COOL, CREATIVE AND CONTEMPORARY

© Anthony Bailey

BLACK + WHITE
PHOTOGRAPHY
BEYOND
EDITORIAL
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com
PHOTOGRAPHY
Deputy Editor Mark Bentley or some time now I have been photographing

F
email: markbe@thegmcgroup.com
the sea with a specific idea of what I wanted to
Features Editor Anna Bonita Evans
achieve. Unfortunately, in the back of my mind,
email: anna.evans@thegmcgroup.com
are those wonderful minimalist seascapes by
Designer Toby Haigh
Hiroshi Sugimoto. Now, without putting myself down,
ADVERTISING I can freely acknowledge that my skills and vision do
Advertising Sales Guy Stockton
tel: 01273 402823 not match up to those of this great photographer.
email: guy.stockton@thegmcgroup.com So where does that leave me?
PUBLISHING
EDITOR’S Well, many months, many disappointments and some
Publisher Jonathan Grogan LETTER triumphs later, I am still working on it. Whenever the
weather is overcast and, ideally, misty, I head for the
MARKETING
Marketing Executive Anne Guillot
JUNE beach. Low tide, high tide, mid tide, I have tried them
tel: 01273 402 871 all. I tried rough seas but realised quite quickly that
2018
PRODUCTION wasn’t what I was looking for. And so I carry on.
Production Manager Jim Bulley I think this has been, for me, one of the most
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Printer Buxton Press Ltd
interesting photographic experiences because, having
Distribution Seymour Distribution Ltd set out with the vision of Sugimoto’s images, I realised
that it would be pointless to try to replicate them. For a start, I couldn’t achieve the
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 © Ekaterina Solovieva

© Christine Fitzgerald © Mario Carnicelli © Paul Coghlin

02 24 34 68
B+W

BLACK+WHITE PHOTOGRAPHY ISSUE 216 JUNE 2018 NEXT MONTH’S ISSUE IS OUT ON 7 JUNE

COVER Mario Carnicelli captures 18 IN THE FRAME

Picture by Darren Ciolli-Leach a changing America The best photography exhibitions

FEATURES 68 FACE TO FACE 23 ON THE SHELF

08 A TRIBUTE Horticulture at its finest New photography books
Captivating pictures by by Paul Coghlin
Ekaterina Solovieva 44 SONY WORLD
NEWS PHOTOGRAPHY AWARDS
24 THE PHOTOGRAPHER’S 04 NEWSROOM Fabulous black & white pictures
BANQUET Your update on all things from the big competition
Christine Fitzgerald’s black & white
appetising photographs COMMENT
06 ON SHOW 20 AMERICAN CONNECTION
34 STREET LIFE Rare pictures of the samurai Susan Burnstine talks to Amy Friend
 © Austin Odunga © Eddie Ephraums © Tim Clinch

44 62 70

© Tom Speropulos

72

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32 REFLECTIVE Tim Daly guides you through Eddie Ephraums on seeing 72 SMARTSHOTS
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Vicki Painting on the
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TO PHOTOGRAPHY 80 CHECKOUT Photographs that tell a story
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 NEWS
HIGH CONTRAST
Classic and antique cameras will
be on sale at Photographica in
London on 20 May. More than
130 tables will offer wood and
brass cameras, modern classics,
early digital cameras, lenses,
accessories, film, paper, literature
and images. The annual event is
organised by the Photographic
Collectors Club of Great
Britain and held at the Royal
Horticultural Society’s Lindley
Hall in Vincent Square, London.
A new online shop specialising
in photographic film is about to
open. Analogue Wonderland will
offer classic, instant and rare
films including Kodak, Instax,
04 Lomography, Polaroid, Fuji,
B+W Ilford, Washi, Revolog
and Reanimated Films.
analoguewonderland.co.uk
A new darkroom is to open in
London. Darkroom will offer a
range of enlargers plus facilities
for print washing and drying.
There will be a daylight finishing
area with space for talks and
workshops, and there are plans
for a corridor gallery where
members can exhibit their work.
darkroomlondon.org
Pictures from the archives of the
world’s oldest purpose-built
photography studio are on
display at Derby cathedral until
25 May. New photographs have
been created from original glass
plates from the WW Winter
studio, which has been
operating in Derby since 1852.
Pictures ranging from fine
art to documentary and
photojournalism will be exhibited
at the Athens Photo Festival from
6 June to 29 July. The Benaki
Museum hosts exhibitions,
portfolio reviews, talks,
workshops, screenings and
a photobook show.
NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
STEALTH EDITION
A Leica camera made specifically for black & white
photographers is now available in a special edition.
The Leica M Monochrom was launched in 2012
and is a full-frame digital camera that only shoots
in black & white. Now a special edition of the
Monochrom has been released. The Leica M
Monochrom (Typ 246) Stealth Edition is
designed by Marcus Wainwright, founder of New
York fashion label Rag & Bone. It features a
One of the pictures at Photo London – Audrey Hepburn, Roma, 1969 by
Gian Paolo Barbieri, courtesy 29 Arts in Progress Gallery.
scratch-resistant, matt paint finish and comes
with a Summicron-M 35mm f/2 lens.
The specifications are the same as the 24Mp
standard model, but the Stealth Edition has key
markings in fluorescent paint so they glow in the
dark. The edition is limited to 125 camera sets
worldwide. Each one comes with a camera strap,
metal lens cap and special serial number.
Price £13,000 (including lens).
WORLD IN
LONDON
More than 100 galleries will
be showing classic and
contemporary photographs at
this year’s Photo London.
The big fair, now in its fourth year,
takes place at Somerset House in
London from 17 to 20 May. On show
will be work by some of the greats
of photography, including William
Henry Fox Talbot, Ansel Adams,
Roger Fenton and Oscar Rejlander.
Among the new work are pictures
by influential contemporary
photographers Sebastião Salgado,
Michael Kenna and Matt Black.
Visitors can also see top
photography from Africa, China,
Europe, Japan and – for the first
time – Beirut and Iran.
This year’s Master of Photography
is Edward Burtynsky, who will
present a display of new and
rarely-seen pictures. There is also a
busy talks programme that includes
Mary McCartney, Simon Roberts,
Thomas Struth and Vera Lutter.
 © The Dorothea Lange Collection, the Oakland Museum of Californiaa

AUCTION SALES
Two rare pieces of camera kit have
sold for large sums at auction.
A Leica camera sold for more
than two million pounds at the
WestLicht Camera Auction in
Vienna. The Leica 0-series no.
122 is one of about 25 prototypes
built in 1923, two years before SMART STUFF
the commercial introduction Huawei has announced a
of the Leica A. The camera is new smartphone boasting
in working condition and was the world’s first Leica
bought by a private collector triple camera.
from Asia for €2.4 million. The Huawei P20 Pro
In a separate auction in the features a 40Mp RGB sensor,
UK, a lens bought for £70 was a 20Mp monochrome sensor
sold for £6,655. The Leitz Hektor and an 8Mp sensor with
13.5cm f/4.5 lens was bought in telephoto lens. It can shoot
a mixed lot of lenses and at up to 102400 ISO and has
equipment at a local auction. a Leica 3x telephoto lens.
The buyer recognised the Also announced is the
significance of the lens and Huawei P20, which sports
approached Special Auction a Leica dual camera system.
Services in Berkshire to sell it.
Hugo Marsh from Special
Auction Services said: ‘These
telephoto lenses were only made
in small numbers in this finish in
1941-1942 for German army Leica
cameras; thus, they are very rare
and sought after by collectors.’ White Angel Breadline, San Francisco, 1933 by Dorothea Lange.
05
© Andreas Pohl, Germany, Open Architecture
TWO FOR SUMMER WELL DONE B+W

The Man and the Mysterious Tower
by Andreas Pohl.
B&W WINNER
This black & white photograph
by German photographer
Andreas Pohl took first prize in
the architecture category of the
Sony World Photography Awards.
The competition attracted a
massive 320,000 submissions
from photographers in more
than 200 countries and territories.
Category winners were given
Sony camera gear and their
pictures can be seen in a new
awards book.
For more of the best black
& white pictures from the
competition, see page 44.
Two high profile exhibitions In a separate exhibition, the A 100th anniversary crystal
come to the Barbican in London Barbican also hosts a major UK creation of the Nikon Model
this summer. solo exhibition by contemporary 1 has been presented to
Dorothea Lange: Politics of British photographer Vanessa Gray Levett, founder of
Seeing is the first UK retrospective Winship. More than 150 of her Grays of Westminster in
of the influential American pictures will be displayed, London. Gray Levett was
photographer. The exhibition including work never seen before presented with the award for
includes her celebrated Farm in the UK. Highlights include outstanding service to Nikon
Security Administration pictures, photographs from her series by Toru Iwaoka, president
and features one of the great She Dances on Jackson. of Nikon Europe.
photographs of the 20th century Both exhibitions run from
– Migrant Mother, taken in 1936. 22 June to 2 September. PRINT CHOICE
A special photobook and
choice of print by American
photographer Danny Lyon
are available to buy. Lyon is
best known for his work
documenting social justice
and currently has work on
show at the Another Kind
of Life exhibition at the
Barbican in London.
A choice of two signed
silver gelatin limited edition
© Mark Pearson
prints (price £1,000 and
INNOVATION £1,200), along with a
A photographer has succeeded in producing a print on concrete. 208-page photobook with
Scottish photographer Mark Pearson collaborated with a sculptor to photo essays, is on sale
create the cyanotype print which is embedded into the surface of the alongside the exhibition
concrete. It took three months of experiments before the print was until 27 May.
successful. The finished piece is 1.2m in length and weighs 22kg.
 NEWS

ON SHOW
Daniella Dangoor is a
collector of samurai portraits.
Her worldwide search for these
rare prints has taken her on a
discovery of Japan’s fascinating
history, which she hopes
to share with you in a new
London exhibition this spring.

B+ W: The Last of the Samurai is made up

of 40 prints from your personal collection.
How did you choose which pictures to
include in the display?
Daniella Dangoor: Actually that is the whole
06 collection, 40 prints. These photographs are
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extremely rare so the finds are few and far
between, although I can’t help adding to it
when I come across remarkable pieces.

This is a very specific subject to collect,

what is it about the samurai portraits
that appeals?
It all began with Japan. I saw a fantastic
exhibition in Paris about Hokusai and
his epoch, and I got completely hooked on
Japanese art and design. I had a demanding
job and not much spare time or money. An
interest in photography brought me to the
first London Photo Fair at the Photographers’
Gallery some 30 years ago. A dealer there
– Terry Bennett – had early Japanese
photographs. I bought an image by Felice
Beato and that was it, I began collecting
Japanese occupational photographs.
Why the samurai? Japan had been mostly
closed to the outside world for 250 years, an
introspective feudal society with rigid castes
and rituals. Then Admiral Perry’s naval
expedition forced it to open up in 1853.

Left above Portrait of Unidentified Samurai

in Armour, Yokohama, circa 1873-76.
© Suzuki Shin’ichi
Left below Southern Officers, circa 1867.
© Felice Beato
Western powers, influence driven by commerce,
treaty ports, science and industry poured in.
The rate of change was extraordinary, a society
convulsed, opposing clans fighting, masterless
samurai rebelling, but an unrelenting
modernisation took place – all in just
20 years. It’s such a fascinating period.
When I bought Suzuki’s Portrait of an
Unidentified Samurai in Armour at Paris
Photo some 20 years ago, I wasn’t just buying
a samurai photograph but a remarkable
image that spoke to me of such sadness.
A young samurai, reflecting wistfully on the
occupation and the role he had trained and
prepared for since childhood was about to
be rendered obsolete. For a while I was just
buying individual images that appealed to
me, then I discovered a pattern in my buying.

Do you have a particular

favourite print?
I have a number of favourites. Firstly that
young samurai I mentioned earlier, in a way
he is the icon of the show in that he represents
the end of an era. Another image I love is
Disdéri’s portrait of Tokugawa Akitake. The
shogun sent his 14-year-old half-brother to
France to represent him and to study. I love
his dignity and his poise. He met Napoleon
III and was received by Queen Victoria at
Windsor. The Queen found him and his
retinue very ugly. I can’t help thinking that it
07
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must have been hard to maintain that poise
when assaulted by the smell of unwashed
Western bodies, given the prevalence of the
bathing culture in traditional Japanese life.

Photography arrived in Japan in 1848,

a time when the country was opening up
to the world. How did Japanese artists
first receive photography?
Photography was initially taken up by high
caste samurai (even the shogun) and a few
artists and scholars like Shimooka Renjo
and Ueno Hikoma. But really it was Felice
Beato’s photographs which influenced several
decades of photography in Japan. The success
of photography also signalled, or coincided
with, a slowing down in the popularity of the
woodblock print, which then reinvented itself
in the twentieth century.

You’ve been a collector for more than

20 years; did you source the prints from
all over the world and what sustains
your fascination with this genre
of photography?
Most of the prints were sourced in the UK
and France, the birthplaces of photography. Above Portrait of Tokugawa Akitake, Paris, 1867.
There’s an excitement I feel when I find © André-Adolphe-Eugène Disdéri
a photograph that lets me glimpse into
another moment in the final history of the
samurai culture. You never stop learning THE LAST OF THE SAMURAI
and discovering. is on show from 19 to 20 May at the Great Hall, King’s College London
8
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 FEATURE

All images
© Ekaterina Solovieva

A TRIBUTE
Donatella Montrone
interviews Ekaterina
Solovieva about her
captivating book on life
in the wilds of northern
Russia, centred on a
shaggy titan of a cleric
who found peace in the
simplicity of village life.

