographic practice: a rich exploration into the
Untitled (Bridge on helped lead the Confederacy during history and spirit of America’s South.
Tallahatchie), 1998 the Civil War. Sixty-six years on, While an early aspiration to become a writer
– courtesy of Markel Mann’s connection with the South, was soon replaced with a desire to take pictures,
Corporate Art Collection especially her home state of Virginia, is unwavering. American literature remained central to Mann’s
Although best known for the intimate portraits creativity, with the likes of Faulkner, Poe and Pound
of her children (Immediate Family, 1992), Mann being continual sources of inspiration: ‘All those
turned to the land and created some of her most authors inform my photography and my photographs
powerful work. A major touring retrospective put sing their words back to them,’ she says. Like the
together by the National Gallery of Art and the great writers who influence her, Mann’s not afraid
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Above
Deep South, Untitled (Stick),
1998 – courtesy of the New
Orleans Museum of Art
Opposite top
Deep South, Untitled
(Scarred Tree), 1998 –
courtesy of National Gallery
of Art, Washington
Opposite below
Deep South, Untitled
(Fontainebleau), 1998 –
courtesy of National Gallery
of Art, Washington
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Oak Hill Baptist, 2008-2016 – courtesy of artist

 to tackle the big issues linked to her native ‘The pictures I wanted to take were about
land: race, history, religion, family and the rivers of blood, of tears, and of sweat
identity run throughout her oeuvre in varied that Africans poured into the dark soil of
and interesting ways. In Battlefields Mann their thankless new home.’
photographs the sites where the bloodiest As you’ll see from the pictures printed
Civil War conflicts took place and responds here, Mann’s message is never on the surface
to the South’s defeat by using a range of but just below it. Much like the South’s
photographic and darkroom effects. Her violent history and its lyrical landscape,
tintype imagery confronts her homeland’s the dark subject matter Mann photographs
dark past of slavery, violent racism and her is set against a soft, romantic aesthetic. Sally Mann: A Thousand Crossings
own childhood experiences of living in a She wants us to work at understanding the is published by Abrams at £40. The
segregated society. Looking at the earth to complex identity and history of her land exhibition is at Peabody Essex Museum
interpret the South’s dark past, she says: and what it means to be a Southerner. in Massachusetts until 23 September.
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C O M M EN T

© Vicki Painting

REFLECTIVE PRACTICE
From fairy tales to A Midsummer Night’s Dream, forests
have been places where the imagination can roam and
transformations take place. Vicki Painting picks up her
camera, puts on her red shawl and heads into the woods.
am lost. I park by the edge of one of the many coniferous plantations

I now found throughout the UK. I stare into the interior. It is one of those
forests where the trees stand in regimental rows and storm-damaged
ones can’t make it to the ground as there is no space for them to lie.
It takes a while for my eyes to become accustomed to this murky
blackness. The light at ground level is extremely low but gradually the
spaces between the rows become visible enough for me to venture in.
Dark, impenetrable, enchanted – these descriptors give weight to the
idea of the forest as an archetype or symbol of the collective unconscious
and are used to explain why so many of us feel uneasy on entering.
I step into the enveloping green of this monoculture and appreciate
how the forest could feel like a space that can be both threatening and
a refuge. The lack of birdsong or any sound other than my muffled
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footsteps heightens the sense of solitude and sharpens my hearing.
I can’t help but feel I’m being watched.
From an early age we learn stories about people who go into forests to
be tested and emerge renewed, their lives altered. The idea of the forest
as a site of spiritual transformation is common to all cultures, but it can
be a site of physical and emotional transformation too. Its designation as
a therapeutic landscape is well known in Japan where the term shinrin-
yoku (or forest bathing) was developed in the 1980s. The idea of simply
spending time under the tree canopy is believed to improve mood,
lower blood pressure and boost the immune system and is backed up
by a number of scientific studies. Yet conversely the Aokigahara forest
on the north-western side of Mount Fuji has become renowned as one
of the world’s most prevalent suicide sites. Also known as the Sea of
Trees, it is reputed to be the home of ghosts who remain in limbo,
unable to cross over to the afterlife.

he duality of the forest is, of course, largely the consequence of

T the human tendency to anthropomorphise. This need to assign


human attributes to animals, plants or inanimate objects is a way
to conquer our fear of something that may exhibit human-like
traits. The forest is an ecosystem and is neutral, but that doesn’t stop
us from using it as a repository for our projections.
I carry these thoughts as I come to a clearing where the sheer weight
of so many fallen trees, and the gradual decomposition of the ones
underneath, has cleared a space to allow small shafts of light to illuminate
the scene. Regeneration is all around as insects, mosses and fungi burst
into life. Photographing inside a forest presents some challenges, and
although on a dull day like today the light remains steady, what little there
is gets sucked into the ground and the vegetation above. As I begin to
shoot, the forms I see around me look like cells under a microscope,
reminiscent of the medical slides I have been investigating recently.
I keep going until there is no more light and it is time to find my way back.
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B+W
2018
F E AT U R E EXPERIMENTAL TIMES
Having taken over as assistant curator of photography at Tate Modern, London,
Sarah Allen looks at a major new exhibition that investigates the fascinating
connections made between abstract art and photography in the 20th century.

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© Archivo Luigi Veronesi, Milano

‘Why should the inspiration that comes from an artist’s manipulation of the hairs of a brush
be any different from that of the artist who bends at will the rays of light?’
PIERRE DUBREUIL, 1930

ate Modern’s current exhibition Shape in the same avant-garde experiments as their to photography termed the new vision.

T of Light: 100 Years of Photography


and Abstract Art tells the story of
photography’s place in this history of
abstraction. Beginning in 1911 and stretching
to the contemporary day, it puts photography
contemporaries. Alvin Langdon Coburn’s
vortographs – images shot through a three
sided mirror which fractured the photographed
surface – were made to align with the aims
of the Vorticist school of painting.
The style was typified by unusual angles and
juxtaposition, embracing the camera’s unique
ability to capture the emblems of modernity
and the machine age.
For many photographers, the fabric of
in dialogue with abstract painting, sculpture, In the exhibition, a distinction can be the urban and rural was ripe with pre-made
kinetic art and installation. As the earliest broadly drawn between photographers who abstractions. For Guy Bourdin and Aaron
works in the exhibition reveal, artists sought out abstract compositions in the world Siskind flaking paint, walls and wood were
working with photography at the start of the around them and those who created abstract ready-made abstract compositions. Similarly,
20th century made connections between images divorced from significant reference in the 1950s German photographer Otto
photography and abstract art in different to reality. In considering the first group, the Steinert saw a common thread emerging
ways. At times photographers made direct contributions of avant-garde photographers between photographers across the globe –
homages to abstract artists as is the case in of the 1920s cannot be overstated. Artists a subjective taste for formal harmonies in
Marta Hoepffner’s work Homage to Kandinsky, such as Alexander Rodchenko and László the everyday that showed a debt to lessons
1937. Other photographers sought to engage Moholy-Nagy pioneered a new approach learned by modernist photographers.
© László Moholy-Nagy
He called the tendency Subjective
Photography and brought photographers
together from Berlin to Chicago and São
Paulo to Tokyo for two publications and
several widely travelled exhibitions.

urning then to the second approach

T – to abstract images that begin to


depart from significant reference to
the world. In the hands of artists like
Man Ray, the photogram, a technique which
stretches back to photography’s earliest days
and which relied closely on real physical
objects, was used to create abstract artworks
freed from the aims of representation. In the
1930s Nathan Lerner made luminograms
by directing light on photosensitive paper.
The autonomous nature of the action and
the resulting images showing masses of
tangled lines seem to reach similar visual
conclusions as the gestural mark making
of action painter Jackson Pollock.
Other photographers such as Pierre Cordier
and Hannes Beckmann experimented with
the chemigram, a technique made without
a camera, in full light, by manipulating
photographic chemicals and light-sensitive
paper. The resulting images with amorphous
forms and deep contrasts can appear like
lunar landscapes or intense oil spills.
The 1960s saw several photographers
embrace order and precision in a
manner that can be likened to Op artists.
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Photographers such as Běla Kolářová
and Peter Keetman moved materials
and equipment, both by hand and using
mechanical means, such as turntables.
Gottfried Jäger embraced predetermined
processes, passing light through filters
to change its direction and intensity.
Oscillographs, instruments that visually
record electrical currents, were employed to
produce images with abstract curving lines.
The advent of the digital age has
propelled experimentation with
photographic processes in new directions.
Thomas Ruff ’s digital photograms employ
computer programs to construct a digital
darkroom where the play of light and
shadow can be rendered on virtual objects.
To create his series DCT (2016-ongoing),
Stan Douglas manufactured bespoke 

Opposite Construction by Luigi Veronesi, 1938.


