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COOL, CREATIVE AND CONTEMPORARY

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BLACK+WHITE PHOTOGRAPHY JUNE 2016 FERNELL FRANCO + SHOOTING IN SUMMER + SMARTPHONES FOR PHOTOGRAPHERS + FUJIFILM X-PRO2 ISSUE NO.190
 BOOK NOW South Kensington ScienceMuseum
Until 11 September 2016 sciencemuseum.org.uk #FoxTalbot

William Henry Fox Talbot and Nicolaas Henneman at the Reading establishment, 1846
© National Media Museum, Bradford/SSPL

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 © Anthony Roberts

BLACK + WHITE
PHOTOGRAPHY
THE TORTOISE
EDITORIAL
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com
Deputy Editor Mark Bentley
AND THE HARE

M
email: markbe@thegmcgroup.com
Assistant Editor Anna Bonita Evans y husband is an architect and
email: anna.evans@thegmcgroup.com we are in the middle of a
Designer Toby Haigh ‘refurbishment’ of a house. I put
the word in inverted commas
ADVERTISING
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EDITOR’S because, right now, it feels more
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JUNE be no surprise because, having watched him work in
PUBLISHING the past, I should know the routine.
Publisher Jonathan Grogan 2016 It all begins with great industriousness and excitement.
MARKETING He sketches designs and explains them in detail.
Marketing Executive Anne Guillot I imagine the completed project in my head. In stone.
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PRODUCTION out bathrooms and kitchens, taken down ceilings and
Production Manager Jim Bulley
Origination and ad design GMC Repro walls, there’s a period of silence. Nothing happens. Or should I say, nothing happens
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Distribution Seymour Distribution Ltd alternative one the next day. And still nothing actually happens.
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This process that my husband goes through is an interesting one. He is happy to
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 BLACK+ WHITE PHOTOGRAPHY
CONTENTS ISSUE 190 JUNE 2016
© Fernell Franco © Magdalena Straková © Tim Daly

08 60 54

© Chris Killip

24

NEWS INSPIRATION 66 SMART GUIDE TO

04 NEWSROOM 39 INSIGHT PHOTOGRAPHY
Smartphone photography tips
Your update on monochrome news The power of the family album
02 07 EXHIBITION OF THE MONTH 44 THINKING PHOTOGRAPHY COMMENT
B+W The powerful pictures of Paul Strand Create the best context for 22 AMERICAN CONNECTION
your pictures Susan Burnstine on the timeless
19 ON THE SHELF
work of Ann Pallesen
The best photography books 62 OPEN BOOK
The importance of editing and 40 A MODERN EYE
20 IN THE FRAME sequencing your work Shoair Mavlian on Brazilian
Photography exhibitions
photographer Mauro Restiffe
around the UK 78 WIN A SOLO EXHIBITION
Your pictures could be shown 58 A FORTNIGHT AT F/8
FEATURES in a top London venue Be a good all-rounder,
says Tim Clinch
08 CAPTURING COLOMBIA
TESTS & PRODUCTS
COVER IMAGE Exploring the work of
YOUR B + W
This month's cover image Fernell Franco 74 CHECKOUT
is by Vanessa Winship. Six of the best smartphones 68 SMARTSHOTS
24 SECOND TIME AROUND for photographers Send us your best
Celebrating a classic
GET IN TOUCH Chris Killip book 80 IN FOCUS smartphone pictures
Tel 01273 477374
Spotlight on the Fujifilm X-Pro2 70 PORTFOLIO
facebook.com/blackandwhitephotog 32 IN THE SHADOWS
twitter.com/BWPMag Meticulous landscapes 83 BLACK+WHITE LOVES Prize-winning photographs
by Martin Dyde Cool photography gear 86 NEXT MONTH
EDITOR Coming soon…
ELIZABETH ROBERTS 60 60-SECOND EXPOSURE
elizabethr@thegmcgroup.com Magdalena Straková answers TECHNIQUE
89 SUBS OFFER
our quick-fire questions 48 SHOOT THE SUMMER Have B+W delivered to
DEPUTY EDITOR Lee Frost on the creative your door
MARK BENTLEY challenge of the season
markbe@thegmcgroup.com 96 LAST FRAME
54 PHOTO PROJECTS A single image printed and
ASSISTANT EDITOR Build a project on the framed by theprintspace
ANNA BONITA EVANS theme of light
anna.evans@thegmcgroup.com

FOR DETAILS OF HOW TO GET PUBLISHED IN BLACK+ WHITE PHOTOGRAPHY TURN TO PAGE 84
NEXT MONTH’S ISSUE IS OUT ON 9 JUNE

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003_BW_190.indd 3 4/21/16 10:53 AM
 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com

HIGH CONTRAST
Film photographers can order
a range of specialist films in
an offer set up by Harman
Technology. The annual deal
allows Harman to consolidate
orders and supply products that
would not normally be viable to
manufacture. Films available are
Ilford FP4 Plus, HP5 Plus and
Delta 100 Professional. Not all
films are available in all formats.
The deadline for orders is 27 May.
ilfordphoto.com
A new smartphone loaded with
a monochrome-only camera has
been released. The Huawei P9 is
created with Leica and features
dual cameras – one colour and
one B&W. The two cameras work
in tandem to record extra detail,
04 depth and colour. Users can also Glass Tears (Les Larmes) by Man Ray.
B+W choose to shoot in B&W.
huawei.com MODERNIST MASTERS Collection Elton John © Man Ray Trust/ADAGP,
Paris and DACS, London 2016

A cash prize of €10,000 is
on offer in the Alfred Fried
Photography Award 2016. The
winning picture will be shown
for a year in the Austrian
parliament and be included in
the permanent art collection of
the Austrian parliament. Winning
photographers will be invited to
the award ceremony in Vienna in
September, with travel expenses
and accommodation paid. Entry
is free. Deadline: 1 June.
friedaward.com
Magnum photographer
Alex Majoli, who shoots a lot
of his work in black & white, has
been awarded a Guggenheim
Fellowship to support his work
chronicling the problems facing
Europe over the migration crisis.
magnumphotos.com
A major update has been
announced for Tonality, a black &
white photography app. The app,
which is for Mac users, now
provides access to a free preset
library created by photographers
from around the world. Just
press ‘Get more presets’ from
inside the software.
macphun.com
Rare vintage prints by Man Ray, André Kertész, Highlights include Dorothea Lange’s Migrant
Berenice Abbot and many others can be seen in Mother, Walker Evans’ Floyde Burroughs, Hale
a major exhibition at Tate Modern in London. County, Alabama, a group of Man Ray portraits
The Radical Eye: Modernist Photography exhibited together for the first time, portraits
from the Sir Elton John Collection opens on of Georgia O’Keeffe by Alfred Stieglitz, Edward
10 November and features more than 150 Weston by Tina Modotti, Jean Cocteau by Berenice
pictures from the modernist era. It draws from Abbott and Igor Stravinsky by Edward Weston.
the Sir Elton John Photography Collection, Tate director Nicholas Serota said: ‘This will be
which holds more than 7,000 photographs a truly unique exhibition. Coming face to face with
and is regarded as one of the leading private such masterpieces of photography will be a rare
photography collections in the world. and rewarding experience.’
ONE OF
THE GREATS
Pictures by one of the greats of
black & white photography are
on display in Norfolk over the
spring and summer.
More than 80 photographs by
Henri Cartier-Bresson are on
show. The exhibition celebrates
his fascination with Paris – its
people, locations and the unusual
things he saw there.
Henri Cartier-Bresson: Paris
runs at the Sainsbury Centre
for Visual Arts, Norwich, until Flea Market on the boulevard Richard Lenoir by Henri Cartier-Bresson.
29 August. © Henri Cartier-Bresson/Magnum Photos

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 WORK AND
FRIENDSHIP
An exhibition celebrating the
work and friendship of Lee
Miller and David E Scherman
runs at Farley Farm House in
Sussex this summer.
During the Second World
War, David E Scherman and
Lee Miller photographed events
such as the siege of St Malo and
the liberation of concentration
camps. They became good
friends and Scherman wrote the
foreword to the book Lee Miller’s
War by her son Antony Penrose.
The exhibition, David E
Scherman: War and Friendship,
celebrates the centenary of his
birth and can be seen every
Sunday until 30 October at
Farley Farm House, which was
the home of Lee Miller. The Lee
Miller Archives now officially
represents the private image
collection of David E Scherman.
David E Scherman, Equipped for War,
London, England, 1943 by Lee Miller.
© Lee Miller Archives, England 2016.
All rights reserved. www.leemiller.co.uk
SELLING WELL
A mural-sized print of one of
Ansel Adams’ most famous
photographs has sold for
$221,000 at auction.
The print of Moonrise,
Hernandez, New Mexico was
previously owned by Edwin
Land, co-founder of the Polaroid
Corporation, and Edward Mills
Purcell, a winner of the Nobel
prize for physics.
The sale, held by Swann
Auction Galleries in New York,
also saw Garry Winogrand’s
portfolio 15 Big Shots sell for
$45,000, a Richard Avedon print
for $35,000 and a Dorothea
Lange picture for $81,250.
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POWERFUL
SENSOR
Hasselblad have launched a new
medium format camera.
The Hasselblad H6D range
has been completely rebuilt with
new technical components. It
comprises the H6D-100c with a
100Mp sensor and the H6D-50c
with a 50Mp sensor. Features
include a wider range of shutter
speeds from 60 minutes to
African Family with Gun, Karo Tribe, Ethiopia, c.2003, by Don McCullin. 1/2000sec, increased ISO range,
© Don McCullin, courtesy Hamiltons Gallery, London
faster shooting rate and fast
WORLD COMES TO LONDON file transfer. The H lens range
is fully compatible with the new
Eighty of the world’s leading photography galleries will show work camera and Hasselblad’s image
at this year’s Photo London. processing software, Phocus, has
The event was a huge success last year and returns to Somerset been enhanced.
House from 19 to 22 May. Photographs from all periods and genres The Hasselblad H6D-50c is 05
€22,900 (ex-VAT) and the H6D- B+W
will be exhibited by galleries as far afield as Berlin, Helsinki,
100c is €28,900 (ex-VAT).
Tehran, Lisbon, New York and Tokyo.
hasselblad.com
Legendary war photographer Don McCullin has a special
exhibition and will be in conversation with Tate photography curator
Simon Baker on 19 May. Other speakers include Edward Burtynsky,
Nadav Kander, Mary McCartney, Martin Parr and Rankin.
Other attractions include an exhibition of contemporary Russian
photography, a series of site-specific commissions and an exhibition
by Turner Prize nominated Craigie Horsfield. Auction houses
Sotheby’s, Christie’s and Phillips will also hold major photography
sales during Photo London week.
POP-UP
PINHOLE
A new pop-up book that takes
pinhole photographs is now
available. This Book is a Camera
explains and demonstrates how
a camera uses light to produce
a photograph.
The book comes with detailed
instructions and a starter pack of
black & white Ilford photo paper.
There is nothing to assemble,
just open the book and a camera
Late Afternoon Fight by Max van Son. emerges from the pages.
© Max van Son, Winner, Netherlands, National
IN THE LIGHT
Award, 2016 Sony World Photography Awards Created by artist Kelli
Anderson, the book is available
This picture of two foxes fighting was taken by Max van Son and through Firstcall Photographic,
is among the winners in the national category of the Sony World price £24.99.
Photography Awards. Winning pictures were exhibited at Somerset firstcall-photographic.co.uk
House in London as part of the awards exhibition.
19/04/2016 15:52
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 NEWS EXHIBITION OF THE MONTH
The first major retrospective of Paul Strand’s work in the UK for over 30 years,
the V&A’s exhibition sheds new light on one of the most widely celebrated
figures in 20th century modernist photography. Anna Bonita Evans reports.

07
7
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The Family, Luzzara (The Lusettis) 1953, by Paul Strand © Paul Strand Archive, Aperture Foundation

A
fter the Second World
War Paul Strand
travelled the world.
Disillusioned with
his homeland’s post-war,
anti-communist paranoia, Strand
left New York for Europe in 1949
and visited, among other places,
Italy, France, Ghana and the
Outer Hebrides. It was in
these later years that Strand
created some of his most
evocative pictures, challenging
the popular perception of him
primarily as a photographer of
America’s people, landscape
and urban architecture.
Along with Alfred Stieglitz
and Edward Weston, Paul
Strand defined modernism in
photography, however this
show reveals his creative
diversity, which spans myriad
geographical regions, social and
political issues and his strength
as a filmmaker. Together with
iconic pictures of his homeland
(such as Wall Street) are
portraits from his 1954 study of
people living on the South Uist,
Scottish Hebrides, plus his 1952
book La France de profil – a
homage to his adopted home,
France, and hero Eugéne Atget.
Believing photography to be
a medium for social change,
Strand portrayed lives of
ordinary people – their suffering
and their dignity. As we see here image. His groundbreaking film
in this group portrait of a from 1920 Manhatta, which
widowed Italian mother and her traces a day in New York with
five sons, Strand evokes a deep recordings of Walt Whitman’s
sense of place and a family’s poetry, will be screened. Extracts
solidarity, thanks to the strong from his later more political
matriarch. The image is from his films, such as Redes (The Wave)
1953 photobook Un Paese: and the scarcely-shown
Portrait of an Italian Village, Native Land, are also included.
in which he collaborated with Each exhibit has its deserved
writer Cesare Zavattini to show place here, revealing in its own
a rural town’s regional culture. way Strand’s continual
Arranged both chronologically exploration of different story-
and thematically, the exhibition telling methods – and his desire
also includes Strand’s to communicate with the masses
experiments with the moving through a modernist eye.
PAUL STRAND: PHOTOGRAPHY AND FILM FOR THE 20TH CENTURY
is on until 3 July at V&A Museum, Cromwell Road, SW7; vam.ac.uk

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 FEATURE CAPTURING COLOMBIA
Fernell Franco is arguably the most important photographer to have come from
Colombia, yet his work is little known in Europe. The Fondation Cartier in Paris hopes
to change all that with a retrospective of his work. Donatella Montrone finds out more.

8
08
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Series Prostitutas, 1970-1972 (collage) © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.

I
t’s known as La Violencia (The Violence)
– a dark and bloody period in Colombia’s
history, when in 1948 riots erupted on
the streets of Bogotá after the
assassination of Jorge Eliécer Gaitán, the
leader of the Liberal party. Gaitán was
a populist – the voice of the masses, in the
midst of a presidential campaign – and what
began as a street riot on the afternoon of
9 April ended in the deaths of thousands by
nightfall. The Bogotazo riots, as they became
known, surged, spilling into the countryside,
unleashing an almighty civil war.
Lawlessness and chaos in the countryside
sparked a mass exodus, and millions of
destitute peasants abandoned everything in
search of safety nearer the cities.
Among the displaced was Fernell Franco
(1942-2006), who – having fled as a child
with little more than the clothes on his
back – was to become one of the most
important photographers to have come
out of Colombia. His work is currently on
show in Paris at Fondation Cartier pour
l’Art Contemporain, in the first European
retrospective of his work, titled Cali Clair–
Obscur. ‘Photography was not understood
as an art form in Colombia until relatively
recently because, as a nation, we’ve always
had a strong tradition in painting. That’s why 

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 09 9
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Series Prostitutas, 1970-1972 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.

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  Fernell’s work is so important – it occupies
an in-between place in the art history of
Colombia because the contemporary art
scene did not feature until decades after he
started experimenting with photography,’
explains María Wills Londoño, who
co-curated Cali Clair–Obscur along with
fellow curator Alexis Fabry.
It was 1951 when Fernell fled rural
Versalles and headed for Cali with his family
– he was eight years old. ‘My grandfather was
a Liberal and he was being hunted down by
Conservative sympathisers,’ explains Vanessa
Franco, one of Fernell’s daughters. ‘They
burned down his house, his crops and killed
his livestock, so the family fled – they left
everything. They hid my grandfather under
planks in a truck and the rest of the family –
including my grandmother Leonor, my father
and his eight siblings – covered him with
their bodies until they arrived at safety.’

‘Portraying prostitutes is
not easy, and the way he
did it… well, it’s hard to say
the word … but the way
he did it is beautiful.’

T
he violence raged unabated for a
10 decade and is responsible for the
B+W
death, or disappearance, of an
estimated 200,000-400,000 people.
The ferocity of the civil war permeated
every aspect of Colombian society, not least
for the manner in which the violence played
out – torture, quartering people while still
alive, beheadings. It was unprecedented and
Series Prostitutas, 1970-1972 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris. many would argue the Colombian psyche
has never recovered. ‘I remember one day in
particular, when my father and my sister
Sabrina and I were out in the centre of Cali
looking around the junk shops – he liked
remodelling old objects. A man walked in
– his face was heavily scarred from the
violent attacks during the civil war, and I
was frozen with fear at the sight of him. All
of a sudden he threw himself at my father
and they both hugged each other
affectionately. When he left, I asked my
father who he was, and he said: “That’s the
man who looked out for me here in Cali
when I was a boy. He made sure no one
harmed me.” I think I understood even
then,’ says Vanessa, ‘that my father’s
photographs were a reflection
of his experiences.’
His family settled in a poor neighborhood
in Cali; marginalised, like so many peasants
in similar circumstances, they endured
considerable hardship. Fernell sought to
ameliorate his life, and that of his family, so
Series Prostitutas, 1970-1972 (photomontage) © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris. he abandoned his studies and found a job

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 Series Interiores, 1979 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.

as a runner, delivering newspapers. He then
found work at Arte Italia, a photography
studio in Cali run by Italian photographers.
‘The Italians grew fond of him; they saw he
was keen to learn and taught him the basics
of photography.’ He eventually started taking
studio portraits for national ID cards and was
given additional duties, like cleaning the lab
equipment. The lab opened up a world of
international resources to him and he became
an avid reader, expanding his knowledge of
photography through the journals he came
across at the lab. He became fascinated with
the reportage of the Second World War and
was drawn to photojournalism; he soon
found a job as a staff photographer on a
newspaper. ‘As a photojournalist, he came
into daily contact with the violence and
inequalities of Colombian society,
documenting urban uprisings and rural
massacres, as well as the cocktail parties
of Cali’s elite,’ writes Fondation Cartier
of the photographer’s work.
His talent for image-making landed him a
job at Nicholls Publicidad advertising agency,
doing fashion and commercial shoots for

magazines, but it is his work chronicling life

11
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Series Billares, 1985 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.

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 

12
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  on the periphery of society that is arguably
his most important. Driven by a search for
personal expression, he experimented with
photographic technique – using different inks
intensified in the darkroom to alter contours
and shadows, sometimes duplicating images,
splicing them and then piecing them back
together. And so flourished his inimitable
style, the likes of which had not been seen in
photography at the time. ‘He processed his
images in a very particular way – a style that
was all his own  – no other photographer in
the world, let alone in Colombia, was doing
things like making the subject appear and
disappear in different images, or tearing up
the image as a metaphor for the conflicted
nature of urban life in Cali,’ explains Londoño.

