18/03/2016 15:37

COOL, CREATIVE AND CONTEMPORARY

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BLACK+WHITE PHOTOGRAPHY MAY 2016 LISL STEINER + BARBARA KASTEN + SHOOT GREAT LANDSCAPES + CANON EOS-1D X MK II ISSUE NO.189
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 © Anthony Roberts

BLACK + WHITE
PHOTOGRAPHY
LEARNING
EDITORIAL
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com TOGETHER

I
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com have, over the years, taught on a lot of workshops
Assistant Editor Anna Bonita Evans and I am always fascinated by how people learn
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 BLACK+ WHITE PHOTOGRAPHY
CONTENTS ISSUE 189 MAY 2016
© Lisl Steiner © Gavin Mills © Lee Frost

32

08 48
© Rafael Rojas © Alex Schneideman © Tim Daly

44

24 54

NEWS INSPIRATION COMMENT

04 NEWSROOM
Your news in black & white
02 07 EXHIBITION OF THE MONTH
B+W Our recommended show
19 ON THE SHELF
The best photography books
20 IN THE FRAME
Photography exhibitions
around the country
FEATURES
08 THE ONE AND ONLY
COVER IMAGE Irrepressible photojournalist
This month's cover is a portrait Lisl Steiner
of Lisl Steiner by Aldo Sessa 24 A CURIOUS DISCOVERY
Uncovering the mystery of
GET IN TOUCH Rafael Rojas
Tel 01273 477374
facebook.com/blackandwhitephotog 32 THERE BUT FOR THE
twitter.com/BWPMag GRACE OF GOD
39 INSIGHT 22 AMERICAN CONNECTION
Vicki Painting on sites of transition Susan Burnstine talks to
Megan E Doherty
44 THINKING PHOTOGRAPHY
Alex Schneideman on creativity 40 A MODERN EYE
Shoair Mavlian on Barbara Kasten
62 OPEN BOOK
Finding the right idea for 58 A FORTNIGHT AT F/8
your photobook Tim Clinch on cloning
78 WIN A SOLO EXHIBITION
Your pictures could be on show YOUR B + W
68 SMARTSHOTS
TESTS & PRODUCTS Send us your best
smartphone pictures
74 CHECKOUT
Six of the best camera backpacks 70 PORTFOLIO
Prize-winning photographs
80 IN FOCUS
A closer look at the Canon 86 NEXT MONTH
EOS-1D X Mark II For our next trick…
83 BLACK+WHITE LOVES 89 SUBS OFFER
Cool camera kit Have B+W delivered to
your door

EDITOR
Powerful pictures of the homeless TECHNIQUES 96 LAST FRAME
by Gavin Mills
ELIZABETH ROBERTS 48 THE GRAND VIEW Win a prize with a single image
elizabethr@thegmcgroup.com 60 60-SECOND EXPOSURE Take awesome landscapes
Billy Currie on gambles and
DEPUTY EDITOR missed opportunities 54 PHOTO PROJECTS
MARK BENTLEY Create a family heirloom
markbe@thegmcgroup.com 66 SMART GUIDE TO
ASSISTANT EDITOR PHOTOGRAPHY
ANNA BONITA EVANS Keeping your smartphone
anna.evans@thegmcgroup.com pictures safe

FOR DETAILS OF HOW TO GET PUBLISHED IN BLACK+ WHITE PHOTOGRAPHY TURN TO PAGE 84
NEXT MONTH’S ISSUE IS OUT ON 12 MAY

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 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com

HIGH CONTRAST
Eighty photography galleries
from around the world will
exhibit work at Photo London
from 19 to 22 May. The show at
Somerset House in London also
hosts several exhibitions and a
programme of talks. Speakers
include Francis Hodgson,
Nadav Kander, Don McCullin,
Mary McCartney, Martin Parr
and Rankin.
photolondon.org
Magnum photographer
Peter Marlow has died. He joined
Magnum in 1980 and became
a full member in 1986. He was
Magnum’s president twice
and vice president on several Baltimore Uprising by Andrew Burton.

SEE THE BEST

occasions. His pictures include
black & white photographs of
04 Tony Blair, Michael Schumacher,
B+W Kevin Spacey, Ronald Reagan and
Mikhail Gorbachev. An exhibition
of his photographs of English
cathedrals opens at Coventry
cathedral on 29 April.
magnumphotos.com
Pinhole photographers around the
world are invited to take a picture
to celebrate Pinhole Day on
Sunday, 24 April. Last year more
than 3,000 people contributed
images to the event. Pinhole
photographers can upload their
images to a dedicated website
at the address below.
pinholeday.org
A new edition of Lightroom for
Android users has been issued
by Adobe. Lightroom 2 offers an
in-app camera, shoot-through
presets, more editing controls
and split toning enhancement.
adobe.com
The best in contemporary food
photography is displayed at the
Mall galleries in London from
27 April to 1 May. The free
exhibition shows winning pictures
from this year’s Pink Lady Food
Photographer of the Year. Images
were selected from more than
7,000 pictures submitted from
around the world.
pinkladyfood
photographeroftheyear.com
The shortlist has been revealed for the 2016
Sony World Photography Awards.
A record number of pictures were entered
into this year’s competition, with photographers
in 186 countries entering more than 230,000
pictures. Entries from British photographers
increased by 135%.
The shortlisted images are now competing to
win category prizes and the overall L’Iris d’Or
Photographer of the Year and Open Photographer
TOP WORK ON SHOW
© Joni Sternbach/Courtesy Von Lintel Gallery, Los Angeles
© Andrew Burton, United States, Shortlist, Professional,
Current Affairs, 2016 Sony World Photography Awards/Getty
of the Year titles. The winning pictures will
be announced at a gala ceremony on 21 April.
All the shortlisted photographs will be shown
at Somerset House in London from 22 April
to 8 May. The images will also be published
in the 2016 edition of the Sony World
Photography Awards book.
You can see some of the best black & white
pictures shortlisted for the Sony World Photography
Awards on the app edition of this magazine.
Nearly 90 fine art photography
galleries are displaying work at
the Photography Show in New
York from 14 to 17 April.
Galleries from around the world
will show pictures ranging from
the early days of photography
to contemporary practitioners.
Highlights include photographs
by Carleton Watkins, Alec Soth,
Tina Modotti, Francis Frith,
André Kertész, Lillian Bassman,
Robert Frank, Sally Mann
and Edward Weston.
A series of panel discussions
featuring curators, artists, dealers
and journalists will also be held.
One of the pictures on show –
The Present, Santa Barbara, CA,
2015, by Joni Sternbach.

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 AGAINST PLAN
Key photographers and figures
from the photography world have
signed a letter to the Guardian
calling for the plan to move a
major photography collection to
London to be reconsidered.
More than 400,000 photo
objects – including at least
250,000 pictures – are due to
move from the National Media
Museum in Bradford to the V&A
in London. The Media Museum
will concentrate on the science
of photography, but the letter in
the Guardian says separating the
art and science of photography
reverses worldwide practice. The
letter adds: ‘A number of us who
have deposited our photographs
in the museum did so specifically
because we wanted our work to
be preserved in the north.’
More than 80 high profile
photography people signed the
letter, including photographers
Brian Griffin, Paul Hill, Eamonn
McCabe, Don McCullin and
Martin Parr, artist David
Hockney, gallery owner Michael
Hoppen, publisher Dewi Lewis
and film-maker Mike Leigh.
WELL DONE
This picture by Olivia Whitfield
from Leeds College of Art has
won her the title of Ilford Photo
Student Photographer of the
Year. The picture, Amelie’s Love,
was shot on Ilford HP5+ film.
Mark Boulton from Leicester
College was the digital category
winner and takes the title of
Harman Technology Student
Photographer of the Year.
Amelie’s Love by Olivia Whitfield.
© Olivia Whitfield
4- 5 NEWS 189 MB/ABE.indd 5
LINKING UP
Leica have teamed up with the
Cooperative of Photography
(Cooph) to introduce a range
of photographers’ clothing at
its Mayfair store and Red Dot
Cameras in London.
The selection of T-shirts and
hoodies are specially designed for
photographers and feature camera
Hope for a new life by Warren Richardson. images and lens cap pockets.
© Warren Richardson
Cooph clothing is also available
WORLD BEATER
in Leica Stores in Los Angeles,
Miami, Washington DC and
New York, as well as other
A black & white picture of refugees crossing the border from Serbia locations worldwide.
to Hungary has won the 59th annual World Press Photo of the Year. store.cooph.com
Australian photographer Warren Richardson took the picture
© whitewall.com
after camping with the refugees on the border for five days. He said:
‘I must have been with this crew for about five hours and we played
cat and mouse with the police the whole night. I was exhausted
by the time I took the picture.
‘It was around three o’clock in the morning and you can’t use
a flash while the police are trying to find these people, because
RIGHT FRAME
I would just give them away. So I had to use the moonlight alone.’
The prize-winning pictures will be displayed in an exhibition
05
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opening at De Nieuwe Kerk in Amsterdam on 16 April before Online photo lab WhiteWall has
agreed a deal with photography
touring to around 100 cities in 45 countries.
marketplace EyeEm.
Images picked by EyeEm
photo editors will be available to
buy through Whitewall Picture
World, which will provide custom
printing, framing and mounting.
Up to 800 new EyeEm
pictures will be selected each
month to go into four categories:
city, architecture, landscape
and abstract.
whitewall.com
THE NEW
GENERATION
Production was halted on the
Russian Jupiter 3 lens in 1988,
but now Lomography has brought
Home Without Home by Md Shahnewaz Khan, from his series on child labour, it back for a new generation
is one of the pictures from last year’s competition. of photographers. The Lomo
© Md Shahnewaz Khan Jupiter 3+ Art Lens is based
on the lens developed in Soviet
HELPING ENVIRONMENT Russia in the late 1940s and is
produced by technicians at the
same Zenit factory as the original.
The deadline for entering the Environmental Photographer of the
Constructed from chrome-
Year 2016 is fast approaching. The competition, which promotes
plated solid brass, the lens offers
global environmental and social issues, offers a prize fund of £6,000.
a 50mm focal length and an f/1.5
Selected pictures will be exhibited at the Royal Geographical Society maximum aperture.
in London in June. Deadline for entries: 18 April. £499 lomography.com
epoty.org
18/03/2016 16:07
 NEWS EXTRA

SONY WORLD PHOTOGRAPHY AWARDS 2016

We present some of the best black & white pictures shortlisted in this year’s
Sony World Photography Awards. Winning pictures are exhibited
at Somerset House in London from 22 April to 8 May.
© Marcello Bonfanti, Italy,
Shortlist, Professional, Portraiture,
2016 Sony World Photography Awards

04
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 © Valerio Bispuri, Italy, Shortlist, Professional, Candid, 2016 Sony World Photography Awards
05
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© Christian Massari, Italy, Shortlist, Open, Nature and Wildlife, 2016 Sony World Photography Awards
 © Liu Chengliang, China, Shortlist, Professional, Candid, 2016 Sony World Photography Awards

06
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© Fan Li, China, Shortlist, Professional, Contemporary Issues, 2016 Sony World Photography Awards
 © Patrick Sinkel, Germany, Shortlist, Professional Sport, 2016 Sony World Photography Awards
07
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© Giles Clarke, United Kingdom, Shortlist, Professional, Campaign, 2016 Sony World Photography Awards / Getty Images Reportage
 W I L L E M PH OTO G R A PH I C

Patrick Demarchelier Peter Lindbergh Walde Huth

Melvin Sokolsky Irving Penn Horst P Horst

William Klein Ernest Bachrach Edward Steichen

OUR GALLERY IN DOWNTOWN MONTEREY, CALIFORNIA HAS OVER 1,500 CONTEMPORARY FINE
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Contact - Brooke Gabrielson 949.887.4373 or Robert Packard 415.378.4218
Gallery 831.648.1050
info@willemphotographic.com

006_BW_189.indd 6 3/17/16 12:27 PM

 NEWS EXHIBITION
OF THE MONTH
Pose Work
Radical and complex, conceptualism is a defining chapter in art's history.
for Plinths 1 Tate Britain looks at pivotal UK artists in its new show – but what was
© Bruce McLean
photography’s role in the idea-led movement? Anna Bonita Evans reports.

L
ooking at what art is, how
it’s made and what it’s for,
conceptualism places ideas
above the aesthetic value
of a piece: art shouldn’t purely be
a beautiful object to look at,
it should examine its own nature
and invite analysis of its purpose.
Since Marcel Duchamp included
that famously controversial
urinal, Fountain, in a 1917
exhibition, the genre has created
a strong divide in public opinion
that's still prevalent today.
To some it’s an exciting,
revolutionary and necessary
movement that’s transformed
the nature of art, while others
place it at the receiving end of
cynicism, mockery and inverted
intellectual snobbery. Whatever
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your viewpoint, conceptual art
embraced photography, using
it innovatively to illustrate the
artist’s message. It was an
important benchmark moment
to help shift the photographic
image into the art world.
Tate Britain’s new show puts
UK conceptual artists' work
(created during the mid 1960s to
late 70s) into sharp focus.
Among the 70 exhibits are
images by those prominent in
the movement’s second phase,
where there was a strong trend
to use B&W photography in
a snapshot style; the images were
often presented in a grid format
– mimicking a contact sheet.
Photographs on display
include work by Victor Burgin, pretensions of the art world, as unnatural stances these Rather than belittling or feeding
Conrad Atkinson and Bruce we see here in Pose Work for celebrated sculptures hold. us with the instant gratification
McLean, who used photography Plinths 1 (above). Photographing Although this exhibition won’t we often receive in our modern
to scorn the consumer-centric his own body to parody the appeal to those wanting to world, Conceptual Art in Britain
western world, illustrate poses of Henry Moore’s Reclining marvel at powerful, Sebastião provides a space for us to think,
opposing points of view, or, in Figure series, McLean makes a Salgado-style pictures, there is reflect and critique the work
McLean’s case, confront the joke of the almost impossible and still much to engage with here. – even if we like the pieces or not.

CONCEPTUAL ART OF BRITAIN 1964 TO 1979

runs from 12 April to 29 August at Level 2 Galleries, Tate Britain, Millbank, London SW1P; tate.org;
follow the hashtag #conceptualartgb

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 INTERVIEW

© All images Lisl Steiner,

Österreichische Nationalbibliothek
Bildarchiv / Edition Lammerhuber

THE ONE
AND ONLY
Photojournalist Lisl Steiner
has captured some of the
most unforgettable images
of the 20th century, and after
64 years of chronicling life as
it unfolded she’s determined
to live by the rules of her own
making. Donatella Montrone
talks to the octogenarian.
8
08
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W
hy? Why, Lisl? It’s a
question you learn to
ask sparingly when
speaking with renowned
photojournalist Lisl
Steiner who, at 89, has
all the kickassery of a battle-hardened New
Yorker and all the seduction of a Klimt objet
d’art. The combination is bewitching and
you can’t help but be enthralled. ‘You have to
exclude the word “why”. It’s a stupid word,’
she says during our interview. ‘Why does
anyone do anything? I can’t tell you what’s
in anyone’s mind! I can only tell you what’s
in my mind. I think that word should be
eliminated from the English language.’
And so, when chatting with Lisl, you fix
on her every word, which she articulates in a
melange of Germanic-Spanish-Americanese,
as the memories and expletives and
indiscretions cascade from her lips in an
indiscriminate narrative. You learn that she
lost her virginity at the age of 23 to her first 

Fidel Castro,
Buenos Aires, 1959

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 09
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10
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Martin Luther King, Democratic Party convention, Miami Beach, 1968.
Opposite Friedrich Gulda at the first important concert of his career,
Teatro Colón, Buenos Aires, 1949.
‘Lisl’s storytelling is a deluge of anecdotes and
observations – recollections of a life well lived.’
 husband, Hermann Ehrenhaus, the son of
Otto Erhardt, a famous opera registreur in
the 1900s; you learn of the time Louis
Armstrong propositioned her; you learn that
she got her first job at 14 in an art shop in
Buenos Aires, inking in French erotic
graveurs. ‘My sex education started with
François Boucher – an angel doing this
or that to the ladies.’
You learn of her appreciation of Downton
Abbey, her disinterest in Judi Dench and that
08-16_LISL_STEINER_189 ER/MB.indd 10
she’s written a letter to Mark Zuckerberg,
likening him to the sorcerer in Wolfgang von
Goethe’s poem, The Sorcerer’s Apprentice,
‘by creating this superficial horrible
Facebook which is an insult to friendship’,
she writes. ‘You know who Günter Grass
was, the Nobel prize winner for literature?
He said Facebook is “scheisse”. It means shit,
and I subscribe to what he said.’
You learn that at 88 she stripped naked for
the What’s Underneath video project, baring
the rippling folds of an octogenarian body
and the casualty of a double mastectomy
with all the refinery of a Viennese duchess
and all the sweariness of a Brooklyn dock
worker. ‘I am getting more primitive by the
minute,’ she tells me. ‘I want to eat with my
hands, I don’t believe in cutlery. Instead of
struggling with a knife and fork, you get a
lobster and you cut your hands trying to
open the damn thing. It’s such a pleasure
to do that. Vivian Winther and Ingrid
Rockefeller are making a film about my life,
and whenever I tell Ingrid that I am hot shit
in Vienna, she says, “Don’t say that, Lisl!”
People tell me not to say fuck. I say, what’s
wrong with that? It’s vernacular.
These words are important.’
L
isl’s storytelling is a deluge of
anecdotes and observations –
recollections of a life well lived. You
learn of the time she walked into
the locker rooms of the Cosmos Soccer
Club and photographed Franz Beckenbaur
and Kurt Kuykendall in a hot tub while
Henry Kissinger looked on. You learn that
while working freelance for Keystone Press
Agency she was called away from the Figaro
Café on Bleecker Street in Greenwich
Village and was instructed to ‘get her ass
to Times Square’ because something had
happened to President Kennedy. ‘I got up
on a car and photographed 22 people at
exactly 2pm on the 22nd of November in
1963. What a shame it was 1963 and not
1962 – it would have rounded up all the
twos.’ And you learn of her antipathy for
hero-worship, despite saying that Fidel
Castro will be remembered by many as a
hero – ‘an exception to the rule,’ she says.
‘You know, Bertolt Brecht? Do you know
who he was? He said that every country
which has heroes is pitiful, because if you
jump after me into a river to save me, you’re
not a hero, you’re just a human being who
is on the right track.’
Madame Steiner is, unquestionably, a
grande dame of photojournalism and widely
regarded as the first female photojournalist
in Latin America. While she is perhaps
best known for her photos of political and
cultural figures, including Indira Gandhi,
Martin Luther King Jr, Fidel Castro, Miles
Davis, Pelé, Pablo Neruda, Nat King Cole
and innumerable others, she is also the
founder of Children of the Americas, a
project she started in 1959 that celebrates
childhood. ‘I travelled to all the countries
in the three Americas and photographed
children – rich, and dying of hunger.’
Of Jewish heritage, Lisl was born in
Vienna on 19 November 1927. Her parents
left in September of 1938, not long after
Hitler annexed Austria and the Nazis
started to humiliate Jewish women by 
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Henry Kissinger, Franz Beckenbauer and Kurt Kuykendall, New Jersey, 1976.
 ‘making them clean johns or sweep the
streets in their fur coats,’ she explains.
They made their way to Argentina via
Trieste in Italy, where they remained for
several months before boarding the Oceanea,
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Robert Kennedy welcomes children from Ireland in the Carlyle Hotel, New York, 1967.
08-16_LISL_STEINER_189 ER/MB.indd 12
a passenger ship en route to Buenos Aires.
As a child she settled in quickly, became
fluent in Spanish, and experienced none
of the anguish that plagued so many of her
generation. ‘I went to school in Vienna with
the children of Engelbert Dollfuss, [the
prime minister who banned the Austrian
Nazi party and who was later assassinated
by the Nazis in 1934]. ‘I went to his funeral
with his children. A year ago I tried to find
them but they are both dead.’
M
ortality comes up many times
during our chat; often when
you least expect it and always
with an air of abandon. ‘I had
a friend once: I had tea with him at four;
he committed suicide at six. The next day
his wife died because they had a pact. He
shot himself and she died the next day by
swallowing something.’ And so I ask, ‘Why
did he commit suicide, Lisl?’ ‘Why? I don’t
know why! He was afraid.’
Lisl, on the other hand, fears nothing –
certainly not death. She was married to her
second husband, a medical psychoanalyst
named Michael Meyer Monchek, for 25
years. ‘He was a wonderful man,’ she says.
‘He saved many lives.’ In 1992, following
Michael’s stroke, Lisl started to film his
demise over a six-week period. ‘I filmed
the whole process – from the moment he
had a stroke, to dying, to being carried out
11/03/2016 14:12