Accepted by Tate under the Cultural Gifts Scheme
by HM Government from Massimo Prelz Oltramonti
and allocated to Tate 2015.
Top right Photogram by László Moholy-Nagy,
c.1925. Jack Kirkland Collection, Nottingham.
Right Branches by György Kepes c.1939-40.
Purchased by Tate with funds provided by the
Russia and Eastern European Acquisitions
Committee and the Photography Acquisitions
Committee 2013.
© Estate of György Kepes
© Archivo Luigi Veronesi, Milano

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 software which allowed him to enter values we have moved from a moment where the Above Photo n.145 by Luigi Veronesi, 1940,
which edits data in the digital make-up of essential qualities of painting, sculpture and printed 1970s. Accepted by Tate under the
images – the resulting works are patterns photography were clearly distinct, to our Cultural Gifts Scheme by HM Government from
of softly focused vibrant colours. current moment in which artists no longer Massimo Prelz Oltramonti and allocated to
A younger generation of artists – Maya define themselves by their choice of medium. Tate 2015.
Rochat, Daisuke Yakota and Anthony Cairns – Artists working today are freer than ever Opposite top left Untitled by Guy Bourdin c.1950s.
embrace ways of working that at one time may before to shape light in new and ground- Purchased by Tate with funds provided by the
have seemed contradictory, merging darkroom breaking ways. Photography Acquisitions Committee 2015.
processes and digital technology, mixing Opposite top right Untitled by Guy Bourdin c.1950s.
media, obliterating notions of the original and SHAPE OF LIGHT: 100 YEARS OF Purchased by Tate with funds provided by the
copy and embracing chance and accident. PHOTOGRAPHY AND ABSTRACT ART Photography Acquisitions Committee 2015.
What is revealed by looking back at 100 …is on at Tate Modern, London, from Opposite below Luminogram II by Otto Steinert,
years of photography and abstract art is that 2 May to 14 October. 1952. Jack Kirkland Collection, Nottingham.
© The Guy Bourdin Estate © The Guy Bourdin Estate

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© Estate Otto Steinert, Museum Folkwang, Essen


INSPIRATION THINKING PHOTOGRAPHY
For Alex Scneideman experiencing beauty is not just a collective
Follow Alex Schneideman
sensation, it can also be an entirely subjective one. It’s all a question
on Instagram @schneidemana
of allowing ourselves to be open enough to see it…

T
he dictionary the flora; my mind was as dull of something, the only word to unify them since. What
definition of beauty as the dim lit vista around me. for which, is beauty. I stayed is the nature of experienced
is: ‘A combination As I approached the northern rooted to the spot, enjoying both beauty and to what extent am
of qualities, such edge of the park, I walked along the sudden warmth of the sun I, this particular sentient being,
as shape, colour or one of the avenues lined with and the sense of engagement required for its sensation? I felt
form, that pleases the huge plain trees which, at that with something awesome in strongly that had I not been me
aesthetic senses, especially sight’. time of year, were denuded and this preternatural vision of the I would not have felt that same,
But that doesn’t touch on the skeletal in their immensity. And trees. At the same time I was overwhelming sensation.
sensation I feel when I experience then suddenly, in an instant, the also conscious of an extension I was sure that some part of
something I find beautiful. You sun shone through a crack in the of my mind into and amongst my consciousness had enjoined
can only look to a dictionary for clouds and lit up the world. the scene of my fascination. As with the scene and that without
an objective definition of beauty Struck, at first, by the suddenly as it arrived the sun that externalisation of my
but the personal experience of awesome transformation, departed, drawing a grey veil ‘self ’, that personal sensation
things that affect the senses I stopped walking and peered back across the world. of something we call beauty,
is always subjective. up into the branches of the Later, back in my warm could never have happened.
And so this brings me to a trees. For some reason, at studio, two questions occurred In other words, here was a
walk I took in the leaden London that moment, I experienced a to me about the experience that perfect counter argument to the
mid winter. It was approaching profound, aesthetic sensation morning and I’ve been trying possibility of objective beauty.
7.30am and I was coming to
the end of a walk with my dog, ‘Struck, at first, by the awesome ut how, if there was

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Sydney, in Kensington Gardens.
The grey light blocked what
little colour was on offer from
transformation, I stopped walking and
peered up into the branches of the trees.’’ B no such thing as an
objective form of beauty,
could so many of us
All images © Alex Schneideman

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derive so much pleasure from experiences felt coincidentally, in the trees. The coincidence which this happens there is
the work of Wren, Mozart or so how can we explain that of experience created a moment no time for a sense of self to
Durer? You might be aware of personal sensation that we of revelation that I sensed as come to bear on the experience.
the term ‘qualia’. It is the name experience individually whether beauty. My extended mind For an instant, that moment
philosophers have given to the in a crowd or on our own? enjoined with the scene and for of dual-perception slipped under
subjective conscious experience. When I looked up into those a brief moment two versions the net of my adult mind and
Some believe that there can be branches that had recently been of the world lived side by side – hit my guileless, childlike,
a shared sense of qualia – a transformed with sunlight my the conjectured and the real. unchecked consciousness
shared personal sensation of mind was tricked for a moment. Because of the speed with right between the eyes.
beauty. This would answer the The discord between what was
Mozart question and it would only a few seconds ago with what THE IMAGES
certainly point to the existence is now, provided my conscious, There is nothing quite so melancholy as a torrential downpour
of objective beauty. But shared ever positing mind with a in summer – but the shift in aesthetic tone these climatic
experience is really just a cognitive dissonance. My mind conditions impose on the observer force him or her to
multitude of singular was literally and figuratively, reacquaint themselves with the familiar. The darkness of the
summer day contrasts with our subconscious prejudices and
in this shift we can find a new kind of beauty – one that is
simultaneously familiar and unsettling.

AGREE OR DISAGREE?
Let me know @ schneideman331 or email me at
alex@flowphotographic.com

LAST WORD
This is my last piece for the Thinking Photography column.
I’ve enjoyed every minute of writing for the magazine and loved
receiving the hundreds of emails I’ve been sent in response to
the articles published here. Without exception the comments
were intelligent and evidence of deep thought. I tried to write
back to you all. If I didn’t or you would like to raise another
photographic point with me please don’t hesitate – you know
where to find me.
FEATURE

Small Wonders
Fascinated by salt printing
and the miniature natural
world, Jan C Schlegel
produced a charming series
of 16 pictures, each displaying
the structural beauty and
elegance of insects. Here we
take a look at some of the
photographer’s finest work.

janschlegel.photography

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All images © Jan C Schlegel

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TECHNIQUE HANDHOLDING
TOP TIPS
Fancy giving yourself a little more freedom and flexibility? Then why
not leave your tripod at home and handhold? Lee Frost offers his
top tips to ensure your shots will be pin sharp and perfect.

W
hen did you last take a photograph handheld? To a degree, the importance of using a tripod also pre-dates
If you’re a wildlife or sports photographer then digital capture. Back in the good old days of film, if you wanted
you probably do it most of the time, but for the optimum image quality you needed to use the slowest film, which
majority of us, shooting handheld is seen as a meant that in all but the brightest conditions, a tripod was required
sin – a lazy option that results in images that to keep the camera steady and cope with slow shutter speeds. That
are poorly composed and, quite often, unsharp. logic still applies today, but not to the same extent. The default ISO
Serious photographers use a tripod at all times – and the bigger of most DSLRs is ISO 100 – for some it’s ISO 200. Better still, the
and heavier, the better. Right? Well, no, not really. While there are latest models produce fantastic image quality at higher ISOs, which
undoubted benefits to mounting your camera on a tripod, there are gives you more control over the shutter speeds you use and reduces
also pitfalls. It may slow you down, make you think more and keep the need for a tripod, even when shooting subjects that traditionally
your camera steady, but that’s not always a good thing. Sometimes would demand one, such as landscape, architecture and still life.
a tripod can slow you down too much, get in the way and cause So why not give handholding a try? You’ll be amazed at the
you to miss shots altogether. Fast and flexible also has its place in freedom it provides. You’ll also be able to experiment with techniques
creative photography, and that means ditching your three-legged that a tripod prevents. And I guarantee that far from lowering the
friend in favour of your own two hands. quality of your images, you’ll see a definite improvement.

. CHOOSE THE RIGHT SHUTTER SPEED


The biggest risk from handholding is camera shake – you move
the camera fractionally while exposing and image sharpness is
affected. The main factors that influence this are how big and heavy
the lens is and which shutter speed you use. Obviously, we all differ
as individuals – some are able to hold the camera rock steady at
52 slower shutter speeds better than others. However, the rule of
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thumb to avoid camera shake is to make sure the shutter speed
you use at least matches the focal length of the lens – 1/60sec for
50mm, 1/125sec for 100mm, 1/250sec for 200mm, 1/500sec for
500mm and so on. This doesn’t apply so much at smaller focal
lengths – shooting with your zoom at 10mm doesn’t mean it’s safe
to handhold at 1/10sec – but it’s a good rule to apply for telezooms
and telephoto lenses. The recommended shutter speeds also relate
to the effective focal length. So for example, if you use a 24-70mm
zoom at 70mm on a DSLR with a crop factor of 1.5x, the effective
focal length is 105mm so you need to use a shutter speed of
1/100sec, or even better 1/125sec.

. USE IMAGE STABILISATION


Many zoom lenses have some form of image stabilisation these
days that uses gyroscopic sensors and a floating lens element
to detect and counter movement so camera shake is eliminated.
In practise it means you can use slower shutter speeds than
recommended in Tip 1 while handholding, and still end up with
sharp images. Canon lenses use IS (Image Stabilisation) while Nikon
lenses use VR (Vibration Reduction). The degree of correction varies
but is usually up to four stops. That means if you needed to shoot
at 1/250sec without image stabilisation to get a sharp handheld
image, with IS you could shoot at just 1/15sec and achieve the
same level of sharpness. If you have lenses with IS, conduct
some tests to see how effective the stabilisation is – it can make
handholding much more reliable, even in low light when shutter
speeds start to get really slow.