W
hen I started looking at
Fernell’s work at Fundacion
Fernell Franco more than
seven years ago,’ she says, ‘it
was part of some research I was undertaking
with Harvard University’s David Rockefeller
Center for Latin American Studies, and what
we found was a treasure. Nobody had paid
much attention to this amazing archive,
because Fernell was mostly known as a photo
reporter and publicity photographer. Some
time later, in collaboration with Alexis Fabry,
we uncovered so much about his role in this
incredibly vital artistic community that had
13
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emerged in Cali in the 1970s, transforming
what was once a peripheral city into an
important cultural centre.’
Cali was in flux, experiencing a period
of rapid growth, not only spurred on by the
displacement of rural migrants, but also
because of the nascent sugar industry that
had developed. The landscape transmuted
quickly, along with the necessary demolition
of much of the nation’s historic architecture,
the emergence of cocaine smuggling as a
multi-national empire, prostitution, among
other societal ills, and a need to heal the
irreparable wounds delivered by years
of brother-on-brother violence. Fernell
became a seminal part of a vibrant art scene
in Cali centred round an independent,
multidisciplinary space for artists called
Ciudad Solar that included cherished writer
Andrés Caicedo, filmmaker Carlos Mallolos
and artist Oscar Muñoz, among others,
sharing with them a desire to explore through
art the kind of urban themes that had
previously eluded the Colombian art scene.
Prostitutas (Prostitutes), which exhibited
at PhotoEspana in 2011, was first shown
in its entirety in 1972 in Ciudad Solar, says
Londoño. ‘Ciudad Solar became something of
a mythical place, so anything that happened 
Series Pacifico, 1987
© FernellFranco, courtesy Fundación Fernell Franco
Cali / Toluca Fine Art, Paris.

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 Series Amarrados, 1976 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.
14
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Series Billares, 1985 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.

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 15
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Series Interiores, 1978 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris.

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 16
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Series Galladas, 1970 © Fernell Franco, courtesy Fundación Fernell Franco Cali / Toluca Fine Art, Paris
‘As a photojournalist, he came into daily contact with the violence and inequalities of Colombian society,
documenting urban uprisings and rural massacres, as well as the cocktail parties of Cali’s elite.’
 there was being looked at very closely –
perhaps not internationally at the time, but
certainly in Cali. Prostitutas is a really strong
body of work; in it Fernell portrays a side of
society that had not been seen, and he does
this from a very intimate perspective because
he got to know the women – they became his
friends. But also, the fact that he portrayed
prostitution in such a poetic way – with the
Topical Gothic aesthetic that was only ever
used by the famous film directors of that
time, like Carlos Mallolos and Luis Sospina –
is what makes the work so unique. Portraying
prostitutes is not easy, and the way he did it…
well, it’s hard to say the word … but the way
he did it is beautiful,’ explains Londoño.
‘My father was quite a solitary man,’ says
Vanessa. ‘He was very sensitive. When you
study his negatives, you see the kind of detail
that only a photojournalist might capture.
But the negatives are far from complete;
they are his personal reflections. They reflect
his history. It’s as if he tried to rebuild his
life through his work.’
Perhaps another reason why the Fondation
08-16_FERNELL_FRANCO_190 ER/MB.indd 16
Cartier exhibition is so important in the
wider context of photography is because it
dares to present a different take on Colombia.
Fernell – quite apart from his avant-garde
experimentation with photographic process
– offers a portrait of Colombia from a deeply
connected place. His is an almost spiritual
perspective on his homeland – a perspective
that is so pitifully lacking in contemporary
photography about Latin America. From its
lofty perch, the European perspective seems
to perpetuate the clichés about Colombia, and
Latin America in general, in its depiction of it
– poor, feral, corruption that permeates every
aspect of society, overrun by gangs, narco-
trafficking, teen mothers. Fernell looked
beyond that and found beauty where the rest
of the world fails to see any.
‘I used to love to paint as a child,’ says
Vanessa. ‘One day I came home from school
and found that my father had papered all the
walls in my room – from floor to ceiling. “Now
you can paint as much as you like,” he said.
‘That was his way of educating my sister and
me. That’s the kind of man he was – he was
humble. He didn’t instruct, he guided, and he
encouraged us to look beyond the darkness.’
Fernell Franco had a heart attack on
2 January 2006. He died quietly, at the
table in his study.
Fernell Franco: Cali Clair-Obscur curated
by María Wills Londoño and Alexis Fabry
is on show at Fondation Cartier in Paris
until 5 June. For more information about
Fundacion Fernell Franco, and to see more of
Fernell Franco’s work, go to fernellfranco.org.
The catalogue from the exhibition
Fernell Franco: Cali Clair-Obscur can
be purchased from the Fondation Cartier
website (foundation.cartier.com) at € 40.
20/04/2016 10:19
 Winner of the TIPA Award

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017_BW_190.indd 17 4/15/16 12:44 PM

 London Paris New York
Photographs by
Wolfgang Suschitzky, Dorothy Bohm, Neil Libbert
Wolf Suschitzky, Charing Cross Road, c. 1937

20 May – 27 August 2016

Ben Uri Gallery & Museum
Open daily, free entry
108a Boundary Road, off Abbey Road, London, NW8 0RH
www.benuri.org @BenUriGallery

018_BW_190.indd 18 4/19/16 9:32 AM

 NEWS
STRANGE
AND FAMILIAR
Edited by Alona Pardo
and Martin Parr
Prestell
Hardback, £35
P
ublished to accompany
the exhibition of the same
name currently on at the
Barbican, this book is a
fine alternative to seeing the show
or, if you have been lucky enough
to attend, a great reminder of
the diversity and quality of an
exceptional exhibition.
Taking as its premise a
view of Britain as seen by 24
photographers from around the
world, the exhibition is also a
wonderful excuse to put together
some of the greatest photography
of the 20th and 21st centuries.
From Edith Tudor-Hart and Paul
Strand to Bruce Davison, Garry
Winogrand and Axel Hütte,
we find ourselves indulged in
imagery that surpasses any group
show you can remember. It is
also a tribute to Martin Parr’s
knowledge and understanding of
both photography and curation.
Of course, book reproduction,
however good, can never replace
the sheer delight of the framed
print but this publication goes
a long way towards it.
Elizabeth Roberts
19_BOOK_REVIEWS_190 ER/MB.indd 19
ON THE SHELF
THE LIGHT OF COINCIDENCE:
THE PHOTOGRAPHS OF
KENNETH JOSEPHSON
Kenneth Josephson
University of Texas Press
Hardback, £58
P
ublished to coincide with
the definitive
retrospective on the
photographer at San
Francisco’s Robert Koch Gallery,
this monograph shows why for
more than six decades Kenneth
Josephson has been seen as
a leader of conceptual
photography. Here we see his THE
most defining pictures, many of which you’ll recognise but others not
– each, however, is just as visually pleasing as the other. DOCUMENTARY
Reflecting the exhibition image sequencing, the book is divided into IMPULSE
six sections: nature/landscape, man-made/urban, self-portrait, studio/ Stuart Franklin
objects, women and family. Confirming Josephson’s reputation is photo
Phaidon
historian Gerry Badger’s foreword and Lynne Warren’s essay which
Hardback, £19.95
helps place the photographer’s work in a historical context.
I
Now in his early 80s, Josephson studied under Minor White alongside n an age when conceptual
his contemporaries Harry Callahan and Aaron Siskind. Seeing the photography is becoming
19
B+W
photograph as an object that has been created rather than taken, increasingly prominent, and
Josephson experiments with the way he sees the world by placing images smartphone images are being
within images. Playfully commenting on how illusion and reality can uploaded in almost unthinkable
merge indistinctly, his humourous work allows us to be in on the joke, numbers on social media, the
reminding us how important it is to question the truth of an image. role of photojournalism stands
Anna Bonita Evans alone and unique. Magnum
photographer Stuart Franklin
T
he precision and quality is one of the world’s greatest
of this exquisite hand photojournalists and therefore
made book is something one of the best qualified to talk
to be experienced. An on the subject. However, it is
exploration of land and memory, rare that photographers – being
the photographs take us to the highly visual people – can write
edgelands, heavily wooded and as well as Franklin does here.
‘the antitheses of the idealistic The book is divided into eight
English landscape’, a place of chapters that explore the history
chaos and confusion, flooded EDGELANDS: and the meaning of the genre
by heavy rainfall. with examples that range from
But it is through Wright’s text THE FLOODS early cave paintings to images
that we find resolution to the Joseph Wright of war, famine and the everyday.
unease lying beneath the surface Hand stitched soft cover In language that is accessible,
of the photographs, as he takes with sleeve, £40 thought provoking and factual,
us on a journey from childhood Available from Franklin considers the question
to his adult self, seeking refuge joewrightphotography.com of what drives the ‘documentary
through solitude and, eventually, impulse’, the desire to make
his coming to terms with the landscape he loves. It is a simple but sense of the world and to convey
beautiful story. to others, through imagery, the
What is so exceptional about this book is its attention to every tiny import of events as they happen.
detail from the meticulous use of a large format camera to the hand An excellent book to be read,
sewn spine and fine typography. In an edition of 100 it is re-read and savoured in the light
undoubtedly a collector’s item. of a rapidly changing world.
Elizabeth Roberts Elizabeth Roberts
14/04/2016 12:55
 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 Brought to you
advance. International listings are on the app edition of the magazine. by Leica Camera

LONDON
ATLAS
13A Park Walk SW10
thelittleblackgallery.com

To 21 May LYNDSEY INGRAM

Chasing Paradise 16 to 21 May
David Drebin’s large scale images. Miles Aldridge:
49 Dorset Street W1U Please Return Polaroid
atlasgallery.com Images that are compelling with disquiet.
58 Jermyn Street SW1Y
BARBICAN lyndseyingram.com
To 19 June
Strange and Familiar: MEDIA SPACE
Britain as Revealed by To 11 September
International Photographers Fox Talbot:
How international photographers have Dawn of the Photograph
captured the identity of the UK. The most significant London exhibition.
Silk Street EC2Y Exhibition Road SW3
barbican.org.uk sciencemuseum.org.uk

BARGEHOUSE MICHAEL HOPPEN GALLERY

13 to 22 May 5 May to 3 June
Fix Photo 2016 Colin Jones
Exhibitions, events and workshops. A retrospective.
Oxo Tower Wharf, Bargehouse Street, 12 May to 15 July
South Bank SE1 End by Eamonn Doyle
lauraannnoble.com A series on Dublin by this British artist.
20 8 June to 9 August
B+W BEETLES+HUXLEY The Blink of an Eye
To 21 May The snapshots of Jacques Henri Lartigue
Zhang Kechun 3 Jubilee Place SW3
Post-industrial Chinese landscapes. Bust of Patroclus, 1841, William Henry Fox Talbot michaelhoppengallery.com
3-5 Swallow Street W1B © National Media Museum, Bradford / Science &
beetlesandhuxley.com Society Picture Library William
NATIONAL PORTRAIT
FOX TALBOT: GALLERY
BEN BROWN FINE ARTS
11 May to 16 June DAWN OF THE PHOTOGRAPH To 22 May
Vogue 100: A Century of Style
Ori Gersht To 11 September Celebrating fashion and photography.
The photographer’s latest body of work. A major exhibition that explores the work of the photography 21 July to 23 October
12 Brook’s Mews W1K pioneer and shows the birth of photography in Britain within William Eggleston Portraits
benbrownfinearts.com its industrial and social context. Work by the pioneering photographer.
St Martin’s Place WC2H
BEN URI GALLERY MEDIA SPACE, SCIENCE MUSEUM npg.org
19 May to 27 August Exhibition Road, South Kensington SW7 sciencemuseum.org.uk
Wolf Suschitzky, Dorothy Bohm NATURAL HISTORY MUSEUM
and Neil Libbert To 15 May
Three of the greatest photographers. Guildhall Yard EC2V plants made in the 19th century. Otherworlds:
108A Boundary Road, cityoflondon.gov.uk 13 Carlos Place W1K Visions of our Solar System
Off Abbey Road NW8 hamiltonsgallery.com A journey through space.
benuri.org.uk HACKELBURY FINE ART Cromwell Road SW7
To 28 May LEYAS nhm.ac.uk
FOUR CORNERS Garry Fabian Miller: Golden Ongoing
To 29 May Images that seek a state of mind. Diversity World PARASOL UNIT
Estate by Robert Clayton To 28 May Work by Shane Aurousseau. To 12 June
The Lion Farm Estate 25 years ago. Ian McKeever…and the sky 20 Camden High Street NW1 Magical Surfaces: The Uncanny in
121 Roman Road, Bethnal Green E2 dreamt it was the sea Contemporary Photography
fourcornersfilm.co.uk Photographs painted with gouache. LITTLE BLACK GALLERY Stephen Shore, Joel Sternfeld and more.
4 Launceston Place W8 To 14 May 14 Wharf Road N1
GUILDHALL ART GALLERY hackelbury.co.uk Bob Carlos Clarke: Made in Heaven parasol-unit.org
To 31 July Work by the late photographer.
Unseen City: HAMILTONS 26 May to 16 June PHOTOGRAPHERS’ GALLERY
Photos by Martin Parr To 24 May Short Stories by Anja Niemi To 26 June
Lord mayors and the Queen feature in Guido Mocafico: Blaschka Eight ‘short stories’ with fictional DBPFP 2016
Parr’s playful take on the ‘unseen’ City. Images of marine invertebrates and characters and places. The Deutsche Börse Photography

20-21_IN_THE_FRAME_190 ER/MB.indd 20 20/04/2016 10:48

 Foundation Prize 2016. 345 Ladbroke Grove W10 10 November to 7 May 2017
To 3 July serenamorton.com The Radical Eye:
Double Take: Modernist Photography from
Drawing and Photography SNAP GALLERIES the Sir Elton John Collection
Exploring how the two mediums have To 28 May A selection of classic modernist images
combined, mirrored and contrasted. The Rolling Stones from the 1920s to the 1950s.
23 to 26 June by Gered Mankowitz Bankside SE1 tate.org.uk
Punk Weekender Veteran music photographer revisits his
A weekend dedicated to the spirit and legendary Rolling Stones archive. V&A
diversity of punk culture. 12 Piccadilly Arcade SW1Y To 3 July
16-18 Ramillies Street W1F snapgalleries.com Paul Strand: Photography
thephotographersgallery.org.uk and Film for the 20th Century
TATE BRITAIN The first retrospective in the UK for
PROUD CHELSEA To autumn 2016 over 30 years.
To 5 June Jo Spence Cromwell Road SW7
Breaking Stones 1963-1965: Key works by the British photographer. vam.ac.uk © Malcolm Raggett
A Band on the Brink To 29 August
of Superstardom
Photographs by Terry O’Neill.
28 July to 11 September
Conceptual Art in Britain
How artists and photographers
transformed the nature of art.
NORTH
THE GALLERY
PICTURE NOW
7 to 30 June

Woodstock by Baron Wolman 11 May to 25 September To 15 May The contemporary

A nostalgic look back at the Painting with Light: From the Land photography group presents its
legendary festival. Art and Photography from the Ian Lawson and The Harris Tweed first black & white exhibition.
161 Kings Road SW3 Pre-Rephaelites to the Modern Age Authority collaborate.
proudonline.co.uk How painters and photographers Rheged Centre, Penrith, Cumbria IDEAS HUB
redefined notions of beauty and art. rheged.com High Chelmer Shopping
SERENA MORTON II Millbank, SW1P Centre, Chelmsford
To 28 May tate.org.uk MUSEUMS SHEFFIELD ideashubchelmsford.org
Muhammad Ali Fighter’s To 4 September
Heaven 1975 TATE MODERN Echoes of the Great War:
Photographs by Peter Angelo Simon. To 12 June Photographs by Peter Cattrell Cathedral, 1 Hill Top, Coventry.
3 June to 23 July Performing for the Camera Images, artwork, letters and maps. coventrycathedral.org.uk
Hunter Barnes: 15 Years This exhibition draws together the Weston Park, Western Bank, Sheffield
Barnes’ black & white images of
America’s disappearing sub cultures.
relationship between photography
and performance.
museums-sheffield.org.uk

NATIONAL MEDIA MUSEUM

SOUTH
FOX TALBOT MUSEUM
21
B+W
BRADFORD To 10 July
To 26 June Iceland. An Uneasy Calm
Gathered Leaves: Work by Tim Rudman that describes
Photographs by Alec Soth his fascination with Iceland.
Retrospective of work. Lacock Abbey, Lacock, near
Little Horton Lane, Bradford, Chippenham, Wiltshire
West Yorkshire nationaltrust.org.uk
nationalmediamuseum.org.uk
SPRING ARTS &
PEOPLE’S HISTORY MUSEUM HERITAGE CENTRE
To 14 August To 30 June
Grafters The People of Havant 2008
Curated by photographer Ian Beesley Work by Pietro Rocchiccioli.
with new poems by Ian McMillan. 56 East Street, Havant, Hampshire
Left Bank, Spinningfields, Manchester thespring.co.uk
phm.org.uk

MIDLANDS EAST
SAINSBURY CENTRE
ALFRED EAST ART GALLERY FOR VISUAL ARTS
21 May to 2 July To 29 August
Growing Old Playfully Henri Cartier-Bresson: Paris
Work by Roger and Danièle Bradley. Work shot between 1929 and 1985 on
Sheep Street, Kettering the streets of the city.
kettering.gov.uk University of East Anglia, Norwich
© Matt Black/Magnum Photos scva.ac.uk
NEW BLOOD THE CHAPEL OF
CHRIST THE SERVANT, SWAN HOUSE GALLERY
25 May to 29 July COVENTRY CATHEDRAL 3 to 17 June
A showcase of the work of six photographers who have recently To 5 September Suffolk Monochrome
joined the ranks of Magnum Photos as nominees. The English Cathedral Group Present
by Peter Marlow The twelve members reveal their
MAGNUM PRINT ROOM The late Peter Marlow’s photographs of latest work.
63 Gee Street EC1V magnumphotos.com all 42 of the UK’s Anglican cathedrals. Kings Head Street, Harwich
The Chapel of Industry, Coventry suffolkmonochromegroup.co.uk