09
9
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rkady Shlykov
A
is unlike anyone
Ekaterina Solovieva
has ever met. He is
a colossus, in every
respect. Stories of
the brawny, ginger-
bearded cleric are
legendary, but in Kolodozero, concealed
in the wilderness of the Russian region
of Karelia, he’s simply Father Arkady, the
beloved priest who turned up one day and
garnered the help of locals to build a new
church in the remote village to replace the
one that had burnt down in 1977.
The first time Solovieva met Father
Arkady, she was inside the church, sitting
at a table opposite the village oddity, a
very drunken man called Yurka, who was
wielding a knife while regaling Solovieva
‘Arkady is the central
figure in Kolodozero. He is
its core, the centre of the
Earth’s circle.’
and her companions with stories about
the village. ‘We were basically held
hostage – we couldn’t get away,’ says the
documentary photographer. ‘Suddenly
Father Arkady flung open the door,
stormed over to Yurka, slung him over
his shoulders and carried him out, both
figures disappearing into the fog. I knew
immediately that I had come to the right
place, and that meeting Father Arkady
would change my life,’ says Solovieva, whose
ongoing series on village life in northern
Russia has recently been published as a
photobook, The Earth’s Circle: Kolodozero.
It’s a relatively small village, consisting
of a handful of hamlets, where boathouses
and cabins are scattered along picturesque
lakes. ‘Everyone who comes to Kolodozero
is running away from something – from
urban noise or weariness, from the absurdity
of life, from their wrongdoings or sins,
from themselves,’ says Solovieva. ‘Leaving
Kolodozero is something only the strong
are able to do, but they always return when
their strength is on the wane.’
Solovieva grew up in the suburbs of
Moscow, and had what she describes as
‘a free, late Soviet’ childhood. The daughter
of a writer and a news agency editor, life
at home was rich with books and art. At
the age of 12, she and her friends enrolled
in a photography class at the local Young
Pioneers organisation. 
11
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 or as long as Solovieva can remember,


F there was an old religious icon on the
wall at home. ‘My father found it in an
abandoned chapel in northern Russia
when he was young. My father’s stories
about his travels made me dream of faraway
lands. I first travelled to north Russia when
I was 18 and came back with some sketchy
photos. My father looked at them and said
I should write about the villagers, that
I should take their pictures and tell
their stories. So, 10 years later, I went to
Kolodozero [on the Karelia and Arkhangelsk
12 Oblast border]. I could feel the ambiance
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and I remembered my father’s words.’
Solovieva has returned to Karelia
many times since and her work on the
region is prolific, capturing the hardships
and pleasures of village life. ‘Karelia is
very beautiful. It has endless forests and
crystal clear lakes. But life in the north is
quite hard. Many villages are abandoned
because people move to the cities looking
for a better life, and those who stay have
to work hard. They hunt, butcher pigs,
keep vegetable gardens, cut firewood, and
collect mushrooms and berries. Hardship
brings people closer. They watch the sunset
together and philosophise, and have many
stories to share. And they’re always ready to
receive guests. I really wanted to show this
in my work: their spirit, their warmth, their
passions, the things that hold them together.’
The arrival of Father Arkady in
Kolodozero reawakened parochial life in
the village, which had been extinguished
along with the destruction of the former
church, and Solovieva started to realise that
all points led to him. ‘Arkady is the core of
Kolodozero, the centre of the Earth’s circle.’
And so became this project, which tells
the complex stories of simple folk from the
perspective of an urbane Solovieva able to
straddle both worlds, and that of Father
Arkady himself, who writes a compelling
narrative to accompany the pictures. 
13
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 ‘I borrowed the title from an Icelandic
poem. Arkady looks like a Viking. I decided
to focus the book on him, even though
I’ve been shooting work there since 2009.
I realised that I have experienced every
season in Kolodozero. I got to celebrate all
the religious holidays there – a full circle of
village life. And at the centre of it all is not a
villager, but a man from the city, a rebel, an
ex-punk rocker, who captivated a village.’
Father Arkady is not merely the cleric who
baptises children in lakes and reads scripture,
he is also a farmhand, a confidant, a friend.
He writes in Earth’s Circle: ‘Last November
on Lake Onega, Dima went missing. I had
known him since he was a child. We found
neither his body nor the boat. His father
Sergey has since started drinking heavily;
he keeps drinking without sobering up.
At Christmas, he came to me crying, with
The Earth’s Circle: Kolodozero (Schilt Publishing) is £30 and available in paperback.
‘I knew immediately that I had
come to the right place, and
that meeting Father Arkady
would change my life.’
a bottle of vodka under his arm. “Tell me,
do you pray for him as a dead person or as
a living person?” he asked. “Sergey,” I said,
“I pray for calmness.”’
‘Father Arkady copes with some things
well, and struggles with others,’ says
Solovieva, ‘But the villagers trust him. He is
at one with the village, and I wanted to show
this – but I also wanted to show his solitude.’
‘People often say to me that I am so strong,
so awesome,’ writes Father Arkady in Earth’s
Circle. ‘That I have transformed from a
Muscovite into a village priest. But it’s the
opposite! The awesome ones are my friends
ekaterinasolovieva.com
who came here and left their hearts and
souls, but found the strength to return
to normal life. I am the weak one. I am
unable to leave.’
onight, the night before I’m meant
T to send this feature to Black+White
Photography, Solovieva contacted
me to say that Father Arkady had
died. At the end of January, Yurka was
murdered in Father Arkady’s home. He’d
been minding the cleric’s house while Father
Arkady was away and was beaten to death by
a criminal gang. Yurka’s body was recovered
by the police but the house remained
unchanged when Father Arkady returned
so he scrubbed his home clean and took his
last breath. The autopsy revealed that he
died of a heart attack. Solovieva, however,
is convinced he died of a broken heart.
 Repeat Winner of the TIPA Award – 2013/2017

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 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 345 Ladbroke Grove W10

davidhillgallery.net

BARBICAN ART GALLERY 5TH BASE GALLERY

To 27 May 1 to 6 August
Another Kind of Life: Points of Departure:
Photography on the Margins Tilbury to Harwich
Photographers working with those on An exploration of the piers and landing
the fringes of society, from the 1950s stages along the Essex coast by MA
to the present day. student Simon Fremont.
Barbican Centre, Silk Street EC2Y 23 Heneage Street E1
barbican.org.uk 5thbase.co.uk

BRUNEL GALLERY HAUSER & WIRTH

To 23 June 18 May to 28 July
China and Siam: August Sander
Through the Lens of John Thomson An extensive selection of rare large-scale
Thomson’s work in Asia from 1862 to 1872. Sander portraits made between
SOAS, Thornhaugh Street, London WC1 1910 and 1931. WINDRUSH: PORTRAIT OF A GENERATION
johnthomsonexhibition.org 23 Saville Row W1S
hauserwirth.com 24 May to 10 June
DAVID HILL GALLERY Photo essay by Jim Grover on first generation
To 2 June KING’S COLLEGE LONDON Caribbean immigrants in South London.
Mario Carnicelli: American Voyage 19 to 20 May
Documentary of the street life of London Photograph Fair GALLERY@OXO Oxo Tower Wharf, Barge House SE1 oxotower.co.uk
American society in the 1960s. Vintage pictures from the 19th century
18
B+W to the present, including rare Foundation Prize 2018
photographs of the samurai. The shortlisted projects on show.
Strand, WC2 To 3 June
photofair.co.uk Under Cover: A Secret History
of Cross-Dressers
LITTLE BLACK GALLERY Found images from 1880 onwards,
Saturday 12 and Saturday 26 May drawn from filmmaker Sébastien
The Agony & the Ecstasy Lifshitz’s collection.
Two days only to see a series of limited To 3 June
edition prints by Bob Carlos Clarke. Grayson Perry’s Photo Album
13A Park Walk, Chelsea SW10 A small-scale display of personal photos
thelittleblackgallery.com that offer a glimpse into Perry’s
alter ego, Claire.
MUSEUM OF LONDON 16-18 Ramillies Street W1F
11 May to 11 November tpg.org.uk
London Nights
Contemporary and historical images that SOMERSET HOUSE
focus on the familiar and unknown of 17 to 20 May
London after dark. Photo London
150 London Wall EC2Y The must-see fair of the year
museumoflondon.org.uk – from vintage to contemporary.
Strand WC2R
NATIONAL PORTRAIT GALLERY photolondon.org
To 20 May
Victorian Giants: THE VINYL FACTORY
Shelagh Wilson with parrot, Copacobana, 1951 The Birth of Art Photography 18 to 27 May
© Victoria and Albert Museum, London
Images by Lewis Carroll, Julia Margaret Home
ELSBETH JUDA Cameron, Oscar Rejlander and Magnum photographers explore
To 1 July Clementina Hawarden. the notion of home.
A retrospective of the late British female photographer whose St Martin’s Place WC2H 18 Marshall Street, Soho W1F
work covered fashion and advertising as well as portraiture npg.org.uk thevinylfactory.com
of politicians and artists.
PHOTOGRAPHERS’ GALLERY WILLIAM MORRIS GALLERY
JEWISH MUSEUM Albert Street NW1 jewishmuseum.org.uk To 3 June To 20 May
Deutsche Börse Photography The People’s Forest
Gayle Chong Kwan’s exploration of
London’s ancient woodland, Epping Forest.
Lloyd Park House, 531 Forest Road,
Walthamstow wmgallery.org.uk
MIDLANDS NORTH
BIRMINGHAM MUSEUM
& ART GALLERY
To 1 July
Vanley Burke: Photographing
Birmingham (1968-2011)
The lives and experiences of the African
Caribbean community told through the
lens of this Jamaican born photographer.
Chamberlain Square, Birmingham
birminghammuseums.org.uk
MAC BIRMINGHAM
To 1 July
Miss Black and Beautiful
Raphael Albert’s pictures celebrating the
black is beautiful aesthetic of the 1970s.
Cannon Hill Park, Birmingham
macbirmingham.co.uk
PHOTO SPACE
To 28 June
Paul Hill and Maria Falconer
Palermo Italy 1999
by Antoine d’Agata
© Magnum Photos
SELF-PORTRAITS
AND NIGHT
JOURNEYS:
ANTOINE D’AGATA
To 25 May
The first solo UK exhibition
in 10 years by this French
Magnum photographer whose
work is autobiographical and
formed of chance encounters
with people and places.
MAGNUM PRINT ROOM
63 Gee Street EC1V
magnumphotos.com
Series of exhibitions from the two
acclaimed photographers.
Castle Street, Ludlow
thephotospace.co.uk
THE CIVIC
To 9 June
RPS International Print
Exhibition 160
The world’s longest running
photographic exhibition.
Hanson Street, Barnsley
barnsleycivic.co.uk
HEPWORTH WAKEFIELD
22 June to 7 October
Viviane Sassen: Hot Mirror
Work by the internationally renowned
Dutch artist and photographer.
22 June to 7 October
Lee Miller and Surrealism in Britain
An exhibition that explores surrealism
in Britain through Miller’s lens.
Gallery Walk, Wakefield
thehepworthwakefield.org
LONGSIDE GALLERY
To 17 June
In My Shoes:
Art and the Self since the 1990s
Explores how UK-based artists have
represented themselves in their work.
Yorkshire Sculpture Park,
West Bretton, Wakefield ysp.co.uk
LOTTE INCH GALLERY
18 May to 16 June
Lucy Saggers: Of Life and Land
Documentary of a disappearing way
of life in rural Yorkshire.
10 Bootham, York
lotteinch.co.uk
QUAD
To 24 June
Battle Against Stigma
Mark Neville’s pictures look at mental
health problems in the military.
Market Place, Derby
derbyquad
TATE LIVERPOOL
24 May to 23 September
Life in Motion:
Egon Schiele/Francesca Woodman
Pictures that highlight the expressive
nature of the body.
Albert Dock, Liverpool
tate.org.uk/Liverpool
SOUTH
CHARLES HUNT CENTRE
18 to 23 June
Hailsham Photographic Society’s
Annual Exhibition
Carlo Levi and Enrico Paulucci set design for Patatrac
GLAMOUR AND MODERNITY
IN 1930S ITALIAN CINEMA
To 24 June
An exhibition that looks at a little known period of Italian cinematic
history, highlighting the modernist influence in the set designs
for romantic comedies in the inter-war years.
ESTORICK COLLECTION OF MODERN ITALIAN ART
39a Canonbury Square N1 estorickcollection.com
Open from 10am to 4pm each day.
Vicarage Field, Hailsham
hailshamphotographicsociety.co.uk
GALLERY 64a
7 to 28 July
Monochrome Delectus
A group show of some of the best
practitioners in black & white.
64 Oxford Street, Whitstable
gallery64a.co.uk
LUCY BELL GALLERY
To 17 May
Contacts
A rare opportunity to look back at some
of the hidden moments surrounding some
of rock’s most iconic images.
46 Norman Road, St Leonards on Sea,
East Sussex gallery@lucy-bell.com
SOUTHAMPTON CITY
ART GALLERY
To 12 May
Roger Mayne and St Ives
Pictures by the renowned photographer.
Civic Centre, Commercial Road,
Southampton southampton.gov.uk
WEST END HOUSE GALLERY
To 28 May
The Long View:
Photographs by Evans+Hulf
Collaboration between two artists using
an 1888 ultra-large format camera.
Water Lane, Smarden, Kent
west-end-house-gallery.co.uk
(Dir. Gennaro Righelli, 1931).
© Collezione Museo Nazionale
del Cinema, Turin
SCOTLAND 19
B+W
EAGLE FEET GALLERY
9 June to 17 August
Aros Revisited:
Photographs by Sarah Darling
An exploration of the timeless nature
of light, water and plant life at Lochan
a’ Ghurrabain, Aros, on the Isle of Mull.
An Tobar Arts Centre, Tobermory,
Isle of Mull comar.co.uk
THE 13TH NOTE
2 to 30 July
Transient Moments
An exhibition of black & white images on
the theme of impermanence in modern
Japan by John McKenna.
50-60 King Street, Glasgow
13thenote.co.uk
WALES
NATIONAL MUSEUM CARDIFF
5 May to 11 November
Women in Focus
An exhibition that looks at the role
of women in photography, both as
producers and subjects of images.
Cathays Park, Cardiff
museum.wales/cardiff
Send your international exhibition details
to anna.evans@thegmcgroup.com
 NEWS OUTSIDE THE FRAME
If you would like an exhibition to be included in our listings, please email
Anna Bonita Evans at anna.evans@thegmcgroup.com at least 10 weeks in advance.
AMERICA
ANNENBERG SPACE FOR
PHOTOGRAPHY
To 9 September
Not an Ostrich: And Other Images
from America’s Library
An estimated 500 images selected
from the vast Library of Congress
archive go on show.
2000 Avenue of the Stars, Los Angeles
annenbergphotospace.org
ART INSTITUTE OF CHICAGO
To 19 August
Volta Photo
Sory Sanlé’s upbeat portraits of
1960s Burkina Faso youth.
111 S Michigan Avenue, Chicago
artic.edu
BALTIMORE MUSEUM OF ART
To 19 August
We are Ghosts
Mary Reid Kelley and Patrick Kelley’s
quirky, narrative led B&W imagery.
10 Art Museum Drive, Baltimore
20 artbma.org
B+W
BENRUBI GALLERY
17 May to 7 July
Unwired
Jacqueline Hassink’s provoking
landscape and portrait images which
ask us to confront our addiction
to technology.
521 West 26 Street, New York
benrubigallery.com
CHINA INSTITUTE GALLERY
To 2 December
Art of the Mountain: Through the
Chinese Photographer’s Lens
Group exhibition with 20 photographers’
work depicting major mountain
ranges in China.
100 Washington Street, New York
chinainstitute.org
CHRYSLER MUSEUM OF ART
To 12 August
Photographs Take Time
Images from the Chrysler Museum’s
collection, includes works by
Harold Edgerton, Vera Lutter
and William Christenberry.
1 Memorial Place, Virginia
chrysler.org
DEBORAH BELL PHOTOGRAPHS
To 29 June
Gallery Selections
Includes pictures by Deborah
FRANCE
SELECTED WORKS
S CLICK HERE
To 9 June
Nancy Wilson Pajic’s experimented images
created with alternative processes.
GALERIE MIRANDA
21 rue de Château d’Eau, Paris
Turberville, Imogen Cunningham
and Mariana Cook.
16 East 71st Street, New York
deborahbellphotographs.com
FOCUS ON THE STORY:
INTERNATIONAL PHOTO
FESTIVAL
7 to 10 June
A four-day festival highlighting
the importance of storytelling in
photography. Includes talks by
Martin Parr and Chris Boot.
1740 Massachusetts Avenue,
Washington DC aperture.org
1000 Fifth Avenue, New York
metmuseum.org
NAILYA ALEXANDER GALLERY
5 June to 13 July
Life in Colour
Ann Rhoney’s painterly images
of America and its culture.
41 East 57th Street, New York
nailyaalexandergallery.com
NATIONAL GALLERY OF ART
To 28 May
A Thousand Crossings
Defining works from Sally Mann’s
40-year career.
6th and Constitution Avenue,
Washington DC nga.gov
PÉREZ ART MUSEUM MIAMI
To 28 October
Sid Grossman
Grossman’s pictures of New York’s
Lower East Side, Panama
and Dust Bowl life.
1103 Biscayne Blvd, Miami
pamm.org
SCOTT NICHOLS GALLERY
To 30 June
The Early Years
Lesser-known work by Ansel Adams
and Edward Weston.
49 Geary Street, San Francisco
Chance techniques, 1995 scottnicholsgallery.com
© Nancy Wilson-Pajic / Galerie Miranda
STEVEN KASHER GALLERY
To 2 June
Refraction: New Photography
of Africa and its Diaspora
Group exhibition of African
photographers’ work created
from the 1970s to 90s.
515 West 26th Street, New York
stevenkasher.com
galeriemiranda.com
WELLIN MUSEUM OF ART
To 10 June
GEORGE EASTMAN MUSEUM This Place
To 14 October Pictures depicting Israel and the West
History of Photography Bank, includes images by Fazal Sheikh,
Images by Margaret Bourke-White, Stephen Shore and Josef Koudelka.
Julia Margaret Cameron 198 College Hill Road, New York
and Anna Atkins. hamilton.edu/wellin
900 East Avenue Rochester, New York
eastman.org YOSSI MILO GALLERY
To 16 June
METROPOLITAN MUSEUM Volta Photo
OF ART Sory Sanlé’s evocative pictures
To 28 May of Burkina Faso’s youth culture
Los Alamos in the 1970s.
William Eggleston’s extraordinary 245 Tenth Avenue, New York
colour series. yossimilo.com
CANADA GERMANY
VIRIDIAN GALLERY GALERIE BENE TASCHEN
To 30 May To 7 June
Greyscale Recollections in America
Axel Breutigam’s B&W fine art prints. and Spanish Harlem
1570 Coal Harbour Quay, Vancouver Joint exhibition with work by David
viridiangallery.ca LaChapelle and Joseph Rodriguez.
Moltkestrasse 81, Cologne
benetaschen.com
FRANCE
CENTRE PHOTOGRAPHIQUE IMMAGIS FINE ART
D’ILE DE FRANCE PHOTOGRAPHY
To 8 July To 31 May
The Discrete Channel with Noise Hush Hush
New work by British photographer Olaf Heine’s celebrity portraits – plus
Clare Strand. a selection from his Brazil series.
107 Avenue de la République, 22 June to 4 August
Pontault-Combault Best of ‘Me and Co’
cpif.net Jean Pigozzi’s humorous black & white
selfie portraits with celebrities.
FONDATION HENRI CARTIER– 1 Blutenstrasse, Munich
BRESON immagis.com
16 May to 29 July
Our Lives and Our Children
Images by the great Robert Adams GREECE
highlighting his involvement in the ATHENS PHOTO FESTIVAL
New Topographics movement. 6 June to 29 July
2 impasse Lebouis, Paris International contemporary
henricartierbresson.org photographers exhibit their work.
Also includes portfolio viewings,
JEU DE PAUME screenings, talks and workshops. Shipwreck, 1951
© Toshiko Okanoue - courtesy
To 27 May Hellenic Centre for Photography of amano salto.inc
Lucien Hervé: Geometry of Light photofestival.gr NETHERLANDS 21
Pictures by the leading
A BEAUTIFUL MOMENTT CLICK HERE
architectural photographer.
Largely graphic B&W images. JAPAN B+W