Above NEW YORK CITY, USA Opposite NEW YORK CITY, USA
When you’re handholding at long focal lengths with heavy lenses, Image stabilisation makes a big difference when handholding, allowing you to
it’s important to keep the shutter speed high to ensure sharp results. use slower shutter speeds than normal without worrying about camera shake.
Canon EOS 5D MKIII with 70-300mm zoom lens, 300mm, 1/500sec at f/5.6, ISO 400 Canon EOS 5D MKIII with 70-300mm zoom lens, 1/125sec at f/5.6, ISO 200
All images © Lee Frost

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. HOLD IT STEADY
The way you hold your camera can mean all the difference
between a sharp image and a soft one. Ideally, stand with your
feet slightly apart and your back straight. Cup the lens with your
left hand, hold the camera with your right hand and tuck your
elbows into your sides. Before shooting, exhale so your body is
more relaxed and gently squeeze the shutter release instead of
jabbing it. The more you practise this, the better you’ll become.
Experiment with different shutter speeds too, to get an idea of
how stable your stance is and how slow you can go.
For added stability when handholding, kneel down on your right
knee and rest your left elbow on your left knee. Leaning against
a wall, fence or post can also make a big difference to stability.
Alternatively, create a makeshift support for your lens by placing
a camera bag or jacket on a wall or post to provide a cushion
then resting your lens on top.

Left TATE MODERN, LONDON


The wall around this spiral staircase provided a handy camera support so
a slower shutter speed could be used in preference to increasing the
ISO further – the lens was already at its widest aperture.
 Canon EOS 5DS with 16-35mm zoom lens, 1/25sec at f/4, ISO 1600

KENGTUNG, MYANMAR
The 50mm prime lens can be a
lifesaver when you need to handhold in
low light – no other lens can better it.
Canon EOS 5D MKIII with 50mm f/1.8
lens, 1/125sec at f/1.8, ISO 1600

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. THE BEST FOR HANDHOLDING


The size or weight of a lens influences how practical it is to handhold. f/1.4 only weighs 290g, for example, whereas the Canon 24-70mm
Prime (fixed focal length) lenses are generally smaller and lighter than f/2.8 weighs 805g. The 50mm f/1.4 is also two full stops faster than
zooms as they contain fewer elements. The maximum aperture of the 24-70mm f/2.8, so in a situation where you were taking pin sharp
that lens is also important because it determines the fastest shutter handheld shots with the 50mm wide open at f/1.4 and 1/60sec,
speed you can use in any situation. One of the best lenses you can you’d be struggling with the 24-70mm wide open at f/2.8 because
get for handholding is the 50mm prime standard lens as it’s small the fastest shutter speed you could manage in the same conditions
and light and has a very fast maximum aperture. The Canon 50mm would be 1/15sec, for a lens weighing almost three times as much.
ALNWICK, NORTHUMBERLAND
I created this abstract ICM shot in woodland
at Alnwick Gardens. The technique is hit and
miss, but great fun and worth trying.
Canon EOS 5D MKIII with 70-200mm zoom
lens, 1/15sec at f/11, ISO 1600

. INTENTIONAL CAMERA MOVEMENT 


This is a relatively new technique to emerge and though rather
hit and miss, it’s worth a try. All you do is move the camera while
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shooting with a slow shutter speed. It’s a bit like panning, except
you can move the camera in any direction and your subject doesn’t
have to be moving – it can be static. Devotees of this technique use
it for all manner of subjects – landscapes, architecture, woodland,
close-ups, portraiture and more. Experiment with shutter speeds
from 1/30 down to 1sec or longer and see what happens.

. INCREASE THE ISO


If you’re forced to shoot handheld in low light and even with your
lens at its widest aperture the shutter speed is still too slow to avoid
camera shake, all you need to do is increase the ISO. Every time
you double the ISO, the shutter speed also doubles. For example,
if your camera is set to ISO 100 and the fastest shutter speed you
can use is 1/8sec, at ISO 200 it would be 1/15sec, at ISO 400 it
would be 1/30sec, at ISO 800 it would be 1/60sec, at ISO 1600
1/125sec and at ISO 3200 1/250sec.
The higher the ISO, the poorer the image quality with noise
increasing so the images have a grainy appearance and shadows
become less dense. However, don’t let that put you off. The latest
DSLRs offer amazing image quality at high ISO. In the days of film,
ISO 400 was about the limit before grain became obvious, but with
digital cameras, you can go way beyond that.
How high can you realistically go? That depends on your camera.
Some of the latest DSLRs have an ISO range that extends well
into six figures or more – the Nikon D5 goes up to a whopping
3280000! However, the last two or three stops of ISO increase are
usually false settings and image quality does tend to drop rapidly,
so as a general rule, stay within the native ISO range and ideally,
a stop or two back from that. In the case of my Canon EOS 5D
MKIII, for example, although the highest ISO is 102400, the highest BAGAN, MYANMAR
native ISO is 25600 and ideally I try to avoid shooting at ISOs higher Thanks to advances in digital technology, shooting at high ISO no longer
than 12800 unless absolutely necessary. At ISO 3200 and 6400, means poor image quality.
however, image quality is fantastic. Canon EOS 5D MKIII with 24-70mm zoom lens, 1/100sec at f/4, ISO 3200
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Above HAVANA, CUBA
Panning is a great way to add a sense of motion to your handheld
shots of moving subjects.
Canon EOS 5D MKIII with 24-70mm zoom lens, 1/15sec at f/10, ISO 100

. PANNING THE CAMERA


A great handheld technique is panning. This involves shooting at
a slow shutter speed while tracking the subject with your camera,
so you keep your subject more or less sharp while blurring the
background to capture a sense of motion. To begin with, use the
following shutter speeds as a guide (see panel below), then slow them
 down as your panning skills improve. To take a panned shot, pick
Above PICCADILLY CIRCUS, LONDON up your subject in the viewfinder as it approaches, using Servo
As the bus was moving when I took this shot, I had to zoom AF to keep it in focus, track it until it’s opposite you, then trip the
the lens and pan the camera at the same time! shutter – but keep panning as you do this, for a smooth effect.
Nikon F4, 28mm lens, 1/15sec at f/16, ISO 50 Good panning is tricky – so practise and don’t worry if your first
attempts are a little blurred, you can produce great panning shots
. CREATE A ZOOM BURST even when your subject is blurred as well as the background.
A variation on ICM is zooming – adjusting the focal length of a zoom
lens while taking the shot, so your subject records as an explosion of Motorsport racing 1/250 or 1/500sec
streaks radiating from the centre of the frame. To achieve successful Horseracing, passing car, cycling 1/60 or 1/30sec
results you need to practise – start zooming as you trip the camera’s
Joggers, kids on bicycles 1/30 or 1/15sec
shutter and keep zooming until after the exposure has ended. Try
shutter speeds from 1/30sec down to ½sec. It works on both static
and moving subjects and if you’re feeling really adventurous you can ‘Good panning is tricky – so practise and
pan the camera while zooming. Any type of zoom lens can be used for
this technique – one touch where you zoom using a pull-push action,
don’t worry if your first attempts are
or two-touch where you twist the zoom ring then adjust focal length. a little blurred and jerky.’
. CAPTURE ACTION
Shooting moving subjects is one of the toughest photographic
disciplines simply because everything happens so fast – blink and
you’ll miss it. We’re talking long lenses, wide apertures (which
means minimal depth of field so your focusing has to be spot on),
fast shutter speeds and split-second timing to capture the decisive
moment. Handholding keeps you fluid so you can change position
in a split second and follow the action wherever it goes.

Left TRINIDAD, CUBA


Handholding is the most practical way to shoot action – a tripod would
slow you down and get in the way.
Canon EOS 5D MKIII with 70-300mm zoom lens, 1/400sec at f/5.6, ISO 400

. SHOOT LIFE ON THE STREETS


Reportage, photojournalism, street photography – whatever
you prefer to call it, capturing spontaneous images on the move
requires you to be able to respond to photo opportunities quickly
and decisively. You also need to blend in with your environment
instead of standing out like a sore thumb. This rules out a tripod
– use one and you might as well hang a big sign around your
neck saying: ‘I’m a photographer and I may be taking pictures of
you!’ In fact, it rules out pretty much everything, so leave not only
your tripod behind, but your backpack too and head out with just
a camera body and single lens. It’s amazing how liberated you’ll
feel if you do this, and your chance of taking some great shots
will be increased tenfold.

Below HAVANA, CUBA


When you’re wandering the streets in search of photo opportunities,
you never quite know what you’ll find.
 Canon EOS 5D MKIII with 70-300mm zoom, 1/60sec at f/5.6, ISO 1600
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
timdaly.com All images ©Tim Daly

TECHNIQUE COLLAGE ON THE STREET


PROJECTS If you are inspired by the visually striking pop artists and their work,
IN VISUAL
why not explore the collage technique through your camera lens?
STYLE 12
There’s a wealth of material out there. Tim Daly is your guide.

It was back in 1910 that avant garde artists Georges Braque and were from the pop art era – Robert Rauschenberg in the US and
Pablo Picasso first experimented with collage by incorporating Peter Blake in the UK both incorporated ready-mades into their
strips of newsprint in their paintings. For these two artists who artworks using very different approaches and processes.
had been experimenting with their splintered viewpoints works, Collage, sometimes referred to as appropriation, is essentially
later to become known as cubism, it was a natural extension of creative theft, where an artist takes or adopts material from
their ideas. Yet from this point onwards many visual artists saw elsewhere and incorporates it into a new artwork of their own.
the potential of layering mixed media together in a process that For this project we’re going to explore ways of shooting and
became known as collage. Perhaps the best known collage artists reframing street art collage into new and dynamic photographs.

SECTION 1: THEMES TO CONSIDER


For this project, start off in your local area and see if you can find an
urban space where street art is established. Alternatively, most city centres
are full of visual material just waiting for you to explore and exploit.

