BLACK WHITE

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knobs on’

PHOTOGRAPHY
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IFC_BW_150.indd 1 21/3/13 09:57:09

 EDITOR’S LETTER B+W150 MAY 2013
© Tim Clinch

Welcome to

BLACK WHITE
PHOTOGRAPHY
t’s funny how you notice something vision or interpretation of what is in front of unconscious element that creeps in. I can

I about one photographer and then you

keep coming across other photographers
who have similar qualities. Just lately I’ve
been looking at work from the point of view
of the subject matter – the importance of it,
or its irrelevance. Coming from a
background of creative writing, I often
compare this with the plot-driven narrative
compared to the narrative in which the plot
is of little importance.
Take, for instance, a landscape or even a
portrait. The meaning of the photograph can
be totally about that landscape, its beauty, its
rugged charm, or it can be about the person,
their character, their looks or their situation.
But these pictures could tell another story,
they could be about the photographer’s
them and far less about the actual subject
matter. It’s interesting isn’t it?
Those photographers who have this gift
can choose the most mundane subjects and
breathe life into them – in the same way that
a good writer can take the simplest of topics
(the most remarkable I know of is Robert
Musil’s Fly Paper) and turn it into something
quite else.
I have the feeling that this ability is innate.
It’s how the photographer (or writer)
understands his or her world – it’s as though
they can’t help themselves, they simply
include themselves in the pictures they take.
I’m fascinated by this whole thing – it’s not a
question of a distinctive style or signature in
a photograph, it’s more to do with an
think of a number of well known
photographers whose presence is palpable in
their work – Francesca Woodman (who was
literally present), Bill Brandt, and more
recently, Nelli Palomaki, but there are others,
unknown photographers whose work I come
across now and then and recognise this trait.
What it comes down to when you really
start thinking about it is this – why do we
take pictures? What is photography to you
as an individual? Actually, that’s quite a
complex question to really answer honestly.
I think I’ll have to give this some more
thought. What’s your take on it?
Elizabeth Roberts, Editor
elizabethr@thegmcgroup.com

OUR CONTRIBUTORS

Eddie Ephraums Tracy Hallett Lee Frost Andy Luck

Eddie Ephraums is a photographer,
photobook maker, publisher and
mentor. He has written a number of
bestselling books and runs photobook
workshops and project-related
workshops in London and Scotland.
Writer and photographer Tracy Hallett
is part way through a project to visit
and document all of Britain’s 7,747
islands. She has written three books,
most recently Close-up and Macro
Photography, published by Ammonite
Press in 2011.
A highly regarded photographer and
journalist, Lee Frost specialises in
landscape and travel photography,
with many years of experience and
a vast number of publications to his
name. For the past 10 years he has
been leading workshop tours with his
company Photo Adventures.
This month’s cover image is by Ron van Dongen
Andy Luck is an award-winning
wildlife short programme producer
and an environmental photojournalist
with a passion for cameras and
photography.
COVER IMAGE

B&W May 2013 1

1 EDITORS LETTER APRIL 2013 ER/.indd 1 26/03/2013 14:09

 Issue 150 May 2013

CONTENTS FEATURES NEWS COMMENT

GET IN TOUCH 8 WHEN WE USED

TO DANCE 4 NEWSROOM
What’s happening in the 20 AMERICAN
CONNECTION
Black+White Photography
GMC Publications Ltd, Time stands still in the intriguing B&W world Susan Burnstine on a photograper
86 High Street, Lewes, portrature of Terry Hulf who combines aesthetic and
East Sussex BN7 1XN
Tel 01273 477374
28 THE THEATRE
COMPANY
16 IN THE FRAME
Your guide to the best
environmental issues

Email
EDITOR
Mike Tattersall’s pictures of the
photography exhibitions
74 THE NATIONAL
MEDIA MUSEUM
Elizabeth Roberts
at elizabethr@thegmcgroup.com
team at his day job – in a
hospital surgery 18 ONE EXHIBITION
NOT TO MISS
Our recommended show
Colin Harding charts the career
of the father of art photography
DEPUTY EDITOR
Mark Bentley
at markbe@thegmcgroup.com
ASSISTANT EDITOR
34 INTO THE
DARKROOM
We invite readers to a day of 80 BUILDING A
CLASSIC LIBRARY
78 A FORTNIGHT AT F/8
Tim Clinch on the
comedy of creativity
Jemima Greaves film photography Celebrating the work of
at jemimag@thegmcgroup.com
www.facebook.com/
blackandwhitephotographymagazine 40 THE F-STOPS HERE
Jemima Greaves on
Eugene Atget
82 60-SECOND
EXPOSURE
Street photographer Tany Kely
twitter.com/BWPMag how to get composition right answers our quick-fire questions

© TERRY HULF © MIKE TATTERSALL

8 28

© NIGEL CLARK
34

2 May 2013 B&W

2-3 CONTENTS MAY ER/MB.indd 2 26/03/2013 15:49

 TESTS AND YOUR WIN A
TECHNIQUE PRODUCTS BLACK+WHITE SUBSCRIPTION

44 MANY WAYS
OF SEEING
Eddie Ephraums looks
62 BOOK REVIEWS
Our pick of the best
photography books
22 READERS’ PICTURES
The winning images
WIN A SUBSCRIPTION
Find the quote and send us the
page number – and you could
at the challenge of choice
for photographers
66 CAMERA TEST
The Panasonic GH3
65 ASSIGNMENT
We set you a challenge
win a year’s free subscription!
Send your entries by 8 July
to markbe@thegmcgroup.com
51DISCOVERING
LIGHTROOM
put to the B+W test
76 SUBSCRIPTION
OFFER
Tim Clinch turns down the noise

52 FUNDAMENTALS: ALL
ABOUT EXPOSURE
68 WINDOW SHOPPING
70
Cool new gear

CHECKOUT 85
Have B+W delivered to your door

NEXT MONTH
What’s coming up in June
‘ Eventually
Lee Frost’s essential guide to The six best I bought a
the basics of photography ultra wideangle
lenses 87 HOW TO SUBMIT All the details
camera with
58 VAN DYKE BROWN
PRINTING
96 LAST FRAME
’
66
Step by step using inexpensive
chemicals and a few basic tools
A great single image
knobs on
© EDDIE EPHRAUMS © LEE FROST
44 52

© GEORGE JOHNSON
22

© MALCOLM ANDREW
96

B&W May 2013 3

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 © Herbert Mabuza

NEWSROOM
News from
the b&w world
Edited by Mark Bentley
markbe@thegmcgroup.com

High contrast
A new app is available for black
& white photographers. The BW
Camera app has sliders to control
the red, green and blue in an
image. The app is available for
Windows Phone 7.5 and 8.
bwcamera.com

Highly regarded black & white

photographer Andy Beel will give
a one day seminar called
Lightroom for Black & White
Photographers at Calumet
Photographic in Bristol on The Last Trip Home, 1985, by Herbert Mabuza
Saturday 11 May at 10.30am. The
seminar will show how to produce
exhibition quality black & white
pictures that have the look of a
darkroom print from a colour file.
calumetseminars.co.uk
Big auction success
Canon have announced a An auction of photography has (Greg Marinovich, Joao Silva, shooting over the estimates.
cashback deal on a range of raised an unprecedented amount Jurgen Schadeberg, David The highlights were David
high-end cameras, lenses and in South Africa. Goldblatt, Paul Weinberg, John Goldblatt’s picture (R58,000
printers. The deal, which The auction in Johannesburg Liebenberg etc) and some of – about £4,100), a Jurgen
includes £160 off the Canon was organised as a benefit for the most famous images. Now Schadeberg image of Nelson
5D Mk III and £100 off the Canon veteran photojournalist John this work is being recognised by Mandela visiting his former cell
6D, runs until 31 May. Liebenberg and the Hip Op collectors at home and abroad.’ on Robben Island (R35,000 –
canon.co.uk/springcashback Campaign, which is raising The auction attracted about £2,500) and a Joao Silva
funds to enable him to have bids from New York and San vintage print of train violence in
The Michael Hoppen Gallery in essential hip replacement Francisco among other places. Soweto in 1992 (also R35,000).
London has invited six private
surgery. The event also aimed to Little known photographers such The sale was such a success
photography dealers to present
raise the profile of photographers as Rodger Bosch and Simphiwe that organisers have decided to
a range of 19th, 20th and 21st
and celebrate the critical role of Nkwali found their work make it an annual event.
century photography. The event
on April 27 and 28 will be held on the visual image in South Africa.
all three floors of the gallery in More than 50 photographers Pictured are two photographs from the auction.
Jubilee Place. from South Africa contributed © John Liebenberg

michaelhoppengallery.com prints to the auction, with work

The article on getting published in
issue 148 (March) contained an
incorrect email address for
photographer Trevor Crone. The
correct email address is
monocrone@aol.com. Apologies
to Trevor for the mistake.
Congratulations to Claus Ramthun
from Essen in Germany and Sasa
Huzjak from Slovenia, who are the
winners of our cover quote
competition for issues 145
(Winter) and 146 (January). They
each win a year’s subscription to
the magazine.
ranging from documentary and
conflict to politics, portraiture
and wildlife. The sale made
a total of R500,000 (about
£35,700). The highest selling
single picture was The City From
the Sea by David Goldblatt.
Jonathon Rees, one of the
organisers of the auction,
said, ‘This was the first major
auction of South African
photography and is credited
with having created a local
market for photography.
‘South Africa has produced
some of the finest photographers,
with international reputations Armed forces recruit in Angola, 1994, by John Liebenberg

4 May 2013 B&W

4-6 Newsroom MAY ER/MB.indd 4 26/03/2013 14:10

 Short film plans
The Little Black Gallery and the
Estate of Bob Carlos Clarke have
launched a Kickstarter campaign
to raise funds to make a short
film about the photographer.
The film, Darkroom: The
Obsessions of Bob Carlos Clarke,
will be made by award-winning
female directing duo Bert &
Bertie and acclaimed producer
Amy Gilliam.
kickstarter.com
Judging
festival
© Claudia Borges Cerbino
Feature
packed
Samsung’s new flagship
mobile phone includes
features that could appeal
to many photographers.
The Samsung Galaxy S4 was
announced at a special press
conference in Times Square in
New York. Features that could
attract photographers include a
13Mp camera plus a Dual Camera
function that allows users to take
simultaneous photos and videos
using the rear and front cameras,
then blend the pictures together.
The phone also offers
Story Album, which merges book publishers Blurb. instant translation; and Air
photos, videos, memos, The phone has a 5in screen Gesture, which allows users to
location and weather information offering 441ppi. Other features scroll a web page or accept a call
into a personalised timeline. include Smart Pause, which with a wave of the hand.
The album can then be turned allows users to control the The Samsung Galaxy S4 will be
into a book, using a partnership screen with their eyes; available from 26 April. Price to
deal between Samsung and S Translator, which provides be confirmed.

Claudia Borges Cerbino’s picture won

the F/factor competition in October
last year. This is a competition where
the public vote for their favourite
image at the festival.

British reportage photographer

Giles Duley is to judge the
London Photo Festival.
Giles was seriously injured
by a landmine in Afghanistan.
Now a triple amputee, he has
plans to return to Afghanistan
to photograph the medical
treatment of injured civilians
© Annegret Kohlmayer
in Kabul. The London Photo
Festival aims to promote the sale Susanna Kraus with the
and appreciation of photography
in London. It provides the
chance for photographers to
Imago tour plans original Imago camera

exhibit their work and gain
professional feedback.
The festival runs from 16 to
18 May in the Crypt under
St George the Martyr Church,
opposite Borough underground
station. Pre-booked portfolio
reviews will be offered. See the
website for details.
londonphotofestival.org
A crowdfunding campaign has
been created to finance a new
Imago camera.
The original Imago was
invented by physicist Werner
Kraus in the 1970s. It is a huge
walk-in camera where subjects
step inside and their image is
recorded at life size on direct
positive paper in black & white.
The process makes it possible
to produce unique portraits of
people, with no negatives or
digital backup.
The original camera is
owned by Werner’s daughter,
Susanna Kraus, and will
continue to be based in Berlin.
The new camera, called the
Imagophotour, is specially
designed so it can be taken to
public events around the world.
Planned destinations include
Paris, New York, Houston, San
Francisco, Los Angeles, Sao
Paolo and Shanghai.
Makers are seeking funding
through the Kickstarter website.
imagophotour.com
kickstarter.com

B&W May 2013 5

4-6 Newsroom MAY ER/MB.indd 5 21/03/2013 10:20

 © Xu Wei Shou, Taiwan, Winner, Environment, Youth Competition, 2013 Sony World Photography Awards

Convert your
camera
An American company is
offering a range of DSLRs that
have been converted from
colour to monochrome.
The cameras are converted
so they can capture a much
higher resolution and accurate
monochrome picture than
conventional cameras. The
converted camera models
available are the Canon 500D
and 550D, the Canon 5D MKII,
the Nikon D5000 and the D700.
maxmax.com

Nature’s Fightback by Xu Wei Shou
Aiming high
A new series of digital backs for
medium format cameras will
include one especially made for
black & white photographers.
The Phase One IQ260
Achromatic is designed to
deliver the highest quality

Up for youth award black & white images. The 60

megapixel sensor does not have
a colour filter array, which
A black & white picture was of the three winning pictures were entered for the awards,
among the three winners of will be selected for the Overall including more than 5,000 means that no interpolation is
the Youth category of the Sony Youth Photographer of the for the youth category. necessary. Each pixel is focused
World Photography Awards. Year, which will be announced All the winning pictures purely on capturing the finest
Nature’s Fightback by Xu at the Sony World Photography from the competition will be details of an image.
Wei Shou from Taiwan won Awards ceremony in London exhibited at Somerset House Two other digital camera
the Environment section of the on 25 April. in London from 26 April to backs are also available. The
Youth (under 19) category. One More than 122,000 images 12 May. 80 megapixel IQ280 aims to
provide the pinnacle of image
quality and offers ISOs as low
Super sharp as 35. The 60 megapixel IQ260
offers the widest exposure range
Nikon have announced a new enthusiast-
on the market, from 1/10000sec
level camera boasting features more
to one hour.
commonly found on pro-level DSLRs.
The Phase One IQ2 series of
The Nikon D7100 is a 24.1Mp camera
camera backs are expected to
with a 51-point AF system. It does not
be available in June. Prices start
have an optical low pass filter, meaning it
from €29,990 (about £26,200).
should provide image sharpness on even
phaseone.com
the finest details.
The DX format camera has a weather- Go
resistant body, a 3.2in monitor and can
shoot full HD movies. It also offers
International
Professional, student and
a 1.3x crop function, providing an
amateur photographers
additional 1.3x telephoto effect to lenses.
worldwide are invited
Price £1,099.99 (body only)
to enter pictures for the
Royal Photographic Society
Chance to learn International 156. For the
Nikon is to open a new will include a range of courses, venue for professional first time in the competition’s
learning centre in London. from an introduction to photographers who are history, digital entries can
The Nikon School will photography to more advanced members of the Nikon be submitted alongside print
be based at the new Nikon product-specific courses. The Professional Services group, for entries. An exhibition of
Centre of Excellence in central school will also offer courses technical support and advice. selected pictures will tour to
London, about two minutes on Saturdays. Training courses can be venues across the UK from July.
from Oxford Circus. The Nikon Centre of booked on the website. Deadline for entries: 17 May.
The training programme Excellence will be a meeting nikon.co.uk/training rps-international.org B+W

6 May 2013 B&W

4-6 Newsroom MAY ER/MB.indd 6 21/03/2013 10:20

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007_BW_150.indd 7 26/3/13 17:15:50

 INTERVIEW WHEN WE USED TO DANCE
Being out of step with modern life can have its advantages,
especially if you’re a very individual photographer. In the case
of Terry Hulf, it’s a question of endless fascination and an
All pictures © Terry Hulf
unwillingness ever to give up. Elizabeth Roberts reports

erry Hulf is a quiet man, or so it turn our attention to his photography. being a purist, he likes to go to 1940s dances

T seems on first meeting him. But

underneath his slightly reticent
exterior is a mind so busy and
articulate that it takes a while to comprehend.
Our first conversation is not about
photography; we talk about music. I am at
his house on the flat landscape that stretches
out from Winchelsea to the sea. It’s a
strangely beautiful place, unique and quirky,
governed by the weather and the salty air,
and it suits Terry very well. He plays me
a piece of music he’s just written and we
talk a little about his numerous paintings
that hang on the walls. Eventually we
8 May 2013 B&W
The series of portraits I’m here to talk
about is called When We Used To Dance. I’ve
been curious about the work ever since I first
saw it and I’m interested to hear how it was
conceived. Among his other talents, I learn
that Terry is a keen Lindy Hop dancer and,
‘Often I’ll know beforehand
how people will compose
themselves in a picture, or what
look they’ll have on their faces’
where everyone dresses in authentic clothes.
‘I had the seed of the idea for the portraits in
my mind for a long time,’ he explains. ‘But I
couldn’t work out what I wanted to do with
them.’ Having finally resolved the question
of which camera to shoot the project with,
and decided on a location – his local village
hall – he then set about finding good
subjects. ‘First of all, I talk to people at the
dances, I look at their faces and watch how
they stand and move, and their mannerisms.
I get a really good idea of what I want before
I actually take their photograph,’ he says.
‘Often I’ll know beforehand how people will 

08-14 TERRY HULF ER/MB.indd 8 26/03/2013 14:39

 B&W May 2013 9

08-14 TERRY HULF ER/MB.indd 9 26/03/2013 14:39

  compose themselves in a picture, or what
look they’ll have on their faces.’
This intense observation includes how
his subjects dress – and being immaculately
dressed himself, Terry has a good eye for
these things. He likes both authenticity and
style. ‘It’s actually quite hard finding people
who dress really well,’ he comments.
nce a sitter has agreed to be
O photographed, Terry uses the
same setting (the village hall) with
the same backdrop (a sheet of
canvas) and the same natural light – which
means that he only photographs from May
to September as the winter light would be
too low. And although these components
are constant, he acknowledges that every
portrait feels different. ‘I try not to give my
sitters any directions, except perhaps just
to say look at the camera, because I don’t
want the pictures to look like commercial
10 May 2013 B&W
08-14 TERRY HULF ER/MB.indd 10
photographs,’ he says. ‘If you’re not careful
with this type of image you can get a rather
stylised look – I want to get away from that.’
Sittings are often difficult to arrange, with
people having to travel long distances. ‘There
was somebody who came all the way down
from Newcastle,’ he tells me.
Using a 1940s Burke & James 5x7
view camera means that the margins of
error are quite large – particularly when
photographing two or even three people
who may move or blink. ‘I always take ten
pictures but I lose a lot. I work at one second
with the available light and I always warn
people that there can be technical faults –
but every session I’ve done so far I’ve always
got a picture from, except one and they
came back and we did it again.’
‘What’s more important, the
image or technical perfection?’
Terry has a healthy disregard for the
preciseness that comes with the digital
age. ‘I’m not terribly technically minded,’
he points out. ‘I just take an incident light
reading and as long as I can print them well,
I’m OK. Sometimes I get a negative that’s a
bit thin and there isn’t much shadow detail,
but what’s more important, the image or
technical perfection?’
The finished portraits have such an
authentic feel to them that often people ask
when the picture was taken – and this, for
Terry, is what he is aiming at. ‘I want them to
have a look of being taken not now,’ he says.
‘I want a kind of 1940s working class feel to
them – that’s the best way I can explain it.’
Terry’s long term plan for the project is to
make it a book and exhibition. He envisages
them printed as contact prints and framed in
heavy black frames. ‘I love small prints because
the viewer looks at them as though they were

reading a book. I very rarely print big.’
26/03/2013 14:39
 B&W May 2013 11

08-14 TERRY HULF ER/MB.indd 11 26/03/2013 14:40

 erry’s route into photography

T was not a traditional one. ‘I used
to drink heavily,’ he says. ‘Really
heavily. Then I bought a camera
and stopped. I’d found what I wanted to
do. Ever since I was four I knew that I
would do something interesting, I just
knew. And I found it in the end.’
That first camera was bought some 40
years ago on a trip to London Zoo. ‘It was an
Instamatic and I just wanted it to take pictures
at the zoo – but then we went on holiday and I
tried to light up the harbour with a flash cube
and I thought, that’s a bit limited,’ he says.
‘Eventually I bought a camera with knobs on.’
Teaching himself, he went on to join
a camera club but found that it didn’t suit
his approach to photography. ‘I got
terribly frustrated by the comments,’ he says.
Finally he left and set out on his own
12 May 2013 B&W
08-14 TERRY HULF ER/MB.indd 12
photographic journey. Around this time he
came across a photographic gallery in nearby
St Leonards-on-Sea which was frequented by
photographers such as Burt Hardy, George
Rodger and Martin Parr. ‘I’d never been to a
photographic show so I didn’t know that
people existed who just took photographs,’ he
says. ‘It was all new to me – I suddenly had a
whole world opening up.’ Eventually Terry
got a show of his own at the gallery – and he
knew it was a turning point for him. ‘I
thought: do I stop now, or do I carry on?’
Fortunately, he carried on.
‘I’d never been to a
photographic show so I didn’t
know that people existed who
just took photographs’
With a number of books and exhibitions
to his name, Terry continues to work in his
highly prolific and individual way. ‘I’ve never
wanted to do commercial work and I’m not
particularly bothered about selling prints,’
he says. He survives by earning a little from
picture framing and is grateful to his wife,
Sharon, for her support. ‘I’m really quite
lucky,’ he says.
As I leave their quiet house by the sea,
that feels crammed with the creativity
that surrounds Terry and his wife
(Sharon is a jewellery designer and
maker), I have the feeling that he has
built his own world, secluded and singular,
it exists un-tethered to modern life, but
not disregarding of it. It’s a place where
he thrives and where nothing is left
undone. ‘I never give up,’ he tells me.
And I can believe it.
26/03/2013 14:40
 B&W May 2013 13

08-14 TERRY HULF ER/MB.indd 13 26/03/2013 14:41

 