25 avenue André Malraux, Tours TAKA ISHII GALLERY 9 June to 2 September

jeudepaume.org PHOTOGRAPHY / FILM Japanese photography by Naoya Hatakeyama, Syoin Kajii, Rinko
Kawauchi, Toshiko Okanoue, Yuki Onodera and Chino Otsuka.

HUIS MARSEILLE MUSEUM VOOR FOTOGRAFIE

401 Keizersgracht, Amsterdam huismarseille.nl

25 May to 23 June by Bernd and Hilla Becher.

Love-Dream, Love-Nothing 401 Keizersgracht, Amsterdam
Nobuoshi Araki’s sensuous huismarseille.nl
B&W imagery.
6-5-24 3F Roppongi Minato-ku, Tokyo
takaishiigallery.com SPAIN
FUNDACIÓN MAPFRE
5 June to 16 September
NETHERLANDS Shomei Tomatsu
FOAM MUSEUM Major retrospective of the
To 20 June Japanese photographer’s
Bamako Portraits most provative works.
Window washer and flock of pigeons, The first retrospective of studio Garriga Nogués hall, Barcelona
23rd Street Loft, New York City, 1972 portraits by the late Malian fundacionmapfre.org
© Harold Feinstein
photographer Seydou Keïta.
FRANCE Keizersgracht 609, Amsterdam
SWEDEN
foam.org
GRACIOUSLY YOURS
S CLICK HERE FOTOGRAFISKA
HUIS MARSEILLE MUSEUM To 10 June
24 May to 31 August VOOR FOTOGRAFIE The Extraordinary World
Harold Feinstein’s B&W documentary images from 1966 to 1988. To 3 June of Christian Tagliavini
Bernd, Hilla and the Others: Imaginative portraits by
GALERIE THIERRY BIGAIGNON Photography from Dusseldorf Christian Tagliavini.
9 rue Charlot, Paris thierrybigaignon.com A show dedicated to those who Stadsgardshamnen 22, Stockholm
studied with or were influenced fotografiska.eu
 COMMENT
AMERICAN CONNECTION
Amy Friend’s extraordinary photographs are created by collecting vintage
pictures then manipulating the images and re-photographing them. She talks
susanburnstine.com
to Susan Burnstine about her work and how the process became an obsession.
rtists who create a new
A approach to traditional
photography endlessly
inspire me. Amy
Friend’s series Dare alla Luce
is an other-worldly collision of
past, present and future that
began as a playful experiment
in possibility and resulted in
a unique collection of images
that present an evocative world
of her own making.
Much of Friend’s earliest work
focused on the subject of the
family album that later triggered
an interest in what she calls lost
images. As she began considering
this series, she started with a
specific direction, but played
with various options that took
her on a different, unexpected
path. ‘My own albums (some
quite old and given to me by my
20
B+W
grandmother) hold images that
are lost despite being housed
in the albums,’ she says. ‘Nobody
Isolde
can identify the people in the
photographs. My immediate
response was aimed at making
these photographs precious
again, to somehow validate
that loss while concentrating
on the inherent qualities of the
photographic medium.’
At first she strived to
embroider on photographs as an
attempt to transform them into
what she refers to as a new object.
She recalls, ‘While sewing, I
would hold the photograph to the
light to determine the placement
of the pinholes. I recognised
that the light searing through
those pinholes was far more
interesting to me. I dropped the
embroidery and decided to work
with this light. It was what I was
searching for – something more
‘My immediate response was aimed at
making these photographs precious again.’
than returning a preciousness
to a photo.’ She proceeded to
perforate the surface of these
vintage photographs, then she set
up lights to illuminate into the
pinpricks and re-photographed
the image or a portion of it.
After completing a group
of images from her personal
albums, she sought to reimagine
photographs that did not directly
relate to her, so she purchased a
collection of them from vintage
markets and online. ‘Occasionally
the photographs would have
minor notations that indicated a
place, person or timeframe, while
other photos had no indication
of provenance,’ she says. ‘This
presence or absence of history
became an important part of the
work. I focused on this through
March
the titles – each relate to the
actual photographs, the notations,
my memory transfer and with the
medium of photography itself.
Some titles are taken directly
from the actual notations and
others I fabricate. We never
really know what we see, we
are given indicators, stories,
but not always concrete truth.
I aim to play with the way we
encounter these images through
these titles; I want the viewer to
wonder about the discrepancy
in description and detail. I
hope they see the potential in
reconsidering what we see.’
Friend admits the process
became a bit obsessive as she
continued to create new images.
‘As I found more and more photos
I was unsure how to stop, alter or
move forward,’ she says. ‘I became
more and more interested in the
people, the portraits and sought
out photo booth images.’

Tilda
riend is frequently asked if
F
she damages the originals
or creates new copies to
work on. ‘I love this
question,’ she says. ‘In my mind,
it represents a concern for the
original photo. Many of these
photos are sold in lots – some
pulled from their albums. They
lose their importance and yet
through this they become
relevant – acknowledged again.’
In 2013, 2014 and 2015 she was
selected as one of the top 50
photographers in Photolucida’s
annual Critical Mass competition
and she earned the esteemed
book award that resulted in the
publication of a monograph for
the Dare alla Luce series in
All images © Jennifer MacNeill
EXHIBITIONS
USA
AKRON
Akron Art Museum
Until 23 September
Jerry Birchfield: Asleep in the Dust
akronartmuseum.org
CHICAGO
Art Institute of Chicago
Until 19 August
Volta Photo: Starring Sanlé Sory and
the People of Bobo-Dioulasso in the
Small but Musically Mighty Country
of Burkina Faso
artic.edu
Catherine Edelman Gallery
Until 7 July
Francesco Pergolesi: Tableaux
edelmangallery.com
CLEVELAND
Cleveland Museum of Art 21
Until 7 October B+W
Danny Lyon: The Destruction
of Lower Manhattan
clevelandart.org
FORT WORTH
Amon Carter Museum
of American Art
Until 22 July
Ellen Carey: Dings, Pulls
and Shadows
cartermuseum.org
GAINESVILLE
Harn Museum of Art
Until 8 July
Poetic and Political – Featuring
Zanele Muholi, El Anatsui,
William Kentridge, Zohra Opoku,
Yelimane Fall and Josef Albers
harn.ufl.edu
LOS ANGELES
Annenberg Space
December 2015. Currently she is
For Photography
working on a number of projects, Until 9 September
including an installation that Not An Ostrich: And Other Images
incorporates images from her From America’s Library
own childhood that have been annenbergphotospace.org
extracted from 8mm films and Fowler Museum
printed on silk. And throughout Until 15 July
2018 her images will be included Leopoldo Peña: Pelotas Oaxaqueñas/
in the stage design for musician Oaxacan Ball Games
Diana Krall’s world tour. fowler.ucla.edu
 NEWS
ON THE SHELF pparent throughout CALIFORNIA

A Hiroshi Sugimoto’s
practice is his interest
in the passage of
time and presenting thought-
provoking ideas relating to
CAPTURED
Marvin Rand
Phaidon
Hardback, £49.95
that theme through unusual
techniques or subject matter. arvin Rand is
OUR LIVES AND
OUR CHILDREN
Robert Adams
Steidl
The Japanese photographer is
praised in the fine art world
for his technical excellence and
distinctive style and Portraits is
just as intelligent and interesting
M not a name that
is familiar to me
or, I suspect, to
many. His archive of some
50,000 images was discovered
Hardback, £40 as his previous series: Seascapes, in 2012 and provides us with an
PORTRAITS Dioramas and Theatres. extraordinary insight into mid-
he driving force behind Hiroshi Sugimoto

T
these seemingly simple
pictures came in the
early 1970s when Adams
and his wife witnessed a fire
blazing in the distance from
their Denver home. They
thought it was coming from the
Rocky Flats nuclear weapons
plant and therefore it would be
pumping out toxic fumes to the
whole area. As it turned out, the
fire was outside the plant but it
made Adams think about what
was really important in life.
Consequently, he
Working closely with century modernist architecture
Damiani sculptors from Madame and interiors – a period I
Hardback, £35 Tussauds since 1994 to recreate confess to having a weakness for.
in wax historic figures or scenes Rand’s pared-back, graphic
– such as Spartacus, Oscar Wilde and Yasser Arafat – Sugimoto’s approach to photographing
images make the subjects look so lifelike they unsettle the viewer. the architecture of the time
The results, 70 of which we see here, highlight a great artist playing allowed the buildings to speak
with our perception and understanding of the real and the fictional, for themselves without the
the person and the mannequin. This is at the core of Sugimoto’s interference of artificial lighting.
photography, as we read in Maria Morris Hambourg’s introduction: He developed a personal
‘Sugimoto’s world is full of surface contradictions and visual puns. style that took on board the
Dualities have enchanted him since childhood and lie at the heart of
his art.’ A wonderfully interesting book.
minimalist ideals of modernism, 23
allowing him to capture the B+W
Anna Bonita Evans innovative design work that was
so prevalent in California at

photographed in Denver and its
suburbs the people that could
have been affected if such a
disaster had come about, the
collective images being a strong
political comment on the issue
of nuclear weapons.
Now in its second edition,
with an expanded sequence
of pictures, this book is a fine
example of Adams’ style and
social commentary – beautifully
produced to match the
tonalities of his original prints.
Elizabeth Roberts
I
long ago learnt that I
could learn as much about
photography from looking
at paintings as I could from
looking at photographs. Which
is why I’m happy to recommend
this wonderful book of self-
portraits, many of which are
not photographs.
The selfie of our modern era
follows in a long line of tradition
that dates back to ancient times.
Painting produced many a self-
portrait from the 16th century
to the present; photography
eagerly claimed the genre
from its invention onwards and
conceptual artists have
explored its depths.
First published in 1937, and
abridged in 2000, 500 Self
Portraits is now revised and
expanded to provide us with the
most fascinating collection of
this familiar art form. If you’ve
ever been tempted to lift your
camera in front of a mirror
or hold your smartphone at arm’s length, this book will give you
a rich history of the genre in which you are partaking.
that time – and in so doing, he
was instrumental in launching
the careers of a number of
architects as well as envisioning
how the city was seen and
remembered.
Clearly not a great self-
publicist, Rand’s name never
became as famous as the
architects he promoted, but
these pictures, largely black
& white, deserve the respect
and esteem that has been, until
now, missing.
Elizabeth Roberts
500 SELF
PORTRAITS
Phaidon Editors with essays
by Julian Bell and Liz Rideal
Phaidon
Hardback, £19.95
Elizabeth Roberts
 F E AT U R E THE PHOTOGRAPHER’S BANQUET
After completing two rather serious environmental projects, Canadian photographer
All images Christine Fitzgerald wanted to create something a little more light-hearted – and
© Christine Fitzgerald
appetising to the eyes. She talks to Steve Pill about her delightful series Diversity.