20-21_IN_THE_FRAME_190 ER/MB.indd 21 20/04/2016 10:48

 COMMENT
AMERICAN CONNECTION
With an appearance not unlike a charcoal drawing, the lith print has
a strangely seductive appeal. Susan Burnstine talks to Ann Pallesen,
susanburnstine.com
whose first encounter with the process proved to be an enduring love.
S
eattle photographer
Ann Pallesen’s
timeless photographs
infuse poetry,
mystery and wonder
much like that of the
early pictorialists, yet each image
is distinctively her own. Her
striking photographs highlight
the intricacies and wonder of lush
and ornate environments, but
what makes this work unique is
her mastery of the lith printing
process and her ability to produce
countless one of a kind triumphs.
Pallesen first learned about
lith printing through her friend
Paul Sundberg, who taught her
the unique properties of the
process in the darkroom. She
says, ‘I was seduced upon viewing
how different a lith print looked
using a normal black and white
22 negative. The print felt heavenly.
B+W
The creamy highlights and hard
shadows had an appearance
not unlike a charcoal drawing.
Making a lith print felt magical.’
Pallesen explains that
lith printing is an analogue
darkroom process that gained
attention in the 1970s, which she
clarifies is not to be confused
with lith film or lithographic
prints from stones. ‘Lith,’
she says, ‘is a high contrast
developer. Different brands of
warm tone photographic paper
have varied reactions to lith
Plush
22-23_USA_CONNECT_190 ER/MB.indd 22
Man at the Rodin Museum
developer. That’s where things
get exciting (or frustrating)
and you discover a palette that
appeals to you. Warm tones, hard
shadows, enhanced grain and
creamy highlights are signature
characteristics of lith prints.’
Pallesen explains that what
makes lith printing tricky is that
you have to ‘unlearn what you
originally learned about printing
and understand new concepts of
how to control the exposure and
Chandelier
tones. Paper exposure is often
three times longer than standard
exposure time.’ Moreover,
there are endless variables that
cannot be reproduced, so no lith
print can be duplicated exactly,
making each print unique.
P
allesen has created three
notable bodies of work in
lith – Over There
(2003-2015), A Walk in
the Park (2004-2015) and
Reflection
Heirlooms (2014-2015). Over
There touches on the mysterious
possibilities of a given discovery
or interaction – seemingly
voyeuristic, revealing a visual
poetic diary of personal history;
whereas A Walk in the Park is
a love letter to national and
regional state parks and
Heirlooms is a series of
photograms of treasured items
in which the intricate floral
patterns of vintage French
bonnet lacework and embroidery
pieces are accentuated.
Pallesen shoots all her images
with vintage and plastic cameras
and still photographs with a twin
lens medium format Yashica Mat
124G that she purchased when
studying photography at Colorado
State University in Fort Collins.
Additionally, she carries a Holga
and typically shoots a scene with
both cameras as she’s never certain
which will look best in print. She
says, ‘Sometimes the simplicity of
the Holga captures exactly what
you need by not overthinking the
exposure, and then when paired
with lith printing, it results in
a timeless dreamlike image.’
I often think of Ann Pallesen as
a modern day renaissance
woman, as she’s one of the rare
few who has successfully
balanced a fine art career and a
demanding career as the former
gallery director turned
20/04/2016 11:08

Snoqualmie Falls
partnerships manager at the
respected non-profit space
Photographic Center Northwest
Ivy
22-23_USA_CONNECT_190 ER/MB.indd 23
All images © Ann Pallesen
EXHIBITIONS
USA
BRONX
BRONX MUSEUM OF THE ARTS
Until 26 June
Michelle Stuart: Photographic Works
bronxmuseum.org
CHICAGO
ART INSTITUTE CHICAGO
Until 14 August
Aaron Siskind: Abstractions
artic.edu
DETROIT
DETROIT INSTITUTE OF ARTS
17 June to 11 September
The Open Road: Photography
and the American Road Trip
Featuring Robert Frank, Ed Ruscha,
Stephen Shore, Alec Soth and more
dia.org
LOS ANGELES 23
GETTY MUSEUM
B+W
Until 31 July
Robert Mapplethorpe:
The Perfect Medium
getty.edu
(PCNW) for the past two
decades. Pallesen says, ‘Working
numerous opportunities to grow
as a professional in the arts as
PITTSBURGH
CARNEGIE MUSEUM OF ART
at PCNW has granted me  well as creatively as a Until 17 July
photographer. I’ve taken dozens Teenie Harris:
of classes and workshops at Great Performances Offstage
PCNW with renowned cmoa.org
photographers who have pushed
my creative boundaries, including PORTLAND
master lith printer Tim Rudman.’ BLUE SKY GALLERY
She adds that from a curatorial Until 30 June
perspective, having the chance Blake Andrews:
Pictures of the Gone World
to work with hundreds of
Andrea Diefenbach: Land Ohne Eltern
photographers in the last 20 years, blueskygallery.org
‘has not only inspired me, but
made me conscious of trends, ROCHESTER
and informed me of changes and EASTMAN MUSEUM
practices in the medium. It has Until 2 October
also brought on an awareness Photography and America’s
that has helped me define my National Parks
personal vision.’ Abelardo Morell, Mark Klett, Binh Danh
Currently, Pallesen is working Byron Wolfe, Sharon Harper and more
eastman.org
on two different bodies of work,
editing and printing images SYRACUSE
that she shot in France in 2013 LIGHT WORK GALLERY
to add to her Over There series, Until 22 July
and a haunting series of the Unnatural Creatures: Kanako Sasaki,
Pacific northwest. Laura Aguilar, Tony Gleaton and more
annpallesen.com lightwork.org
20/04/2016 11:09
 F E AT U R E
SECOND TIME AROUND
It’s been 28 years since the publication of Chris Killip’s In Flagrante, a study
of communities suffering the effects of de-industrialisation. A new version has
All images © Chris Killip
just been released and it’s even better than the first, says Tracy Hallett.

24
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Easter Sunday, Askam-in-Furness, Cumbria

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Boo on a horse, Lynemouth, Northumberland
F
ollowing the publication of his
book In Flagrante in 1988 Chris
Killip received two disheartening
letters. ‘I always knew you were
rather fond of the gutter,’ read the
first, ‘but I had no idea you would
end up in it.’ The note came from friend
and fellow photographer Brian Griffin, and
referred to the way Killip’s images straddle
the centre of the book, losing some of their
impact as they slip into the space where
pages meet. The second letter came from
photographer David Goldblatt, who made
24-30_CHRIS_KILLIP_190 ER/MB.indd 25
‘Killip used a 5x4 camera
for the project, so the bigger
the pictures are printed, the
more detail you can see.’
it clear that he considered the decision to
cross the gutter a sacrilege. Despite these
comments, In Flagrante became a classic
piece of photojournalism, and was out
of print until 2008 when Errata Editions
produced a facsimile version.
25
B+W
Almost 30 years have passed since Killip
received these letters but, until recently, the
sting they delivered remained an irritant. In
2014 celebrated publisher Gerhard Steidl
approached the photographer with a plan to
reprint some of his earlier work. Killip was
happy to oblige, but decided to take things a
stage further by suggesting reissues of Isle of
Man (originally published in 1980) and In
Flagrante (first published in 1988). Steidl
accepted the proposal gladly. Killip was
quick to outline his objectives for In
Flagrante Two: there would be no images in 
14/04/2016 14:08
 26
B+W
 the gutter; the reproduction values needed
to be exceptionally high (the blacks are
too heavy in the original due to the limited
technology of the time); and the over
identification with the Thatcher Years
needed to be addressed. Some of these
objectives were easier to achieve than others.
To solve the gutter problem, Killip and
Steidl decided to print big, and use only
the right-hand pages. In Flagrante Two
measures 36.4cm x 28.8cm while the
original is 30.2cm x 24.5cm. Creating an
oversized edition has its problems: the
24-30_CHRIS_KILLIP_190 ER/MB.indd 26
binding is more expensive for one, but the
advantages are manifold. Killip used a 5x4
camera for the project, so the bigger the
pictures are printed, the more detail you
can see. Combine this with superb printing,
and every shot warrants a good five-minute
study. Take the photograph of Bever in
North Yorkshire, for example. Printed large
we can see the naïve hand-drawn hearts
tattooed on his neck, and the casual way his
fly is half undone. We notice the man on the
slipway, reaching to retrieve something from
his glove compartment. There is a sense
Bever, Skinningrove, North Yorkshire
of boredom, of waiting for life to begin,
but underneath there is also a simmering,
unpredictable energy, a feeling that things
might ‘kick off’ at any moment.
I
n this new, unadulterated version of
In Flagrante image is king, and Steidl has
worked hard to extract every last detail
from Killip’s transparencies. The blacks are
indeed much lighter, and the range of tones
far greater than those in the original
hardback. Thanks to this marriage of skill
and technology we can now admire each 
14/04/2016 14:08
 27
B+W

Youth on wall, Jarrow, Tyneside

24-30_CHRIS_KILLIP_190 ER/MB.indd 27 14/04/2016 14:08

 28
B+W
 stone on a pebbledash wall in Grangetown,
and marvel at the textures in a repulsive still
life on the beach at Askam-in-Furness.
Nothing is hidden. Every picture is given
space to breathe, and to reveal its secrets.
Printing on one page of every spread
also means there is no show-through
(a distracting effect where ink is visible
through the paper). Killip likes the idea of
people slicing pictures out of the book and
framing them, so this appealed to him.
The final objective: addressing the over
identification with the Thatcher Years
was always going to be tricky. All of the
24-30_CHRIS_KILLIP_190 ER/MB.indd 28
photographs were taken between 1973 and
1985 when four different prime ministers
were in office, but only one is charged
with triggering the de-industrialisation of
north-east England. ‘[Thatcher] divided
the country economically, north from
south,’ writes Liz Jobey in the Guardian
(20 April, 2009). ‘In the north-east, where
mining, shipbuilding, iron and steel-
making had supported communities
for generations, the closure of pits and
shipyards left families stranded by sudden
unemployment.’ Killip witnessed this
fallout firsthand, and he photographed
Glue sniffers, Whitehaven, Cumbria
what he saw: families eking out a living
collecting coal from the shoreline, children
playing on wastelands strewn with cans
and plastic bags, a man drinking tea in his
doorway surrounded by riot police.
In Flagrante is not objective, nor should it
be. Killip, like any artist, has a political
position, and while his primary aim is to
pursue great imagery his worldview is part
of his style. For decades the book has been
considered a protest against Thatcher’s
government, but Killip thinks this view is
too simplistic. These pictures are also about
community, and its importance in times of 
14/04/2016 14:08
 29
B+W

Two girls, Grangetown, Middlesbrough, Teeside

24-30_CHRIS_KILLIP_190 ER/MB.indd 29 14/04/2016 14:08

 30
B+W

Brian at the disputed fence, Lynemouth, Northumberland

‘In Flagrante is not objective, nor should it be. Killip, like any artist, has a political position,
and while his primary aim is to pursue great imagery his worldview is part of his style.’

 hardship. There is tenderness here too:
a boy cradling a toad, a father giving his son
a ride on his shoulders, friends chatting by
the curb. To encourage alternative readings,
Killip has stripped the introduction
(which he wrote himself) and the essay
(by John Berger and Sylvia Grant) from
the book. But despite his best efforts the
ghost of Thatcher remains.
Back in January photographer Martin
Parr asked Killip if In Flagrante Two was
a better book than the original. ‘Better? We
will have to see what the jury makes of it,’
he replied. ‘I was 42 and living in England
when In Flagrante came out and when
In Flagrante Two comes out I will be 69,
having spent the last 25 years living and
teaching in the US. Maybe that’s the big
difference, 28 years of hindsight.’
(Time, 27 January 2016).
If you own a copy of the original book,
treasure it, gutter and all. If you don’t,
here’s your chance to put things right.
In Flagrante Two by Chris Killip is
published by Steidl, and priced at £58.
To order a copy visit steidl.de.

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 fototonic.co.uk

INSPIRATIONAL PHOTOGRAPHY
WORKSHOPS & TOURS

JERSEY | GUERNSEY | SARK | FRANCE

We’re proud of our reputation for providing expert photography tuition on our
workshops and photo tours. Whether you are just starting out or have been
shooting for years, our aim is to help you streamline your photography to
enable you to achieve the images that you dream of creating. Black + White
photography techniques are no exception and we’ll show you camera
techniques and image editing for monochrome. We’ll let you into all our
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for black + white, multiple exposures, focus stacking and much, much more.

Here in the Channel Islands we have a vast array of beautiful landscapes

and seascapes. There’s no shortage of locations to work with - whatever the
weather. Our gorgeous landscapes are dotted with offshore forts and castles
from many different eras in history as well as intriguing WW2 structures built
during the German occupation of the Channel Islands. We have private
access to historical sites as well as boat trips to idyllic offshore reefs that
can’t fail to provide you with images you will cherish. Join us for a
photography workshop you will remember forever.

Born and brought up in Jersey, Andy worked at the

top of the photography business in the UK and has
now returned to his island home to lead photography
workshops and continue with commercial photography.

“Knowing the best locations and working with

the tides means that our clients get the best
opportunities for the best photos”

Andy Habin

Photography Workshops & Tours in the Channel Islands and beyond

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 INTERVIEW IN THE SHADOWS OF
THE BRECON BEACONS
For Martin Dyde, the landscape of his home in south Wales is the drive
and inspiration for his meticulous photography. Here he talks to Steve Pill
All images © Martin Dyde
about cloudy days, darkroom paintings and the fine art of printing.

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Above Gloves frozen in canal barge, Warwickshire, 2005.

Opposite Limestone mussels and reflection in rock pool, Gower, 2015

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T
here is something quintessentially
– and rather brilliantly – British
about Martin Dyde’s approach to
photography. While others may
yearn to capture the long shadows and
brilliant contrasts of the Mediterranean, for
example, the 42-year-old is happiest when
the outlook is far more moderate. ‘A grey
cloud symbol on the weather forecast,
that’s what gets me excited,’ he says.
A runner-up in our own Black+White
Photographer of the Year 2015 awards,
Dyde’s landscape prints inhabit a very
particular tonal range, relishing in subtle
shifts of grey without ever veering into
extremes of pure black or white.
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The photographer lives in the shadows
of the Brecon Beacons, south Wales, and
it’s just a 10-minute walk from the front
door of his cottage to the nearest mountain.
Working from home as a computer
programmer allows him the opportunity to
get out most days, but he will only bring his
Rollei SL66 camera along if the conditions
are cloudy – all the better for obtaining
a 6x6 negative with the full tonal range.
‘The process of printing is my main
interest in photography,’ he says. ‘I very much
enjoy going out and taking photographs, but
they are the source material – the input into
the printing process.’
Born in West Sussex in 1974, Martin’s
33
B+W
interest in developing his own pictures first
began as a teenager, when he would spend
his lunchtimes in the school darkroom.
Today, he still shoots on Ilford HP5+ or FP4+
film, but he now scans all the negatives and
develops favourite compositions digitally
in Adobe Lightroom. ‘I don’t add or remove
elements from the negative, but the final
images are very tonally different to how they
would look on a contact sheet,’ he explains.
‘It probably takes me about 10 hours to edit
a single image – there’s lots of dodging and
burning of wider areas and quite fine details.
I would find it difficult to edit them to the
same level of precision in a real darkroom,
compared to what you can do in Lightroom.’ 
20/04/2016 11:24
 34
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 A bookshelf filled with more than 400
monographs and manuals (John Blakemore’s
Black And White Photography Workshop is
favourite), not to mention a full complement
of back issues of Black+White Photography,
have helped Martin hone his process to a fine
art. Every month, he spends a long afternoon
developing a batch of 30-odd films at home.
He uses Ilford DD-X in Patterson Multi-Reel
tanks, developing the film for nine minutes
at 17°c – about 30 percent less than the
recommended time, but enough to create a
better result for scanning. ‘I’ve also come up
with a slightly naughty technique of getting
two rolls of 120 film on to each reel, one after
the other,’ he says. ‘Sometimes there’s a slight
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overlap, but I always take the first and
last frames twice for good measure in case
that happens.’
D
espite his enthusiasm and sheer
breadth of knowledge about the
more technical and scientific
elements of the printing process,
it would be wrong to pigeonhole Martin
purely as a technician or craftsman. His
love of the landscape, watching the clouds
and being exposed to the elements is
reflected in his desire to communicate
such feelings through his photographs.
‘It’s very important to have an affinity with
the subject, but I also want the results to be
uplifting, even if they are superficially
atmospheric. I want my photographs to be
quiet but poetic, that’s the aim.’
Martin refers to his images as ‘darkroom
paintings’ and there is definitely a painterly
quality to his Adobe Lightroom work,
building in layers of small dodge-and-burn
strokes, tweaking the tonal contrasts for
optimum chiaroscuro effect.
Likewise, that veneration of the landscape
places him not only in a lineage with his
photographic heroes like Thomas Joshua
Cooper or Paul Caponigro, but also in the
tradition of Romanticism in British painting,
stretching back to the era of John Constable
and JMW Turner. Rock formations, wizened 
20/04/2016 11:25
 35
B+W

Opposite Foreshore with boulder and twig, Gower, 2014

Above Dead sheep on Long Mynd, Shropshire, 2006.

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 36
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 trees and decaying animals are all classic
subject matter perhaps, but Martin captures
them with a clarity and sincerity that comes
from such a single-minded devotion to his
art. ‘I like design and form a lot,’ he admits.
‘I spend a long time getting cameras in
exactly the right, usually awkward, positions
to get things to line up just how I want them.’
Dead Sheep on Long Mynd is one such
image for which patience paid off. Martin
came across the suspended carcass during
a camping holiday in Shropshire but his first
attempt to photograph it was scuppered by
a film fault. Undeterred, he simply rebooked
another trip two weeks later to make sure
he didn’t miss out. ‘If I find a really good
32-37_MARTIN_DYDE_190 ER/MB.indd 36
subject like that one, I will often go back and
photograph it a number of times,’ he says.
His favoured shot avoids the obvious face-
on view of the skull and instead focuses on
the abstract interplay between the animal’s
ribcage and the weathered surface of the
tree. The two appear to become intertwined
in places, a lifeless unity of flora and fauna.
A second sheep skeleton features in
another of Martin’s most successful prints,
Remains of Fallen Sheep in Disused Quarry
with Corn Du, Fan Bwlch Chwyth. Here the
bones are just a small element within the
vast, bleak landscape, a mere point of scale
beneath the sheltering Brecon skies.
Martin shot 10 rolls of film in half an hour
as he attempted to capture the cloud patterns
successfully. ‘I know what I’m going to find
and which particular spot is interesting to
look at in certain conditions,’ he explains.
‘Another reason I like grey skies is that I’ve
never been any good at getting up for sunrise.
Anything before 7am is insanity in my book.’
Nevertheless, Martin continues to
devote almost all of his spare time to his
photography. He intends to take more
pictures of Newhaven and Seaford on the
Sussex coast soon, but for now he will
continue to spend his time wandering the
Welsh hills in search of his next subject,
content in the knowledge that every cloud
could potentially have a silver gelatin lining.
20/04/2016 11:25
 37
B+W

Opposite Remains of fallen sheep in disused quarry, Brecon Beacons, 2015. Above World War II building, Gower, 2014

‘It’s very important to have an affinity with the subject…

I want my photographs to be quiet but poetic, that’s the aim.’

To see more of Martin Dyde’s work visit the-silver-monochrome.co.uk

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 louisa guinness gallery
j e w e l l e r y by a r t i s t s

also on view anish kapoor, nic fiddian green, marc quinn,

pablo picasso, man ray, max ernst, lucio fontana
& andrew grima
conduit street, london, w1s 2yn
45
louisaguinnessgallery.com +44 (0) 207 494 4664

Ron Arad, Hot Ingo, 2016, Earrings, silver rods with red sintered polyamide, 10 x 2.5 x 2.5 cm, edition of 100

038_BW_190.indd 38 4/21/16 9:55 AM

 INSPIRATION
INSIGHT
Working on a project for her MA in photography, Vicki Painting,
winner of the B+W Photographer of the Year, turns to the family album
Image © Vicki Painting
as a source of memory and a vehicle for research into identity.

