COOL, CREATIVE AND CONTEMPORARY

VISIT…
PHOTOGRAPHY WORKSHOPS
64–66 Duke Street, London W1K 6JD

SIGN UP NOW

www.leicastore-uk.co.uk/collections/akademie-workshops

BLACK + WHITE
PHOTOGRAPHY
EDITORIAL
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com
Designer Toby Haigh
ADVERTISING
Advertising Sales Guy Stockton
tel: 01273 402823
email: guy.stockton@thegmcgroup.com
PUBLISHING
Publisher Jonathan Grogan
MARKETING
Marketing Executive Anne Guillot
tel: 01273 402 871
PRODUCTION
Production Manager Jim Bulley
Origination and ad design GMC Repro
Printer Buxton Press Ltd
Distribution Seymour Distribution Ltd
SUBSCRIPTIONS
tel: 01273 488005
email: pubs@thegmcgroup.com
SUBSCRIPTION RATES
Subscribe from £26.95 (including free P&P)
Save 10% with 6 issues
Save 15% with 12 issues
Save 20% with 24 issues
Plus UK subscribers can save an extra
10% by choosing direct debit.
Cheques should be made payable to
GMC Publications Ltd. Current subscribers
will automatically receive a renewal notice
(excludes direct debit subscribers)
POST YOUR ORDER TO
The Subscription Department
GMC Publications Ltd, 166 High Street,
Lewes, East Sussex, BN7 1XU, UK
Black+ White Photography (ISSN 1473-2467)
is published every four weeks by GMC Publications Ltd
Black+White Photography will consider articles for
publication, which should be sent to the editor together
with a stamped self-addressed return envelope.
GMC Publications cannot accept liability for the loss or
damage of unsolicited material, however caused. Views
and comments expressed by individuals in the magazine
do not necessarily represent those of the publishers
and no legal responsibility can be accepted for the
results of the use by readers of information or advice of
whatever kind given in this publication, either in editorial
or advertisements. No part of this publication may be
reproduced, stored in a retrieval system or transmitted
in any form or by any means without the prior permission
of GMC Publications Ltd. With regret, promotional offers
and competitions, unless otherwise stated, are not
available outside the UK and Eire.
© Guild of Master Craftsman Publications Ltd. 2019
Web blackandwhitephotographymag.co.uk | Facebook facebook.com/blackandwhitephotog | Twitter @BWPMag | Instagram@bwphotomag
©Vicki Painting
ucked away behind my rather
T
untidy desk in the office are
a couple of portfolios that I
dumped there a few years ago
when I was moving house. I had
quite forgotten about them until
last night when I had, for me, the unusual
experience of lying awake in the night. My
thoughts drifted around and out of the blue
I started thinking about a picture I took
about five years ago. It was a digital pinhole
portrait that I had a digital negative made
from, and I printed the image using the
EDITOR’S LETTER MARCH 2019
cyanotype process, finally dipping the
print in builders’ tea. The effect was to
AS THINGS turn the blue of the cyanotype into a soft
monochrome, and I was delighted with it.
During the sleepless hours I thought
MOVE ON more and more about this print and tried
to figure out where it could be. Gradually
the memory of the portfolios came into my
mind and so, today, during my lunch break,
‘But looking back at those I dusted them off and rifled through them.
Disappointingly, I didn’t find the print,
old prints made me realise but what I did find has started me thinking.
that the ‘voice’ I had with Inside one of the portfolios was a set of
darkroom prints I had made about 15 years
film is no longer relevant ago. In those days I had the wonderful
to me and I have to pursue combination of using Fuji Neopan film
with Forte Polywarmtone paper and
01
B+W
the search for a new voice.’ somehow it seemed to suit my pictures
so well. I knew exactly who I was as a
photographer. But that was a long time
ago and what interested me then does not interest me so much today – I’ve changed
and maybe grown and what I want to say is different.
I’ve been through years of digital capture and have now turned back to film – not
exclusively, of course, the sheer convenience of digital far outweighs the slowness and
expense of film – and I have enjoyed the experience. But looking back at those old prints
made me realise that the ‘voice’ I had with film is no longer relevant to me and I have
to pursue the search for a new voice.
Change just for the sake of change is not often productive, but change that comes from
inside and wants to be given a voice can be very interesting – although it’s not always an
easy path to go down, and there are certainly no quick answers.
I have no idea where this will take me but it will mean experimenting, discarding one
thing and taking on another. It might include a hybrid of film and digital (as in my builders’
tea cyanotype) or I might find quite another way of working. Whatever it is, it will be
fascinating to try.
Elizabeth Roberts, Editor
elizabethr@thegmcgroup.com
CONTACT US
 © Hector Emanuel Proud Galleries © Mark Shaw/mptvimages.com

08 18

© Asya Gefter © Mike Seaborne

26 34

02
B+W

BLACK+WHITE PHOTOGRAPHY ISSUE 226 MARCH 2019 NEXT MONTH’S ISSUE IS OUT ON 14 MARCH

COVER of London’s Docklands in the 80s 20 IN THE FRAME

Picture by Beth Moon Your guide to photography
48 THE ENGLISH exhibitions in the UK
FEATURES Celebrating the work of
08 A SENSE OF PLACE Magnum photographer Ian Berry 25 ON THE SHELF
Hector Emanuel documents the The best new photography books
site of the Wounded Knee Massacre NEWS
04 NEWSROOM COMMENT
26 TO BE CONTINUED What’s happening in 22 AMERICAN CONNECTION
Photographic creativity with a the world of B&W Susan Burnstine talks to Beth Moon
collection of outdated film and paper
18 ON SHOW 40 REFLECTIVE PRACTICE
34 ISLE OF DOGS New exhibition showcasing Vicki Painting on photographing
Mike Seaborne’s documentary the early years of Dior history in the landscape
 © Lee Frost © Vicki Painting