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1 LAYERS OF HISTORY
Collage allows you to combine and contrast the most unlikely
bedfellows, such as old against new, brash against subtle and so on.
Many of the most interesting works of art juggle layers of different
materials to tell richer and more complex stories. Look at the box
constructions of artist Joseph Cornell and see how he combines
found objects, textures and printed elements into miniature cabinets
of curiosity. On the street, look out for historical signage and
architectural styles that are swamped by evidence of the present. 2
For this example, an often-photographed door in Fournier Street
in Spitalfields, I’ve found a really textural subject with layers and 2 CUBIST SPLINTERS
layers of collaged fly-posting and graffiti. Like Braque and Picasso, you could search and create your own
fractured, cubist-inspired viewpoints too. In this example, I’ve been
INSPIRATIONAL QUOTE lucky enough to spot some discarded advertising panels left on the
roadside for disposal. Split and folded, they’ve made an odd visual
‘Popular culture isn’t a freeze-frame; it is images zapping statement against a backdrop of fly-posting and graffiti.
by in rapid-fire succession, which is why collage is such an Although I’ve found this as a ready-made, there’s nothing stopping
effective way of representing contemporary life. The blur you from taking your own visual materials out on location and arranging
between images creates a kind of motion in the mind.’ a similar picture idea. Rather than search for something that may not
exist, you could create your own source material and, like a still life
Artist James Rosenquist
set-up, arrange it to meet your own compositional requirements.
3

3 TORN TO REVEAL
Peeling billboards that reveal previous pictures below the surface materials together – such as a landscape image with a face, or two
offer a great way to conjure up visual trickery. Like real life Photoshop halves of two different faces put together. The artist Julie Cockburn
layers that are ripped and torn, new images constructed from multiple (who folds and tears original photographic prints) is worth a look too.
originals can be really exciting to look at. To explore this aspect of On the street, you can experiment with similar subject matter by
collage look at the work of John Stezaker, who combines postcards keeping an eye out for unusual collisions between images. In this
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and photographic prints to create new and intriguing results. Looking example, found in Paris, the street artist has pasted multiple prints on
for collisions between shapes, Stezaker fuses unusual source to a flat wall to conjure up a surreal and unexpected scene.

4 5

4 PICTURES WITHIN PICTURES 5 URBAN POP ART


We rarely think of shop displays as relevant subjects for a photographic In most towns and cities there’s a healthy street art scene using the
project, but with such limited space to attract your attention, visual urban space as a blank canvas. Graffiti, tagging and spray stencil street
merchandisers draw upon the same design traditions as painters and art are well established since artists such as Jean-Michel Basquiat
photographers do. In addition to the sophisticated and subtle displays elevated it to an art form. Search for examples of street art and see if
that pull us in, there are also more ad hoc arrangements where the you can track down the work of specific creators in your neighbourhood.
very disorganisation can be interesting too. Many young artists are inspired by pop artists such as Robert
Seek out the more traditional, older shops and see if you can create Rauschenberg, Jasper Johns and Andy Warhol, creating fly-posters,
collage-like compositions out of the visual chaos of shelves, products spray stencils and full-blown paintings for the public to enjoy. Here, I’ve
and special offer signage. In this collage-like example there are multiple spotted and framed the door of a street electrical cabinet, layered and
pictures within the image, each contributing to the overall story. decorated with the work of multiple contributors.
SECTION 2: THINKING ABOUT FRAMING
Exploring the busy visual style of collage presents you with a great opportunity to experiment with composition, framing and viewpoint.

1 THERE’S ALWAYS MORE THAN ONE VERSION


Shooting singular subject pictures is a straightforward affair and most
of us rely on a central or symmetrical composition for this kind of task.
Yet shooting something more elaborate can often sow the seeds of
indecision. Photographing on the street will always present you with
more than one possibility and often there are multiple versions of the
same image to explore. In these next three images I will show you how to
extract three very different end results from the same viewpoint. To start,
always shoot a long, wide horizontal view of the scene, including as much
peripheral information as you can squeeze in. As this example shows,
I wasn’t sure where to set the left and right edges of the composition.

‘Photographing on the street will always present


you with more than one possibility and often there
1 are multiple versions of the same image to explore.’

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2 3

2 TRY A PORTRAIT ALTERNATIVE 3 TIGHTER CROPPING


Moving closer to the subject, or using your zoom lens to crop tighter in Remarkably, you can explore and experiment with the same
the frame, shoot a portrait format alternative. Now, rather than thinking techniques in a very tight crop, as this example shows. Gleaning
about left and right edges, perhaps you might be drawn to the top a third variation from the same scene, this crop focuses in on the
and the bottom of the picture instead. With such rich subject matter spray stencil face of Che Guevara, created by an inspired street
available, in this example I could play around with the composition until artist. Within this simpler, central, single element composition
I found a good mix of elements in the centre and at the edges. When I was able to drag in textured edges on the left and right hand
you make such an asymmetric arrangement, drag in other elements to side which frame the face in the middle. So if you are lucky
balance it out. So, in this example, the thin black right hand edge acts enough to encounter a richly decorated collage on the street,
as a counterbalance to the big grey face. put plenty of time into framing to ensure later rewards.
SECTION 3: GRAFFITI AS A READY-MADE COLLAGE
Layered over the existing fabric of the streets, graffiti art can provide a rich territory for exploration.

1 2

1 DISRUPTED SHAPES 2 GEOMETRIC FORMS


Extensive and well-established graffiti sites can often obliterate the Sometimes the opposite occurs too – subjects and their surroundings
very surfaces and structures they exist upon. Like camouflage, the seem to conform to a much more visually organised system of
various shapes and colours can make it visually tricky to judge depth, shapes. Here I’ve spotted a tidy, rectangular street illustration that
shape and contour. In this example I’ve found the rear of a building so complements the other lines and shapes in the frame. A good eye for
disrupted by tags that it’s hard to work out. Shooting such complex geometry can provide another kind of underpinning to your work.
scenes really requires you to show context and surroundings, so a
wide and somewhat detatched viewpoint works best.

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3 WORDS AND VOICES


Not all street art and graffiti is mindless naval gazing, sometimes
you’ll spot a profound or arresting element that really catches your
attention. Words and writing, whether they are functional, promotional
or – as in this case – added in to catch your eye, can be great source
material for a collage. Of course, different words and sentences can
be cropped to alter their meaning, or combined together to contrast
against each other, as this example shows.

4 FINAL IMAGE
For my project, I’ve found a really arresting set of portraits painted on
to the shutters of shops in one of London’s historic market areas.

INSPIRATIONAL ARTISTS
James Rosenquist Joseph Cornell
John Stezaker Robert Rauschenberg
Julie Cockburn Jasper Johns
Jean-Michel Basquiat Peter Blake 4
INSPIRATION TALKING ABOUT OUR PHOTOGRAPHY
As photographers we often work alone. But to really develop our work
All images it can be highly productive to link up with other like-minded people.
© Eddie Ephraums We need to talk about our photography, says Eddie Ephraums.

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Want feedback? How about forming a small group of like-minded photographers?


It takes courage to talk about our photography in front of others. Who knows what their reaction will be or what truths might be revealed?
But the potential rewards far outweigh the imagined risks and it’s worth remembering that others’ fears are the same as our own.
In this picture, Maggie Jarman talks to a workshop group about her experiences of making a photo notebook.

y its very nature, stills photography is a solitary activity. that we support and critique each other’s work, and build towards

B
We photograph, post-process and think about our image- specific outcomes. One aim of the group is to help define, refine,
making alone. But how well does this approach suit us structure and manage such outcomes. It’s so hard – and far less
and the way our brains are wired? As humans, we thrive fun – doing this alone.
on interaction, and compared to being part of, say, a Something quite magical happens when sharing ideas within a
film-making team, stills photography seems peculiarly group, that may not occur when we have the same thoughts just going
singular in its approach. Is this why so many photographers I meet on inside our heads, or if we share with too large or too structured a
are looking for meaningful conversations with others, to talk about group, or if we express our thoughts via electronic ‘virtual’ means of
their photography and to share ideas? communication. Online, it’s so easy to comment on or even to criticise
I’m lucky, I get a lot of inspiration and insights from running other people’s photography from behind the anonymity of a screen.
workshops and small group mentoring schemes. Seeing what Compare this to really talking about our own or other’s photography
photographers get from talking about their work and sharing their face to face. It’s much riskier, but exposing ourselves in this way helps
insights has inspired me to jointly form a group of four like-minded to develop mutual trust, understanding and self-belief. These are as
(but quite different) photographers, to which I belong. The idea is powerful tools as any camera or post-processing photography app. 
What can we get from talking about our photography with others?
Looking at my own images, I may think I know them, but the moment I talk
about them in front of others – seeing them from the viewer’s perspective
– all sorts of realisations pop into my head. And that’s before others have
given their feedback. Here Maggie Jarman talks about her photography,
this time sharing her knowledge of printing on fabric.

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ne aim of photography, and talking about it with together is limited, then small groups of four to five, with a common

O
others, is the ongoing search for self-expression. sense of purpose, seem to work well. Group dynamics is an art in
In this way, stills photography can be seen as a itself and I’m always asking for advice from a photographer friend
 constantly evolving process of personal exploration who trained in this field in a previous career. Understanding and
and self-development – a way of discovering where managing expectations are key.
and how we fit in with the outside world and the As stills photographers, we need a creative environment to inhabit.
contribution we want to make to it. Going back to the earlier example For this reason I would encourage anyone to seek out other like-
of a film-making team, its group structure helps everyone know where minded photographers and to work together towards defined goals,
they belong and what they are working towards. This sense of place like a group exhibition. Yes, an exhibition costs money. And, yes,
and purpose is something we stills photographers often miss out on. it may not automatically make a profit, but is that its purpose?
The breadth of knowledge, collective life experience and mutual Of course we want to be professional in our approach, but the real
insights that can be found within a group of like-minded, well- value of practising photography – its true currency – is finding out
intentioned photographers is incredible. The more everyone shares what we have to say and sharing this with others. To realise what this
– and realises just how much they have to share – the more they is, we have to be bold and brave, and one way of doing this is to stand
and the group’s photography grow in confidence. Compare this to up for our creativity and talk about it.
trying to develop our photography in isolation. If available time envisagebooks.com

‘The real value of practising photography is finding out


what we have to say and sharing this with others.’