Louis Armstrong in his dressing room, Buenos Aires, 1959.
the door. It’s in the hands of a producer
right now – he’s going to edit eight hours of
footage down to 40 minutes. It’s going to be
very interesting.’
She studied drawing at Fernando Fader in
Buenos Aires, and later enrolled in the
University of Buenos Aires but soon
became disenchanted and left. ‘It wasn’t for
me – I decided I would rather be an
autodidact.’ In the intro to her new book
Lisl Baby, published by Edition
Lammerhuber, she writes: ‘I would like to
say that my photographic career started
08-16_LISL_STEINER_189 ER/MB.indd 13
‘In the 1960s, you could have
access to anybody. I could go
to the White House just by
showing my credentials
from O’Cruzeiro.’
with some great influence, a lightning
bolt or a sign… but I can’t. I’m a realist,
for sure, but I also believe that part of
what makes life beautiful are the
13
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surprises, the photographic accidents.’
From 1945 to 1953 she worked in the
film industry, assisting in the production of
more than 50 Argentinian documentaries.
Then came a revolution and General Pedro
Eugenio Aramburu became president. One
day Lisl learned that Aramburu was going
fishing in Ushuaia, in the southernmost tip
of Argentina, so she decided to follow him.
‘I took pictures, and Time and Life thought
they were absolutely wonderful. It was
1955, and to them the sight of a general
fishing was extraordinary. And that 
11/03/2016 14:12
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Pelé in the dressing room at the New York Cosmos, New Jersey, 1976.
Opposite Leonard Bernstein during a concert in a cinema, Buenos Aires, 1963.
 was really the beginning of my career as
a freelance photojournalist.’
Having worked as the staff photographer
at O’Cruzeiro magazine in Brazil, and
having photographed everything from
Fidel Castro’s boots to shoeshine boys on
a Rio beach, working to help their young
mother, a hooker, make ends meet, Lisl
resents being called ‘the great photographer
of Time and Life’. ‘It’s bullshit – I don’t like
superlatives. I was just one of many.’
O
n the day we chat, Lisl recounts
a deeply unsettling incident –
the theft of all her possessions
in Hamburg airport. ‘I was
08-16_LISL_STEINER_189 ER/MB.indd 14
‘Lisl’s storytelling is a
deluge of anecdotes and
observations – recollections
of a life well lived.’
invited to appear on 3nach9, a talk show in
Germany, and was in the airport with my
publisher sitting on a bench. Everything was
in the cart [trolley] when he looked away for
one second and somebody stole everything.
My Vuitton bag was on the cart. You can’t
imagine what I had in that bag – my money,
my jewellery, three Leicas. I once did a
photostory about pickpockets. The Chileans
were the best, but now everyone has
learned how to do it. It’s an art form.’
Lisl considers herself a historian of
photography, and so in that respect her
work is done. ‘I don’t want to go to the
Thanksgiving parade on Fifth Avenue
and report. In the 1960s, you could have
access to anybody. I could go to the White
House just by showing my credentials
from O’Cruzeiro. I could go into the
Carlyle Hotel and photograph Bobby
Kennedy, and I could photograph Castro
in Havana, Buenos Aires and New York.
Everybody was available, there were fewer
photographers and it was very easy.

‘But journalism today is kaput. It’s
11/03/2016 14:12
 15
B+W

08-16_LISL_STEINER_189 ER/MB.indd 15 11/03/2016 14:13

 16
B+W
Lisl Steiner.
 dead. It’s entertainment,’ says Lisl. ‘It’s
not that photojournalism has changed for
something else, it’s just dead. Right now,
here in New York on Channel 2, there’s a
story about a murder, a tsunami, a fire and
a little dog at the end of a 20-minute news
show. Photojournalism exists in places
like the Middle East. Western journalists
are standing on the balcony high above
while the local journalists are in the
action getting killed below. This past year
something like 360 photojournalists were
killed – not the fancy guys sitting at a news
desk at CBS in Manhattan.’
Lisl is an old lady and getting older, she
says. And though she is currently without
a lens, it hasn’t stopped her taking pictures.
‘The iPhone is fantastic! I only work with the
iPhone and iPad right now. The quality is not
that of the monster camera you often have to
carry, because sometimes you do need a big
camera, but… darling… this is here to stay!’
While she may be done photographing
dead babies in Managua, Louis Armstrong
having a fag in his dressing room and Jackie
08-16_LISL_STEINER_189 ER/MB.indd 16
‘Madame Steiner is, MORE OF LISL
What’s Underneath Project’s
unquestionably, a grande 14-minute video interview, Society Is
Kaput & Other Truths From an Ageless
dame of photojournalism Spirit: Lisl Steiner, can be viewed
and widely regarded as the on YouTube.
first female photojournalist
in Latin America.’
Kennedy at the funeral of Martin Luther
King Jr, she’s far from done with life. There’s
Lisl Baby to promote, and the starring role
in her biopic and, of course, getting naked
for YouTube. ‘What I favour right now is
the look of a Picasso and a madame in a
whorehouse, and I am succeeding. The first
thing I do in the morning is put my war paint
on. I put green on my eyelids, and I paint my
lips orange. I asked my doctor, do I have to
LISL BABY
swallow 100 pills if I want to exit? He said, Lisl Steiner is the recent winner
no, Lisl! Just take something and champagne!’ of the One Eyeland Awards’ Silver
prize for Lisl Baby (oneeyeland.com)
For more of Lisl Steiner’s work, visit her published by Edition Lammerhuber
website at lislsteiner.com. edition.lammerhuber.at/en
11/03/2016 14:13
 Winner of the TIPA Award

“Best Photo Lab Worldwide”

Awarded by the editors of 28 leading international photo magazines

Don’WMXVWWDNHSKRWRVVKRZWKHPRɣ
,QJDOOHU\TXDOLW\
70 awards and recommendations. Made in Germany. Gallery quality trusted
by 21,500 professional photographers. Discover us at WhiteWall.com

WhiteWall.com

017_BW_189.indd 17 3/17/16 12:29 PM

 Who’s next?

We head to Ohio and Washington DC for the final week of the US elections in 2016. Like all
our tours we give you access to senior politicians, first-rate speakers and analysts, as well
as ordinary people. It is a revolutionary approach to travel that will provide you with a first-
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in our new brochure. To receive a copy email info@politicaltours.com or call us for details.

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018_BW_189.indd 18 3/21/16 9:09 AM

 NEWS
TULIP
Celine Marchbank
Dewi Lewis
Clothbound hardback, £35
H
ow do you photograph
somebody dying,
especially if that
someone is very close
to you? This is the question that
Celine Marchbank faced when
her mother was diagnosed with
lung cancer and a brain tumour
in 2009. But, as a documentary
photographer, Marchbank
knew that she had to do it.
In this book we discover
not only her mother’s way of
dying but also the relationship
between mother and daughter.
And we discover this in such a
quiet and sensitive way that we
hardly realise it until we reach
the end.
Marchbank’s images reside
mainly in her mother’s house
and they are a lesson in how
to tell a story, with all its many
nuances, that doesn’t come from
the obvious. A detail describes
a whole, a glance describes a
character, objects throw light
on personality. We see a hand,
a flower, a cat, a photograph,
the side of a face. Gradually they
build up until we have a picture.
Elizabeth Roberts
19_BOOK_REVIEWS_189 ER/MB.indd 19
ON THE SHELF
ANOTHER WAY
F
irst published in 1982, this
enchanting book has been
OF TELLING unavailable for some years
– and how delightful that
John Berger and Jean Mohr it has returned.
Bloomsbury I am a huge admirer of John
Hardback, £25 Berger and have read a great deal
of his work and continue to find
him an intelligent and eloquent
observer, and a warm and very
human writer. His combining
with photographer Jean Mohr
(they have collaborated a number
of times) is a bringing together
of like minds and the resulting
book is full of the unexpected
and challenging. Together they
investigate a theory of
HEY MISTER,
photography – but don’t expect
a dry approach; far from it, each
THROW ME
page turn brings something fresh
and new that goes beyond
SOME BEADS
Bruce Gilden
previous theoretical approaches,
Kehrer Verlag
but is deeply absorbing and enlightening for anyone interested in
Hardback, £35
photography, from whatever point of view.
19
I
Divided into five sections, the book explores through text and pictures t’s fascinating to look
B+W
the questions of what a photograph is, what photographs mean and back at the early work of a
how can they be used. The answers are not always predictable. A lovely photographer and see how
production to be enjoyed once more. they have developed – and,
Elizabeth Roberts in the case of Bruce Gilden, it’s
doubly interesting to see where
P
ublished as part of the the roots of his confrontational
eminent Photofile series street style have emerged from.
that features some of the Back in 1974, Gilden visited
world’s best photography, the Mardi Gras in New Orleans
Marc Riboud is a welcome (the title of the book is a common
new addition. phrase of Mardi Gras). It was the
With a disarming and well first time he had photographed a
written introduction by Riboud project outside of his home town
himself, the book showcases 63 of of New York and the results are as
his most iconic photographs. Seen quirky as you would expect from
together they are a true tribute to such a carnival – and Gilden.
this Magnum photographer. Masks, costumes, dancing,
Now in his 90s – he was born parades and wild behaviour are
in 1923 near Lyon in France – all part of the carnival ritual and
Riboud has spent much of his Gilden’s love of the eccentric and
life travelling the world, having outrageous is here in abundance.
abandoned his job in engineering His insightful – and often cruel
to take up the precarious career
of a freelance photographer.
MARC RIBOUD – eye is well established in these
early images as he homes in on
Introduction by Marc Riboud
Arriving in Paris in the early 50s, ugly, brazen and flagrant revellers
he was taken up by Henri Cartier- Thames & Hudson who are only too willing to hand
Paperback, £9.95
Bresson and invited to join themselves up to the camera – or
Magnum. From here his life as else focusing on the sad and the
a photographer took off, abetted by his yearning to travel. His gentle silly, the losers and the needy. It
approach to photography and his unique way of seeing the world makes strange, and sometimes
contribute to his remarkable oeuvre. uncomfortable, viewing.
Elizabeth Roberts Elizabeth Roberts
11/03/2016 14:19
 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
BEETLES+HUXLEY
63 Gee Street EC1V
magnumphotos.com

To 16 April Mall Galleries

Abelardo Morell: 27 April to 1 May
Through the Looking Glass Pink Lady Food Photographer
A look back at Morell’s of the Year 2016
celebrated career. Prestigious annual competition.
3-5 Swallow Street W1B The Mall SW1
beetlesandhuxley.com mallgalleries.org.uk

BEN URI GALLERY MEDIA SPACE

19 May to 28 August 14 April to 11 September
Wolf Suschitzky, Dorothy Bohm Fox Talbot:
and Neil Libbert Dawn of the Photograph
Three of the greats. An exhibition that explores the life and
108A Boundary Road, career of the father of photography.
Off Abbey Road NW8 Exhibition Road SW3
benuri.org.uk sciencemuseum.org.uk

FLOWERS GALLERY NATIONAL PORTRAIT

18 May to 25 June GALLERY
Boomoon: Skogar & Sansu To 22 May
New series by South Korean Vogue 100: A Century of Style
photographer Boomoon. Celebrating 100 years of fashion,
8 Kingsland Road E2 beauty and portrait photography.
20 flowersgallery.com St Martin’s Place WC2H
B+W npg.org
GAGOSIAN GALLERY
To 23 April NATURAL HISTORY MUSEUM
Avedon Warhol To 2 May
Two giants of 20th century art. Wildlife Photographer of the Year
6-24 Britannia Street WC1X Showcase of nature photography.
gagosian.com To 15 May
Otherworlds:
GUILDHALL ART GALLERY Busking miner, December 1930 Visions of our Solar System
To 31 July by Helen Muspratt A journey through space.
Unseen City: HELEN MUSPRATT: © The Estate of the Artist Cromwell Road SW7
Photos by Martin Parr nhm.ac.uk
Parr’s playful take on the PHOTOGRAPHER
City of London. To 8 May PARASOL UNIT
Guildhall Yard EC2V Helen Muspratt was one of the leading female photographers 13 April to 12 June
cityofloncon.gov.uk of the 20th century, known for her portraits and her politically Magical Surfaces: The Uncanny
motivated documentary work. in Contemporary Photography
IWM LONDON A group exhibition that includes
To 24 April PALLANT HOUSE GALLERY 9 North Pallant, Chichester pallant.org.uk Stephen Shore and Joel Sternfeld.
Lee Miller: 14 Wharf Road N1
A Woman’s War parasol-unit.org
A major new exhibition. Portraits of LGBTQ Jews Bob Carlos Clarke: Made in Heaven
To 24 April Platinum palladium prints by Ajamu. Marking the 10th anniversary of the PHOTOGRAPHERS’ GALLERY
Eleven Women Facing War Raymond Burton House, death of the legendary photographer. 15 April to 26 June
Nick Danziger explores the impact 129-131 Albert Street NW1 26 May to 16 June DBPFP 2016
of war on women’s lives. jewishmuseum.org.uk Short Stories by Anja Niemi The Deutsche Börse Photography
26 May to 4 September Eight short stories with fictional Foundation Prize 2016.
Peace Signs LEYAS characters and places. 23 to 26 June
The 1980s anti-nuclear protest Ongoing 13A Park Walk SW10 Punk Weekender
movement by Edward Barber. Diversity World thelittleblackgallery.com A celebration of punk culture.
Lambeth Road SE1 Documentary work by Australian 16-18 Ramillies Street W1F
iwm.org.uk photographer Shane Aurousseau. MAGNUM PRINT ROOM thephotographersgallery.org.uk
20 Camden High Street NW1 To 22 April
JEWISH MUSEUM Sergio Larrain PROUD CHELSEA
To 17 April LITTLE BLACK GALLERY More than 30 works by the To 5 June
Through a Queer Lens: 21 April to 14 May late Chilean photographer. Breaking Stones 1963-1965:

20-21_IN_THE_FRAME_189 ER/2/MB.indd 20 11/03/2016 14:20

 A Band on the Brink Millbank, SW1P
of Superstardom tate.org.uk
Photographs by Terry O’Neill.
161 Kings Road SW3 TATE MODERN
proud.co.uk To 12 June
Performing for the Camera
SERENA MORTON GALLERY The relationship between
To 28 May photography and performance.
Muhammad Ali Bankside SE1
Fighter’s Heaven 1975 tate.org.uk
Photographs by Peter Angelo Simon.
345 Ladbroke Grove W10 V&A
serenamorton.com To 3 July
Paul Strand: Photography and
SNAP GALLERIES Film for the 20th Century
To 28 May The first retrospective in the UK
The Rolling Stones for over 30 years.
by Gered Mankowitz Cromwell Road SW7
Veteran music photographer revisits vam.ac.uk
his legendary Rolling Stones archive.
12 Piccadilly Arcade SW1Y
snapgalleries.com NORTH
GALLERY
SOMERSET HOUSE To 15 May
22 April to 8 May Harris Tweed: From the Land
Sony World Photography Awards A collaboration between Ian Lawson Kensal House, London ca. 1938 by Edith Tudor-Hart.
The prestigious annual show. and the Harris Tweed Authority. © Edith Tudor-Hart / National Galleries of Scotland
Strand WC2R Rheged Centre, Penrith, Cumbria
worldphoto.org rheged.com STRANGE AND FAMILIAR:
TATE BRITAIN MUSEUMS SHEFFIELD BRITAIN AS REVEALED BY
To autumn 2016 30 April to 4 September INTERNATIONAL PHOTOGRAPHERS
Jo Spence Echoes of the Great War:
Key works by this great photographer. Photographs by Peter Cattrell To 19 June
12 April to 29 August Evocative images of the remnants Curated by Martin Parr, this exhibition looks at how international 21
Conceptual Art in Britain of the Western Front. photographers from the 1930s onward have captured the identity B+W
How artists and photographers Weston Park, Western Bank, Sheffield of the UK.
transformed the nature of art. museums-sheffield.org.uk
11 May to 25 September BARBICAN Silk Street EC2Y barbican.org.uk
Art and Photography from NATIONAL MEDIA MUSEUM
the Pre-Raphaelites to the BRADFORD
Modern Age 22 April to 26 June Retrospective of work by this of all 42 of the UK’s Anglican cathedrals.
Nearly 200 works that reveal the Gathered Leaves: acclaimed Magnum photographer. Chapel of Industry, Coventry
mutual influences of the two genres. Photographs by Alec Soth Bradford, West Yorkshire Cathedral, 1 Hill Top, Coventry
nationalmediamuseum.org.uk coventrycathedral.org.uk

PEOPLE’S HISTORY MUSEUM CALUMET GALLERY

To 14 August To 30 April
Grafters The Birmingham Jewellery Quarter
Curated by photographer Ian Beesley Black & white photographs from the
with new poems by Ian McMillan. early 1980s by Colin Shaw.
Left Bank, Spinningfields, 100 Hagley Road, Birmingham
Manchester calphoto.co.uk/store/Birmingham
phm.org.uk

MIDLANDS SOUTH
35 CONTEMPORARY FINE ART
ALFRED EAST ART GALLERY To 16 April
21 May to 2 July John Brockliss
Growing Old Playfully From marine landscape to black
Work by Roger and Danièle Bradley. & white street photography.
Sheep Street, Kettering 35 North Road, Brighton
‘END’ 2016 kettering.gov.uk 35northblog.wordpress.com
END BY EAMONN DOYLE © Eamonn Doyle.
Courtesy Michael
Hoppen Gallery CHAPEL OF CHRIST FOX TALBOT MUSEUM
12 May to 15 July THE SERVANT, COVENTRY To 10 July
The third of a series on Dublin by this British artist. CATHEDRAL Iceland. An Uneasy Calm
29 April to 5 September Tim Rudman’s love of Iceland.
MICHAEL HOPPEN GALLERY The English Cathedral Lacock Abbey, Lacock, near
3 Jubilee Place SW3 michaelhoppengallery.com by Peter Marlow Chippenham, Wiltshire
The late Magnum photographer’s images nationaltrust.org.uk

20-21_IN_THE_FRAME_189 ER/2/MB.indd 21 11/03/2016 14:20

 NEWS
OUTSIDE THE FRAME
If you would like an exhibition to be included in our listings, please email Anna Bonita Evans
at anna.evans@thegmcgroup.com at least 10 weeks in advance.