14 May 2013 B&W

08-14 TERRY HULF ER/MB.indd 14 26/03/2013 14:41

015_BW_150.indd 15 22/3/13 16:01:03

IN THE
FRAME
Edited by
Jemima Greaves
If you would like an exhibition
to be included in our listings,
please email at least 10 weeks
in advance; Elizabeth Roberts at
lizr@thegmcgroup.com for UK
exhibitions or Jemima Greaves
at jemimag@thegmcgroup.com
for international listings.
INDEX TO
EXHIBITION
PAGES
18-19
Exhibition of the month
20-21
American Connection
LONDON
BARBICAN
To 28 July
Geoffrey Farmer:
The Surgeon and the Photographer
Farmer’s work in completed
form for the first time
The Curve, Barbican Centre, London;
084 5120 7550; barbican.org.uk
BRANCOLINI GRIMALDI
To 4 May
Joachim Brohm: Places & Edges
First ever solo exhibition by the
German photographer, featuring work
spanning his 30-year career
43-44 Albemarle Street, London W1S;
020 7493 5721; brancolinigrimaldi.com
CHRIS BEETLES
FINE PHOTOGRAPHS
To 4 May
Norman Parkinson:
A Centenary Celebration
Rare vintage prints taken directly from
the archive plus classic images
3-5 Swallow Street, London W1B;
020 7434 4319;
chrisbeetlesfinephotographs.com
GALLERY@OXO
23 May to 9 June
Everest 1953
Sixtieth anniversary exhibition of
photographs from the 1953 Mount
Everest expedition, chosen from
over 2,000 images held in the Royal
Geographical Society collection
16 May 2013 B&W
16-17 In the frame MB/ER.indd 16
Bargehouse Street, South Bank, London
SE1; 020 7021 1600; coinstreet.org
GREENWICH GALLERY
AT LINEAR HOUSE
To 23 April
Oddities
Images by Dave Mason
and Nigel Tradwell
Peyton Place, Greenwich, London SE10;
thegreenwichgallery.com
LITTLE BLACK GALLERY
To 27 April
The Silence of Dogs in Cars
Martin Usborne is inspired by the
curious relationship between
humans and other animals
30 April to 1 June
Flowers by Hiroyuki Arakwa
and Lisa Creagh
Two different photographic
approaches to flowers
13A Park Walk, London SW10;
020 7349 9332; thelittleblackgallery.com
MICHAEL HOPPEN GALLERY
27 and 28 April
Splinter 2013
Six private photography dealers present
a wide range of 19th, 20th and 21st
century photography.
3 Jubilee Place, London SW3; 020 7352
3649; michaelhoppengallery.com
Sebastião Salgado:
Genesis
To 8 September
MUSEUM OF LONDON
To 16 June
Highways:
Photographs by John Davies
British landscape photographer
captures London’s thoroughfares
before congestion charges
150 London Wall, London EC2Y;
020 7001 9844;
museumoflondon.org.uk
NATIONAL PORTRAIT
GALLERY
To 21 April
Neil Libbert: Photojournalist
Great work by this dedicated
photographer
To 27 May
Man Ray Portraits
Work by this versatile and
experimental artist in an exhibition
that brings together portraits of
cultural figures and friends from
Lee Miller to Pablo Picasso
St Martin’s Place, London WC2H;
020 7306 0055; npg.org.uk
NATIONAL MARITIME
MUSEUM
To 28 April
Ansel Adams: Photography from
the Mountains to the Sea
Over 100 original prints, many
never before seen in the UK
Brazil. May 2009 © Sebastião Salgado, courtesy the National History Museum
World premiere of Salgado’s spectacular new work
NATURAL HISTORY MUSEUM
Cromwell Road, London SW7; 020 7942 5000; nhm.ac.uk
Park Row, Greenwich, London SE10;
020 8858 4422;
rmg.co.uk
PHOTOFUSION
To 26 April
Isabelle Pateer:
Unsettled (2007-2012)
Examining the effects of economic
change on the small Belgian village
of Doel and the surrounding area
17a Electric Lane, London SW9;
020 7738 5774; photofusion.org
PHOTOGRAPHERS’ GALLERY
19 April to 21 July
Claire Aho: Studio Works
Focusing on the 1950-70 studio
works of the pioneering Finnish
colour photographer
16-18 Ramillies Street, London W1F;
020 7087 9300;
thephotographersgallery.org.uk
PROUD CHELSEA
To 28 April
Dorothy Bohm: Sixties London
Co-curated by Bohm’s daughter, in
consultation with Dorothy herself, the
exhibition reveals Bohm’s personal
vision of London during the 60s through
her extensive series of b&w images
161 King’s Road, London SW3;
020 7349 0822; proud.co.uk
26/03/2013 14:42

White Monks:
A Life in Shadows
6 to 24 May
© Francesca Phillips
Eerie and intriguing images by
Francesca Phillips offer a rare
glimpse into an intriguing way
of life and a testament to lives
devoted to spiritual service
WOLFSON COLLEGE
Linton Road, Oxford;
francescaphillips.com
ROYAL GEOGRAPHICAL
SOCIETY
To 3 May
CIWEM’s Environmental
Photographer of the Year
Showcase of winning images from
the international competition
1 Kensington Gore, London SW7;
020 7591 3000; epoty.org
SOMERSET HOUSE
To 28 April
Landmark:
The Fields of Photography
Sweeping overview of 21st century
landscape photography
Strand, London WC2R; 020 7845 4600;
somersethouse.org.uk
TATE MODERN
To 24 June
Project Space: Ruins in Reverse
Group exhibition considering the
relationship between monuments and
discarded urban ruins. Photographic
contributions come from Rä di
Martino’s No More Stars series and
Pablo Hare’s Monuments series
Tate Modern, Level 1; 020 7887 8888;
tate.org.uk
WHITECHAPEL GALLERY
16 April to 14 June
Karl Blossfeldt
Major exhibition of the pioneering
German photographer’s historic
16-17 In the frame MB/ER.indd 17
International exhibitions are now available on the app version of Black+White Photography.
If you would like an international exhibition included email Jemima Greaves at jemimag@thegmcgroup.com
images and publications including over
80 original prints from the 35 years he
dedicated to exclusively photographing
botanical subject matter
77-82 Whitechapel High Street, London E1;
020 7522 7888; whitechapelgallery.org
EAST
BEYOND THE IMAGE
PHOTOGRAPHERS’ GALLERY
To 28 April
Topsy Turvy
Six photographers present work
inspired by the exhibition’s title
13 Red House Yard, Thornham
Magna, Eye, Suffolk; 01508 480477;
beyondtheimage.co.uk
MIDLANDS
LIGHT HOUSE
To 8 June
Love Me
Zed Nelson considers the cultural and
commercial forces that drive a global
obsession with youth and beauty
The Chubb Buildings, Fryer Street,
Wolverhampton; 01902 716055;
light-house.co.uk
NORTH
NATIONAL MEDIA MUSEUM
To 16 June
Tom Wood: Photographs 1973-2013
First ever UK retrospective for Tom
Wood, featuring 116 images
Bradford, West Yorkshire; 08448 563797;
nationalmediamuseum.org.uk
OPEN EYE GALLERY
To 5 May
Mishka Henner:
Precious Commodities
Appropriated images call into question
traditional modes of production and
authorship, including her controversial
new work Less Américains
To 5 May
Edith Tudor-Hart: Quiet Radicalism
Images taken from the gallery’s
holdings of Tudor-Hart’s images in
its permanent archive focus on key
periods in her practice
19 Mann Island, Liverpool;
01512 366768; openeye.org.uk
WHITE CLOTH GALLERY
To 30 April
Interrogations: Donald Weber
UK premiere of the acclaimed
Canadian photojournalist’s portraits of
suspects taken in an unnamed police
interrogation room in the Ukraine
over a period of four months
To 30 April
Cardiff After Dark: Maciej Dakowicz
After five years photographing the
nocturnal activities in Cardiff city
centre, the British-based Polish
photographer offers an important
reflection on urban life and culture
2 May to 4 June
The Duffy Collection
Unique collection of images from
late British photographer Brian
Duffy. Taken over the course of five
photographic sessions with David
Bowie and spanning from Ziggy
Stardust (1972) to Lodger (1979), the
images document the artist’s special
relationship with Bowie and mark the
40th anniversary of one of Duffy’s
most iconic images, the famous
Aladdin Sane album cover
26 Aire Street, Leeds; 01132 181923;
whiteclothgallery.com
SOUTH
DEPARTURE LOUNGE
To 27 April
From the Shoebox:
Your Photographs of Luton
East End Faces
To 26 May
East End 1961 © David Bailey
British photographer David
Bailey returns to the borough
of his birth to exhibit intimate
photographs of the East End
WILLIAM MORRIS
GALLERY
Forest Road, London E17; 020
8496 4390; wmgallery.org.uk
and the South East 1945-2013
Locals’ photographs of their
surrounding area
61 George Street, Luton;
departure-lounge.org.uk
FIRSTSITE
To 12 May
Humphrey Spender:
London Photographs
Work documenting street, pub and
family life among the working class
communities of Stepney, Whitechapel
and Lambeth in London in the mid
to late 1930s
High Street, Colchester, Essex;
01206 577067; firstsite.uk.net
SPACE @ CREATE
To 26 April
Ewen Spencer
Work from the social documentary
photographer known for his images
of youth and street subculture
Unit D & E Level 2 South, New England
House, New England Street, Brighton;
01273 601965; spaceatcreate.com
WEST
ROYAL ALBERT MEMORIAL MUSEUM
To 23 June
The Tannery
Thirty b&w photos by Paul Glendell
capture life and work in the only
tannery still to use oak bark in the UK
Queen Street, Exeter, Devon;
01392 265858;
rammuseum.org.uk
TATE ST IVES
To 6 May
Peter Fraser
Featuring work from 30 years of Fraser’s
career and reflecting his interest in
found objects, journeys and narrative
Porthmeor Beach, Cornwall;
01736 796226; tate.org.uk
SCOTLAND
SCOTTISH NATIONAL
PORTRAIT GALLERY
To 26 May
Edith Tudor-Hart:
In the Shadow of Tyranny
Remarkable black & white imagery
that reflects the politically charged
atmosphere of interwar Vienna
and Britain
22 June to 8 September
Man Ray Portraits
The first major retrospective of the
highly influential artist’s portraits
1 Queen Street, Edinburgh;
01316 246200;
nationalgalleries.org
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OUTSIDE THE FRAME
If you would like an exhibition to be included in our international listings, please email Jemima Greaves at jemimag@thegmcgroup.com.
Entries should be submitted at least 10 weeks in advance.
AMERICA
ANNENBERG SPACE
FOR PHOTOGRAPHY
To 2 June
War/Photography: Images of Armed
Conflict and its Aftermath
Over 500 images from 1887 to the
present day from award-winning portrait
photographers and photojournalists,
military photographers and artists
2000 Avenue of the Stars,
Los Angeles, CA 90067; 213 403 3000;
annenbergspaceforphotography.org
DOUGHERTY ARTS CENTER
16 to 31 May
The Homecoming Project
Exhibiting photography and journalism
to stimulate dialogue on issues of war/
combat trauma affecting US military
service members
1110 Barton Springs Rd, Austin, TX
78704; 512 974 4000; austintexas.gov
HASTED KRAEUTLER
To 27 April
Erwin Olaf: Berlin
New work by Olaf, set in the German
capital and composed of scenes,
portraits and self-portraits
537 West 34th Street, New York, NY
10011; 212 627 0006; hastedkraeutler.com
RANGEFINDER GALLERY
19 April to 31 May
The Art of Living:
Paris in Black and White
Ongoing body of work by Bob Soltys
portraying the Parisian joie de vivre
Tamarkin Camera, 300 West Superior,
Suite 202, Chicago, IL 60654; 312 642
2255; rangefindergallery.com
WALTHER COLLECTION
PROJECT SPACE
To 18 May
Distance and Desire: Encounters
with the African Archive – Part III:
Poetics and Politics
The third and last exhibition in the
Distance and Desire series features
a range of previously unseen vintage
portraits, cartes de visite, postcards
and album pages from Southern and
Eastern Africa, produced from the
1870s to the early 20th century
526 West 26th Street, Suite 718,
NY 10001; 212 352 0683;
walthercollection.com
18 May 2013 B&W
AUSTRALIA
AUSTRALIAN CENTRE
FOR PHOTOGRAPHY
To 19 May
The Spiral of Time: John Conomos
Conomos presents a series of
autobiographical photo-performances
concerned with autobiography, identity,
memory and the passage of time
To 19 May
Sirkka-Liisa Konttinen,
Girl on a Spacehopper 1971.
Courtesy L. Parker Stephenson Photographs
AMERICA
SIRKKA-LIISA KONTTINEN: BYKER
To 11 May
The Finnish photographer documents the social fabric
of a working class community before urban redevelopment
L. PARKER STEPHENSON PHOTOGRAPHS
764 Madison Avenue, Suite 4F, New York, NY 10065; lparkerstephenson.com
Felicia: South Australia 1973-1978
Series of b&w gelatin-silver prints of
Adelaide and its surrounds by Ian North
257 Oxford Street, Paddington, NSW
2021; 61 2 9332 055; acp.org.au
BELGIUM
FOTOMUSEUM OF ANTWERP
To 9 June
Power! Photos! Freedom!
Focusing on the power of photography
during recent events in the Arab world.
Extensive archives documenting
Gaddafi are complemented by images
on Syria, Egypt and Tunisia
To 9 June
Charles Fréger – Wilder Man
Revealing a forgotten slice of
European culture through Fréger’s
images of traditional groups in
remote, unspoilt locations
To 9 June
Camera Exotica
Selection of photographs from FoMu’s
own collection, going from the
beginning of the medium to the 1960s
and considering the role photography
played in the western European
perception of exotic worlds
Waaksekaai 47-2000, Antwerp;
32 3 242 93 10; fotomuseum.be
FRANCE
CHÂTEAU DE TOURS
To 26 May
Lartigue, Wide-Eyed Wonder
(1894-1986)
More than 100 large format b&w
photographs that helped make Lartigue
famous. Chosen from the 135 large
albums that he designed and captioned,
complete with quotes taken from his
diary and a selection of documents
25 avenue André Malraux, 37000 Tours;
02 47 70 88 46; jeudepaume.org
FONDATION HCB
To 28 April
Collection
Exposing the remarkable private
collection of Howard Greenberg
2 impasse Lebouis; 75014 Paris;
01 56 80 27 00; henricartierbresson.org
GALERIE CAMERA OBSCURA
To 11 May
Homage to four photographers of
the century: Shoji Ueda, Lucien
Hervé, Harry Callahan, Willy Ronis
Twenty years on from the gallery’s first
exhibition in June 1993, they pay
tribute to four notable photographers
that have exhibited at the gallery
268 boulevard Raspail, 75014 Paris;
33 1 45 45 67 08; galeriecameraobscura.fr
JEU DE PAUME
To 12 May
Adrian Paci: Lives in Transit

Gathering together diverse works
made by Albanian artist Paci since
1997 including videos, installations,
paintings, photographs and
sculptures, to show the many
connections between different
media and means of expression
1 place de la concorde, 75008 Paris;
+33 (0) 147 031 250; jeudepaume.org
MAISON EUROPEENNE
DE LA PHOTOGRAPHIE
17 April to 16 May
Claude Lévêque:
A Moment of Dreams
The French photographer and painter
takes us on a journey into the world
of an artist
17 April to 16 May
Philippe Favier: N & IR
Approximately 150 medium
format works by the artist
17 April to 16 May
André Morain:
Photographs 1961-2012
A photographic chronicle covering more
than 40 years of artistic life in Paris
17 April to 16 May
Images and Music: A Collection of
South Acts: Photographs by Michael
Ackerman, Pascal Duspain
and Alain Fleischer
A musical and photographic
album from the 30 years of music
and photography at the heart of
publications from Editions Actes Sud
17 April to 16 May
Stephane Hette: Art of Butterfly
AUSTRALIA
FELICIA: SOUTH AUSTRALIA 1973-1978
To 19 May
Series of b&w gelatin-silver prints of Adelaide and its
surrounds by Ian North
AUSTRALIAN CENTRE FOR PHOTOGRAPHY
257 Oxford Street, Paddington, NSW 2021; 61 2 9332 055; acp.org.au
Recording instantaneous moments
suspended in a void of whiteness
5/7 rue de Fourcy, 75004 Paris;
33 1 44 78 75 00; mep-fr.org
VILLA NOAILLES
26 to 29 April (exhibitions until 26 May)
28th International Festival of
Fashion & Photography
Fostering and supporting young
artists in the fields of fashion and
photography through its competitions,
the festival will this year feature the
work of 10 shortlisted photographers
in a collective exhibition
Montée Noailles, 83400 Hyères; 33 4 98
08 01 98; villanoailles-hyeres.com
GERMANY
BLAIN SOUTHERN
To 28 April
Douglas Gordon:
Sharpening Fantasy, 2012
New video works during the 63rd Film
Berlinale, blurring the boundaries
between the different sensory
perceptions, between fairytale
and reality
Potsdamer Strasse 77-87, 10785
Berlin; blainsouthern.com
CAMERA WORK
To 1 June
Michel Comte
More than 100 photographs from
the significant fashion and
society photographer
Image © Ian North. Felicia 6
(Wallaroo, Yorke Peninsula), 1974.
Courtesy the artist
Henri Cartier-Bresson, Martine Franck, exposition “en France”, Paris, Grand Palais, 1970 © André Morain
FRANCE
ANDRÉ MORAIN:
PHOTOGRAPHS 1961-2012
17 April to 16 May
A photographic chronicle covering more than
40 years of artistic life in Paris
MAISON EUROPÉENNE DE LA PHOTOGRAFIE
5/7 rue de Fourcy, 75004 Paris; 33 1 44 78 75 00; mep-fr.org
Kantstrasse 149, 10623 Berlin;
camerawork.de GUERNSEY
GUERNSEY MUSEUM
CWC GALLERY & ART GALLERY
To 11 May To 12 May
Jean-Baptiste Huynh: Remanence Martin Parr: Liberation
Large format silver-gelatin prints of New series of images recording
individual artworks from different eras, Guernsey’s Liberation Celebrations
art forms and sections of the Louvre by Parr and commissioned specially by
Auguststrasse 11-13, 10117 Berlin; the Guernsey Photography Festival
camerawork.de Candie Gardens, St Peter Port, GY1 1UG;
01481 726518; museum.guernsey.net /
GALERIE HILANEH VON KORIES guernseyphotographyfestival.com
To 24 April
Highlights:
30 Years of Photoselection HOLLAND
Images of A-list musicians, models, HUIS MARSEILLE
athletes, comedians, artists, writers To 22 June
and actors celebrate the 30th Power/Prix Pictet
anniversary of Hilaneh von Kories Images from the annual
agency, Photoselection – a showcase photographic competition
for the art of the contemporary portrait Keizersgracht 401, 1016 EK Amsterdam;
Stresemannstraße 348a, 22761 020 531 8989; huismarseille.nl
Hamburg; 49 40 423 20 10;
galeriehilanevonkories.de
JAPAN
GALERIE PRISKA PASQUER TAKA ISHII GALLERY
To 14 May PHOTOGRAPHY / FILM
Experiment – Life – Politics To 11 May
Featuring images from the interwar Toshiya Murakoshi:
years, 1919 to 1939 by the likes of Turn back the hands of time
T. Lux Feininger, Grit Kallin-Fischer, Solo show comprising 15 b&w images
Alexander Rodchenko, Gustav Klutsis shot in Murakoshi’s hometown,
and Valentina Kulagina Sukagawa city, between spring
Albertusstr 9-11, 50667 Cologne; and early summer 2009
49 221 9526313; priskapasquer.de takaishiigallery.com B+W
B&W May 2013 19
 the world’s imagination, a moment
ONE crystallised in Edmund Hillary’s
famous shot of Tenzing Norgay
EXHIBITION standing on the mountain’s summit
waving his ice axe, which would
NOT TO MISS become one of the most iconic
photographs ever taken.
The Royal Geographical Society
(with IBG) and Ammonite Press are
bringing us the fascinating Everest
1953 from 23 May to 9 June at
London’s gallery@oxo, to celebrate
the 60th anniversary of the
EVEREST 1953 expedition to our planet’s highest
peak. This major photographic
An exhibition which exhibition and fine art sale will
celebrates the feature over 40 limited edition on Everest by team members such of the ice-axe in the firm snow, we
photographic prints, chosen from as John Hunt, Edmund Hillary, stood on top.’ He extended his hand
beauty of adventure the 2,500 images taken during this Alfred Gregory, George Lowe to Tenzing who simply flung his
epic feat. The exhibition is produced and George Band. arms around Hillary’s shoulders
and camaraderie alongside the Society’s first Of this defining expedition, and thumped his back. The news
n the 29 May 1953, photographic book on the subject for Edmund Hillary said: ‘To my of what these men had achieved on

O Edmund Hillary and

Tenzing Norgay stood
on Mount Everest’s
a decade, which will also be launched
at the exhibition. The photographic
prints on sale explore some of the
summit in the dramatic culmination most historic moments of the team’s
of 32 years of British, Canadian, New journey up the mountain, providing
Zealand and Nepalese partnership. a rare opportunity to own some of
It was an achievement that captured the most dramatic images ever shot
surprise, I was enjoying the climb
as much as I had ever enjoyed a fine
ridge in my own New Zealand Alps.’
Breathing oxygen at three litres a
minute, the climbers pushed on over
an isolated peak in the Himalayas
would resonate across the globe.
Each of the exhibited prints
has been created from original
photography unique to the Royal
two or three false summits. Hillary Geographical Society (with
recalled, ‘With a few more whacks IBG) and held in the Society’s

All pictures © The Royal Geographical Society with IBG

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 temperature and humidity
controlled archive. Stunning black
& white images, which have been
beautifully hand printed from the
original negative as silver gelatine
prints, will each be available as
part of a limited edition of 10. this groundbreaking expedition photographs, maps and archive items strong. The collections
The prints will be embossed with have been specially selected and material from the nine British provide an unparalleled resource
the Society’s royal crest, dated, re-scanned to provide the most up Mount Everest Exhibitions. This tracing 500 years of geographical
and numbered, complete with to date image capture possible, and is a small part of a collection at the discovery and research. Generously
a certificate of authenticity. The printed as never before. Royal Geographical Society (with supported by the Heritage Lottery
most iconic colour images from The Society holds over 20,000 IBG) which is around two million Fund and others.