54 40

© Tim Clinch

64

© Remis Scerbauska

74 03
B+W

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

64 A FORTNIGHT AT F/8 Shooting with Tim Clinch and about on the south coast 72 SMARTSHOTS
Tim Clinch on the masters Your pictures could win a prize
INSPIRATION TESTS & PRODUCTS
TECHNIQUE 06 MAGNUM OPUS 80 CHECKOUT 74 SALON
54 TOP TIPS Elizabeth Roberts discusses Six of the best 2-in-1laptops A documented story
Great ideas for photographing a Magnum photograph
found still lifes from Lee Frost 84 BLACK+WHITE LOVES 86 HOW TO GET PUBLISHED
44 STRAIGHT TALKING Cool new photography kit We want to see your best work
60 PROJECTS Chris Gatcum on versatility in the shops and online
IN VISUAL STYLE versus specialism in photography 90 NEXT MONTH
Documenting the past YOUR B+W What’s coming soon
66 ONE-DAY 42 SUBSCRIPTION OFFER
70 SMART GUIDE
NEW PHOTO PROJECT Have B+W delivered 96 LAST FRAME
TO PHOTOGRAPHY SERIES Eddie Ephraums out to your door Prize-winning single image
 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com

NUMBERS
DOWN
A new report published by the
World Press Photo Foundation
shows a significant decline in
the number of photojournalists
working full-time.
The report, based on surveys
of photographers entering
the annual World Press Photo
competition, reveals the number
in full-time work dropped from
74% of respondents in the first
survey in 2015 to 59% in 2018.
Close to 40% admit their financial
circumstances are difficult
or very difficult.
However, more than 62% enjoy
their work, describing themselves
as either happy or very happy
Valie Export – Smart Export, 1970. © Valie Export
INSPIRATIONAL
The Royal Photographic Society
has announced a list honouring 100
inspirational women in photography.
The Hundred Heroines list marks the
centenary since some women were able to
vote in the UK and celebrates the global
contribution to photography made by
women. The names include Sophie Calle,
Rineke Dijkstra, Valie Export, Susan
Meiselas and Vanessa Winship.
Initially the public and key figures in
photography were invited to nominate
women for the list. A panel of judges
chaired by Rut Blees Luxemburg then met
to whittle the 1,300 nominated women
down to 100. The Hundred Heroines will
each receive the Margaret Harker medal.
Harker was the first female president of
the RPS and the first female professor of
photography in the UK. An exhibition
and publication are planned to celebrate
the Hundred Heroines. The RPS also
aims to celebrate historical heroines
of photography later this year.
© Tariq Zaidi/tpoty.com

and feeling valued and creative.

04 The data is based on surveys of
B+W 5,000 photographers from 100
countries and territories.

Professional photographers from

around the world are invited to
submit work for the German Peace
Prize for Photography. The winner
will receive a prize of €10,000.
Deadline: 31 May.
felix-schoeller-photoaward.com

A community darkroom on
the brink of closure has been
given new life by a group of
photographers. The darkroom in
the St Paul’s area of Bristol has
been supported by the Real
Photography Company. The
darkroom now offers supported
darkroom sessions, photographic
projects with community groups
and schools, optical science
education, exhibitions, talks
and lectures. Elie, 45, struts his stuff in the streets of

Photography galleries from around

TRAVELLING LIGHT Brazzaville. Picture by Tariq Zaidi.

the world will have work on
display at the Photography Show
at Pier 94 in New York City from
4 to 7 April. More than 75 galleries
will present work from the 19th
century to the present. Visitors
can also see a special exhibition
curated by Alec Soth.
This picture by Tariq Zaidi of a dapper gentleman
is among the winning images in the Travel
Photographer of the Year awards.
More than 20,000 pictures were submitted to the
competition by photographers from 142 countries.
The overall winner was Stefano Pensotti, who is the
first Italian to win since the awards began in 2003.
Award-winning black & white photographers include
Tom Law, Magdaléna Straková and Mauro de Bettio.
The winning photographs can be seen at a free
outdoor exhibition at London Bridge City from
28 March to 30 April and at Tpoty exhibitions
internationally, including the Xposure International
Photography Festival in Sharjah and Dubai. Some
of the best black & white pictures can be seen in
the digital edition of this magazine.
 © Benedikt Partenheimer

© David Hixon

From Memories of the Future

FESTIVAL FEVER
More than 50 international photography
projects will be showcased at the Format
19 photography festival.
The festival, which takes place in
venues across Derby from 15 March to
14 April, issued an open call that attracted
10,000 pictures from photographers in
47 countries. The projects to be shown
were selected by an international
panel of judges.
Other exhibition highlights include
Mutable/Multiple – which features a
by Benedikt Partenheimer.
variety of photographers who use fact and
fiction to create their stories; photographs
by Maurice Broomfield curated by
Martin Barnes, senior photography
curator at the V&A; and a new
commission by Japanese artist Kensuke
Koike, who uses cutting, tearing and
reconfiguring to produce new pictures.
Visitors can also sign up for an all-day
conference at Derby university, a portfolio
review, photobook market, workshops,
classes, talks and family-friendly events.
WELL DONE
Congratulations to David Hixon, who took
second place in the Wex Photographer of
the Year competition with this striking B&W
picture taken in Devon. Around 15,000
images were entered into the competition,
which invites entries on Twitter with the
hashtag #WexMondays.
© Dorothy Bohm Archive
05
B+W

Haifa, Israel, 1959 by Dorothy Bohm.

CELEBRATING WORK
A nationwide arts festival will celebrate the
work of refugees from Nazi-occupied Europe.
The Insiders/Outsiders Festival runs
© Nicholas Triantafyllou
from March 2019 to March 2020 at venues
BRUTAL TRUTH including Tate Britain, Sotheby’s, the
Photography tours of a London area famous for its brutalist architecture are on offer. Coutauld Institute of Art, Glyndebourne,
The tours of the Barbican Centre and Barbican estate are led by Peter Chadwick, Pallant House Gallery and Ben Uri Gallery.
founder of This Brutal House – a platform to share photography and design work about Little Happenings: Photographs of Children by
brutalism. The tours will explore some of the less well-known corners of the brutalist Dorothy Bohm is part of the festival and can
buildings. The tours are held on 13 April and 11 May, price £15. Participants can share be seen at the V&A Museum of Childhood in
their images on the This Brutal House Twitter and Instagram feeds, and have them Bethnal Green, London, until 17 March.
printed and displayed in the Barbican shop. shop.barbican.org
 I N S P I R AT I O N

MAGNUM OPUS
Black+White Photography has
been invited by Magnum Photos
to choose one picture each month
from their archive to discuss, dissect,
examine and consider. This month
Elizabeth Roberts looks at an image
of Dr Martin Luther King Jr
by Leonard Freed.