39
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P
hotography and memory are
inextricably bound, no more
so than within the ubiquitous
family album. As early as 1859
the American physician and poet
Oliver Wendell Holmes was to
describe photography as the ‘mirror with a
memory’. His invention of the stereograph,
a device for viewing 3D images, one of
the many new forms of photography, was
used extensively during the American civil
war. The emerging forms of photography
not only provided unprecedented graphic
documentation of the conflict, but allowed
soldiers to carry pictures of their loved
ones on to the battlefield, and to send
photographs back home.
From here on, families began to
‘It is only recently, however, that
family photography, arguably
the most widespread form of
photography, has begun to
receive academic scrutiny…’
commission and collect images of
themselves and these visual representations
would be arranged in the books that we
instantly recognise today as family albums.
Pictures documenting the mundane,
alongside celebrations and milestones,
form a legacy. It is only recently, however,
that family photography, arguably the
most widespread form of photography, has
begun to receive academic scrutiny, and
initial interest came from the disciplines
of sociology and anthropology. Viewed as
amateur or vernacular this form was for
a long time sidelined by art historians.
Working on a personal project about
the recent past, I have turned to my family
archive as a vital research tool. I am looking
afresh at this material assembled to tell a
specific idealised narrative about our family
identity. Albums are carefully edited by
their curators, so it is interesting to see how
those that end up discarded in junk shops,
are re-authored by artists and photographers
who have no knowledge or memory of the
people contained within. Removed from
their original context, their occupants’ lives
become redundant and a new reading is
offered up to others.

39_INSIGHT_190/ER/MB.indd 39 20/04/2016 11:31

 COMMENT
A MODERN EYE
The way in which a documentary project can change its meaning over time is the
All images from
Empossamento 2003 subject of this month’s article by Shoair Mavlian, assistant curator of photography at
© Mauro Restiffe
Tate Modern, as she explores the work of Brazilian photographer Mauro Restiffe.

40
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I
nspired by a recent trip to
Brazil, I searched the Tate
collection and decided
to highlight the work of
contemporary Brazilian
photographer Mauro
Restiffe, who for several
years has been building up
a diverse body of work and
international exhibition record.
Born in São José do Rio Pardo
in Brazil in 1970, Restiffe now
lives and works in Sao Paulo.
After initially studying film,
he turned his interest to
photography, moving abroad to
study at the International
Centre of Photography in New
York before returning to Brazil
‘His practice shifts between conceptually history and memory. Firstly,
time is present within the work
driven projects to straight documentary work, as Restiffe documents the
passing of time over the course
with an acute sensitivity to documenting of the day, capturing the open
his everyday surroundings.’ spaces of the capital, initially
empty and devoid of people and
his everyday surroundings, captures the official event in all then filled with crowds in festive
be it interior spaces, abandoned its glory and fanfare, depicting celebration, ending with the
modernist architecture, urban the day as both a celebration and aftermath of the celebrations,
landscape, or the city in a an event of important historical documenting the debris and last
broader sense, encapsulating significance. The crowd’s remaining people following the
what it is like to experience life enthusiasm, captured by Restiffe dispersal of the masses. By
in a functioning urban space. from a wide, all-encompassing, including the build-up, peak and
Empossamento (2003) angle is testament to the aftermath in the series, Restiffe
was shot over the course of public’s belief in Lula’s promise draws attention to the passing of
one day and documents the of deep social change and the time but also the suggestion of
inauguration ceremony of possibilities of a brighter future. change and new beginnings.
elected president Luiz Inácio History and memory have a

some years later. His practice
shifts between conceptually
driven projects to straight
documentary work, with an
acute sensitivity to documenting
Lula da Silva (popularly known
as Lula) as he took office for
the first time on 1 January,
2003. Taking place in Brasília,
the country’s capital, the work
N
ow, more than 13 years strong presence in the work due
after the inauguration to the iconic setting in which the
event, Empossamento inauguration took place, the
has a complicated and federal buildings of Brasília.
layered relationship with time, Completed in 1960, the now 

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 41
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 42
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iconic architecture of Brasília
was commissioned by President
Juscelino Kubitschek and much
of the city was designed by the
renowned architect Oscar
Niemeyer. Kubitschek’s vision in
the 1950s for the country to be
unified by the new capital and
the modernist vision realised by
Niemeyer now represents the
epitome of utopian ideals, similar
to the optimism surrounding
Lula's election in 2003.
However, the 13 years which
have passed since the work was
made, means the event has
slipped into history, and just as
Kubitschek fell out of favour, so
too did Lula. In the midst of a
very different political climate,
the optimism captured in 2003
has vanished and we see the
work with different eyes, and
perhaps as a testament to the
importance of both the
recording of such events and
the constant re-contextualising
of them. Restiffe is acutely
aware of the speed in which
these images lost their
40-43_A_MODERN_EYE_190 ER/MB.indd 43
currency, stating in 2006 that,
‘When I took the pictures of
Lula’s inauguration, I meant to
create a photographic archive
we could appreciate again in
30 years, in the same way we
now look at Thomas Farkas’
pictures on the construction of
Brasília. Yet, the pictures of the
Empossamento series already
bear a nostalgic tone and refer
to a time that has passed.’
R
estiffe shoots on 35mm
film and then enlarges
the images, printing
them in a large format,
drawing attention to the grain of
the film and the analogue
language. His dedication to the
craft of analogue photography
is an important part of his
practice. During his studies in
the mid 1990s, when many
artists chose to use colour as a
more radical gesture of breaking
with the traditions of the history
of photography, Restiffe
deliberately and exclusively
chose to use black & white. The
graininess and diffusion of the
blown-up techniques Restiffe
uses creates a familiarity for the
viewer and evokes feelings of
nostalgia. When documenting
a city like Brasilia, nostalgia is
something that is hard to
escape. Since the beginning of
its construction, Brasília has
been the focus of great
photographic projects,
documenting the city in detail
as an example of the legacy of
modernism and utopian ideals.
In one final layer of the work
the title Empossamento is a
linguistic play on the Portuguese
word for inauguration, not in
common use in Brazil. By using
this title Restiffe refers to two
elements which he felt
characterised the day, posse
which in Portuguese means the
act by which the President takes
power and poça meaning pond,
a reoccurring theme in
Niemeyer’s architecture and
which the large crowds
spontaneously used to deal with
the hot temperatures of the day.
43
B+W
However poça could also refer to
something you should approach
with caution or be wary of,
highlighting some of the
uncertainties that surrounded
the historical moment.
YOU MIGHT
ALSO LIKE…
Thomas Farkas (1924 – 2011)
was born in Budapest, Hungary,
and moved to Brazil as a young
child. He is well known for his
iconic images of Brasília, taken
between 1958 and 1960 during
its construction. His images are
distinctly modernist in style,
documenting the architecture
while at the same time focusing
on the workers and day to day
environment of the emerging city.
20/04/2016 11:47
 INSPIRATION
THINKING PHOTOGRAPHY
The context in which your images are seen has a huge impact on how they are viewed
and understood. In the second part of his series, Alex Schneideman investigates
alexschneideman.net
the ways in which you can give your photography the best possible chance.

44
B+W

Antiquities, 2012

T
o give our work context
is to give it meaning
to the wider world.
Without context, it may
seem irrelevant. With
context, our images connect to
the intricate dynamic of human
experience, enabling people to
form a bond with it. The purpose
of this article is to focus on a
consideration that we all know
to be true, is not often discussed,
and can have a great impact on
our photographic legacy.
In my last article I spoke of
the creation of art as being the
act of bringing attention to the
abstract. This is a good way to
‘As your images transfer from the private world help them by controlling the
environment in which your
of their inception and selection to the public world work is seen. The key here is to
of arbitrary engagement, those qualities and ideas concentrate the viewer’s gaze on
your work without distraction.
in your work will be lost unless you can elicit This needs to be done both
some control over how they are viewed.’ practically and conceptually.
A frame is a ‘practical’
meaning for you. This initial ‘secondary contextualisation’ conxtextualising tool – here the
personal contextualisation gives is required. As your images border allows the elements of the
the impetus required for the transfer from the private world image to live in their own world,
photographer to capture the image of their inception and selection a world defined and delineated
and give him or her the reason to to the public world of arbitrary as something different from the
commit to it. Let’s say this is called engagement, those qualities and wooden surround. A secondary
‘primary context’. At this stage ideas in your work will be lost or ‘conceptual’ context can be
all sorts of nuances, details and unless you can elicit some control described by imagining the
fluctuations of meaning are either over how they are viewed. power of a solo show at the
consciously or subconsciously Tate versus the display of some

start looking at the concept of
context; in observing something
and making an exposure you have
effectively placed your subject in
its own context – one that has
known by its originator.
Now, a selection of images is
made perhaps for an exhibition,
a book or for entering into
a competition. At this stage
T
he viewing public do not
have the visual acuity,
time or inclination to
engage with your images
as you would wish, so you must
work in a village hall. The same
pictures may be exhibited but
to different effect by leveraging
gravity by association.

These suggestions are all vital

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 All images © Alex Schneideman

Art Fair,
London 2013
45
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Eadweard Muybridge
Exhibition 2010

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 Art Fair,
London 2013

46  aspects of placing your work in the
right light, perspective or context.
B+W
The craft of putting your images
in the right context might come to
you instinctively or not – but bear
in mind that context is essential
when it comes to generating the
most effect from showing your
work. Context is relevance. It can’t
be put simpler than that.
Here are some observations
made during my time printing for
photographers all over the world.
I’ve had a chance to examine
success and failure at close hand
and these notes reflect some of
the lessons I’ve learned.
Agree or disagree? Let me know
at @schneideman331 or email
me at alex@asprinting.net.

ONLINE
It is too easy to show your images to many people. Flickr,
Facebook, Instagram and the like all make the exposition of your
work almost automatic. But, unless your pictures are connected
to an event or cause, these media are disastrous for preserving
the gap between the metaphysic truth of your images and the
prosaic mess of the world around them. Your work needs space
– space to make its own case. It is much better to use these
media to bring people to your own website.
WEBSITE
Picture editors and curators have told me so many times that
websites need to fulfil only two functions: clear visibility of
images and ease of navigation. That’s it. A website does not need
to be pretty – simply functional, allowing the work to ‘speak’.
GROUP VERSUS SOLO SHOW
When showing prints avoid group shows – they do nobody’s
work any favours. Instead, commit to your images and find a
space where they can be shown on their own. Group exhibitions
have the benefit of bringing more people in to view your work,
and they are very good for people starting out, but they are
messy, prone to compromise and have the effect of degrading
the power of your work, especially when it is adjacent to
a weaker display. The ‘village hall’ is a better environment
to display your work than risking contamination by
acquaintance with poor images.
PRESENTATION
Framing is over considered. You cannot reinvent photography
with a stunning frame. Keep it simple and make all your pictures
the same size so that the viewer can ‘tune out’ the ancillary
details and concentrate on the actual images. iPads are great
for casually showing your work but we automatically devalue
it because screen images are so pervasive in our visual lives.
Hanging pictures is crucial to their impact. Poor hanging will
reduce the power of your exhibition by a huge amount. Make sure
that frames are neat and clean and hung so that they are dead
straight. Failure to do this makes you look like an amateur (I mean
this in the pejorative sense!). Neat hanging is more important than
correct exposure for the purposes of connecting with viewers.
PORTFOLIO
A lovely set of prints in a well made clamshell portfolio box is
extremely seductive and endures as a great way to show your
work. Allow wide borders (go up a paper size to incorporate this)
and you get the double benefit of being able to handle prints
(matte paper cleans up very well – direct message me and I’ll
tell you how) and the separation from the environment that
every good shot deserves.
CURATING A SELECTION
Lose a third. Some of my clients refer to the process of selection
as ‘drowning your babies’ – a horrific term but one that sums up
the process well. Your final selection should hurt. There will be
loved pictures left behind because they weaken the whole.

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047_BW_190.indd 47 4/20/16 10:20 AM
 TECHNIQUE
SHOOT THE SUMMER
Of all the seasons, summer is perhaps the hardest to photograph well.
But if we concentrate on the positives and see summer as a creative
All images © Lee Frost
challenge then photographic opportunities will come, says Lee Frost.

A
sk any serious photographer
to name their favourite season
and chances are not a single
one would nominate summer.
The majority would opt for autumn and
more than a fair few would give winter the
thumbs up, or spring. But summer? Too
bland. Too bright. Too harsh. Too busy.
I get it, I really do. I personally take fewer
photographs in the UK from the middle of
June to the end of August than at any other
time of year. But summer’s not that bad and
if you look beyond the hazy light or fluffy
white clouds you’ll see there’s a lot more to
summer than you first realised.
For a start, those perfect summer days
are few and far between – we’re as likely to
get stormy skies and thunderstorms as we
are wall-to-wall sunshine. The long days of
summer also mean we have more shooting
hours to take advantage of than at any
other time of year. If you’re willing to be up
and out before sunrise your camera could
be kept busy for 18 hours!
Instead of focusing on the negatives,
concentrate on the positives and see
summer as a creative challenge. It’s
easy to produce great images when
conditions are perfect, but the ability to
come up with something special when
they’re not is what sorts the men from the
boys – and also helps you hone your craft
as a monochrome master. It’s all about
choosing the right subject or technique to
suit the conditions. Not convinced? Then
read on and prepare to be inspired!

48
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1 BAMBURGH, NORTHUMBERLAND
There’s nothing like the first sunlight of the day. It rakes across the landscape, casting long shadows and revealing texture and form in everything it strikes.
Canon EOS 5D MKIII with 16-35mm lens, 0.6 ND hard grad, 1/60sec at f/11, ISO 100

1 RISE WITH THE LARKS

Quality of light is everything in
photography, but in summer you have to
work a little harder to get it. The sun rises
as early as 4.30am in late June and by
8am has pretty much reached its zenith
(its highest point in the sky), at which
point the light is harsh and unforgiving,
shadows are short and dense and
contrast is high. If you want longer
shadows (which reveal texture and add
depth) and softer light (which reveals more
detail and just looks nicer) then you need
to be up and out not long after sunrise.
As your goal is striking mono images,
colour isn’t important so you don’t have
to bother with the predawn glow or try
to catch the fiery sunrise itself, but once
the sun rises into a clear summer sky, the
light is fantastic immediately – you’ll see
the effect it has on the landscape as long,
weak shadows rake across the ground.
If you want to capture that, you need to
set your alarm clock and be on location
by sunrise.

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 2 INTO THE LIGHT
If you’re out early or late to catch the light with the sun low in
the sky, another option worth considering is to shoot silhouettes.
Place a solid object between you and the sun and you’ve got
the makings of a great image. The object could be any simple,
easily-identifiable shape such as a person, tree, boat or building
and as well as using the sun to create the silhouette, any bright
background will do – such as shimmering highlights on water
or sunlight reflecting off a white wall.
Leave the metering to your camera, in all but the brightest
conditions a perfect silhouette will be created every time.
Underexposure can occur if the sun’s intense, but hiding the
sun behind your silhouette will reduce the risk of exposure error
and also help prevent flare – though flare can look good if you
use it creatively!

‘Quality of light is everything in photography,

but in summer you have to work
a little harder to get it.’

49
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3 MERZOUGA, MOROCCO
It doesn’t matter how intense the light is out in the open, once you step into
the shade it instantly becomes soft and flattering – and perfect for portraits.
This shot was taken in the entrance to a Berber tent – the shady interior
created a simple black background.
Canon EOS 5D MKIII with 24-70mm lens, 1/200sec at f/5, ISO 400

2 MARRAKECH, MOROCCO
The high contrast created when you shoot into the sun or towards bright
surfaces that are in full sun is ideal for silhouettes simply because your
camera can’t cope with the vast difference in brightness between the
highlights and shadows.
Canon EOS 5D MKIII with 70-300mm lens, 1/1000sec at f/5.6, ISO 200
3 SHADY DEALINGS
If the intensity of summer sunlight is too much, an obvious
solution is to keep it off your subject. When shooting portraits,
for example, you could pose your subject in the shade where
the light is much softer and contrast is lower – a world away
from open sun where ugly shadows are cast beneath noses
and chins and eye sockets turn into lifeless holes.
Shade can mean working in the shadow of a building, wall
or tree. Standing in an open doorway or under an archway
works well too. If nothing is available, simply holding something
above your subject’s head (such as a reflector, sheet of card or
even your jacket, so there’s no direct light falling on them) will
work just as well.
The same technique can be used when shooting close-ups
or details – holding a sheet of card above a flower or plant will
keep the sun off it and improve the quality of light tenfold. 

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 4 ISLE OF SKYE, SCOTLAND
Summer weather isn’t always good – storms are also common, and when they come the conditions for landscape
photography can be fantastic. I captured these crepuscular rays one summer’s evening up at Neist Point.
Canon EOS 5D MKIII with 70-300mm lens, 1/160sec at f/11, ISO 200

50  4 WATCH THE WEATHER

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Although we’d like to think the British
summer involves day after day of cloudless
blue sky, the reality is somewhat different.
Stormy skies, thundery downpours, sea
frets and overcast days are all part of
summer too, and these can create much
more dramatic conditions for landscape
photography in particular. So, it’s well worth
keeping an eye on the weather forecast and
being prepared to head into the countryside
or out to the coast if it looks like something
interesting is going to happen.
The thing is, if the sun’s hidden behind a
bank of cloud it doesn’t matter how high it
is in the sky, or how harsh the light would be
if the cloud wasn’t there – dramatic weather
in the middle of summer is as effective for
photography as it is at any other time of year.

5 GO GRAPHIC
Between 8am and 5pm in summer the
light is at its harshest. Many photographers
consider this period to be unsuited to
landscape photography and put their
cameras away until much later. Agreed – in
clear weather the light can be intense, and
with the sun overhead shadows are short
and dense. However, while such conditions
aren’t much use for atmospheric images,
if you like to shoot graphic photographs,
strong sunlight is ideal. Shapes and lines
are bold. Contrast is high. Shadows are
solid black. These are perfect ingredients
for striking abstracts.
Buildings, bridges and other architectural
structures look stunning on a clear
summer’s day, so head to the city and
experiment with unusual viewpoints. Look
for simple, abstract details and use both
5 VALENCIA, SPAIN wideangle and telephoto lenses to create
Summer sunlight is bold and intense. When you match that to a suitable subject, dynamic compositions. You can always
such as modern architecture, the results can be fantastic. boost contrast even further during post-
Canon EOS 5D MKIII with 24-70mm lens, polariser, 1/160sec at f/8, ISO 100 production if necessary. 

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 6 SHADOWPLAY
Strong sunlight means strong shadows, and
though that can be a problem for some subjects,
such as portraits, it can also create great photo
opportunities – the shadows become an integral
part of the composition. When the sun’s high in
the sky, shadows are cast down walls and doors.
When it’s low they rake across the ground.
Once you start looking you’ll see them,
everywhere – indoors and out. Fences and
railings, window frames, slatted blinds and
ornate ironwork all cast fantastic shadow
patterns that create images where none would
otherwise exist. Use a telezoom to home in
and fill the frame with shadow patterns, and if
necessary boost contrast during post-production
to emphasise the light and shade effect.

6 MARRAKECH, MOROCCO
We normally notice shadows on the ground,
but when the sun’s high in the sky, look for
interesting shadow patterns cast on vertical
surfaces too, such as walls and doors.
Canon EOS 5Ds with 24-70mm lens,
1/125sec at f/8, ISO 400

51
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 7 V& A MUSEUM, LONDON
London isn’t the best place to be shooting in mid-summer, but thankfully there are plenty of buildings the ISO and handhold the camera. I often
you can go inside where the quality of light is much higher – such as the many museums. do this if the light’s no good outside,
Canon EOS 5D MKIII with 14mm prime lens, 1/50sec at f/8, ISO 1600 especially in London where all the main
museums are free to enter and it’s OK to
 7 INSIDE JOB take photographs. Popular tourist spots
Photography isn’t confined to the great camera. Churches, cathedrals, castles, do get busy in summer, but you can
52 outdoors, so if you’re not enjoying the museums – there are lots of options and usually get decent shots even if it means
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summer weather you could always avoid it though most won’t allow tripods to be shooting details, so you can zoom in
completely by heading indoors with your used inside, you can always bump up and avoid the crowds!