24
B+W

Opposite Summer Bounty Above Hungarian Pepper No.2
sk a child to describe a tomato
A
and chances are the first thing
they will say is red. So how, as
a black & white photographer,
do you properly capture the
essence of a fruit if you are
robbed of its defining characteristic?
It was this exact challenge that was a huge
part of the appeal of this subject for Christine
Fitzgerald. ‘I hand-picked the tomatoes
knowing most of them would be black,’ she
says. ‘With the wet collodion plate process
that I use, the chemistry can only read parts
of the UV light spectrum so red, orange and
yellow are read as different kinds of blacks.’
The Canadian photographer has a giant
vegetable garden at her Mont Tremblant
chalet and she has been photographing
her annual tomato harvest informally for
many years. In 2016, she set about creating
the plates that would become her Diversity
series. ‘I started taking photos of individual
tomatoes and experimenting with the
‘I’m of the age that I grew up
on iceberg lettuce and boring
fruits and vegetables – there
was not a lot of choice. This
series was really about
celebrating the diversity
of fruits and vegetables
available today.’
colours and shapes. I branched out from
that into thinking about the shapes and
forms of other fruits and vegetables too.’
The title of the series is not a reference to
the diverse colours but rather the subjects
themselves. ‘I’m of the age that I grew up
on iceberg lettuce and boring fruits and
vegetables – there was not a lot of choice.
This series was really about celebrating the
diversity of fruits and vegetables available
25
B+W
today, it was as simple as that. I had just
completed a complex and challenging project
so that summer I just wanted to
do something easy and fun.’
While the choice of subject matter is
relatively straightforward for a photographer
who has previously centred projects on
coastal erosion and forest fire devastation,
these are hardly frivolous snapshots. In
fact, there is a level of clinical precision to
her process that is perhaps unsurprising
coming from someone who worked in
the health sector for many years. ‘I found
if I shot outside at 11.30 in the morning,
facing the north, I got the best light,’ she
says. ‘The light was really critical. I had to
capture the image before the sun came over
the house. So if I found something that was
interesting in the market or from my garden
and I looked at the weather forecast and
the conditions were favourable, I would get
up fairly early to set up at 9.30am and start
playing with the composition.’ 
26
B+W

Hungarian Pepper No.1

 27
B+W

Napa Cabbage
28
B+W

Sweet Dumpling
 29
B+W

Bianca Rosa
30
B+W
Above Crown Pumpkin Top right Williams Pear Below right Deux Tomates Opposite Black Prince
et plate collodion can be

W a volatile process even in
experienced hands, but
Christine teased the process
further with her Diversity series, encouraging
new textures in the chemistry. ‘I started
experimenting with scratching some of the
plates. When they were almost dry, I would
gently scratch them with tissue paper. I also
exposed plain plates and distressed them,
then experimented with scanning them
and merging them with other plates.’
Inspired at a young age by her
cinematographer brother, Christine has
always been interested in the visual arts,
often visiting galleries in different cities when
she travelled for work. Her photography
obsession only truly developed when she
retired in 2012. Discovering the ‘ephemeral
beauty’ of Sally Mann’s Deep South
landscapes proved the trigger. ‘That really
transformed my view of photography,’ she
said. ‘It changed my whole trajectory. I was
‘There’s something intimate in
making a plate. I’m devoted to
that now and experimenting with
different recipes and negative
plates. I’m going to be doing
this for a long time.’
just so affected by her landscape photos. And
when I first saw them, I didn’t know they were
wet plates. I remember bringing the book to
the head of the School of Photographic Arts
in Ottawa and asking how she did that.’
Christine duly completed the school’s
diploma programme and immersed herself
in the world of wet collodion chemistry and
large format cameras. ‘There’s something
intimate in making a plate. I’m devoted to
that now and experimenting with different
recipes and negative plates. I’m going to
be doing this for a long time.’
Christine’s next project sees her applying
her wet plate technique to a far more rare
subject than the humble tomato. As part
of an artist residency at the Ottawa School
of Art that runs until the end of July, the
photographer will be turning her attention
to specimens that have been confiscated
by the Canadian wildlife crime unit, which
monitors illegal trade across the country’s
borders. ‘There’s a lot of ivory but I’m
particularly interested in the Canadian
wildlife. It’s a vast country and there are
a lot of desirable species for these criminals.’
Much like her Diversity series, these
nature morte (still life) images will tap into
longstanding themes that Christine identifies
as ‘the transience of life and the relationship
of humans to nature.’ These are weighty
subjects, then, yet ones that are leavened by
her simple joy at the opportunity. Revealing
that the crime unit has allowed her to set
up her portable darkroom in a top secret
location that is usually off limits, the pitch
of Christine’s voice rises with excitement:
‘I think that is pretty neat.’
31
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 COMMENT
REFLECTIVE PRACTICE
In the first of a new series, Vicki Painting looks at the role of the
photographic cliché, its pitfalls and its possibilities – and discovers the
joy of taking a cliché and transforming it into a meaningful image.

32
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© Vicki Painting
‘TORSO WITH TITS, COUNTRY ROAD
LEADING TO BRIGHT FUTURE,
MUDDY FIELD IN EUROPE,
ABANDONED PLAYGROUND…’
he words above are part of
T a list of photographic clichés
compiled by Paul Theroux’s
peevish protagonist Maude
Coffin Pratt in his 1978 novel
Picture Palace. Maude reels off
these words as she walks through
Alfred Stieglitz’s New York gallery,
An American Place, scorning the
exhibition in which she has been
refused permission to show her
work by the man himself.
Stieglitz, incidentally, undergoes
a thorough character assassination
throughout the book.
We can all recognise the list of
worn subjects, yet we have all fallen
prey to them at some time, along
with other overused frame-fillers,
even when we realise we are being
held hostage to them. At the back
of our minds lurks the refrain that
we must avoid the cardinal sin
of the photographic cliché, but
sometimes it’s just too hard to
resist. Better to get those shots out
of the way and move on.
Perhaps in our hurry to dismiss
them we could be missing out.
After all, Maude’s list is only made
up of descriptors, which are surely
neutral and perfectly innocent in
themselves? Meaning and context
are everything. An abandoned
playground in Chernobyl, or
anywhere that has undergone a
significant traumatic event, has a
different meaning to an abandoned
playground in a wealthy western
country photographed devoid of
children, just as an abandoned
playground in Syria speaks
volumes about the clichés of war
and the loss of innocence.
Subjects can slip from being
relevant and meaningful to clichés
in an instant. Once they begin
to appear everywhere they lose
their power and start to bore us.
Today this is inevitable with the
continuous bombardment of
imagery that we receive. The only
solution is to take what we see as
tired and banal and try to re-work
it. Cliché in photography is not only
present in our choice of subject
but it can seep into our stylistic
decisions and methods of post-
production. Photography is subject
to trends from documentary to
fine art and it can be difficult to
subvert the prevailing ideas.
omehow still life doesn’t
S make it on to Maude’s list,
perhaps because it offers
enough possibility for
interpretation and updating.
We might see in Edward Weston’s
dramatically lit studies the same
techniques employed by great
painters in their depictions of
battles and events. Weston
turned this most humble of art
forms into fine art.
Still life has transcended its
original purpose and offers the
prospect of interpreting life beyond
the everyday. It has been used by
many as a way of exploring the big
33
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questions of life and death,
especially so when the assembled
items consist of organic matter as
a symbol of the transience of
existence. Artists such as Matt
Collishaw in his 2011 series Last
Meal on Death Row Texas brings
this sharply into play with his
painterly reconstructions of the
food prisoners requested prior
to their execution.
The vase of rotting amaryllis
pictured on these pages was
photographed as a delaying tactic.
It had been sitting on a table for
three weeks, initially bright and
bold. After a week or so the heads
had begun to bow until the weight
of them became too much for the
stems. As they bent double, the
water started to cloud and the
growing smell of decay stopped
me from wanting to go near to
dispose of them. However, they
seemed much more intriguing
now and I decided to photograph
them in situ with no extra lighting
and no drama.
Looking again at ordinary things
and keeping things simple are
sometimes the most effective ways
to reveal the truth in the everyday.
 F E AT U R E

STREET LIFE
In 1966 the Italian photographer
Mario Carnicelli won a scholarship
to document America so he travelled
to Detroit, San Francisco, Dallas,
New York, Buffalo and Chicago,
photographing what he saw. Over
half a century later we see how his
renditions of the life and movements
on the cities’ streets reflected the
milieu of a country where its people,
social and economic structures
were changing fast.

All images © Mario Carnicelli.

34 Courtesy of David Hill Gallery
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 35
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Opposite top Lincoln Memorial, Washington D.C, 1967

Opposite below Times Square, New York, 1966
Above Traffic lights, New York, 1967
36
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Above Phone calls, Chicago Airport, 1966 Opposite Movie premiere on Broadway, New York, 1966

Subway, New York, 1967 Anti-War Demonstration, Dallas, 1967 Painter, San Francisco, 1967
37
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38
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 39
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Opposite top left Wig fair stand, Chicago, 1966

Opposite top right Jewellery, Dallas, 1967
Opposite below Jewellery, Dallas, 1967
Above The Kiss, New York, 1966
40
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Hippie, San Francisco, 1967

AMERICAN VOYAGE: PHOTOGRAPHS BY MARIO CARNICELLI

Currently on show to 2 June at David Hill Gallery in London; davidhillgallery.net
An accompanying catalogue is published by Reel Art Press in hardback at £29.95.
A selection of Mario Carnicelli’s prints will be on show at Photo London at the David Hill Gallery stand.
Use “bw10” on checkout for 10% off your 1st order
42
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BLACK+ WHITE PHOTOGRAPHY
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2018
 NEWS SONY WORLD PHOTOGRAPHY AWARDS
Thousands of pictures from around the world were entered into this highly
prestigious competition. Here we present some of the best black & white work
from the shortlist. See the digital edition of the magazine for extra pictures.

44
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© Norbert Hartyanyi, Hungary, Shortlist, Professional, Sport

© Alys Tomlinson, United Kingdom, Shortlist, Professional, Discovery © Irene Sollecchia, Italy, Shortlist, Open, Street Photography
© Mitch Dobrowner, United States of America, Shortlist, Professional, Natural World & Wildlife 45
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© Maria Pachou, Greece, Commended, Open, Street Photography © Andrew Quilty, Australia, Shortlist, Professional, Portraiture
 © Pedro Díaz Molins, Spain, Commended, Open, Enhanced

46
© Kevin Frayer, Canada, Shortlist, Professional, Current Affairs & News
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© Zulfikhar Ahmed, India, Commended, Open, Portraiture

© Zongyi Lin, China, Shortlist, Open, Culture © Ewa Kurzawska, Poland, Commended, Open, Portraiture
© Austin Odunga, Kenya, Commended, Open, Portraiture © Seizo Mori, Japan, Shortlist, Professional, Still Life

47
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© Will Clark, United Kingdom, Shortlist, Open, Wildlife

 NEWS EXTRA SONY WORLD PHOTOGRAPHY AWARDS
The big competition attracted 320,000 submissions from photographers around
the world, working in genres ranging from contemporary issues to wildlife and
landscape. Here we present more of the best black & white pictures.

04
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© Seizo Mori, Japan, Shortlist, Professional, Still Life (Professional competition), 2018 Sony World Photography Awards
 05
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© Md.Tofazzal Hossain, Bangladesh, Shortlist, Open, Street Photography (Open competition), 2018 Sony World Photography Awards

© Bernt Østhus, Norway, Commended, Open, Wildlife (Open competition), 2018 Sony World Photography Awards
06 © Eduardo Lopez Moreno, Mexico, Commended, Open, Portraiture (Open competition), 2018 Sony World Photography Awards
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© Manny Fajutag, Philippines, Shortlist, Open, Motion (Open competition), 2018 Sony World Photography Awards
 07
© Kaleb White, United States of America, Shortlist, Professional, Natural World & Wildlife (Professional competition), 2018 Sony World Photography Awards B+W

© Mohd Samsul Mohd Said Samsul Said, Malaysia, Shortlist, Professional, Current Affairs & News (Professional competition), 2018 Sony World Photography Awards
08
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© Mitch Dobrowner, United States of America, Shortlist, Professional, Natural World & Wildlife (2018 Professional competition), 2018 Sony World Photography Awards

09
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010 © Kevin Frayer, Canada, Shortlist, Professional, Current Affairs & News (Professional competition), 2018 Sony World Photography Awards
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© Matteo Armellini, Italy, Shortlist, Professional, Sport (Professional competition), 2018 Sony World Photography Awards
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© Jenna Bellonby, United States of America, Commended, Open, Portraiture (Open competition), 2018 Sony World Photography Awards
 © Mohammad Mirza, Kuwait, Commended, Open, Wildlife (Open competition), 2018 Sony World Photography Awards

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© Alys Tomlinson, United Kingdom, Shortlist, Professional, Discovery (Professional competition), 2018 Sony World Photography Awards
 INSPIRATION
THINKING PHOTOGRAPHY
Do exhibitions create a myth of perfection around the artist? Alex Schneideman
Follow Alex Schneideman thinks so. He looks at how myths can obscure our understanding of a photographer’s
on Instagram @schneidemana
work and hide the human who created the art.
tend to believe in myths Gallery in London showed you enjoy his films or not, or if If Wenders picks up a Polaroid

I
– especially the ones told
on the walls of galleries
and museums. The most
common myth is that the
work you are seeing is the
result of a complete concept
immaculately realised and
perfectly curated. The sinews of
genius are threaded through the
work on display and the artist is
the perfect synthesis of the spirit
and material worlds. I know so
many photographers (as friends
and clients – for whom I make
their prints) and I can tell you
that the glimmer of genius
glowing from every image in
an exhibition is in truth hiding
a mix of dread, pointlessness,
self-criticism and ennui.
48
Recently the Photographers’
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Polaroids made by film director
Wim Wenders in the 1970s and
80s. The exhibition was called
Instant Stories and featured
the exquisitely framed Polaroid
prints that Wenders made mostly
in the US as he scouted for
locations and generally noodled
with the form. Wandering
around the exhibition, the viewer
was not given the impression
there was an overarching
theme (because none existed),
so these ageing instant photos
were enough. And it was a good
show because Wenders is a
consummate artist. Whether
‘Wenders is constantly in the process
of trying to create. His life is art.’
you saw the show and thought it
a load of piffle that anyone could
have done, you cannot deny that
Wenders is art. And this is what
gave the work its validity.
Wenders is constantly in the
process of trying to create. His
life is art. Unless your life is
art you will not make art. The
difference between Wenders and
someone else is the innate intent
to make art. For him it is an
ongoing process that never stops.
Whether he hits his mark with
his films or his photography is
not the point – the point is that
he is not dallying with the form.
camera even his play is serious
because he is committed to
visual realisation of an internal
dialogue. This exhibition was
laudably playful and eschewed
the heavy hand of academic
contextualisation. The prints
were nostalgic and offered tiny
glimpses that seemed to
embody the inward and outward
regard of the photographer,
and that was enough.
We spend hours of our lives
venerating the past because
every work ever placed on
the walls of a gallery or in the
pages of a book has the past in
common. The past can conceal
the truth. The past allows us to
paint our own version, our own
myth on the work. This myth

gives the power of urgency to
anything it touches. And that
myth is created in the air we
breathe or more particularly
in the pages of the magazines
and websites we read. Once
someone of media stature has
offered their seal of approval
we join in with the myth and
treat the work, regardless of
our own predilections, as if
it has concrete meaning. We
consumers of art don’t follow
the words of critics with
sheeplike devotion, rather
these views help to solidify and
settle the work, positively or
negatively, in the mind of the
viewer. The danger is that we
stop looking with our own eyes
and turn artworks into facts.
find most exhibitions boring.
I This not because the work is
no good but because the act of
looking is exhausting. I once
read that the reason we become
very quickly used to certain
smells is because our olfactory
sensors have finite receptors to
individual scents which quickly
become satiated, thus nullifying
the sense of a particular smell.
This is what I find when looking
around some museum or other.
The work on the wall has
become calcified with ‘factness’.
I can look at them, I may like
them, hate them, love them but
mostly I have no feelings at all
for the work. It is a triumph if I
come out of one exhibition with
All images © Alex Schneideman
49
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one fixed image in my mind that
I engaged with positively or
negatively but that touched me
in some way and that I actually
remember. Call me a philistine
but I’m often more fascinated by
the framing and printing than
I am by the prints themselves.
At the time of writing there
is a retrospective of Andreas
Gursky’s photography at the
Hayward Gallery in London.
It is a spectacular show of his
pieces. The precision of the 
50
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 printing is awesome, the vision
is immense and the exhibition
renders a god-like stature on this
popular fine art photographer.
But there is only one image I
remember and it is shown at the
beginning of the exhibition. It is
of a football pitch. The title is
Zurich 1 and it was shot in 1985,
early on in Gursky’s career. It is
a captivating image because in it
we can see the nascent artist. It
is inquisitive with none of the
inevitable knowingness of his
later work. This image embodies
a sense of the quest made by a
young photographer and so it
captivates and offers a fuller,
more tender vision.
Elsewhere in the exhibition we
are presented with the work of
the great photographer as if they
are facts. We are offered no hint
of the energy that was required
to make them. The anguish,
development of thought,
triumph of mind over matter
is often more easily visible in
other plastic arts. The painter’s
brushstrokes, the sculptor’s
chisel marks and the engraver’s
‘bite’ all give an indication of
the physical and mental effort
to turn dumb material into
eloquent work. Photography is
a perfectionist’s medium for all
the wrong reasons. The myth
of perfection often obstructs
the best intentions of the work.
Exhibitions, particularly
retrospectives, owe the public
and the work a more nuanced
airing. The myth of the artist-
god must be tempered with
the human reality of the act
of creation.
THE IMAGES
Berlin is a city built in line with Germany’s need to see
culture at its heart. Germany is also a country with a
complicated relationship with its own mythology, parts of
which were co-opted to hideous purpose. Some of the
pictures here were taken in the Jüdisches Museum and some
at the Jewish Memorial as well as other pre-war museums.
NEXT MONTH
The subject for next month’s piece is beauty. Beauty,
as perceived by the onlooker, is not so much an entity
as a moment of revelation.
PHOTOGRAPHICA PODCAST
If you are a podcast fanatic like me then please look
up my podcast, Photographica, where you will find many
conversations between me and photographers and others
related to photography. If you have trouble finding it
or downloading episodes then contact me directly.
Search iTunes or Stitcher to subscribe for free.
alex@flowphotographic.com
51
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 TECHNIQUE
TOP TIPS
DIGITAL INFRARED
If you have never tried your hand at digital infrared photography
then you don’t know what you’ve been missing. Lee Frost offers
his top tips on shooting a world beyond human vision.