T
his picture says so much with
so little. There is the history
of a people encapsulated in this
one shot, there is the history of a
nation, the USA, and the history
of slavery and racism. This man,
Dr Martin Luther King Jr, had earlier that
month been awarded the Nobel Peace Prize
for combating racial inequality through
non-violent resistance. What an achievement
– but more than that, these women, so long
marginalised, see the possibility of their lives
changing for the good. He brings them hope
for the future. No wonder they want to touch
his hand to show reverence, to feel part of
who he is, to give thanks to him – the touch
06 of a hand, and all that it means.
B+W
Everything in the picture is focused on
the hands, the outstretched arms, the hands
touching and waiting to touch, and the great
man’s hand joyfully crushed, clasped and
clutched, a wordless embrace of honour.
The women’s faces are rapt with
concentration, their eyes not looking at
King’s face, just at his hand, and he, warm
and willing to receive their rapture. It is a
moment of absolute understanding between
them symbolised through touch. What is
more human and more satisfying than the
touch of a hand?
And yet. There is something else going on.
There are two men who attempt to protect
and shield King with their arms and bodies,
and when we realise this, we see the darker
side of the picture. In the background are the
white faces of the police looking on with an
edge of cynicism – are they there to protect
or to threaten? It is only four years later that
this extraordinary man, at the age of 39, is
assassinated, and rumours still persist today
that his killer, James Earl Ray, was associated
with the FBI.
Martin Luther King is remembered for his
far-reaching work encapsulated in his ‘I have
a dream’ speech. Maybe Leonard Freed will
be remembered for this picture that captured
the present and foresaw the future.
 07
B+W

Dr Martin Luther King being greeted on his return to the

US after receiving the Nobel Peace Prize. Baltimore,
Maryland, USA. October 31 1964. Leonard Freed
© Leonard Freed / Magnum Photos
 INTERVIEW
A SENSE OF PLACE
Republic of Lakotah might never have been made had it not been for a commission that
All images took Hector Emanuel to Pine Ridge Reservation. Here he talks to Donatella Montrone
© Hector Emanuel
about documenting the site of the 1890 Wounded Knee Massacre.

8
B+W

ector Emanuel’s documentary
H
project on Pine Ridge came
about because of a Washington
Post Magazine commission.
He was assigned to photograph
Russell Means, an Oglala Sioux
born on the reservation, and a champion
of Native American rights. Means, who
passed away in 2012, was arguably the most
notorious Native American since Sitting
Bull, and the most controversial. He once
urinated on the Washington monument at
Mount Rushmore, filed a lawsuit against
the Cleveland Indians baseball team for
using Chief Wahoo as their mascot, led the
1973 uprising at Wounded Knee, survived
an assassination attempt, and was stabbed
in prison. He was also an actor, his biggest
role as Chingachgook, opposite Daniel Day-
Lewis in The Last of the Mohicans.
‘Means was arguing for the creation of
a republic of Lakotah, a country within a
country, because of the many broken treaties
that date back to mid-1800s. He was in
Washington DC trying to get support for
his campaign, and I was commissioned to
do a photo-shoot. I thought: “I can’t only
take pictures of Means running around
Washington like a caricature of himself.”
So I suggested to the editor that we do the
09
9
B+W
shoot on the reservation,’ explains Emanuel.
The result was a powerful photo that made
the cover of Washington Post Magazine –
Means with his arms folded in defiance,
the South Dakota Badlands visible on the
horizon. ‘While there, I also made Republic
of Lakotah. I felt it was important to give
a sense of the place since it was central to
Means’ visit to Washington DC.’ Historically,
Pine Ridge is the most important reservation
in the United States, for it’s the site of the
1890 Wounded Knee Massacre. It’s also the
poorest reservation. Unemployment rates
are above 85%, and most of the residents
live below the poverty line. Infant mortality›
10
B+W
11
B+W
12
B+W
13
B+W
14
B+W
› is disproportionately high, life expectancy
is low, and each year many elderly die from
frost due to a lack of basic amenities. There
are few road signs, no bus stops and no street
addresses. Pine Ridge is hidden in America’s
landscape – out of sight, out of mind – which
is why Emanuel wanted to avoid making a
documentary project that serves as little
more than pictorial voyeurism.
I
felt I couldn’t make an in-depth essay
on the social issues that affect Pine Ridge
because I was only there for 10 days, which
is a lot for a commission, but not when you
want to portray the complexity of a society.
‘I would tell them I’m a
photographer and their
immediate reaction was, “What
kind of white man are you?” And
I’d say, “I’m not, I’m from Peru.”
And they would say, “So you are
an Inca – you are like us.”’
I didn’t have an agenda, so while I was there
I hung out and got to know the community.
I would tell them I’m a photographer and
their immediate reaction was, “What kind
of white man are you?” And I’d say, “I’m not,
I’m from Peru.’’ And they would say, “So you
are an Inca – you are like us.’’’
Emanuel takes a long view when making
documentary work, stitching together
images to tell a story. ‘I never set out to take
a single amazing image. I’m actually thinking
about how each little bit is going to add
up to a story. With Republic of Lakotah,
I wanted to show what it feels like to live
there without having this filter of nostalgic
Native American Indians. I wanted to make
it real – I wanted it to be about everyday life.’
He felt an immediate connection with the
community and says they understood what
he was trying to achieve. ‘It’s difficult to