8 EXPERIMENT
WITH INFRARED
Summer’s the best season to try your hand
at infrared photography. Not only are there
lots of green foliage and plant life everywhere
(which reflects infrared light and records as
a ghostly white tone), but the harsh summer
light also creates high contrast and that
suits infrared really well. You can take great
infrared shots wherever you find foliage, so
parks and gardens, woodland and riverside
walks are ideal. Also, check out old buildings
such as churches, castles, manor houses,
ruins and abandoned cottages – they suit
the spooky look of infrared. An infrared
modified camera is the easiest to use (I have
a Canon EOS 5D MkI converted to IR) as
you can use it like a normal camera. If you
don’t have access to one, use an infrared
transmitting filter on your lens, such as a
Hoya R72 or cheaper alternative available
online. The downside of an IR filter is that it’s
visually opaque and requires long exposures,
so you need to mount your camera on a
8 LINDISFARNE, NORTHUMBERLAND tripod and set up the shot before putting the
Summer is the ideal time of year to shoot infrared as a typical sunny day provides perfect conditions filter on your lens. However, it’s worth the
– blue sky, fluffy white clouds, fresh foliage and strong light. hassle because the results can look stunning
Canon EOS 5D MKI IR conversion, 16-35mm lens, 1/250sec at f/11, ISO 400 – as you can see from this shot.

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 9 EMBRACE
THE HARSHNESS
Of course, if all else fails, you could just
think ‘to heck with it’ and shoot away
despite the fact the light is harsh and
contrast is high. Doing this is less of an
issue when you intend to convert the
images to black & white than if you want
to keep the colour, because part of the
problem with summer light in the middle
of the day is that it makes colours look
flat. Take that colour away, however,
and it’s a different matter. High contrast
works brilliantly in black & white – deep
blacks and pure whites make a striking
combination. It doesn’t really matter if the
sky is hazy because it’ll just look grey,
while blue sky can be manipulated to go
almost black. If you’re not convinced,
try setting your camera to monochrome
mode. If you can boost contrast in the
menu do that too, and also set a mono 9 OIA, SANTORINI, GREECE
filter such as red or orange – they work Rather than trying to avoid it, sometimes you’re better off just accepting the harsh summer
especially well when the sky is blue. light for what it is and making the most of it. Here I used a polariser to darken the blue sky
You’ll see the effect of choosing these almost to black for maximum contrast with the whitewashed building.
settings in the preview images on the Canon EOS 5D MKIII with 16-35mm lens, polariser, 1/160sec at f/11, ISO 200
back of your camera and if you also
elect to shoot in both Jpeg and Raw the Jpeg so you’ve got finished black & white colour Raw files to convert later if you
presets you choose will be applied to the images straight from the camera – plus want optimum quality and control.

10 SLOW IT DOWN 53
If you’re on the coast and getting fed B+W
up with harsh summer light, why not
dig out your Big Stopper or similar
extreme ND filter and shoot some long
exposures? Overcast and stormy days
may provide better conditions for this
type of photography as the light is softer
and there’s more motion in the sky, but
you can also get some great results in the
middle of a bland summer’s day when
there isn’t a cloud to be seen.
The key is to keep the composition nice
and simple. For the static elements go
for something bold and graphic – a jetty,
groynes, posts half submerged by the sea,
a pier or pipeline. Man-made structures
tend to work better than natural ones,
though don’t rule out rocks and boulders.
Light levels are high in sunny summer
weather, so to get a decent exposure – at
least 30 seconds, preferably a minute or
more – you’ll need to stop your lens right
down to it smallest aperture (f/22 usually)
and the ISO to its lowest (50 if you have
it). If that doesn’t give you a long enough
exposure with a 10-stop ND filter, add a
polariser to the mix or a second, weaker
10 NEWBIGGIN BY THE SEA, NORTHUMBERLAND
ND filter. A polariser and a 0.6ND both
Summer weather isn’t ideal for long exposure photography, but if you shoot simple graphic
reduce the light by a further two stops,
subjects it can work. The new Lee Filters 15-stop Super Stopper will also help you
achieve suitably long exposures in bright sunlight too. so a 15 second exposure with a 10-stop
Canon EOS 5D MKIII with 70-300mm lens, Lee Filters Big Stopper and polariser, 51 seconds at f/22, ISO 100 ND would become 60 seconds if you also
put a polariser or 0.6ND filter on your lens.

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 TECHNIQUE PHOTO PROJECT 35:

LIGHT
Light is one of the most powerful elements in the composition of a strong
black & white picture. Tim Daly looks at photography’s primary source
All images© Tim Daly
and shows how you can make the most of it.

B
ack in the days when scientists
were trying to make permanent
the effects of light on sensitive
materials, artists were already
switched on to the potential of light.
For many of the world’s leading
painters, light was an instrumental
force in the creative process. Paintings
by artists such as Caravaggio, Joseph
Wright of Derby and Claude Monet are
primarily studies of atmospheric light
and how it can be used to describe
subject matter. Take this special
light away and you’re left with purely
shapes, structures and arrangements.
For us photographers today, light
still has the potential to transform
ordinary things into special, visual
events full of interest and eye-catching
details. For this project, you can make
the most of fleeting light opportunities
when they occur and build a body
of work around these transient,
ephemeral occasions.

SECTION 1: THEME IDEAS

For this project I want you to choose a location you can easily dip in and out
of over the next month. This could be at work, at home, or near enough to
make short regular trips. As the project develops you’ll start to spot the most
interesting times of day to return, re-shoot and build up your response.

54
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1 SILHOUETTES
Light illuminates everything, but its absence
can help draw and define delicate shapes
too. Silhouettes and shadows, especially
those projected on to translucent materials,
can create interesting optical curiosities, 2 REFLECTIONS
as this example shows. A great way to approach the study of light is to venture out into the city during your lunchtime
Shooting towards the direction of the light and capture the myriad reflections off sleek, high-tech buildings. Any glass or metallic
behind a shield of fabric in a garden centre surface will provide you with a chance to experiment with your own shooting position and
allowed me to spot the intricate shapes composition. Explore low angles to get plenty of skyline in the shot, as this example shows.
created by shadows cast from a plant. For inspiration, look at the street photography of Lee Friedlander, who is a master
Like ‘real’ Photoshop layers, working with of observation and visual experimentation with glass and reflective surfaces.
translucent materials on location enables
you to overlay shapes, textures and lighting
effects without going near a computer. As INSPIRATIONAL QUOTE
objects get closer to the fabric they
become sharper and vice-versa, so there’s ‘Light is the photographic medium par excellence; it is to the
plenty of scope to play with. For further photographer what words are to the writer; colour and paint
inspiration look at photographer Fay
Godwin’s Glassworks project to see the to the painter; wood, metal, stone or clay to the sculptor’
creative results of in-situ layering. – Andreas Feininger

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3 ARCHITECTURAL LIGHT
How light falls and projects itself into an interior space has always
been an essential aspect of an architect’s thinking. Yet rarely do we
consider interior spaces as being controlled or lit by natural light.
If you get the chance to visit a stately home or museum, keep an eye
out for the effects of light on interior spaces. In this example, shot in a
grand Georgian house in Ireland, a soft light was cast from an upper
window on to this marble bust, making it perfectly lit without any
extra intervention. When shooting indoors it’s essential to use a tripod
so you can take advantage of low, but atmospheric light scenarios.
Take a look at Magnum photographer Erich Lessing, who has
made a career from shooting the world’s most beautiful art and
antiquities in the most sensitive manner.
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55
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4 ON YOUR WINDOWSILL
Wherever you live, there’ll be at least one window in your home
that becomes flushed with light at a certain time of day. As the sun
moves in the sky it will stream straight lines of light into your house,
making atmospheric shadows and patterns on surfaces inside.
Consider how you can make the most of this daily occurrence by
experimenting with your shooting position or moving objects in and
out of the frame, as this example shows. You may also introduce
an extra prop, such as an exquisite cut flower, which you can add
into your composition and record its fading beauty over time.
Check out Josef Sudek’s masterful study of simple objects on
his studio windowsill, a sideline practice that engrossed him for
most of his creative career.
5 DOMESTIC PHENOMENON
Some of the most memorable photographs are observed and
captured in the most unlikely situations. If you have a good
quality cameraphone then you can respond to an unexpected
moment when it arrives.
This example of reflected light streaming across a textured
ceiling was a curious phenomenon and lasted for just a few
minutes. Framed and captured with my cameraphone, it was
easily edited in Lightroom to enhance the contrast and texture
using the Clarity tool. Cameraphones can be an effective tool
for capturing incidentals and, as long as you don’t want to
print big, they are the most portable gadget you can have
in your pocket.
The master of shooting in these kinds of unexpected
settings is photographer William Eggleston – check out his
groundbreaking book The Democratic Forest.
20/04/2016 11:51
 SECTION 2: IN THE CITY
If you’re at work in a busy city centre, why not take your camera out during
lunchtime or start using your cameraphone a bit more?

ON THE HOUSING ESTATE

Many big cities have interconnected retail,
business and residential areas that have
been designed to encourage you to walk
around and explore. High-rise locations
too can cast a very special quality of light
on ground floor walkways and pedestrian
areas by their sheer size and light- THE OLD TOWN
blocking properties. Crumbling surfaces and textural details are all enhanced by raking, low-angle light
In this example, shot in Nanterre in typically found on a sunny winter’s day or in a confined built-up space. Explore the
56 Paris, the midday light was sliced in two light effect through your own shooting position, especially if it helps to enhance the
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by a gigantic apartment block, making it feeling of streaming sunlight, as this example shows.
freezing cold in the shade but hot in the Use Lightroom’s Graduated Filter tool to darken down areas of the image that
sunlight. London’s Barbican Centre is a are too bright and visually distracting. These pools of light are like natural spotlights
great location for a shoot too. falling on the cityscape.

THE NARROW STREETS

Near the river, seafront or
docklands can often be
found thin, narrow streets
accompanied by sheer-sided
warehouses or tenement
buildings. In these locations light
is funnelled down the streets in
a shape, like using a barn door
modifier in a studio shoot.
As this example shows, light
that is shaped by buildings
to shine in a thin line casts
very dramatic shadows and
really emphasises surface
textures. Use your lens and
shooting position to keep a
sense of space in your shots,
through vistas or lots of three
dimensional depth.

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 SECTION 3: ATMOSPHERIC CONDITIONS
At certain times of the year, season or day, special lighting
scenarios can really brighten up a mundane situation.

TWILIGHT
With modern DSLRs making such great
quality images at high ISO values, shooting
in low light is no longer a big issue.
During twilight, you’ll start to see subjects
becoming outline silhouettes that can look
really interesting if they had a good shape to
start with. In this example I’ve shot against
BAD WEATHER the light so I can show the glint of the water
While we are all conditioned to stay indoors and keep our cameras dry during unseasonal jets against the shapes of the statues. For
weather, it can pay dividends to brave the elements and get outdoors. A good idea to get this kind of shot it’s worth experimenting
into this way of thinking is to shoot in the immediate aftermath of bad weather so you with your exposure through bracketing. By
get to see the changes on the landscape but without taking a soaking. shooting two extra shots half a stop either
This example shows a small detail of a metal café table after a bout of torrential rain – side of your meter reading, you’ll have the
57
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with an interesting optical thing happening in the droplets. luxury of three files to choose from later on.

PROJECT OUTCOME
Aim to make a project in your local
area and try to capture its changing
atmospheric lighting in a range of
different locations in your home,
workplace or public venue, as this
example shot in the snug of a city
centre pub shows.

INSPIRATIONAL
MORNING MIST WEBSITES AND BOOKS
Spring and autumn are the best seasons to shoot early morning atmospheric
conditions such as fog and mist. Shooting this kind of event is tricky as you are never Erich Lessing’s archive essingimages.com
quite sure how much or how little the shapes are shrouded in the shot. William Eggleston The Democratic Forest
Remarkably, transient light effects (such as this example) can change within Martin Parr Bad Weather
minutes, so it’s always a good idea to shoot several frames of the same scene with Fay Godwin Glassworks and Secret Lives
five-minute intervals. Andreas Feininger New York in the Forties
timdaly.com

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 COMMENT
A FORTNIGHT AT F/8
For Tim Clinch, the modern obsession with being a specialist
photographer is not only limiting but can curtail creativity.
timclinchphotography.com
Far better, he says, to be a good all-rounder, prepared for anything…

58
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W
hen asked what
sort of photography
they enjoy or do, so
many people these
days name a very narrow field.
‘I shoot landscapes’ or ‘I’m a
street photographer’ or even
(as someone said to me recently)
‘I shoot macros.’
All well and good, but I find
with a lot of people, once they
have told me what it is they most
that over the years my work
has changed a lot and these
days I’m lucky enough to do an
awful lot of travel photography
for some very nice magazines.
The thing I love most about
travel photography is that it’s
indefinable. And there’s no
time for being a specialist.
On recent ‘travel photography’
shoots I’ve shot portraits, cars,
wine, food, still life…pretty
much everything. And one
of the constants is that I’m
nearly always required to shoot
some landscapes.
I have come to the realisation
that this has been good for me.
Being forced, by circumstance, to
do something I’m not confident
about has not only improved my
work, but has also boosted my
confidence by making me realise
that I’m not quite as hopeless at
it as I thought.

S
enjoy shooting, they simply omething too few people
carry on shooting it to the do these days is to look at
detriment of expanding their the work of some of the
photographic experiences. greats of photography.
Regular readers of this column Are many (any?) of them
will know that I do not consider specialists? I know I go on about
myself a particularly good him, but consider the work of
landscape photographer. It’s not my favourite photographer,
a genre I enjoy and something, if Irving Penn. Portraits, fashion,
I’m honest, that I have to force still life, food, urban street
myself to do. The problem being photography, even landscapes

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(his series of pictures from
Crete taken in the early 60s is
particularly stunning)…he was
master of them all.
If I had to choose which
genre of photography is my
favourite it would be still life.
I love its intimacy and the
huge differences that moving
inanimate objects fractions of
an inch can make to a picture.
I enjoy being in control and am
never happier than with my
camera on a tripod looking at a
beautiful composition. However,
what makes shooting still life
better and more enjoyable for
me is having a break from it.
A few weeks travelling, shooting
food, portraits and landscape
(as I have just been doing in the
beautiful Alentejo region
of Portugal) makes me long for
the quiet solitude of a still life.
I love all aspects of photography
and creating pictures, but the
idea of doing the same thing all
the time is anathema to me. In
order to re-spark my enthusiasm
for something, stepping away
from it and exploring another
avenue, especially one I’m not
particularly comfortable with,
does it every time for me.
As the great man said, ‘I can
get obsessed by anything if I
look at it long enough. That’s the
curse of being a photographer’ –
Irving Penn.
58-59_FORTNIGHT_190 ER/MB.indd 59
All images © Tim Clinch
WHAT TIM
DID THIS
MONTH
Having said that I’m not
the biggest fan of landscape
photography…this month
I’ve chosen a landscape
photographer whose work
I do like. I’m sure that
you’re all familiar with
the Dusseldorf school
of photography (what I
sometimes refer to as the
‘miserable b*stard school
of photography’). Probably
overshadowed by the greater
fame of Thomas Struth,
‘I can get obsessed by anything if I look at it long enough. Thomas Ruff and Andreas
Gursky (or the Struffskys, as
That’s the curse of being a photographer.’
someone once called them),
Irving Penn. Axel Hütte is a lesser-known
member of the group. They all
attended the Kunstakademie
Düsseldorf in the late
59
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1970s, and had no less than
husband and wife Bernd
and Hilla Becher as their
teachers. Hütte’s landscapes,
while being pretty much as
miserable as they come, are
also amazingly peaceful and
tranquil. Sparse, strange
pictures of wintry birch
forests and dark, sombre
lakes. His cityscapes are
no less cheerful, but again,
strangely addictive. They’re
probably not going to cheer
you up much, but they will
make you think…
The pictures this month are
all from a story I shot earlier
this year in the beautiful
Alentejo region of Portugal.
Why this part of Europe is
not more famous beggars
belief. It is breathtaking, and
seldom visited. The food,
wine, towns and villages are
simply wonderful, and the
people all seemed charming
and helpful. These were all
shot in the cute little border
village of Monsaraz. It is a
photographer’s paradise
(especially if, like me, you just
love taking landscapes!).
20/04/2016 11:55
 FE AT U R E
60-SECOND EXPOSURE
When Magdalena Straková was invited to photograph the Rajput royal family
All images of Udaipur she made a faux pas that still makes her cringe. Here she talks to
© Magdalena Straková
Tracy Hallett about taking risks, realising dreams and making mistakes.
I took up photography because… Tell us about a photographic
I’m a big fan of animals, opportunity you have missed.
particularly horses. I tried using I went on a five-day horse safari
a compact to photograph them in India, but I decided not to
for a while but I was disappointed carry my main camera with me
with the results. I wanted to take all the time, because it’s so bulky.
pictures like the ones I saw in One day a herd of nilgai antelope
magazines and books, so I decided came to check us out, galloping
to upgrade my equipment. alongside us for some time.
The only camera I had with me
Tell us about your favourite was a GoPro with dead batteries,
themes or genres. so no pictures for me!
I like anything animal or nature
related, but I also enjoy travel, What has been your most
wedding and event photography. embarrassing moment as
I try to be as versatile as possible. a photographer?
Running Free, Czech Republic. I was invited to photograph the
Name one item that every Rajput royal family of Udaipur,
photographer should own. Going freelance was a risk, but it’s Who has been the greatest India, during a Holika Dahan
I carry lots of equipment, so the best decision I have ever made. influence on your photography? ceremony at the City Palace.
I couldn’t be without a backpack A former colleague of my The staff told me to keep behind
with a removable trolley. When Do you have a photographic habit mother’s pointed me in the right the camera crew, so I did.
I’m in the city it saves my back and that you wish you could shake? direction and helped me to buy Unfortunately, I didn’t notice
60 when I’m in the country I can use I spend too long processing my first (film) SLR. A few months that everybody who stepped inside
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it as a regular rucksack. images. I like to play around later he saw some of my pictures the circle where the ceremony was
with photographs, which can be and told me to enter the Czech taking place had taken their shoes
What’s the biggest risk you have a real problem when you’ve got Press Photo competition. I was off – everyone except me that is!
taken as a photographer? a deadline to meet. awarded second prize. When I realised what a faux pas

Yunnan
Villager,
China.