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Why not write about our photography and share it?


Realisations we get from writing just for ourselves can take on far greater meaning when they are read out in public. It’s a two-way process
and we can learn much from the authenticity in someone’s voice and from their body language as they speak publicly – something that can
be lost with online sharing. Here, Sandy Wotton reads an extract from a photo notebook to a workshop group.
COMMENT
A FORTNIGHT AT F/8
Being commissioned for a job used to be a predictable affair but, as
timclinchphotography.com
Tim Clinch discovers, your Instagram feed can be your best ambassador
@clinchpics
– it’s all a matter of keeping up with the fast changing times.
ack in the mists one, which now has nearly 30 alking with the writer condescending here. I’m not

B T
of time, the first separate editions worldwide) who accompanied me on at all. In my dealings with
column I wrote for and asked if I could do a shoot the trip revealed that the them they have been one
this magazine was in Malta for them. Remembering picture desk is manned by hundred per cent professional
about a trip to the how much I’d enjoyed it last three people, two female and one and courteous.
islands of Malta for a time I jumped at the chance. male, in their mid-twenties who If she was disappointed at the
magazine shoot. I remember at As always, once we’d finished were described as wonderful, sight of a fat old bloke with a
the time coming up with a rather our negotiations, I asked them exciting, enthusiastic and white beard and a dodgy knee
catchy slogan for the tourist where they had found me and incredibly passionate about when we met, the writer was
board to use to attract readers seen my work. The picture photography. Quite frankly you charming enough not to mention
to visit – Malta. It looks great in editor told me that they had could have knocked me down anything, and the young people
B&W. Unsurprisingly, they did been following my Instagram with a feather! Apparently few on the picture desk have assured
not take me up on my offer. But feed for some time, loved it and young people these days have the me that they love the pictures, so
Malta, especially the wonderful decided to commission me on time to look through a website I guess I did something right. An
capital Valetta, really does look the strength of it. and source pretty much all their interesting insight…
wonderful in B&W and I would Like most photographers photography through Instagram. The second thing about Malta
certainly recommend a visit. these days I put a lot of time It makes me feel rather old, that I noticed is that, while there
I have been back there and effort into my website, as but at the same time, reinforces are not many things that unite
recently and there are a couple I consider it to be the most the reasons why I put such effort all photographers, I have yet to
of things that happened this time important way to showcase my into my Instagram. And, meet a single one, of any age or
that were rather interesting and work – my shop window – so the thinking about it, it’s incredibly gender, who can walk past a
that I would like to share with next part of the conversation was democratic. I was chosen to battered old door without taking
you. The first is how I came to what floored me. I asked them shoot for a very prestigious a picture. Every photographer
66 be there again. what they thought of the work magazine, by kids young enough I have met does it!
B+W
I was contacted by the Indian on my recently updated website to be my grandchildren, through Yes the phenomenon of Door
edition of the world’s best and they said: ‘Dunno – we’ve being judged soley on my images. Porn, as it has become known,
travel magazine (yes, that never looked at it!’ Please don’t think I’m being seems to have taken over the
All images © Tim Clinch

WHAT TIM
DID THIS
MONTH

Travelling a lot, which has involved


the age-old problems associated with
backing-up images. I travel routinely
with 4 x 2TB hard drives which
I copy everything on to twice.
Back at home I copy them on to
further hard drives which are stored
at a separate location. I keep hearing
about all sorts of new stuff – storage
systems etc – all of which are very
expensive. I’ll have to change and
update at some point I guess.
Any info gratefully received.
Realising that when it comes to
boats, I’m through. On my recent trip
it was arranged for us to spend the
afternoon on a beautiful yacht and,
as per usual, it all went haywire.
I don’t get seasick but, honestly,
everything to do with the trip was
annoying. We wasted an afternoon, 67
got almost no pictures and were B+W
late back resulting in a missed
opportunity for some proper
photography. Reminds me of the song
my mum used to sing: ‘I joined the
navy to see the world – what did I
see? I saw the sea.’
This month’s photographer I have
chosen for you is a gentleman who
has been featured in these pages
and who I have nearly met on two
or three occasions, but never quite
managed it. Joe P Smith is a native
of Malta and has been working on
projects in the region for several
years now. His beautiful portrait of a
village butcher was featured in the
2015 Taylor Wessing Portrait Awards.
Lovely, sensitive work. smithjp.com

world of photography and I am


no exception (as the pictures this
month prove). It is perhaps the
ultimate photographic cliché, and
a hard habit to break. Highly
addictive as it is, and given the
alternatives available, it’s
relatively harmless.
So, as the esteemed Malta
Tourist Board didn’t seem to want
my first suggestion of a slogan,
how about this: Malta – World
Capital of Door Porn. Hmm….
FEATURE

All images
© Mark Perrott

FACE TO FACE
For more than 50 years
Mark Perrott has worked as
a documentary photographer
in Pittsburgh, USA. His series of
portraits is a delightful study
of artists in the area. He talks
to Steve Pill.
How did your artists’ series develop?
In the mid-1980s I was invited to join
Gallery G, an artists’ collective. When I joined,
I decided to make on-location portraits of
Gallery G’s established painters, sculptors and
printmakers in their studios. On my very first
studio visit I met painter Robert Qualters. He
brought out a dozen or so paintings, including
Robert Qualters one intimate and arresting canvas titled Nude
68 Self Portrait. The portrait I made that day
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of Bob with his self-portrait started me on
this 40-year exploration.
Beyond my Gallery G subjects, I started an
informal search for regional artists working
in all mediums. Pittsburgh’s a small town
by national standards and over the years
I’ve come to know many of the region’s
working artists.

How do you approach working with


a new portrait subject? Do you talk
to them beforehand?
My method is exactly the same as with my
commercial assignments – when I arrive
on location the first thing I do is leave the
camera in the car. I devote my time to
scouting, assessing the artist’s work and
listening with care. We talk throughout, but
not about the portrait. I’ve learned if you
listen between the lines, artists will tell you
what matters most in their work – be it scale,
surface, content or one of dozens of other
personal concerns. Whatever they tell me
I hope enters the photograph.

‘Share your passion. Trust it.


Make your personal work the
core of your portfolio and show
it at every opportunity.’
Kathleen Mulcahy
Pittsburgh and its inhabitants have been a
key thread to your work. How has the city
changed over the course of your career?
Fifty years ago Fortune magazine listed
Pittsburgh as having the third largest
concentration of corporate headquarters in
America. We were home to industrial giants
like US Steel, Alcoa and Westinghouse.
Each of these supported in-house photo
departments and gave assignments to
dozens of freelance photographers.
And Pittsburgh has a history of attracting
talented photographers to its intriguing
topography, strong ethnic neighbourhoods
and big city, small town sensibility. In the
1950s W.Eugene Smith came here for a year
to document Pittsburgh for his Dream Street
project, and Roy Stryker also brought a
handful of photographers (including Esther
Bubley, Harold Corsini and Elliott Erwitt) to
document the first Pittsburgh renaissance – the
transformation from Smoky City to gleaming
metropolis. Some of these photographers
stayed to begin successful careers.

How have opportunities for


photographers changed since that time?
In the last couple of decades photographers’
fortunes changed. In the early 1980s big steel
collapsed all across the rust belt, and in
some ways the market for photographs
collapsed along with it. Exacerbating Donna Hollen Bolmgren
this, corporate downsizing, the demise of
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the picture-rich annual reports and the
ready availability of stock images have all
contributed to a diminished demand for
assignment-driven photographs.

You’ve been a professional photographer


for almost 50 years. If you could sit
down now and have a conversation with
yourself when you were starting out,
what advice would you give?
I would give young Mark the same advice
I give to my assistants and photography
students. Find a photographer whose work
you admire and figure out a way to spend six
months of day-to-day contact. Learn to assist,
offer to intern, learn from clients, but get close
and listen and look. Share your passion. Trust
it. Make your personal work the core of your
portfolio and show it at every opportunity.

PROFILE
Born in 1946, Mark Perrott is a commercial
and portrait photographer based in
Pittsburgh, USA. He has published three
books, the most recent being 2013’s
E Block, about Pittsburgh’s abandoned
Western Penitentiary. His work is featured
in several major collections, including the
San Francisco Museum of Modern Art
and the Brooklyn Museum of Art.
markperrott.com
Thad Mosley
TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
It’s easy enough to take a picture in perfect circumstances but when the
weather’s bad or the situation isn’t appropriate for a camera, that’s when
timclinchphotography.com the smartphone comes into its own. Tim Clinch looks at how to get
@clinchpics | clinchpics
the best from the least favourable locations.
o, if we believe the saying ‘the best

S camera is the one you have with you’


– which, for me, pretty well sums up
the joys of mobile photography –
then it’s time to put this theory to the test.
Perhaps, more importantly, we should be
getting the most out of the pictures we take,
particularly when we are in circumstances
that are not conducive to taking pictures,
or in situations in which we would feel
uncomfortable shooting with a camera.
It’s all very well using your mobile when
conditions are perfect, and although you will
undoubtedly get a good quality image in
bright sunlight, what’s the point in having a
camera about your person all the time if you
don’t use it when conditions are difficult?
The pictures here illustrate this point. All
were taken in situations I would not have
used a camera in, for a number of reasons.
I have included the original un-cropped, image in the way of processing. a swimming pool in Spain and picture 5
unprocessed versions to illustrate Pictures 1 and 2 were taken through the is in a bar in Jerez early one morning
another point – that when converting windscreen on a rainy taxi ride to the airport where all the blokes who work in a local
70 to B&W you can throw a lot more in Kiev, Ukraine, on a recent visit. Picture 3 bodega were swilling sherry at, quite
B+W
than you would generally use in a colour is a disused shop in my village, picture 4 is frankly, an ungodly hour.