L
ight is the raw ingredient of
photography – without it, the art of

image-making wouldn’t exist – but the
light we actually use as photographers
falls within the visible spectrum because
that’s all the human eye can detect. Outside
that spectrum, there’s a mysterious world of
ultra violet, gamma, X-rays and infrared.
If you became interested in photography
before digital technology took over then
you’re probably aware that there were (and
still are to a lesser extent) specialist black &
white films designed to record infrared as
well as visible light. Heaven forbid, you may
have shot a roll or two in your time. What
you may not realise is that you can also
produce stunning infrared images with your
digital camera – and it’s far quicker, easier
and more effective than using film ever was.
The cheap and dirty route into digital
infrared is to put an infrared transmitting
filter on your lens. The more expensive but
more versatile option is to pay a specialist
52 to remove the infrared blocking filter from
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the sensor inside the camera and replace it
with an infrared transmitting filter so it
records light mostly in the red and near
infrared part of the spectrum.
There are pros and cons to both. The
main benefit of infrared conversion is you
don’t need to use filters on the lens to
block visible light and admit infrared light,
so a modified camera works like a normal
camera – exposure times are pretty much
the same, you can shoot handheld, vary ALNWICK, NORTHUMBERLAND
the ISO in different lighting conditions to For this shot I used a Hoya R72 IR transmitting filter on an unmodified digital SLR. You can see from
maintain a decent exposure and change the streaking in the sky that a long exposure was required, though I think it adds to the image.
lenses between shots. The only difference Canon EOS 5D MKIII with 16-35mm zoom lens, Hoya R72 filter, 10 seconds at f/5.6, ISO 1600
is the images produced are infrared.
If you use an IR filter on the lens, you . USE AN INFRARED TRANSMITTING FILTER
can’t see through the lens once the filter If you want to try your hand at infrared Green.L or the Neewer 760IR.
is attached as it’s visually opaque. without the expense of full camera Infrared transmitting filters block out
Exposure times are also long – a second conversion, you may be able to use an visible light so you can’t see through them.
or more even in bright sunlight at high ISO infrared transmitting filter on the lens. First This means you must always use a tripod,
– so you need to use a tripod at all times, you need to test your camera to see if it’s compose the scene without the filter on
image quality isn’t as high and your subject IR sensitive by going into a darkened room, the lens, focus manually rather than using
must be perfectly still to avoid blurring. pointing a TV remote towards the camera, autofocus, then once you’re ready to take the
The downside of infrared conversion is pressing any button on the remote and taking shot, attach the filter. Because the filter is so
it’s quite pricy and also permanent, so an a photograph. If you can see the infrared dense, exposures will also be long – several
infrared modified camera will only take beam in the shot you take, then the camera seconds in bright sunlight isn’t uncommon,
infrared photographs. That said, if you’ve can be used to take infrared photographs. which again makes a tripod essential and
got an older digital camera gathering dust Suitable IR filters include the Hoya R72, means any subject movement, such as trees
because it’s not worth selling, IR conversion B+W 092 or 093 and Kood R72. Cokin also blowing in the wind, will result in blur. You can
is a great way to breathe a new lease of life makes a P007 infrared filter for the P-system produce some fantastic results though, even
into it and produce amazing images that holder and there are cheap screw-on options with a cheap IR filter purchased online, so
are, literally, out of this world! available from Amazon or Ebay such as the this option is well worth exploring.

. IR CAMERA CONVERSION
There are two companies in the UK
offering an infrared conversion service
– Protech Repairs (protechrepairs.
co.uk) in East Sussex and Advanced
Camera Services (ACS) in Norfolk
(advancedcameraservices.co.uk). Prices
start at £210 with Protech and £300 with
ACS with you supplying the donor camera.
You’ll need to decide which infrared
filter to have fitted in advance. ACS and
Protech both offer 720nm and 830nm
filters while Protech also offer 590nm and
 1/60sec at f/11, ISO 400
665nm. The higher the number, the more
sensitive the filter is to infrared so the
stronger the effect in your images.
Most photographers go for either the
720nm or 830nm. The 830nm gives you
black & white only images while the 720nm
will record a little false colour but is mostly
for B&W infrared images. The 665nm filter
gives you images that combine B&W and
false colour while the 590nm records only
false colour. My converted Canon EOS
5D has the 830nm filter installed, so the
All images © Lee Frost
BAMBURGH, NORTHUMBERLAND
Most types of digital camera can be converted for
53
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infrared – DSLR, mirrorless, even some compacts.
Working with a converted camera is by far the
best way to create infrared images.
Canon EOS 5D MKI with 24-70mm zoom lens,
1/200sec at f/11, ISO 200
infrared effect is as strong as possible,
though I used to have a converted Nikon
D70 with a 720nm filter and it recorded
lovely false colour.
. CUSTOM WHITE BALANCE
Infrared images come out bright red with
a converted camera or IR transmitting filter
and it’s difficult to really see the IR effect.
To get rid of this colour cast you need to
create a custom white balance. It’s quick
and easy – refer to your camera’s instruction
book to find out how. By using the custom
white balance the images you record will look
mainly monochrome, perhaps with a little
false colour which you can keep or remove
during post-production. Alternatively, set your
camera to monochrome mode and Jpeg and
the images captured will be in black & white.
ISLE OF SKYE, SCOTLAND
Creating a custom white balance takes a few
minutes, but makes life much easier when
you use your infrared modified camera.
Canon EOS 5D MKI with 16-35mm zoom lens,
  . FOCUSING AND
DEPTH OF FIELD
Infrared light focuses on a slightly different
point to visible light. Traditional manual
focus lenses have an infrared focusing
index marked on the barrel so if you were
shooting infrared film you could focus
the lens normally then adjust it so the
infrared index was used instead. This isn’t
necessary with a modified infrared camera
because the focusing is recalibrated during
conversion, so you just focus as normal.
Providing you shoot at f/8 or smaller, depth
of field will be so great that any focus shift
will be compensated for anyway.

KEW GARDENS, LONDON

A wideangle lens set to a smallish aperture will
give sufficient depth of field to record everything
in sharp focus from front to back. I normally
focus around 2m into the scene.
Canon EOS 5D MKI with 17-40mm zoom lens,
1/125sec at f/11, ISO 200

. EXPOSURE
AND METERING
I use my IR modified digital SLR just like an
unmodified one. I tend to shoot in aperture
priority mode and bracket exposures as
required using the camera’s exposure
54 compensation facility. Underexposure is
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common, so don’t worry if you need to
dial in up to +2 stops of compensation –
sometimes even more. Keep an eye on
the histogram and increase exposure in
⅓-stop increments until you’re just clipping
the highlights. I also shoot Raw rather than
Jpeg for optimum image quality.

WARKWORTH, NORTHUMBERLAND
When you include lots of foliage in a shot, don’t
be surprised if you need at least +2 stops of
exposure compensation. That was the case here.
 Canon EOS 5D MKI with 24-70mm zoom lens,
1/125sec at f/8, ISO 200

‘I also enjoy shooting

old buildings such as
cottages, castles, churches,
stately homes and ruins
because the haunting
look of infrared suits
them perfectly.’
. SUBJECT CHOICE 
The way different things appear in infrared
images depends on the amount of infrared
radiation they reflect. Water and blue sky
record as very dark tones – often black
– because little IR radiation is reflected,
whereas foliage and plant life reflect a lot of
infrared light and record as a very pale tone.
In terms of subject matter, landscapes
are an obvious choice. Any scene
containing foliage and plant life will exhibit
strong infrared characteristics. Woodland
is another strong contender, especially
in spring and summer when lush, green
foliage comes out almost snow white.
I also enjoy shooting old buildings
such as cottages, castles, churches,
stately homes and ruins because the
haunting look of infrared suits them
perfectly – especially when there’s ivy or
other creepers growing around doors and
windows. In towns and cities, modern
architecture, bridges and sculpture works
well – anything graphic really.

GRUNDARFJÖRDUR, ICELAND
Landscapes are a great infrared subject, though
sometimes the results force you to do a double-
take. This scene looks like it is covered in
snow, but in fact the white is grass!
Canon EOS 5D MKI with 16-35mm zoom lens,
0.8sec at f/8, ISO 400
55
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. THE BEST LIGHT

Bright sunlight provides ideal conditions for
infrared photography because the light is
strong, contrast is high and there’s a
greater concentration of infrared radiation
for your camera to record. Actually, one of
the great things about infrared photography
is that you tend to get the best results
around the middle of the day when the light
is harsh – which happens to be the worst
time of the day for normal photography –
so you can pack your conventional camera
away and shoot infrared images instead to
avoid wasting daylight.
The same applies in bad weather. If the
light is flat and the landscape appears grey
and lifeless, don’t pack up and head home
– just reach for your infrared camera. The
images may not be obviously infrared, but
as dramatic black & white photographs they
will work a treat and again you’ve made the
most of an unpromising situation.

HIGHGATE CEMETERY, LONDON

You can take successful infrared images in pretty
much any weather. I’ve even shot in pouring rain
and the results were fine.
Canon EOS 5D MKI with 16-35mm zoom lens,
1/100sec at f/8, ISO 400


 

56
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. FLARE AND HOTSPOTS
There’s a much greater chance of flare when shooting infrared
images. You can reduce it by using a lens hood or your hand to
shield the front element, but it doesn’t always solve the problem.
Saying that, obvious flare can add interest – so experiment!
Some lenses also suffer from a hotspot in the centre of the frame.
You may be able to play it down during post-production but
if it’s bad you’ll have to avoid using the lens.
HAVANA, CUBA
Photographers normally try to avoid flare at all costs, but on this occasion
I decided to include it as I felt it added a heavenly feel to the image –
appropriate given the subject matter!
Canon EOS 20D with 10-20mm zoom lens, 1/40sec at f/11, ISO 100
 adjust the exposure and contrast to taste. The Raw files always
LONGHOUGHTON, NORTHUMBERLAND
Woodland is a fantastic subject for infrared, and with a wideangle lens or
zoom on your converted camera you can produce great images.
For this shot I used my 16-35mm zoom at 16mm.
Canon EOS 5D MKI with 16-35mm zoom lens, 1/50sec at f/8, ISO 200
. LENS CHOICE
I favour wideangle lenses for infrared photography as the
exaggerated perspective adds impact and makes it possible to
create really dramatic compositions. You can also cram lots into
the frame from close range – ideal when shooting woodland, for
example – and you get lots of depth of field at small apertures
such as f/11 or f/16. I mainly use Canon L-series 16-35mm and
24-70mm zooms on my full-frame infrared Canon EOS 5D MKI and
both work well. I also use my Canon 70-300mm zoom occasionally
if the main interest in a scene is some distance away.

57
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NEWTON-BY-THE-SEA, NORTHUMBERLAND
It shouldn’t take more than a few minutes to process most infrared
images once you get used to working with them.
Canon EOS 5D MKI with 24-70mm zoom lens, 1/30sec at f/16, ISO 400
. POST-PRODUCTION
Although a modified camera gives you images with a strong
infrared effect, you still need to do a little post-production work to
get the best from them. I’ve achieved excellent results shooting in
Jpeg mode, but prefer to use Raw to optimise image quality.
First the Raw file is opened in Adobe Camera Raw (ACR – used
in Photoshop and Lightroom) and I use the Tone Curve sliders to
look a little overexposed as I expose to the right to maximize tonal
information and minimise shadow noise and posterisation.
Next, the image is opened in Photoshop then
desaturated to remove any false colour. You can use
Image>Adjustments>Desaturate, Image>Adjustments>Black &
White or a plug-in like Silver Efex Pro to do this – or keep the
false colour. The desaturated image is then saved as a 16-bit Tiff
in Photoshop and localised exposure adjustments are made by
selecting necessary areas using the Lasso Tool and a feathering
of 30-100 pixels, depending on the size of the area.
Infrared film images tend to exhibit a glow in the highlights.
To achieve this in your digital IR images, make a duplicate layer
(Layers>Duplicate Layer). Next, go to Filter>Distort>Diffuse Glow,
click OK, then adjust the opacity of the duplicate layer until you’re
happy with the overall look of the image. I find that 15-20%
opacity is usually enough.
 timdaly.com All images ©Tim Daly

TECHNIQUE MAKING AN ALTERED BOOK

PROJECTS
Ordinary books can be used to create something unique. If you’re OK with
IN VISUAL
transforming a perfectly good book into something even better, then the
STYLE 11
altered book genre is definitely worth exploring. Tim Daly shows you how.

For many visual artists, photographers and designers their first sight of
an altered book can be a uniquely memorable occasion. Rather than
use a blank sheet of paper as a starting point, artists working in the
altered book genre start with an existing book that is then creatively
modified into something new. Folding, drawing, painting, collage and
even radical reshaping are all accepted ways of working.
Like any kind of collage, an altered book presents itself through
the collision of opposites: the old against the new and the familiar
alongside the unexpected. We can use the altered book form to create
really exciting works that brush aside the familiar templates, shapes
and sizes of today’s photobooks. Although Stephen Gill and Alec Soth
have both explored the genre, few photographers have followed suit –
yet the creative potential for this kind of print project remains.
For this project we’re going to look at different concepts and
methods for creating an alternative kind of photobook – one that is
unrepeatable and unique.

SECTION 1: APPROACHES TO CONSIDER

For this project, start off by looking at photographs of journals, sketchbooks and books –
photographer Abelardo Morell’s book A Book of Books is an excellent place to start.
Get a sense of the material qualities of paper, print and collage.

2 PERSONALISING YOUR OWN JOURNAL

Depending on the binding, most simple journals and sketchbooks
can easily be unpicked and taken apart for printing with a basic inkjet,
as this example shows. Sewn bindings and staples can be put back
58 once printed, providing a really different surface for you to write your
B+W
reflections on. When the image is printed on to the page rather than
stuck in, it does create a very different feel to the overall piece. Using
a fountain pen or pencil, you can overlay written text on your own
images later on in the process.

1 A NEW TAKE ON AN OLD BOOK

A more conceptual way to approach the project is to choose
an old book that could be altered with the addition of new
material. Vintage guidebooks, travel journals and gazetteers
are all rich material for this kind of approach, as they will
inevitably contrast with your own contemporary images.
In this example I’ve altered JB Priestley’s English Journey,
which was published in the 1930s. Full of prejudice and
regional stereotyping, the original book was issued without
illustrations, so now provides a great chance to contrast then
against now, his view against mine. While many text-heavy
2
books like this one don’t have empty space to accommodate
images, you can always print your images on to acetate and
intersperse them through the chapters.