EVEREST 1953
runs at the gallery@oxo, Oxo
Tower Wharf, Barge House Street,
London SE1 9PH, from 23 May to
9 June. rgs.org

Everest is published in hardback

in May 2013 by Ammonite Press.
Price £40. To order a copy
visit ammonitepress.com
ISBN 978-1-78145-044-4
The RGS’s publication on the
expedition contains over 400
unique photographs, hand-picked
by the RGS with IBG. Along with
the photographs are descriptive
captions that transport the reader
from base camp to the snow clad
slopes and ridges of Mount
Everest, and to the peak itself. B+W

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 N
ot many photographers
AMERICAN can balance lives
between the commercial
CONNECTION and fine art realms and
succeed simultaneously. But Jamey
Stillings is one of the rare few that
has not only achieved but sustained
notable success in both worlds.
For most of Stillings’ career he
susanburnstine.com rarely shared personal projects
with the fine art world. But his life
took a dramatic turn in 2009 when
Susan Burnstine talks he released his project The Bridge
to Jamey Stillings at Hoover Dam. The multi award
winning project received vast
about his artistic and international exposure and
environmental interests resulted in his first monograph,
20 May 2013 B&W
20-21 USA CONNECT MB/ER.indd 20
published by Nazraeli Press in 2011.
Stillings’ current project,
The Evolution of Ivanpah Solar,
became a natural progression
that developed from his previous
project. He explains, ‘In seeking a
new project, I wished to integrate
my environmental and aesthetic
interests. Large-scale renewable
energy projects piqued my interest
because they combine infrastructure
development with challenging
environmental decisions. Visually,
the development of these projects is
akin to making land art on a grand
scale. From the air, they often hold
intrigue similar to ancient projects
like the Nazca Lines in Peru.’
Stillings elected to photograph
the Ivanpah Solar Electric
Generating System in 2010 before
construction commenced on what
will become the world’s largest
concentrated solar thermal plant
with its completion in late 2013.
He explains, ‘Ivanpah Solar is
being built on 3,500 acres (14 square
kilometres) along the gradual
alluvial slope of a dry lake basin. The
area retains much of its natural feel
and character with desert vegetation
and wildlife, while human impact
has a long history. Interstate
Highway 15 runs through the basin
26/03/2013 14:48

from Las Vegas toward Los Angeles.’
He adds, ‘When complete, the
three towers and 340,000 mirrors
of Ivanpah Solar will create 392
megawatts of electricity, enough to
power 140,000 U.S homes.’
There are a number of challenges
that have faced this remarkable $2.2
billion project. Perhaps the biggest
has been that the site is within
the natural habitat of the desert
tortoise, which is a threatened
species under US law. So far,
more than $56m has been allocated
to protect and relocate a few
hundred tortoises.
Most of the work for this series
was shot with a Canon 5D MkII
and MkIII bodies and a series of
Zeiss lenses from 18 to 100mm.
Since the release of the 36Mp
Nikon D800E, he has started to use
that system in combination with
Zeiss lenses. Additionally, he uses a
20-21 USA CONNECT MB/ER.indd 21
All pictures © Jamey Stillings
EXHIBITIONS
USA
AKRON
Santa Barbara
Museum of Art
Danny Lyon:
This World Is Not
My Home
Until 2 June
sbma.net
BOSTON
Museum of Fine Arts
Bruce Davidson:
East 100th Street
Kenyon KS-6 gyrostabilizer as all of Initially, all the images were shot Until 8 September
the aerial work has been shot from in Raw. It took 15 months before mfa.org
small helicopters. he decided to print the images
As aerial photography poses in black & white. He recalls, ‘As I NEW ORLEANS
endless technical challenges, began to interpret these images in Ogden Museum of
Stillings typically shoots at first print form, the monochrome option Southern Arts
or last light, since oblique light emerged for its compelling simplicity Deborah Luster:
reveals texture and nuance that and drama. Tooth for an Eye
is otherwise lost. He says, ‘At Stillings will complete his Until 7 April
the start, I must compromise current series when Ivanpah Solar ogdenmuseum.org
on lens aperture, shutter speed is finished at the end of 2013, but
and high ISO settings to begin he has a long-term plan to broaden NEW YORK CITY
photographing. As the sun comes his visual exploration of renewable Metropolitan Museum
up, I move as rapidly as possible to energy development in the US of Art
prime aperture settings of f/5.6 or with an eventual goal of making William Eggleston:
f/8, shutter speeds of at least 1/1000 this an international project within At War with the Obvious
second and ISO ratings below 1000.’ the next few years. Until 27 May
He adds, ‘I strive to reveal the When considering the driving metmuseum.org
ongoing interaction between the forces behind his work, Stillings
project’s geometric construction says, ‘My environmental concerns PALM BEACH
and the adjacent organic landscape, work symbiotically with my creative Norton Museum of Art
building a body of photographs that interests, which is what gives this Annie Leibovitz
play both in the realm of the abstract body of work special energy.’ Until 9 June
norton.org
and the grand desert landscape.’ jameystillings.com
B+W
B&W May 2013 21
19/03/2013 16:58
 YOUR
BLACK+WHITE
READERS’ PICTURES
This is your chance to see your photographs on the pages of
Black+White Photography – and win a superb prize of your
choice worth £50-£100 from The Imaging Warehouse.
Turn to page 96 for full details of how to enter
LIZ DALZIEL
£100 LIZ’S KIT
Nikon D3X
50mm f/1.4 lens

‘In September 2011 I visited the Indian

state of Rajastan and took these portraits
in the small town of Pushkar’

22 May 2013 B&W

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 All pictures © Liz Dalziel

B&W May 2013 23

22-26 READERS PICTURES 150 ER/MB.indd 23 26/03/2013 14:53

 All pictures © David Davies

£50 ‘Paddy’s Shed. My father-in-law is one of those people

who can turn his hand to making and fixing anything.
DAVID DAVIES
His workshop in Ireland reflects this with a collection of
mysterious old machine parts and tools worn smooth with
DAVID’S KIT
Canon EOS 5D Mk II decades of use. I set out to capture the spirit of the location
Canon EF 100mm f/2.8
Macro USM lens before he decides (however unlikely) to have a tidy up!’
24 May 2013 B&W

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 B&W May 2013 25

22-26 READERS PICTURES 150 ER/MB.indd 25 26/03/2013 14:53

 © George Johnson

GEORGE JOHNSON ‘I shoot almost exclusively landscapes – I love

£50 GEORGE’S KIT
Canon 5D Mark II
the freedom to be up and about at times
24-70mm f/2.8L USM lens when all sensible people are in bed.’

TAKE PART
For full details on how to submit your pictures to this or other features turn to page 87

THE IMAGING WAREHOUSE

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Visit our showroom at
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Tel: 01789 739200 www.novadigital.co.uk

26 May 2013 B&W

22-26 READERS PICTURES 150 ER/MB.indd 26 26/03/2013 14:53

 THE LAB FOR PHOTOGRAPHERS
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027_BW_150.indd 27 25/3/13 09:59:07

 INTERVIEW
THE THEATRE
COMPANY
Mike Tattersall opens the door to the operating theatre in a collection
All pictures © Mike Tattersall
of portraits that capture the essence of a team. Simon Frost reports

‘Every member of the team is so important. We all have to work together

and without any one person the whole team suffers’
28 May 2013 B&W

28-32 MIKE TATTERSALL ER/MB.indd 28 26/03/2013 15:00

 hey say about writing that you
T
should write what you know.
Likewise, in any art form, the stuff
of day to day life often produces
the most authentic results.
This collection of portraits,
The Theatre Company, was captured at
work by anaesthetist Mike Tattersall,
a member of the team at Swindon’s Great
Western Hospital, and it was the sense of
a team that was fundamental to the project.
‘It started off as a kind of sounding
shot for portraits before I had any real
28-32 MIKE TATTERSALL ER/MB.indd 29
idea of what it would become. Gradually
it developed into this concept of the team
dynamic,’ he tells me.
Mike’s aim was to capture his highly
trained and skilled colleagues without
suggesting any greater importance of
one over another. ‘I didn’t want to convey
any kind of hierarchical structure. Every
member of the team is so important. We all
have to work together and without any one
person the whole team suffers.’
It is for this reason that the photographs
are anonymous. ‘There may be some visual
clues, but I didn’t want the photographs
to shout ‘‘I am the surgeon!’’ My key aim,
instead, was to reveal something of the feel
of the theatre team, their interdependence
and their working relationships.’
he series was submitted in the first
T year of Mike’s MA in photography
at De Montfort University in 2011,
which he undertook after cutting
his work down to part-time in the twilight
of his medical career before retirement.
However, photography has been a lifelong 
B&W May 2013 29
26/03/2013 15:00
 ‘With the waist height of a twin-lens reflex camera you can continue to engage
with the subject while the camera sits quietly below you’

 passion for Mike, you could say it runs in

the blood. ‘My Dad enjoyed photography
and he had a darkroom in the coal cellar.
He taught me how to develop film and print
and so forth. I carried the interest on and
developed it from there.’
And while photography had to be Mike’s
secondary pursuit, it remained a hobby
and interest throughout his studies and
career. Through the years he has amassed
a collection of around 460 photograph
albums. Portraiture has not been his
overriding medium, however. ‘I’m generally
more of a landscapist, I suppose, and I love
the work of people like Stephen Shore and
Mark Power. I’m afraid you wouldn’t want
my second year project in B+W, that was all
in colour – much more Stephen Shore-y!
For this series, though, I would have to say
my main influences were August Sander
and Diane Arbus.’
The Theatre Company was captured on a
1965 Minolta Autocord – a twin-lens reflex.
‘I wanted to use that camera for the project
because of the different viewing perspective
you get from looking down on the camera,
rather than through it. I think it can be quite
intimidating for your subject if you have
a camera between you, but with the waist
height of a twin-lens reflex camera you can
continue to engage with the subject while
the camera sits quietly below you.’

30 May 2013 B&W

28-32 MIKE TATTERSALL ER/MB.indd 30 26/03/2013 15:00

 It seems the natural quality of the photos
also owes something to the established
relationship between Mike and his co-
workers. Making your subject comfortable
is a common difficulty in portraiture, and
the sense of familiarity found in these
photographs would be hard to fake. The
perspective doesn’t seem to be one of looking
in on a team, but rather of being a part of it.
The square format of the photographs –
like those of Diane Arbus – complements
this waist height viewpoint to help the
subject dominate the composition. It also
28-32 MIKE TATTERSALL ER/MB.indd 31
permits the inclusion of details of the
operating theatre as the backdrop, which
serves to contextualise the series. Mike
chose monochrome printing to emphasise
the uniformity and interdependence of the
team, and in a practical sense to remove
jarring colour from the complex detail of
the backgrounds.
hen the shooting was
W complete, Mike scanned the
negatives and developed the
photographs digitally. ‘The
camera hadn’t been used for many years, it
belonged to my father-in-law and we found
it in his attic after he passed away. The film
rollers were rather stiff, so I ended up with
an awful lot of scratches and marks on the
negatives which required hours and hours
of work on the digital side.’
Being predominantly a landscape
photographer, Mike is evidently highly
skilled in digital media, which shows in the
resulting photographs. You would never
guess they had once had a single scratch.
‘I generally take more digital photographs 
B&W May 2013 31
26/03/2013 15:00
  than film now,’ he says, ‘and a lot of what
I shoot is in colour, probably about 60%.
I always enjoy getting a film camera out
and taking the old film pictures, though,
and I still use a darkroom, though that’s
exclusively for black & white photographs.’
Throughout his busy professional life,
Mike was able to attend the odd short course
and seminar in photography, but was mostly
self-taught. ‘In the last few years I was
32 May 2013 B&W
28-32 MIKE TATTERSALL ER/MB.indd 32
beginning to wonder what I was doing with
photography and where it was going. In fact,
it was an article in B+W that made me think
about doing something with it academically.’
He adds, ‘I really enjoyed the MA, but I
certainly wouldn’t have done without the extra
time and space which going part-time gave
me. I needed that to really let the work sink in,
do the research and develop my ideas. It was a
great experience going back to being a student
and in something other than medicine.’
One of the best things about the MA, he
says, was that it simply gave him the excuse
to go out by himself with the camera and
take pictures. ‘It was very helpful to get that
discipline to just go off on my own and say,
“Right, I’m off to take pictures.” Because I
think it’s a lonely sport, photography, isn’t
it? It’s no good doing it with other people
around, unless they’re part of the act.’ B+W
26/03/2013 15:00
GoW BW 21 03 13 ad indd 1 21/01/13 17:49:48
033_BW_150.indd 33 21/3/13 09:58:17
 READER
WORKSHOP
INTO THE DARKROOM
We sent out a call to readers who had never used film or hadn’t
stepped foot in a darkroom in years to abandon their sophisticated
cameras and join us where it all began. Six brave volunteers signed
up for an experiment that just might change their lives…
enerally speaking, we at

G
Black+White are rather
impressed by the kit our
readers turn up with when
we run workshops, so it was
rather odd to say to them, ‘Don’t bring your
cameras.’ But we did it, and they complied.
We met up at Photofusion in London
who had kindly offered us the use of their
well equipped darkroom for the day.
Our workshop leader was Jon Mided,
whose knowledge of film photography is
unsurpassed – and who brought along with
him a range of the most colourful cameras
ever made, the HolgaGlo 120N – so bright
they glow in the dark.
After Jon had demonstrated the subtle art
of loading 120 film into an unwieldy piece
of plastic, our six participants – Nigel Clark,
Julie Falzon, Tony Young, Duncan George,
Simon Frost and Jemima Greaves
(hmm, that B+W Assistant Editor gets
in everywhere…) were ready to go. Jon
explained the exposure settings on the
HolgaGlo – which offers a choice of sunny
or cloudy – and the distant settings – which
go from roughly two metres to infinity. This
was going to be one hi-tech workshop.
And so the valiant six went out on to the
streets of Brixton for some indiscreet street
photography. With cameras like those, they
weren’t going to be missed.
Right on the doorstep of Photofusion are © Mark Bentley
the vibrant street markets, offering plenty of
good subject matter for photographers, but darkroom has four enlargers (plus two
our participants were given just half an hour PHOTOFUSION was originally colour ones) and two sets of paper
to shoot their films and return. founded in 1984 and moved to developing trays, allowing the participants
Jon showed them how to unload the film, its current premises in Brixton to work at different stages at the same time.
which was then taken off by Photofusion’s in 1991 and is today London’s The first contact sheets emerged from the
film processor and darkroom technician, largest independent photography darkroom into the daylight for viewing with
Simon Fernandez, for processing. This gave resource centre. It offers a Jon on hand to give advice. It was a time
us time for a demonstration by Jon on how to full education programme of of intense concentration and several hours
load film on to a canister – and he was keen to photography related courses and flew by. The aim was that each participant
point out that you can develop your own films talks, digital and film services should produce one good print – but
at home quite simply, using a black bag and as well as rental facilities and an several produced two or even three. Jon was
chemicals in a light-tight bathroom. exhibition space. delighted by the results and felt the group
With the films developed, now was the time To find out more visit had worked remarkably well. ‘They are all
everyone was waiting for – in single file they photofusion.org at a similar level of competence and they
trouped into the darkroom and waited for are experienced photographers which really
eyes to adjust to the safe-light. Here Jon ran helps,’ he commented.
here had been a lot of information

T
through the procedure of using the enlargers
and developing paper with the trays of
developer, fix, stop and wash. Then he showed
how to make a contact sheet and a test strip.
Finally, it was time to review the work.
to take in and our participants Jon explained that, with a Holga image, you
were keen to try it out for don’t get as high a level of contrast as you
themselves. The Photofusion would with an SLR, but those tones of grey

34 May 2013 B&W

34-38 PHOTOFUSION WORKSHOP ER/MB.indd 34 26/03/2013 15:08

 © Julie Falzon

are part of the Holga’s signature and charm.

With the prints dried and laid out on the
table it was impressive to see the quality of
work produced in such a short time, with
new skills, and very little technology.

‘Jon explained the exposure Poppin Pink Holga

settings on the HolgaGlo –

which offers a choice of sunny
or cloudy – and the distant
settings – which go from roughly
two metres to infinity. This was
going to be one hi-tech workshop’
JULIE FALZON
‘It was very challenging on many
levels – I could spend hours in the
darkroom. I feel I’ve really learnt
a lot and want to do more’

B&W May 2013 35

34-38 PHOTOFUSION WORKSHOP ER/MB.indd 35 26/03/2013 15:08

 TONY YOUNG
‘For me, the real challenge was
shooting with a low tech camera
in such a short period of time –
a great day’

Ultra Violet Holga

© Tony Young

DUNCAN GEORGE
‘Fabulous day – so hands-on.
It was very frustrating using the
enlarger at first but after an hour
or so I really started to learn.
Now I want to do more’

Aura Orange Holga

© Duncan George

36 May 2013 B&W

34-38 PHOTOFUSION WORKSHOP ER/MB.indd 36 26/03/2013 15:09

 SIMON FROST
‘Watching the photographs slowly
paint themselves in the developer
gave me goosebumps. The hands-
on nature of the whole process
was so satisfying,
I can’t wait to do
it again!’
Solar Yellow Holga
© Simon Frost

NIGEL CLARK
A great day. Nice to hold your
print in your hand. It’s going to be
difficult persuading my wife that
we have to have a darkroom…’

Infra Red Holga

© Nigel Clark

B&W May 2013 37

34-38 PHOTOFUSION WORKSHOP ER/MB.indd 37 26/03/2013 15:09

 

JEMIMA GREAVES
‘Having just 30mins to shoot the
roll was a real challenge and a
blessing in disguise; when you’re
frantically running around the
streets of London you don’t have
much time to obsess and are
instead forced to shoot on gut
feeling - scary stuff’

THANK YOU
…to the Imaging Warehouse for the
loan of the colourful HolgaGlo cameras
Neon Green Holga – we hope you like the results. B+W

38 May 2013 B&W

34-38 PHOTOFUSION WORKSHOP ER/MB.indd 38 26/03/2013 15:10

 B&WFeb2013
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039_BW_150.indd 39 21/3/13 11:12:58

 TECHNIQUE
All pictures © Jemima Greaves
have been truly mortified
I
only three times in my
life. Once, when aged
six my dad sent me to
school without underwear.
Then at 17 there was an
unspeakable event in
a nightclub, which others
gleefully recount and I would
like to consign to the deepest
darkest realms of memory
(mine and theirs). The third
character-building trauma
took place just a few months
ago and was brought on by
the publication of the first
article in this series.
I was horrified to see my
substandard images next
to the stunning work of our
contributors and quickly
40 May 2013 B&W
40-43 THE F-STOPS HERE ER/MB.indd 40
THE F-STOPS HERE
Seeing is something most of us take for granted, appreciating life’s
wonderful idiosyncrasies subconsciously. But what happens when we
have to ‘see’ differently? How do we translate the feel of a particular
moment, place or person into an image that can be appreciated by
many? Jemima Greaves had no idea, but she was about to find out…
This dapper looking gentleman was blissfully unaware of the city noise surrounding him, completely absorbed
by his writing. His serene state juxtaposed against the motorbikes on either side of him and the repeated
diagonal lines of bench, curb, pavement and road give balance and cohesion without taking away from the
moment of personal tranquillity I’d stumbled upon.
spiralled into an impressively catalyst for a crucial step on about my images that I was so
bleak and self-centred ‘woe my road to competency. dissatisfied with and several
is me’ mindset. Fortunately, Disappointed with my cups of tea later I came to a
this sort of attitude doesn’t efforts in the cold hard light crucial realisation. My images
sit well with me or the B+W of print, I sat down with are fine, for a beginner. What
team, and what I thought was Jerry Lebens, who has been had been bothering me so
a fatal blow to my pretentions patiently working with me on much was their incoherence
of photographic grandeur my photography. Together and timidity. In short, the
actually turned out to be the we pinpointed what it was almost total absence of well
thought through composition.
With that in mind, the
‘I was overjoyed to discover that maths and rules objective of this article was
needn’t forever taint my new love and despite glaringly obviously: work out
why some shots work and
a few ideas quickly falling by the wayside some others don’t, then apply this
staple compositional tools have taken root’ new found knowledge.
26/03/2013 15:29
 TECHNIQUE

Demonstrating the way in which diagonal lines pull the eye from one side of Echoed by the receding balconies, the stark lines of the roof act as leading
the image to the other, creating a clear pathway for the viewer and adding a lines, drawing the eye and creating depth as we see them diverge from the
sense of dynamism that you don’t achieve as easily with horizontal or vertical corner point and disappear out of frame, implying the continuation of the
lines. Again, it’s worth noting that the eye will fall where lines intersect. building into some unspecified distance.

heories on composition ‘Theories on composition are numerous. Well meaning fellow enthusiasts

T are numerous. Well

meaning fellow
enthusiasts will heap
contradictory advice on you
quicker than you can press the
will heap contradictory advice on you quicker than you can press the shutter’

shutter. While the well-known

ratio based on the Golden
Mean/Golden Section
technique work for many,
they only served to confuse
me further.
After a week or so the
all-consuming fear eased,
Jerry’s advice began to
percolate through the layers
of anxiety and a more critical
approach to photography 
Branches create a natural frame,
with the streak of sky forming a
diagonal line that leads the eye
across the frame, duplicating the
partially obscured topline of the
impressive buildings behind it and
ensuring they remain a secondary
but integral element of the image.

B&W May 2013 41

40-43 THE F-STOPS HERE ER/MB.indd 41 26/03/2013 15:29

 A good example of the rule of thirds.
While I haven’t composed this
shot so points of interest lie at the
intersections, the repetition of the
figure, combined with the placement
of the camera and bottom of the
mirror along the horizontal lines
gives it a sense of cohesion and
purpose. The added impact comes
from the tight cropping.

 started to take shape. I began

to consider what the point of
each image was. Why take
that shot from that angle with
that exposure? More often
than not, the answer was that I
didn’t know. I just had.
Unsatisfied with my shameful
conclusion, I reluctantly went
back to theories. Expecting
yet more frustration, I was
overjoyed to discover that
maths and rules needn’t
forever taint my new love and
despite a few ideas quickly
falling by the wayside some
staple compositional tools
have taken root.

imply by virtue of

S belonging to the
human species we
naturally favour certain
photographs. Particular visual
structures and patterns will
catch the eye and spark an
interest, while others pass us
by unnoticed. The rule of thirds,
for example, is a sublimely
simple idea that helps give
images balance and interest.
The basic principle is to
imagine an image divided equally
into thirds, both horizontally and
vertically, leaving you with nine
sections. So the theory goes,
placing points of interest on
the four intersections or along
the lines will make your photo
easier to interact with and give
it balance. Incidentally, we are
also drawn to odd numbers and
three in particular.
Recognising the
disconnection between the
human eye and the camera is
a central tenet of composition.
Once we learn how differently
the eye and the lens see we
can begin to guide the viewer of
our images, to show them only
what we want them to see, to
reflect our vision of the world.
Previously, I had never
stopped to consider the
glaringly obvious fact that while
we may see in 3D the camera
is only capable of recording
in 2D, leaving it down to the

High contrast gives a sinister edge,

a Peeping Tom feel, and there are
no clues as to why the glasses are
on the table or how long they have
been there. Our imaginations are
given only a few elements to work
with, lending a sense of mystery,
hinting at past events but stubbornly
refusing to reveal more.