3
All images © Tim Clinch
T
he original pictures from the taxi ride
and my village were flat, grey and
uninspiring, just like the weather, and
the swimming pool was taken in
torrential rain. But a bit of judicious work in
Snapseed has created something much
better with plenty of impact. Apart from
some straightening and cropping, the tools
that made them pop were the Details slider
(I only ever use Structure in this tool and
never add sharpening) and the Tonal
Contrast before converting them to B&W.
The picture of the bar is an example of
somewhere I would not feel comfortable
using a camera as it would have felt too
intrusive. As you can see, because
I didn’t want to attract attention, I shot wide
and then cropped the image substantially,
and added contrast in the final image.
So, two lessons for this month are to use
your mobile at all times, not just at sunset
on the beach, and once you’ve taken a
picture on a grey
rainy day don’t
dismiss the
image if it looks
a bit flat and
uninspired. Do
some work on
it and see if you
can transform
it as I did with
4 these images!
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INSTAGRAMMER
OF THE MONTH
This month there are three whose
feeds always make me happy!
1: Piroska Mihalka (@piroskamihalka)
Always thoughtful, beautifully composed
and interesting work.
2: @grafik80 I know very little about this
person but according to his bio he is a
French man called Dominique. Very strong,
punchy pictures – mainly architectural
and graphic. Lovely stuff!
3: Lucrezia Herman (@lucdigital)
Her photography is mainly B&W and taken
with an iPhone. An endless stream of
fascinating details, still life and architecture.
And lots of dogs…what’s not to like?
SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see the pictures you
take when the moment is right. We have three Class 10 32GB Micro SDHC EVO Plus cards to
give away each month. With a transfer speed of 95Mb/s, each MicroSD card also comes with
an SD adapter – meaning it’s compatible with both your smartphone and digital camera.

© ALEXIS POND

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WINNER © JON HARRISON © NEIL JOHANSSON

WINNER © TOM BEDDIS


© GARY HORSFALL

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© RAMON GENEROSO © DAVID MCCANN

© ANDREAS LIEN SIMONSEN WINNER © KRIS LOCKYEAR

SUBMIT YOUR PICTURES

Submit your hi-res pictures through our website at: blackandwhitephotographymag.co.uk


or via Twitter by tagging us @BWPMag and using the hashtag: Smartshots.
If you are submitting via Twitter we will contact you for hi-res if you are chosen.

www.samsung.com/memorycard
YOUR B+W
SALON
In our search for some of the best work by black & white aficionados, we came
All images across this thoughtful documentary by Steve Hynes in which he looks at
© Steve Hynes
Tibet and its people – and how Buddhism plays a central role in their lives.

74
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SUBMIT YOUR WORK TO SALON


We are looking for stories told entirely in pictures. If you think you have just that, submit a well edited set of between
10-15 images online at blackandwhitephotographymag.co.uk. Turn to page 86 for more on how you can submit your work.
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TESTS AND
PRODUCTS
CHECKOUT
A tripod is the one companion no photographer should be without for
portraiture, landscape, still life and architecture, says Daniel Calder,
as he rounds up some of the most recent and reliable releases.
BENRO SLIM JOBY GORILLAPOD RIG
CARBON FIBRE Flexible friend
Incredible value Joby’s
distinctive ball
If you’re searching for a joints are put
lightweight carbon fibre tripod to work on
that costs less than most the GorillaPod
aluminium tripods look no Rig to create a
further than the Benro Slim truly flexible small
(TSL08CN00). The £99 price tripod with pliable
tag is simply astonishing, and arms. The Rig
that’s with a ballhead included. is composed of
Thanks to the slim magnesium Joby’s strongest
alloy shoulder it’s light too, GorillaPod and
weighing a shade over 1kg. ballhead (the
It remains quite tall (51cm) 5K), which is built to Arms on the Gorillapod Rig
when closed down, but support 5kg of DSLR camera enable all sorts of accessories
the slender profile and and lens. Added to this is a to be attached to the tripod
drawstring carry case special hub plate for attaching
means this shouldn’t be a pair of six-socket arms with The GorillaPod Rig is aimed at
too much of an issue. The two cold shoe mounts for lights the modern content producer,
80 working height is a very usable and a microphone, as well as who is equally adept at using
B+W
146cm, but the suggested Bright blue anodised a GoPro mount. A strap is also a DSLR or a mobile phone,
payload of 4kg makes it a better aluminium twist locks and included in the bundle, allowing shooting stills alongside video,
choice for mirrorless cameras a matching Arca-Swiss the tripod to be attached to a and of course filming themselves
than big DSLRs with long compatible camera plate give tree or post for extra stability doing whatever they are doing.
lenses. The support can be the tripod a distinctive look. and security. But beyond that, the sheer
weighed down for extra stability A lever on each leg enables flexibility of the product means it’s
by hooking a bag on the the leg angle to be altered, completely open to interpretation
underside of the centre column. although it’s a slightly awkward and could be very handy for
process of lifting the lever, specific types of photography,
moving the leg and pushing the whether that’s macro, still life or
lever back to lock the position. sport, or absolutely anything else
you can think of.
LIKES
£99 for a carbon fibre tripod LIKES
Distinctive blue detailing Amazing versatility
Lightweight Arms allow you to add lights
and other accessories
DISLIKES The strap allows you to find
Not for DSLRs with long lenses a stable support anywhere

Benro’s Slim tripod is packaged DISLIKES


with a single action ballhead Arms are a little short

TECHNICAL SPECIFICATIONS TECHNICAL SPECIFICATIONS


Material Aluminium Material Aluminium
Closed length 51cm Closed length 43cm
Weight 1010g Weight 840g
Extended height 146.3cm Extended height 43cm
Minimum height 40cm Minimum height 7.5cm
Maximum load 4kg Maximum load 5kg
Guide price £99 Guide price £199.95
Contact benroeu.com Contact joby.com
MANFROTTO BEFREE SIRUI NT-1005X
ADVANCED TWIST Solid workhorse
Travel companion The NT-1005X is a sturdy,
well-built aluminium tripod
The Befree Advanced is a from Chinese manufacturer
handsome aluminium travel Sirui. It performs exactly as
tripod made in Italy with the it should, with all of the most
typical care and attention of commonly found features on
Manfrotto. It comes fitted with current tripods, but is devoid of
the triple-action 494 Centre any design flourishes. This is a
ballhead and is available solid work tool that folds down
with Manfrotto’s new to a very compact 36cm and
twist or lever locks. The weighs just under 1.5kg, even
redesigned levers are with the included E-10 ballhead
more comfortable to attached. Thanks to the two-
use than before without sectioned centre column it can
sacrificing any of the reach up to 148cm in height
locking strength, while and still take an 8kg camera
the new M-locks use and lens – making it a great
large rubber grips all-rounder.
to enable the quick Two of the five-
release of the legs sectioned legs are clad
with a short twist. in foam for safe and
One of the legs comfortable carrying.
is clad in a long One leg detaches as
rubber sleeve a monopod that can
for carrying in the give you a little more
cold without getting height (154cm) than
chilly fingers. the tripod itself. Chunky
The centre rubber twist locks control the
column extends length of 40cm, and despite length of each leg and a simple
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through a twist being made of metal is pretty mechanism allows the legs to
lock collar and light. However, it only reaches be adjusted to 22°, 52° and
can be removed 150cm, which may not be tall 86°. If the 26cm minimum
and inverted for enough for some. shooting height is not low
very low angle shots or macro enough, then you can remove
work. There’s also an easy LIKES and flip the centre column so
link feature, which allows Lightweight and compact that the camera is as low as
accessories, such as lights, to Built-in thread for attaching lights possible to the ground.
be screwed into the thread on Great padded carry bag
the tripod shoulder. LIKES
The Befree Advanced DISLIKES Solidly built, yet compact
closes down to a compact Not especially tall Detachable monopod leg
Foam clad legs

DISLIKES
Uninspired design

Inverting the centre column


of the Sirui NT-1005X gets
the camera into a low
The Befree Advanced is available with Manfrotto’s shooting position
redesigned leg levers or the new twist locks