represent a group of people as an outsider,
especially where there’s a power construct,
even though we do that all the time as
photojournalists. But the people were really
open. I felt like they trusted me right away.’
Emanuel was invited into many homes and
spent time with a number of families, even
the Tre Tres, the most notorious gang among
a growing number on the Sioux reservation.
‘I walked into this tiny ranch house
where the Tre Tres live – there were 17
people living in it. There was a guy getting
a tattoo because his wife had just delivered
a stillborn baby. It was an intense house.
I asked if I could check out the rest of the
house and that’s when I walked into one
of the bedrooms and took a picture of a
little girl sitting on the bed talking to her
grandfather. Everything may look a bit
rough, but in those kind of places, people
often do look rough.’ In another image,
children are seen running past a clothes line,
laughing. ‘One of those children is the same
little girl I had photographed earlier on the
bed. Different moments tell different stories,
and that’s why it’s important to spend time
with people, because there is never only one
version. There is never only one story. As
documentary photographers we have to be
careful not to portray one stilted view.’
15
B+W
hotography was always a hobby for
P Emanuel, who moved to Washington,
DC from Lima at the age of 14. He
became truly immersed, however,
while studying for his PhD in physics at
Virginia Tech. ‘I guess one of the things
that inspired me to be a photojournalist
was a magazine spread I saw of Sebastião
Salgado’s photos. I remember looking at the
pictures and thinking they reminded me of
Peru – of where my grandfather lived. I felt
a certain connection with those photos, and
when I found out he was Latin American,
it all made sense. I didn’t want to be just a
newspaper photographer; I wanted to do ›
16
B+W
› projects, even though I had no idea what
that meant, or how you would go about it.
I started reading about photography and
spent a lot of time in the labs at university.
As a scientist, the one thing I don’t have is
a fear of the technical side of photography!’
A lot of Emanuel’s work focuses on
Latin America. ‘Because I am a Hispanic
immigrant in the US, I tend to gravitate
towards those stories. But when I was at
Pine Ridge, I felt like I was in Latin America
– and I hadn’t had that feeling in the United
States before. People want to tell their
stories, especially in communities that
have been ignored for so long. I didn’t
‘Pine Ridge is hidden in
America’s landscape – out of
sight, out of mind – which is
why Emanuel wanted to avoid
making a documentary project
that serves as little more than
pictorial voyeurism.’
want to make a statement about Pine Ridge.
It’s so much more than just a poor
community, and I wanted to give people
a sense of the place.’
Hector Emanuel’s work has been exhibited
internationally and has appeared in
numerous publications and media
campaigns, among which is the New York
Times, M Le Monde Sunday magazine, the
American Red Cross and ProPublica. He has
received a World Press Photo prize and an
NPPA’s Best of Photojournalism award for
his documentation of the civil conflict in
Colombia, as well as two POYi prizes for
his series on Pine Ridge, and for his most
recent work in his homeland of Peru.
To see more of Hector Emanuel's work,
go to hectoremanuel.com.
 Proud Galleries © Jerry Schatzberg

N E WS

ON SHOW
For more than 60 years
Dior has played a major
role in shaping the female
silhouette, says Tracy Calder.
A new show at Proud Central
in London looks at the early
years through the eyes
of four photographers.
ne of the 20th

O
century’s most
influential
couturiers,
Christian Dior
Proud Galleries © Mark Shaw/mptvimages.com
(often referred
to as just Dior)
was founded on
16 December 1946 in Paris and held its debut
show two months later. The first collection
comprised 90 different looks, with many
18 dresses featuring calf-length full skirts with
B+W
cinched waists and generous busts. The
average dress contained around 20 yards of
fabric, giving it an air of opulence at a time
when women were still wearing the practical,
no-nonsense outfits that had served them so
well during World War Two (fabric was
rationed in Britain between 1941 and 1949).
Dior’s extravagant new look received some
criticism, but for many it represented the
return to a joyful, extravagant time when
clothes were less of a uniform and more
of a vehicle for self-expression.
After the show the fashion house received
orders from the likes of Rita Hayworth and
Margot Fonteyn, and it was the start of a
long-lasting relationship with the British
royal family. Dior designed a spectacular
gown for Princess Margaret’s 21st birthday
in 1951. This over the top dress is one of the
highlights of the V&A’s Christian Dior:
Designer of Dreams show in London,
which runs until 14 July.
By November 1948 Dior had established a
luxury ready-to-wear house in New York and
released its first perfume, Miss Dior, a tribute
to its founder’s younger sister, Catherine,
who had joined the French Resistance and
been captured by the Gestapo (she was held
at Ravensbruck, Germany’s biggest
concentration camp for women). Although
the odds were stacked against her, she
survived and lived to be 91.
 Christian, on the other hand was not so
lucky, suffering a fatal heart attack in 1957
at the age of just 52. Since his untimely death
there have been numerous artistic directors
at Dior including Yves Saint Laurent, Marc
Bohan, Gianfranco Ferré, John Galliano,
Raf Simons and Maria Grazia Chiuri, who
currently has the hot seat. Chiuri’s T-shirts
bearing the slogan We Should All Be Feminist
(from her debut spring/summer collection)
have already made fashion headlines. For
Dior, celebrating and empowering women
is key to the success of the brand, and Chiuri
plans to use her position to create a healthy
dialogue with her female customers.

‘hese images provide a

fascinating insight into the rich
heritage and metamorphosis of
Dior during the early years.’

W
ith the Christian Dior: Designer
of Dreams show in full swing
at the V&A, Proud Central
in London is hosting its own
tribute to the fashion house with The Dior
Collection, an exhibition featuring the work
of four prominent fashion photographers:
Mark Shaw, Jerry Schatzberg, Norman
Proud Galleries © Bert Stern Trust
Parkinson and Bert Stern. Covering the first
two decades of Dior, the show includes slick
19
B+W
editorial work produced for Life magazine,
as well as lesser-known behind the scenes
studio snapshots. When viewed together,
these images provide a fascinating insight
into the rich heritage and metamorphosis
of Dior during the early years, as well as a
glimpse into what the future would hold for
the brand. As Chiuri’s debut show suggests,
Dior continues to have a major impact on
the fashion industry today. Looking at Stern’s
image of Marilyn Monroe wearing a dress
that seems to both conceal and reveal her
figure, or Shaw’s beautiful soft focus image
of a model wearing a Dior gown and hat,
it’s easy to see why.

Opposite top Margaret Brown and

Anna Karina, 1960 by Jerry Schatzberg.
Opposite below Dior Gown with Fur Hat,
1954 by Mark Shaw.
Right top Looking Over Shoulder,
Marilyn Monroe, 1962 by Bert Stern.
Right below Coming, 1958 by Norman Parkinson.

SEE THE PICTURES

The Dior Collection is on show from
7 February to 7 April at Proud Central,
32 John Adam Street, London.
See proud.co.uk.
Proud Galleries © Norman Parkinson/Iconic Images
 TRAVEL PHOTOGRAPHER OF THE YEAR
The winning pictures from this year’s Travel Photographer of the Year (tpoty.com)
come from photographers in 22 different countries. Here we share some of the
best black & white photographs from the competition.