AMERICA
ANNENBERG SPACE
AUSTRIA
ALBERTINA
FOR PHOTOGRAPHY To 8 May
23 April to 21 August Provoke: Between Protest and
REFUGEE Performance, Photography in
New work by Lynsey Addario, Japan 1960 -1975
Omar Victor Diop, Graciela Iturbide, Photographs from the innovative
Martin Schoeller and Tom Stoddart Japanese photo magazine Provoke.
depicting the global refugee crisis. Albertinaplatz 1, Vienna
2000 Avenue of the Stars, Los Angeles albertina.at
annenbergphotospace.org

BRUCE SILVERSTEIN
To 18 June
FRANCE
FOUNDATION CARTIER
Songs and the Sky: POUR L’ART CONTEMPORIAN
An exhibition of art and music To 5 June
Images by influential photographers Kinetic drift, 2014 Daido Moriyama: Daido Tokyo
(including Alfred Stieglitz) are paired © Michael Najjar/Courtesy Colour pictures by the seminal
of Benrubi Gallery, NYC
with classical music. Japanese photographer.
535 West 24th St, New York AMERICA To 5 June
brucesilverstein.com Fernell Franco: Cali Claire-Obscur
MICHAEL NAJJAR: OUTER SPACE First major international retrospective
DE RE GALLERY of Latin American photographer.
To 17 May To 14 May 261 Boulevard Raspail, Paris
20 Photo Femmes Large-scale hybrid photographs, futuristic in style. Artistic foundation.cartier.com
Three emerging female photographers’ interpretations of the training people undergo to be an astronaut.
B+W
work, including Monroe Alvarez. JEU DE PAUME
7916 Melrose Avenue, Los Angeles BENRUBI GALLERY To 22 May
deregallery.com 521 West 26th Street, New York benrubigallery.com François Kollar: A Working Eye
An estimated 150 prints of Kollar’s
EDWYYN HOUK GALLERY take on the early 20th century.
To 30 April Wallace Berman: American Aleph SAN JUAN ISLANDS To 29 May
Inherit the Dust Major retrospective; work spans from MUSEUM OF ART Capa in Colour
Powerful new work by Nick Brandt. 1940s to Berman’s death in 1976. To 18 July Dedicated to Capa’s 14 years
houkgallery.com 1227 North Highland Avenue, Fragile Waters of shooting colour.
Los Angeles kohngallery.com Monochrome landscapes by seminal 1 Place de la Concorde, Paris
FAHEY/KLEIN GALLERY figures: includes Ansel Adams jeudepaume.org
To 14 May NAILYA ALEXANDER GALLERY and Ernest H Brooks II.
Inherit the Dust To 12 May 540 Spring Street, Washington PETIT PALAIS:
Arresting pictures of African wildlife. Denis Brihat: sjima.org MUSÉE DES BEAUX-ARTS
148 North La Brea, Los Angeles Photographs 1964-2006 To 17 July
faheykleingallery.com Major retrospective of Parisian STEVEN KASHER GALLERY In the Studio:
photographer’s delicate images To 4 June The artist photographed
FRAENKEL GALLERY of nature. Gottfried Jäger: from Ingres to Jeff Koons
To 23 April 595 Madison Avenue, New York Photographer of Photography Photographs of artists in the studio,
Robert Adams: Around the House nailyaalexandergallery.com Abstract B&W images. including Picasso, Ingres and Matisse.
& Other New Work Carl Strüwe: Microcosmos Avenue Winston-Churchill, Paris
The American west in B&W. PACE/MACGILL GALLERY A set of 50 microphotographs created petitpalais.paris.fr
49 Geary Street, San Francisco To 30 April at the beginning of the 20th century.
fraenkelgallery.com Richard Learoyd: 515 West 26th Street, New York POLKA GALERIE
Inaugural exhibition stevenkasher.com To 21 May
JACK SHAINMAN GALLERY Colour and B&W nudes. Arrivals & Depatures
To 23 April
Malick Sidibé
Set of Malian photographer’s
32 East 57th Street, New York
pacemacgill.com AUSTRALIA
SYDNEY COLLEGE
Jacob Aue Sobol’s documentary work.
12 Rue Saint-Gilles, Paris
polkagalerie.com
street scenes and studio portraits. ROBERT KOCH OF THE ARTS
513 West 20th Street, New York
jackshainman.com
5 May to 2 July
The Light of Coincidence
To 7 May
Theatre of the Mind GERMANY
Images by Kenneth Josephson. Seminal works by Roger Ballen. GALERIE HILANEH VON KORIES
KOHN GALLERY 49 Geary Street, San Francisco Kirkbride Way, New South Wales To 7 May
6 May to 25 June kochgallery.com sydney.edu.au Every Picture Came My Way
B&W pictures of 1950s Germany.
35 Belziger Strasse, Berlin HOLLAND
galeriehilanehvonkories.de DE MESDAG COLLECTIE
To 5 June
GALERIE HILTAWSKY Nature’s Picture:
To 7 May Photography Meets Painting
Ville Kansanen: in the 19th Century
The Procession of Spectres French and Dutch landscape
Finnish photographer’s first solo show. photographs and paintings
41 Tucholskystrasse, Berlin from the 1800s.
hiltawky.com 7F Laan van Meerdervoort, The Hague
demesdagcollectie.nl
HELMUT NEWTON
FOUNDATION HUIS MARSEILLE MUSEUM
To 22 May VOOR FOTOGRAFIE
Helmut Newton: To 5 June
Pages from the Glossies Jeroen Robert Kramer
Enlargements of magazine spreads, / Une Femme
including headlines, page numbers, Poetic colour pictures of Beruit.
commentary and captions, where 401 Keizersgracht, Amsterdam
Newton’s work was featured. huismarseille.nl
To 22 May
Greg Gorman: Colour Works NEDERLANDS FOTOMUSEUM
Pictures relating to global music, To 31 December 2016
art and the film business. The Darkroom: Extraordinary
Jebensstrasse 2, Berlin Stories from the History
helmutnewton.com of Dutch Photography

Untitled
21
SWITZERLAND
B+W
Miroslav Tichý

MIROSLAV TICHÝ
27 April to 25 August
Czech photographer’s imaginative pictures taken with cameras
made from various objects.

ROLLA INFO Via Municipio, Bruzella rolla.info

Exhibition brings more than 185 years SWEDEN

of Dutch photography to life. FOTOGRAFISKA
Willhelminakade 332, Rotterdam To 15 May
nederlandsfotomuseum.nl Time and Again Photography
from the Walther Collection

ITALY Over 800 photographs, both from its

GALLERIA CARLA SOZZANI
To 5 June
World Press Photo 2016
The best photojournalism imagery
historical roots to our vibrant present
time in Europe, China and Africa.
Stadsgardshamnen 22, Stockholm
fotografiska.eu

BONE IV
entered into this year’s competition.
Includes distressing imagery. UNITED ARAB
Corso Como 10, Milan
EMIRATES
© Amit Desai

HONG KONG galleriacarlasozzani.org

THE EMPTY QUARTER
ANCESTOR BONE HUG GALLERIA DELL’ INCISIONE GALLERY
To 20 May To 14 May
To 20 May Michael Kenna Chiaroscuro
New conceptual works by Indian-American artist Amit Desai, which Beautiful B&W works by the Retrospective of Reem Al Faisal’s
asks us to consider metaphysical questions about space and time. renowned landscape photographer. B&W experimental imagery, largely
See website for book signing date. using the high-key technique.
THE EMPTY GALLERY 3 Yue Fung Street, Tin Wan theemptygallery.com Via Bezzecca 4, Brescia 2 Sheikh Zayed Road, Dubai
incisione.com theemptyquarter.com
 COMMENT
AMERICAN CONNECTION
With the help of a Christian mission, Megan E Doherty finds access and
acceptance in documenting an urban community where tension erupts
susanburnstine.com
on the streets and violence is often the answer. Susan Burnstine reports.
22
B+W
F
or the past three years,
Megan E Doherty has
been photographing
a South Side Chicago
neighbourhood referred
to as Back of the Yards, in
which she documents a small
street ministry that tends to
the residents involved in and
victimised by gang violence and
urban poverty. As I was raised
in Chicago, I feel a deep affinity
for every subject in this series,
but what made this work stand
out as unique was Doherty’s
22-23_USA_CONNECT_189 ER/MB.indd 22
ability to communicate sensitive
social issues with great heart
and humanity.
Doherty is mostly a self
taught photographer who
enjoyed photography as a teen,
then stumbled back into it after
earning her PhD in 2010. At
that point she had forgotten
what little she had learned when
she took a Film 101 class as an
undergraduate, but she took
a leap of faith in mid-2011 and
purchased a DSLR.
At the start of 2013, she began
an apprenticeship with Chicago
based documentary photographer
Jon Lowenstein. ‘That’s when it
became clear to me what really
made my heart sing,’ she says.
Within a month of working for
Jon, she began photographing
her Back of the Yards project.
The inception of the project
began when she attended a poetry
reading that, as she describes,
made ‘the hairs on the back of my
neck stand up’. The poet had been
a homeless drug addict, in and
out of prison, hit rock bottom,
and then turned his life around
after experiencing a spiritual
awakening. Doherty approached
the man after the event, told him
about a story she recently did
for WBEZ radio and explained
the type of work she hoped to
produce in the future. The man
responded with one comment,
‘You need to meet Brother Jim’.
S
oon after, Doherty
met with Brother Jim,
whom she learned was
a remarkable man who
has devoted himself full-time to
the Brothers and Sisters of Love
ministry since 1987. She became
inspired by Brother Jim’s mission
and began joining him on his
walks through Back of the Yards.
Doherty says, ‘Anyone who
knows Jim, loves him. They trust
him completely. Him vouching
for me meant that I was instantly
part of the crew. Even when they
hardly knew me, they said, ‘We
love you, Megan, please keep
coming back to see us.’
Historically, the Back of
the Yards neighbourhood
housed workers for the Union
Stockyards, as it was a former
hub of the US meatpacking
industry. Initially, it was
heavily German and Irish, then
transitioned to predominately
Eastern European and, in the
1970s, became largely Mexican
and Black. She explains, ‘There
18/03/2016 15:42
 All images © Megan E Doherty

EXHIBITIONS

USA
BOSTON
MUSEUM OF FINE ARTS BOSTON
Until 14 August
Hiro: Photographs
mfa.org

CHICAGO
CATHERINE EDELMAN GALLERY
Until 1 July
Francesco Pergolesi: Heroes
edelmangallery.com

is some tension between the
two communities within the
neighbourhood, but they coexist
by trying to leave each other
alone, especially in areas where
they live in closer proximity.
Tension erupts especially on
streets or blocks where the
demographics are changing.’
As everyone’s lives are forever
transforming, the meaning
of Doherty’s photographs can
sometimes shift. She explains,
‘A photograph means one
thing one day – the next day,
something else. The young man
whose photo I took while he
was on house arrest, feeding his
nephew, gets beaten up by a rival
clique. His friends retaliate, a
member of the rival group gets
killed, and his friend winds up in
jail. That image means something
very different now. Before, it
meant, I made a mistake, but
I still love, and I’m still worthy of
love. Now it means vengeance.
Retaliation. The cycle, unbroken.’
Of another image, she says,
‘There’s a gaggle of kids who I
just adore. Deaundra, Jayshaun...
they’re lovely little humans-in-
the-making. One week, I get
photos of them playing on the
sidewalk. Two weeks later, their FORT WORTH
older cousin is murdered in that AMON CARTER MUSEUM
exact spot – and instead of their Until 7 August
Discarded: Photographs by
playful antics, I photograph kids
Anthony Hernandez
forced to go through these hard,
cartermuseum.org
adult things, mourning, looking at
their cousin’s blood still staining
the sidewalk, not knowing how
LOS ANGELES
to process their feelings.’ HAMMER MUSEUM 23
Until 15 May B+W
Doherty continues to work
Still Life with Fish: Photography
on other personal projects, but
From the Collection
her aim is to have the Back of
hammer.ucla.edu
the Yards images published
with an accompanying essay
she has written.
PORTLAND
BLUE SKY GALLERY
meganedoherty.500px.com
Until 31 May
brothersandsistersoflove.com
Andres Wertheim: The Museum’s
Ghosts and Thomas Bilanges:
Vis-a-Vies
blueskygallery.org

SYRACUSE
LIGHT WORK GALLERY
Until 22 July
Ben Altman: Site/Sight
lightwork.org

TAMPA
FLORIDA MUSEUM OF
PHOTOGRAPHIC ARTS
Until 1 June
Gohar Dashti:
Iran Untitled and Stateless
fmopa.org

WATERVILLE
COLBY COLLEGE MUSEUM OF ART
Until 5 June
Alec Soth:
Summer Nights at the Dollar Tree
colby.edu

22-23_USA_CONNECT_189 ER/MB.indd 23 18/03/2016 15:42

 24
B+W

24-30_RAFAEL_ROJAS_189/ABE/ER/MB.indd 24 11/03/2016 14:28

 FEATURE

All images © Rafael Rojas

A CURIOUS
DISCOVERY
At one time Rafael Rojas
produced dramatic images of the
natural world, gathering prestigious
awards and a reputation to match.
What drove him then to create
a completely different series,
diverging in style, subject matter
and technique? Anna Bonita Evans
uncovers the mystery.
25
B+W

S
panish photographer Rafael Rojas is not
one to fall victim to artistic complacency.
When we first met a year or so ago,
I was struck by his non-stop energy and
curiosity for all aspects of photography.
His key philosophy is to develop as an
artist, to never be limited or avoid a challenge.
I’ve often thought about what decisions he’d make
when future choices in his photography arose.
Despite this, it was still a complete surprise to
come across his most recent project, Dead End.
A complete shift from the classic, powerful, colour
landscape photographs he’s known for, his latest
work is a collection of delicate platinum palladium
prints, depicting stuffed animals in dioramas
or preserved in jars of formaldehyde. Intrigued
to learn more about this quieter, stunning, yet
bizarre, series, I arranged to chat with him over
the phone. Talking to me from his lakeside home
in Switzerland, Rafael reveals how this new
chapter in his photography began.
Sharing with him my reaction when I first saw
Dead End, Rafael laughs, saying, ‘I was surprised
with the results too! It’s the first time I’ve done
something indoors and worked in the still life genre.
The series came out of winning the wildlife category
in the 2014 Hasselblad Masters competition.
I needed to create a project relating to the category
I won for the book of the 2014 winners and, as you
know, wildlife isn’t normally my subject matter.

It was a good challenge and one I felt ready for.’

24-30_RAFAEL_ROJAS_189/ABE/ER/MB.indd 25 11/03/2016 14:28

  ‘My first idea was to go to Africa and
photograph animals in their natural
environment. This wasn’t different enough
though, it just didn’t excite me, so I thought
again. I also felt it hypocritical to take those
types of pictures: beautiful images
of beautiful animals in beautiful settings.
I’m an admirer of English photographer
John Blakemore – not just his work
but his ethos too. He stopped taking
sublime landscape pictures because the
environment was being mistreated. I feel
the same with photographing wildlife
– I’m starting to think that way towards
working in the landscape too.’
W
anting a completely different
approach, Rafael changed tack
and was drawn to the history
and contents of the local
Cantonal Museum of Zoology in downtown
Lausanne, Switzerland. Opening to the
26
B+W
24-30_RAFAEL_ROJAS_189/ABE/ER/MB.indd 26
public in 1818, the museum holds more than
1,300 specimens of birds, insects and animals
collected by Swiss aristocrats during the 18th
and 19th centuries. Seeing its potential for a
photography project, Rafael approached the
staff about the possibility of photographing
the exhibits and was granted access.
‘It was completely different to the
natural environments I normally
photograph and it gave me a
chance to show my darker side.’
Photographing after hours and on days
it was closed, Rafael had to work quickly as
during every visit a museum representative
needed to be with him. The project took
just over four days to shoot. He tells me how
this short timeframe and unfamiliar subject
matter was liberating: ‘If I have time to
think I start to rationalise things and doubt
myself. At first I just saw a bunch of stuffed
dead animals, but then I focused and began
to see how appealing the place actually was:
its strange musty smell, the imperfections of
the glass cases, the harsh lighting, the rather
sinister subject matter…it was completely
different to the natural environments
I normally photograph and it gave me
a chance to show my darker side.’
A
s well as photographing in the
museum, Rafael was invited to
work in a less known building
18 miles away. He says, ‘I was
told about this former nuclear power plant
in Lucens. In 1969 there was a partial core
meltdown, causing a massive radioactive
contamination, so they had to close and
seal the plant and wait years until it was
safe. It’s now a warehouse for many Swiss
museums: paintings, ancient relics and other
ephemera are all kept there. The Cantonal 
11/03/2016 14:28
 27
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 28
B+W

24-30_RAFAEL_ROJAS_189/ABE/ER/MB.indd 28 11/03/2016 14:29


 Museum of Zoology store a lot of exhibits
there waiting to be stuffed or in need of
repair. It’s spooky but very nice.’
It was during time spent in the warehouse
that he came up with the core idea for
Dead End. Describing the image sequencing
as an illustration of progressive confinement,
Rafael’s series begins with pictures of
animals set in dioramas, then images of those
shelved in the warehouse and ends with
pictures of reptiles and foetuses preserved in
jars of formaldehyde. Rafael says, ‘Organising
the pictures in this way is a symbol of wildlife
fading away. The settings the animals are in
become more artificial – more distant from
24-30_RAFAEL_ROJAS_189/ABE/ER/MB.indd 29
where they once roamed when alive.’
Continually striving to be more
insightful in his imagery, he says, ‘Now
I need to explore new concepts in my work
otherwise they just feel a little empty. Right
now I’m interested in visual metaphors; in
my eyes these aren’t just stuffed animals
in a warehouse or museum, they’re a
connection to time and death. Maybe it’s
just me going through an early mid-life
crisis but death is something I occasionally
think about now! For Dead End I’m
photographing natural beings that are no
longer living, maybe it’s just me getting
more used to death and all that it entails.’
29
B+W
R
afael’s natural curiosity drives him
to experiment and this receptivity to
ideas naturally opens new doors for
him to enter. For Dead End it was
learning how to create platinum palladium
prints: a lengthy, skilled and expensive
darkroom process. It wasn’t just the challenge
that interested Rafael; it was the synergy
between the project’s idea and appearance.
‘The aesthetic qualities of platinum
printing are just glorious for certain subjects,
especially animals, and I thought it perfect
for Dead End. Take the delicacy and tonal
range of the feathers in some bird pictures
– you can’t get subtlety with silver gelatine.
11/03/2016 14:29
 30
B+W
 In the pictures with a lot of darker areas you
see hints of what lies in the shadows, giving
the slightly sinister feel I wanted.’ Asking if
he also chose this method for its potentially
symbolic value, he immediately replied, ‘Yes!
The archival look of the prints mirrors the
history of subjects perfectly too.’
He continues, ‘This type of printing is also
about creating a beautiful and unique object.
The second, third, even tenth, print is not
necessarily going to be the best but you
never know what you’re going to get.
I find that really exciting as now I’m trying
to embrace imperfection. I trained as a
geological engineer, where people working
in that profession have the psychological
profile of liking order, but I want to get
away from that in photography. If I know
24-30_RAFAEL_ROJAS_189/ABE/ER/MB.indd 30
where I’m going, I get bored. Challenging
myself is important. I like not being able to
repeat something perfectly every time and
putting a little bit of my soul into the image
I’m creating. It makes the print come alive.’
This was the opportune time to ask Rafael
about his metamorphosing style: a year or so
ago he was a colour landscape photographer,
now he’s heading in a completely new
direction. Asking him whether this is a
conscious decision or a development far
more free and fluid, he reflects for a moment
and responds, ‘I strongly believe in not
building a cage around myself, whatever
it is that I’m doing, or I’d never move.
I say to myself, ‘just go for it’. Some of my
contemporaries have said, ‘I don’t like your
last project’ which I think is great: if I kept
producing the same work I wouldn’t be
challenging or surprising people. You’ve got
to explore everything you can.’
Sensing Rafael had more to say, I waited
for him to continue. My intuition paid off
with him adding, ‘Rather than thinking how
can I make my pictures more interesting?
I try to approach it the other way round, so
how can I make myself more interesting?
How can I make my life different and be a
bigger me? My work then becomes more
insightful. This is what is beautiful about life
and photography; your images reflect how
much of a richer person you become.’
To see the full Dead End project
and Rafael Rojas’ other work go
to rafaelrojas.com
11/03/2016 14:29
031_BW_189.indd 31 3/17/16 12:43 PM
 I N T ER V I E W

All images © Gavin Mills

THERE BUT
FOR THE
GRACE
OF GOD
Every homeless person has a
story to tell, a chain of events
that led to their life on the streets.
During the course of a three-year
project, Gavin Mills took the
time to chat and photograph
those he met in his home city,
London. Interview by Tracy Hallett

A
32 ccording to figures from
B+W
the Department for
Communities and Local
Government there are
3,569 people sleeping
rough in England on
any given night. Each one of them has
a story to tell. Take Jim, for instance, a
former teacher who lived in a comfortable
three-bedroom house with his wife
before he invested both their life savings
in a fast-food business run by a con man.
The couple now sleep in an underground
car park in Marylebone. Then there’s
Margaret a lovely lady who struggled
to come to terms with the death of her
husband and two close family members.
Margaret was found walking along the
motorway with no shoes, her feet battered
and bleeding. These stories are unsettling
because they’re not about drug addicts or
alcoholics they’re about everyday people
who have found themselves unable to
deal with everyday life. 
DAWN. Dawn was in a bad way when I met
her. She had the shakes, or rattles, which can
be a symptom of heroin withdrawal. I asked
if I could get her a hot drink or some food, but
she said she wasn’t really hungry. Dawn had
been offered accommodation from one of the
homeless charities, but she needed to pay
for it and had no money.