TECHNICAL SPECIFICATIONS TECHNICAL SPECIFICATIONS


Material Aluminium Material Aluminium
Closed length 40cm Closed length 36cm
Weight 1490g Weight 1440g
Extended height 150cm Extended height 148.3cm
Minimum height 40cm Minimum height 26cm
Maximum load 8kg Maximum load 8kg
Guide price £174.95 Guide price £179.99
Contact manfrotto.co.uk Contact sirui.eu
Converters & Docks
1.4 x Tele Converter EX DG 199.00
2.0 x Tele Converter EX DG 229.00
1.4 x TC-1401 Tele Converter DG 249.00
2.0 x TC-2001 Tele Converter DG 299.00
SIGMA Lenses For Canon, Nikon, Sigma, Sony A*, Pentax*
USB Dock For A, S & C Series Lenses 39.99
4.5mm f2.8 EX DC HSM Fisheye 699.00
Lenses For Micro Four Thirds & Sony NEX
8mm f3.5 EX DG Fisheye 699.00
16mm F1.4 DN Black "C" Series 449.99
10mm f2.8 EX DC HSM Fisheye 599.00
19mm f2.8 DN Black "A" Series 149.00
14mm F1.8 DG HSM "A" Series 1399.00
19mm f2.8 DN Silver "A" Series 149.00
15mm f2.8 EX DG Fisheye 599.00
30mm F1.4 DN "C" Series 269.00
20mm F1.4 DG HSM "A" Series 699.00
30mm f2.8 DN Black "A" Series 149.00
24mm F1.4 DG HSM "A" Series 649.00
30mm f2.8 DN Silver "A" Series 149.00
30mm f1.4 EX DC "A" Series 359.00
60mm f2.8 DN Black "A" Series 149.00
35mm f 1.4 EX DG HSM "A" Series 649.00
60mm f2.8 DN Silver "A" Series 149.00
50mm F1.4 DG HSM "A" Series 599.00
Lens Mount Converter
85mm F1.4 DG HSM "A" Series 999.00
MC-11 Mount Converter Sigma or Canon Fit 199.00
105mm f2.8 EX DG HSM OS Macro 359.00
Flashguns
135mm F1.8 DG HSM "A" Series 1239.00
EF-630 Flashgun GN 63 299.00
150mm f2.8 EX DG Macro HSM OS 779.00
EF-630 Flashgun USB Dock FD-11 59.99
180mm f2.8 EX DG Macro HSM OS 1239.00
EF-610 DG ST Flashgun 109.00
300mm f2.8 APO EX DG HSM 2599.00
EF-610 DG Super Flashgun 169.00
500mm F4 APO DG HSM "S" Series 4999.00
EM-140 Macro Flash 329.00
800mm f5.6 APO EX DG HSM 4999.00
8-16mm f4.5-5.6 DC HSM 599.00
10-20-mm f3.5 EX DC HSM 339.00
12-24mm F4.5-5.6 EX DG HSM MK2 Discontinued, Limited
Stock Available 649.00
12-24mm F4 DG HSM "A" Series 1399.00
14-24mm F2.8 DG HSM "A" Series ( NEW ) 1399.99
17-50mm f2.8 EX DC HSM OS 329.00
17-70mm f2.8-4 DC Macro OS HSM "C" Series 349.00
18-35mm F1.8 DC HSM "A" series 649.00
18-200mm F3-3-6.3 DC Macro OS HSM "C: Series 289.00
18-250mm f3.5-6.3 DC OS HSM MK2 349.00
18-300mm F3.5-6.3 DC OS HSM Macro "C" Series 369.00
24-35mm F2 DG HSM "A" Series 759.00
24-70mm F2.8 OS HSM "A" Series 1299.00
24-105mm F4 DG HSM OS "A" Series 599.00
50-100mm F1.8 DC HSM "C" Series 949.00
70-200mm f2.8 APO DG OS 899.00
70-300mm f4-5.6 APO DG 179.00
70-300mm f4-5.6 DG 129.00
100-400mm F5-6.3 DG OS HSM "Contemporary" Series 699.00
120-300mm f2.8 APO EX DG HSM OS "Sports" Series 2699.00
150-600mm F5-6.3 APO DG OS HSM "Contempor" Series 799.00
150-600mm "Contemporary" Series Kit+TC-1401 Converter 899.00
150-600mm F5-6.3 APO DG OS HSM "Sports" Series 1329.00
150-600mm "Sports" Series Kit + TC-1401 Converter 1429.00
200-500mm f2.8 APO DG HSM + 2x EX Converter 14999.0
300-800mm f5.6 APO EX DG HSM 6499.00

*Sony A & Pentax only available in selected lenses


3 LEGGED THING VANGUARD ALTA PRO
PUNKS BRIAN 2+ (263AB100)
Towering tripod Multi directional
Punks Brian from 3 Legged Vanguard consistently brings
Thing is a compact, lightweight, out innovative products and
yet strong travel tripod that the Alta Pro 2+ tripod is no
comes packaged with the exception. It features a clever
Airhed Neo ballhead. Designed centre column that tilts through
and engineered in Britain, it 180° and rotates through
employs a two-sectioned centre 360°, allowing you to point the
column to provide an amazing camera in almost any direction,
range of shooting heights. Fully making it especially useful for
extended, the tripod reaches macro work.
up to an impressive 187cm, The tripod is available in
removed altogether and with a variety of forms, divided
the legs opened out to 80°, into aluminium or carbon
the camera can get down fibre models with 3 or
as low as 19cm. For macro 4 leg sections. The
shooting, the column 263AB100 is made
can be slotted in upside from aluminium, has
down, allowing you 3 leg sections and
to get even closer to comes with the
ground-level subjects. Alta BH-100
The carbon fibre ballhead, which
legs fold neatly brings the weight
around the centre to just over a
column to create hefty 2kg.
a compact unit The Alta Pro 2+ legs open only a minimal twist to free and
for storage out through four angles (20°, tighten the legs for extension.
and carrying. 40°, 60° and 80°) instead of the Two of the legs have a rubber
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Textured rubber customary three. The leg locks grip for comfortable carrying
bubble grips allow the haven’t escaped the company’s and the broad rubber feet can
five-section legs to extend and shorten with a simple attention either, as they require be removed for spikes. One
twist. Each leg sports a rubber other thing to mention is the
Bronze coloured, foot, which can be unscrewed LIKES handy 3/8in screw socket on
the brightly and replaced with a sharply Innovative centre column the tripod canopy for attaching
coloured accents pointed (£40) or serrated metal Socket for attaching accessories lights or video accessories.
and textured twist (£50) foot for better grip on Legs open to four different angles
locks show the different terrains. Finally, one of
care put into the legs unscrews to become DISLIKES
Punks Brian a monopod, which when Heavy
attached to the centre column
provides a 192cm support.

LIKES
Compact, light and strong
Impressive extension range
Includes a handy multi-tool
key ring The centre column
of the Alta Pro 2+
DISLIKES can assume almost
Centre column cannot be angled any position

TECHNICAL SPECIFICATIONS TECHNICAL SPECIFICATIONS


Material Carbon fibre Material Aluminium
Closed length 41cm Closed length 73.9cm
Weight 1450g Weight 2300g
Extended height 187cm Extended height 173cm
Minimum height 19cm Minimum height 1cm
Maximum load 14kg Maximum load 7kg
Guide price £269.99 Guide price £199.99
Contact 3leggedthing.com Contact vanguardworld.co.uk
LEICA SUPER VARIO ELMAR
SL 16-35/3.5-4.5 ASPH CANON EOS M50
New wideangle zoom lens for the Leica SL Canon’s new mirrorless camera has a 24.1Mp CRUMPLER TROOPER
mirrorless camera. Promises excellent sensor plus vari-angle touchscreen and Digic Cool camera bag with padded adjustable
image quality and fast, quiet autofocus. 8 image processor. It boasts continuous dividers and wide top opening for easy
Ideal for landscapes, architecture, shooting at 10fps and shoots 4K video. access. Space inside for a DSLR with lenses,
events and documentary. £539.99 (body only) flash, accessories and 15in laptop.
£4,700 leica-camera.com canon.co.uk £169.90 crumpler.eu

TESTS AND PRODUCTS

BLACK+WHITE
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LOVES SIGMA 14-24MM
F/2.8 DG HSM|A
POLAROID 96 CAM NEW PHOTOGRAPHY New wideangle lens in Sigma’s high-end
Refurbished Polaroid camera with new outer Art range. Designed for top cameras, it
shell and colourful design. Limited edition of GEAR IN THE SHOPS offers an f/2.8 aperture throughout the zoom
2,000 cameras worldwide. Takes Polaroid range and features dust and splashproof
Originals 600 film, which is available in black
AND ONLINE construction with weather sealing.
& white, colour and special editions. £1,399
£179.99 polaroidoriginals.com sigma-imaging-uk.com

BEXAR VAGABOND
CAMERA STRAP THINK TANK
Premium leather camera strap designed PERMAJET PHOTO LUSTRE 310 STORYTELLER BAGS
to keep your camera comfortable and New paper boasting luxurious lustre and New shoulder bag with flip-top lid for quick
secure. Features adjustable strap and o-ring 310gsm premium weight. A high D-max access plus zippered pockets for valuables
attachments. Available in dark brown, tan, provides deep blacks and good tonal range and stretchable side pocket for water bottle.
medium brown and black. for black & white photographs. Available in three sizes.
$125 (about £88) bexargoods.com From £17.95 (25 x A4) permajet.com From £60 thinktankphoto.com
PRODUCT
OF THE
MONTH

BENQ SW240
New photography monitor with advanced
black & white mode, allowing users to view
photos in a black & white film effect.
£399 benq.co.uk

SONY A7 III
The latest version of the popular to 10fps with either mechanical shutter
series features a newly developed back- or silent shooting. The camera also offers
illuminated 24.2Mp sensor offering enhanced AF tracking, 5-axis optical
increased sensitivity. The updated Bionz X in-body image stabilisation and 15-stops
processing engine is about 1.8 times faster of dynamic range. The NP-FZ100
than its predecessor and the ISO range is battery supports shooting up to 710
100 to 51200 (expandable 50 to 204800). pictures on one charge.
The full-frame camera can shoot at up £1,999 (body only) sony.co.uk
85
BLEU DE CHAUFFE B+W

BOLOGNE BAG TECHNICAL SPECIFICATIONS


Developed with Olympus, the Bologne bag
Format Full-frame
is specially designed for the Olympus Pen-F.
Sensor 24.2 Exmor R CMOS
Inside are compartments for a camera, two
Processor Bionz X
lenses and a tablet. The vegetable-tanned
leather bag is made in France and signed ISO range 100 to 51200 (expandable 50 to 204800)
by the artisan. Autofocus points 693
£399.99 shop.olympus.eu Continuous shooting 10fps
bleu-de-chauffe.com Screen Tilting 3in touchscreen
Weight 650g (body only)
Dimensions 127 x 96 x 74mm

FUJINON XC15-45MM
New lens for Fujifilm’s X-series cameras.
The lightweight and compact zoom lens
is ideal for landscapes and portraits
and is available in silver or black.
£259 fujifim.eu
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Bring the beauty of the darkroom into the digital world with
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will enhance your monochrome images with rich blacks,
Image © Paul Hassell

sparkling whites and a beautifully glazed gloss finish.