04
B+W
NEWS EXTRA

05
B+W

Scott Portelli
© Scott Portelli/tpoty.com
06
B+W

Mauro de Bettio
© Mauro de Bettio/tpoty.com
 07
B+W

Mauro de Bettio
© Mauro de Bettio/tpoty.com
 Tariq Zaidi
© Tariq Zaidi/tpoty.com

08
B+W
 Tariq Zaidi
© Tariq Zaidi/tpoty.com

09
B+W
010
B+W

Tom Law
© Tom Law/tpoty.com
 011
B+W

Tom Law
© Tom Law/tpoty.com
012
B+W

Tom Law
© Tom Law/tpoty.com
 013
B+W

Tom Law
© Tom Law/tpoty.com
 Magdaléna Straková
© Magdaléna Straková/tpoty.com

014
B+W
 Magdaléna Straková
© Magdaléna Straková/tpoty.com

015
B+W
 NEWS IN THE FRAME
If you would like an exhibition included in our listing, please email Elizabeth Roberts
at elizabethr@thegmcgroup.com at least 10 weeks in advance. Edited by Tracy Calder.

LONDON to have made a significant contribution

to photography over the previous
12 months in Europe.
ATLAS GALLERY 16-18 Ramillies Street W1F
To 9 March tpg.org.uk
This Empty World
Nick Brandt’s much anticipated new PROUD CENTRAL
body of work addressing the escalating To 7 April
destruction of the natural world The Dior Collection
at the hands of man. Fashion photography showcasing the
49 Dorset Street W1U legendary designs of Christian Dior.
atlasgallery.com See page 18.
32 John Adam Street WC2N
BASTIAN GALLERY proud.co.uk
Until 13 April
Photographs by Andy Warhol THE QUEEN’S GALLERY,
Portrait and self-portrait Polaroids BUCKINGHAM PALACE
depicting artists, actors and friends. To 28 April
8 Davies Street W1K Shadows of War: Roger Fenton’s
galeriebastian.com Photographs of the Crimea, 1855
More than 60 photographs from
FOUNDLING MUSEUM the Royal Collection.
To 5 May Westminster SW1A
Bedrooms of London royalcollection.org.uk
The consequences of a shortage
of housing for children in London TATE BRITAIN
20 are highlighted with photographs To 6 May
B+W by Katie Wilson and first-hand Don McCullin
narratives by families. Major retrospective of one of Britain’s
40 Brunswick Square WC1N greatest living photographers. Features
foundlingmuseum.org.uk 250 prints made by McCullin covering
conflict, travel, landscape and still life.
HACKELBURY To 12 May
7 March to 18 April Blood of Silver
Alys Tomlinson: Ex-Voto Best known for her B&W images of
Christian pilgrimage sites in Lourdes religious rituals in Slovakia, and life in
in France, Ballyvourney in Ireland London markets, Markéta Luskacovà’s
and Grabarka in Poland. Lady on a bus, N.Y.C. 1957. pictures show a concern for the ties
4 Lauceston Place W8 DIANE ARBUS: Gift of Danielle and David Ganek, 2005.
Courtesy Metropolitan Museum of Art,
that bind people together.
hackelbury.co.uk IN THE BEGINNING New York / © Estate of Diane Arbus,
LLC, All Rights Reserved.
Millbank SW1 4RG
tate.org.uk
HAMILTONS To 6 May
To 26 April
Don McCullin: Proximity
Rare and previously unseen vintage prints
Organised by MoMA in New York, this exhibition explores
the first seven years of Arbus’ career (1956-1962) and features
work never before shown in Europe.
NORTH
dating back to the 1950s, selected from ATKINSON
the photographer’s personal archive. HAYWARD GALLERY To 23 March
13 Carlos Place W1K Southbank Centre, London SE1 southbankcentre.co.uk ARTIST ROOMS:
hamiltonsgallery.com Robert Mapplethorpe
Provocative and powerful work by one
NATIONAL MARITIME MUSEUM Photographs by Martin Parr chosen from more than 45,000 entries of the most important photographers
To 5 May Some of Parr’s best-known portraits to this annual competition, presented of the late 20th century, drawn from
Insight Investment Astronomy alongside works never exhibited before. on light panels. the collection of Artist Rooms.
Photographer of the Year New material reveals Parr’s take on Cromwell Rd SW7 Lord Street, Southport
Celebrating 10 years of awe-inspiring Britain after the EU referendum. nhm.ac.uk theatkinson.co.uk
images by astrophotographers. St Martin’s Place WC2H
Park Row, SE10 npg.org.uk PHOTOGRAPHERS’ GALLERY BRADFORD INDUSTRIAL
rmg.co.uk 8 March to 2 June MUSEUM
NATURAL HISTORY MUSEUM Deutsche Börse Photography To 10 November
NATIONAL PORTRAIT GALLERY To 30 June Foundation Prize 2019 Studio to Selfie: An Exploration
7 March to 27 May Wildlife Photographer of the Year 54 This highly regarded annual prize of Portrait Photography
Only Human: Breathtaking images of life on Earth recognises artists and projects deemed Exploring the relationship between
photographer, viewer and subject and
how the photographer is often all three.
Moorside Road, Eccleshill, Bradford
bradfordmuseums.org
HEPWORTH WAKEFIELD
To 22 April
British Photographs from
the Hyman Collection
Leading British photographers Chris Killip,
Martin Parr, Tony Ray-Jones and others
explore our evolving relationship with
the natural world.
Gallery Walk, Wakefield
thehepworthwakefield.org
MUSEUMS SHEFFIELD
To 14 April
Who We Are:
Photographs by Martin Jenkinson
Powerful retrospective showing the
drama and detail of everyday lives,
captured over four decades.
Weston Park Museum,
Western Bank, Sheffield
museums-sheffield.org.uk
SOUTH
BRIGHTON MUSEUM
To 31 March
Framing Fashion
Photographs by African and European
photographers offering a snapshot of
African and African diaspora style
over the last 60 years.
Royal Pavilion Gardens, Brighton
Captain Francis Derwent Wood puts the finishing touches to a cosmetic plate
and compares it to the face of the disfigured patient for whom the plate
is being made, 3rd London General Hospital.
RENEWAL: LIFE AFTER THE
FIRST WORLD WAR IN PHOTOGRAPHS
To 31 March
The resilience and ingenuity of the human spirit seen through
a collection of more than 130 B&W photographs.
IMPERIAL WAR MUSEUMS Lambeth Road, London SE1
brightonmuseums.org.uk
FARLEYS HOUSE & GALLERY
7 April to 2 June
The Deanland Project
Selected work from a two-year
collaboration between photographer
John Brockliss and artist Alexander
Johnson inspired by the former WWII
fighter station RAF Deanland near Ripe.
Muddles Green, Chiddingly
farleyshouseandgallery.co.uk
GREENHAM COMMON
CONTROL TOWER
To 9 March
Common People
Life at the Greenham Common Peace
Camp during the 1980s documented
by award-winning photographer
Wendy Carrig.
Burys Bank Road, Greenham,
Thatcham greenhamtower.org.uk
THE LIGHTBOX
To 2 June
Women in Photography: A History
of British Trailblazers
In-depth historical survey showcasing the
achievements of female photographers
working in Britain. Includes Dorothy
Bohm, Sarah Lucas and Anna Atkins.
Chobham Road, Woking
thelightbox.org.uk
THE NOVIUM
To 10 March
A Celebration of People and Places
© IWM (Q 30456)
iwm.org.uk
ULAY
To 23 February
Starting with Ulay’s early works in Polaroid from the 1970s, this show
explores how the camera can be used as a tool to investigate and
modify identity while exploring socially constructed issues of gender.
RICHARD SALTOUN GALLERY
41 Dover Street, London W1S richardsaltoun.com
Photographs by Chichester Camera
Club, both contemporary and archival,
that show how the area has inspired
photography over the decades.
Tower Street, Chichester
thenovium.org
RUSSELL-COTES ART GALLERY
& MUSEUM
To 2 June
China: Through the Lens of
John Thomson (1868-1872)
Large-scale images of the landscape and
people of China, accompanied by objects
collected by Merton and Annie Russell-
Cotes on their trip to east Asia.
East Cliff Promenade, Bournemouth
russellcotes.com
WEST
MARTIN PARR FOUNDATION
To 16 March
A Contested Land
Work from Document Scotland, a collective
of four photographers brought together by
a common vision to witness and capture
important stories within their homeland.
316 Paintworks, Arnos Vale, Bristol
martinparrfoundation.org
MUSEUM OF BATH
ARCHITECTURE
To 23 June
Architectural Photographer
of the Year 2018
Exploring the intrinsic link between
S’he, 1973. Auto-Polaroid type 107.
© Ulay/Courtesy Richard Saltoun Gallery, London
architecture and photography, and the way
people engage with the built environment.
The Countess of Huntingdon’s Chapel, 21
The Paragon, The Vineyards, Bath B+W
museumofbatharchitecture.org.uk
ROYAL PHOTOGRAPHIC SOCIETY
To 24 March
International Photography
Exhibition 161
The world’s longest running photographic
exhibition showcases work from 54
photographers including Catherine Hyland,
Christopher Bethell and Alys Tomlinson.
Paintworks, Arnos Vale, Bristol
rps.org
SCOTLAND
ABERDEEN MARITIME MUSEUM
To 28 April
Paul Duke: At Sea
Striking portraits of Scotland’s fishing
communities at a time of steep decline.
Shiprow, Aberdeen
aagm.co.uk
CITY ART CENTRE
To 17 March
Robert Blomfield:
Edinburgh Street Photography
Tender, bold and humorous images of
the post-war period in the UK by a man
with an engaging manner and healthy
disrespect for authority.
2 Market Street, Edinburgh
edinburghmuseums.org.uk
 COMMENT AMERICAN CONNECTION
In her new book Literary Chickens, Beth Moon captures the personality
of a range of different chickens. But the book also carries an important
susanburnstine.com
conservation message. She talks to Susan Burnstine.
eth Moon has documented