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 Leopard,
Prague Zoo,
Czech Republic.
I had made I sneaked out of the
circle. Thankfully everyone
pretended not to notice.
Tell us your favourite
photographic quote.
‘Be careful what you wish for,
you might just get it.’
What, in your opinion, is
the greatest photographic
discovery of all time?
Digital cameras have been a
real gamechanger for me. Being
able to review images instantly
(and adjust compositions and
exposures accordingly) is a
dream come true.
What would you say to
your younger self?
I would tell myself to save money
by not buying certain pieces of
equipment that turned out to be
useless. But otherwise I would just
say keep doing what you do.
Which characteristics do you
need to become a photographer?
It’s important to be obsessed
with photography and to want to
60-61_SIXTY_SECONDS_190 ER/MB.indd 61
improve all the time. Everything
else will follow.
Tell us one thing that most
people don’t know about you.
I was raised listening to Jara
Cimrman’s plays and I can quote
him endlessly. I’m also an avid
collector of photography books.
What is your dream project?
I would love to travel the world
photographing unique equines,
National stud Kladruby nad Labem, Czech Republic.
and documenting equestrian
traditions, customs and sports –
and then publish the results
in a book.
What single thing would
improve your photography?
I’m gradually realising my dream
(see above), but it’s proving
expensive, so more money would
improve my photography! Anyone
who would like to get involved
can drop me an email.
61
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If you hadn’t become a
photographer, what would
you be doing right now?
I’ve written for a Czech equestrian
magazine for many years now, so
if I hadn’t become a photographer
I would probably be a full-time
journalist or translator.
PROFILE
Photographer and equestrian
journalist Magdalena Straková
has won countless awards for her
work, including recognition in
Garden Photographer of the Year,
Travel Photographer of the Year
and Czech Press Photo.
Over the years she has worked
for high-profile clients such as
Beefeater and the world-famous
Czech liqueur brand Becherovka.
She lives in Prague in the
Czech Republic.
To see more of Magdalena’s work
visit magdalenastrakova.com.
If you’re interested in attending
a workshop with Magdalena
(or helping her with her project),
you can contact her via magdalena.
strakova@seznam.cz
20/04/2016 11:57
 INSPIRATION
OPEN BOOK:3
Editing is essential to a good photobook, explains Eddie Ephraums,
and it takes time and experimention. But it’s the photographer’s own
All images © Eddie Ephraums
individual approach to sequencing that enables the real story to be told.

A
s Cornell Capa said:
‘My pictures are the
words which make
sentences which in
turn make up the story.’
In last month’s photobook
making article we looked at how
a book is built upon a central
idea or story. Now, let’s consider
the choice of images and
sequencing (the picture editing
and layout) that will help turn
our words and sentences into
a photobook.
I was reminded of the
Capa quote by a wonderful
photographer and photobook
mentee, Mary Frances about editing the book, as well I do best are probably groups
Lindstrom. I’ve been helping as her approach to photography of interrelated pictures which
her with the design format and in general. Finding a quote tell a story.’ In Mary Frances’
production of her photobook that speaks to us, as Capa’s case, Shadows was shot in the
Shadows of Empire. She sent does for me, can empower our Soviet Union and former Soviet
me the quote along with her photobook making and, in this Republics over a 25-year period.
beautifully crafted introduction. case, the editing too. The pictures were made on black
She thought I would be As Capa also said, ‘Isolated & white film with a rangefinder.
interested, as the quote had images are not the most Mary Frances continues to
helped her clarify her ideas representative of my work. What work that way, making 7x5in
images on 10x8in fibre base Ilford
MARY FRANCES LINDSTROM’S FAMILY ‘ALBUM’ paper in her closet darkroom
Seeing how Mary Frances had arranged her collection of family pictures that she shares with the washing
reminded me that each of us has our own, perhaps quite subconscious, machine and various suitcases,
way of editing and displaying photographs. Recognising what our natural with just enough room to sit her
tendency to edit looks like can help inform the way we picture edit processing dishes on the boiler.
and lay out a photobook. As a result of many years of

62
B+W

62-64_OPEN_BOOK_190 ER/MB.indd 62 20/04/2016 11:59


printing, and still very much in
love with the darkroom, she has
developed a strong relationship
with the printed image. Through
Shadows, she’s keen to develop
that printed relationship further,
in the form of a short-run, digital
ink, Indigo-printed photobook.
The challenge for Mary Frances
has been the picture editing and
sequencing, which has meant
moving on from looking at her
work in loose print, boxed form.
But how to edit the book?
M
ary Frances showed
her prints to a
visiting Mongolian
film-maker, editor
62-64_OPEN_BOOK_190 ER/MB.indd 63
63
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FROM BOX OF PRINTS TO EDITED BOOK favourite photobooks, writing
How do we go from a box of loose 10x8in prints, or perhaps a her introduction and being
Lightroom catalogue, to an edited sequence of pictures in a book? guided by the Capa quote, all
Mary Frances chose to write about her project. Those 100 words contributed to Mary Frances
became the introduction to her Shadows of Empire book and helped becoming clear about how
her decide on the final picture selection. Shadows should be edited.
Most importantly, that it
and friend. He’d experienced the photographer, designer and should be her edit.
Russia she had photographed workshop co-leader Andrew Laying out all her prints,
and offered his edit of the work. Nadolski put it. That said, I making a selection of those
That edit was quite cinematic, still love this version of Mary that reflected what she had
so Mary Frances and I used it Frances’ book, but she wanted written, then playing with the
to make a fold-out, concertina, to produce something that was sequencing, has enabled her
prototype book. more ‘her’. Photobook making, to arrive at an edited sequence
However, showing this and especially the editing that she is happy with. That
prototype to her friends, while process, is very much a step-by- edit is more than a collection
on a recent trip to Kyrgyzstan, step process. of words and sentences. It’s
helped her realise Shadows Making that first prototype a story too, which I’m sure
wasn’t a ‘paper cinema’, as my of Shadows, looking at her Capa would enjoy. 
20/04/2016 11:59
 64
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THE ART OF PL AY
A book is a physical entity, so it makes sense to edit images in printed form. Here Mary Frances is
using a blank book to experiment with picture layout and sequencing. It’s amazing how this simple,
playful process, of laying out book-size prints, experimenting with different picture combinations
and sequencing, can help to develop the form and flow of the book.

WRITE ABOUT YOUR WORK

Whether skilfully crafted or scribbled on the back of an envelope, writing about our own photography
can help guide the picture editing and sequencing process. Otherwise, what else does?
Mary Frances’ introduction to her book Shadows of Empire:
After centuries of Russian imperialism and decades of Soviet communism, an empire disintegrated in little more than two years
with the collapse of the Soviet Union in 1991. These are images of ordinary life in an extraordinary time – between a Soviet past
too near to escape and a post-Soviet future too distant to imagine. Communism distorted what came before; shadows of empire
distort what comes after. These images remind me there is no ordinary life. The ordinary life is indeed extraordinary.
For more information on Shadows of Empire see envisagebooks.co.uk

62-64_OPEN_BOOK_190 ER/MB.indd 64 20/04/2016 11:59

 Creative space... Nothing matches the
creative buzz and
collective experience
of a small group OSW
residential workshop
Nov: 21-27, 2016
PORTRAIT OF AN TEALLACH: CAPTURE, PRINT AND CURATE AN EXHIBITION Our unique range of outcome-
based workshops cover the
COLIN PRIOR, EDDIE EPHRAUMS & ADRIAN HOLLISTER
practical, creative and aesthetic
Over the week you will photograph An Teallach, one of Scotland’s iconic mountains, from considerations of being a
various perspectives; its glacially eroded corries, woodlands, rivers, waterfalls and summits. photographer. You will be
Each day there will be visits to several locations, making the workshop suitable for those of all inspired, motivated, encouraged
levels of fitness. Back at the Studio we will work with you to process, edit and print portraits of and pleasantly challenged.

this mountain, finally curating an exhibition to be held locally on the final day of the workshop. The Open Studio Photo
Workshop Centre (pictured
above) overlooks Loch Ewe,
Nov: 14-20, 2016 in NW Scotland, looking towards
MESSAGE & MEANING: FROM SINGLE PICTURE TO BOOK the Torridon mountains and the
EDDIE EPHRAUMS & ANDREW NADOLSKI Outer Hebrides. With its own
sea-view cafe, lecture room and
Work with two of the UK’s most experienced and passionate photo book maker-designers to fully equipped imaging studio,
develop your ability to convey your photographs in a clear and creative manner. Using images it makes the perfect photo
you’ve taken on location we will work through the key stages of concept development, editing, location workshop centre.
sequencing, design, and typography to create an elegant three-hole sewn book.

Sept: 19-24, 2016

B+W WORKSHOP: CAPTURE, EDIT, PRINT
EDDIE EPHRAUMS & ADRIAN HOLLISTER
Email us for further information.

Further details of these and our other workshops can be found on our website:
www.openstudioworkshops.com
info@openstudioworkshops.com

065_BW_190.indd 65 4/21/16 3:05 PM

 TECHNIQUE THE SMART GUIDE
TO PHOTOGRAPHY
Shooting after dark with a smartphone can be tricky but there are, according
to Tim Clinch, some simple ways to get round blown highlights and noise –
timclinchphotography.com
including adding grain – to produce an atmospheric image of the night.

H
uge fan of mobile photography
as I am, I am not blind to it’s
shortcomings. As you should
all know by now, I use an
iPhone, and if you own one
you should know that given
the right conditions, a bit of sunshine, a
rainbow or two and a following wind, the
camera performs superbly. If you do own
one you will also have found out that as
these conditions worsen, or as darkness
falls, this piece of kit, wonderful as it
undoubtedly is, performs less well.
At night, the automatic wizardry
enclosed inside our cameraphone begins
to do all sorts of weird and wonderful
things, resulting in, amongst other things,
noise. Noise, grain, grubbiness, call it
what you will, but we will all be aware of
the sludgy colours and general
splodginess that shooting at night can
66 sometimes result in.
B+W
There are many, many apps for reducing
noise. Lightroom mobile now has a very
advanced feature for eliminating it. Adobe
Photoshop Express for mobile does a
pretty good job, there is a dedicated app
for this which I have heard good things
about called Noise Master, and all the ‘Big
Boy’ processing apps have some sort of
noise reduction built in. However, noise
reduction is all well and good, but
personally I’m never that convinced. It so
often looks wrong somehow. My solution is
to go the other way, and ADD noise.
My processing app of choice, Snapseed,
has a very nice filter called Grainy Film of
which I’m very fond. As long as you don’t
overdo it, it works very well indeed.
Adding grain to noisy pictures is a neat
way of making that noise a feature of
your picture.

66-67_SMART_GUIDE_190 ER/MB.indd 66 14/04/2016 14:32

 H
All images © Tim Clinch
uge fan of mobile photography
as I am, I am not blind to its
shortcomings. As you should all know
by now, I use an iPhone, and if you
own one you should know that given the right
conditions – a bit of sunshine, a rainbow or two
and a following wind, the camera performs
superbly. If you do own one, you will also have
found out that as these conditions worsen, or
as darkness falls, this piece of kit, wonderful as
it undoubtedly is, performs less well.
At night, the automatic wizardry enclosed
inside our cameraphone begins to do all sorts
of weird and wonderful things, resulting in,
among other things, noise. Noise, grain,
grubbiness, call it what you will, but we will
all be aware of the sludgy colours and
general splodginess that shooting at night
can sometimes result in.
There are many, many apps for reducing
noise. Lightroom mobile now has a very
advanced feature for eliminating it. Adobe
Photoshop Express for mobile does a pretty TOP TIP
good job, there is a dedicated app for this In any half way decent processing app so before deciding that you don’t like
which I have heard good things about called don’t forget that, when you are applying something, play with the sliders and
Noise Master, and all the big boy processing filters, you can adjust them. So often, see what happens.
apps have some sort of noise reduction built when teaching people how to use As always, remember that these filter
in. However, noise reduction is all well and Snapseed, I see people adding a filter strengths are like salt in cooking. It’s
good, but personally I’m never that convinced. and saying, ‘No, I don’t like that,’ easy to add a bit more, but impossible
It so often looks wrong somehow. My solution before adjusting it. All the filter to take any out, so do it in stages and
is to go the other way, and add noise. strengths in Snapseed are adjustable, keep tasting if you’re not sure.
My processing app of choice, Snapseed,
has a very nice filter called Grainy Film, of
67
B+W
which I’m very fond. As long as you don’t
overdo it, it works very well indeed.
Adding grain to noisy pictures is a neat way
of making that noise a feature of your picture.

THE PICTURES
This month’s pictures were taken at night
in conditions that could not be considered
perfect for any photography, let alone
mobile. They have all been processed
the same way. Using Snapseed, I have
added a little Drama. Then used the Grainy
Film filter, chosen which filter suits the
image best and adjusted the grain levels
accordingly. I find that the Grainy Film
filter can tend to blow the highlights out,
so the next step is to go to the Tune Image
toolbox and scroll down until I come to
the Highlights tool and turn the highlights
down, often a lot. Then, and only then, will
I convert to B&W, using either the Black &
White filters or the excellent Noir filters.
I have deliberately made these pictures
contrasty and dramatic as I think the
night-time conditions suit this. As always,
I’m not saying that you have to agree with
me, and that noise you can hear in the
background is almost certainly the sound
of the sainted editor of this journal quietly
boiling over and muttering, ‘Too far, too
much, too contrasty, turn it DOWN!’

66-67_SMART_GUIDE_190 ER/MB.indd 67 14/04/2016 14:32

 INSPIRATION
SMARTSHOTS
The one
on camera you always have with you is on your phone, and we want to see the
pictures you take when the moment is right and you can’t resist a shot. We have three
picture
Class 10 EVO 32GB MicroSD cards to give away each month. With a grade 1
transfer speed of up to 48Mbs, each MicroSD card also comes with an SD adapter –
transfe
meaning it’s compatible with both your smartphone and digital camera.
meanin

WINNER © MARTIN BRUNTNELL

WINNER © LESLEY TRELOAR

68
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68-69_SMARTSHOTS_190 ER/.indd 68 14/04/2016 14:33

 69
B+W

WINNER © LUCREZIA HERMAN

© ANA CID © LAURA HACKING

ING

SEND IN YOUR PICTURES

By post on a CD to Black+White Photography, GMC Publications Ltd, 86 High St,
Lewes BN7 1XN; by email to anna.evans@thegmcgroup.com; by Twitter at twitter.com/BWPMag. ag. www.samsung.com/
w
Please send hi-res images – if you are submitting via Twitter we will contact you for hi-res. memorycard

68-69_SMARTSHOTS_190 ER/.indd 69 14/04/2016 14:33

 YOUR B+W
PORTFOLIO
We want to see the very best monochrome work on the pages of
Black+ White – submit your images and if they are published you win
£50-£100 worth of FOTOSPEED inkjet papers. Turn to page 84 for full details.

£100
70
B+W
MIKE TATTERSALL
MIKE’S KIT
Canon EOS 5D Mk II
50mm f/1.8, 100mm f/2.8, 35mm f/2 lenses

70-72_PORTFOLIO_190 ER/MB.indd 70 14/04/2016 14:36

 All images © Mike Tattersall

71
B+W

70-72_PORTFOLIO_190 ER/MB.indd 71 14/04/2016 14:36

 © Kerry Hendry

72
B+W

KERRY HENDRY
£50 KERRY’S KIT
Nikon D750
70-200mm f/2.8 lens

70-72_PORTFOLIO_190 ER/MB.indd 72 14/04/2016 14:36

 SIGNATURE INKJET MEDIA

paper is critical
to the success
of the print

At the end of a chain of photographic processes,

the print is the culmination and fulfillment of that effort,
and the paper is critical to the success of the print.
Smooth Cotton 300 by Fotospeed, is my paper of choice.
- Joe Cornish

PIGMENT CUT ROLLS 100% FREE ICC

INKS SHEETS COTTON PROFILES

Signature Smooth Cotton 300

inkjet media from £27.99
For more information, call us on 01249 714 555
or drop us an email sales@fotospeed.com