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 33
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32-37_GAVIN_MILLS_189 ER/MB.indd 33 11/03/2016 14:30

 34
B+W
MARGARET. Margaret suffered severe trauma when she lost her husband. She couldn’t cope and began walking the streets. Presently she is in
sheltered accommodation and getting her life back together thanks to volunteers at the Connection at St Martin’s.

 Were it not for Gavin Mills, these stories
would remain untold. Gavin is a London
based photographer with an honest, easy
going nature and an obvious passion for
people. Jim and Margaret are just two of
the characters he met during a three-year
personal project shooting street portraits.
‘I didn’t set out to do a series on homeless
people, it just sort of developed,’ he admits. ‘I
was really into street photography, so I bought
myself a Leica M8. One of the first times I
went out with it I saw a homeless guy sitting
outside the station in Camden, and I asked if
I could take his photograph. He was a lovely
guy, really chatty, and he let me take some
pictures of him and his dog.’ The experience
made quite an impact on Gavin, so he decided
to look out for similar opportunities.

‘It takes guts to go up to

somebody, because you
never know what sort of a
reaction you’re going to get.’
Approaching a stranger, and asking to
take their picture, is never easy. We know
that people can be unpredictable: if we
make a bad first impression we could be
subjected to a verbal, or even physical,
JAMIE. When I met Jamie he had just been watching a demonstration on behalf of the NHS. attack. So how did Gavin overcome this
As he had stitches in one eyebrow, and was leaning on crutches, it might have been a demo nervousness? ‘It takes guts to go up to
that had some importance to him. Jamie told me that he used to be a photographer, and having somebody, because you never know what
looked at my camera said that I should get a proper one! sort of a reaction you’re going to get,’ he

32-37_GAVIN_MILLS_189 ER/MB.indd 34 11/03/2016 14:30

 35
B+W
PETER. Had there been a world record for the largest number of plastic bags you could hang on a bicycle Peter would definitely have broken it.
I asked whether he could still ride the bike with so many bags on it and he told me that it was OK on the flats, but the hills were a problem.

confirms. ‘Lots of people say to me that
they could never do what I do, but you have
to ask yourself what’s the worse that can
happen? In reality they’re only going to say
“no” – nobody is going to clobber you!’
people warm, so Gavin frequently bought hot forgot and gave them money,’ he admits. ‘It’s
food and drinks for his sitters. ‘I tried to give never black & white – you have to respond to
people something to eat, but sometimes I just each person based on how you feel personally.’ 

G
avin is a natural raconteur,
and it’s easy to see why so many
people agreed to sit for him. It’s
said that the greatest thing you
can give somebody is your attention, and
Gavin is living proof that taking the time
to make a connection is good for both your
photography, and your soul. ‘I was never in
a hurry,’ he explains. ‘If somebody wanted
to talk to me about anything I would be
listening. The more rapport you can build
with somebody the better the photograph
will be’. Gavin put people at ease simply by
being open and honest, talking about the
project and telling them what had attracted
him to them. ‘I would say “you look really
cool” or “I like your moustache,” whatever
it was that made me stop in the first place,’
he explains. ‘Some homeless people spend
most of their day talking to other homeless TERRY. My wife and I met Terry on a freezing November morning. As we’d just been shopping
people, so it can be nice when someone we offered him some food from our bag, which he was grateful for. It was due to snow the next
else shows a genuine interest.’ day so we asked him if he had somewhere to sleep. He told us that there was a garage he
But conversation isn’t enough to keep could use for now – it wasn’t warm, but it was dry.

32-37_GAVIN_MILLS_189 ER/MB.indd 35 11/03/2016 14:30

 36
B+W
ELISA AND ALI. Elisa had been living on the streets since she was 16 and was in her mid-20s when I photographed her. She’s pictured
here with Ali who really made me laugh because he spoke at a hundred miles an hour. I could see that Elisa liked him, and I got the
feeling that they really looked out for one another.

 By way of an example, Gavin talks about a industry, so I gave him some money to buy morning with him and he didn’t seem the
former hairdresser who was sleeping rough. some clippers,’ he explains. ‘I don’t know if type to spend it on drink or drugs.’
‘He was trying to get back into the hairdressing he was just spinning me a yarn, but I spent the Despite this gesture, Gavin is quick to
admit that the best way to help somebody is
not by handing over money in the street, but
by making a contribution to one of the many
charities supporting homeless people in the
capital. ‘These charities do an amazing job,’
he explains. ‘They provide counselling and
sheltered accommodation, and they go to
great lengths to try to get people back into
normal society. The best way to help
is to donate money or to volunteer at
charities such as St Mungo’s, Shelter,
or the Connection at St Martin’s.’
Living on the street can cause great
physical and mental suffering. In 2014
Homeless Link (a charity for organisations
supporting the homeless) surveyed more
than 2,500 individuals sleeping rough.
As a result it concluded that 41% had
long-term physical health problems, 45%
had a diagnosed mental health issue, and
35% were eating less than two meals a day.
Homelessness is clearly a complex issue,
JIM. Jim used to live in a three-bedroom house with his wife, but was tricked into handing and one that cannot be solved by simply
over his life savings, and now sleeps in an underground car park. He is currently writing placing a roof over someone’s head.
a book about homelessness and coping with depression. So what role can photography play in

32-37_GAVIN_MILLS_189 ER/MB.indd 36 11/03/2016 14:30

 37
B+W
ANNIE. It always affects me when I see someone like Annie on the streets, because she is about the same age as my mother.
Annie looked frail and had a stick to help her walk. She said she was trying to get some money for accommodation,
and dreamed of being able to have a hot bath and somewhere to sleep.

highlighting the issues? ‘We see homeless all drug addicts, but in fact they come from capture some of the spirit and courage of the
people every day,’ says Gavin, ‘but we don’t all walks of life… I don’t know what the people I have met, and that they help people
identify with them or see them as individuals. solution for homelessness is, but I do know to make a human connection with those who
We have this idea that homeless people are that it needs attention. I hope my pictures might otherwise be made to feel invisible. ’

An exhibition of prints from Gavin’s

Invisible People project will be held
at theprintspace in London from
KYLE AND SHANE. Kyle and Shane were two of seven guys living on a construction site 5-17 May. An ebook will also be
in Bow Street. I spent a whole day with the group, just hanging out. available to download at this time.

32-37_GAVIN_MILLS_189 ER/MB.indd 37 11/03/2016 14:30

 TIM CLINCH OUT OF YOUR COMFORT ZONE…
The philosophy behind my photography

PHOTOGRAPHY workshops is relatively simple to say but

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)T\MZVI\Q^MTaaW]KIVKWV\IK\UMJaMUIQT"tim@timclinchphotography.com

038_BW_189.indd 38 3/22/16 3:50 PM

 INSPIRATION
INSIGHT
As Vicki Painting, winner of the 2015 B+W Photographer of the Year award,
continues on her journey through an MA in Photography, she has cause
Image © Vicki Painting
to question the tight definitions that can define a genre.

39
B+W

‘I imagine a landscape photograph as one that will nearly always feature the natural
and rural environment, but this is only one part of the equation.’

W
hat is a landscape photograph?’ This is a question
to which I hadn’t, to my shame, previously given
much thought, though I am often asked, do
I photograph landscapes? I don’t consider myself
a landscape photographer, not wishing to
categorise my photographic output in such narrow
terms. Like many others, I imagine a landscape photograph as one that
will nearly always feature the natural and rural environment, but this
is only one part of the equation. WJT Mitchell suggests that landscape
is better thought of as a verb, to landscape. This immediately alters
our outlook and reminds us that all landscapes are brought about by
human action, and that through environmental intervention, change
occurs transforming our surroundings into what we recognise as
rural, urban or industrial sites. Land Matters: Landscape Photography,
Culture and Identity by Liz Wells examines how photographers have
addressed these notions and how they have chosen to represent them
through photography. Currently concerned with photographing a post-
industrial landscape, I have re-examined my approach to a site which
is in transition, and the uncertainty that such a state induces.
On a short break to the Algarve recently, I was struck by how
unpopulated it was, as it was still gearing up for peak season and, as
such, was also a site in transition. A resort is a landscape that has been
shaped by human action for the purpose of leisure, so is incomplete
without the population it has been built for. Empty shuttered
apartment blocks and deserted beach cafés give such places an eerie
feel. It is this juxtaposition that interests me, the point where human
intervention within the environment is discordant; so yes, maybe
I am a landscape photographer after all.

39_INSIGHT_189 ER/MB.indd 39 18/03/2016 15:44

 COMMENT
A MODERN EYE
Back in the late 1970s Barbara Kasten produced a series of black & white images
that relied on light itself as their subject matter. Shoair Mavlian, assistant curator
of photography at Tate Modern, investigates how they were created.

40
B+W

Untitled 13 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten

T
here are some works
which curators seldom
have the chance to see
in the flesh due to their
rarity or physical location and
Barbara Kasten’s early black &
white works are an example of
something that eluded me for
many years. However, in 2012
two vintage prints from Kasten’s
Amalgam series entered the
Tate collection and I became
captivated by the layers of these
geometric abstractions, and
intrigued and puzzled by how
these works were made.
were made partly in the studio
‘I became captivated by the layers of these and partly in the darkroom –
geometric abstractions, and intrigued and Kasten began by arranging a set
or construction in her studio.
puzzled by how these works were made.’ These constructions, made from
sheets of plexiglas, geometric
Barbara Kasten was born in This expansion into photography plexiglas forms and mesh could
Chicago in 1936 and studied was a transitional moment for be described as minimal
painting and sculpture before Kasten who has continued to use sculpture. However, she was not
later focusing her interests photography as a central part interested in the objects
on textiles. In the mid 1970s, of her practice for the following themselves, rather in how these
already accustomed to working four decades. objects would interact with light
in an interdisciplinary nature, In 1979 Kasten began work on to create shadow and form that
Kasten began experimenting a series titled Amalgam, black & could be recorded by the camera.
with photography and making white images of geometric By lighting the constructions in a
constructions for the camera. abstract shapes and forms. These particular way Kasten was able to 

40-43_A_MODERN_EYE_189 ER/MB.indd 40 11/03/2016 14:34

 41
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Untitled 11 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten

40-43_A_MODERN_EYE_189 ER/MB.indd 41 11/03/2016 14:34

 Untitled 2 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten Untitled 6 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten

42 Untitled 14 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten

B+W

40-43_A_MODERN_EYE_189 ER/MB.indd 42 11/03/2016 14:34

 Untitled 25 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten
capture in an image the light and
shadow projected and filtered
through the object, recording
forms that did not exist as
physical objects but only when
captured by the camera. Kasten
then entered the darkroom and
added an additional layer by
adding a photogram to the work
during the printing process by
placing a perspex cube directly
on top of the photographic
paper, creating a layer of negative
print and photogram. In some
instances she also added
a third layer to the work by
painting directly on to the
surface of the photograph.
A
s the title suggests,
these works are an
amalgamation of
sculpture, photography
and the photographic medium’s
ability to ‘paint with light’,
encapsulating Kasten’s desire to
experiment with the relationship
between the process of painting
and different photographic
materials and techniques.
Kasten’s work, seen as an
intersection between sculpture,
painting and photography, was in
40-43_A_MODERN_EYE_189 ER/MB.indd 43
‘Scale plays an important role in Kasten’s
work and although the constructions
sometimes look as if they could be small
in scale, they are often life size.’
line with other artists working in
California at the time, following
on from the light and space
movement, who were interested
in experimenting with breaking
the boundaries between the
limits of different mediums.
Interestingly, Kasten was not
concerned with breaking the
boundaries of photography,
rather she was working from a
different starting point, trying to
push the boundaries of painting
by using photography.
Scale plays an important role
in Kasten’s work and although
the constructions sometimes
look as if they could be small,
they are often life size, meaning
there is a bodily relationship
between artist and material.
This physicality between artist
and material and her ability to
move and alter the set-up has
always been very important for
Kasten and reminds us that the
Untitled 34 from Amalgam by Barbara Kasten, 1979 © Barbara Kasten
artist is always on hand just
outside the frame of the image.
This space outside the frame is
revealed in Amalgam Untitled 34
where Kasten opens up the
frame and reveals the illusion
she has created in the studio.
Seemingly absent of
descriptive subject matter,
Kasten’s work is fundamentally
concerned with the capture of
light and the reaction of light
with the photographic material
deconstructed so that in her
black & white work light itself
becomes the subject matter.
However, she has continued to
explore this idea to capture light,
space and form in many different
forms using colour photography,
sculptural installation and, more
recently, moving image.
Although extremely innovative,
Kasten’s interdisciplinary
practice is rooted in the historic
avant-garde and the early 20th
century movements of
43
constructivism and the Bauhaus.
B+W
This exploration of material
studies and construction within
studio practice throughout the
20th century is a fascinating
theme that will be investigated
further in an upcoming display
at Tate Modern.
YOU MIGHT
ALSO LIKE…
Florence Henri (1893-1982)
was a painter and musician
who later studied at the
Bauhaus in Dessau where
she took up photography.
Her photographic
compositions often used
mirrors, prisms and reflective
objects to create illusions
of space and form and often
incorporated the self-portrait
within these formal studies.
11/03/2016 14:34
 INSPIRATION
THINKING PHOTOGRAPHY
In the first of a new series on photography, Alex Schneideman
asks the question: why do we photograph? To find the answer
alexschneideman.net
he travels back in time to discover the roots of creativity.

44
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I
have a theory that we are
born creative because we
are pinned by gravity to the
surface of a spinning ball
that hangs in space. We
have to make sense of this
in order to survive and grow.
This makes the creative spark
a necessity not an option.
This spark first found its
way into our distant ancestors
over 200,000 years ago as they
attempted to survive in their
environment. Storytelling
became essential as a way
of transferring information.
Stories were their – and our
– way of making sense of our
condition by bringing abstract
attention to the enormity of
existence. This process of
abstraction and representation
is what we now call art.
Ever since one of our distant
ancestors picked up a pebble
that bore some resemblance
to a human face, we have been
attempting to bring attention
to objects and concepts that
describe our experience.
Photography is one of the tools
we have developed to perform
the magic of making something
out of nothing or, if you prefer,
the bringing of attention for
attention’s sake to a point
where none existed before.
The drive to describe our
experience is as much a facet
of humanity as having an
opposable thumb and forefinger.
We photograph because we
must create, because we are
human. Some of us paint, some
write, some construct, some
photograph. That we humans
choose to do this at all is central
to how we place ourselves in the 

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 45
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 46
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 universe. Art is the bringing
of attention to something,
but art is not defined by this
process. Art, whether it is
photographic or otherwise, is
the way we tell ourselves the
story of our existence.
‘Photography is one of the tools we have be the next Cartier-Bresson.
He did that already. You are
developed to perform the magic of making unique – be the first ‘you’ to
photograph and show the world
something out of nothing or, if you prefer, the how you engage with it. Do this
bringing of attention for attention’s sake to by shooting according to your
instinct – photograph those
a point where none existed before.’ things you feel most drawn to

L
et’s return to that image
of a spinning ball. It is
a fact that each of us is
ephemeral – ‘we are such
things as dreams are made on,’
as Shakespeare said. But we
all have a part to play in the
unfolding story of humanity.
Space and all its weird quarks,
protons and Schroedinger’s
Catness are in all of us. We
are uniquely sensitive beings.
Our human consciousness
is exposed to all this cosmic
weirdness and we need to make
sense of it – to make order out
of chaos – person by person,
story by story. Because our
experience is unique, we each
have a unique story to tell – the
story of our own short life on
Earth. This is, I believe, why
I feel such a burning desire to
take pictures. I think we all
take pictures for that same
reason – we need to tell our
own unique story.
I have illustrated this article
with four photographs which
I think show why I am a
photographer. You may hate
and eschew the clever and overly
them or love them – that is not wrought. Stick to this principle
the purpose in printing them and you will undoubtedly tell
here. What I intend is to show your own story.
four pictures which no one else
could ever have taken because
these photographs represent my NEXT
own experience and interaction
with the world. MONTH
Too many photographers rely
on the assured style of their
various photographic heroes (I
am guilty of this too sometimes) Why your camera
– it’s almost as if we see the matters (but not in the
world through imaginary eyes. way you think it does).
The point is that one can never

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 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

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 TECHNIQUE
THE GRAND VIEW
Landscape photography takes many forms, but nothing beats those big, bold
views when it comes to creating awesome images. Grab your walking boots and
All images © Lee Frost
wideangle lens as Lee Frost offers his 10 top tips for shooting epic scenes.
1 CHOOSE THE RIGHT LOCATION 2
If you want dramatic images then generally you need a dramatic
view to begin with. It’s not the be-all and end-all, but it puts the
odds of success firmly in your favour.
Regular readers of the magazine will know I’m a huge fan of
Iceland. The reason for that is simple – the landscape is epic and
much of it very accessible. Scotland is too. I make regular trips
into the Highlands to get my big landscape fix – Rannoch Moor,
Glencoe, the Isle of Skye, Torridon, Assynt. The Lake District,
Peak District, Yorkshire Dales, Dartmoor and Snowdonia are all
top contenders too.
Basically, any upland region in the UK will hit the spot – hills,
mountains, rivers, lakes and waterfalls are what you need, and
due to the geography of the landscape, the weather in these
areas also tends to be more dramatic so it’s a win-win situation!

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LAIG BAY, ISLE OF EIGG, SCOTLAND

The quality of light can make or break any landscape, but when you’re
faced by a dramatic scene that light becomes even more important if
you want to capture the true character and raw beauty before you.
Canon EOS 5Ds with 21mm lens, 0.6ND hard grad, 1/5sec at f/16, ISO 100

2 MAKE THE MOST OF LIGHT

GLEN SLIGACHAN, ISLE OF SKYE, SCOTLAND
If epic landscapes are your goal, there are few places better in the UK
than the Isle of Skye. This scene was captured no more than a minute’s
walk from the main road up through Skye, but they don’t come much
wilder – just look at those mountains!
Canon EOS 5D MKIII with 21mm lens, 0.6ND hard grad, 1/30sec at f/11, ISO 100
Where impact and drama is concerned, light’s your ally.
Try shooting a scene on a flat grey day then again early on a
sunny morning and you’ll see why – there’s no comparison.
Lighting direction makes a difference too. If the sun’s on your
back the scene you’re shooting will be lit head-on. This is fine
if you’ve got fantastic storm light to work with, but not so good
on an average sunny day because shadows will fall away from
the camera and the shot will look flat. Side-lighting is much
better, especially when the sun’s low in the sky, as long shadows
rake across the scene, revealing texture and depth so your
photographs look three dimensional.
If you want drama though, nothing beats shooting into the light.
Contrast is increased, solid shapes turn to silhouettes, shadows
rush towards the camera. You might get lens flare but so what –
it can add interest. The highlights may blow out too, but be a
devil and run with it!