42 May 2013 B&W

40-43 THE F-STOPS HERE ER/MB.indd 42 26/03/2013 15:30


Although I’ve slightly broken the rules by putting my subjects in the centre, the straight edge of the upright film
box is nicely echoed in the corner of the wall and the sideways film canisters take your eye off to the left of the
image, hinting at the implied action barely visible. Slight framing is achieved by the very shallow depth of field.
photographer to conjure the
illusion of depth. Lines have
proven to be an incredibly useful
compositional aide as they
40-43 THE F-STOPS HERE ER/MB.indd 43
trick us into perceiving the all-
important third dimension. The
brain automatically assumes
that two parallel lines further
I photographer I gained
apart are nearer than two closer
together, so by introducing
leading lines we can create the
appearance of depth.
Boundaries define edges,
contain and complement the
central subject – drawing you
to the intended focal point.
So the framing of an image,
whether in-camera or achieved
later through cropping, can
dramatically alter the way it is
interpreted, filling the frame
and removing the extraneous
distractions that our brains
automatically filter out for us in
day to day life.
n taking on the role of
complete control. No longer
just affected by the work of
others, I was suddenly in a
position to do the affecting. A
wonderful revelation that quickly
led to myriad artistic questions
that only I could answer.
With this new perspective
I stopped fixating on the
Subtle framing in the top left hand
corner gently draws you into the
image and is in keeping with the
dreamlike feel. Soft focus and
a shallow depth of field impart
a wistful element, intimating
happenings that we will never know.
TECHNIQUE
THANK YOU
Thank you to photographic
laboratory Colourstream
for developing my films,
allowing us the use of their
darkroom and not laughing
at my many failed attempts.
123 St James’s Street,
Brighton BN2
01273 683030
colourstream.net
Ilford kindly supplied us
with photographic paper
and have a whole range of
products for the darkroom
ilfordphoto.com
And finally,
a huge and
humble
thank you to
Jerry Lebens
for all his
patience, encouragement
and very necessary tough
love! Jerry has been a
professional photographer
for over 30 years and offers
evening classes and one-
day specialist workshops
catering for all levels.
jerrylebensphotoschool.
co.uk
technical aspects of exposure
and began to see it as my job
to communicate via the
image. No longer content
with imagined lines and
intersections, I strove to record
my interpretation of a moment.
To take the articulation of
my own vision further required
introducing an element of
narrative. Expressing a story
through a single still image is
proving a huge challenge. It’s
something that will take many
years of mental and technical
training but I can already begin
to see the start of a new,
more considerate and layered
approach to photography. B+W
B&W May 2013 43
26/03/2013 15:30
 MANY WAYS
OF SEEING THE CHALLENGE
OF CHOICE
Eddie Ephraums explores the pivotal role that choice plays in photography,
All pictures © Eddie Ephraums
this month making pictures with APS mid-size sensor cameras
magine a workshop in the they ponder over the choice ease of use of smaller format, other than a stable tripod?

I wilds of north-west Scotland

with 20 photographers, three
leaders and an impressive
variety of cameras, and ask
yourself this: with what camera
was the best picture of the
week taken?
You might think it was made
with one of the large format
digital view cameras that were
used by at least three of the
participants, or a top of the
range DSLR.
In my view, the best picture
was taken by a large format
5x4 film camera user, except he
broke his view camera during
the week and took the picture
on his smartphone.
What’s the lesson here? Is it
that we should lighten up and
not worry about what camera to
use? Or should we have more
than one camera, both as a
backup and as an option for
alternative-style shooting? How
about we have several cameras,
to cover all possible subjects
and shooting scenarios?
The conundrum we are talking
about here is fundamental to
photography and it is a key
aspect of this Many Ways of
Seeing series: it’s one of choice.
Choice is there to challenge
us. I see this on location
workshops as people figure out
what to choose to photograph
and where to stand. Then,
when they’ve worked out that,
they have to choose where –
exactly – to put the tripod. Next
of aperture and shutter speed
settings, and whether to use
filters and, if so, which one to
choose? All the while the light
is fading and the moment of
simpler cameras, and the
creative potential of larger
sensor ones. The question for all
of us is what type of balance are
we looking for in photography,
choice is about to pass. Then,
just as everything is set, the
wind ‘chooses’ to blow over
the camera. The photographer
forgot to choose how to set
up the tripod for the prevailing
conditions – an expensive
choice not to make.
Photography is about how
we choose to see the world
and the way we choose to
tackle this challenge. Choice is
the equivalent of the proverbial
mountain: we tackle it because
it’s there. What happens if that
choice is taken away? It would
certainly make life less easy.
But, would we end up like those
mountaineers in the Larson
cartoon about to take on a gently
rounded, unchallenging-looking
valley ‘Because it’s there!’
Who wants to be confronted
by the easy choice? Soon we’d
want deeper, steeper valleys,
then mountains to choose from.
As the saying goes, art is
nothing without choice, so I’ll
keep experimenting with different
cameras in Many Ways of
Seeing. For this article I’ve used
mid-size sensor APS cameras:
a Fuji X100 and the new Fuji X-E1
with its excellent zoom lens.
These types of camera
provide a great balance
between the unselfconscious
Do we want to be firmly
planted in our view of things or
do we need a camera to help
keep us on our creative tiptoes?
If so, then which one?
THE CHALLENGE
To photograph a washed-up piece of rope
in a sculptural way.
THE SITUATION
The rocky beach on which I found this rope seemed an unpromising
location. Above the high water line were the remains of an ugly
pre-fabricated fish house; the tangled rope lay just below, among
a jumble of dull, dark rocks. The location presented the challenge
of how to make something beautiful or meaningful (hopefully both)
out of a challenging situation.
THE PHOTOGRAPHY
I tend to make the edgiest compositions with my iPhone, so I shot
the rope with that and took the same compositions with the Fuji
X-E1, with the zoom lens set to the same 32mm focal length as the
cameraphone. The only problem was the X-E1 has a 2x3, more
documentary aspect ratio, so I had to shoot everything with
the iPhone 3x4 crop in mind.
PRINTING AND PRESENTATION
I have six or seven images from this shoot, including an overview
image that shows the whole piece of rope in its beach context.
I haven’t decided what to do with the pictures yet, but rather like
the ladder photos (see page 46), I will likely make a book, probably
a photo notebook, with blank pages between each image in which
I can write about them. There’s only limited space here to discover
what there is to learn about our images if we write about them,
let alone a set of pictures or our photography as a whole.
LESSON LEARNED
I lost almost all the iPhone images I took on this shoot; I think it was
the result of a storage problem. That niggling sense that they were
the best pictures of the day inspires me to go back and try again.

ABOUT THIS SERIES
In the Many Ways of Seeing series
I will explore my relationship to
B&W photography through a range
of cameras. I want to see how each
affects the way I see – if indeed
they do – or to find out if there is
one that is especially ‘me’?
Maybe they all are?
I started my quest with the
smartphone and am working my way
up through a range of cameras that
include compact, micro four-thirds,
APS, DSLR, 35mm film, medium
format film/digital, 5x4 and 10x8.
It is a journey I would encourage
everyone to make.
I will process and print the
pictures using a variety of printing
and presentation techniques, to
see how craft and process also
affect my photography. The plan
is to print the photographs in the
way that each dictates, drawing
on 25 years experience of B&W,
which also includes editing other
photographer’s work and printing to
exhibition standards.
Finally, my intention is to conclude
the series with an exhibition and
print seminar-workshops.

44 May 2013 B&W

44-48 WAYS OF SEEING ER/MB.indd 44 19/03/2013 17:04

 B&W May 2013 45

44-48 WAYS OF SEEING ER/MB.indd 45 19/03/2013 17:04

 THE CHALLENGE
To photograph a collection of ladders in a way that
went beyond the literal.

THE SITUATION
I found five or six ladders randomly stacked in a barn next to a friend’s
Italian studio. While she and my wife talked art next door, I set about
trying to make some of my own. But how? I wanted to say something
about the way the ladders and bricks had been left discarded.

THE PHOTOGRAPHY
The challenge was how to make sense of the chaos. I wanted to create
a photograph (to impose some discernible order) that could make the
viewer look at the scene and wonder if the pieces might have been
deliberately left as they were, as if the person who used the ladders and
bricks in their day to day work had decided to make an installation out
of them. Perhaps that person really is an artist, not an artisan.

PRINTING AND PRESENTATION

I will print this and the other ladder pictures I made on A3 double-
sided paper, with a fairly generous margin, and hand bind them
into a four-hole sewn book with an introductory text exploring my
approach to the subject and whether I think I succeeded in my aims
or not (no!). As time goes by, I will add further handwritten notes in
the margins as I have further realisations about the pictures.

LESSON LEARNED
There’s always room for improvement and next time I might try a
standard lens, with a more compressed perspective than the wider
35mm lens used here.

THE CHALLENGE
Gesture is a word that is often talked about in photography.
I saw it in these trees, but how do we capture it?

THE SITUATION
I couldn’t help but marvel at mother nature, wondering if this was
one tree that had gradually divided itself into two or if two trees had
come together as one? Either way they looked wonderful together,
as if they were dancing, and what better way than dance to
celebrate togetherness?

46 May 2013 B&W

44-48 WAYS OF SEEING ER/MB.indd 46 19/03/2013 17:04

 THE PHOTOGRAPHY
Walk around this tree and the picture soon disappears. I have a whole
set of images to prove that viewpoint is critical in photography. I also
tried a slow shutter speed, to introduce some movement into the image,
but I kept coming back to this more understated image.
I have other dancing trees photographs from this olive grove, most of
them solitary trees; next the challenge is how to bring them together? Is
there something I can learn from mother nature?
44-48 WAYS OF SEEING ER/MB.indd 47
PRINTING AND PRESENTATION
How I print and present these images could be guided by how I title them.
I’m wary of using too obvious a title like Dance. That would overstretch the
point and likely put off the viewer (we’ve all experienced this). Good titles
are thought provoking and multi layered. I want my photographs to intrigue.
LESSON LEARNED
Working out the title for a picture or a body of work – that is trying to
make sense of it all – can be the most challenging part of photography.
It’s good to talk things through, to realise our thoughts. 
B&W May 2013 47
19/03/2013 17:04
 THE CHALLENGE
To explore how we see, taking pictures of other
photographers at work, in this case while leading
a Venice portfolio workshop.

THE SITUATION
Over the week I’d photographed various workshop clients at work
when I spotted this woman and her dog. I wondered what I might
learn about photography if I photographed them as well, while
they meandered around the corner to Rialto bridge.

THE CHALLENGE
To capture the essence of a conversation between my
wife and a fellow participant on a recent Venice workshop.
THE SITUATION
I was so intrigued watching Maxine and Ian’s hand movements that
I didn’t hear what they were talking about. Photography is like that.
We shut out the other senses in preference to the visual and yet it is
those other senses to which we hope our photographs will appeal.
THE PHOTOGRAPHY
I must have made 20 or more images of this conversation. I also
shot pictures of people’s comically distorted legs as they stood
in front of the curved, mirrored bar. I also got some images of a
very large dog stealing a croissant off the counter without anyone
noticing – and all this from the viewpoint of my café chair.
Photographs come to us if we watch and wait.
THE PHOTOGRAPHY
What I like about this image is the way it makes me think about
seeing: what is the woman looking at, as opposed to what the dog
(or other photographers) might choose to focus on, and why?
I like the connection the dog-lead makes between their respective
viewpoints and the tension between her pointing the camera in one
direction and the dog gently pulling in the other. With photography
there is always something better and more tempting to look at.
PRINTING AND PRESENTATION
There are four, probably five images in this sequence that work
well enough to be used. The question is whether to cut them down
to three, to make a concise set of prints, or add them to other
photographers at work pictures to see how the story might unfold.
I sense this project could be a lifetime’s work, in which case do
I envisage a book at the end of it? It’s that question of choice again.
LESSON LEARNED
Anticipation is essential in street photography, but it comes to
nothing without a fast, easily handled camera to capture the moment.
In the time I’ve had the Fuji X-E1 I have found it perfect for the job.

PRINTING AND PRESENTATION

A friend recently pointed out that I have a thing about photographing
hands. Until then I hadn’t really noticed this. Now I’m wondering
how to develop this passion and what to do with the pictures.
The answer: I need to print my work and have it on show, where
I can see it, so that it niggles away at me, coaxing me to come up
with new and interesting ways of making and presenting pictures.
I question the point of photography if it remains unseen and
inactive on a hard drive.

LESSON LEARNED
I look for relationships in photographs, here: between the hands,
between the line of the buttons and the earring, and between the
three cups. The fun part in any relationship is how to hold it together.

LEFT Another hand image, this time one of a sequence

of my platinum-palladium printing friend Max Caffell
as he prepares a sheet of paper for coating with
the light sensitive solution. Taken with a Fuji X100,
gesture and timing are key to this image, as with
several other pictures in this article.

FIND OUT MORE

WEBSITE ephraums.com
BLOG ephraums.tumblr.com
FACEBOOK Eddie Ephraums
TWITTER @EddieEphraums
EMAIL ephraums@mac.com
B+W

48 May 2013 B&W

44-48 WAYS OF SEEING ER/MB.indd 48 19/03/2013 17:04

 © Photo by Chris Reeve - www.reevebanks.co.uk
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050_BW_150.indd 50 26/3/13 09:44:29


DISCOVERING
LIGHTROOM
timclinchphotography.com
Tim Clinch on how
to deal with noise
oise. Like it or not (and
N we do not), it’s a fact
of life. I’ve tried every
which way to get as
little as possible and, frankly,
everything’s pretty much the
same. Cranking the ISO up,
underexposing and lightening
up the shadows, ‘un-sharp
masks’ in Photoshop and
adding another layer…
you name it.
Luckily, Lightroom 4’s noise
reduction tool has pretty much
blown all this out of the water
because, to a greater or lesser
extent, it actually works!
I’ve chosen a picture I shot
in a tango nightclub in Buenos
Aires when I was on a hotel
shoot there last year, and I’ve
chosen it deliberately as the
conditions were terrible and
I had the ISO cranked up to
around 1600 (Fig 1).
I couldn’t get in too close for
fear of upsetting the punters
so, to start off with, it needs
some cropping (Fig 2) and, as
always, I start work in colour,
to get a decent balance before
converting to B+W. In the Basic
control Box on the LHS, I’ve
51 LIGHTROOM ER/MB.indd 51
Fig 1
taken the Highlights and Whites
down, and added Clarity to
around 40 to get some detail
back in her face (Fig 3).
In the Navigator, on the RHS,
set your magnification to 1:1.
Once magnified, you can see
there’s a LOT of noise. I don’t
mind too much as it’s an
atmospheric shot, and there’s
also a fair bit of camera shake,
but in the mid-tones the noise
is just too much (Fig 4).
So, in the Detail Box, on
the LHS, there are two slider
boxes. Sharpening and
Noise Reduction. I always
apply sharpening AFTER
Noise Reduction, as if you
do it before, you only end up
sharpening the noise, so set
Fig 2
Fig 3
‘Luckily, Lightroom 4’s
noise reduction tool has
pretty much blown all this
out of the water because, to
a greater or lesser extent,
it actually works!’
the Sharpening slider to 0.
Next, move on to the
Luminance slider. In this case
I’ve moved it along to around
35, and you can see that the
noise has been blurred and
flattened, but also that you’ve
lost a bit of detail. By moving
the Detail slider to the right, you
can see this brings some detail
back. If you need to get even
more detail back, try moving
the Contrast slider to the right
(personally, I rarely do this as
it’s so subtle as to make very
little difference). If you want
to see this more close up, go
back to the Navigator Box
on the RHS, and change the
magnification to 3:1. Once you
are happy with what you have,
All images © Tim Clinch
go to the Sharpening Box and
add the amount you need (in
this case I’ve added 30).
Just before we take this to
B&W, I should point out that the
Colour slider takes out any of
the unsightly colour noise you
can get in these circumstances,
and works exactly the same
way as the Luminance slider.
So, converted to B&W (with
the red tones lightened slightly
in the HSL/Color/B&W box
using the Red slider) we now
have a much better picture.
Leaving a small amount
of noise works well in this
instance as it adds to the
nightclub atmosphere.
And by the way, if you
ever get the chance to go
and see a professional
tango performance, just grab
it…and take your camera,
it’s BRILLIANT! B+W
Fig 4
B&W May 2013 51
26/03/2013 15:31
 TECHNIQUE
All pictures © Lee Frost
FUNDAMENTALS:
ALL ABOUT EXPOSURE
It’s said that too much knowledge is a dangerous thing, but if you want
to excel as a photographer you need to have a thorough grounding in
the basics. To kick off a new series, Lee Frost takes a look at exposure

ou lot, you don’t know you’re My first SLR didn’t even have TTL term, not having a thorough

Y born! I sound like an old man

preaching to his grandkids
about how hard life was when
he was a boy. But if you’ve taken up
photography in the last decade or so,
you really don’t!
When I received my first SLR some
30 years ago, a vital part of the
photographic learning curve was
understanding why we did certain things
and the consequences of those actions.
It was necessary to know because
cameras were much simpler machines
then and we had to get more involved in
their operation to take successful
photographs – especially when it came
to exposure.
(through-the-lens) metering, never mind
automated exposure modes and fancy
metering patterns, so if you didn’t know
what you were doing you were stumped.
Fast-forward to the digital age and a
one-eyed monkey could take a well-
exposed photograph. Even if you take
away the preview screen, which instantly
shows you what you’ve got, the
metering systems in the latest DSLRs
are so good that with zero photographic
experience you can turn on and start
shooting perfectly exposed pictures.
Is that a good thing? Well, it is if you’re
a complete beginner, or a one-eyed
monkey, because it means that you can
get good results from the off. But long
understanding of the nuts and bolts of
exposure is likely to be a handicap
because it will impede your progress
both technically and creatively.
To make sure that doesn’t happen, read
on, and I apologise if I’m teaching any
grandmothers to suck eggs!
HOLY ISLAND, NORTHUMBERLAND
The best exposure for a photograph isn’t necessarily
the technically ‘correct’ exposure, so don’t be afraid
to experiment. I knew how I wanted this scene to
look in the final image so I intentionally gave it more
exposure than it needed to achieve the lighter tones.
Canon EOS 5D MKIII with 24-70mm lens, ISO 100,
97 seconds at f/11, Lee Filters Big Stopper

52 May 2013 B&W

52-57 LEE FROST MB/ER.indd 52 26/03/2013 15:33

 APERTURES AND SHUTTER SPEEDS
Exposure has a single function – to get
exactly the right amount of light to your
camera’s sensor so it can capture an
image. To do that it uses two primary
controls – the lens aperture and the shutter
speed. The aperture is a hole of variable
size that governs how much light enters the
lens at any given time; the shutter speed
governs how long the light passing through
the aperture is allowed to hit the sensor.
Together they deliver the exposure.
Your lenses have a range of apertures
denoted as f/numbers – f/2.8, f/4, f/5.6,
f/8, f/11, f/16, f/22 for example – and your
camera has a range of shutter speeds,
usually from 30 seconds to 1/4000sec.
Each time you select the next smallest
f/number in the range (the next biggest
number) the amount of light admitted is
halved, and vice versa, so f/4 admits half
as much light as f/2.8 but twice as much
as f/5.6. Similarly, each time you halve the
duration of the shutter speed, the amount
of light allowed to reach the sensor in
your camera is halved, and vice versa,
so 1/60sec admits half as much light as
1/30sec but twice as much as 1/125sec.
On that basis, in any given situation you
can achieve exactly the same exposure
using a range of aperture and shutter
speed combinations. For example, if your
52-57 LEE FROST MB/ER.indd 53
camera sets an exposure of 1/30sec at
f/11 you could use any of the following
combinations and the same amount of
light would reach the sensor:
APERTURE
f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22
SHUTTER SPEED
1/500 1/250 1/125 1/60 1/30 1/15 1/8
As the lens aperture gets smaller, so
the amount of light passing through is
reduced and a longer shutter speed is
required to maintain correct exposure.
But the actual combination you use will
depend on various factors:
If the subject is static or moving
If you’re using a tripod or handholding
If you want to freeze the subject or
record motion/blur
If you want to achieve front-to-back
sharpness
If you want to blur the background
Lens apertures don’t just control how
much light enters the lens, but also depth
of field – the zone of sharp focus in every
photograph you take. The smaller the
aperture (the bigger the f/number) the more
depth of field you get, and vice versa.
Shutter speeds don’t just control how
long light is allowed to reach the sensor
in your camera either – they also help you
to freeze movement using faster shutter
speeds and record it using slower ones,
but the actual speed you need to freeze
or blur movement will depend how fast
the subject is moving.
In the scenario above, if you wanted to
freeze a fast-moving subject you would
use an exposure of 1/500sec at f/2.8.
That combination would also be ideal for
isolating your subject against a blurred
background because the wide aperture
– f/2.8 – would give you shallow depth of
field. Similarly, if you were photographing
a landscape scene with a wideangle lens
you could use 1/30sec at f/11 or 1/15sec
at f/16 as the smaller aperture would
increase depth of field and record the
whole scene in sharp focus. Those same
combinations could also be used to blur
a moving subject with a slow shutter
speed of 1/30 or 1/15sec.
We’ll be taking a more in-depth look at
the use of apertures and shutter speeds
in future issues, but suffice to say this is
a very clear situation where it’s important
to understand the fundamentals of
photography so you can make a
technical decision, that also has a
creative consequence, and control the
outcome of your images. 
B&W May 2013 53
26/03/2013 15:33
  ISO SETTING
The ISO also needs to be considered in
relation to exposure as it governs how
sensitive to light your camera’s sensor is
and therefore how much exposure it needs.
Every time you double the ISO the exposure
halves, and vice versa. One of the great
advantages of digital technology is that you
can adjust the ISO up and down as and
when required, from shot to shot, whereas
with film you have to change a whole roll to
benefit from a higher or lower ISO. This is
a very useful tool to have at your disposal
because it means that if you can’t set a fast
enough shutter speed to freeze a moving
subject or prevent camera shake, all you
have to do is set a higher ISO. For example,
if the fastest shutter speed you can achieve
is 1/60sec with your lens set to its widest
aperture and the camera set to ISO 100,
by increasing the ISO you can use faster
shutter speeds, as follows: SWANAGE, DORSET
Underexposure tends to be far more common in day-to-day photography than overexposure, but in
ISO digital imaging, a degree of overexposure is a good thing as it gives you a better file to work with –
100 200 400 800 1600 3200 so always deal with underexposure in-camera by increasing the exposure and re-shooting.
SHUTTER SPEED Canon EOS 1DS MKIII with 70-200mm lens, ISO 100, 1/125sec at f/16
1/60 1/125 1/250 1/500 1/1000 1/2000
The latest generation of digital SLRs are to camera shake than high ISO.
What you also have to consider is that capable of amazing image quality even Saying that, the grainy effect you get
image quality is controlled by the ISO. when the ISO gets into four figures, but if when shooting at high ISO – usually 1600
Optimum image quality is achieved at low you want to keep image quality as high as and above – can be really effective on
ISOs such as 100 but as the ISO increases possible you should always keep the ISO black & white images as it adds a stark,
you start to see noise (grain), a drop in as low as possible and only increase it as gritty look, so for creative effect,
sharpness and a loss of shadow density. a last resort – a tripod is a better solution high ISO can be very useful. 