www.fotospeed.com

073_BW_190.indd 73 4/20/16 11:48 AM

 TESTS AND
PRODUCTS CHECKOUT
Mobile phones continue to improve at a rapid rate and that includes the
quality of the cameras. A range of options is available, offering high-spec
features and quality images. Daniel Calder looks at six impressive examples.
APPLE IPHONE 6S PLUS
User friendly
74
B+W
A
pple’s top iPhone,
the 6s Plus, may
lack the headline
specs of other
flagship phones, but it offers
outstanding performance and
seamless interaction. Like most
premium releases, it’s a handful
– sacrificing comfort, battery
life and pocketability for a 5.5in
Retina display. Design and build
is fantastic, of course, and it’s
priced accordingly.
Simplicity is everything when
it comes to using the camera,
but it’s not without control. Just
tap the screen to gain focus
and exposure, then swipe up
or down to make the image
brighter or darker. Lock the
exposure for the following
photos or for a panoramic.
LIKES
Effective image stabilisation
Outstanding panorama mode
240fps slow-mo video recording
DISLIKES
Over aggressive noise reduction
No expandable storage
74-77_CHECKOUT_190 ER/MB.indd 74
Panoramas are the best
available on a phone, but other
standout features include a
10fps burst mode, Live Photos
(2sec ‘moving photo’ with
sound), effective HDR, 4K video
recording and an exceptional
240fps slow-mo setting.
The camera opens in a
second and volume buttons
double up as a one-step
shutter button. Autofocus is
nippy and the optical image
stabilisation keeps the ISO
down for successful low light
photography. White balance,
exposure and colour are pretty
accurate, but images suffer
from aggressive noise reduction
and excessive lens flare.
TECH SPECS
Sensor 12Mp
Display 5.5in (1920 x 1080 pixels)
Operating system iOS 9
Processor type A9 chip
Data storage 16Gb, 64Gb, 128Gb options
Dimensions (H x W x D)
158.2 x 77.9 x 7.3mm
Weight 192g
Guide price £619 (16Gb)
Contact apple.com
PANASONIC LUMIX DMC-CM1
Compact replacement
T
he Panasonic DMC-C1
is more of a compact
camera with smartphone
capabilities than a mobile
phone with a camera. One side
looks like a retro camera with a
small 28mm Leica DC Elmarit
lens, while the other sports a
smartphone touchscreen.
Although this 4.7in display
is quite modest, it’s bigger
than the typical 3in camera
display yet the device can still
slip into a pocket. What sets
this phone apart, though, is
the 1in sensor, enabling it to
equal the performance of a
decent compact. It captures far
more detail than other phones,
The Panasonic DMC-CM1 sports a dedicated shutter button
and a physical slider to turn the camera on.
LIKES
MicroSD slot for extra storage
Compact camera replacement
Shoots Raw
DISLIKES
Outdated Android operating system
Sluggish image processing
with a good dynamic range
and natural colours. Detail is
retained even at low light and
high ISOs, without the smearing
found on other mobiles.
Even better, the camera
shoots Raw and has a full set
of manual controls. You can
use the Lumix app to adjust
these settings onscreen or by
physically rotating the lens ring.
There’s also a dedicated two-
stage shutter button and the
volume switch is customisable.
This is an excellent device for
taking standard photos, but
beyond that the video is weak,
panoramas are poor and HDR
is patchy.
TECH SPECS
Sensor 20.1Mp
Display 4.7in (1920 x 1080 pixels)
Operating system Android 4.4 (KitKat)
Processor type
Qualcomm Snapdragon 801
Data storage
16Gb + 128Gb with microSD card
Dimensions (H x W x D)
135.4 x 68 x 21.1mm
Weight 204g
Guide price £400
Contact panasonic.com
14/04/2016 14:37
 GOOGLE NEXUS 6P
Great all-rounder
O
ffering cutting edge
technology in a
premium aluminium
shell for £450 is an
impressive trick to pull off, and
Google (through Huawei) has
achieved it with the Nexus 6P.
This is another giant phone with
a rich, if not oversaturated, 5.7in
screen. Like the iPhone Plus,
it’s a bit of a struggle to operate
one handed.
The camera lens is housed
behind a transparent ridge at the
top of the phone, which slightly
ruins the stylish appearance.
Still, it helps capture lots of detail
even in dim light and without
any optical stabilisation. That
said, there is a tendency to
overexpose and blow highlights.
Laser assisted focus is fast and
accurate for stills but sometimes
wavers when tracking in video.
LIKES
Top specs at a sensible price
Captures a good level of detail
240fps slow-motion
DISLIKES
Tendency to overexpose
No microSD slot
74-77_CHECKOUT_190 ER/MB.indd 75
Recording is possible in 4K at
30fps, while 240fps slow motion
is possible at a lower resolution,
which matches the iPhone.
For any storage greater than
32Gb you’ll have to pay at least
£50 extra to get the 64Gb model
as there’s no microSD slot.
The big battery should get you
through a day’s shooting but,
if not, fast charging is available
through the USB-C port.
The lens on the Nexus 6P sits within
a transparent ridge on the back
of the phone.
TECH SPECS
Sensor 12.3Mp
Display 5.7in (2560 x 1440 pixels)
Operating system
Google Android 6.0 (Marshmallow)
Processor type
Qualcomm Snapdragon 810
Data storage 32Gb, 64Gb, 128Gb
Dimensions (H x W x D)
159.3 x 77.8 x 7.3mm
Weight 178g
Guide price £449 (32Gb)
Contact store.google.com
ONEPLUS 2
Remarkable value
T
he OnePlus 2 currently
features the best
camera you will find on
a mobile phone at this
price point. Available for £249
from the company’s website,
it’s over £350 cheaper than
the Apple and Samsung
flagship models and at least
£150 less than the other
contenders in this round-up.
Despite being so cheap, the
phone looks good, is solidly built
and is packed with high-spec
goodies. The camera can be
launched rapidly by a circle
gesture on a locked screen,
which opens up a simple
interface with a large shutter
button. With its 1/2.6in sensor
and optical image stabilisation
the phone performs well in low-
light conditions, while the laser
focus aids fast autofocusing.
LIKES
Awesome price
High-spec device
Good low-light performance
DISLIKES
No microSD card slot
Unrealistic HDR
For £19.99 you can swap the roughly
textured back of the OnePlus 2
for a smoother alternative.
Captured images are good,
if not spectacular. The manual
mode works well by using a
large onscreen dial to tweak
white balance, shutter speed
and ISO, as well as focus.
Panoramas, time lapse, slow
motion and 4K video can be
recorded, but HDR is heavy-
handed and takes too long to
process. The battery will get
you through the day and the
OnePlus 2 utilises the latest
USB-C charger to power up.
75
B+W
TECH SPECS
Sensor 13Mp
Display 5.5in (1920 x 1080 pixels)
Operating system
Google Android 5.1 (Lollipop)
Processor type
Qualcomm Snapdragon 810
Data storage 64Gb
Dimensions (H x W x D)
151.8 x 74.9 x 9.85mm
Weight 175g
Guide price £249
Contact oneplus.net
14/04/2016 14:37
076_BW_190.indd 76 4/18/16 12:56 PM
 SAMSUNG GALAXY S7 EDGE
State of the art
T
he Samsung Galaxy
S7 Edge is the newest
phone on test and,
arguably, the best
smartphone that money
can buy at the moment. It is
beautifully engineered from
premium materials and features
a distinctive lip to the edge of
the screen that overlaps the
phone’s sides.
Just like its flagship rivals,
the display measures 5.5in,
but thanks to the clever design
and reduced bezels the phone
is significantly smaller and
doesn’t feel too big to hold.
This is helped further by the
gently curved back, allowing
the phone to nestle in the palm.
The industry-leading AMOLED
screen is stunningly bright and
crisp. A double tap of the home
key opens the camera in a trice.
Autofocus is almost instant,
images are rich in detail and low
light performance is outstanding
with optical image stabilisation.
LIKES
Big screen, relatively small device
Stunning AMOLED display
MicroSD card slot
DISLIKES
The glass back attracts fingerprints
Samsung’s interface sometimes lags
74-77_CHECKOUT_190 ER/MB.indd 77
Among the wealth of settings,
the Pro mode allows manual
control, while there’s also
4K video and slow motion
recording in HD. Battery
performance is solid, lasting
at least a full day and there’s
fast and wireless charging to
boot. The feature list goes on
with top-notch waterproofing
and a microSD slot for memory
expansion up to 232Gb.
The curved back of the Samsung
S7 Edge makes holding the phone
more comfortable.
TECH SPECS
Sensor 12Mp
Display 5.5in (2560 x 1440 pixels)
Operating system
Google Android 6.0 (Marshmallow)
Processor type Exynos 8890
Data storage
32Gb + 200Gb with microSD card
Dimensions (H x W x D)
150.9 x 72.6 x 7.7mm
Weight 157g
Guide price £639 (32Gb)
Contact samsung.com
SONY XPERIA Z5
Showerproof
B
oasting 23Mp, the Sony
Xperia Z5 captures
significantly more pixels
with its 1/2.3in sensor
than most of its rivals. However,
this doesn’t always translate into
better results. A combination
of heavy noise reduction and
the wide 24mm equivalent lens
leads to softness at the edges
of the frame and loss of detail
when images are enlarged.
More positively, exposures
are good, colours are accurate
and autofocus is quick. There’s
also a dedicated shutter button
near the bottom corner of the
phone – and with the addition
of a microSD slot the storage
can be increased to a
staggering 232Gb.
The camera app contains
a wealth of shooting modes
and effects but limited manual
LIKES
Dedicated shutter button
Top class waterproofing
Massive storage up to 232Gb
with microSD
DISLIKES
Over aggressive noise reduction
Slightly disappointing battery
The Sony Z5 features a
dedicated shutter button
near the bottom corner.
control. White balance, ISO
and exposure compensation
can be tweaked, but shutter
speed and aperture cannot.
The digital zoom offers up
to 8x magnification, but for
usable images you’ll need
to rein it in and limit the file
size to the default 8Mp. The
phone is smaller than the latest
round of flagship mobiles,
but still benefits from a large,
bright screen and the highest
standard of waterproofing.
77
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TECH SPECS
Sensor 23Mp
Display 5.2in (1920 x 1080 pixels)
Operating system
Google Android 6.0 (Marshmallow)
Processor type
Qualcomm Snapdragon 810
Data storage
Up to 32Gb + 200Gb with microSD card
Dimensions (H x W x D)
146 x 72 x 7.3mm
Weight 154g
Guide price £400
Contact sonymobile.com
14/04/2016 14:37
 78
B+W

COMPETITION

WIN A SOLO EXHIBITION

Have you ever dreamed of having your own exhibition in a top London venue – but been put off by the
prohibitive costs, or had difficulty getting your work recognised by gallerists? Now is your chance to win a
solo exhibition at the prestigious gallery at theprintspace in east London,
put together with expert assistance from theprintspace staff to create a
stunning display on the gallery walls. The exhibition will open with
a champagne private view for you to invite your guests!
All you have to do is upload a monochrome body of work (10-20 images)
to thehub on theprintspace website (theprintspace.co.uk). Thehub is an
exciting new ordering system and platform for selling prints, introduced
last year by theprintspace and already proving to be a great innovation
for photographers. In October 2016 Black+White Photography and theprintspace will jointly judge which set of
pictures most deserves an exclusive exhibition – which will take place in December. It could be you…

Deadline: 30 September

78-79_TPS_COMP_190 ER/2/MB.indd 78 14/04/2016 14:41

 79
B+W

theprintspace, open Monday to Friday 9am to 7pm, 74 Kingsland Road, London E2 8DL,
info@theprintspace.co.uk, 020 7739 1060.

78-79_TPS_COMP_190 ER/2/MB.indd 79 14/04/2016 14:41

 TESTS AND
IN FOCUS
PRODUCTS
FUJIFILM X-PRO2
The Fujifilm X-Pro2 features a powerful new sensor and a speedy new
processor, making it a camera to be reckoned with. We take a closer look.

80
B+W

I
t’s sleek, stylish and
delivers the best ever
pictures in Fujifilm’s
X-series. The Fujifilm
X-Pro2 is a new premium
camera boasting significant
upgrades on its predecessor.
The original X-Pro1 was
released in 2012 and was
praised for its stylish looks
and high quality images. Four
years later, the X-Pro2 arrives
with a newly developed
24.3Mp X-Trans CMOS III
sensor and a new processor
boasting dramatically
improved response times.
The X-Processor Pro
offers four times the speed
of conventional image
processing engines, with write
speeds, start-up time and
continuous shooting speeds
all increased.
IN A NUTSHELL the option of adding grain
to photographs.
What is it? Professional level compact system camera The camera’s continuous
Who is it for? Photographers looking for top quality shooting is now a very
images in a light and stylish camera respectable 8fps and the
number of focus points has
How much? £1,349 been boosted to 77. This
Website? fujifilm.eu makes focus speeds on
moving subjects significantly
Fuji also claim a world first several legendary films, improved. The X-Pro2 also
for its advanced hybrid multi the camera sports a new provides the fastest ever
viewfinder, which allows users ACROS film simulation AF performance in an
to switch between optical and mode that produces smooth X-series camera.
electronic finders. tones and deep blacks. The camera body is made
As befits the maker of A grain effect mode gives from magnesium alloy and
is dust-proof, splash-proof
and operates in temperatures
KEY FEATURES down to -10°C. Controls such
Weather resistant body as the shutter speed dial,
New grain effect mode exposure compensation dial
Newly developed sensor and finder-switching lever are
Best ever results from a Fujifilm X-series camera all milled from aluminium to
Hybrid viewfinder that switches between optical give them a tactile feel and
and electronic finders a high quality look.

NEW 80-81_IN_FOCUS_190 ER/MB.indd 80 25/04/2016 15:03

 SHARP & STYLISH
ALTERNATIVES

LEICA M
MONOCHROM
TYP 246
Rangefinder
24Mp
Fabulous B&W-only camera
£5,750

NIKON DF
Full-frame DSLR
16.2Mp
Weather-sealed body
81
B+W
£1,999

‘The camera sports a new ACROS film simulation mode OLYMPUS PEN-F
Micro four-thirds camera
that produces smooth tones and deep blacks.’ 20.3Mp
5-axis image stabilisation
The X-Pro1 was criticised into the shutter speed dial. are shared by other members £999
for not having an external The camera is the new top of the family, including the
button for ISO. That has been of the range in Fuji’s X-series Fuji X-T1 (around £919, body
corrected on the X-Pro2, of cameras. Its good looks only), the X-E2S (£549) and
which carries an ISO dial built and excellent picture quality the X-T10 (£449)

TECHNICAL SPECIFICATIONS
Price (body only) £1,349
Sensor 24.3Mp CMOS
File formats Raw, Jpeg, Mpeg-4 AVC PANASONIC
ISO 100 to 12800 LUMIX GX8
Shutter speed 30sec to 1/32000sec Micro four-thirds camera
Autofocus 77 points 20.3Mp
Frames per second 8 Highest picture quality
Dimensions 140 x 83 x 46mm of any Lumix G camera
Weight 445g £999.99

NEW 80-81_IN_FOCUS_190 ER/MB.indd 81 25/04/2016 15:03

 Kalpana’s Warriors
An exhibition and installation by Shahidul Alam
22 April - 18 June 2016
Autograph ABP, Rivington Place, London EC2A 3BA
Photo by Habibul Haque/Drik

Kalpana Chakma was a vocal and
charismatic leader who campaigned for the
rights of indigenous people in the
Chittagong Hill Tracts area of Bangladesh.
She was abducted from her home at
gunpoint 20 years ago by a military officer
and two members of the Village Defence
Party and has never been seen again.
Using photographs of 23 activists, human
rights campaigners, journalists and
academics printed on large straw mats, each
one illuminated by a candle, the acclaimed
Bangladeshi photographer, artist and
activist Shahidul Alam attempts to break the
silence surrounding her disappearance.
The ethnic conflict in the Chittagong Hill
Tracts, which began in 1977 soon after the
Bangladesh state came into being,
continues to this day.

autograph-abp.co.uk/exhibitions

082_BW_190.indd 82 4/19/16 2:10 PM

 TESTS AND
PRODUCTS

BW +
LOVES
PANASONIC LEICA
CANON EOS 1300D DG VARIO-ELMAR
New entry-level DSLR loaded with an 18Mp
sensor and Digic 4+ processor. Other 100-400MM F/4-6.3
features include an ISO range of 100 to 6400, Telephoto lens for micro four-thirds cameras.
Cool photography gear connectivity through Wi-Fi and Dynamic NFC, Features zoom ring lock and weather sealing.
Full HD video and a series of creative filters. Ideal for wildlife photographers.
in the shops and online £289.99 (body only) canon.co.uk £1,349 panasonic.com

83
B+W

PLUSTEK OPTIC FILM 135 HEDLER

New dedicated film scanner designed to
be faster, simpler and more convenient to
digitise films and negatives. Offers 3,600dpi
optical resolution and a new motorised film
holder for easy batch scanning.
£245 plustek.com
PROFILUX LED 1000 X
Innovative new LED light unit, offering 185
watt LED with 135 lumen per watt, equivalent
to 800 watt tungsten halogen. Features digital
display with light output power indicator.
£838.80 flaghead.co.uk

NIKON DL PREMIUM
TENBA COOPER COMPACT CAMERAS
COLLECTION SIGMA 30MM New range of premium compacts, featuring
Stylish camera bag series with space for 1in CX-format sensor that captures 20.8Mp
a camera plus lenses and a tablet or laptop. F/1.4 DC DN stills in Jpeg or Raw.
Secondary zippered closure inside for New compact, lightweight lens for mirrorless Nikon DL24-85 f/1.8-2.8 – £549.99
additional protection and security. cameras. Sports fast and smooth autofocus Nikon DL18-50 f/1.8-2.8 – £679.99
Available in several sizes. and an f/1.4 aperture. Nikon DL24-500 f/2.8-5.6 – £749.99
From £124 tenba.com £239.99 sigma-imaging-uk.com nikon.co.uk

83_B+W_LOVES_190 ER/MB.indd 83 14/04/2016 14:44

 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
Your chance to see your images on the pages of
Black+White Photography and win great prizes!
HOW TO SUBMIT PORTFOLIO

Send us a carefully edited selection of images (no more than 20)

or a single image on a CD or memory stick to the address below.
Create two folders, one containing hi-res Tiff or Jpeg files at
300dpi to approx. 30x24cm, Mac compatible; the second folder
should contain the same images at low-res. Only send 8-bit,
not 16-bit, files and flatten any layers.

Write your name and contact details on the CD or include

a text file on the memory stick.

PRINT SUBMISSIONS
Should be no larger than 12x16in and not sent in a tube.

ALL SUBMISSIONS SHOULD INCLUDE THE SUBMISSION

FORM OR A SEPARATE SHEET OF PAPER WITH YOUR Send us a photo-story or a single image for a chance to win
NAME, TELEPHONE NUMBER, EMAIL ADDRESS AND £50 to £100 worth of vouchers from Fotospeed.
84 WHICH CATEGORY YOU ARE SUBMITTING TO. PLEASE
B+W
WRITE THESE DETAILS VERY CLEARLY.

IF SUBMITTING TO PORTFOLIO PLEASE INCLUDE

TECHNICAL DETAILS (CAMERA, LENS ETC).

SUBMISSION CHECKLIST
SMARTSHOTS
Hi and low-res files on a CD or memory stick
Name and contact details on the CD or memory stick
A submission form OR contact details plus the category you
are submitting to on a separate sheet of paper.

SEND YOUR SUBMISSIONS TO

Black+ White Photography, GMC Publications Ltd,
86 High Street, Lewes, East Sussex BN7 1XN

IMPORTANT TO REMEMBER
We do not accept online submissions.
We receive many submissions each month and we
Shoot with your smartphone and send in your pictures – you
cannot therefore enter into any correspondence
regarding your work. could be one of three lucky winners each month who wins a
Samsung Class 10 EVO 16GB MicroSD card. For Smartshots
If you have not heard from us within 10 weeks it is
you can send in your images by email to anna.evans@
unlikely that we will be using your work on this occasion.
thegmcgroup.com or via Twitter by tagging us @BWPMag
If you would like your submission returned please and using the hashtag #smartshots. If you are successful
send a stamped addressed envelope. we will request hi-res files.
GMC Publications cannot accept liability for the loss
or damage of any unsolicited material.

84-85_HOW_TO_190 ER/MB.indd 84 14/04/2016 14:45

 LAST FRAME JOIN OUR ONLINE COMMUNITY

Do you have a single FOLLOW US ON FACEBOOK

image that you would like Keep up with the black & white world by ‘liking’
to see printed big and B+W at facebook.com/blackandwhitephotog
hung on your wall? Send
the file to us and you could FOLLOW US ON TWITTER
win just that, provided by Stay in touch through Twitter at
theprintspace and twitter.com/BWPMag
delivered to your door.
You can email the editor, Elizabeth Roberts,
at elizabethr@thegmcgroup.com

EXHIBITIONS, EVENTS AND NEWS

If you would like an EXHIBITION or EVENT included in

Black+White Photography please email Anna Bonita Evans at
PHOTO PROJECTS anna.evans@thegmcgroup.com at least 10 weeks in advance.
If you have a NEWS story that you think would interest readers
please email Mark Bentley at markbe@thegmcgroup.com.

SUBMISSION FORM
Photocopies of this form are acceptable.
Please tick which category you are submitting pictures to:

PORTFOLIO 85
B+W
LAST FRAME
READER ASSIGNMENT
SMARTSHOTS
Have you been working on a photo project inspired by
Tim Daly’s monthly feature or have you created your own?
Either way send it to us when it’s complete and you could
find it published on the pages of B+W.
Name

B +W READER WORKSHOPS
Email

Phone number

Website

Are you interested in joining the B+W team on a one-day POST YOUR SUBMISSIONS TO
workshop? If so, register your interest with Anna Bonita Evans
by emailing her at anna.evans@thegmcgroup.com giving Black+ White Photography, GMC Publications Ltd,
your name, phone number and email address. 86 High Street, Lewes, East Sussex BN7 1XN

84-85_HOW_TO_190 ER/MB.indd 85 14/04/2016 14:45

 BL ACK+WHITE PHOTOGRAPHY COOL , CREATIVE AND CONTEMPORARY

B+ W JULY ISSUE 191 ON SALE 9 JUNE

NEXT MONTH
THE BLEAK LANDSCAPE
OF THE FENS BY PAUL HART

86
B+W

© Paul Hart

86-87_NEXT MONTH_190 ER/MB.indd 86 14/04/2016 14:46

 facebook.com/blackandwhitephotog follow us on twitter @BWPMag

87
B+W

© Kristin Capp

NEXT MONTH
KRISTIN CAPP’S INSIGHTFUL DOCUMENTARY
OF A HUTTERITE COMMUNITY
CAPTURING TEXTURE
IN FOCUS: THE PENTAX K-1
THE ART OF TRAVEL PHOTOGRAPHY
THE SNAPSHOTS OF JACQUES HENRI LARTIGUE

86-87_NEXT MONTH_190 ER/MB.indd 87 14/04/2016 14:46

 Dedicated to the monochrome photographer
B+W CLASSIFIEDS To advertise on these pages please call Rebecca on 01273 402823
or email rebecca.anson@thegmcgroup.com

JUNE 30th
BW616

SAVE £1 on the gate price when you

buy your ticket online in advance.