INSPIRATIONAL QUOTE
‘Serendipity is the best collaborator.’
Tom Phillips, artist and creator of the best-known altered book A Humument (1966-onwards)
3 4
3 MATERIALITY OF THE JOURNAL
Francesca Woodman’s posthumously published Notebook isn’t really
an altered book in the true sense, as it’s a facsimile reproduction of a
unique journal. However, it does show how the young photographer
experimented with print and book before her untimely death. Using
a mixture of fibre-based prints and images printed on to line film,
Woodman explored the contrast between the materiality of the
vintage page and the photographic print.
An inspiration to many students of photography, Woodman’s collages
are readily available online and are well worth a look. In my example,
I’ve made an inkjet print on a scrap of paper found on location.
5 INTERLEAVING
Stephen Gill’s altered book Warming Down took an old Hackney
library musical score as its starting point and, unusually for an altered
book, was produced in an edition of 130. Rather than physically alter
the hardback book, Gill simply inserts square C-type prints into the
spreads to create an unusual kind of visual collage. With the text and
4 USING MATERIALS FOUND ON LOCATION
Many photographers are magpies and enjoy collecting ephemera
59
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from the scene of their latest shoot, so why not go one step further
and combine some of this retrieved material with your images?
In this example, I’ve found an old school exercise book that had
a patinated cover and a pleasing texture. Tearing the cover off, it
was then printed with a basic inkjet printer then reattached using
bookbinders’ cloth tape. If you’re prepared to accept a slightly
lower quality of sharpness, contrast and detail on your print,
there’s plenty to experiment with. It’s a great way of introducing
a ‘thingness’ to your digital work too.
graphics of the musical score still in place, Gill’s deadpan images sit
on top in a kind of hybrid scrapbook/journal style. Interleaving your
own prints into an existing book is a really easy way to start exploring
this genre, especially if they are made with interesting paper and
printed at a size that complements the page like my example.
 SECTION 2: PRINTING WITHIN AN EXISTING BOOK
The most adventurous way to make an altered book is to print on to the actual pages using an inkjet coating.

1 2

1 TRY AN INKJET COATING MEDIUM 2 PREPARE AND POSITION YOUR IMAGE

Any inkjet printer will print on to any kind of paper as long as it’s
porous and no thicker than 300gsm. However, most non-inkjet
papers like book pulp and artists’ paper will suck the intensity and
contrast out of your image if you’re not careful. While you can over-
edit your file to mitigate against this, a better alternative is to use a
special paint of liquid inkjet coating such as InkAid. Developed in the
US, the transparent coating is applied with a brush and left to dry for
an hour or so before printing. Although it’s not invisible once applied,
60 it is mostly covered by your printed image afterwards.
B+W
If you’re printing out on to a unique piece of paper, then you’ve only
got one chance of getting it right. However, if you have some scrap
pieces of paper taken from the same book, then use these as test
strips first. In Lightroom, edit your image to be a lot brighter than you
would do usually, increasing the Exposure by at least +1.0.
Next, in the Print module create a custom page size that matches your
chosen paper and then, using a ruler, measure exactly where you want
the image to print on your paper. Use the cell sliders in the layout panel
to resize the image and the margin sliders to make the image occupy
the same space that you’d like it to appear on the paper, as shown.

3 PRINTING OUT
ON FOUND
PAPER
If you’re using an
inkjet coating you
can use the higher
printer resolutions
such as 1440dpi and
beyond because the
coating fluid stops
finely sprayed ink dots
from merging into one
another. If you are
printing directly on to
uncoated paper, then
use the lower 720dpi
or Basic/Draft modes.
In my example, I’ve
unstitched an old King
Penguin book then
printed images into
the vacant spaces.
The wallpaper image
in my example makes
a visual link with the
existing illustration.
SECTION 3:
MAKING A VIRTUAL ALTERED BOOK
If ripping up books isn’t your thing, you can easily mimic the look of an
altered book by using some nifty Photoshop moves. Use your mock-ups
as a preview to making the real thing or to share across your social
media networks.

1
1 SHOOT A BOOK SPREAD
Find a visually interesting book to use, preferably something with a
bit of texture, age and colour. If you can find examples of characterful
handwriting, that’s even better. Open the book or journal and choose
a spread that can add something to your picture idea. I’ve used
simple natural light from the side to illuminate my spread – there’s no
need to use flash. Spend time to frame the spread up properly in your
viewfinder, making sure there’s no distortion. Shooting with a longer
or standard lens will make this easier.
2
2 EDIT AN IMAGE TO FIT
Taking my inspiration from Francesca Woodman’s Notebook, I’m going
to layer this image over the text of my chosen book spread. You’ll need
to edit your chosen image before merging, so if you need to make a
monochrome conversion or any other processing then do this now.
The layering will need to be carried out in Photoshop, so if you’re a
Lightroom user you’ll need to right click on your image and choose
Edit in>Edit in Adobe Photoshop.
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3 LAYER AND BLEND IN PHOTOSHOP

Copy and paste your image on to the background to create a new layer.
Drag the image into place and use Edit>Transform>Scale to resize as
appropriate. At this point your image will hover above your paper and not
look very convincing. Make sure the image layer is active then choose
multiply from the layer blending mode pop-up panel. This will discard the
whites of your image and allow the underlying paper to show through.
If the image looks too dark and muddy, brighten it up with the levels
midtone slider until it blends together, as my example shows.

INSPIRATIONAL SOURCES
Stephen Gill – Warming Down Abelardo Morell – A Book of Books FINAL IMAGE
Francesca Woodman – Notebook Alec Soth – Broken Manual For my project, I’ve used a found diary as the basis for a series of
Tom Phillips – A Humument prints combining tinted monochrome images and inkjet paper.
 INSPIRATION ENHANCING OUR PHOTOGRAPHY
What are the ideas that guide your photography? If you can make
All images a list of key words it could help you develop your practice and see
© Eddie Ephraums
the world more creatively, as Eddie Ephraums explains.

62
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n last month’s Black+White PHOTOGRAPHY AS A WAY OF TELLING A STORY how this word game was making

I
Photography I played with
the idea of the camera as a
sketchbook, photographing
a tulip vase from various
angles, just as we might
sketch a landscape from a
number of viewpoints. Thinking
of the camera as a different kind
of tool, and the way this might
enhance our photography, has
prompted me to think of the
different ways we can make
photographs: as metaphors, or
aide-memoirs, or concepts to
name just a few. It has also made
me think how my own image-
making might be enhanced if
I wrote a list of words to guide
For some, this image could be read as a story of how the rectangle of me look at my photography
photography can be used to create order out of life’s chaos. For others, more deeply, from a more
the image could be read as an exercise in seeing shape and form in black meaningful perspective. In
& white and (given the right approach) how this might be found in almost contrast, it’s so easy to fall into
any subject. Defining our approach to a subject, in this case trying to tell a habitual or purely style-driven
a story, is the challenge – and much of the fun – of photography. approach to photography.
This may sound obvious, but
my photographic practice. But headings could be applied to when I see workshop participants
where to start? almost any form of photography. struggling to find something
Just as I was thinking about There was the landscape as interesting to photograph, it’s
this, a workshop participant artistic genre, fact, symbol, pure not that interesting subjects
told me about an old black form, popular culture, concept, don’t exist, or that the light isn’t
& white photobook he was politics and propaganda, and right. Instead, they (and I include
reading. Looking through the even as God. I wondered what myself here) are perhaps looking
contents page of Landscape as other forms of photography for something to fit an existing
Photograph by Estelle Jussim could be added to this list. way of seeing, instead of adopting
and Elizabeth Lindquist-Cock, As I jotted down words that a different way of thinking about
it became clear the chapter spoke to me, I was struck by and looking at the subject. 
 63
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PHOTOGRAPHY AS A RECORDING TOOL

Nature and the process of decay did most of the work
for me here, creating the subject and the basis of the
composition, such that photography could be described
simply as a recording tool. If there is an art to this type
of photography, it could be called serendipity, chancing
upon a tulip with an interestingly-shaped rotten stem.
As the saying goes: chance favours the prepared mind.
Think: don’t throw away dying tulips.
 s an example, rather than

A seeing the landscape

purely as something
beautiful, we could look
for beauty in other ways, such as
seeing it from a geological point of
view and making beautiful
photographs accordingly. Similarly,
what would beauty look like if we
approached a scene from the
viewpoint of photography as poetry?
Or what if we looked at a subject
from a historical perspective, or
from our own personal historical
point of view? And what if we
viewed the landscape not just as
nature, but as representing our own
intrinsic nature? What words would
we use to describe our nature and
how might these guide or alter our
approach to image-making?
Included in my list are non-
photographic yet closely related
words such as community, challenge,
play, passion and practice. I see
photography as a journey of
discovery, giving added meaning and
purpose to life. The photographs we
make represent our view of life and,
hopefully, the looking and thinking
which photography and our keyword
list involves both support and
64 challenge that perspective.
B+W
Looking at my list, I see just how
much expectation is placed on
photography, in the hope that it can
satisfy a multitude of aims and
needs. And while such a list can get
us to adopt a more thinking
approach, sometimes it is good to
view photography more simply. How
about seeing it as purely enjoyable
– a way of looking at the world
without always striving to make
images? Funnily enough, it is during
such moments of looking for the
sheer pleasure of it that the best
images often manifest themselves.
I’m not sure what the word is for
that, as I’d like to add it to the list.
Maybe it is just called photography.
envisagebooks.com

PHOTOGRAPHY AS A WAY OF
EXPLORING NOTIONS OF BEAUTY
Who or what says a tulip that has
dropped most of its petals isn’t as
beautiful as one in full bloom? In our
house we tend to keep cut flowers
until they are well past their best.
They may not look beautiful to some
people, but one of photography’s aims
is to challenge notions that we might
have, to see life (or perhaps death,
here) in a fresh light.
 COMMENT
A FORTNIGHT AT F/8
In photography, it’s the picture that counts – but interestingly the tools used
timclinchphotography.com
to take the pictures have changed considerably over the years. Tim Clinch
@clinchpics
has tried some beautiful cameras – and now he’s going mirrorless.
his month I am going
T to talk about cameras.
In particular my
cameras, the cameras
I use in my professional life.
It is important to state that
I don’t particularly love
cameras. I’ve owned many over
the years and had my favourites.
There was my beautiful
handmade wooden 5x4
Gandolfi, the almost clockwork
Mamiya RB67 and my all-time
top camera – the monstrous,
hulking Fuji GX680 that me
and a team of well-muscled
assistants humped around the
globe for about 10 years. It was
a beast, but a beautiful beast.
66
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So while there have been
some cameras I’ve liked more
than others, my real love has
remained what comes out of
them rather than the things
themselves. And lenses? Pretty
much the same. I will often look
at a picture and ask myself if it
could possibly be any sharper if
shot with – say – a Leica lens. Or
if the perceived extra sharpness
would make any difference to me
when my primary considerations
when looking at photographs
are the subject matter, the
composition, the lighting and
whether the photographer put
their heart into it or not.
So, my cameras. Around
two years ago I wrote a column
about how two small mirrorless
cameras had saved my bacon
when my two Canon 5D Mark
III bodies had mysteriously
broken down during an
important shoot (no disrespect
to Canon here, they had been
absolute workhorses for years
and I hadn’t had a moment’s
problem with them before this
– and these things do happen).
I have been shooting with the
mirrorless cameras ever since
and have fallen completely in
love with them – the image
quality, ease of handling and the
smaller size fitting seamlessly
into the way I like to shoot.
I liked them so much that when
I decided it was time for me to
get on with it and wholeheartedly
join the mirrorless revoloution
I discovered to my horror that
I could not sell my Canon gear
and migrate 100% to mirrorless
because I had never got round
to getting my Canon bodies
repaired. That’s how much I’d
missed them!
So I rushed off to the
repairman who restored them
to their full glory, then found a
decent emporium where I could
part exchange my equipment
and started looking at mirrorless
cameras. And this is where the
sense of bafflement set in.
 All images © Tim Clinch
ithout exception,

W all the friendly,

professional
salesmen showed
me the latest brand new shiny
Billy-Whizz camera I was
WHAT TIM
DID THIS
MONTH
interested in, and all of them
started their sales pitch by
telling me about the amazing
new video capacity it had – so
much better than the previous
model, offering 4G, super-duper,
warp factor 5 video which was Playing with my two new shiny
mirrorless cameras. They are lovely.
quite frankly amazing.
Small, beautifully finished, quiet,
By this time, possibly because
light and a joy. They are the model
I was faced with the prospect of
before the latest one and, as far as
spending money I couldn’t really I can gather, pretty much the same
afford, the old grey matter was but with a decidedly inferior video
feeling a little befuddled, so I quality and a darn sight cheaper.
thanked everyone and explained This coming from someone who,
that I was going to get a cup of apparently, doesn’t like cameras.
tea and have a little think about Boys do love new toys though.
it all. Sitting in an adjacent cafe,
Shooting interiors – in particular
I got out my phone and Googled
this amazing modernista house in
reviews of the new camera, and
Cadaqués, Spain (see the pictures on
found similar, glowing reviews
these pages). As well as migrating
of the aforementioned new
to mirrorless cameras, I no longer
body, all banging on about how own a zoom lens and am shooting
much better the video capacity entirely on prime lenses. The benefits
was in the new model. of these can be noted not only in the
The new, latest body is indeed lack of distortion, but also in the fact
a beautiful camera, and one I
would probably at some point
that shooting the old fashioned way 67
has made me think a lot more about B+W
like to own, but realising the camera angles and getting it right
main thing stopping me buying in camera, which can only be a
one was the fact that I simply good thing.
couldn’t afford it, I began
This month’s photographer is
wondering how much of the Mihaela Noroc from Romania, and
price of this beautiful new in particular her work The Atlas of
beast was taken up with the Beauty, subtitled Women of the World
wonderful new video capability. in 500 Portraits. Noroc travelled the
Thinking back to my Canon 5D world from Ethiopia to the US and
Mk III bodies (which also had from Guatemala to France in search
excellent video, apparently), of natural and authentic beauty. The
I realised that in the years I’d result is this remarkable book. Find
owned them I had not only her at theatlasofbeauty.com and
never shot any video, but had @the.atlas.of.beauty
no idea how to turn the video
on. I’m simply not interested. of dosh on the price into the
I’m a photographer. bargain, I would be in like
I realise I must sound like a Flynn? A very unscientific
terrible old Luddite, but I’m old straw poll among my fellow
fashioned enough to want my photographers about how many
cameras to take pictures. of them used the video capacity
That’s all. I’m not blaming the on their digital cameras came
manufacturers for this. I don’t up with the following
think there is a camera maker conclusion: none of us did.
out there producing a high-end Just as my Mamiyas never
digital camera without video came with a coffee machine
capability, but am I alone in attachment, or my Fuji
thinking that if a manufacturer GX680 never came with
was to make a camera that only a pencil sharpener on the side,
took photographs, removing please someone make a camera
some of the bells and whistles for its principle purpose –
and saving us poor punters a bit taking pictures.
 F E AT U R E

All images © Paul Coghlin

Tulipa Yellow Pompenette II
Papaver nudicaule (Icelandic Poppy)
FACE TO FACE
The creative process is only a
small part of a career in image
making, says Paul Coghlin,
who won the 2010 Black+White
Photographer of the Year. He
talks to Steve Pill about lighting,
gardening and transatlantic
gallery representation.

Your Botanic series was partly inspired

by art from the 1920s and 30s. What it is
about the art from that era that appeals?
When I started to work on the studies, the
flowers’ contours and lines reminded me of the
elegant designs and architecture of the art deco
68 era and also the work of photographers such
B+W
as Edward Steichen, Paul Strand and Edward
Weston. Following the lead that the flowers
were providing, I concentrated on the form of
each flower and photographed many of them
almost as though they were dancers in motion.