BAMBURGH CASTLE, NORTHUMBERLAND

The bright sky in this scene would
almost certainly cause underexposure
with a simple metering pattern like
centre-weighted, but modern multi-zone
metering is more sophisticated and able
to recognise tricky lighting.
Canon EOS 5D MKIII with 24-70mm lens,
ISO 100, 1/20sec at f/13, 0.9ND hard grad

54 May 2013 B&W

52-57 LEE FROST MB/ER.indd 54 26/03/2013 15:33

 NEAR HELLA, ICELAND
The stark contrast between the
black volcanic earth and the stream
attracted me to this scene, and though
the contrast wasn’t as extreme to the
naked eye, I knew that it would be easy
enough to achieve it later if I produced
a well-exposed Raw file to work with.
Canon EOS 1DS III with 70-200mm lens,
ISO 100, 1/30sec at f/16

B&W May 2013 55

52-57 LEE FROST MB/ER.indd 55 26/03/2013 15:33

 EXPOSURE MODES
In addition to metering patterns a typical digital camera
also has at least half a dozen exposure modes that
control how the aperture and shutter speed are set – Full
Auto (Green Square), Program (P), Aperture Priority (Av),
Shutter Priority (Tv), Manual (M), plus various subject-
based program modes.
levels change, the shutter speed is automatically adjusted
to maintain correct exposure, not the aperture. I use
Aperture Priority all the time. It’s the best exposure mode
for any subject where aperture choice and depth of field
control is important – such as landscapes, portraits and
close-ups – but it’s quick and easy for general use too.

FULL AUTO works by setting an aperture and shutter
speed combination that you can’t change – it’s for
absolute beginners and best avoided.
PROGRAM sets an aperture and shutter speed
combination automatically but allows you to change it
so you can use a slower shutter speed/smaller aperture
or faster shutter speed/wider aperture for the reasons
outlined earlier. You could manage fine with Program,
but it’s too automated so leave well alone.
APERTURE PRIORITY (Av) lets you decide which lens
aperture to set then it selects the required shutter speed
to achieve correct exposure, providing that shutter speed
falls within the camera’s available range – usually 30secs
to 1/4000sec. The aperture always stays fixed, so if light
SHUTTER PRIORITY (Tv) does the opposite to Aperture
priority – you decide which shutter speeds to set and the
camera automatically selects the aperture required to
achieve correct exposure. The shutter speed also remains
fixed and the aperture changes if light levels fluctuate. It’s
a good mode for sport and action, and if you use it a lot
you’ll find it’s also your preferred choice for general use.
MANUAL (M) is a traditional mode that lets you set
both the aperture and shutter speed independently of
each other. It’s a slow mode to use and increases the
risk of exposure error because if light levels change,
the exposure stays fixed unless you change it. If you’re
shooting in a studio you’ll need to use manual mode so
you can control both the aperture and shutter speed,
but other than that there’s no real use for it.

METERING
PATTERNS
The way your camera measures light
levels to determine correct exposure is
 influenced by the metering pattern in
use. Digital SLRs tend to have three or
four metering patterns to choose from –
Multi-zone (such as Canon Evaluative or
Nikon Matrix), Centre-weighted, Spot and
sometimes Partial.
I’m not going to waste time explaining
how Centre-weighted metering works
as it’s old fashioned and prone to error
– so forget you have it. Spot and Partial
metering are similar in that they measure
light levels in a small area in the centre
of the viewfinder, but spot metering
measures from a small area, usually
1-1.5% of the total image area, and
Partial from a bigger area, usually 6-8%.
They both allow you to take a meter
reading from a specific part of a scene so CIENFUEGOS, CUBA
that bright or dark areas don’t influence I knew my subject’s face would be underexposed in this situation, due to the bright background,
the reading and cause exposure error – so I dialled-in + 1 1/3 stops extra exposure using my camera’s exposure compensation facility.
and in experienced hands are accurate Further adjustments to exposure can be made during post-production but it pays to get it as
and reliable. close to perfect in-camera as you can.
Do I use either? In a nutshell, no, never. Canon EOS 5D MKII with 70-200mm lens, ISO 1600, 1/400sec at f/4
I used to be a big fan of spot metering
in my film days as I needed the level the frame, comparing them to model darkness, such as a black background,
of control and precision it offered, but situations programmed into its micro-chip is likely to result in overexposure. But if
that was then and this is now. Digital computer (don’t ask me how!) and setting that happens, you’ll realise as soon as
capture is much more straightforward an exposure. It does this in a fraction of a the image pops up on your camera’s
when it comes to exposure and I use one second and about 98% of the time gets preview screen and looks too light or too
metering pattern exclusively now – Multi- the exposure bang on. dark. All you have to do then is adjust the
zone (Canon’s Evaluative metering). Extreme brightness, such as snow exposure using your camera’s exposure
Multi-zone metering works by taking or shooting into the sun, is still likely to compensation facility and re-shoot to get
lots of light measurements from around cause underexposure – and extreme a perfect result.

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 OVERCOMING EXPOSURE ERROR
The easiest way to avoid exposure error
is by recognising the risk of it in the first
place and taking preventative action –
something that comes with experience.
In rapid-fire situations where I need
to get it right first time I decide if
there’s a risk of under or overexposure
and, using my camera’s exposure
compensation facility, dial in anything
from 1/3 to 2 stops to compensate
before I start shooting. There’s more
of a risk of underexposure, generally,
than overexposure, but underexposure
is a no-no in digital photography so I’d
rather over-compensate and overexpose
a shot a little rather than underexpose it
(see Understanding Histograms in next
month’s issue to find out why).
In situations where you’re in no
rush – when shooting landscapes or
architecture, say – you can take a test
shot, check it for exposure accuracy and
make any necessary adjustments using
your camera’s exposure compensation
facility. If it’s a little dark, all you need
to do is dial-in +1/3 or +2/3 of exposure
compensation then reshoot. Most of
the time you won’t need to increase the
exposure by any more than +1 stop to
correct any error – if you do it will be in
extreme situations or because you’re
trying to create a specific effect. If the
test shot looks too light, I wouldn’t bother
doing anything as a little overexposure
can be a good thing.
Another option is to set your camera’s
AEB (Auto Exposure Bracketing) to take a
series of three or five shots automatically
when you press the shutter release and
vary the exposure by 1/3 stop for each.
I never use AEB as it fills memory cards
too quickly and most of the images will
never be used. I much prefer to decide if
a shot needs more or less exposure then
dial it in using exposure compensation.

CIENFUEGOS, CUBA
A scene like this, where the tones are predominantly dark, is likely to
result in overexposure as your camera’s metering tries to bring the
tonality back to ‘average’ – mid-grey. Fortunately, in digital imaging
this isn’t a bad thing, as we’ll discuss in the next issue, and you can
always pull the exposure back during post-production.
Canon EOS 5D MKII with 70-200mm lens, ISO 200, 1/500sec at f/8

HAVANA, CUBA VINALES, CUBA

Subjects that you think may cause
exposure error sometimes surprise.
In this scene, for example, the bright
tones of the sunlit columns are
balanced by the shadows, so when
you average out the tonality it’s not too
far from the norm that your camera
meter is designed to recognise.
Canon EOS 5D MKII with 70-200mm lens,
ISO 100, 1/160sec at f/11
Bright backgrounds like this white
wall are notorious for causing
underexposure because your
camera wants to record it as a grey
tone. Increasing the exposure is
usually necessary to get the result
you want – in this case +2/3 stops
did the trick.
Canon EOS 5D MKII with 70-200mm lens,
ISO 200, 1/320sec at f/4

‘The easiest way to avoid exposure error is

by recognising the risk of it in the first place
and taking preventative action – something
that comes with experience’

WHY CAMERA METERS SOMETIMES GET IT WRONG

If you’ve ever wondered why your images sometimes come
out too dark or too light, the reason is simple. All camera
meters are designed to correctly expose subjects and scenes
that reflect 18% of the light falling onto them. This average
reflectancy can be represented by a mid-grey colour.
Most of the time, the tones in a scene will roughly average
out to match this 18% reflectancy, which is why your
camera generally produces well exposed images. But if the
reflectancy is much higher than 18% – such as a snowy
landscape, or when shooting into the light – your camera
sets an exposure as if it were ‘average’ so you tend to get
underexposure. If a scene consists mainly of dark tones, the
opposite occurs – your camera tries to record it as ‘average’
and you end up with an overexposed image.
Multi-zone metering systems are able to recognise some
situations where exposure error is likely by taking light
readings from different parts of the frame, but they’re not
totally foolproof and occasionally need a little help from you.
B+W

B&W May 2013 57

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 TECHNIQUE
VAN DYKE
BROWN PRINTING
timdaly.com Tim Daly shows you how to achieve an eye-catching print
All pictures © Tim Daly
using inexpensive chemicals and a few basic tools

he Van Dyke Brown process is named after the light rather than being amplified by chemical developers.

T Flemish painter Van Dyck and was said to mimic the

rich sepia brown oil paints favoured by the artist.
Compared to other alternative processes, especially
salt printing, Van Dyke Brown is richly coloured and offers a
very sophisticated tonal range for such a simple recipe. The
process can be replicated by using easily available chemicals
to create a simple sensitising solution, so there’s no point in
buying an expensive kit or pre-prepared recipe.
When mixed, the sensitising solution can be applied to
a wide range of artists’ papers – the thicker the better –
and will keep for long periods in a suitable light-tight
container. The sensitiser creates printing out paper,
which means the emulsion is hardened by exposure to
Once the paper has been exposed to light, it’s simply
washed and fixed to create a permanent final print. The tone
and colour of the final print is really exquisite and is like no
other kind of chemically toned paper available – making it an
ideal vehicle for making your work stand out from the crowd.
For this project, I’ve made some digital negatives using
OHP film and an inkjet printer and used 200gsm cold
pressed artists’ printmaking paper as the support. The cost
of the chemicals and paper was around £40, but is enough
to make 50+ A4 prints.
The process is a great way to print from 5x4 sheet film
or reprint old family negatives. The Van Dyke process
gives your work the best vintage patina.

‘Compared to other alternative processes, especially salt printing, Van Dyke Brown
is richly coloured and offers a very sophisticated tonal range for such a simple recipe’

58 May 2013 B&W

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 VAN DYKE BROWN PRINTING

SECTION 1 PREPARING THE PAPER

Sensitising the paper always determines how messy or neat your final print appears. So, for this project, I’ve used
a thick paintbrush and gone for the brushy, scratchy look, but you may consider floating the sensitiser on and using
a coating rod for a super smooth application. Sponge-type applicators are fine too, as is floating your paper in a
tray of sensitiser, but this is a bit more expensive in the long run.

STEP 1
ORGANISING
THE CHEMICALS
All three chemicals for this
process are supplied in
dry powder form and need
careful handling. Always wear
protective rubber gloves
and ensure that you wear a
facemask to prevent inhalation
of fine particles. Keep the
powders away from water and
don’t open your silver nitrate in
daylight – it needs to be used
under safelighting.
STEP 2
MEASURING
OUT QUANTITIES
For this recipe it’s essential to
use a gram scale, anything else
will be too crude to measure
the fine quantities that we need.
You’ll also need to source a
fine measuring beaker, capable
of showing 10ml increments
– alternatively a large syringe
would do the trick.
Always add powders to
liquids, not the other way
round. Mix up your three
solutions (see recipe panel),
then store in a light tight bottle
ready for use.
STEP 3 COATING THE PAPER
After the silver nitrate is added, it’s worth carrying out the next
stage under red safelighting or dim domestic light.
Choose a thick, smooth, artists’ paper to use, as this will
buckle less in the processing and drying. Coat the solution on
with either a brush, as shown, or dip your paper into a tray of
solution for a finer, brushmark-free appearance. Avoid puddling
on the paper and try to remove any excess before drying.
Use a hairdryer to dry the paper and when dry add a second
coat of sensitiser. This second coat will create a much richer
brown colour than is available from a single coating. Dry again,
then store in a light tight box until you are ready to expose.

SECTION 2 PREPARING THE DIGITAL NEGATIVE

The Van Dyke Brown process does curious things to contrast and brightness at different stages of the process,
so you need to give your digital negative more contrast than normal and make it brighter than you would do normally.

STEP 1 STEP 2 STEP 3 STEP 4

EDITING
THE IMAGE
This example started out as a
flat contrast RGB image, so I’ve
increased the contrast by using
the Curve controls in Camera
Raw. You can apply the same
s-shaped Curve control in
Lightroom and Photoshop.
MONOCHROME
MIX
In Camera Raw, my next step
was to use the Convert to
Grayscale command to re-jig the
original colour values into a more
expressive monochrome. I’ve
made different tonal areas of the
image stand out from each other
more. Push and pull the different
colours until the tones start to
separate. If you notice thin tide-
marks around shapes in your
image – you’ve gone too far.
PREPARING
THE NEGATIVE
Once edited, my image
is now taken to the Print
Settings dialog where I made
it into a negative image. In
the Output or Functions
(CS6) menu, tick the Negative
option, as shown. Your image
will now be reversed and
ready to print on to film.
PRINTING OUT
DIFFERENT
DENSITIES
For this project, I’ve used
clear inkjet OHP transparency
film which has a rough,
textured side for printing.
To be on the safe side, I’ve
made two density variations
of each negative, as shown,
so I can see which reacts
best with the sensitiser.
Note the high contrast nature
of the negatives.

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 SECTION 3 EXPOSING THE PAPER AND PROCESSING
Van Dyke Brown is a printing-out paper process, so depending on your available lighting conditions,
experiment with exposures from 5-25 minutes. Hinge your negative with a single strip of Sellotape,
so you can peek underneath to check while it’s being exposed.
STEP 1 LOADING IN THE FRAME
For this first print, I’ve used the thinner negative and sandwiched
this on top of a sheet of sensitised paper. Next, I’ve loaded this
into a simple clip frame and left outside in the daylight for 10
minutes. The paper has already changed from a weak yellow
colour to a weak red, as shown.
STEP 3 AN IDEAL EXPOSURE
This example, printed with a denser negative for half of the time of
the first test, is the right density in the shadows and highlights. Note
the separation between image shadow areas and the non-image
part of the paper. This is an ideal exposure to start processing.
STEP 5 FIXING
The most dramatic stage of the Van Dyke Brown process is fixing.
Prepare a very dilute solution of paper fix, such as Ilford Hypam at
1 part fixer to 8 parts water. Once your print has been thoroughly
washed, dip the paper into the fix as shown. Watch how the rich
chestnut brown is now changed into a deep brown colour. The
colour change is dramatic and is complete after a minute or so.
60 May 2013 B&W
58-61 TIM DALY MB/ER.indd 60
STEP 2 EXPOSURE TESTING
While this negative was being printed out in the daylight, I removed
the sheet of glass and peeled back the negative to see how it had
reacted. If your paper is yellow in non-image areas, then you need
to expose it for longer. If the paper is reddish, as here, it’s ready to
process. Your image highlights should be an orange colour too.
STEP 4 WASHING IN WATER
Once exposed, you can process the paper in normal daylight.
Set up two developing trays and fill with clean water. Dip your
exposed print into the first one and watch how the colour
changes immediately, as shown. The reddish dry paper turns
into a rich chestnut brown. Wash carefully for a couple of
minutes in each tray and change the water until all traces of
yellow have disappeared from the water. It’s important to clear
away as much of the unexposed sensitiser as possible.
STEP 6 FINAL WASH
Remove from the fix and wash for a further five minutes in clean
running water. The image will look soft in tone and far from the high
contrast version that we initially prepared. Don’t make judgements
at this stage as the image will change again in the next step.
19/03/2013 17:08
 VAN DYKE BROWN PRINTING

ESSENTIAL EQUIPMENT
Soft 1in brush
Contact printing frame or clipframe
Light tight or brown glass container
Hairdryer
Inkjet film
Cold pressed artists’ paper 200gsm or above

MATERIALS
To create a Van Dyke print, I sourced the following
from silverprint.co.uk for about £40 in total:
Ferric ammonium citrate
Tartaric acid
Silver nitrate
Distilled water
Cold pressed artists’ paper (for a smooth
surface texture)
STEP 7
Paper fix e.g. Ilford Hypam diluted 1:8 DRYING
The final stage is to air-dry the print using a blower, or leave
RECIPE AND METHOD hanging up to dry naturally. This final stage sees the print change
9g of ferric ammonium citrate mixed with 30ml colour and tone again! This final change makes the image lower
water (part A) contrast and slightly darker than it was when wet.
1.5g of tartaric acid mixed with 30ml water (part B)
4g silver nitrate mixed with 30ml water (part C) FINISHED PRINT
Mix parts A+B together, then mix in part C. It’s important to cycle through the workflow from start to finish
Stir well and keep in a light-tight container until before you embark on making lots of digital negatives, as you’ll
ready for use. This solution is enough to coat 10 only then get a better idea how to prepare your files for printing.
sheets of A4 paper. This final print looks totally different printed on Van Dyke Brown,
which retains sharp detail and a very delicate tonal range.

B+W

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 BOOK
REVIEWS
Bill Brandt:
Shadow and Light
Sarah Hermanson
Meister
Thames & Hudson
Hardback, £34.95
ISBN 978 0500544242
There are some photographers
who quite simply stand out beyond
all others, and Bill Brandt is one.
His vast breadth of subject matter,
from landscapes to celebrities and
reportage to nudes is impressive,
but beyond that there is the simple
artistry of his ever searching eye. He
could take the simplest of subject
matter and make it exquisite,
transformed from its original state
into his own distinctive vision.
Brandt’s work is a landmark
in the history of the medium
and he is a founding figure of its
modernist traditions. He achieved
considerable acclaim during his
lifetime but, because his oeuvre
was so extensive, there has been a
tendency to view it not as a whole,
but in the different genres.
Now published to coincide with
an exhibition at the Museum of
Modern Art in New York this
summer, Bill Brandt: Shadow and
Light gives an insight not only into
his image making and printing, but
also into the man himself.
Clare Sawyer
62 May 2013 B&W
62-63 BOOK REVIEWS ER/MB.indd 62
ON THE SHELF
We bring you the best of the newly published photography books
PUNK+
By Sheila Rock
First Third Books
Hardback, limited and
signed edition of 2,000
available from firstthirdbooks.
com at £49 – also available
through Rough Trade East and
Browns of South Molton
Street from 25 April
Deluxe edition of 300 with
numbered and signed
photograph of The Clash, also
available from firstthirdbooks.
com at £99
ISBN 979 10 90892 01 9
When the young Sheila Rock
set out in the mid 1970s, with a
fascination for the new phenomena
of punk and an interest in interesting moment in history I had attitude of the youth culture as they
photography, she little realised that recorded,’ she says at the beginning are about the music. In the face of
some 40-odd years later her work of Punk+, a new limited edition mass unemployment and economic
would reveal the zeitgeist of this book of the work that was to launch gloom, this rebellious youth culture
major turning point in cultural her career as a photographer. took on a way of life that was totally
history. ‘These photographs sat The photographs (the majority at odds with its generation. It was,
dormant in a box for years until in black & white) are edgy and raw, in fact, to have far reaching effects
they were laid out in this coherent reflecting their subject matter. They in terms of both political and
way; I didn’t realise what an are as much about the clothes and cultural change. And Sheila was
one of the few photographers who
photographed as it were ‘from the
inside’, on the streets, at gigs and in
the now famous boutiques on the
King’s Road.
When punk became mainstream
in the late 70s, Sheila continued to
photograph the new sub-genres
that emerged from it, working on
the music, fashion and culture
magazine The Face.
A beautifully produced book
that encapsulates a particular time
in our history, in photographs that
are both unique and individual.
Elizabeth Roberts
27/03/2013 14:46
 Breathing the Same Air
By Nelli Palomäki
In January 2012 we published an
interview with Nelli Palomäki and
since then I’ve longed to see more
of her work. Now, in this exquisitely
printed book from Hatje Cantz,
I have found what I wanted.
Palomäki’s portraiture is at
once bold and intensely sensitive.
She approaches her subjects full
on, but somehow manages to get
under their skin at the same time.
Hatje Cantz
Hardback, £35
She claims that she is in all her
pictures and it is palpably true; it’s
ISBN 978 3 7757 3455 4
as though first is Nelli Palomäki,
Reuters Our World Now 6
Reuters
From the Olympics in London
and the American elections to
the unfolding events in Syria and
the financial unrest in Europe,
Reuters’ photojournalists are
capturing key moments in our
global history every day of the
year. The resulting archive of
world class photography runs
annually to half a million images.
Thames & Hudson
Now in its sixth volume,
Paperback, £10
Reuters Our World Now is a
ISBN 978 0 500 290705
showcase for this superb work.
62-63 BOOK REVIEWS ER/MB.indd 63
and then her sitter. But don’t get
me wrong, this enhances rather
than takes away from the final
image. Original and delightful,
they are to be savoured.
The book itself is beautifully
printed on heavy, just off-white
paper – a tribute to the work.
A collector’s edition, with
a 40x40cm signed print in a
limited edition of 18, is available
at €580 from the publishers –
collectorsedition@hatjecantz.de
Elizabeth Roberts
From
Breathing
the Same
Air by Nellie
Palomäki
This year’s edition is no exception
with 330 (mainly colour) images,
depicting everything from
conflicts to festivals. The book is
divided into four sections which
represent the four quarters of the
year, leading us chronologically
through it, with one powerful
photo essay in each section.
Compelling both from a
historical and photographic point
of view, this is one not to be missed.
Alex McClair
Marilyn: Intimate
Exposures
By Susan Bernard
Sterling
Hardback, £25
ISBN 978 1 4027 8001 1
Photographer Bruno Bernard
was described as the man who
discovered Marilyn Monroe. He
had just left the dentist when
he spotted a young girl walking
down the road and asked if he
could take some pictures of her.
Those early pictures led to
modelling jobs that led to small
film parts, then bigger acting jobs,
major roles, international fame
and a tragically early death.
In this book, Bruno’s daughter
Susan charts the rise of girl next
door Norma Jeane to global
superstar Marilyn Monroe. It’s
a fascinating visual journey that
takes in studio shots, informal
party pictures, magazine covers,
a sequence of images from The
Seven Year Itch and much more.
To create the book, the author
sifted through her father’s boxes
of negatives, transparencies,
contact sheets, notes and letters.
The result is an intimate portrait
of a global superstar and the
photographer that helped create
her mythology. It’s a lovingly
put together book, filled with
gorgeous photographs, that acts
as a tribute to both Marilyn and
her first photographer.
Russell Corby
‘To create the book, the
author sifted through her
father’s boxes of negatives,
transparencies, contact
sheets, notes and letters’ B+W
B&W May 2013 63
26/03/2013 15:36
 DOWNLOAD YOUR DIGITAL EDITION OF
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13-189 BW App Ad.indd 64 26/3/13 16:30:43

 YOUR ASSIGNMENT

All pictures © Terry Hulf

PORTRAITURE
Inspired by the pictures by Terry Hulf (see page 8), we challenge you to take a series of
portrait photographs. You can complete the project over either the short, medium or long
term and send your images to us when you’ve finished. If we publish your work you win £100!