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 3 FILL THE FOREGROUND
Photographs are two-dimensional representations of three-
dimensional objects, but with landscape it’s important to make
your images look three-dimensional if you want the viewer to feel
like they’re really there.
Using a wideangle lens to exploit foreground interest goes a long
way to achieving this because as well as providing a logical entry
point into the image it also helps to add a sense of depth and scale
– if that rock filling the foreground looks bigger than the cottage in
the distance, the cottage must be far away, hence distance and
depth are implied and a three-dimensional feel is achieved.
Any features you find in the landscape, natural or man-made,
can be used as foreground interest – rivers, streams, paths, rocks
and boulders, ripples in sand, fences, walls or trees.

4 BAD WEATHER – GREAT IMAGES

Calm, sunny days may be pleasant, but they rarely make for
powerful landscapes because everything looks just a little too
‘chocolate box’. If epic images are your goal then you need to
wait for more inclement conditions – stormy skies, shafts of
sunlight bursting through, strong winds shaking trees and
whipping up waves into a frenzy.
Not only does bad weather make the landscape look more
dramatic, but it changes your perception of it too. When you
can feel the chill of the wind or the sting of the rain on your face,
3
when your fingers are freezing and you’re struggling to keep
your camera steady, you become more energised. The weather NEAR VIK, ICELAND
stimulates your senses. You can feel it, smell it and taste it, so you Foreground interest is important in wideangle landscapes because it
start to become at one with the landscape and that influences serves numerous roles. As well as drawing you into the image, it also
the way you photograph it. You want the images to capture how adds a sense of depth and scale and provides you with most of the detail
you’re feeling. This might sound like pretentious nonsense, in the shot as clarity and visibility is better close to the camera.
but try it and you’ll see what I mean.
49
 Canon EOS 5D MKIII with 17-40mm zoom lens, 0.6ND hard grad, 1/80sec at f/11, ISO 400
B+W

BAMBURGH, NORTHUMBERLAND
Sunny weather just doesn’t do it for me when I’m shooting landscapes
– it’s too bland and safe. Give me dark, stormy days any time. I’d rather
get a soaking than a suntan – the images are much better for it!
Canon EOS 5D MKIII with 12-24mm zoom lens, 0.6ND hard grad, 1sec at f/11, ISO 200

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 5
50
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 5 MIRROR IMAGES
If a scene contains calm water then it
may also contain reflections that can be
included in a composition to add impact
and interest. Lakes, lochs and pools are
the most useful as they cover a bigger
area and give you more options – you can
wander around the shore until you find a
good viewpoint.
Even on a breezy day you may find a
sheltered spot close to the shore where
the water is calm. But don’t worry if all you
find is a small pool or puddle because if
you get down low with a wideangle lens
it’s surprising how much bigger it appears
– and how effective it can be in providing a
48-53_LEE_FROST_189 MB/.indd 50
5 NEAR HOFN, ICELAND
These jagged mountains made a great subject
in their own right, but the mirror image created
by their reflection in a nearby lagoon makes
the composition more interesting.
Canon EOS 5D MKI infrared, 16-35mm zoom lens,
1/125sec at f/8, ISO 200
mirror image of the scene above.
I tend to place the horizon across the
centre of the frame so the composition is
split 50:50 between scene and reflection.
I also tend to use a weak ND grad (0.3 or
0.45 density) to hold back the scene so
the reflection is more balanced exposure-
wise – though you can always do this
during post-production.
6 CHANGE YOUR VIEWPOINT
The vast majority of photographs are
taken with the camera at eye level. Nothing
wrong with that – it gives us a realistic view
of the world. However, realistic doesn’t
necessarily mean exciting. By intentionally
shooting from alternative viewpoints you
can add a sense of surprise and drama to
your landscape images.
High viewpoints can work brilliantly, so
instead of shooting that hill in front of you,
why not walk up it and see what the view’s
like? If that seems too much like hard work,
look for ways of elevating the camera
position by a few feet – it’s surprising how
the landscape opens up when you get
11/03/2016 14:39
 7

7 STOKKSNES, ICELAND
The dramatic perspective makes wideangle lenses first choice for big landscapes. Not only do
they allow you to fit everything in, but you can also make the most of foreground interest.
Canon EOS 5D MKIII with 16-35mm zoom lens, 0.6ND hard grad, 1/5sec at f/11, ISO 100

7 USE A WIDEANGLE LENS

Although telephoto and telezoom lenses
have their place in landscape photography
there’s no denying that when it comes to
the wow factor, wide lenses win hands
down every time. Why? Because they
give us a view of the world the naked eye
simply can’t match. They bend, stretch
and distort the truth – and the wider you
go, the better it gets. Elements near the
camera loom large and dominate the
foreground while everything else appears
to rush away into the distance, creating a
dramatic 3D perspective that makes you
feel as though you could jump up and
walk right into the scene.
Slight changes of viewpoint also make
a huge difference to the juxtaposition of
elements, while the extensive depth of
field you get at small apertures such as
f/16 and f/22 also guarantees front to
51
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back sharpness.
I use the wide end of a 16-35mm zoom
on a regular basis, while a Zeiss 21mm
prime lens has become pretty much my
standard lens for landscape work. For non
full-frame sensors, look at zooms with a
range of 10-20mm or 12-24mm. You can’t
beat them when it comes to capturing a
strong sense of place and creating images

that are really in your face.

a little higher because you can see over

features that normally block your view.
Low viewpoints are interesting too. If
you’re shooting with a wide lens and you
position your camera low to the ground,
seemingly insignificant features loom large
in the foreground.

6 ISLE OF EIGG, SCOTLAND

Where you shoot a scene from is just as
important as the scene itself. In this case I spent
a while exploring the coastline until I found the
foreground I wanted, then scrambled up on to
rocks so I had an elevated view across it.
Canon EOS 5Ds with 21mm lens, 0.6ND hard grad,
1/5sec at f/16, ISO 100

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 NEAR HOFN, ICELAND
Big skies add a sense of drama
and scale to a scene because they
overshadow the landscape itself.
Here, we know the mountains are big
because all mountains are big – but
they’re dwarfed by the sky overhead.
Canon EOS 5D MKIII with 24-70mm zoom
lens, polariser, 1/12sec at f/11, ISO 100

52  8 MAKE A FEATURE OF THE SKY 9 ADD A SENSE OF SCALE

The sky can kill or cure a landscape One of the main factors that make an epic scene epic is the scale of it – mammoth
B+W
image. On dull, grey, overcast days it’s mountains, thundering waterfalls, towering cliffs. The bigger, the better! The problem is
about as appealing as cold porridge, but that when you shoot a scene like this it’s very easy for the final image to lack any sense
when there are big storm clouds rolling of scale, so the drama is lost. Solution? Include a feature in the composition that gives
across the heavens and dwarfing the the game away. You won’t always be able to do it but when you can it makes a huge
landscape below, it’s a different story. difference. That feature needs to be easily identifiable and familiar, so our brain makes
For black & white photographers the an instant comparison. A person is always a good bet – if you see a tiny figure in the
impact of a landscape image is often landscape then you know everything else is huge. Buildings work too – an old barn in the
directly proportional to the drama of valley, a derelict farmhouse at the foot of a mountain, a yacht bobbing on the vast ocean.
the sky. Skies that look drab in colour
can be magnificent in mono – mainly 9
because you have more room for creative
interpretation later. What starts out as
grey and boring doesn’t have to stay that
way – by darkening tones and increasing
contrast you can transform a dull sky into
something special.
The key is to see potential rather than
lose interest. What appears above the
horizon is just the basic ingredients you
have to work with, and though there’s
little you can do to make blanket grey or
cloudless blue look anything more than
that, wherever there are clouds there’s the
makings of a great shot.
I often use a hard-edged ND grad to
emphasise the sky – either a 0.6 or 0.9
density. If you don’t use a grad you’ll often
underexpose the landscape, but with a
grad on the lens you can record the drama SNAEFELLSNES PENINSULA, ICELAND
in the sky and plenty of detail in what’s Often you need a sense of scale to capture the true grandeur of a scene. This derelict farmhouse
beneath it. A polariser will also enhance serves that purpose and also provides a focal point. Cover the building and the image loses its impact.
the sky in sunnier conditions. Canon EOS 5D MKIII with 24-70mm zoom lens, 0.6ND hard grad, 1/4sec at f/8, ISO 200

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 53
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STOKKSNES, ICELAND
The drama and impact of an epic scene is only revealed in post-production, when you convert the
original colour image to black & white. Do that with confidence and courage and magic will happen!
Canon EOS 5Ds with 16-35mm zoom lens, 0.6ND hard grad, 0.6sec at f/22, ISO 100

10 BE BOLD
Black & white images often lack impact simply because
they’re too tame. Maybe digital technology is to blame.
We’ve been brainwashed into thinking that black (blocked)
shadows and white (blown) highlights are to be avoided like
the plague. But if you remove black and white from a black &
white image, all you’re left with is grey! Hardly exciting.
So stop being scared when you convert colour images to
black & white. Experiment with high contrast, add grain, try
filter effects and see how the image is affected.
The great thing about digital conversion is that you
can see exactly what’s happening to the image on your
computer screen and if you don’t like it, you can delete
those changes and try something different. You can create
great black & white images using simple Photoshop tools
and controls, but there are also numerous plug-ins and
applications that will do the job for you. My favourite is
Silver Efex Pro 2. It’s a doddle to use and has some great
presets that produce fantastic results with a single mouse
click – High Structure is particularly good if you like punchy,
dramatic black & white images.

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 TECHNIQUE PHOTO PROJECT 34:

FACES OF OUR TIME

With good weather approaching, now is the ideal time to embark on
a long-term portrait project. Be proactive and make something special.
All images© Tim Daly
Tim Daly shows you how to create a valuable family heirloom.

A
lthough most of us get lumbered with the
responsibility of being the official photographer
during unpromising family photocalls, few of us
have a longer term plan up our sleeves. Yet with
easy access to our subjects and repeated opportunities
to develop and explore ideas, choosing our own family or
circle of friends as a project theme has plenty of scope.
While many of our own precious family photo albums
can be disjointed from infrequent shooting, with some
planning and forethought you can easily kick off a project
now. Using younger family members will result in
guaranteed future milestones.

SECTION 1: THEME IDEAS

For this project, I’m suggesting you work with a small group of people, such as family, friends or a social network you
belong to. Rather than react to photo opportunities, be proactive and take advantage of each new situation as it arises.

54
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1 WATCHING PLAY UNFOLD 2 THE STREET AS PLAYGROUND

While most family photos are shot during mundane celebratory
events such as birthdays and annual gatherings, there is plenty to
be said for taking advantage of unscripted situations as they arise.
Being prepared for the unexpected was a hallmark of classic
observational photographers such as Robert Doisneau and Elliott
Erwitt, although both developed clever ways of manufacturing
scenarios to create the impression of reality too. Watching play
unfold is such a trick, where you provide all the ingredients for
play at the start, then wait for potential images to occur.
In this example, I’ve sat back and watched as some homemade
blackberry smoothies were field-tested to the great amusement
of their creators.
Photographer Paul Trevor’s fantastic book Like You’ve Never
Been Away chronicles family life as an observer on the streets of
1970s Liverpool. Following in the footsteps of black & white street
photographers such as Cartier-Bresson and Bill Brandt, Trevor’s
project captured how the young used the street as their own
personal playground and social space.
Using this idea, consider how an activity centre, playground
or outdoor recreation facility can help your subjects to interact
with each other and lose any stiffness that comes from a self-
awareness in front of the lens. Physical objects, kit and equipment
all provide features for you to structure portraits around, as this
example shows.

INSPIRATIONAL QUOTE
‘Success in photography, portraiture especially, is dependent on being able to grasp those
supreme instants which pass with the ticking of a clock, never to be duplicated – so light,
balance – expression must be seen – felt as it were – in a flash’
– Edward Weston

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3 INTERACTION
If you want to avoid the formality and wooden nature of
posed portraits, then consider operating as a fly-on-the-wall
photographer, as this is the best method for capturing interaction.
For this to occur, you need to be present and actively engaged in
the occasion rather than distant and separated from it.
After a very short time of shooting, your subjects will accept
your presence and carry on with their normal activity, leaving you
to pounce on the decisive moment, as this example shows.
Unselfconscious interactions can be really memorable if they
show the very essence of a person’s character. Hungarian born
photographer André Kertész’s book Day of Paris is a great
example of observations on human nature.
4 NATURAL LIGHT
There are always special moments when you are with your
friends or family and these can be made more memorable by
surroundings and good natural light. Take advantage of these
situations as the atmospheric conditions make for evocative
and subtle images.
Twilight, as this example shows, is a rare chance to work
with warm-coloured light for a very short period of time, most
memorably made by Eve Arnold’s shoot of Marilyn Monroe on
the set of The Misfits. Also well worth a look at is Manchester-
based photographer Clement Cooper’s portrait photographs
from his Brothers and Presence series, which combine exquisite
light and one-off moments.
54-57_TIM_DALY_189 ER/MB.indd 55
‘Rather than restrict the annual photographic
portraits of your growing family and friends to
birthdays, why not consider capturing rites of
passage as they reveal themselves to you?’
55
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5 RITES OF PASSAGE
Rather than restrict the annual photographic portraits of your
growing family and friends to birthdays, why not consider
capturing rites of passage as they reveal themselves to you?
A new haircut, the first suit, the morning of a special occasion
and many other events linked only to your own family situation are
all worth celebrating with your camera, as this example shows.
American photographer Sally Mann is perhaps the most
famous for creating such a personal documentary study, in her
book Immediate Family. In the project, Mann captures her own
growing family both at play and off guard in a very sensitive
manner. Don’t hesitate to construct your own scenarios if you
can sense they will provide a good photo opportunity.
18/03/2016 15:53
 SECTION 2: THE UNOBSERVED
If you’re keen to create a less formal kind of portrait, then consider these following approaches.
56
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MOVEMENT AND SHUTTER SPEED
Slow shutter speeds are a great tool to use to create movement
blur, making mundane subjects much more eye-catching. If you
want to express movement in the subject only, then you’ll need
to set your camera up on a tripod to prevent camera shake,
which will occur every time you shoot under 1/60sec.
The hardest thing to control when making these kinds of
pictures is the ever-changing position of your subject. Always
shoot with your lens on wideangle, so you can accommodate
any sideways or erratic movement within the frame and prevent
accidental cropping at your picture edge. As this example
shows, you can never guess how shapes and rhythms pan out
until you see the shot afterwards.
54-57_TIM_DALY_189 ER/MB.indd 56
CROP CLOSE AND BE INVOLVED
Most family photographs, including those taken with rangefinder
compact cameras, never get close enough to fill the frame as
nervous family photographers are wary of chopping off heads and
feet by accident. People and portraits never fit comfortably into the
confines of a rectangular photographic frame, so a much better
approach is to frame tightly on the face, as this example shows.
The hardest skill to learn is to keep an eye on distracting
background detail. Caught up in the excitement of composing
and arranging the central subject, background details are easily
overlooked. Common mistakes are telegraph poles sticking out
of people’s heads or signs with inappropriate wording.
Small details can be removed later in your imaging application,
but it only takes a second to recompose another shot, or choose
a wide aperture to blur out the background.
LONG LENSES
Whether shot indoors or outside, all portraits will look better if
captured using a longer lens as this creates much less distortion
on the subject’s face. With wideangle lenses, faces and other
parts of the body will record bigger or smaller than they are in real
life, so you’ll end up disappointing your subject and have a lot of
explaining to do! Much better results are gained when you shoot
vertical format shots, as this example shows, rather than the usual
horizontal. Surprisingly, you also need to think about using a faster
shutter speed when shooting with a telephoto lens, as any slight
body movement you make during exposure may cause the image
to be fuzzy and unsharp. Use a shutter speed of 1/250sec as this
will help to minimise the effects of involuntary body movement.
18/03/2016 15:53
 SECTION 3: YOUR OWN FAMILY ALBUM PHOTOBOOK
A benefit of starting a long-term project is that you can stop and take stock at any
point in the future, collecting work to date in a photobook.

SEQUENCE ON A PAGE
Although all the material for your album-style photobook will be in existence by this stage, you
should also consider developing pairs and sequences to break up the flow of the book.
As this example shows, a short sequence can be just as effective as a single image,
especially if it carries a sense of movement or activity that would not be available from a still.

57
B+W

VINTAGE FAMILY IMAGES

It makes no sense to scan and digitally cut vintage images away from original
album backgrounds, unless they were damaged and visually distracting.
A much better idea is to try to preserve the original layout, borders and
even album page colour in your photobook design.
Use Photoshop’s Color Picker tool to sample original colours from
your source images or even the album sheets.

PROJECT OUTCOME
Make a start on your long-term project,
but don’t hesitate to pull out stronger
shots, as this example shows,
for a one-off print.

INSPIRATIONAL BOOKS
THINK ABOUT SPREADS Robert Doisneau – A Photographer’s Life
The single most important feature of a photobook is the design of its double page spread. Elliott Erwitt – Personal Exposures
Many a great book has been spoiled by a clumsy placement of an image and even more André Kertész – Day of Paris
compromised by the inclusion of too many pictures. Paul Trevor – Like You’ve Never Been Away
Your default position for page design is to use the right hand page of the spread to Sally Mann – Immediate Family
contain your image, while the left hand page is left blank, or used to carry a small caption. Eve Arnold – Eve Arnold’s People
If you have a lot of pictures to lay out, then use the same spread design throughout. Clement Cooper – Presence
timdaly.com

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 COMMENT
A FORTNIGHT AT F/8
Shocked to the core by two budding photographers who wanted to know
how to clone out features in their photographs, Tim Clinch looks at the
timclinchphotography.com
alternative to cloning – getting it right first time in camera.