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AT HOME WITH OLIVIA ARTHUR
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27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
www.apertureuk.com
Pre-owned Leica N i k o n Film Cameras
Leica M-Monochrom 7300 Actuations (Complete; boxed) Exc+++ £2690 Nikon F with Eye Level Finder New Mirror Foam Exc+++ £450
Leica M-P Black Paint (Complete; boxed) Exc+ £3290 Nikon F2 with DE-1 Chrome New Mirror Foam Exc £320
Leica M (240) Silver + Charger Mint- £2890 Nikon F2 Photomic AS Chrome #8021xxx User £320
Leica M (240) Black (Complete; boxed with spare battery) Exc+++ £2750 Nikon F2 Photomic AS Chrome New Mirror Foam #8029xxx Exc+ £420
Leica M (240) Black (Complete; boxed) Exc £2590 Nikon F2 Photomic SB Black New Mirror Foam #7727xxx Exc+ £450
Leica Multi function Hand Grip for M240 Ex+++ Nikon F2 Photomic SB Chrome New Mirror Foam #7828xxx Exc+++ £590
£270
Leica M8/M9 Hand Grip Steel Grey Exc+ £70 Medium / Large & Other Format
Leica M-Adapter T Exc++ £170
Alpa 12 SWA Exc+++ £2590
Leica MP 0.72 Hammertone LHSA (Body only) Mint £3690
Alpa 12 MAX Exc+++ £3490
Leica M6 0.58 TTL Silver Die Letzten 999 (Complete; boxed with certifi- Phase One IQ260 Dgital Back Mint- £11900
cate 402/999) #2720xxx Mint £2390 Alpa 12 SWA Wake Up Handgrip for Phase One Back Mint- £750
Leica M6 Chrome #2168xxx (boxed) Exc £1190 Rodenstock 32mm f4 Alpagon (SB17) Mint- £4900
Leica M6 Chrome Wetzlar #1738xxx Just been serviced by us Exc+ £1250 Rodenstock 35mm f4.5 Apo-Alpar LB Mint £2590
Leica M4-2 (boxed) Outstanding Condition Mint- £950 Rodenstock 50mm f4 Digaron-W HR Mint- £4090
Leica M3 Chrome with ERC & Original Box Just had a general CLA by us Exc+ £850 Rodenstock 120mm f5.6 Apo-Digitar Mint £2290
Minolta CLE Exc+++ £390
Leica IIIg We have just carried out a CLA and recoverd the leatherette Exc+++ £750 Mamiya 7 II Champagne Mint- £1890
Leica IIIc converted to IIIf Black Dial with Delay Action Exc+ Mamiya 43mm f4.5L + hood & V/finder Mint £850
£320
Mamiya 50mm f4.5L + V/finder Mint £790
Leica 24-90mm f2.8-4 Vario-Elmarit-SL + hood (boxed) Exc++ £2290
Mamiya 150mm f4.5L + hood Mint £350
Leica 18mm f3.8 Super-Elmar-M + hood 6 bit #2849xxx (boxed) Mint £1590
Mamiya 150mm f4.5L Mint- £290
Leica 21mm f1.4 Summilux-M ASPH + hood Exc++ £2990
Mamiya 210mm f8N + V/finder Mint- £350
Leica 21mm f2.8 Elmarit-M ASPH + hood #3947xxx Mint £1490
Leica 28-35-50mm f4 Tri-Elmar-M ASPH (55mm filter) boxed Mint- £2490 Rolleiflex 2.8GX Expression 94 (boxed with soft case & rubber lens hood) Mint- £2290
Leica 28mm f2 Summicron-M ASPH + hood 6 bit Minor oil on blades Exc++ £1590 Rolleiflex 6008 Integral + 80mm f2.8 Planar PQS + RFH Exc+++ £950
Leica 28mm f2.8 Elmarit-M #3276xxx (boxed) Exc+++ £750 Zeiss 60mm f3.5 Distagon HFT PQ Exc £650
Leica 28mm f2.8 Elmarit-M ASPH + hood 6 bit #4043xxx Mint £1150 Schneider 180mm f2.8 HFT PQ + hood Exc+++ £890
Leica 35mm f2.4 Summarit-M ASPH + hood (boxed) Mint £1090 Horseman 6x9 RFH Exc++ £90
Leica 50mm f0.95 Noctilux-M ASPH + hood (boxed) Mint- £6290
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 50mm f1.4 Summilux-M ASPH Silver 6 bit (boxed) Mint- £2090 We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 50mm f2 Summicron-M Build-in hood Mint- £1090 below and make sure to include your name; address and contact details for return postage.
An order form is availible to download from our website on the Film Developing Page.
Leica 50mm f2 Summicron-M Build-in hood Mint £1150
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 90mm f2 Summicron-M #2813xxx lightly dented hood Exc+ £590 Aperture 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 90mm f2 APO-Summicron-M ASPH 6 bit #3955xxx Exc £1550 PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica 90mm f2.8 Elmarit-M Built in hood Exc++ £690 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 135mm f3.4 Apo-Telyt-M #3842xxx (boxed) User £1390
Processing Prices (C41 Colour Negative Film)
Leica 13.5cm f4.5 Hektor Black Paint Hazy Optics but usable User £90
35mm develop only £6.00
Leica 28-70mm f3.5-4.5 Vario-Elmar-R ROM + hood As new £490 35mm develop + print £12.00
Leica 80-200mm f4 Vario-Elmar-R ROM Mint- £990 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica Q Hand Grip Exc++ £60
Voigtlander 40mm Bright Line Viewfinder Mint- £80 120 develop only £7.00
120 develop + print £15.00
Voigtlander 75mm Bright Line Viewfinder Black Metal Mint- £110 120 develop + print + scan £17.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Mint- £100 120 develop + scan £11.00
Leica 13.5cm Metal Viewfinder Chrome Exc+++ £70 Extra set of prints (order within 7 days) £5.00
Leica Lens Hood for 50mm f1.4 Summilux-SL ASPH Mint- £80 Negative scan to CD or digital media (Per roll) £8.00
Voigtlander 25mm f4 Snapshot-Skopar + V/finder L39 Mint- £290 Xpan develop + scan £18
Voigtlander 35mm f1.2 Nokton VM II Exc++ £550 Xpan develop + scan + print (5” x 13.5”) £24
Voigtlander 35mm f1.2 Nokton VM II Exc+++ £570 We also process Black and White Film!
Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY Tel: 020 7242 8681 www.cameramuseum.uk
27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
Tel: 020 7436 1015 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Leica M6 0.58 TTL Silver Die Letzten 999 (Complete; boxed with certificate 402/999) Mint £2390

Leica 50mm f0.95 Noctilux-M ASPH + hood (boxed) Mint- £6290

Rolleiflex 2.8GX Expression 94 (boxed with soft case & rubber lens hood) Mint- £2290

Horseman SW617 Professional + 72mm f5.6 Super-Angulon XL with V/finder & Centre filter (boxed) Mint- £3190

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
Please contact us on 0207 436 1015 or 27@apertureuk.com
To advertise on these pages please call the Photography team
B W CLASSIFIEDS
+ on 01273 402823 or email advertising@thegmcgroup.com

Buy or sell at Manchester’s largest selection of

The Real Camera Co.


B+W PHOTOGRAPHY BINDERS used photographic equipment
Having trouble finding what you want? We’ve got nearly everything under one
Keep your magazines in order with roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.
these stylish and durable binders.
Got a question about photography? We can answer it.
Price: £8.99 (p&p not included). Starting a college course? Want to set up a darkroom?
Baffled by digital? We can help.

The Real Camera Company. Run by enthusiasts.


Photographic retailing like it used to be.

Sevendale House, 7 Dale Street


(Entrance on Lever Street), Manchester M1 1JA

Tel/Fax: 0161 907 3236


www.realcamera.co.uk
Dedicated to the monochrome photographer

B+W
BLACK+ WHITE
PHOTOGRAPHY
Order yours online or by phone. bwphotomag
VISIT WWW.THEGMCGROUP.COM Find us on Instagram
CALL +44 (0) 1273 488005 COOL, CREATIVE AND CONTEMPORARY

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94 B+W CLASSIFIED JULY 2018


YOUR B+W LAST FRAME
Here at B+W we’re looking out for some really stunning single images that
just lend themselves to printing and mounting large scale. Each month one
talented winner will have their picture given this treatment by London’s
© Chris Evans
state of the art printing service, theprintspace – it could be you!

96
B+W

This month’s winner is Chris Evans who wins a 20x24in print dry-mounted on to Foamex,
an exceptional quality and highly rigid foamboard. Chris can choose from a range
of four digital C-type and seven fine art inkjet papers for printing.

HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to: B+W Photography, Find out more at
Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
Refocus
your
attention

www.streetphotography.com
Our Revolution is to expose the BEST for free. To inspire & educate.
If you have outstanding street photography, street-portraits, street
art-photography, street-documentary or have something impressive
to say about the past, present or the future of street photography,
then we’d like to hear from you. Visit the website to discover more.

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