Assignment tips Short term

WIN Find a theme that will sustain your interest

Decide who you want to photograph and then
work out the best way to approach them
Give yourself a weekend and have fun.
Aim for three pictures

Medium term

£100
For full details
Make your subject feel comfortable and at ease
Consider the background – make sure you will be
able to keep consistency throughout
Use natural daylight but, again, use the same or
You have a couple of months to
develop your themes and ideas. Aim
for a coherent set of five to 10 images.

Long term
on how to submit similar lighting for all the portraits You have the time to plan ahead
your pictures to this Take plenty of shots – your subject might not want and experiment. Look for your
or other features to come back for a re-shoot theme and be focused when it
turn to page 87 Choose the right camera for the job comes to editing the pictures down.
Aim for 10 to 15 pictures. B+W

B&W May 2013 65

65 Your Assignment ER/MB.indd 65 26/03/2013 15:39

 CAMERA TEST
All pictures © Andy Luck
hen Panasonic’s
W first flagship
mirrorless GH1
was launched in
2009 it created a lot of interest
with its extensive list of hybrid
stills and video features packed
into a tiny 385g body.
Now Panasonic have
up-scaled from the diminutive
proportions of the GH1 and
succeeding GH2 into a
noticeably bigger body, and
they are no longer alone in the
small hybrid arena. So can
the Panasonic GH3 still offer
a winning combination of
portability, image quality
and features?
The GH3, now weather-
proofed, fits comfortably
enough in adult hands and it is
immediately apparent that,
although still not too heavy at
550g, this is a more substantial
camera, considerably bigger
than the micro four-thirds
competition like the Olympus
OM-D and much closer to
DSLRs in overall size.
In fact, the Panasonic GH3 is
almost exactly the same size as
the similar pixel count Sony
Alpha A57 DSLR, even if around
70g lighter. More soberingly, the
GH3 is larger than an APS-C
mirrorless camera with
considerably higher resolution
– the 24Mp Sony NEX-7.
One of the few criticisms we
had when reviewing the smaller
Olympus OM-D (B+W 148) was
that some of the buttons were
very small. With the Sony
NEX-7 (B+W 140) the camera
could feel unbalanced once
APS-C lenses were added. So
it is with bigger controls and in
the more balanced overall feel
that the increased size of the
Panasonic GH3 begins to
make more sense.
A multitude of well-sized
66 May 2013 B&W
66-67 Panasonic Lumix DMC MB/ER.indd 66
£1,549
Panasonic Lumix
DMC-GH3
Panasonic’s new camera is bigger than its predecessors,
but is it better? Andy Luck puts it to the test
buttons and controls adorn the from the eye (though, perversely, anasonic have kept to the
GH3’s increased surface area,
including two thumb dials, a rear
control wheel and five user-
assignable function buttons for
quick manual access to virtually
no longer the review button
which is now out of reach of the
right thumb). There are also
dedicated white balance, ISO
and exposure compensation
P 16Mp of the GH2 and
concentrated on
improving the light
gathering properties of the
sensor. This is immediately
every important feature without buttons, nestling within easy apparent, with better dynamic
the need to remove the camera reach of the shutter release. range and tonality from the new
camera and little drop in detail
up to ISO 1600. This is a good
performance for micro four-thirds
and much closer to APS-C
sensors. Jpeg detail is not quite
as crisp to my eye as those from
the Olympus OM-D, but in Raw
little difference is apparent.
While the GH3 pushes hard at
APS-C for stills quality, it can
also shoot video that meets
most broadcast requirements,
direct to card and in a variety of
formats, bettering pretty well
every DSLR for both quality and
functionality and in my own
tests even snapping at the heels
FROZEN FIELDS of much more expensive
The GH3 makes a welcome companion on landscape hikes as it weighs only dedicated cinema cameras.
550g and the lenses are much lighter than APS-C equivalents But this is not just a class-
Panasonic GH3 with 100-300mm lens, ISO 800, 1/400sec at f/8 leading video camera, there are
26/03/2013 15:41
 WINTER ROBIN
The new sensor in the GH3 is capable of good levels of detail, as shown by
the fine feathers and frosty branch in this image
Panasonic GH3 with 100-300mm lens, ISO 400, 1/400sec at f/6.3

also more stills-related features

than you can shake a large stick
‘This is a good
at. The headline features are the
responsive, fully articulating
performance for
touchscreen and brilliantly clear
EVF, with fully customisable
micro four-thirds
information overlay, including a and much closer
new level display. Add to this
the new Wi-Fi functions which to APS-C sensors’
can allow you not only to see
what your GH3 is seeing on
your phone or tablet, but also Likes
control the camera or upload Weatherproof body with
photos, and you have probably precision feel
the most flexible and functional Silent electronic shutter
of any current camera for Improved detail, tone and
composition, on-screen control dynamic range
and remote functionality. Manual controls
The GH3 also has a built-in Excellent touchscreen Technical Specifications
time-lapse function, which will and EVF
PRICE £1,549 (body only)
appeal to those keen to explore Broadcast video capability RESOLUTION 16.1Mp
the expressive possibilities in Still lighter than APS-C as LENS MOUNT Micro four-thirds
this hybrid area between stills a system for travel ISO Up to 12800 (expandable to 25600)
and video. SCREEN SIZE 7.5cm
AF has always been a strong Dislikes DIMENSIONS (wxhxd) 133 x 93 x 82mm
point of GH cameras and the Lack of focus peaking WEIGHT 550g
GH3 builds on this with accurate Limited AF tracking WEBSITE panasonic.co.uk
and almost instant lock-on in Review button pointlessly
most light levels. Also included moved out of right thumb Verdict
is a very useful Pinpoint AF range (why?) The GH3 has physically grown, but so has its capabilities,
function, which with a very fine Poor design of card door, which are among the most wide ranging. Combine this with
cross hair allows you to focus which is far too easy to an extensive and ultra portable lens system and there is little
through foreground obstructions slide open this manageable but now much tougher and virtually silent
that would defeat most AF Some minor current bugs camera cannot achieve for the adventurous photographer
systems, while providing a quick with Wi-Fi who needs to travel light.
magnified view before shooting
to confirm you have the target
focused – great for picking
subjects out in crowds.
Also of particular note is the
something revolutionary in a
serious interchangeable lens
camera that brings with it
fantastic advantages for discreet
Ratings
Handling
Performance
97%
97%
95%
Ov
new optional electronic shutter photography in public places: Specification 98% era
which is totally silent even at the think weddings, concerts or ll
maximum 6fps frame rate, wildlife – where silence is golden!
Value for money 89% B+W

B&W May 2013 67

66-67 Panasonic Lumix DMC MB/ER.indd 67 26/03/2013 15:41

 WINDOW
SHOPPING
1
COOL KIT FOR
PHOTOGRAPHERS

NIKON
NIKON C
COOLPIX
OOLPIX A
RRP £999.99 CONTACT nikon.co.uk

The 16.2Mp Coolpix A comes armed with a fixed Nikkor

wideangle 18.5mm f/2.8 lens plus DX-format CMOS sensor
and high ISO capability. The sensor unit does not incorporate
an optical low-pass filter, meaning it should provide superior
image quality.

HAHNEMÜHLE PHOTO
RRP From £14.50 for A4 x 25 sheets (Hahnemühle Photo Glossy
260gsm) CONTACT hahnemuehle.com
Hahnemühle FineArt have unveiled a new range of papers,
called Hahnemühle Photo. Four types are available: matt
fibre (200gsm), matt fibre duo (210gsm), glossy (260gsm)
and luster (260gsm).

CANOSCAN 9000F MARK II OLYMPUS M.ZUIKO ED

RRP £219 CONTACT canon.co.uk
Canon’s top of the range 9600dpi CCD scanner is designed
for high-speed photo, film and document scanning. It can
scan up to 12 x 35mm film strips or 4 mounted slides in a
single operation. It also supports 120 film format and can
produce quality scans from originals suffering from dust,
scratches or fading.
75-300MM LENS
RRP £499.99 CONTACT olympus.co.uk
The Olympus M.Zuiko ED 75-300mm f/4.8-6.7 II lens is a
telephoto zoom lens for micro four-thirds cameras. The high
performance lens is suitable for landscape, sport and wildlife.
It has a compact and lightweight construction and works with
the Olympus OM-D and Olympus Pen series cameras.

68 May 2013 B&W

68-69 WINDOW SHOPPING MB/ER.indd 68 19/03/2013 17:12

 QUICK TEST

WACOM INTUOS 5 TOUCH

RRP £329.99 CONTACT wacom.com

The Wacom Intuos 5 is a pen tablet made for photo o

sure
editing, design and art creation. It features a pressure
touch
sensitive grip pen, customisable keys and a multi-touch
ture
surface. I was particularly impressed with the gesture
technology and programmable buttons. Keyboard
commands can be assigned to buttons and presett
oard.
gestures, allowing the user to work without a keyboard.
The stylus also features buttons, and when
reversed can be used as an eraser.
The Intuos lives up to its name, providing a
natural, tactile experience when working on
pictures. It should also prove dependable. My
Wacom Bamboo tablet has lasted several years off
use, and is as reliable as the day I unboxed it.
mple
The Intuos 5 is an example of high standard, simple
design at its best. I would recommend it to anyone. e.
Alex Bailey

PANASONIC LUMIX DMC-TZ40 SONY NEX-3N

RRP £329.99 CONTACT panasonic.co.uk
Panasonic’s new camera offers a 20x optical zoom, full HD
video and Wi-Fi connectivity. The 18.1Mp camera comes with
a 24mm Leica DC lens plus a touchscreen monitor and GPS.
It’s available in black, white, silver or red.
RRP £399 (with 16-50mm lens) CONTACT sony.co.uk
The Sony Nex-3N is described as the world’s smallest, lightest
interchangeable lens camera. It has a 16.1Mp sensor and a 7.5cm
screen that will flip through 180 degrees for self-portraits. The
camera offers ISO sensitivity to 1600 and shoots full HD movies.
B+W

B&W May 2013 69

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 CHECKOUT ULTRA WIDEANGLE LENSES
If you love landscapes, wildlife or architecture, but feel frustrated by
the angle of view offered by standard focal lengths, maybe it’s time
to broaden your horizons with an ultra wideangle optic.
Daniel Calder looks at six of the best
OLYMPUS ZUIKO DIGITAL ED
7-14MM 1:4.0
GUIDE PRICE £1,450 CONTACT olympus.co.uk
Any landscape
FOUR
THIRDS
photographer in
possession of a
DESIGN
four-thirds system
will be keen to own the pro-
spec Zuiko Digital ED 7-14mm
1:4.0 from Olympus. This ultra
wideangle lens overcomes
the system’s two-time crop
factor to deliver a focal length
equivalent to 14-28mm on
a 35mm camera. It also
boasts a constant aperture
of f/4 throughout its range.
Furthermore, it is beautifully
engineered. The dust and
splash proof metal housing
contains 18 elements in 12
groups, which employ Super
ED and ED coatings to limit
chromatic aberrations and
fringing. Although the domed
front element looks vulnerable
to knocks as it extends
beyond the casing, a fixed
hood offers some protection.
70 May 2013 B&W
70-72 CHECKOUT WIDEANGLE MB/ER.indd 70
CANON EF 16-35MM F/2.8L II USM
GUIDE PRICE £1,130 CONTACT canon.co.uk
As a member of long-term Canon users as
FULL- Canon’s top of the the lens accepts 82mm filters
FRAME range L series of rather than the typical 77mm
lenses, the Canon size, requiring another trip
EF 16-35mm f/2.8L II USM to the shops. That said, the
offers superb build quality, and EF 16-35mm f/2.8L II USM
a performance that would not comes with Canon’s EW-88
disappoint a pro photographer. metal hood to help protect the
Of course, these attributes glass from bumps, and a soft
do not come cheap, but the carry pouch for storage. This
fast and near silent autofocus lens is designed for Canon’s
system (with full-time manual full-format cameras, but it will
override) certainly helps to also work on APS-C sensors,
justify the price. Plus, the class- operating to a 26-57mm
leading f/2.8 maximum aperture equivalent focal length.
is achievable throughout the
entire focal length. Two Ultra
Low Dispersion elements TECH SPECS
reduce chromatic aberrations, 35mm equiv. focal length 16-35mm
while Super Spectra coatings Aperture f/2.8-f/22
limit flare and ghosting. The Minimum focusing distance 28cm
lens is also resistant to dust Filter size 82mm
and moisture, although to Lens construction
16 elements, 12 groups
truly seal the optic you will
Diameter x length 88.5 x 111.6mm
need to attach a filter. This
Weight 640g
may be slightly annoying for
TECH SPECS
35mm equiv. focal length 14-28mm
Aperture f/4-f/22
Minimum focusing distance 25cm
Filter size Not compatible
Lens construction
18 elements, 12 groups
Diameter x length 86.5 x 119.5mm
Weight 780g
Unfortunately, this safeguard
is included at the expense of
a filter thread. The motorised
manual focus and zoom rings
operate smoothly, and the
short zoom range is completed
within a 90° turn. But you
can’t have it all. The qualities
that make this lens so good
also make it the heaviest and
most expensive optic on test.
It comes with a soft storage
pouch, plus other accessories
are available separately,
including a tele-converter.
19/03/2013 17:14
 ULTRA WIDEANGLE LENSES

NIKON AF-S DX NIKKOR TOKINA AT-X 116 PRO DX

10-24MM F/3.5-4.5G ED GUIDE PRICE £530 CONTACT tokina.eu
GUIDE PRICE £645 CONTACT nikon.co.uk
Competing
BRILLIANT against Canon
VALUE and Nikon’s own
lenses is no easy
task, yet Tokina has produced
an 11-16mm lens for APS-C
sensors that is wide, fast and
cheaper than the own-brand
alternatives. Impressively,
the f/2.8 aperture is available
throughout the focal
range, which is equivalent
to 17-25mm on a 35mm
camera. Build quality is not
compromised either, as this
tough little lens is made from
a mixture of polycarbonate
and metal. Internal focusing
ensures the lens zooms within
its casing and the lack of
rotation allows the use of a
polariser on the 77mm thread.
However, the AT-X 116 PRO DX
uses a standard micro-motor
for autofocusing, which does
emit a noticeable noise and
could be quicker. In addition,
there is no full-time manual
focus override. To switch
from auto to manual you must
move the entire focus ring
backwards before finely tuning
the result. Plus, the relatively
short zoom of only 5mm may
be an issue for photographers
who require greater flexibility.
Like all the ultra wideangle
lenses included in this test,
the AT-X 116 PRO DX comes
with a hood to protect the
glass from getting knocked,
and to reduce exposure to
strong light.
TECH SPECS
35mm equiv. focal length 17-25mm
Aperture f/2.8-f/22
Minimum focusing distance 30cm
Filter size 77mm
Lens construction
13 elements, 11 groups
Diameter x length 84 x 89.2mm
Weight 560g

The Nikon AF-S ‘Impressively, the f/2.8 aperture is available

NIKON DX Nikkor 10-
RELIABILITY 24mm f/3.5-4.5G
ED is a mid-
price optic that offers the
widest rectilinear zoom of
any DX fitting lens. Nikon’s
DX cameras sport APS-C
size sensors, which make
the angle of view of this lens
equivalent to a 15-36mm lens
on a 35mm camera. As well
as being compatible with any
Nikon DX DSLR, the lens also
works with any FX (full frame)
camera that can switch to
DX mode. Although it lacks
the finish and materials of
pro-spec lenses, the AF-S
DX Nikkor 10-24mm f/3.5-
4.5G ED is pretty robust, and
has a rubber seal around its
metal mount to offer some
protection from dust and
moisture. It does, however,
benefit from ED (Extra-low
TECH SPECS throughout the focal range, which is equivalent
35mm equiv. focal length 15-36mm
Aperture f/3.5-29 to 17-25mm on a 35mm camera’
Minimum focusing distance 24cm
Filter size 77mm
Lens construction
14 elements, 9 groups
Diameter x length 82.5 x 87mm
Weight 460g
Dispersion) glass to combat
chromatic aberrations. The
lens extends a little during
zooming, but the front does
not rotate, so it’s possible
to use a polariser on the
77mm filter thread. Plus, the
Silent Wave Motor (SWM)
ensures autofocus is fast and
quiet, and can be overridden
instantly with a twist of the
manual-focusing ring. To
complete the package, a HB-
23 plastic hood and CL-1118
pouch is included.

‘As well as being compatible with any Nikon

DX DSLR, the lens also works with any FX (full
frame) camera that can switch to DX mode’
Continues over

B&W May 2013 71

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 ULTRA WIDEANGLE LENSES

SIGMA 8-16MM F/4.5-5.6 DC HSM TAMRON SP AF 10-24MM F/3.5-

GUIDE PRICE £450 4.5 DI II LD (IF)
CONTACT sigma-imaging-uk.com GUIDE PRICE £400 CONTACT tamron.eu

For those on a can be used without difficulty.

ECONOMICAL budget, or wishing to
OPTION experiment with an
ultra wideangle lens,
the Tamron SP AF 10-24mm
F/3.5-4.5 Di II LD (IF) is available
for around £400. It is designed
to work with APS-C sensors
and will fit on to the appropriate
Canon, Nikon, Pentax, Minolta
and Sony cameras. Despite
being the cheapest lens on test,
it is part of Tamron’s high-end
SP range and is made to a high
standard in tough plastic as well
as utilising LD (Low Dispersion)
glass to minimise chromatic
aberrations. Obviously there are
some compromises to be made
though, and one of them is the
internal focusing motor, which
is somewhat noisy in action.
Plus, the lens physically extends
while zooming, but because it
doesn’t rotate, screw-in filters
The short, stubby design of
the lens means that the rear
zoom ring and front focus ring
occupy most of the barrel. Both
perform smoothly, but there
is no full-time manual override
option. Instead a small,
well-positioned switch flicks
between auto and manual
focus. To offer protection from
bumps and strong light, the
lens comes with the AB001
petal-style plastic hood.
TECH SPECS
35mm equiv. focal length 16-37mm
Aperture f/3.5-f/22
Minimum focusing distance 24cm
Filter size 77mm
Lens construction
9 elements, 12 groups
Diameter x length 83.2 x 86.5mm
Weight 406g

Sigma offers no
EXTREMELY less than four ultra
WIDE wideangle zoom
lenses, and the
8-16mm f/4.5-5.6 DC HSM
is not only the widest optic
offered by the company, but
the most extreme rectilinear
(non-fisheye) ultra-wide lens
currently available anywhere.
It is designed for APS-C
sensors and will fit Sigma,
Nikon, Canon, Sony and
Pentax cameras. The 35mm
angle of view equivalent is
approximately 12-24mm,
and this makes the lens
a terrifically creative tool,
quite unlike any other on
the market. Despite the lens
offering great depth of field,
landscape photographers
should exercise caution, as
filters are all but unusable
(due to vignetting) without
a DIY adaptation or a third-
party compromise. The
bulbous shape of the lens
TECH SPECS
35mm equiv. focal length 12-24mm
Aperture f/4.5-f/22
Minimum focusing distance 24cm
Filter size 72mm
Lens construction
15 elements, 11 groups
Diameter x length 75 x 105.7mm
Weight 555g
may offer benefits in terms
of image capturing, but can
seem vulnerable to knocks,
as well as being prone to
ghosting. To address these
problems, Sigma has fixed a
metal hood to the end of the
lens and included four FLD
(F Low Dispersion) elements.
Meanwhile, the HSM (Hyper
Sonic Motor) produces fast ‘Despite being the cheapest lens on test, it is
and quiet autofocusing, which
can be overridden at any time
part of Tamron’s high-end SP range and is
with the manual focus ring. made to a high standard in tough plastic as
A protective sleeve and
padded carry case are
well as utilising LD (Low Dispersion) glass to
included in the package. minimise chromatic aberrations’

72 May 2013 B&W

70-72 CHECKOUT WIDEANGLE MB/ER.indd 72 19/03/2013 17:14

 Hahnemühle Photo
Digital Photo Media
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Hahnemühle FineArt, the pioneers of digital fine art paper, present a new entry level range
for inkjet printing. Hahnemühle Photo includes the first two PE papers with a micro-porous
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Photo Glossy 260 is a high-gloss PE paper with a micro-porous coating, allowing

you to achieve image results of the quality provided by photographic laboratories.
Photo Luster 260 is also a PE paper and features a satin finish, producing prints of
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www.hahnemuehle.com

073_BW_150.indd 73 26/3/13 16:33:24


BEHIND THE
SCENES AT
THE NATIONAL
MEDIA MUSEUM
Colin Harding
looks back at the
colourful life of
Oscar Rejlander
t the risk of
A
offending readers
from the West
Midlands, I must
start this month’s
column with a confession.
I have never had any desire or
need to visit Wolverhampton.
Soon, however, this situation
will almost certainly change,
because later this year
Wolverhampton Art Gallery
will be staging a major
photographic exhibition to mark
the bi-centenary of the birth of
one of the city’s most famous
sons – Oscar Gustave Rejlander,
‘The Father of Art Photography’.
74 May 2013 B&W
74-75 BEHIND THE SCENES MB/ER.indd 74
‘The Father of Art Photography’
Very little is known about
Rejlander’s early life. In his
obituary the Photographic News
wrote: ‘Of the early life of Mr
© National Media Museum/SSPL
Rejlander, we have but a brief
record, derived from his incidental
remarks in conversation.’
Even the fact that he was born
in 1813 is conjecture – deduced
from the age written on his
death certificate. A flamboyant,
colourful, theatrical figure,
Rejlander may well have actively
cultivated a sense of mystery
surrounding his origins.
Probably born in Sweden
(even this is not certain), as a
young man, Rejlander studied
painting, later moving to Rome
where he made a living making
copies of Renaissance paintings.
It was perhaps as a result of his
early experience as a painter
that Rejlander realised how
useful photography could be to
artists. He claimed this moment
of revelation came in 1852
after he had bought some
photographic reproductions of
classical sculptures and was
captivated by how photography
succeeded in capturing the
complicated folds of drapery.
The precise date that
Rejlander arrived in Britain isn’t
known, but by the early 1840s he
was living in Lincoln, working as
a portrait painter, before settling
in Wolverhampton in 1846.
In 1852 Rejlander took up
photography. He later claimed
that he was almost entirely
self-taught, his instruction being
confined to a single afternoon’s
tuition from Nicholaas
© Royal Photographic Society Collection at NMeM/SSPL
19/03/2013 17:15