PLEASE VISIT OUR WEBSITE FOR

FURTHER INFORMATION

Illustrated talks
to include :
Valda Bailey
Dav Thomas SUPPORTED BY
James Osmond 10.00am to 5.00pm daily

Steve Watkins
Pete Bridgwood
Rob Knight
Jack Perks
Greg Whitton

Over 250 Artists, Photographers, Craft Makers and Designers set in 60 Acres
of Nottinghamshire Countryside
AN EXCITING ADDITION TO PATCHINGS ART & CRAFT FESTIVAL NOW IN ITS 23RD YEAR
PATCHINGS ART CENTRE. NOTTINGHAMSHIRE. NG14 6NU www.patchingsfestival.co.uk - 0115 9653479

88 B+W CLASSIFIED JUNE 2016

BW_190.indd 88 4/20/16 10:37 AM

 COOL, CREATIVE AND CONTEMPORARY

SUBSCRIBE TO
BLACK+WHITE PHOTOGRAPHY
FROM £19.95* AND SAVE UP TO 30%
SUBSCRIBER BENEFITS WHAT YOU GET EVERY MONTH

Save up to 30% Some of the finest contemporary

b&w imagery from all over the world
Only £3.33 an issue instead of £4.75
when paying by direct debit Interviews and features from the
most renowned names in b&w
Free delivery direct to your door
In-depth techniques, product news,
Never miss an issue reviews and recommendations

CALL +44 ( 0 ) 1273 488005 VISIT WWW.THEGMCGROUP.COM

*EVERY 6 ISSUES FOR UK DIRECT DEBIT SUBSCRIBERS | PLEASE QUOTE ORDER CODE A5016 | OFFER EXPIRES 31/08/2016 | FREE GIFT WITH SOME ISSUES, NOT AVAILABLE OVERSEAS

16-018_BW_SUBS_AD.indd 89 4/21/16 9:47 AM

 B+W CLASSIFIEDS
27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
To advertise on these pages 44
please call Rebecca
Museum on 01273
Street London WC1A
or email rebecca.anson@thegmcgroup.com Tel: 020 7242 8681
402823
1LY

www.apertureuk.com
Pre-owned Leica Medium / Large & Other Format
Leica M (240) Black Mint- £2950 Fujica 65mm f8 Fujinon-SW + Viewfinder Exc £450
Leica MP 0.72 Silver #2923xxx (boxed) Mint £2190 Fuji GW690 III (90mm f3.5) Exc++ £550
Leica M7 0.72 Black #2885xxx Exc+++ £1250
Leica M6 0.72 TTL Titanium #2754xxx (boxed) Mint- £1450 Mamiya 43mm f4L + hood & V/finder Mint- £790
Leica M6 Titanium #2331xxx Mint £1050 Mamiya 50mm f4L + hood & V/finder Exc+++ £690
Leica M6 0.85 (Pre-TTL) Black #2423xxx Mint- £1150 Mamiya 150mm f4.5L Mint £290
Leica M6 Wetzlar Black #16773xx Exc++ £850 Rolleiflex 3.5F (75mm Xenotar) w/ Case, prism finder, grip, bright screen Exc++ £850
Leica M4 #1186xxx Exc+ £650
Leica M4-P Chrome (boxed) ~ 70th Anniversary 1913-1983 Mint- £990 Cambo Wide RS + Schneider 24mm f5.6 Apo-Digitar XL + H plate Nr. Mint £1490
Leica M4-P Everest 82 Black #1587xxx (boxed) ~ Limited Edition Mint £1490 Horseman SW612 with Rodenstock 55mm f4.5 Apo-Grandagon + Exc++ £1350
Leica M2 #1107xxx Exc+ £570 V/finder; Ground glass; Horseman 6x7 & 6x12 RFH
Leica IIIf Black Dial with Delay Action Exc+ £250 Linhof Technorama 617S III with 90mm f5.6 Super Angulon XL (Complete) Mint- £4490
Dedicated to the monochrome photographer

Leica IIf Red Dial Exc++ £270 Linhof Technika IV with Schneider 135mm f5.6 Symmar Exc+ £890
Leica Digilux 2 (boxed) Exc++ £390
Linhof Technika 2000 Mint- £1850
Leica 21mm f2.8 Elmarit-M + hood #3268xxx (boxed) Exc £890 Linhof Master Technika + 150mm f5.6 APO-Symmar Exc++ £2450
Leica 24mm f2.8 Elmarit-M ASPH Silver + hood #3809xxx Uncommon Exc+++ £1790 Schneider 47mm f5.6 Super-Angulon XL (Copal 0) Mint- £590
Leica 24mm f2.8 Elmarit-M ASPH + hood 6 bit #4036xxx (boxed) Mint- £1250 Schneider 72mm f5.6 Super-Angulon XL (Copal 0) on Linhof board Mint- £650
Leica 28-35-50mm f4 Tri-Elmar-M ASPH #3948xxx 6-bit coded ~ E49 Mint £2590 Schneider 75mm f8 Super-Angulon (Synchro-Compur) on Linhof board Mint- £370
Leica 28mm f2 Summicron-M ASPH #4075xxx 6-bit coded (boxed) Mint £1790 Nikon 90mm f4.5 Nikkor-SW (Copal 0) on Linhof sized board Mint- £420
Leica 35mm f1.4 Summilux with Specs (M3 type; steel filter rim) #1730xxx Exc++ £2290 Rodenstock 180mm f5.6 Sironar-N (Compur 1) on Linhof board Mint- £270
Leica 35mm f1.4 Summilux-M ASPH + hood #3811xxx Mint- £1990 Schneider 180mm f5.6 Symmar-S (Copal 1) on Toyo Board Mint- £270
Leica 35mm f2 Summicron-M ASPH Chrome + hood #3972xxx (boxed) Mint- £1450 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Leica 50mm f0.95 Noctilux-M ASPH #4085xxx (boxed) Exc+++ £4290 Rodenstock 210mm f5.6 Apo-Sironar N on Linhof sized board Mint £320
Leica 50mm f1 Noctilux-M Built in hood 6-bit coded #3985xxx (boxed) Nr Mint £3290 Schneider 240mm f5.6 Symmar Exc £150
Lomography 50mm f1.5 Jupiter 3+ (boxed) L39 with M-Adapter Mint- £390 Linhof Super Rollex 6x7 RFH Early version with Hammerite finish Exc++ £90
Leica 50mm f2 Summicron-M Exc++ £850
Leica 75mm f2.5 Summarit-M 6 bit #4240xxx (boxed) Nr Mint £750 We offer an on-site processing and printing service at Aperture Rathbone Place.
Our C41 colour film processing service for 135 and 120 film with 24 hour turnaround. We also process
Zeiss 85mm f4 Tele-Tessar ZM T* Silver + hood Exc+ £390 black and white film, please refer to our website for prices.
Leica 90mm f2 Summicron-M (E49 filter) #2814xxx (boxed) Exc+ £750 We also accept mail order at the following address, and will return your photographs within 4-5 working
Leica 90mm f2.8 Elmarit-M 6-bit coded #4043xxx Exc+++ £790 days. Send your film(s) packed securely to the P.O Box below and make sure to include your name; address
and contact details for return postage.
Leica 90mm f4 Macro-Elmarit-M with Macro-Adapter-M & Angle finder Exc+++ £1890 An order form is availible to download from our website on the Film Developing Page.
Leica 135mm f3.4 APO-Telyt-M ASPH #3956xxx Mint £1450 Postage for Process and Print
1 - 2 rolls.............................................£3
Please send your order to: 3 - 5 rolls.............................................£6
Aperture Photographic 6 - 10 rolls...........................................£9
11 rolls or more................................Free
Leica R9 with R8 Motor Winder Exc++ £590 PO Box 7045 Process only
London 1 - 10 rolls...........................................£3
Leica Remote Control R8 (14202) Mint- £40 W1A 1PB
10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 28-90mm f2.8-4.5 Vario-Elmarit-R ASPH ROM #3974xxx (boxed) Mint- £3750 We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club)
Leica 50mm f2 Summicron-R + hood 2 Cam #2361xxx Exc £390 Please send us your order with your payment details or phone us for further details.

Leica 60mm f2.8 Macro-Elmarit-R 3rd Cam #2984xxx Exc++ £450 Processing Prices (C41 Only) 24~48 hours
Leica 80mm f1.4 Summilux-R 3rd Cam Exc+++ £1290 35mm develop only £6.00
35mm develop + print £12.00
Leica 180mm f3.4 APO-Telyt-R 3 Cam #2749xxx User £490
35mm develop + print + CD £14.00
Angenieux 35-70mm f2.5-3.3 R Mount Exc++ £490 £10.00
35mm develop + CD
Leica R8/R9 Motor Winder (boxed) Mint £150 Extra set of prints (order within 7 days) £5.00
Film scan to CD or digital media £8.00
Leica 24mm Viewfinder Exc+++ £170 120 develop only £7.00
Leica 28mm Metal Bright Line Viewfinder Black (boxed) Mint £320 120 develop + print £15.00
Leica 3.5cm Metal Bright Line Viewfinder Chrome Exc+++ £290 120 develop + print + CD £17.00
Leica SF-24D (boxed) Mint- £120 120 develop + CD £11.00
Extra set of prints (order within 7 days) £4.00
Film scan to CD or digital media £8.00
Voigtlander 15mm f4.5 Super Wide-Heliar VM (boxed) Mint £320
We also process Black and White Film! Please check our website
Voigtlander 21mm f4 Color-Skopar VM + hood (boxed) As New £290 or phone us for prices and turn around time

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 please
90 B+W CLASSIFIED JUNEcontact
2016 Camera Cafe located at 44 Museum Street Tel: 020 7242 8681

BW_190.indd 90 4/15/16 12:45 PM

 To advertise on these pages please
27 Rathbone
or email
Placecall Rebecca
London W1Ton 01273 402823
1JE
rebecca.anson@thegmcgroup.com
Tel: 020 7436 1015 B+W CLASSIFIEDS 44 Museum Street London WC1A 1LY
Tel: 020 7242 8681
www.apertureuk.com

Leica M2-M #1163xxx with Motor , Exc , £3790

Dedicated to the monochrome photographer

Leica M4-P Everest 82 Black #1587xxx (boxed) ~ Limited Edition of 200, Mint, £1490

Leica 28-35-50mm f4 Tri-Elmar-M ASPH #3948xxx 6-bit coded, Mint, £2590

Rolleiflex 2.8GX Jersey Edition in red (boxed), Mint-, £2990

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 cannot 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.
P l e a s e c o n t a c t u s o n 0 2 0 7 4 3 6 1 0 1 5 o r 2 7 @ a p e r t u r e u k .JUNE
c o m 2016 B+W CLASSIFIED 91

BW_190.indd 91 4/15/16 12:45 PM

 QUOTE BW6 FOR
B W CLASSIFIEDS
+ To advertise on these pages please call Rebecca
or email rebecca.anson@thegmcgroup.com AN
on 01273
EXTRA
402823
£10
ON TOP OF OUR
VALUATION

Do you have any unwanted

photographic equipment?

WE BUY MORE…
...Most Digital SLR’s, Mirrorless cameras, Advanced Compacts, Classic 35mm SLR’s, Vintage cameras,
Medium Format cameras, AF & MF lenses, high quality camera bags, tripods & many accessories!

It really is as easy as... 1-2-3! Dale Hawkins

Used Equipment Manager
1. GET IN TOUCH
Give us a call and have a chat. Call Dale direct for a chat.
Or fill out our simple form at Over 30 years of knowledge
www.cameraworld.co.uk/used
and still friendly!
2. GET COLLECTED DIRECT LINE: 0207 467 9912
Pop it in the post or we can
collect it when convenient* EMAIL: dale@cameraworld.co.uk
*Dependant on value.

3. GET PAID COMMISSION SALES:

Take advantage of one of our We can also sell your equipment for you for ONLY 15%
super Trade-Up Offers, or just
take the money and ENJOY! commission. Please CALL DALE for more information.

INCREDIBLE BARGAIN Grab it while you can!

EXCLUSIVE While stocks last!
& 14-42mm & 20mm
f3.5-5.6 f1.7
BLACK
SAVE SILVER
SAVE
RRP £749 £450 RRP £999 £650
£299 £349
LONDON 020 7636 5005
sales@cameraworld.co.uk
Goods and delivery services subject to stock and availability.
14 Wells Street (off Oxford Street), London W1T 3PB
Prices subject to change. Pictures are for illustration purposes only.
All prices include VAT@ 20%. E. & O.E.
CHELMSFORD 01245 255510
chelmer@cameraworld.co.uk
High Chelmer Shopping Centre, Chelmsford, Essex CM1 1XB www.cameraworld.co.uk
92 B W CLASSIFIED JUNE 2016
+

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 To advertise on these pages please call Rebecca on 01273 402823
or email rebecca.anson@thegmcgroup.com B+W CLASSIFIEDS

ˆ œ˜`œÕ˜Ìà Dedicated to the monochrome photographer

9.6 out of 10 on Trustpilot

Your images printed & mounted onto DiBond from £39

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 B+W CLASSIFIEDS To advertise on these pages please call Rebecca on 01273 402823
or email rebecca.anson@thegmcgroup.com

FILM PROCESSING
B&W and Colour Negative
Develop/Scan/Burn to CD
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All formats catered for 35mm to 5x4
Fast Mail Order Service
Tel: 01472 388810 or 07944 083368
www.filmprocessingmailorder.co.uk
Dedicated to the monochrome photographer

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

used photographic equipment

Having trouble finding what you want? We’ve got nearly everything under one
roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.

Got a question about photography? We can answer it.

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

94 B+W CLASSIFIED JUNE 2016

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 To advertise on these pages please call Rebecca on 01273 402823
or email rebecca.anson@thegmcgroup.com B+W CLASSIFIEDS

Where London learns...

A small selection of short day and evening courses

photography and moving image from May 2016
Main programme Wildlife photography day out: red and fallow dear
code VY963 Wednesday 18 May, 10.00–16.00
Fine art printing with Photoshop
code VY777 Thursday 19 May – 9 June, 18.00–21.00

Dedicated to the monochrome photographer

Photo London: experience > inspire > create
code VY973 Friday 20 – 27 May, 10.30–16.30
6SHHGOLJKWDQGFDPHUDŴDVKPDGHHDV\
code VY925 Sunday 22 – 29 May, 10.30–16.30
Montage and constructed images
code VY958 Tuesday 24 May – 21 June, 14.00–17.00
A history of British photography
code VY648 Friday 27 May – 24 June, 18.00–20.00
Creative photography projects
code VY605 Tuesday 24 May – 21 June, 18.00–21.00
Photographer’s assistant intensive course
code VY922 Thursday 2 Jun – 7 Jul, 14.00–17.00
Adobe Premiere Pro video editing: beginners
code VG367 Sunday 5 Jun – 3 Jul, 10.30–17.30
Live performance: shooting drama, dance and music
code VY759 Thursday 9 Jun – 7 Jul, 10.00–13.00
Wildlife photography day out: birds of prey
code VY964 Friday 10 Jun, 10.00–16.00
Large format cameras: an introduction
code VY827 Thursday 23 Jun – 7 Jul, 18.00–21.00
Wildlife photography day out: big cats
code VY965 Wednesday 13 Jul, 10.00–16.00
Capture One software training
code VY918 Sunday 17 Jul, 10.30–17.30

Summer school Documentary photography summer school *

code VY873 Wed 13 – Fri 15 Jul, 10.30–16.30
DSLR video: learn about cameras, lenses, editing *
code VG471 Mon 18 – Fri 22 Jul, 10.30–16.30
Cameraless photography: pinhole, photograms and cyanotypes *
code VY967 Fri 29 – Sun 31 Jul, 10.00–17.00
Portrait photography summer school *
code VY968 Mon 1 – Thu 4 Aug, 10.30–16.30
Black and white photography and darkroom introduction *
Get £30 off code VY969 Mon 8 – Wed 10 Aug, 10.00–17.00
any of the courses Photography trips abroad: Paris *
marked * using offer code VY971 Sat 13 – Mon 15 Aug, 10.30–16.30
code SSB30 Make a promotion video for your website *
on our website code VG515 Mon 8 – Wed 10 Aug, 10.00–17.00

Follow us on Twitter @CityLitArts

Our studios in Covent Garden have up-to-date equipment and offer a comfortable
and inspiring learning experience. To enrol now or for a comprehensive view of all
our courses please visit: www.citylit.ac.uk
You can enrol online, in person or by calling enrolments on 020 7831 7831
City Lit, Keeley Street, Covent Garden, London WC2B 4BA

JUNE 2016 B+W CLASSIFIED 95

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 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
lucky winner will have their picture given this treatment by London’s state
© Shirley Johnson
of the art printing service, theprintspace – it could be you!

96
B+W

This month’s luck winner is Shirley Johnson who wins a 20x24in print dry mounted on to Acrylic Reverse, a highly innovative
mount that sandwiches the print between two sheets of Perspex for the ultimate high end finish. Shirley can choose from
a range of four digital C-type and seven fine art inkjet papers for printing.

NEXT MONTH
You can win a print dry mounted on to Foamex, an exceptional quality,
highly rigid foamboard.

HOW TO ENTER
Send your hi-res image on a CD to: B+W Photography, Last Frame, Find out more at
GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk

96_LAST_FRAME_190 ER/MB.indd 96 14/04/2016 14:49

 Allosaurus Skull Cast Calligraphy of the Basmala, Steinway (c1900), 6ft 2in Grand piano Dean Zeus Colman, Hope 3D, 2014
Wyoming, Jurassic Uzbekistan, 20th C. Estimate: £ 15,000–20,000 Estimate: £ 5,600–6,900
Estimate: £ 930 Estimate: £ 70 Piano Auctions Ltd Fine Art Auctions Miami
Auctionata Auctionata

400,
0
new 00
ever lots
y we
ek
Jack Brabham, Racemaster Helmet Hasselblad 501CM Camera Dolce&Gabbana, Bowling Bag
Estimate: £ 500–800 Estimate: £ 500 Fixed price: £ 500
Silverstone Auctions Special Auction Services Eppli

ALL AUCTIONS IN ONE PL ACE

The Film Book by Ronald Bergan Pre-Owned Bell & Ross BR01 Batman Toy Head Heidi Warr Limited Edition Vase
2011 in original metal tin Fixed price: £ 2,100 Pre-Production Prototype c. 1970 Estimate: £ 700
Estimate: Coming soon! Govberg Estimate: £ 40 Signed & Designed
Tamlyns Artingstall & Hind

±ųƴåÚĜƴŅųƼĀčƚųåŅüBŅƋ±Ĝ IŅŸåüBŅýĵ±ĹĹØĹåŸƋĜĹčƋ±ÆĬåŸ Genuine 0.75 ctw Black & White Carnegie medal, 66 mm, 102g, AG
Estimate: £ 200–300 Fixed price: £ 3,200 Diamond Ring 10K White Gold Estimate: £ 100
Auction Gallery of the Palm Beaches Wright Now Estimate: £ 1 200–1 300 Bruun Rasmussen
US Jewelry Liquidation

IBC_BW_190.indd 1 4/15/16 12:44 PM

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