The lighting on that series is particularly

soft and carefully modulated. Could you
explain your set up?
Lighting is everything. The flowers had
a natural delicacy and so needed gentle
illumination, which was tailored for each
study. I selected from a range of light sources:
strobe flashes, natural light, indoor lighting –
or any other light that gave me the effect
I needed. Diffusers helped to soften the lights
and reflectors to fill in darker areas or bounce
the light to create an additional effect. The
whole process takes time for each study and
so I also needed to keep an eye on the flowers
themselves to make sure they were still OK
and not starting to droop.
I used a Nikon D810 36Mp camera and
a 60mm Nikkor macro lens. The higher
resolution cameras allow greater creative
freedom than film cameras and also allow the
ability to change the lighting and other options
rapidly to fine-tune a particular image. I aim
to get as much right in camera as possible so
I keep the post-production down to only a
small amount, such as toning the image.
Leucospermum cordifolium (Protea)
You studied remote sensing at
university. Could you briefly explain
what that entailed?
Remote sensing is a technique of detecting the
physical character of an area on or around
the planet (or even on another planet), using
cameras on aircraft and satellites or sonar
systems on board ships. Examples of its use
are for predicting the weather, mapping the
oceans or digitising the surface of another
planet, such as Mars.
The course at University College London
I followed, more than 20 years ago now, was
the first time I’d worked with digital imagery.
Being immersed in this was useful: using
a DSLR felt completely natural to me
when I switched from film.

Some of the specimens were grown

in your garden. Do you think gardening
and photography are similar
disciplines in any way?
Gardening and photography do have
some similarities, including the need to
have methodical and creative approaches.
I’m probably a better photographer than
I am a gardener though.

You have gallery representation

in America. Any tips for
approaching galleries?
I find the best approach is to look for
69
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galleries where I think my work is a good
fit and contact them if they are accepting
submissions. It’s often a question of being
in the right place at the right time with the
right work. Promoting your best work is
essential, which can be done through social
media, competitions, press releases and so
on. It’s important to remember that as a
professional photographer or artist, it’s a
case of being a business person who happens
to produce creative work, not the other way Papaver nudicaule (Icelandic Poppy)
round. I would say the ratio is roughly
20% creative and 80% business.

PROFILE
Born in London in 1967, Paul is a
Suffolk-based fine art photographer.
The British Institute of Professional
Photography has twice named him
Professional Photographer of the
Year in 2010 and 2013. Paul is
represented by a number of galleries,
including the Print Room at the
Huxley-Parlour Gallery in London.
paulcoghlin.com

Tulipa Madonna II Tulipa Madonna

 TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
New social media apps for photographers can offer fresh opportunities
timclinchphotography.com
to show your work. Some of them require you to learn new skills,
@clinchpics | clinchpics
but the results can be worth it, as Tim Clinch explains.
s I write there is a lot of fuss being I have the will to add any more strings to my and where Vero, especially if you’re new

A made about a new social media

app for photographers. It is called
photographic social media bow. It’s a bit like
processing solutions. If someone told me
to this, might be for you.

Vero and is being spoken about
as the new Instagram.
Now whether it is or not, and where
it will find itself by the time this article is
published, is in the lap of the gods. By all
means give it a go. I have. I signed up early
as they had a free for life offer at the time.
Just as the road to hell is paved with good
intentions, so the road to building and
making a success of a new app is paved
with thousands of ideas that were not good
enough, or were released at the wrong time,
or that just didn’t make it for some reason.
For me, the introduction of Vero has
raised more questions than answers. It has
made me think about whether I actually
need a new Instagram, or indeed whether
about a new Lightroom, would I want it? Or
a new Snapseed? Quite frankly, the thought
of having to learn any new systems, no
matter how good they are or how much
better than the competition they may be,
just makes my spirits slump.
The most important advice I can give is to
choose a processing solution and learn it.
Make it become like turning the pedals
when you’re riding a bike – something you
know you have to do but don’t think about
because you know how to do it.
However, another very important piece of
advice – especially for mobile photographers
– is that whatever you do with your pictures,
make sure you do something. And here’s
where the social media side comes in,
I
f you follow this column, you will know
I principally use Snapseed for processing
and Instagram as my community of
choice. I have taken the time to learn
Snapseed properly and use it for almost
everything. As for Instagram – I’m not
blowing my own trumpet here but I was
contacted recently by a very important
travel magazine and given three nice
commissions. When I asked them where
they had seen my work they told me they
had been following my Instagram feed for
a while and loved what I was doing.
I asked them what they thought of the
work on my website. The answer?
‘Don’t know, we’ve never looked at it.’
So, apart from being fascinating and

70
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 All images © Tim Clinch

71
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giving you the chance to follow countless
other interesting photographers, Instagram
works! It’s not the only community though,
so if you’re invested in photography and
interesting photographers then join
something. If not Instagram, VSCO
has a superb group, Hipstamatic has
the always interesting OGGL, Steller
has an infinite number of brilliant photo
stories, and who knows maybe Vero
really is the new Instagram.
Don’t leave your mobile photography
slumbering on your phone. Show it off and
get inspiration by joining something.
As they say, ‘You’ve got to be in it to win it!’

THE PICTURES THIS MONTH INSTAGRAMMER OF THE MONTH

The pictures you see here follow on from the series I did a couple
of months ago featuring shadows and diagonals. These pictures
highlight another great way to get impact into your images,
which is important when looking at things small – like on a
phone. All these images feature letters, numbers or writing.
The Instagrammer of the Month is the fascinating Clare Park.
Clare trained as a ballet dancer and also worked as a model.
Showcasing mainly her black & white work and sensitive
portraits, her Instagram feed is, to my mind, exactly what this
platform is all about and why I enjoy it. See @clareparkphoto.
 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.

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© MEL BURD © ROBBI LAMMING

WINNER © TOM SPEROPULOS
WINNER © CHRIS MCPHEE
73
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© RICHARD BARBARA WINNER © JAMES ORMISTON

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 across Martin Tierney’s evocative portrait of one of the oldest
All images record stores in the UK. Atmospheric and intimate, the images tell a story
© Martin Tierney
of music lovers from the past and from the present.

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‘The Diskery is possibly the most loved, and definitely the oldest, record store in Birmingham – and probably in the whole
of the UK. Opened in 1952 it stocks a diverse range of rare vinyl records, including 78rpm jazz and swing, punk, reggae and
heavy metal. It is something of a local legend, with other legends dropping by from time to time to go through the racks of
vintage and rare vinyl. Local rockers Robert Plant, Stevie Winwood and the occasional member of Black Sabbath have all
been spotted flicking through its racks. This shop was featured in the 1999 documentary on the demise of the high street
record shop, Last Shop Standing! but due to the resurgence of vinyl it is now a thriving little business.’

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 to see how you can submit your work.
75
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76
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77
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78
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 B+W APP
BLACK+ WHITE PHOTOGRAPHY
SUBSCRIBE TO OUR DIGITAL EDITION

DOWNLOAD THE MAGAZINE

FROM ONLY £2.77
VISIT WWW.POCKETMAGS.COM
 TESTS AND
PRODUCTS
CHECKOUT
Building your own website can be a frustrating and time-consuming business,
says Daniel Calder. Thankfully, there’s an assortment of companies willing
to do most of the work for you. He looks at six of the best.
FORMAT
Photography specialist
Dedicated
to creating
portfolio-style websites, Format
boasts a range of templates
and features that will appeal to
photographers. Chief among
these is a specialist client
proofing area, where invited
clients can assess, select,
license and download images
directly from your site. A blog
and online shop can also be
added to go alongside your
picture galleries.
The 19 free templates tend
to be clean and minimal,
covering a wide variety of
80 layouts. More elaborate themes
B+W
are available for $4/month.
The drag and drop
workspace feels a little
rudimentary, but this is more
than made up for by the
excellent variety of ready-made
sections available to add when
The sidebar on Format’s web builder organises all the different
parts of your website clearly and methodically.
PRICING
Enthusiast: $8/month (£5.75)
Pro: $14/month (£10)
Unlimited: $26/month (£18.50)
Help Email, live chat
Contact format.com
customising a page. Instead of
adding an empty box of text for
example, you can quickly slot
in a three-column section, or
a heading. Unfortunately you
only see an approximation of
the results as you tinker with
the site, so you’ll be clicking
the preview button a lot. The
entire process is methodical,
though, with each part of your
website permanently shown in
the sidebar.
Format offers a 14-day free
trial and three plans – all of
which offer unlimited bandwidth.
The entry-level Enthusiast option
only gets you 100 images, 15
pages and three store products.
The next tier, Pro, allows 1,000
images and 20 store products,
while enabling CSS and HTML
editing. Should you need
more than that, there’s the
Unlimited plan.
100 images, 3 products
1,000 images, 20 products
Unlimited images, unlimited products
PHOTOSHELTER
Super storage
The blue circles on the Photoshelter editor show the different
components of the website that can be customised.
Geared towards professional
photographers, Photoshelter
unifies cloud storage with a
comprehensive range of sales
opportunities. With no limit
on file sizes, you can upload
as many Raw, Tiff or Jpeg
images as your plan allows
and sort them into searchable
collections or galleries. Your
images can then be sold as
prints, digital downloads, or as
rights-managed and royalty-
free stock licenses. You can
also set up private galleries for
clients to review and download
work. Any sale will be charged
an 8% to 10% transaction fee.
Unfortunately there’s no built-in
blogging tool – you must link
an existing blog from Tumblr or
Wordpress instead.
With nine responsive
templates to choose from,
PRICING
Basic: $10/month (£7)
Standard: $25/month (£18)
Pro: $45/month (£32)
Help Email, phone
Contact photoshelter.com
each one has a distinct layout.
The lack of dummy content
is a hindrance, but the left
sidebar clearly displays the
key design principles that can
be adjusted: template, colour
scheme and font. Small blue
blobs scattered across the
workspace signify what can
be customised on each page.
Click on these and menus filled
with sliders and boxes to adapt
the site open up in the sidebar.
Those with coding knowledge
can tweak the site with
HTML and CSS.
Photoshelter offers a 14-day
free trial before switching to a
paid plan. The Basic plan only
provides 4Gb of storage, which
may be a sticking point for
some. Upgrading to Standard
brings 100Gb of storage and
unlocks the client-proofing tool,
while the expensive Pro plan
provides unlimited storage.
4Gb storage, custom domain
100Gb storage, client proofing
Unlimited storage, pro guidance
SQUARESPACE WIX
Trendy templates Best in test

Squarespace offers extremely absent, unlike Wix and Weebly.

attractive and professional Publishing a blog post, on the
looking templates for other hand, is easy and just as
customisation alongside customisable as a web page,
powerful blogging and and the online store is stylish
e-commerce features. Despite and effective. HTML and CSS
only having 11 photography code can also be inserted for
templates, they are varied, look greater levels of customisation,
stunning and are responsive and your entire site can be
to mobiles and tablets without exported to Wordpress.
you having to do anything. A free 14-day trial shows
The elegant, uncluttered what Squarespace offers,
workspace allows a high before paying the minimum Best
degree of customisation to the £10/month for the Personal Wix lets you design specifically for mobile in test
original template, or you can plan that includes unlimited devices as well as desktops.
select a blank page before pages, storage and bandwidth
adding components such as well as a custom domain. ‘Almost anything you see on current
as image, text and gallery Setting up an online store
blocks. These blocks can then costs £5/month more and a websites can be created in Wix, whether
be dragged into position to 3% transaction fee on each that’s a slider gallery, a video background,
create simple page layouts. sale. Upgrading to the Basic
It’s not as flexible as Wix and e-commerce plan removes pop-up lightboxes or subtle animations.’
you’ll have to upload an image the transaction fee and
each time you use it. Support brings other marketing and The market into a new position. Almost
for third party apps is also accounting benefits. leading anything you see on current
position websites can be created in
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of Wix is down to sustained Wix, whether that’s a slider
‘HTML and CSS code can also be inserted innovation, a staggering gallery, a video background,
range of professionally pop-up lightboxes or subtle
for greater levels of customisation, and your designed templates and the animations. The scope for even
entire site can be exported to Wordpress.’ sophistication of the Wix greater enhancement is made
Editor, which allows layer possible through 200 plug-ins
upon layer of control through on the Wix App Market.
its drag and drop workspace. On the downside there is
Photographers can choose a 15Mb image file size limit
from 42 specific templates and there is currently no client
or start from scratch. The proofing option. Also, without
template needs to be carefully any access to the HTML code
chosen, though, as you can’t you won’t be able to move
switch to a different one away from Wix without having
without losing your content. to start again.
Building a website in the Wix The free plan is a great way
Editor is intuitive, immediate into Wix, before upgrading to
and truly interactive. Not only the Combo account to get
can each component of a rid of the intrusive ads. If you
page be clicked on to open up want an online shop you’ll
a box of potential adjustments, need the E-Commerce plan
but it can also be dragged for £10.10/month.
The sidebars on the Squarespace editor open and close fluidly
as you customise different areas. PRICING
Free: Free 500Mb storage, with ads
PRICING Custom domain: £2.55/month 500Mb storage, custom domain
Personal: £10/month Unlimited storage, custom domain Combo: £5.16/month 3Gb storage, no Wix ads
Business: £15/month Unlimited storage, e-commerce Unlimited: £7.76/month 10Gb storage, unlimited bandwidth
Online stores basic: £20/month Unlimited storage, no transaction fees E-Commerce: £10.10/month 20Gb storage, online store
Online stores advanced: £30/month Unlimited storage, enhanced marketing VIP: £15.57/month 20Gb storage, pro site review
Help Email, live chat Help Email, call back
Contact squarespace.com Contact wix.com
WEEBLY
Great value
Building
websites
with
the Weebly templates is an
initially simple exercise, but the
company also provides access
to the HTML and CSS code
for more advanced
development and the ability
to export your site to
Wordpress at a later date.
The new templates are
fully responsive – reacting
automatically to being on a
desktop or mobile screen
without you having to do
anything during the build.
Currently there are only seven
portfolio templates to choose
from, although they are all sleek
and sufficiently varied to be
of interest. Weebly employs
a basic drag and drop editor,
which lacks the flexibility of
Wix and relies quite heavily
Web pages can be constructed with Weebly by dragging
components from the sidebar on to the page.
‘Weebly employs a basic drag and drop
editor, which lacks the flexibility of Wix
and relies quite heavily on the template
and pre-designed page layouts.’
PRICING
Free: Free
Connect: £3/month
Starter: £5/month
Pro: £8/month
Business: £17/month
Help: Email and live chat. Phone on Pro or business plans
Contact: weebly.com
on the template and pre-
designed page layouts. A few
things hinder the experience
though: one is the lack of an
undo button (except for text),
another is the need to upload
a photo each time rather than
from storage, and finally the
blog insists you drag elements
on to the page each time you
make a post. More positively,
the Weebly App Center stocks
more than 300 apps to further
enhance your site.
The Starter package
removes ads, allows a custom
domain name and provides
unlimited storage. It only
stocks 10 products in the shop
though, whereas Pro allows up
to 25. Moving up to Business
dispenses with the 3%
transaction fee, while allowing
unlimited products, including
digital goods, to be sold.
500Mb storage, with ads
500Mb storage, custom domain
Unlimited storage, no Weebly ads
Unlimited storage, site search
Unlimited storage, unlimited members
ZENFOLIO
Strong on selling
The Zenfolio workspace is logically ordered
and easy to navigate.
‘Storage is unlimited, but you have to pay
extra to change the maximum file size from
36Mb on the Starter plan to 64Mb on
the Pro and Advanced plans.’
Zenfolio
rivals
Photoshelter as a place for
storing and selling products
through a self-built website.
Storage is unlimited, but you
have to pay extra to change
the maximum file size from
36Mb on the Starter plan
to 64Mb on the Pro and
Advanced plans. Any file type
can be archived but it costs
8.5p per Gb per month to
store Raw files. Equally, to
order and sell products (from
prints to pillow cases) through
Zenfolio Photo Products and
One Vision Imaging you will
also need one of the top two
plans and you’ll be charged a
flat 7% transaction fee on all
orders. The Pro level removes
the Zenfolio branding and
opens up client access and
proofing. Pay for the pricey
PRICING
Starter: £5/month
Pro: £16/month
Advanced: £25/month
Help Email. Live chat and phone on Advanced plan
Contact en.zenfolio.com
83
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Advanced plan and you
will get live chat and phone
support (Monday to Thursday,
10am to 3pm PST).
The latest website designs
are covered within 12
responsive templates. Zenfolio
is brilliant at sorting and
displaying complex information
and options into one place. For
instance, the dashboard shows
four sections: photos, selling,
website and communications
so that it’s clear what to do
next. There’s a logical flow to
the design process too, so
you’re rarely left wondering
what to do next. That said, it
isn’t a drag and drop editor
so you merely add or remove
elements within the template
rather than reposition those
elements. You’ll also be relying
on a preview button to check
how your site actually looks.
Unlimited storage, custom domain
Unlimited storage, client proofing
Unlimited storage, advanced marketing
 CANON EOS 2000D AND 4000D FOTOSPEED COTTON
Canon has released two entry-level DSLRs aimed at people wanting to move from ETCHING 305
smartphone photography to cameras with interchangeable lenses. The 4000D has an Developed with landscape photographer
18Mp sensor and 2.7in monitor, while the 2000D has a 24.1Mp sensor and 3in monitor. Doug Chinnery, this new signature paper offers
Both cameras have a Digic 4+ processor and 9-point autofocus system. a more textured alternative to the popular
Canon EOS 4000D – £329.99 (body only) Platinum Etching 285. It is a 100% cotton,
Canon EOS 2000D – £369.99 (body only) acid-free fine art paper with a white base.
canon.co.uk From £34.99 fotospeed.com