B a diverse range of subject

matter within the natural
world and her latest
project proves to be as delightful
as it is profound. Most recently,
her long-term work focusing
on ancient trees was published
in two consecutive books that
catapulted her to become an
international sensation. Yet
despite all her success, Moon has
remained one of the most down
to earth and sincere people in
Above left to right Salmon Faverolles, Frizzle and Reza Asil Below White Rumpless Araucana the world of photography and
Opposite top Black Crested Polish Opposite below Ameraucana it’s those very same qualities that
shine through in all of her work.
Moon’s newest book, Literary
Chickens (Abbeville Press,
2018), documents 52 arresting,
funny and flamboyant heritage-
breed chickens, all of which
present a remarkable range of
22 emotion and personality. Each
B+W
portrait is uniquely paired with
a literary excerpt, though it’s the
undercurrent of conservationism
that strikes the deepest of chords.
Moon was first inspired to
photograph chickens after she
became more informed about
the realities of the food industry.
Specifically, her motivation came
when she learned about the way
animals were treated. ‘I hoped by
shining a spotlight on the chicken,
the most engineered of our farm
animals, that it would make it
harder to accept the cruelty that is
part of the food industry,’ she says.
Moon assumed her subjects
would be difficult to photograph,
but had no idea how challenging
they’d actually be. ‘After looking
at the results of the trial shoot,
I must admit I saw many empty
frames,’ she says. ‘Chickens move
with lightning speed. But there
was one frame towards the end,
where I learned to compensate
for movement and leaned to the
left. The hen looked directly at
me, and it was in that moment
that I felt a connection.’
Each chicken displayed near
human-like qualities in addition
 All images © Beth Moon

to a remarkable variety of
expressions when sitting for a EXHIBITIONS
portrait. Moon’s initial intention

USA
to create these portraits was to
explore the emotions of animals
in a series. ‘It wasn’t my goal to
capture human-like qualities,
and I was actually surprised at
the wide range of expressions
they have. But I feel that if we
ignore our similarities, we risk
seeing the birds as separate,
and I think empathy plays an
ATLANTA
important role, so we can see Lumiere Gallery
Until 22 March
them as animals that deserve
Vivian Maier: The Color Work
respect,’ she says. ‘The farther lumieregallery.net
we go from nature, the more we
seem to lose, and it’s not just
the animals and the trees, but
BALTIMORE
Baltimore Museum of Art
diversity in general. This world
Until 24 March
of symbiotic, interconnected Time Frames: Contemporary East
relationships that ensure Asian Photography
survival cannot be repeated.’ artbma.org