I
n the village in Bulgaria where
I live are two English guys
who have also bought houses,
and we’ve all become friends.
Both of them are enthusiastic
amateur photographers who
hanging in their respective
houses) and introduced them
to the work of some other
interesting photographers, both
contemporary and classic.
These days, as you probably
gave in to my nagging and
purchased it.
Ever eager to help, I invited
them separately to come over to
my house for an introductory
session to get them started. After
of them asked next that has got
me thinking. Unprompted by
me, both my friends asked,
‘How is it for cloning things
out of pictures?’

care a lot about their pictures
and want to improve them and
move on. They both own pretty
good DSLRs, both use Photoshop
and, most importantly, both take
very nice pictures. They are both
passionate about their own work
and interested in the world of
photography in general.
Over the past few years
I have, over many a glass
of delicious Bulgarian red,
offered them whatever help
and encouragement I could,
emboldened them to print
and frame their own work
58 (which they both now have
B+W
I
know, I use Adobe Lightroom to showing them some basics, and was, quite frankly, dumbstruck.
process my work (I’m not paid a few shortcuts, and having given I’d shown them how to process
by them to say this, or affiliated them a general tour around, I their pictures, how to control
in any way with them, I’ve just asked them to show me a few of light, shade and colour balance,
found something I like and stuck their pictures so they could see how to improve the artistic
with it). Neither of my friends what it could do (I always find merit of their photography, and
had used it before but, this it better to show people what both of them wanted to know
winter, when we were all snowed can be done to their own photos immediately how to alter the
in and looking for something to rather than to mine). very essence of their pictures.
pass the time, they both, finally, It was the question that both To perform the one trick
that so many people find so
‘The retoucher I work with is a wizard distressing, so inherently wrong
about digital photography.
and charges a very reasonable fee per hour, Now, I’m not saying I’m right
about the price of a full English breakfast or wrong, but this is something
I very rarely do. Not because
for two and a couple of teas.’ I don’t approve, but mainly

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because, in my professional life,
I don’t have time. There have,
of course, been times when I
have needed to have a picture
retouched – I’m a professional
photographer and sometimes this
is inevitable. But when it does get
asked for, I hand the job over to a
professional retoucher.
I know what you’re thinking
and, no, this doesn’t cost a
fortune. The retoucher I work
with is a wizard and charges a
very reasonable fee per hour,
about the price of a full English
breakfast for two and a couple
of teas. Last thing she did for
me was to correct some pictures
where I had inadvertently left
a stray piece of cotton from an
antique cloth in a food picture I’d
done. There were three images
and she did all three in an hour.
For me, money well spent.
But this is not what worries
me. What worries me is the
attitude of thinking that it’s OK
to do this all the time. I shoot
58-59_FORTNIGHT_189 ER/MB.indd 59
100% of the time using Raw files
and, obviously, these all need
to be processed. I do quite a
lot of work on my pictures, but
I have got to the stage where
I use post-processing to give
my images a particular look. I
have my own workflow which
I have developed over the years
and know how to use it. When
it comes to cleaning up, yes,
I do a little – spotting out an
unsightly highlight for example
– but really, no more than I
would have done when spotting
a black & white print from the
darkroom. I do some shading
and toning but, again, no more
than I would have done in the
darkroom. When it comes to
cloning out unsightly objects or
people? I don’t. Simple as that.
Why not? Three reasons:
1: I’m rubbish at it.
2: I don’t have the time
(and there’s nothing better for
speeding up your workflow than
getting back from a long shoot
knowing that the client wants
the pictures, processed and
retouched on their computer
first thing tomorrow morning).
3: And by far the most
important – I will have spent
time getting it right in camera.
This is by a country mile the
most important discipline to
learn in photography. Take a
little more time and care when
you are taking the picture and
it will save you hours and hours
of time messing around cloning
things out of your pictures. That
tourist in a red anorak standing
on the street corner in India?
Wait till he goes away. Those
telephone wires in the picture of
the little Bulgarian village you
want to capture? Either leave
them in (it’s real life, you know)
or use the most important bit
of kit you own: your legs. Move
sideways, bend down, stand on a
chair. Do whatever you want, but
please get out of the mentality of
‘I’ll fix it in the computer’.
All images © Tim Clinch
59
B+W
WHAT TIM DID
THIS MONTH
This month’s pictures are an
example of what I was talking about
in the main text. All three pictures
are extremely messy and prime
candidates to have some wires
or graffiti cloned out by an over
excited Photoshop Johnny.
The photographer I’ve chosen
this month is a Danish photographer
called Sarah Williams. She came on
one of my workshops last year and
was, photographically speaking at
least, in a bit of a mess. Although
obviously talented, her work was
all over the place, but some serious
work, concentration and a long hard
look at where she wanted to go
has resulted in her new website –
sswilliams.com.
Been to the Alentejo region of
Portugal (where the pictures were
taken). It’s absolutely stunning.
The only problem is the food –
which is so delicious and plentiful
that I had problems getting in
and out of the hire car…
11/03/2016 14:41
 FE AT U R E
60-SECOND EXPOSURE
Scotland-based photographer Billy Currie believes post-processing is a greater
skill than capture, but there have been occasions when technology has let him
© Billy Currie
down. Here he tells Tracy Hallett about pixel perfection and satnav failure.
I took up photography because…
I wanted some pictures of my dogs
to hang on my lounge wall. When
I got a quote from a professional
photographer I was shocked at the
price, so I bought a camera and
decided to do the job myself.

Tell us about your favourite

photographic themes.
To begin with I focused on
landscapes and then paired this
with my love of nature. I soon
realised that post-production
was a crucial part of the process,
but was often frustrated by the
constraints of the colour spectrum.
As a result, I became attracted to
black & white. I am fascinated by
minimalism, long exposures and
architecture in particular.

Name one item that every

60 photographer should own.
B+W
I couldn’t be without a digital
darkroom. Without this I would
be an opportunist, relying much
more on the right circumstances:
weather and light. With a digital
darkroom I can capture reality
or conjure up something from
my imagination.
What’s the biggest risk you have
taken as a photographer?
The biggest gamble I’ve made
so far concerns my approach:
I realised early on that the camera
Skye Bridge
has limitations and so I turned my
attention to perfecting the art of
post-processing. I started running
workshops on the subject and
giving lectures to clubs. I believe
that post-processing is a greater
skill than photography: an opinion
that is often met with suspicion,
until you learn the facts. When
people see the full extent of what
can be achieved it often leads to
renewed enthusiasm.
Do you have a photographic habit
that you wish you could shake?
I am always in pursuit of
perfection. Some of my favourite
images by other artists are
‘ broken’ in some way and I’m
aware that a beautiful image
doesn’t have to be flawless, but
I can’t seem to relax in my quest.
Who has been the greatest
influence on your photography?
Jonathan Chritchley reminded
me that beauty exists in the
simplest of scenes and Joel
Tjintjelaar showed me that
technical perfection can not only
live alongside art, but can also
make it stronger.
Tell us about a photographic
opportunity you have missed.
I was on a workshop at Loch Awe
in Scotland. I heard a splash, and

Assynt Private fishing

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Wrecked
assumed that a photographer had
thrown a stone into the water to
create some ripples. Surprised,
I turned round to see an osprey,
no more than 10 metres away,
taking off with a trout in its
talons. Even if I had reacted in
time, I couldn’t have done the bird
justice because my camera was
mounted on a tripod and fitted
with a wideangle lens.
What has been your most
embarrassing moment as
a photographer?
I organised a trip to the island
of Skye in Scotland with the
intention of reaching the Old Man
of Storr by dawn. After four hours
driving through the dark and snow
the satnav announced, ‘Take the
ferry to….’ My heart sank. The
satnav had directed me to Mallaig
in the middle of the night. With no
ferry for the foreseeable future we
abandoned the trip and began the
long journey home. The moral of
this story is to turn off the ferry
options before following the
satnav at night.
60-61_SIXTY_SECONDS_189 ER/MB.indd 61
61
B+W
Tell us your favourite your younger self? We trained all over the world and
photographic quote. Pick up a camera earlier! competed in some international
‘A photographer pursues the competitions. Looking down on
perfect picture, to an artist this Which characteristics do you the world from 13,000ft gives
is only the beginning.’ need to become a photographer? you a unique perspective on
Photographers need the drive the landscape.
What, in your opinion, is to keep on learning: when you
the greatest photographic know how to use your camera on What is your dream project?
discovery of all time? manual, and you’ve mastered I have always wanted to visit
I’m a big fan of long exposure the basics of post-processing, St Kilda in Scotland – it looks like
photography, so I couldn’t be don’t stop there. The more effort such an interesting place, with
without a set of ND filters. you put in, the more you will great potential for photography.
The British climate is perfect for get out.
long exposures – windy, grey What single thing would
days can produce incredibly Tell us one thing that most improve your photography?
beautiful photographs. people don’t know about you. If I could spend more time in the
I used to be a member of digital darkroom, I know it
What would you say to a four-way skydiving team. would benefit my work.
If you hadn’t become a
PROFILE photographer, what would
With a background in computing, it’s no surprise that Billy Currie you be doing right now?
enjoys experimenting with post-processing. Having completed In this day and age we have so
an advanced Photoshop course a few years ago he continued many excuses to stay inside:
to learn the art of the digital darkroom and now shares his TV, internet, games consoles and
knowledge with fellow photographers via workshops. Billy computers, so if I hadn’t become
lives in Stirlingshire in Scotland with his wife and son. a photographer I would probably
To see more of Billy’s work visit billycurriephotography.co.uk be lazing about in front of the
and facebook.com/billycurriephotography television! The camera gives me
a reason to go outside.
11/03/2016 14:52
 INSPIRATION
OPEN BOOK:2
Sometimes the simplest ways are the best, and when it comes to making a
photobook, that maxim holds true. Eddie Ephraums looks at a highly successful,
All images © Eddie Ephraums
but unpretentious, photobook by Joseph Wright to discover its key attributes.
E
very good photobook
is designed to express
an idea, and often the
simplest ideas work
best. Take Joe Wright’s Listen
to the Morning. His concept of
listening is expressed through
a couple of quietly laid out text
pages working in harmony with
a sequence of delicate, light-
62
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62-64_OPEN_BOOK_189 ER/MB.indd 62
filled, monochrome images.
It was produced simply, too,
on an iPhone, home-printed
and hand bound. The overall
effect gently invites us to listen.
It would be quite different were
the images printed in a louder,
soot’n whitewash, black & white
style, and on glossy paper.
All Joe’s photobooks typically
combine a written narrative
with a sequence of pictures, and
they tend to focus on specific,
but not well-known locations.
He finds that writing helps him
explore his subjects, getting to
know them intimately. Also,
he believes words help guide
the viewer, so they aren’t left
guessing what the work is about
or having to make up their own
narrative, as with a box of loose
prints, such as David Bailey’s
1960s Box of Pinups. For the
price of one of Joe’s own prints,
Listen to the Morning offers a
whole body of work, as an inkjet
printed, carefully edited, bound
sequence of original images.
So what is the typical written
content for a photobook? And
how can words help shape the
ideas behind our own books?
First, there is the title, which
enables both the photographer
and then the viewer to focus
Left JOE WRIGHT’S
LISTEN TO THE MORNING
Elizabeth Roberts,
editor of B+W Photography.
iPhone camera portrait.
A successful photobook needs to
look, and definitely feel, the part,
inviting the viewer to engage with
it. An intriguing title helps, so does
the book’s design format. Joe’s
tissue wrapped book comes in
a tactile, three-quarters slipcase.
When opened it reveals a hand
printed, signed, limited edition
certificate. The combined effect
is one of quality and caring.
Opposite B+W PHOTOGRAPHY
EDITOR ELIZABETH ROBERTS
REVIEWING LISTEN TO
THE MORNING.
National Gallery café.
iPhone camera sequence.
There is much we can learn from
watching someone, especially an
experienced magazine editor, look
through a photobook. For example,
how the viewer handles the book
indicates whether it physically
performs as intended, while
noticing what catches their eye
or holds their attention indicates
whether they read the book the
way it was intended. For these
and many other reasons, I would
suggest making several prototype
books before producing the final
book or edition of books.
18/03/2016 15:57

on what the book is trying to
communicate. Second, there
might be a cover – or title-page
strapline, which in a few words
sums up or alludes to what the
book is about. Third, there might
be an introduction or afterword,
62-64_OPEN_BOOK_189 ER/MB.indd 63
or both, which further expand
on the idea behind the book.
Then there is the question of
captions and how much written
information the viewer needs
before the text might begin to
take the place of the images.
P
utting aside questions of
editing, of what to include
or not (covered in future
articles), writing gets us
to take a step back, to clarify
the concept for our book –
important, as the premise of any
63
B+W
photobook is to share an idea,
in a coherent manner.
In Joe’s case, Listen to the
Morning dispenses with both
the strapline and captions.
Instead, the book begins with
a single page definition of the 
18/03/2016 15:57
 64
B+W

 word ‘listen’, neatly laid out in
dictionary-style, including the
pronunciation of the word, as
well as the meaning of the verb
and the noun. The fact that
Joe includes the pronunciation
emphasises his concept of
listening: the book is not just
a sequence of early morning
landscape images, simply to be
looked at, rather, the picture
sequence is intended to lead us,
as he takes an early morning
walk, into a meditative-like state
GLUING THE PAGES. JOE AT WORK IN HIS STUDIO photographers do so well. The
Here Joe has gathered all the trimmed, creased and folded double-page result is a book that looks, feels
spreads, clamping them together with a couple of bulldog clips, ready for and – if you listen carefully
gluing. He’s put a strip of plain paper between each spread to prevent while turning the lovely rag
the PVA-Paste glue getting where it shouldn’t. paper pages – sounds the part.
If further proof were needed of
in which we too can hear the the pronunciation of the word its success, he quickly sold all
sounds of the morning. (koom or kohm), to re-emphasise 10 copies and at a good price.
Joe concludes the book with the central idea of listening. He’s now released a second
a second, similarly laid out Listen to the Morning is a handmade book, Steel End.
page about the geography and beautifully crafted book, that This sounds like he’s carved
geology of the Coombe in north anyone can make at home. out a niche – something that
Wiltshire, the location for Listen Joe taught himself how to a good photobook should help
to the Morning. Again, he includes make books by having a go, as any photographer achieve.

THE MAKING OF LISTEN TO THE MORNING

150 x 150mm hardback, concertina book.
Outer slipcase, 325gsm Cairn board. Book making materials:
Case, bound in cloth covered 1.5mm short grain book boards. Shepherds/Falkiners: bookbinding.co.uk
Thirty-three pages, with each spread glued to the next along the fore-edge, Ratchfords: ratchfords.co.uk
using traditional bookbinder’s PVA/paste glue.
Printing paper:
Printed from Lightroom with an Epson 3880 printer, using six sheets
Fotospeed: fotospeed.com
of A3+ Fotospeed High White Smooth 220gsm rag paper.
Sheet 1: the opening triple page spread, plus the title piece glued to the front cover. More information:
Sheets 2-6: 3 x double page spreads laid out in a Lightroom grid. joewrightphotography.com
Black & white images processed in Lightroom. Eddie Ephraums:
Text pages laid out in Microsoft Publisher and imported into Lightroom as a Jpeg. Book making courses: envisagebooks.com

62-64_OPEN_BOOK_189 ER/MB.indd 64 18/03/2016 15:57

 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_189.indd 65 3/17/16 12:54 PM

 TECHNIQUE THE SMART GUIDE
TO PHOTOGRAPHY
We carry our smartphones with us all the time, and inevitably they can get lost or
damaged – but if you’ve backed up everything, including your pictures, at least
timclinchphotography.com
you know they’ll be safe. Tim Clinch on the one thing we should all do.

W
e all know (or should know)
the importance of backing up
our files. It’s rather tedious,
but very, very important. If you
66 care about the pictures you have created
B+W
with your smartphone it is more important
because mobiles – as opposed to
computers – are small and easily lost,
stolen or dropped in the pond.
Until recently I have been using a
combination of the Dropbox and Carousel
apps to back up my work but, by the time
you read this, Carousel will be no more. The
folks at Dropbox have decided, in their
infinite wisdom, to discontinue it.
Like Monty Python’s parrot, it is no more.
It has ceased to be…it is an ex-app.
So what choices are there? Well, here are
a few ideas. If you, like me, are an iPhone
user, the logical place to start is the iCloud.
It seamlessly syncs with all your Apple

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products and saves everything and
anything you want. Good, if a bit bulky
and ponderous.
2 Dropbox. For me, one of the most
useful things out there. A great storage
solution, enabling you to share folders with
anyone, deliver files and show slideshows.
Easy to link to your phone (both iPhone &
Android). It’s free, easy to use and useful.
What’s not to like?
3 The new kid on the block, the elephant
in the room, call it what you like, Google
Photos is very, very good indeed. It does
pretty much everything you could want.
Easy to sync with, and simplicity itself to
use, coupled with Google’s good track
66-67_SMART_GUIDE_189 ER/MB.indd 67
record developing apps, I can only see this
getting bigger and better.
4 I haven’t tried it myself, but have read
rave reviews of Trunx. Does everything
the above three do and apparently very well.
Remember, like your main processing
app, you’ll only need one of these, so do
your own research and choose carefully.
Another two apps that I find very useful
are WeTransfer and Photo Transfer.
WeTransfer is the easiest way to send
photos directly from your phone by email.
You can send up to 10GB and it’s something
I use constantly to save processed photos
from my phone on to my desktop to be filed
away. Photo Transfer sends pictures by Wi-fi
All images © Tim Clinch
or Bluetooth to any other device. Really
useful if you need to quickly ping a picture
to another device or person.
Whichever of these you choose,
remember: back up, back up, back up.
67
B+W
TOP TIP
I’ve moaned on before about getting
horizons straight, so here’s another tip
for making your pictures look neater.
Correct your verticals. All of the good
processing apps now have this ability,
and there are various stand-alone apps
that only do this, but my processing app
of choice, Snapseed, does it very well.
Simply go to the Transform tool.
Swipe up and down the image to
choose your mode (Perspective
Vertical, Perspective Horizontal or
Rotation), then swipe across the image
to apply your corrections.
THE PICTURES
I have included the uncorrected
originals to illustrate this tip. All were
shot (as I always do) on the native
camera on my iPhone in colour. All
were then processed and corrected in
Snapseed using the Transform tool and
converted into black & white.
These pictures were all shot looking
up at the respective buildings and I feel
that the corrections I’ve applied have
made them all a lot stronger. As with
most things, don’t overdo it.
11/03/2016 14:57
 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

68 © MARTIN BRUNTNELL
B+W

© ED ALDRIDGE

© KNUT SANVIK © PAUL GLEN

68-69_SMARTSHOTS_189 ER/MB.indd 68 11/03/2016 14:59

 WINNER © IAN NOLLER WINNER © MARK OWEN-WARD

69
B+W

WINNER © GEORGE MUNDAY

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. Please send hi-res images – if you
are submitting via Twitter we will contact you for hi-res.

www.samsung.com/memorycard

68-69_SMARTSHOTS_189 ER/MB.indd 69 11/03/2016 15:00

 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.

70
B+W

£100
STEVE HORSTED
STEVE’S KIT
Nikon D200
18-200mm f/3.5-56 lens

70-72_PORTFOLIO_189 ER/MB.indd 70 11/03/2016 15:01

 All images © Steve Horsted

71
B+W

70-72_PORTFOLIO_189 ER/MB.indd 71 11/03/2016 15:01

 All images © Geffrard Bourke

GEFFRARD BOURKE
£50 GEFFRARD’S KIT
iPhone 5

72
B+W

‘This project is
simply called
Asylum.’