Henneman, William Henry Fox
Talbot’s former valet and
assistant. However, given the
complexity of the wet-plate
process which Rejlander used, this
claim seems somewhat unlikely.
Rejlander’s choice of
photographic subject matter
was clearly influenced by the
works of art he had studied as
a young man. He favoured
sentimental genre studies,
narrative tableaux and portraits
with a strong theatrical or
emotional element. Unlike
many of his contemporaries,
he was also prepared to reveal
a sense of humour in his work.
ejlander pioneered the
R painstaking technique
of combination
printing – combining
several different
negatives to create a single final
image. In 1857 he used this
technique to produce his best
known photograph, an
allegorical tableau entitled The
Two Ways of Life, created using
more than 30 separate negatives.
This work was extremely
controversial at the time since it
included a number of nude
figures. However, Queen Victoria
was clearly impressed since she
bought a copy as a gift for her
beloved Albert after seeing it
exhibited at the Manchester Art
Treasures Exhibition.
In 1862 Rejlander moved to
London. In 1871, impressed
by the naturalness of his
photographic portraits, Charles
Darwin commissioned Rejlander
to provide the illustrations for
his book On the Expression of the
Emotions in Man and Animals.
Despite being very ill with
diabetes, Rejlander threw
himself into the task with great
enthusiasm, even posing himself
for several of the studies.
In 1875, despite a long and
prolific career, Rejlander died in
poverty. Following his death, 140
of Rejlander’s prints and 60 of his
wet collodion glass negatives
were acquired from his widow by
the Royal Photographic Society.
These are now at the National
Media Museum. At a ceremony
held in November last year,
Rejlander’s previously unmarked
74-75 BEHIND THE SCENES MB/ER.indd 75
OPPOSITE PAGE
TOP A Night in Town, c.1860
BOTTOM The Two Ways of Life, 1857
THIS PAGE
TOP Gustave Dore, c.1860
ABOVE Pleading, c.1860
grave in Kensal Green cemetery
had a new commemorative stone
placed on it, funded by donations
from Wolverhampton
Photographic Society.
Rejlander was convinced that
© Royal Photographic Society Collection at NMeM/SSPL
Colin Harding is responsible
for the National Photographic
Technology Collection. As
well as permanent galleries
on the history of photography,
Colin has curated a number
of exhibitions and has written
books and articles on the
history of photography and
cinematography. He is a
© Royal Photographic Society Collection at NMeM/SSPL regular broadcaster on radio
and television. In 2004 Colin
received the Royal Photographic
Society’s prestigious John
Dudley Johnston Award for his
contributions to photographic
history. He is a visiting lecturer
at the University of Leeds and De
Montfort University, Leicester,
and is on the editorial board of
Early Popular Visual Culture.
THE NATIONAL
MEDIA MUSEUM
The National Media Museum is
home to over 3.5 million items of
historical significance. It looks
after the National Photography,
National Cinematography,
National Television and National
New Media collections.
National Media Museum,
Bradford, West Yorkshire;
0844 856 3797;
nationalmediamuseum.org.uk
photographs could not only be a from still nature, but productions
useful tool for artists but also an of mind and thoughtful study,
art form in their own right and and which, when gazed on,
he aspired to raise photography raise emotions and feelings
to the status of art. The verdict of similar to those awakened at
the Art Journal on his work the sight of some noble sepia
would have delighted him: sketch, the handiwork of a
‘Late years have shown that good draughtsman. Of Mr
more can be done than we at Rejlander’s pictures (for such
one time thought possible, and we may justly call them) we
that results are obtainable from have no hesitation in saying
lens and camera, which are not that they are full of beauty
merely imitations and copies and full of mind.’ B+W
B&W May 2013 75
19/03/2013 17:15
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 T
he Creative Process.
A FORTNIGHT There...I’ve said it. It’s
one of those phrases
AT F/8 that I find slightly
annoying and obtuse. A bit like
the Human Condition. What
exactly does it mean?
Tim Clinch Have any of you ever been
on a professional advertising
on being creative shoot? I ask this because I’m
(or not) becoming more and more
convinced that my professional
life is actually getting in the
way of the aforementioned
Creative Process.
I have an agent in Madrid,
Tim Clinch has Freddy. He’s a very old friend
been a professional from the days when I lived
photographer for there in the 90s. Last year
more than 30 he got me a big but rather
years, working for strange commission for a large
some of the top supermarket chain. It was for a
publications large poster to be used all over
including House & Garden, Country Spain and Portugal, and it was
Living, Tatler and Harpers & Queen. a picture of a steak, on a white
He has published a number of plate, on a white tablecloth.
books and runs workshops in Now, I do this for my living,
France and Spain. and it’s not as easy as it was to
78 May 2013 B&W
78-79 Fortnight at f-8 MB/ER.indd 78
earn that living these days, so
I’m not complaining but, even
so, this was, by any standards,
a strange one. After lots of
phone and Skype discussions
all was decided. Flights were
booked, studios were reserved,
a stylist was chosen, and
meetings with clients were held.
Two meetings. In Madrid.
On the day of the shoot,
I arrived early with my agent
(who also, incidentally, owns
the hire studio we were
shooting in) and started setting
up what I thought they would
need. Freddy had arranged two
assistants, a lighting technician
and a ‘digi-tech’, in charge of
the computer (we’d be shooting
‘tethered’ so the client could see
exactly what we were getting).
First person to arrive was
the stylist, who I knew from
my days in Madrid. She had,
literally, a car full of props,
which were unloaded, and
arranged on a couple of large
tables for the clients to peruse.
Next were the steaks. LOTS of
steaks. Boxes and boxes and
boxes of steaks...accompanied
by a home economist from
the supermarket, who was to
administer make-up and coo
soothing words to the chosen
slice of cow to ensure that it
looked its best during its brief
time in the spotlight. Then,
one by one, the clients started
arriving. Hi, I’m Enrique from
the agency, Hello, I’m Juan from
the client’s office, Hola Tim, soy
Carmen, the account director,
all of whom were charming
and friendly and proffered their
business cards with a smile.
D
iscussions started.
Discussions about
which of the 50 or so
white plates would
look best on which of the 50 or
so white tablecloths. Discussions
about which of the HUNDREDS
of steaks on offer was to be our
Kate Moss. I swear at some point
someone actually got a ruler
out and started measuring the
amount of fat on the steaks.
Dear reader, I counted them.
I’d popped outside to take a
phone call, and when I came
back, amazed at all the fussing
around, furrowed brows and
earnest discussions going
on, I counted them. There
were 19 people in the studio.
NINETEEN! Good grief.
For a steak on a plate!
This was the point at which
I started pondering about the
creative process. Frankly, I felt
slightly superfluous. Yes, they
needed me there, if only, if I’m
honest, to press the shutter. The
excellent lighting technician
had done exactly what I’d asked,
the pictures flashed up on to
the screen instantly, the plate
sparkled, the tablecloth had
a sheen that could only have
been achieved by being ironed
by a professional stylist, and
the steak simpered and pouted
like a diva on the red carpet.
My input? The shot was in
focus, correctly exposed and the
client(s) went away happy…
and that’s about it.
I guess it’s age. I HAVE been
doing this a long time after all,
but these days I’m at my happiest
19/03/2013 17:16

pottering about working on my
projects. Taking my funny little
still lifes. Shooting my deep and
meaningful portraits of wrinkly
78-79 Fortnight at f-8 MB/ER.indd 79
old quinces. Trying to take
a picture to emulate the sparse
beauty of a painting by Giorgio
Morandi. Enjoying more
All pictures © Tim Clinch
and more the creative process
which I go through in my own
personal work.
Am I falling out of love with
photography? Absolutely not!
I get more enjoyment out of
my projects and out of some of
the wonderful work by other
photographers I’m seeing than
ever before. Am I falling out of
love with my day job? Well, at
the risk of sounding like a jaded
old curmudgeon, maybe, for the
very first time, I have to admit,
just a bit.
So for those of you out there
enjoying what you achieve in
your photography, embarking
on a new, exciting personal
project thinking that, if this
next one goes well, maybe you
should consider turning pro…
Be careful what you wish for.
‘Am I falling out of love
with photography?
Absolutely not!’
WHAT TIM
DID THIS
MONTH
To see more of
Tim Clinch’s work visit
timclinchphotography.com
Having gone on about it quite
a lot here, and having finally
sold it as I just couldn’t get
used to how complicated it was,
I’ve been amazed at how much
mail I’ve received about the Fuji
X10. I guess Fuji must be doing
something right as there are a
lot of people out there obviously
in love with theirs. My all-time
favourite camera was a Fuji (my
much loved GX680, a BRILLIANT
camera!), and I’d love to find a
compact that I could fall in love
with. I have heard wonderful
things about their X-Pro1 – so if
anyone from Fuji reads this and
wants to send me one to have
a play with…
Can I urge you all to find
out more about Spanish
photography? They’re having
a tough old time over there at
the moment, but their attitude
to photography is a joy. Get to
Madrid if you can and soak up
some of the wonderful work on
show in little galleries all over
the city. And while you’re there,
have a glass of rioja for me…
I miss the place!
The pictures this month
are a couple of my ‘deep and
meaningful portraits of fruit’, and
a picture of some enamel plates
in France, which is there simply
because they’re round and fit in
rather nicely with the fruit!
And the photographer I’ve
chosen for your perusal this
month is the quite wonderful
(and possibly quite bonkers)
O. Winston Link. Mr Link loved
the railroad, and his pictures of
steam trains passing through the
American mid-west at night in
the 1950s and 60s, lit up with
phenomenal amounts of flash,
are breathtaking. There’s a
museum dedicated to his work in
Virginia and, frankly, if his work
doesn’t bring a smile to your
face, I give up.
linkmuseum.org
B+W
B&W May 2013 79
19/03/2013 17:16
 THE
LIBRARY
SO FAR...
1 The Americans by Robert Frank
2 Camera Lucida by Roland Barthes
3 The Animals by Garry Winogrand
4 On Photography by Susan Sontag
5 Paris by Night by Brassai
6 Self-portrait by Lee Friedlander
7Land by Fay Godwin
8 Examples: The Making of 40
Photographs by Ansel Adams
9 American Photographs
by Walker Evans
10 Approaching Photography
by Paul Hill
11 The Family of Man
created by Edward Steichen
12 For Most of It I Have No Words
by Simon Norfolk
13 Diane Arbus
edited by Doon Arbus & Marvin Israel
14 Open Skies by Don McCullin
15 To the Dogs by Elliott Erwitt
16 An English Eye: The Photographs
of James Ravilious by Peter Hamilton
17 The Photograph by Graham Clarke
18 Suburbia by Bill Owens
19 The Nature of Photographs
by Stephen Shore
20 Workers: An Archaeology of the
Industrial Age by Sebastião Salgado
21 The Human Figure in Motion
by Eadweard Muybridge
22 Edward Weston 1886-1958
edited by Manfred Heiting
23 England Observed:
John Gay (1909-1999)
24 Bernd & Hilla Becher: Basic
Forms of Industrial Buildings
25 Looking at Photographs:
100 Pictures from the Collection
of the Museum of Modern Art
by John Szarkowski
26 Henri Cartier-Bresson:
The Man, The Image & The World
A Retrospective, with text from
various authors
27 Why People Photograph
by Robert Adams
28 On This Earth, A Shadow Falls
by Nick Brandt
80 May 2013 B&W
80-81 BUILDING A LIBRARY MB/ER.indd 80
BUILDING A CLASSIC
PHOTOGRAPHY LIBRARY
Eugène Atget (Photofile)
by Françoise Reynaud
With a crater on the
48 planet Mercury and a
street in Paris named after
him, it’s hard to believe that French
photographer Jean-Eugène-Auguste
Atget was largely unknown until
after his death in 1927.
The son of a carriage builder
from Libourne, Atget was
orphaned in 1862 (at the age of
five) and subsequently raised by his
maternal grandparents in nearby
Bordeaux. After leaving school he
joined the merchant navy, serving
on transatlantic voyages before
moving to Paris in 1878.
Shortly after his arrival he
applied, at first unsuccessfully, to
study acting at the Conservatoire
national de Musique et d’Art
dramatique. Before sitting the
entrance exam for a second time,
Atget was obliged to begin his
national service, a duty that
would last four years.
In 1879 he reapplied to the college
and was soon attending classes run
LIBRARY EXTRAS EUGÈNE ATGET
Notable Books Museum of Modern Art
Between 1981 and 1985 John
Szarkowski and Maria Morris
Hambourg produced four volumes
focusing on Eugène Atget:
Old France (1981) contained
121 plates and featured an essay
entitled Atget and the Art of
Photography.
The Art of Old Paris (1982)
featured 117 plates and a
full biography.
The Ancien Régime (1983)
displayed 120 plates and an essay
called The Structure of the Work.
Modern Times (1985)
comprised 117 plates and an essay
entitled Understandings of Atget.
Atget by John Szarkowski,
2004, published by the
by actor and professor Edmund Got.
Despite showing some promise as a
drama student, Atget’s commitment
to the navy left him with little time
to study and he was soon struggling
to keep up with college work. After
failing his exams, he was expelled
from the conservatoire and spent
the next year serving with
a regiment in Tarbes.
Having been released from the
navy, Atget returned to Paris in
1882 and continued to pursue his
dream of becoming an actor. His
determination led to a number of
minor parts but, as Lori Oden from
the International Photography
Find room on the
shelf because...
Eugène Atget is the ideal
introduction to a man
who created the ultimate
portfolio of old Paris.
ISBN 978-08707-0-094-1
First released in 2000, this
hardback features a hundred
of Atget’s prints from the MoMA
archive, with text from Szarkowski
(who was head of the museum’s
department of photography from
1962 to 1991).
Eugène Atget 1857-1927 by James
Borcoman, 1984, published by
the National Gallery of Canada
ISBN 978-02265-6-273-5
This oversized hardback perfectly
illustrates Atget’s systematic
approach to photography.
Eugene Atget, 2001, published
by Phaidon Press Ltd
ISBN 978-07148-4-049-9
Hall of Fame notes, ‘He was not an
attractive man and was never given
a role as the lead or co-star.’
During this time the young
hopeful met actress Valentine
Delafosse Compagnon, whom he
later married. In 1887 he caught
a serious throat infection, which
forced him to abandon his acting
career. As a result, he took up
painting, before finally settling on
photography in 1890.
To start with, Atget produced
‘documents for artists’: studies
of flowers, interiors, courtyards,
monuments and animals intended
as reference material for architects,
painters and set designers. Notable
clients included Man Ray, Georges
Braque and André Derain.
By 1897, however, he had begun
to adopt a more personal approach,
turning his attention to what author
Françoise Reynaud describes as
‘more general views…town and
country landscapes…things which
characterised an epoch or a style.’
One of the Phaidon 55 series
(each book covers the main
themes and ideas of an artist in
55 images). Features an essay
by John Szarkowski.
A Vision of Paris: The
Photographs of Eugène Atget;
The Words of Marcel Proust,
1963, published by Macmillan
ISBN 978-00262-0-160-5
Pictures of the capital and its
environs taken from the collection
of Berenice Abbott. The prints
are accompanied by text from
the French novelist, critic and
essayist Marcel Proust.
Selected Exhibitions
Atget’s Gardens, The Royal
Institute of British Architects
19/03/2013 17:17

round this time Atget
A
began to explore the old
quarters of Paris, resulting
in a series of photographic
postcards for publisher V. Porcher.
For the next three decades (aside
from a brief hiatus during World
War I) he trained his lens on the
doorknockers, staircases, churches,
balconies, parks, houses and hotels
of Paris and its environs, never
straying from the utilitarian style
he had perfected at the turn of
the century. While his work was
included in a number of public
collections, it was the sale of 2,621
negatives to the Beaux-Arts gallery
in 1920 that brought his portfolio to
the attention of artists and critics.
When Atget died in 1927 a
large proportion of his archive
was purchased by American
photographer Berenice Abbott
(with assistance from art dealer
Julien Levy). Abbott had befriended
Atget in 1925 and was keen to share
his talents with a wider audience.
Thanks to her efforts, which
included writing about his work
as well as printing and exhibiting
original material, Atget received the
recognition he deserved.
In 1968 the Abbott/Levy
collection was acquired by the
Museum of Modern Art in New
York. According to Reynaud, this
procurement ‘gave rise to deep
studies of his life, his method
of taking photographs, how he
(RIBA), London, 1979
A selection of more than
70 images focusing on Atget’s
garden photography.
The Work of Atget. Between 1981
and 1984 four exhibitions toured
the US under this title
Organised by the Museum of
Modern Art, and accompanied by
a four volume series of books.
Eugène Atget: Unintentional
Surrealist, Victoria & Albert
Museum (V&A), London,
29 January to 22 July 2007
Urban scenes selected to support
the idea of Atget as a forerunner
to surrealism.
Eugène Atget: Old Paris,
Art Gallery NSW, Sydney,
80-81 BUILDING A LIBRARY MB/ER.indd 81
organised his work and his clientele.’
This acknowledgement of Atget’s
achievements led to a number
Eugène Atget (ISBN 978-0-50041-062-2) is published by Thames & Hudson.
24 August to 4 November 2012
More than 200 rare and original
prints looking at the buildings,
gardens, shops and streets of Paris
during a period of great change.
Print prices
A titled, numbered print of
St Cloud, 1922 sold at Christie’s
for £34,560 ($56,250) in
October 2009.
If you are interested
in this subject you
may also like
Elliott Erwitt’s Paris,
published by teNeues, 2010
ISBN 978-3-83279-414-9
Lavish, coffee table book with
excellent reproduction values.
of noteworthy books including
Eugène Atget (Photofile).
Tracy Hallett
Contains work from 1949 to 2010.
Introduction by Adam Gopnik.
Paris by Night by Brassai,
published by Flammarion, 2001
ISBN 978-2-08010-591-2
First released in France in 1933,
this sympathetic reprint contains
62 night scenes captured by the
late, great Brassai. The book also
features an essay by novelist and
diplomat Paul Morand.
Paris Mon Amour,
published by Taschen, 2004
ISBN 978-3-82283-541-8
Work from the likes of
Cartier-Bresson, Steichen,
Doisneau and Brassai displayed
alongside that of lesser-known
artists. Introduction by
Jean-Claude Gautrand.
29 Masters of Starlight:
Photographers in Hollywood
by David Fahey & Linda Rich
30 Why Photographs Work: 52 Great
Images – Who Made Them, What
Makes Them Special and Why
by George Barr
31 Lartigue: Album of a Century
by Martine d’Astier, Quentin
Bajac and Alain Sayag
32 The Shipping Forecast
by Mark Power
33 Collecting Photography
by Gerry Badger
34 Summer Vacation/
Found Photographs
35 Edge of Darkness
by Barry Thornton
36 On Being a Photographer
by David Hurn and Bill Jay
37 The Tao of Photography
by Philippe L Gross and S.I Shapiro
38 Tir A’Mhurain: The Outer
Hebrides of Scotland by Paul Strand
39 Tony Ray-Jones
by Russell Roberts
40 Paul Strand: Southwest
with text by Rebecca Busselle
and Trudy Wilner Stack
41 Coincidences:
Photographs by Sarah Moon
42 Irving Penn: Small Trades
with text by Virginia A Heckert
and Anne Lacoste
43 Recollections by
Philip Jones Griffiths
44 Lisette Model
with a preface by Berenice Abbott
45 Living in Wales
by David Hurn
46 Faces: The Creative Process
Behind Great Portraits
by Jane Bown
47 Eve Arnold’s People
edited by Brigitte Lardinois
48 Eugène Atget (Photofile)
by Françoise Reynaud
23 B+W
B&W May 2013 81
26/03/2013 15:43
 INTERVIEW 60-SECOND EXPOSURE
Street photographer Tany Kely took up photography four years
ago, but has already received numerous awards for her work.
Here she talks about her personal projects and the frustration
All pictures © Tany Kely
of wasted time. Edited by Tracy Hallett

Having plucked up the courage

to buy a camera just four years
ago, French photographer Tany
Kely has already participated
in exhibitions as far afield as
Cambodia and received awards
in the US and UK. A newspaper
journalist by trade, Tany enjoys
tracking down photogenic street
scenes, likening the experience to
a hunt. Her work focuses on the
interaction between humans and
their urban environment. Paris (France) from the Homo Urbanicus series

What is your favourite
photographic book?
Magnum Contact Sheets by Kristen
Lubben (published by Thames &
Hudson). This book contains more
than 120 contact sheets selected by
Magnum photographers or their
estates. Trying to work out why
Cartier-Bresson, Elliott Erwitt,
Bruce Gilden or Trent Parke chose
one picture over another makes
you look at your own work in
a fresh way.
Tell us your favourite
photographic quote.
‘You have to like loneliness to
be a photographer.’ (French
photojournalist and film-maker
Raymond Depardon).
What is the worst photographic
mistake you’ve ever made?
I once underexposed a series of
pictures that had the potential
to be great – they were almost
completely black!
tany-kely.com). Most of the
population now live in a city
or town and my images
show these urbanites as
anonymous figures in a cold,
geometric environment.
Why does black & white
appeal to you?
When colour is removed you
can focus on texture, contrast,
lines and curves.
What is the worst thing about being
a professional photographer?
Not having enough time to
concentrate on personal projects.
What single thing would improve
your photography?