CLEVELAND

T
he majority of the
chickens photographed
for this book are
endangered, specifically
because only a few select breeds
have been used in the food
industry for many years so raising
the remaining breeds became
impractical to most. Additionally,
Moon was mostly interested in
photographing heritage breeds
because they differ from factory
breeds as they are slow growing,
naturally mated chickens with a
long productive outdoor life.
Primatologist and
anthropologist Dr Jane Goodall
and actress Isabella Rossellini
provide very personal, moving
essays in the book. ‘Jane Goodall
has long been a hero of mine,’
Moon says. ‘I first came into
contact with Jane in 2013 when
she wrote on behalf of a previous
book, Ancient Trees. Her work
with the chimpanzees has
changed the way we look at
animals and was a great
inspiration to me doing this
work. By example, she has
taught me that the collective
power of the individual action
can make a big difference.’
Moon contacted Isabella
Rossellini directly to photograph
some of her heritage breed
chickens last year. ‘She has the
most wonderful farm in Long
Island with sheep, pigs, turkeys,
dogs and bees. Isabella believes
each farm has a part to play in
genetic diversity,’ she says.
Another notable element
about the book is that each
portrait is paired with
quotations from classic
literature. While the two might
seem unrelated, the combination
proves to be a natural marriage,
which Moon says she spent
three years curating through
instinct rather than rules.
Cleveland Museum of Art
Until 26 May
Beyond Truth:
Photography After the Shutter
Featuring Luis Gonzáles Palma,
Currently, Moon is working Kehinde Wiley, Laure Albin Guillot,
on several new series. Anderson & Low
Additionally, her exhibition State clevelandart.org 23
B+W
Of Change will be on view at the
Bolinas Museum in Bolinas, HOUSTON
California, from 30 March to Catherine Couturier Gallery
2 June and her exhibition The Until 30 March
World To Come will be on view Rachel Phillips: Ghost Light Theaters
at the Michigan Museum of Art catherinecouturier.com
from 27 April to 28 July.
bethmoon.com LOS ANGELES
The Getty
Until 9 June
Oscar Rejlander: Artist Photographer
getty.edu
NEW YORK CITY
Edwynn Houk Gallery
Until 20 April
Nick Brandt: This Empty World
houkgallery.com
NORFOLK
Chrysler Museum of Art
Until 23 June
A Labor of Love: The Caregiver
Portraits by Dr Michael Geller
chrysler.org
SANTA FE
Georgia O’Keeffe Museum
Until 22 April
The Candid Camera
Featuring Ansel Adams, Todd Webb,
and Alfred Steiglitz
okeeffemuseum.org
 NEWS
ON THE SHELF
Black+White’s line-up of some of the very best new photographic
publications out in the bookshops or to order online.
LEWIS HINE:
WHEN INNOVATION
WAS KING
Judith Mara Gutman
Steidl
Hardback, £35
ewis Hine was a
L brilliant documentary
photographer whose
pictures of child labourers
in the US helped end the
practice. He also took portraits
of some of the thousands of
immigrants who arrived in New
York and he photographed relief
work by the Red Cross.
This book highlights his
less well-known pictures for
the National Research Project.
Between 1936-37 he took
hundreds of photographs of
factories as part of a government
effort to show the innovation
taking place in the American
economy in the wake of the
Great Depression.
Fascinated by new technology,
Hine criss-crossed the country
photographing the men and
women who worked the
machines. In powerful B&W
pictures, he captured the skills,
focus and precision of the
workers, and the repeating
patterns of levers, pipes and
wheels. He caught the subtle
relationship between people and
technology, and the beauty of
light as it fell through a factory
window at the dawn of a new era.
Mark Bentley
BEAUTIFUL
AMERICA
Jerry Berndt
Steidl
Hardback, ¤38
t was that particular time in
I American history – between
the late sixties and the
eighties – that produced a
plethora of great documentary
photographers, Jerry Berndt
among them. A committed
anti-Vietnam war activist in his
early days, he set out to record
the America that had spawned
the war, later working in the
press and turning to social
documentary.
This overview of that period
of his work tells us a great deal
about the American people he
saw on the streets and in their
homes; it describes a society at a
point of change and turbulence,
attempting to re-define itself but
finding the struggle difficult.
What is particularly
interesting about the work is
its modernity that precluded
later work by contemporary
photographers. The ironic use
of the word ‘beautiful’ in the title
is not lost on the viewer – these
images talk of many things but
beauty, in its conventional sense,
is not one of them.
Elizabeth Roberts
I AM WALDVIERTEL
Carla Kogelman
Schilt Publishing
Hardback, ¤45
inner of the first
W
prize for a long
term project in the
World Press Photo
2018, this book is a tribute to
childhood innocence. The two
main protagonists in the story
are sisters Hannah and Alena
who live on a horse farm with
their parents, some miles from
Vienna in what seems an idyllic
rural dream. Joined in the
summer by other children from
the city who come to spend
their school holidays on the
farm, Hannah and Alena run
free and do what all children
do when left to find their own
amusements.
The project ran from 2012
to 2018 and ended only when
their childhood was ending and
with it, their innocence. No
longer could Kegelman follow
them throughout their days, an
insider outsider, trusted and
ignored. We see the final stages
as the two girls become young
women, no less free but now
with a difference.
Elizabeth Roberts
LOOKING AT
THE OVERLOOKED
John Myers
RRB Photobooks
Hardback with print £75
T
he second of a three-
volume set to be published
25
B+W
by RRB, Looking at the
Overlooked has the same
deadpan charm of John Myers’
Portraits, the first in the set.
What Myers himself termed
‘boring pictures’ are anything
but. Through them we see
the world in a new way. The
everyday and commonplace –
the things and places we hardly
notice – are transformed by the
photographer’s eye.
All taken during a 10-year
period from the early seventies
to the eighties, within walking
distance of Myers’ home in
Stourbridge, they have a distinctly
British feel to them, depicting the
time and place that some of us
lived through and hardly noticed.
When viewed as a whole, the
pictures of buildings, bus stops,
shop windows, golf courses and
car parks take on new meaning by
viewing them through Myers’ lens.
The book comes signed with
a 5x4 print.
Elizabeth Roberts
 INTERVIEW TO BE CONTINUED
When photographer and printer Mike Crawford was given a shopping
trolley of outdated photographic paper and film it kick-started a personal
project with far-reaching consequences, as Tracy Calder discovers.