70-72_PORTFOLIO_189 ER/MB.indd 72 11/03/2016 15:02

073_BW_189.indd 73 3/17/16 12:54 PM
 TESTS AND
PRODUCTS CHECKOUT
Looking for a new backpack that will hold your camera kit plus accessories
and a laptop? There are some stylish and innovative options out there.
Daniel Calder looks at six of the best.
VANGUARD HAVANA 41
Removable camera cradle
74
B+W
I
nspired by the desert and
safaris, the Vanguard Havana
41 backpack can go almost
anywhere without anyone
noticing it’s a camera bag.
In fact, it can be used as an
everyday backpack thanks to
the removable, protective
camera cradle. This padded
section is pretty small and will
only fit a DSLR and a spare lens.
Access is through the lower front
section of the bag.
The backpack is made from
strong polyester, giving it a soft,
crumpled feel and making it
extremely lightweight. The top
section has enough room for
accessories and light clothing.
Two more exterior zipped
pockets provide extra space,
while the side pockets can hold
a water bottle or tripod.
LIKES
Great price
Lightweight bag
Removable camera cradle for
everyday use
DISLIKES
Not much space for camera
74-77_CHECKOUT_189 ER/MB.indd 74
Carrying the bag is pretty
comfortable due to the thick
padding across the lumbar
region and slim straps, but the
waist belt is a simple webbing
affair. With its rubber base, it
can be safely plonked down
anywhere and the included
rain cover will withstand a brief
downpour. Finished with some
faux leather detailing, the Havana
41 is temptingly priced at £80.
The protective insert of the Vanguard
Havana 41 can be removed for
everyday use.
TECH SPECS
External size 40.5 x 31 x 23cm
Weight 850g
Laptop 13in
Maximum kit 1 pro DSLR with 2 lenses
Guide price £80
Contact vanguardworld.co.uk
TENBA SHOOTOUT LE MEDIUM
Big gear carrier
T
enba make well The inescapable downside to
designed, ruggedly wearing a bag with such a deep
constructed bags and profile is the boxy feel when
the Shootout LE Medium it’s strapped on. Thankfully,
is no exception. This is a large, the wide waist belt with thick
traditional camera backpack padding and tough Duraflex clip
that should be able to take most helps to take the weight. The
photographers’ kit. tripod fits on to the front with a
The front of the bag unzips to carry holster and a waterproof
the base, opening up the huge cover is also included.
storage area for equipment.
By rearranging the various
padded dividers you can fit
in two DSLRs and up to eight
lenses. There’s enough room
for a 300mm lens. Two outer
side-pockets can stow another
lens or larger accessories.
More storage is available for
smaller items on the inside and
outside of the front panel. The
base of the bag is moisture
resistant, while self-healing The large space inside the Tenba
bag fits enough gear for most
YKK zips ensure the teeth photographers’ needs.
can be realigned if you
overstuff the bag.
LIKES TECH SPECS
Large enough for most equipment External size 47 x 38 x 25cm
Top quality zips and clips throughout Weight 2.1kg
Good support from the Laptop 15in
wide waist belt Maximum kit 2 pro DSLRs + 6-8 lenses
Guide price £159
DISLIKES Contact tenba.com
Boxy fit due to the bag’s deep profile
11/03/2016 15:03
 ONA CAMPS BAY LOWEPRO PROTACTIC 350 AW
Trendy design Outstanding comfort

T
ough, durable and providing a series of loops
flexible, the Lowepro to attach extra pouches or
ProTactic 350 AW accessories to its exterior.
backpack is ready A bottle pouch, tripod foot
for anything. It sports an holder and utility pouch are
urban look yet possesses included, along with a couple
the functionality of a hiking of straps to get you started.
rucksack. The padded back However, as the all-weather
with ActivZone air channels, cover fits the bag snugly, you
shaped shoulder straps with may have to remove these
plenty of clips and comfy waist attachments for it to fit.
belt with quick-access hip
pockets add up to a top-notch
carry system.
A single compartment
for camera gear, divided by
padded walls, takes up most
of the bag. This allows quick
access to the camera from
either side, or from the top, or
by completely unzipping the
back panel. A 13in laptop slips
inside the pocket of the back
panel, but the accompanying
pockets only take the slimmest The back and straps of the Lowepro
of accessories. Distinctive backpack are as technical as

N
ylon has its place, panel provide further storage webbing straps band the bag, any hiking rucksack.
but if you prefer options. The simple straps and
waxed cotton and back panel are meshed and
75
B+W
dark brown leather, padded for added comfort, but
the Camps Bay backpack from carrying a tripod will require
Ona is for you. Based in New some improvisation.
York City, the company has Without doubt this is a proper
created a practical camera bag kit bag, albeit a very cool one
that doesn’t look like a camera with a luxury price tag.
bag at all. Instead we have
something closer to a vintage
army backpack that stows away
a pro DSLR with up to eight
lenses and a 17in laptop within
its removable, padded dividers.
The main access to the
camera is through the front
panel beneath the cover flap,
so it’s not ideal for getting
the camera out in a hurry.
A large divider at the top of the
bag adjusts the upper inner
compartment from 4 to 7
inches to accommodate extra
personal items. An open pocket The vintage appearance of the
on either side and another Ona backpack blends fashion
zipped pocket on the front with practicality.

LIKES TECH SPECS LIKES TECH SPECS

Takes a 17in laptop External size 43 x 33 x 16.5cm Robust, durable materials External size 43 x 30.8 x 23cm
Decent storage space for accessories Weight 1.99kg Four ways to access the camera Weight 2kg
Beautiful waxed cotton and leather Laptop 17in Fantastic shoulder straps Laptop 13in
construction Maximum kit 1 pro DSLR with and waist belt Maximum kit 1-2 pro DSLRs
70-200mm lens attached + 7 lenses with 24-70mm lens attached + 6 lenses
DISLIKES Guide price €435 (approximately £340)
DISLIKES Guide price £153
Huge price tag Contact onabags.eu Very slim internal pockets Contact lowepro.co.uk

74-77_CHECKOUT_189 ER/MB.indd 75 11/03/2016 15:03

 SUBSCRIBE TO BLACK+ WHITE PHOTOGRAPHY
FROM £19.95*
Save up to 30% - Free delivery - Never miss an issue
COOL, CREATIVE AND CONTEMPORARY

*Every 6 issues for uk direct debit subscribers | Please quote order code A5029 | Offer expires 31/07/2016 | Free gift with some issues, not available overseas.

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

A stunning collection of photographs from the

2015 Outdoor Photographer of the Year competition
ON SALE NOW
ORDER THE BOOK ONLINE AT WWW.OPOTY.CO.UK

076_BW_189.indd 76 3/21/16 12:10 PM

 THINK TANK PERCEPTION 15
For mirrorless cameras
T
he Think Tank
Perception 15 is
designed specifically for
mirrorless cameras. It’s
a lightweight, streamlined and
unfussy backpack that offers
good value for money.
Due to its tall and slender
shape it can accommodate
a 15in laptop and a 10in
tablet in separate padded
compartments. Unusually, the
camera and lenses are stored
in two drawstring pouches
sewn into the bag near its top.
The camera can be quickly
dropped into the padded
pouch and cinched to create a
snug, safe fit. The lens pouch
has a soft divider so you can
stack thin lenses without them
rubbing together. This set-up
leaves enough space at the
bottom of the backpack for you
to stuff something as large as
LIKES
Novel, pouch storage system
Designed for mirrorless cameras
Takes a laptop and tablet
in separate sleeves
DISLIKES
Slightly awkward to reach the
lower section
74-77_CHECKOUT_189 ER/MB.indd 77
a jacket into it. Other bits and
bobs can go into the organiser
found on the inside of the bag
or in the lined exterior pocket
on the front.
A tripod is carried on the
front, secured by a concealed
strap at the top and supported
by the lower pocket. Padding
is substantial throughout the
bag, including the back panel
and straps.
Think Tank uses suspended
pouches inside the bag
instead of dividers.
TECH SPECS
External size 44.5 x 28 x 17cm
Weight 1kg
Laptop 15in and 10in tablet
Maximum kit 1 mirrorless camera +
2-3 lenses
Guide price £90
Contact thinktankphoto.com
MANFROTTO PRO LIGHT 3N1-35 PL
Modifiable carry straps
T
he stylish black and The straps and waist belt are
red Pro Light 35 PL padded but the main feature
backpack from Manfrotto here is the ability to unclip the
would not look out of straps from the bag. This allows
place on the streets of Milan. It’s the straps to be stowed away
practical too, as it’s big enough during travel and allows the
to hold plenty of camera gear bag to be modified from
and a 15in laptop as well as all a standard backpack position
sorts of accessories in the to a crossover position or to
host of pockets. a single-strap sling position.
The bottom half of the bag
houses the camera and lenses
nestled between soft, movable
partitions. The top half of the
bag is roomy enough to hold
large accessories and everyday
items like a drink or small brolly.
The camera can be quickly
whipped out from the side of
the bag and the whole of the
front panel unzips to access
the lenses. A tripod clips on the
front and is supported by the
included carry-holster.
The Manfrotto
backpack has plenty
of storage options.
77
B+W
LIKES TECH SPECS
Stylish black and red design External size 46 x 33 x 27cm
Oodles of pockets for accessories Weight 2kg
Detachable straps to alter Laptop 15in
carrying position Maximum kit 1 pro DSLR with lens
+ 3 lenses
DISLIKES Guide price £199
Expensive Contact manfrotto.co.uk
11/03/2016 15:03
 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_189 ER/2/MB.indd 78 11/03/2016 15:05

 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_189 ER/2/MB.indd 79 11/03/2016 15:05

 TESTS AND
PRODUCTS IN FOCUS
The EOS-1D X Mark II is Canon’s new flagship camera and offers some
impressive upgrades over its predecessor, including a new 20.2Mp sensor
and continuous shooting at 14 frames per second. We take a closer look.

80
B+W

A
few months
before the
London 2012
Olympics,
Canon
released its
new flagship camera, the
EOS 1D X. It was praised for
its 18Mp sensor, 61-point AF
system and 12fps continuous
shooting. Now, four years later
and with the 2016 Olympics
coming up this summer, Canon
have released the 1D X Mark II.
So is it a winner?
Sport and wildlife
photographers will certainly
be interested. The 1D X Mark
II offers a continuous shooting
speed of 14fps with full AF/
AE tracking, and in Raw. If
that isn’t enough, the camera
can shoot at 16fps in live view
mode without AF. The mirror
IN A NUTSHELL 61-point AF system with 41
cross-type AF points. High-
What is it? Canon’s new flagship camera. speed processing is provided
Who is it for? Professional photographers, wildlife by dual Digic 6+ processors.
As you would expect, the
and sport photographers, anyone looking for top
1D X Mark II is a large (158 x
quality images in a pro-level body. 168 x 83mm) and solidly-built
How much? £5,199.99 body only. camera, weighing 1,340g.
The body is made from
Website? canon.co.uk weather-resistant magnesium-
alloy and fitted with improved
construction uses a new drive in the dark, with an ISO range of grip and controls. The screen is
mechanism to support high 100 to 51200 (expandable from a 3.2in LCD touchscreen with
speed shooting with minimal 50 to 409600). Other features 1,620K dots. GPS and Wi-Fi
mirror vibration or noise. include a new 20.2Mp full-frame are built-in and the viewfinder
The 1D X Mark II can also see CMOS sensor and an improved provides approximately 100%
field of view.
For those who want to shoot
KEY FEATURES video as well as stills, the
20.2Mp sensor 1DX Mk II offers 4K shooting
Continuous shooting at 14fps (16fps in live view) (4096 x 2160) in a variety of
ISO from 100 to 51200 (expandable to 409600) frame rates up to 60fps. It also
Dual Digic 6+ processors captures Full HD (1920 x 1080)
4K video at 120fps. If you want to freeze

80-81_IN_FOCUS ER/MB.indd 80 11/03/2016 15:05

 FAST-SHOOTING
ALTERNATIVES

NIKON D5
20.8Mp sensor
ISO 100 to 102400
12fps
£5,199

SONY A77 II
24.3Mp sensor 81
ISO 100 to 25600 B+W
12fps
£764

PANASONIC
LUMIX DMC-GH4
16.05Mp
ISO 100 to 25600
12fps
£799

‘Sport and wildlife photographers will certainly be interested.’

that perfect moment you can
extract an 8.8Mp still image
TECHNICAL SPECIFICATIONS
Price (body only) £5,199.99
from the 4K video.
Sensor 20.2Mp CMOS
At £5,199.99 (body only),
Format Full-frame
the 1D X Mark II is aimed at
professional photographers. File formats Jpeg, Raw, Mov
ISO 100 to 51200 (expandable to 409600)
Other high-speed cameras in
Shutter speed 30sec to 1/8000sec
NIKON 1 J5
the Canon armoury include 20.8Mp
the 5D Mk III (6fps) at around Autofocus 61 points ISO 160 to 12800
£2,180 and the 7D Mk II Dimensions 158 x 168 x 83mm 20fps
(10fps) at about £1,180. Weight 1,340g £349

80-81_IN_FOCUS ER/MB.indd 81 11/03/2016 15:05

 SIGNATURE INKJET MEDIA

photographers can only

fully relish the rewards
of their efforts when
seen in the form
of an inkjet print

Landscape photography is about discovery.

Photographers can only fully relish the rewards
of their efforts when seen in the form of an inkjet print.
Platinum Etching 285 from Fotospeed has been
a revelation to me and is my inkjet paper of choice.
- Charlie Waite

PIGMENT CUT ROLLS FREE ICC

INKS SHEETS PROFILES

Signature Platinum Etching 285

inkjet media from £21.99
For more information, call us on 01249 714 555
or drop us an email sales@fotospeed.com

www.fotospeed.com
082_BW_189.indd 82 3/17/16 12:55 PM
 TESTS AND
PRODUCTS

BW +

LOVES SONY A6300 HANBOROUGH TAN

Mirrorless camera with newly developed
24.2Mp APS-C sensor. Boasts the world’s
highest number of AF points on any
Cool photography gear interchangeable lens camera and has
an ISO range of 100 to 51200.
in the shops and online £999 sony.co.uk
BY FIG BAGS
Handcrafted vintage-style leather satchel
for photographers. Holds camera plus two
lenses, 13in laptop and accessories.
Available in six colours.
£295 figbags.co.uk

83
B+W

HAHNEMÜHLE PHOTO RAG

New panoramic version of Hahnemühle’s popular paper. The 21 x 59.4cm paper
is available in matt or glossy and can be printed from an A4 printer.
Prices vary hahnemuhle.com

LOMO ART LENSES

Each Lomography lens is handmade and
compatible with an array of digital and
analogue cameras. The New Petzval 85 is
for portraits, the New Russar+ is a 20mm
lens, the Lomo LC-A Minitar-1 is for street
photographers and the New Petzval 58
Bokeh Control Art Lens gives great effects.
Prices vary lomography.com
CANON EOS 80D
Features new 24.2Mp CMOS sensor and
Digic 6 processor, alongside new 45 all cross-
type point AF system. The ISO range is 100
to 16000 and continuous shooting is at 7fps.
£999.99 (body only) canon.co.uk
LEICA M LENSES
Next generation of three classic reportage
lenses with more robust construction
and enhanced image performance.
Leica Elmarit-M 28mm f/2.8 – £1,650
Leica Summicron-M 28mm f/2 – £2,975
Leica Summicron-M 35mm f/2 – £2,250
uk.leica-camera.com

83_B+W_LOVES_189 ER/MB.indd 83 11/03/2016 15:06

 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_189.indd 84 11/03/2016 15:06

 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_189.indd 85 11/03/2016 15:07

 BL ACK+WHITE PHOTOGRAPHY COOL , CREATIVE AND CONTEMPORARY

JUNE ISSUE 190

ON SALE 12 MAY

NEXT MONTH
FERNELL FRANCO
AT THE CARTIER FOUNDATION

86
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© Fernell Franco / courtesy The Cartier Foundation

86-87_NEXT MONTH_189 ER/MB.indd 86 11/03/2016 15:08

 © Chris Killip, The J. Paul Getty Museum, Los Angeles,
purchased with funds provided by the Photographs Council

87
B+W

NEXT MONTH
CHRIS KILLIP’S NEW BOOK

FOCUS ON THE FUJI X-PRO2

SHOOTING IN SUMMER LIGHT
DEVELOP YOUR CORE VISUAL SKILLS
WHY YOUR CAMERA MATTERS ( BUT NOT THE WAY YOU THINK IT DOES)
facebook.com/blackandwhitephotog follow us on twitter @BWPMag

86-87_NEXT MONTH_189 ER/MB.indd 87 11/03/2016 15:08

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3URFHVVDGMXVWPHQWV)5((0RXQWVDUHPPZLWKQRORJRRUQXPEHULQJ 36exp £11.95 £16.50 £19.75 £30.50

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£5.00 £12.50 £25.00 when open 3ULQWVJORVVRUPDWWERUGHUVRSWLRQDO Extra set of prints -50%
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 To advertise on these pages please call Rebecca on 01273 402823
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PHONE LINES OPEN

or email rebecca.anson@thegmcgroup.com
Tel: MON -FRI 8am - 5pm,
Email - info@mifsuds.com SAT 9am - 4pm,
SUN 10am - 1pm.
www.mifsuds.com SHOP OPEN
U.K. Stock Mifsuds Photographic Limited MON -FRI 9am - 5pm,
Only 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ. SAT 9am - 4pm. SUN 10am - 1pm.

PART-EXCHANGE WELCOME
WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE
FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED
For speediest response please email your equipment details to... info@mifsuds.com
Canon EOS 5Ds R Canon EOS 5Ds 50 F1.2 L USM . . . . . . . . . . . . . . . . . . . . . . . . £994
COMING SOON Full Frame Full Frame
CANON EF-S
50 F1.4 USM . . . . . . . . . . . . . . . . . . . . . . . . . . £236

Dedicated to the monochrome photographer

NON FULL FRAME LENSES
Pre-order NOW! Body Body 10-18 F4.5/5.6 IS STM . . . . . . . . . . . . . . . . . . £179 50 F1.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . . . .£96
18-55 F3.5/5.6 IS STM no box . . . . . . . . . . £139 50 F1.8 II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .£74
Canon EOS only
£2949
only
£2499
18-135 F3.5/5.6 IS STM no box. . . . . . . . . . £279
24 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . . £128
70-200 F2.8 IS LII USM. . . . . . . . . . . . . . . . £1479
70-200 F2.8 non IS L USM. . . . . . . . . . . . . . £897
1DX MKII Canon EOS 5D MKIII
Full Frame
Canon EOS 6D
Full Frame
CANON EF
FULL FRAME LENSES
70-200 F4 L IS USM. . . . . . . . . . . . . . . . . . . . £796
70-200 F4 L USM . . . . . . . . . . . . . . . . . . . . . . £438
Full Frame Body only Body only
8-15 F4 L USM Fisheye. . . . . . . . . . . . . . . . . £899 70-300 F4/5.6 L IS USM . . . . . . . . . . . . . . . . £893
11-24 F4 L USM . . . . . . . . . . . . . . . . . . . . . . £2649 85 F1.2 USM L II. . . . . . . . . . . . . . . . . . . . . . £1349
Body only £2198 £1099 16-35 F2.8 MKII L USM. . . . . . . . . . . . . . . . £1059 85 F1.8 USM . . . . . . . . . . . . . . . . . . . . . . . . . . £236
Plus 24-105 f4 IS U L £2699 Plus 24-105 f3.5/5.6 IS £1498 100 F2.8 IS L USM macro. . . . . . . . . . . . . . . £618
16-35 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . £679
price BG-E11 Grip £215 BG-E13 Grip £129
17-40 F4 L USM . . . . . . . . . . . . . . . . . . . . . . . £498 100 F2.8 Macro USM . . . . . . . . . . . . . . . . . . £372

£5199 Canon EOS 7D MKII

APS-C
Body only
Canon EOS 70D
APS-C
Body only £677
20 F2.8 USM . . . . . . . . . . . . . . . . . . . . . . . . . . £369
24 F1.4 L II USM. . . . . . . . . . . . . . . . . . . . . . £1139
24 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . . £419
100-400 F4.5/5.6 IS LII U . . . . . . . . . . . . . . £1789
200-400 F4 IS L USM . . . . . . . . . . . . . . . . . £8499
200 F2.8 II L USM . . . . . . . . . . . . . . . . . . . . . £568
24 F3.5 L TSE MKII . . . . . . . . . . . . . . . . . . . . £1469 300 F2.8 IS L USM II . . . . . . . . . . . . . . . . . . £4599
Canon EOS 80D £1177 Plus 18-55 STM
Plus 18-135 STM
£719
£928 24-70 F2.8 L II USM. . . . . . . . . . . . . . . . . . . £1379
24-70 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . £674
300 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . . . £958
400 F2.8 IS L USM II . . . . . . . . . . . . . . . . . . £7599
APS-C BG-E16 Grip £198 BG-E14 Grip £125
24-105 F3.5/5.6 IS STM . . . . . . . . . . . . . . . . £369 400 F4 DO II IS USM . . . . . . . . . . . . . . . . . .£6899
Canon EOS 760D Canon EOS 750D 24-105 F4 L IS USM no box . . . . . . . . . . . . £699 400 F5.6 L USM . . . . . . . . . . . . . . . . . . . . . . . £884
Body only APS-C APS-C
28 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . . £388 500 F4 IS L U II . . . . . . . . . . . . . . . . . . . . . . .£6799
price Body only £449 35 F1.4 USM LII . . . . . . . . . . . . . . . . . . . . . . £1699 600 F4 IS L USM II . . . . . . . . . . . . . . . . . . . . £8794