TESTS AND PRODUCTS

BLACK+WHITE
84
B+W TAMRON 28-75MM
F/2.8 LENS
New high-speed standard zoom lens for
LOVES BILLINGHAM HADLEY
full-frame mirrorless cameras. The light
NEW PHOTOGRAPHY SMALL PRO
and compact lens offers a minimum object Rugged, weather-resistant bag for compact
distance of 0.19m at the wideangle setting GEAR IN THE SHOPS system cameras, rangefinders and mid-size
and 0.39m at the telephoto position. The lens DSLRs. Made in the UK, it’s available in six
also features moisture-resistant construction
AND ONLINE colour combinations and features solid
and fluorine coating. brass fittings and leather trim.
£TBC tamron.eu £200 billingham.co.uk

LOMOGRAPHY LIMITED EDITIONS

Lomography has issued special 25th anniversary
limited editions of the Lomo LC-A+, Lomo LC-Wide
and Lomo LC-A 120. All three analogue cameras
SEKONIC FLASHMATE come leather-clad with an embossed message
L-308X LIGHT METER celebrating the anniversary in true Lomography style.
Versatile light meter for photographers The LC-A+ is a 35mm camera, the LC-Wide is a
and filmmakers. Features intuitive controls, 35mm camera with 17mm ultra-wideangle lens and
customised screen display and the Lomo LC-A 120 is a medium-format camera.
compact design. LC-A+ – £289 Lomo LC-Wide – £369
£215 sekonic.com Lomo LC-A 120 – £379 lomography.com
 PRODUCT
DUCT
HE
OF THE
TH
MONTH

PANASONIC LUMIX TZ200

New flagship model in Panasonic’s travel-
zoom series. Features 24mm wideangle Leica
EDC Vario-Elmar lens plus new monochrome
filter promising the look of classic black &
white film. The camera also shoots 4K video
and has a 3in monitor with touch control.
£729 panasonic.com

MISSION WORKSHOP CAPSULE
Padded case that fits inside Mission Workshop
backpacks to create a weatherproof camera
pack. It’s also compatible with packs that are
20L or larger and made by other brands.
$130 (about £93)
missionworkshop.com
PENTAX
XKK-1
1 MARK II
The new flagship model of the
Pentax K-series has a 36.4Mp
full-frame CMOS sensor with an
o
anti-aliasing filter-free design to
maximise image quality. Otherr
features include a tilt-type LCD D
85
B+W
monitor, optical viewfinder
offering a nearly 100% field of
view and a magnesium alloy
body that is dustproof and
weather-resistant.
Low-light performance
should be excellent, with an
ISO range of 100 to 819200.
The camera also has a 5-axis
sensor shift shake reduction
system and GPS functionality.
£1,799.99 (body only)
ricoh-imaging.co.uk

TECHNICAL
SPECIFICATIONS
Format: Full-frame
Sensor: 36.4Mp CMOS sensor with APS-C mode
Processor: Prime IV
ISO range: 100 to 819200
FUJIFILM FINEPIX XP130 Monitor: 3.2in flextilt TFT LCD
Perfect for travel and adventure photography,
Autofocus points: 33
the new XP130 is dustproof, shockproof,
Continuous shooting: 4.4fps in full-frame mode
freezeproof and waterproof to 20m. The
16.4Mp compact camera has a grip design Body: Magnesium alloy
for one-handed use and a Fujinon 5x optical Weight (body only) 1010g
zoom lens. It’s available in a range of colours. Dimensions (wxhxd) 136 x 110 x 85mm
£199 fujifilm.eu
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
Visit our website

86
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SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

BL ACK+ WHITE PHOTOGR APHY COOL , CREATIVE AND CONTEMPOR ARY

 LAST FRAME SALON

Do you have a single image that you’d like We are looking for contemporary black & white pictures that
printed big and hung on your wall? Send tell a story about the world as you see it. Send us a well-edited
the file to us and you could win just that. set of between 10 and 15 pictures.

87
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SMARTSHOTS PRINT SUBMISSIONS

Send your prints by post to:
Black+White Photography
GMC Publications Ltd
86 High Street
Lewes BN7 1XN
Please specify which section of the
magazine you are submitting to. If you
would like your work returned please send
a stamped addressed envelope. GMC
Publications cannot accept liability for the
loss or damage of any unsolicited material.

ONLINE COMMUNITY

FOLLOW US ON FACEBOOK
facebook.com/blackandwhitephotog

FOLLOW US ON TWITTER
@BWPMag

FOLLOW US ON INSTAGRAM
Shoot with your smartphone and send in your pictures – you could be one of three
@bwphotomag
lucky winners each month who wins a Samsung Class 10 EVO 32GB MicroSD card.
Upload your pictures to our website, via Twitter by tagging us @BWPMag and using FOR ALL CONTACT DETAILS
the hashtag #smartshots, or email them to anna.evans@thegmcgroup.com. blackandwhitephotographymag.co.uk
If you are successful we will request high-res files.
 It’s SO easy & fast
to turn your unwanted
photo gear into CASH
We buy more, pay more & smile more!
• Digital DSLRs, Mirrorless & top compact cameras
• 35mm SLRs & compacts and Medium Format film cameras
• Top bags, tripods & accessories
• Most AF & MF lenses

020 7467 9912

used@cameraworld.co.uk

020 7636 5005 LONDON

14 Wells Street (off Oxford St), London W1T 3PB
sales@cameraworld.co.uk
01245 255510 CHELMSFORD
High Chelmer Shopping Ctr, Chelmsford CM1 1XB
chelmer@cameraworld.co.uk
01438 367619 STEVENAGE
13 High St (Old Town), Stevenage SG1 3BG
stevenage@cameraworld.co.uk

cameraworld.co.uk
Goods and delivery services subject to stock and availability. Prices subject to change. Pictures are for illustration purposes only. E. & O.E.
 BL ACK + WHITE PHOTOGRAPHY COOL , CREATIVE AND CONTEMPORARY

NEXT MONTH
B + W ISSUE 217 JULY 2018 ON SALE 7 JUNE

90
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© Sally Mann

THE SOUTHERN LANDSCAPES OF SALLY MANN

SHAPE OF LIGHT AT TATE

SIX OF THE BEST TRIPODS
HOW TO SHOOT STREET ART
DOROTHEA LANGE AND VANESSA WINSHIP
CONTACT US

Web blackandwhitephotographymag.co.uk | Facebook facebook.com/blackandwhitephotog | Twitter @BWPMag | Instagram@bwphotomag

 NEX T MONTH

© Xyza Cruz Bacani 91

B+W

FROM DOMESTIC
WORKER TO AWARD
WINNING PHOTOGRAPHER
– XYZA CRUZ BACANI
BRYAN SCHUTMAAT
DOCUMENTS THE DAYS
© Bryan Schutmaat
BEFORE PRISON
 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 Photomic FTN Chrome #7271xxx New Mirror Foam Exc+++ £350
Leica M-P Black Paint (Complete; boxed) Exc+ £3290 Nikon F2 with DE-1 Chrome #7633xxx Exc+++ £490
Leica M (240) Silver + Charger Mint- £2890 Nikon F2 Photomic SB Black New Mirror Foam #7534xxx Mint- £790
Leica M (240) Black (Complete; boxed with spare battery) Exc++ £2750 Nikon F5 Mint- £390
Leica M (240) Black (Complete; boxed) Exc+ £2650 Nikon F4 Exc++ £290
Leica M9 Grey 10100 Actuations Exc+ Nikon F4S Exc £250
£1750
Leica EVF-2 Mint- £170 Medium / Large & Other Format
Leica MP 0.72 Hammertone LHSA (Body only) Mint £3990
Alpa 12 SWA Exc+++ £2590
Leica M6 0.72 TTL Black Exc+++ £1390
Alpa 12 MAX Exc+++ £3490
Leica M6 Chrome #2168xxx (boxed) Exc £1190 Phase One IQ260 Dgital Back Mint- £11900
Leica M6 Chrome Wetzlar #1738xxx Exc+ £1250 Alpa 12 SWA Wake Up Handgrip for Phase One Back Mint- £750
Leica M3 Chrome with ERC & Original Box Just had a general CLA by us Exc+ £850 Rodenstock 32mm f4 Alpagon (SB17) Mint- £4900
Leica M2 Just serviced by us #1061xxx Exc £590 Rodenstock 35mm f4.5 Apo-Alpar LB Mint £2590
Leica IIIc converted to IIIf Black Dial with Delay Action Exc+ £320 Rodenstock 50mm f4 Digaron-W HR Mint- £4090
Leica 18mm f3.8 Super-Elmar-M + hood 6 bit #2849xxx (boxed) Mint £1590 Rodenstock 120mm f5.6 Apo-Digitar Mint £2290
Leica 21mm f1.4 Summilux-M ASPH + hood Exc++ £2990
Leica 21mm f2.8 Elmarit-M ASPH + hood #3947xxx Mint £1490 Mamiya 7 II with 80mm f4L Exc £2150
Leica 28-35-50mm f4 Tri-Elmar-M ASPH (55mm filter) boxed Mint- Mamiya 43mm f4.5L + hood & V/finder Mint £850
£2490
Mamiya 50mm f4.5L + V/finder Mint £790
Leica 28mm f2 Summicron-M ASPH + hood 6 bit Minor oil on blades Exc++ £1590
Mamiya 150mm f4.5L + hood Mint £350
Leica 28mm f2 Summicron-M ASPH + hood 6 bit #4144xxx Min t- £1790
Mamiya 150mm f4.5L Mint- £290
Leica 35mm f2 Summicron-M 3rd version Scratchy front glass Exc £790
Mamiya 210mm f8N + V/finder Mint- £350
Zeiss 35mm f2.8 C-Biogon ZMT* (boxed) Mint £490
Leica 50mm f1.4 Summilux-M ASPH Silver 6 bit (boxed) Mint- £2090 Rolleiflex 2.8GX Mint- £1990
Leica 50mm f2 Summicron-M Build-in hood Mint- £1090 Rolleiflex 6008 Integral + 80mm f2.8 Planar PQS + RFH Exc+++ £950
Leica 50mm f2 Summicron-M Build-in hood Mint £1150 Zeiss 60mm f3.5 Distagon HFT PQ Exc £650
Leica 50mm f2 Summicron-M Build-in hood Silver 6 bit #3997xxx Mint- £1150 Schneider 180mm f2.8 HFT PQ + hood Exc+++ £890
Leica 90mm f2 Summicron-M #2813xxx lightly dented hood Exc+ £590 Horseman 6x9 RFH Exc++ £90
Leica 90mm f2 APO-Summicron-M ASPH 6 bit #3955xxx Exc £1550
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 90mm f2.8 Elmarit-M Built in hood Exc++ £690 We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 90mm f4 Elmar-C + hood Exc+ £230 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 15mm f3.5 Super-Elmar-R 3 Cam with lens cover & pouch Sold £1590
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 50mm f2 Summicron-R 1 Cam Exc £230 Aperture 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 60mm f2.8 Macro-Elmarit-R 3 Cam Sold £270 PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica 180mm f2.8 Elmarit-R 3 Cam User £230 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Sold £2590
Processing Prices (C41 Colour Negative Film)
Leica 35-70mm f3.5 Vario-Elmar-R 3 Cam Sold £250
35mm develop only £6.00
Leica 80-200mm f4 Vario-Elmar-R ROM Mint- £990 35mm develop + print £12.00
Leica Multi function Hand Grip for M240 Exc+++ £290 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica 21-24-28 Multi-Viewfinder (Silver) Mint- £230
Zeiss 35mm T* Metal Viewfinder with case (Sony RX1) Mint- £190 120 develop only £7.00
120 develop + print £15.00
Voigtlander 40mm Bright Line Viewfinder Mint- £80 120 develop + print + scan £17.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Exc+++ £100 120 develop + scan £11.00
Leica 13.5cm Metal Viewfinder Chrome Mint- £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 Exc+ £290 Xpan develop + scan £18
Voigtlander 35mm f1.2 Nokton VM II (boxed) Mint- £590 Xpan develop + scan + print (5” x 13.5”) £24
Voigtlander 50mm f1.5 Nokton VM + hood (boxed) Mint- £490 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

along lower handle

Please note minor crack

Alpa 12 SWA Exc+++ £2590

Leica M3 Chrome with ERC and Original Box Exc+ £850

Leica KE-7A with 50mm f2 Elcan in Original Case Exc+++ £12900

Rolleiflex 2.8GX Mint- £1990

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

Adrian Ensor
MASTER PRINTER

BLACK & WHITE

PRINTING WORKSHOP
Take part in a 1–to–1 darkroom masterclass
with award-winning printer Adrian Ensor.
For the last 45 years, Adrian has been a professional
black & white printer, working with photographers
Dedicated to the monochrome photographer

from across the UK and around the world.

Adrian will use his experience to show you how to get
the best from every negative. The workshops take
place in Adrian’s own central London darkroom and
are tailored to suit your experience.

Find out more at

adrianensor.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

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

94 B+W CLASSIFIED JUNE 2018

 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
on 01273 402823 or email advertising@thegmcgroup.com

MISSING A BACK ISSUE

OF B+ W PHOTOGRAPHY?

Dedicated to the monochrome photographer

You can order back issues direct from us for just £5.99 in the UK
and £6.49 overseas (includes P&P).
There are two ways to check availability and order:
CALLING OUR SALES TEAM ON +44 ( 0 ) 1273 488005
VISIT OUR WEBSITE AT WWW.THEGMCGROUP.COM

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JUNE 2018 B+W CLASSIFIED 95

 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
© Marianne Siff Kusk
state of the art printing service, theprintspace – it could be you!

96
B+W

This month’s winner is Marianne Siff Kusk from Denmark who wins a 20x24in print dry-mounted
on to Foamex, an exceptional quality and highly rigid foamboard. Marianne 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
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£175

Claim up to £175 Cashback on selected FUJIFILM

X Series cameras and lenses

Terms and conditions apply. See in store for details.

 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.