What is your worst Who would join you in your ultimate

photographic habit?
Deleting pictures from my SD
card without reviewing them on
a larger monitor (preferably a
computer) first.
Which piece of kit could
you not be without?
Generally speaking, I like to travel
light. But I’m often out shooting
all day, so I always pack plenty
of memory cards and batteries.
camera club (dead or alive)?
Alex Webb for his original
and inventive compositions,
Daido Moriyama for his high
contrast black & white images
and Constantine Manos for his
striking colour work.
What is your greatest photographic
achievement to date?
I’m particularly proud of my
Homo Urbanicus series (see Shanghai (China) from the China: A Way Of Life series

82 May 2013 B&W

82-83 SIXTY SECOND EXPOSURE MB/ER.indd 82 26/03/2013 15:44

 New York (USA) from the New York Moods series
I would love to be a better
photojournalist but my reflexes
are not that great and my
technique could be better.
I am improving, gradually.
What would you say to your
younger self?
Take up photography now! I’m
40, and I only started taking
pictures four years ago. I feel sad
about the wasted time.
Describe your photographic
style in three words.
Considered. Geometric. Human.
What has been your most
embarrassing moment as
a photographer to date?
I can’t recall anything particularly
humiliating, but it’s true that
we often choose to forget
bad experiences.
What has been the most pressure you
have been under as a photographer?
Every time I prepare an exhibition
I feel under pressure. I’m actually
much more comfortable behind
the camera.
82-83 SIXTY SECOND EXPOSURE MB/ER.indd 83
If you could assist one (living) photography requires a natural I could spend hours looking at
photographer who would it be? eye; technology is useless photographs by Josef Koudelka,
Icelandic photographer Ragnar without it. particularly his coverage of the
Axelsson – I admire his technique invasion of Prague, and gypsies
and his compositions are faultless. What was the last piece of throughout Europe. Koudelka has
I know I would learn a lot by photographic kit you bought? been a Magnum photographer
observing him. Two years ago I bought a Zeiss since 1971 and has exhibited
25mm f/2 lens for my Leica M9. worldwide, including notable
Which photographic website This combination isn’t cheap, but shows at the Museum of Modern
do you visit most often? it’s perfect for street photography Art in New York and the
I look at a dozen or so photographic and long trips. Hayward Gallery in London.
websites or blogs every day. I’m
mainly interested in the work of Which exhibition could you have To see more of Tany’s work
individual street photographers spent a month in? visit tany-kely.com
such as Shin Noguchi (see
shinnoguchiphotography.com),
Ed Peters (see epetphoto.
com) and Shane Gray
(shanegrayphotography.com), but
I love discovering new artists too.
I also visit the New York Times
photo blog (lens.blogs.nytimes.
com) daily – some of the topics are
hard-hitting, but the pictures are
always fascinating. You can learn
a lot by studying and admiring the
work of others.
Which is more important, good
technique or a natural eye?
Both of these are useful, but Bordeaux (Gironde, France) from the Signs series B+W
B&W May 2013 83
19/03/2013 17:18
 What Does This Button Do?

To Find Out...

...Get an EasyApp Guide

Go to iTunes and search for Ammonite Press to find the app for your camera,
or scan the QR code to the right, with your phone’s barcode scanner

easyAPP

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 ©Arteh Odjidja

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Printer Stephens & George Print Group Fax: +44(0) 1273 402866
Distribution Seymour Distribution Ltd or visit www.thegmcgroup.com

Black+White Photography (ISSN 1473-2467) is published every four weeks by GMC Publications Ltd
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B&W May 2013 87

87 HOW TO SUBMIT MB/ER.indd 87 26/03/2013 15:44

 B+W CLASSIFIEDS To advertise on these pages please call Russell on 01273 402841
or email russellh@thegmcgroup.com

SPECIALISTS & EQUIPMENT

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

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

Got a question about photography? We can answer it.

Starting a college course? Want to set up a darkroom?
Baffled by digital? We can help.

The Real Camera Company. Run by enthusiasts.

Photographic retailing like it used to be.

Sevendale House, 7 Dale Street

(Entrance on Lever Street), Manchester M1 1JA

Tel/Fax: 0161 907 3236

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

Let us be your B/W Fine Art

Photographic Printer.
Check our website for details
www.salt-of-the-earth.biz
or call:
+44 (0)1747 852 221

Do you want your business

to reach a committed and
enthusiastic photographic
community?
Then contact Russell now on 01273 402841
or email russellh@thegmcgroup.com

B+W CLASSIFIEDS
BLACK & WHITE
Professional film processing & printing by Professional
Photographer with 25 years darkroom experience
35mm, 645, 6x6, 6x7, 6x9, 126, 127, 5x4 formats catered for
Dev & Contact £8.00 36ex 6x4 £13.00 36ex 7x5 £19.00
35mm & 120 film scanning. Prices include 1st Class post
Michael White, PO BOX 541, GRIMSBY, DN31 9AY
01472 388810 07944 083368
www.blackandwhitepics.co.uk
Adrian Ensor Master Printer
One-to-one black and white printing
courses in his Central London darkroom.
A unique opportunity to improve your skills
in the environment of a professional darkroom.
For details ring 0207 636 1739
Email adrian@adrianensor.com
Visit www.adrianensor.com

88 B+W CLASSIFIED MAY 2013

BW_150.indd 88 26/3/13 09:46:07

 To advertise on these pages please call Russell on 01273 402841
or email russellh@thegmcgroup.com B+W CLASSIFIEDS
HOLIDAYS, COURSES AND TUITION

Dedicated to the monochrome photographer

MAY 2013 B+W CLASSIFIED 89

BW_150.indd 89 21/3/13 11:08:16

 B+W CLASSIFIEDS To advertise on these pages please call Russell on 01273 402841
Photo © Paul Rudman

or email russellh@thegmcgroup.com

Mail Order : PHONE LINES OPEN

01803 852400 MON -FRI 8am - 7pm,

SAT 9am - 5pm,
Email - info@mifsuds.com SUN 10am - 1pm.
U.K. Stock www.mifsuds.com
SHOP OPEN
MON -SAT 9am - 5pm,
FAMILY RUN SINCE 1954 Only 27-29, Bolton Street, Brixham. Devon. TQ5 9BZ. SUN 10am - 1pm.
U.K.
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ONLY MIFSUDS ARE CANON PROFESSIONAL STOCKISTS
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We want your cameras, lenses & studio equipment

U.K.
Stock
ONLY
WANTED U.K.
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ONLY Micro 4/3rds system
WE PART EXCHANGE
BUY FOR CASH OR COMMISSION SALE
Collection can be arranged.
contact us at info@mifsuds.com or ring 01803 852400
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MIFSUDS ARE SIGMA PRO LENS STOCKISTS )3RZHU2,6; … ; … PP
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Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT. P&P Extra. E&OE.
We are happy to reserve new & used stock for customers planning to visit. Prices are based on current stock at time of compilation March 27th 2013.
Prices are+ subject to change without notice so please check availability to avoid disappointment. We keep the website updated daily (Mon-Fri) - latest prices on-line. E&OE.
90 B W CLASSIFIED MAY 2013

BW_150.indd 90 27/3/13 10:39:49

 To advertise on these pages please call Russell on 01273 402841
B+W CLASSIFIEDS
Photo © Paul Rudman

or email russellh@thegmcgroup.com

Please follow us on Mail Order :

01803 U.K. Stock

27-29, Bolton Street, Brixham.
Devon. TQ5 9BZ.
QUALITY USED EQUIPMENT. See website for full list. Call us for condition and to buy secondhand stock. 3 Month warranty on most secondhand.
852400 Only FAMILY RUN SINCE 1954

[86(' )0.,… )8-,0(')250$786(' (ERG\… 6,*0$0,1621<$)86(' )'&… )…

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Visit our clearance site on ebay http://stores.ebay.co.uk/Mifsuds-Photographic

Mail order used items sold on 10 day approval. Return in 'as received' condition for refund if not Connect BUY ONLINE (new stock only) - CHECK LATEST PRICES - UPDATED DAILY:
satisfied (postage not included - mail order only). Subscribe to our email newsletter -
be amongst the first to learn about special offers and promotions - ask us for details.
now with
your QR
app
www.mifsuds.com
Prices correct when compiled March 27th 2013. E&OE.
MAY(SECURE SSL ENCRYPTION)
2013 B+W CLASSIFIED 91

BW_150.indd 91 27/3/13 10:39:52

 27 Rathbone Place London W1T 1JE 44 Museum StreetonLondon WC1A 1LY
B W CLASSIFIEDS
+ Tel: 020 7436 1015
w w w. a p e r t u r e u k . c o m
To advertise on these pages please
or email russellh@thegmcgroup.com
call Russell 01273 402841
Tel: 020 7242 8681

Pre-owned Leica Medium / Large & Other Format

Leica M9 Black (Complete; boxed) 13500 Actuations only Sold Mint- £2990 Contax 35mm f3.5 Distagon T* + hood & soft pouch Mint £1050
Leica M7 0.85 Black with Motor M #2854xxx Sold Mint- £1450 Contax 55mm f3.5 Distagon T* + hood & soft pouch Exc+++ £590
Leica M7 0.72 Black (Betriebsk) #2886xxx (boxed) Sold Mint- £1790 Contax 120mm f4 Apo-Makro-Planar T* (Contax 645) Mint- £990
Leica M7 0.72 Black #2779xxx Mint- £1390 Mamiya 6 + 75mm f3.5G + hood Exc+ £750
Leica M7 0.72 Black #2852xxx (boxed) Exc++ £1290 Mamiya Close up Attachment for 75mm (Mamiya 6) Exc+++ £200
Leica M7 0.72 Black #2884xxx (boxed) Exc++ £1290
Mamiya 7 II + 80mm f4L + hood Sold Exc++ £1250
Leica MP 0.72 Silver #3092xxx (boxed) Exc+ £1750
Mamiya 43mm f4.5L + hood & V/finder Mint £990
Leica M6 Ein Stuck (boxed) #2422xxx Sold Nr. mint £1190
Mamiya 65mm f4L Sold Mint- £490
Leica M6 0.58 TTL Black #2721xxx Exc++ £950
Leica M6 0.72 TTL Black Paint Millenium edition (boxed) User £1750 Mamiya 150mm f4.5L Mint- £390
Leica M6 0.72 TTL Black #2470xxx Exc+++ £890 Mamiya 150mm f4.5G + hood for Mamiya 6 Exc++ £290
Leica M6 0.72 TTL Silver #2733xxx Exc++ £850 Schneider 120mm f5.6 APO-Digitar HM PC-TS for Mamiya 645 AF-D As new £1490
Dedicated to the monochrome photographer

Leica M6 Black Wetzlar #1678xxx Exc+ £790 Mamiya Polarising Filter ZE-702 Mint- £70
Leica M6 Black #1759xxx Exc £690 Rolleiflex 3.5B (75mm Tessar) Exc+ £420
Leica M6 Black #1795xxx Mint- £890 Rolleiflex 3.5C with meter (75mm Planar) Ever Ready Case but no Strap Exc++ £490
Leica M6 Black #1905xxx Nr. mint £950 Rolleiflex 3.5F White Face (75mm Xenotar) excellent working order User £690
Leica M4 Chrome #1254xxx Sold Exc+ £570 Plaubel Makina W67 Sold Exc £1390
Leica M4 MOT Black Paint + New York Motor User £4390 Brook Veriwide with 47mm f8 Super-Angulon + V/finder & Centre filter Sold £590
Leica M3 #1038xxx Exc++ £650
Linhof 612 PC II + Schneider 58mm f5.6 Super-Angulon XL; 135mm f5.6
Leica M2 Chrome #990xxx Sold User £390
Apo-Symmar + 58/135mm V/finder Exc++ £3990
Leica M2 #1163xxx Converted to M2-R (M4 type rapid film load) User £690
Horsman L45 with wide-angle bellows Exc++ £490
Leica M1 Chrome #980xxx Just serviced by us Exc £390
Noblex 135 S Exc++ £390
Leica 16-18-21mm Tri-Elmar-M ASPH + hood & V/finder (boxed) Mint £3090
Leica 16-18-21mm Tri-Elmar-M ASPH + hood & V/finder (boxed) Mint- £2890 Rodenstock 75mm f6.8 Grandagon-N Exc++ £390
Leica 24mm f2.8 Elmarit-M ASPH + hood & V/finder #3755xxx Exc++ £1750 Schneider 90mm f8 Super-Angulon on Wista board (Copal 0) Exc+ £250
Leica 24mm f2.8 Elmarit-M ASPH + hood #3809xxx Exc+ £1650 Rodenstock 180mm f5.6 Sironar-N on Wista board Exc £170
Leica 24mm f2.8 Elmarit-M ASPH + hood #3844xxx Mint £1850 Schneider 210mm f5.6 Super-Symmar HM (Compur 3) Mint- £1050
Leica 28mm f2 Summicron-M ASPH 6 bit #3929xxx Mint- £1850 Rodenstock 240mm f5.6 Sinaron-N MC (Copal 3) on Linhof style board Mint £390
Leica 28mm f2.8 Elmarit-M + hood #3041xxx Mint- £850 We are now offering an on-site processing and printing service at Aperture Rathbone Place.
Leica 28mm f2.8 Elmarit-M + hood #3426xxx Exc+ £750 At present we are offering a C41 colour film processing service for 135 and 120 with 24 hour turnaround.
We can also scan from black and white negatives or transparencies.
Leica 35mm f2 Summicron-M + hood 4th Version #3017xxx Sold Mint- £1150
We also accept mail order at the following address, and will return your photographs within 4-5 working
Leica 35mm f2.5 Summarit-M 6 bit #4051xxx Mint- £820 days. Send your film(s) packed securely to the P.O Box below and make sure to include your name; address
and contact details for return postage.
Leica 35mm f2.5 Summarit-M + hood 6 bit #4056xxx (boxed) Mint £890 An order form is availible to download from our website on the Film Developing Page.
Leica 50mm f1 Noctilux-M Latest Version #3813xxx (boxed) Mint £4290 Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 50mm f1.4 Summilux-M Titanium #3675xxx As new £2490 Aperture Photographic 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 50mm f1.4 Summilux-M + hood #3494xxx User £950 PO Box 7045 11 rolls or more................................Free
Process only
London 1 - 10 rolls...........................................£3
Zeiss 50mm f1.5 C-Sonnar ZMT* Mint- £630 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 50mm f2 Summicron + hood #2350xxx Exc++ £850 We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club)
Leica 50mm f2 Summicron-M + hood #3445xxx Exc++ £850 Please send us your order with your payment details or phone us for further details.

Leica 90mm f2.8 Elmarit + hood Chrome (L39) Rare lens Sold Exc++ £650 Processing Prices (C41 Only) 24 hours
Leica 90mm f2.8 Elmarit-M Latest #3520xxx Exc++ £850 35mm process only £5.00
35mm process + print £10.00
Leica R8 Black Exc+ £290
35mm process + print + CD £12.00
Leica R6 Black Exc+++ £370 £8.00
35mm process + CD
Leicaflex SL Chrome #1296xxx Exc+++ £220 Extra set of prints (order within 7 days) £4.00
Angenieux 45-90mm f2.8 Zoom (Rare lens) Sold Exc+ £990 Film scan to CD or digital media £7.00
Leica 70-200mm f4.5 Vario-Elmar-R 3 Cam Exc+ £140 120 process only £6.00
Leica 90mm f2 Summicron-R 3 Cam Exc+++ £390 120 process + print £12.00
Leica IIIg Exc+++ £890 120 process + print + CD £15.00
Voigtlander Bessa-R Silver (35,50,75,90mm Frame line) Mint- £190 120 process + CD £9.00
Voigtlander 15mm f4.5 Super Wide-Heliar Black (L39) (boxed) Mint- £270 Extra set of prints (order within 7 days) £5.00
Film scan to CD or digital media £7.00
Voigtlander 25mm f4 Silver (L39) with V/finder & M Adapter Mint £250
We also process Black and White Negatives! Please check our website
Voigtlander 28mm f1.9 Ultron Black (L39) with M Adapter Sold As new £320 or phone us for prices and turn around time

For Leica and Early Nikon (Nikon F2, Nikon F & Rangefinder) & Large Format Please contact Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For Canon92 B+W CLASSIFIED
Autofocus, MAY
Nikon (Post F2),2013
Hasselblad and other cameras Please contact Aperture Museum Street Tel: 020 7242 8681 Email: info@apertureuk.com

BW_150.indd 92 26/3/13 09:47:34

 B W CLASSIFIEDS
27these
To advertise on Rathbone
pagesPlace London
please W1T 1JE
call Russell on 01273 402841 44 Museum Street London WC1A 1LY
Tel: 020 7436 1015 + Tel: 020 7242 8681
w w w. a p e r t u r e u k . c o m
or email russellh@thegmcgroup.com

Leica R8 Black Exc+ £290

Dedicated to the monochrome photographer

Linhof 612 PC II + SChneider 58mm f5.6 Super-Angulon XL,135mm f5.6 Apo-Symmar + 58/135 V/finder Exc++ £3990

Noblex 135 S Exc++ £390

Nikon F Photomic FTN Chrome #7179xxx Exc £190

Aperture is keen to acquire your quality Leica equipment. We have many customers 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 (usually taking 2 working days). We can also offer a commission sales service for higher value items of £2000 and above,
for which the commission 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 is now offering 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 e i t h e r o f o u r b r a n c h e s f o r f u r t h e r i n f o r m aMAY
t i o2013
n B+W CLASSIFIED 93

BW_150.indd 93 26/3/13 09:47:43

 B+W CLASSIFIEDS To advertise on these pages please call Russell on 01273 402841
or email russellh@thegmcgroup.com

THE DARKROOM
Estd. 1992
SPECIALISTS & EQUIPMENT UK
LTD

E6 FILM 36exp 120 220 5x4 5x7 8x10 Canvas, Art & Poster: From Film, Print or Digital Files
Mounted …      BUY ONLINE IN OUR SHOP www.the-darkroom.co.uk
Sleeved … … … … … … up to: Harman Permajet Harman Canvas
3URFHVVDGMXVWPHQWV)5((0RXQWVDUHPPZLWKQRORJRRUQXPEHULQJ inches &U\VWDO-HW &RWWRQ5DJ %DU\WD :UDS
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GLVFRXQWIRURUPRUH¿OPVLQDQRUGHU [ … … … …
Dedicated to the monochrome photographer

E6 SCANNING & PRINTING SERVICES [ … … … …

[ … … … …
&KDUJed in additionWR()LOPSURFHVV
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Scan to CD 4.5Mb 18Mb 48Mb $SSUR[¿OHVL]H
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Print Set 4x6 5 x 71/2 6x9 8 x12 Prices include VAT
Harman CrystalJet is either Gloss or Smooth Pearl
35mm Xpan* 4 x 12 5 x 14 - -
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35mm … … … … Harman BarytaLVDVRIWJORVVOLNH)%*ORVVJVPJUHDWIRU%:V
3ULQWVJORVVRUPDWWERUGHUVRSWLRQDO Extra set of prints -50% Quality CanvasRQPPTXDOLW\VWUHWFKHUIUDPHWR¿[HGVL]HVEXWOHQJWKV
$YDLODEOHWR3RVWDOFXVWRPHUVRQO\QRWFDOOHUV3ULFHLQF9$7 FDQEHPL[HGWRPDNH6TXDUHVRU3DQRUDPLF$FU\OLFVHDOHGIRUORQJOLIH
NEW ROYAL MAIL CHARGES: ADD £3.00 per ORDER NEW ROYAL MAIL CHARGES: ADD £3.00 per ORDER

Black & White and Colour Negative Bring your slide library back to life with Pro size 48Mb+ scans
35mm [ [12 [ [ 20 x 35mm 10 x 120 size
35mm Xpan* 4 x 12 5 x 14 - - Dmounted or DVOHHYHGRQO\WR
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120 [ [ [ [ USDQRUDPLFPL[HG¿OPW\SH UPL[HG¿OPW\SH
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120 [ [ [ PP [ 0E GSL7LII …
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PROCESS ONLY ,QGLYLGXDOO\DVVHVVHGGXVW PLQRUEOHPLVKHVUHPRYHGQRW%:¿OP
$Q\1HJ5ROO)LOPPP… [%:RQO\ … (&RU%:¿OPEXWQRWPL[HGRUGHUVRI¿OPW\SH ¿OHVL]HVYDU\
SCAN TO CD ZLWKIRUPDWHJ0E-SHJVL]HLVIRURSHQXQFRPSUHVVHG¿OH
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Gift
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Traditonal Products, Service and Equipment <RXFDQEHFRQ¿GHQWWKDWWKHVHDUHTXDOLW\SURGXFWVSULQWHGZLWK\RXULPDJH
:HFRQWLQXHWRSURYLGHD%:KDQGSULQWVHUYLFHRQ5&DQG)% Mug £8.75 We saw these
SDSHUVaSOHDVHFDOOIRUGHWDLOV:HDUHVWRFNLVWVRI,OIRUG3KRWR T-shirt £15.00 products and
Apron £12.50 were ‘wowed’
SURGXFWV)XML)LOPDQG3DWHUVRQSURFHVVLQJHTXLSPHQW$ZLGH Teddy £15.00 by the image
UDQJHRISKRWRJUDSKLFSDSHUVDQGFKHPLFDOVDUHDYDLODEOHRQ Coaster £3.20 quality which is
our Online Shop. Placemat £7.50 photographic
Mousemat £8.75 standard in
Placing Orders Jigsaw £13.95 most cases.
Prices shown are postal only. Payment by CHEQUE please! Keyring £3.99
Download a prepaid label from our website. Vat @ 20.0% Fr Magnet £3.99
Add text, logos
;SDQSULFHVIRUFRQVLVWHQWIRUPDW¿OPVRQO\QRWPL[HG Sample Prices images to your
NEW ROYAL MAIL CHARGES: Postage extra design.
ADD £3.00 TO ALL SERVICES RETURNED BY POST
See our website for full details and prices - Order Online or by telephone

)5((32677KH'DUNURRP8./WG%HUNHOH\0HZV+LJK6WUHHW&KHOWHQKDP*/'<
7HOZZZWKHGDUNURRPFRXN

94 B+W CLASSIFIED MAY 2013

BW_150.indd 94 26/3/13 09:47:47

 To advertise on these pages please call Russell on 01273 402841
or email russellh@thegmcgroup.com B+W CLASSIFIEDS
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MAY 2013 B+W CLASSIFIED 95

BW_150.indd 95 26/3/13 09:47:51

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

This month’s lucky winner is Malcolm Andrew (nicknack.org.uk) HOW TO ENTER

who wins a 20x24in print of his picture. He will be able to choose
Send your hi-res image on a CD to:
from four C-type and seven fine art inkjet papers. The picture will
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and highly rigid foamboard. GMC Publications Ltd, 86 High
Street, Lewes BN7 1XN
Find out more on
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You can win a 20x24in print dry
mounted on Dibond.

96 May 2013 B&W

96 LAST FRAME 150 ER/MB.indd 96 19/03/2013 17:21

IBC_BW_150.indd 1 21/3/13 10:02:34
 I BELIEVE THAT A PASSION
FOR THE SUBJECT IS ESSENTIAL.

The Lochan by Steve Gosling. Olympus OM-D E-M5, f/8.0, 1/160 sec, ISO 400, Focal Length 12 mm

Combining an Electronic Viewfi nder with a mirrorless design

to produce a compact, lightweight body – the stunning
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Check Art Filter effects, colour white balance,
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Create outstanding images.

MY OM-D BY STEVE GOSLING

Visit www.olympus.co.uk for more information.

OBC_BW_150.indd 1 21/3/13 10:03:35