£999
Body only 35 F2 IS USM. . . . . . . . . . . . . . . . . . . . . . . . . . £389 1.4x III conv. . . . . . . . . . . . . . . . . . . . . . . . . . . £299
Plus 18-55 STM £528 2x III conv . . . . . . . . . . . . . . . . . . . . . . . . . . . . £299
£539 Plus 18-135 STM £699 40 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . . £149

Nikon D810 Nikon D750 NIKON DX 28 F1.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . . £494

NEW FROM NIKON Full Frame

Body only
Full Frame
Body only £1389
NON FULL FRAME LENSES
10.5 F2.8 DX Fisheye . . . . . . . . . . . . . . . . . . £548
10-24 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . . £638
28-300 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . £729
35 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £1399
35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £154
Nikon D5 £2189
MBD-12 Grip (D810/800/E) £279
Plus 24-120 f4 VR
MBD-16 Grip
£1978
£228
16-80 F2.8/4 AFS ED VR. . . . . . . . . . . . . . . . £766
16-85 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . £498
35 F2 AF-D. . . . . . . . . . . . . . . . . . . . . . . . . . . . £254
50 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . ..£349
Full Frame Nikon D7200 Nikon D5500
18-55 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . . .£99
18-105 F3.5/5.6 AFS G no box . . . . . . . . . . £199
50 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £179
58 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £1299
APS-C APS-C 18-140 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . £399 60 F2.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . . £439
Body only 18-300 F3.5/6.3 AFS VR . . . . . . . . . . . . . . . . £548 70-200 F2.8 AFS VRII . . . . . . . . . . . . . . . . . £1798
Body only £739 Body only £489 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £169 70-200 F4 AFS G ED VR . . . . . . . . . . . . . . . £1079
price
70-300 F4.5/5.6 AFS VR . . . . . . . . . . . . . . . . £439

£5199
Plus 18-105 VR £885 Plus 18-55 VRII £555 40 F2.8 AFS G macro . . . . . . . . . . . . . . . . . . £209
MBD-15 Grip £228 Plus 18-140 VR £699 55-300 F4.5/5.6 AFS VR . . . . . . . . . . . . . . . . £268 80-400 F4.5/5.6 AFS G VR . . . . . . . . . . . . . £1549
NIKON FX 85 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . £1198
Nikon DL 18-50 Due
June Nikon DL 24-85 Due
June
FULL FRAME LENSES 85 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . £399
14-24 F2.8 AFS G ED. . . . . . . . . . . . . . . . . . £1459 105 F2.8 AFS VR macro . . . . . . . . . . . . . . . . £659
Nikon D500
f1.8/2.8 Camera f1.8/2.8 Camera
16 F2.8 AFD Fisheye . . . . . . . . . . . . . . . . . . . . £624 200 F2 AFS ED VRII . . . . . . . . . . . . . . . . . . . £4199
20.8MP CX without 20.8MP CX without
200-500 F5.6 AFS E ED VR. . . . . . . . . . . . . £1097
16-35 F4 AFS VR . . . . . . . . . . . . . . . . . . . . . . £899
APS-C EVF Kit EVF Kit
EVF EVF
£679 £549 18-35 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . . £549 300 F2.8 AFS ED VRII . . . . . . . . . . . . . . . . . £3998
£799 £669 20 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . . £579 300 F4 AFS E PF ED VR. . . . . . . . . . . . . . . . £1497
Body only 24 F1.4 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . £1599 400 F2.8 G E FL ED VR . . . . . . . . . . . . . . . . £8199
Nikon DL 24-500 Nikon 300mm 24 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . . £629 500 F4 E AFS FL ED VR . . . . . . . . . . . . . . . . £7777
price f2.8/5.6 f2.8 AFS 24 F3.5 PCE . . . . . . . . . . . . . . . . . . . . . . . . . . £1464 600 F4 E AFS FL ED VR . . . . . . . . . . . . . . . . £9648

£1729 20.8MP CX ED VRII 24-70 F2.8 AFS G ED VR. . . . . . . . . . . . . . . £1789 R1C1 CDR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . £489
24-70 F2.8 AFS G ED. . . . . . . . . . . . . . . . . . £1189 TC14EIII converter. . . . . . . . . . . . . . . . . . . . . £428
Due 24-85 F3.5/4.5 AFS VR . . . . . . . . . . . . . . . . . £399 TC17EII converter . . . . . . . . . . . . . . . . . . . . . £307
Plus 16-80 VR £2479 £749 June £3998 24-120 F4 AFS G ED VR . . . . . . . . . . . . . . . . £699 TC20EIII converter. . . . . . . . . . . . . . . . . . . . . £349

150-600 NEW X-Pro 2 X-Pro 2 body .............................£1348

X-T1 body Graphite .................. £997
X-T1 blk + 18-135mm ............£1098
F5/6.3 OS X-T1 blk + 18-55mm ..............£1048
X-T1 body Black ......................... £799
Sport X-T10 black/silver
NEW X-E2S + 18-55mm ................................. £723
£1199 X-T10 body Blk/silv................... £448
X-E2S + 18-55mm ..................... £748
X-E2S body .................................. £548
10-24mm F4 XF ......................... £679
More Sigma on 14mm F2.8 XF ............................ £647
16mm F1.4 XF ............................ £685
website NEW X70
16-55mm F2.8 ............................ £698
18mm F2 XF................................ £349
18-55mm F2.8/4 OIS
no box........................................... £349
18-135mm F3.5/5.6 XF............ £549
23mm F1.4 XF ............................ £599
27mm F2.8 XF ............................ £289
35mm F1.4 XF ............................ £366
35mm F2 R WR........................... £298
50-140mm F2.8 R OIS ............£1029
55-200mm F3.5/4.8
OIS XF............................................ £466
56mm F1.2 R APD ..................... £897
6<67(0
56mm F1.2 XF ............................ £679
60mm F2.4 XF ............................ £404
16-300 f3.5/6.3
Di II VC PZD .........£398
90 F2 R LM WR ........................... £615
100-400 F4/5.6 OIS WR ............£1398 150-600 f5/6.3
1.4x XF TC WR ............................. £328 SP VC USD .................. £798
11mm Ext tube ...................... £69.99
18-200 f3.5/6.3 Di II VC............................£169
16mm Ext tube ...................... £69.99
EF-20 flash ......................................£98
EF-X20 flash ................................ £168
28-300 f3.5/6.3 Di VC USD
CAF/NAF/Sony........................................... £419
EF-42 flash ................................... £168 Kenko Converters
X100T Black/Silver .................... £795 1.4x Pro 300 converter ............................£149
X70 Black/Silver ......................... £549
X30 Black/Silver ......................... £283
2x Pro 300 converter ...............................£149
Auto ext tube set .........................................£99

Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 21/03/2016. P&P Extra. E&OE.
FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K.MAY 2016 B+W CLASSIFIED
Mainland only) 89

BW_189.indd 89 3/21/16 10:57 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 #4822xxx with charger ~ blue ostrich covering Exc++ £2890 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 Silver #2850xxx Exc++ £1150
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 M4 #1186xxx Exc+ £650 Rolleiflex 3.5F (75mm Planar) with case & strap Exc+++ £950
Leica M4-P Chrome (boxed) ~ 70th Anniversary 1913-1983 Mint- £990
Leica M4-P Everest 82 Black #1587xxx (boxed) ~ Limited Edition Mint £1490 Cambo Wide RS + Schneider 24mm f5.6 Apo-Digitar XL + H plate Nr. Mint £1490
Leica M2 #1107xxx Exc+ £570 Horseman SW612 with Rodenstock 55mm f4.5 Apo-Grandagon + Exc++ £1350
Leica IIIf Black Dial with Delay Action Exc+ £250 V/finder; Ground glass; Horseman 6x7 & 6x12 RFH
Dedicated to the monochrome photographer

Leica IIf Red Dial Exc++ £270 Linhof Technorama 617S III with 90mm f5.6 Super Angulon XL (Complete) Mint- £4490
Leica X-E (typ 102) + hand grip (boxed) As New £690 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 Technika IV with Schneider 135mm f5.6 Symmar Exc+ £890
Leica 24mm f2.8 Elmarit-M ASPH Silver + hood #3809xxx Uncommon Exc+++ £1790 Schneider 72mm f5.6 Super-Angulon XL (Copal 0) on Linhof board Mint- £650
Leica 24mm f2.8 Elmarit-M ASPH + hood 6 bit #4036xxx (boxed) Mint- £1250 Schneider 75mm f8 Super-Angulon (Synchro-Compur) on Linhof board Mint- £370
Zeiss 28mm f2.8 Biogon ZMT* + hood Mint £590 Schneider 90mm f6.8 Super-Angulon (Copal 0) on Linhof sized board Mint- £430
Leica 28mm f2 Summicron-M ASPH #4075xxx 6-bit coded (boxed) Mint £1790 Rodenstock 180mm f5.6 Sironar-N (Compur 1) on Linhof board Mint- £270
Leica 35mm f1.4 Summilux-M ASPH FLE Silver + hood #4300xxx (boxed) Mint £2650 Schneider 180mm f5.6 Symmar-S (Copal 1) on Toyo Board Mint- £270
Leica 35mm f1.4 Summilux with Specs (M3 type; steel filter rim) #1730xxx Exc++ £2290 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Leica 35mm f1.4 Summilux-M ASPH + hood #3811xxx Mint- £1990 Schneider 240mm f5.6 Symmar Exc £150
Leica 35mm f2 Summicron-M ASPH Chrome + hood #3972xxx (boxed) Mint- £1550 Rodenstock 240mm f5.6 Apo-Sironar-S Mint- £950
Leica 50mm f1 Noctilux-M + hood #3478xxx Mint- £2990 Linhof Super Rollex 6x7 RFH Early version with Hammerite finish Exc++ £90
Leica 50mm f1.4 Summicron-M Built in hood #3930xxx Exc+ £1350 Wista 6x9 RFH Exc++ £90
Leica 50mm f2 Summicron-M Built in hood #3884xxx 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
Leica 90mm f2 Summicron-M (E49 filter) #2814xxx (boxed) Exc+ £750 black and white film, please refer to our website for prices.
Leica 90mm f2.8 Elmarit-M 6-bit coded #4043xxx Exc+++ £790 We also accept mail order at the following address, and will return your photographs within 4-5 working
Leica 90mm f4 Macro-Elmarit-M with Macro-Adapter-M & Angle finder Exc+++ £1890 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.
An order form is availible to download from our website on the Film Developing Page.
Leica R9 with R8 Motor Winder Exc++ £590 Postage for Process and Print
1 - 2 rolls.............................................£3
Please send your order to: 3 - 5 rolls.............................................£6
Leica Remote Control R8 (14202) Mint- £40 Aperture Photographic 6 - 10 rolls...........................................£9
11 rolls or more................................Free
Leica 50mm f2 Summicron-R + hood 2 Cam #2361xxx Exc £390 PO Box 7045 Process only
London 1 - 10 rolls...........................................£3
Leica 60mm f2.8 Macro-Elmarit-R 3rd Cam #2984xxx Exc++ £450 W1A 1PB
10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 180mm f3.4 APO-Telyt-R 3 Cam #2749xxx User £490 We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club)
Angenieux 35-70mm f2.5-3.3 R Mount Exc++ £490 Please send us your order with your payment details or phone us for further details.

Leica R8/R9 Motor Winder (boxed) Mint £150 Processing Prices (C41 Only) 24~48 hours
35mm develop only £6.00
35mm develop + print £12.00
Leica 55mm Polarising filter Mint £80
35mm develop + print + CD £14.00
Leica 21-24-28mm Viewfinder Mint- £230 £10.00
35mm develop + CD
Leica 24mm Viewfinder Exc+++ £170 Extra set of prints (order within 7 days) £5.00
Leica 28mm Metal Bright Line Viewfinder Black (boxed) Mint £320 Film scan to CD or digital media £8.00
Leica 3.5cm Metal Bright Line Viewfinder Chrome Exc+++ £290 120 develop only £7.00
120 develop + print £15.00
Voigtlander T-Winder Mint- £70 120 develop + print + CD £17.00
Voigtlander 15mm f4.5 Super Wide-Heliar VM (boxed) Mint £320 120 develop + CD £11.00
£270 Extra set of prints (order within 7 days) £4.00
Voigtlander 21mm f4 Color-Skopar VM + hood Mint
Film scan to CD or digital media £8.00
Voigtlander 28mm f2 Ultron VM + hood Mint £390
We also process Black and White Film! Please check our website
Voigtlander 50mm f1.5 Nokton VM + hood Current Version Mint £420 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 contact Camera Cafe located at 44 Museum Street
MAY 2016 Tel: 020 7242 8681

BW_189.indd 90 3/17/16 3:31 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 MP 0.72 Silver #3511xxx , Mint-, £2090

Dedicated to the monochrome photographer

Leica M6 0.72 TTL Titanium #2754xxx (boxed), Mint-, £1490

Nikon F2 Titanium (boxed), As New/Unused, £2090

Schneider 55mm f2.8 LS AF + hood (boxed), Mint, £1390

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 . cMAY
o m 2016 B+W CLASSIFIED 91

BW_189.indd 91 3/17/16 3:32 PM

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

LUCY BELL FINE ART PHOTOGRAPHY

JOIN US ON
www.lucy-bell.com FACEBOOK
COOL, CREATIVE AND CONTEMPORARY

LUCY BELL FINE ART PHOTOGRAPHY

Dedicated to the monochrome photographer

Do you want your business

to reach a committed and
enthusiastic photographic
community?
Like our Facebook page and get real-time updates
on all the latest news and beautiful photo
collections, plus exhibitions not to be missed!
Then contact Rebecca now on 01273 402823
or email rebecca.anson@thegmcgroup.com
blackandwhitephotog
B W CLASSIFIEDS
+

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
Chris Upton

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

92 B+W CLASSIFIED MAY 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

Dedicated to the monochrome photographer

Image: Leigh Preston

MEET THE ICONIC COLLECTION OF NEW

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MAY 2016 B+W CLASSIFIED 93

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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 Space - Light - Image
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Colour Prints
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
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Tel/Fax: 0161 907 3236 07930 462906
www.realcamera.co.uk Location - Reading M4 West of London

A real photolab for real silver prints

Canon Nikon 17mm f/3.5 Ai Tokina £129
Canon EF 15mm f/2.8 FISHEYE £329 Nikon 28mm f/2.8 Ai £219
Nikon 55mm f/1.2 £279
B & W Film * Canon EF 20-35mm USM
Canon EF 24mm f/2.8 PRIME
£249
£239 Nikon 105mm f/4 Ai-s MICRO £179
Films hand processed in Kodak X-tol developer Nikon 100-300mm Ai-s £129
Processing Canon EF 35mm f/2.8 PRIME £189
Nikon 300mm f/4.5 Ai ED £219
and archivally sleeved for professional results Canon EF 28mm f/1.8 USM
Canon EF 100mm f/2.8 L USM IS
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£499 Nikon 28-85mm Ai-s £159

35mm, 120 & 5x4 Canon EF 100mm f/2.8 MACRO £189 Pentax
Canon T90 body £49 Pentax K50 + AF 18-55mm £249
Canon EOS 1n body £159 Pentax Af 100mm F/2.8 SMC MACRO £239
Canon fit FD 80-200mm f2.8 Tokina ATX £169 Pentax AF 16-45mm f/4 ED £149
Hand * Canon FD 70-210mm f/4 £29 Pentax AF 35mm f/2.4 SMC DA
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Sony RX-1 - 35mm ZEISS, 24 MP FULL FRAME £1069
Pentax PK 40mm f/2.8 £79
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Pentax PK 50mm f/1.4 £79
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up to 24” x 20” Sony E AF 50mm f/1.8 £159
Sony A AF 50mm f/1.7 Prime MINOLTA £79 LEICA and Odds’n’sods
Sony A AF 28mm f/2.8 Prime MINOLTA £129 LEICA M6 Body (Black) £899
Sony A AF 16-80mm ZEISS Sonnar £359 LEICA M4 Chrome + 50mm f/2 Summicron £949
Darkroom Sony E AF 18-200mm Tamron BOXED
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Hire hƐĞŽƵƌĞsĞƌĞĂŶĚ>ĞŝĐĂŵƵůƟŐƌĂĚĞĞŶůĂƌŐĞƌƐ Sony A AF 400mm f/5.6 Sigma APO T/M £149 Rolleiflex T Metered £489
ǁŝƚŚŽƉƟŽŶĨŽƌŵĂĐŚŝŶĞŽƌĚŝƐŚƉƌŝŶƚƉƌŽĐĞƐƐŝŶŐ Sony A AF 70-210mm f/2.8 SIGMA APO £189 Mamiya 645 PRO 80mm f/2.8 AE Prism + P Winder £359
full or half day Nikon Olympus OM-2sp Body £119
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Nikon AF 15mm f/2.8 EX DG Sigma £349
Tamron 17mm f/3.5 AD2 OM fit £189
Nikon AF 70-200mm f/2.8 EX DG HSM Sigm £359
Olympus 50mm f/3.5 MACRO £79
Nikon AF 170-500mm Sigma £269
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dƵŝƟŽŶ ŽĨƚŚĞĚĂƌŬƌŽŽŵǁŝƚŚŽƵƌŽŶĞĚĂLJƚƵŝƟŽŶƐĞƐƐŝŽŶ Nikon AF-D 28-70mm f/2.8 IF-ED Silent Wave £569
Contax 45mm f/2.8 Carl Zeiss T* TESSAR Pancake £159
Panasonic LVF-1 Dgi/Finder £79
Nikon AF-S 200-400mm f/4 ED IF FX VR (Comm’ Sale) £2499
Opticron MM3 GA-ED 60 45 Angled Spotting Scope
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94 B+W CLASSIFIED MAY 2016

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 QUOTE BW5 FOR
To advertise on these pages please call Rebecca on 01273 402823
or email rebecca.anson@thegmcgroup.com B W CLASSIFIEDS
+ AN EXTRA £10
ON TOP OF OUR
VALUATION

Do you have any unwanted

photographic equipment?

Dedicated to the monochrome photographer

WE BUY MORE…
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· 35mm FILM SLR C
It really is as easy as... 1-2-3! Dale Hawkins
1. GET IN TOUCH
Used Equipment Manager
Give us a call and have a chat. Over 30 years experience!
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High Chelmer Shopping Centre, Chelmsford, Essex CM1 1XB www.cameraworld.co.uk/used
MAY 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
© Roderick McKenzie
of the art printing service, theprintspace – it could be you!

96
B+W

This month’s lucky winner is Roderick McKenzie who wins a 20x24in print dry mounted on to 5mm Foamex, an exceptional quality
and highly rigid foamboard. Roderick 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 Dibond,
a rigid yet lightweight composite of aluminium and PVC.

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_189 ER/MB.indd 96 18/03/2016 16:00

IBC_BW_189.indd 1 3/17/16 12:56 PM
 The power of simplicity.

By going back to essentials and using clear forms, the

max bill by junghans range has become a design icon
of our time. It is now over 50 years since the Bauhaus
artist Max Bill developed exceptionally high aesthetic
standards for Junghans watches. These now enjoy cult
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