T
he area around Archway station
in Islington is where people go to
get things done. A computer repair
shop sits next to a barbers on one
side of the street, while a Hoover
specialist shares the strip with a
nail bar on the other. It’s a refreshing mix of
businesses and residential properties; the kind
of place where a cat senses your approach
and emerges from nowhere expecting to
be petted. Just off the main road there is
an imposing building known as Belgravia
Workshops where an eclectic bunch of people
share office, studio and workshop spaces.
Climbing an exterior staircase to the
second floor, I find photographic printer
Mike Crawford hard at work in the
darkroom. Mike welcomes me into the
office he shares with Paul McKenzie Studio
and then rushes back to the print he’s
started. When he invites me to join him I
jump at the chance. Darkrooms are very
private spaces, and much can be learnt
26
B+W
about an individual by spending a little time
in their darkroom. Standing in the corner,
trying not to get in Mike’s way, I am struck
by how confidently he moves around the
room in the semi-darkness. Here I am a fly
in the ointment, unintentionally blocking
his route to tongs, dishes and timers.
Thankfully Mike is unruffled, and soon we
are happily chatting while he immerses a
print in the developer and starts rocking the
tray to and fro. It’s soothing to watch, and
it’s a testament to Mike’s skills that he can
answer my questions while producing what
turns out to be a perfect print.
Job complete, we return to the office and
settle down next to a stack of books waiting
‘Judging by the design of
the boxes, Mike deduced
that most of the paper was
between 20 and 40 years old.’
to be dispatched. This stack comprises
copies of Obsolete & Discontinued, Mike’s
latest labour of love, and the reason for
my visit. In 2015 David Yates – a client of
Mike’s – turned up with a shopping trolley
full of outdated photographic paper and film.
The materials once belonged to his uncle,
an artist and teacher by the name of Bret
Sampson, who passed away in 2005. David
was clearing out his uncle’s darkroom when
he came across the sizable stash, and was
hoping Mike would know what to do with
it. ‘He turned up with a trolley of Brett’s old
paper and said I could either have it or we
could chuck it in the bins down there,’ recalls
Mike, gesturing to the courtyard below. To
begin with the idea of binning the lot was
tempting. ‘As you can see, I have run out of
space for more stuff,’ says Mike, casting his
eyes around the room. But when push came
to shove Mike just couldn’t bear to throw the
whole lot out so he came up with the idea of
giving it away to other photographers and

Above Constanza Isaza Martinez Opposite top Mike Crawford Opposite below Jacqueline Butler
printers instead. ‘The next time David and
I met he brought the rest of it,’ says Mike.
J
udging by the design of the boxes,
Mike deduced that most of the
paper was between 20 and 40
years old. ‘Photographic paper
has a limited shelf life and for
optimum results it’s best used within a few
years of manufacture,’ he explains. Over
time photographic paper can become
discoloured, lose contrast and suffer from
fogging. Consequently Mike had low
expectations when he started carrying out
tests on the paper in his darkroom, but in
some instances he was pleasantly surprised.
‘I tested everything, all the papers and
the film,’ he explains. ‘The results varied:
some were totally fogged – the film had a
lot of base fog and was very grey, but still
usable, for instance.’ Some of the oldest
papers fared well, displaying good contrast,
but in most cases the deterioration was
noticeable. Undeterred, Mike began to
experiment with lith developers, which led
to some remarkable results. ‘I’d forgotten
how good old Kodak lith could look!’ he
exclaims. Suitably encouraged, he began to
27
B+W
wonder what could be achieved using other
processes and darkroom techniques. ›
 › In the weeks that followed Mike compiled
a list of all the papers, with suggestions as
to how they might be treated. ‘Some of the
papers were purely for lumen prints because
they were so fogged that you couldn’t process
them,’ he reveals. Reading through the notes,
his expert knowledge is clear to see. In the
back of his mind he was already toying with
28 the idea of sending the out-dated paper and
B+W
‘In the back of his mind he
was already toying with the idea
of sending the out-dated paper
and film to other photographers
and printers to see what they
could produce with it.’
film to other photographers and printers
to see what they could produce with it. At
the time Mike was heavily involved with the
London Alternative Photography Collective –
he had given a few presentations to the group,
and got to know quite a few people as a result.
Before long, he had invited the members to
participate in his Obsolete & Discontinued
project. ‘They were a prime, captive audience
consisting of people working in alternative
analogue photography processes,’ says Mike.
He originally planned to hand out paper
(and test notes) to around 15 photographers,
with the hope of an exhibition once the
material had been returned. However, word
quickly spread outside the LAPC and the
list of participants steadily grew. In the end
Mike sent out packages to more than 60
photographers – mostly in the UK, but some
as far afield as Slovenia, Norway and the US.
T
he brief was left purposefully open
to encourage experimentation. ‘The
idea was that everyone had to use
the paper in some way: whether it
be to produce a final print on it, or as an
intermediate part of the process,’ says Mike.
‘Several people used the paper as a negative,
for example.’ For his own contribution Mike
selected Ilfospeed Grade 1 10x8 Pearl paper
and made silver gelatin prints from scanned
photograms of salt crystals. The resulting
diptych is impressive, with rich, deep blacks,
and remarkable contrast and fine detail.
It’s the perfect example of Mike’s ability,
and willingness, to combine traditional and
contemporary processing methods. ‘I showed
everyone the list of materials, asked them to
choose three papers and then told them that ›
This page Keith Taylor Opposite Rosie Holtom
29
B+W
 › hopefully they would get one of their choices,’
recalls Mike. ‘And it worked!’ Looking at
the list makes me wonder if there is a paper
that many printers wish was still available.
‘Whenever I speak to photographers who
were active in the 1970s and 80s they always
seem to say Agfa Record Rapid,’ answers
Mike, ‘but to be honest the Record Rapid that
was included on the list was one of the worst
papers – it appeared very fogged when printed
conventionally, but lith printed very well.’
Within weeks, small packages began to
arrive at Lighthouse Darkroom, each
containing a carefully-considered
contribution to the project. As the boxes and
envelopes built up Mike was amazed at how
the same paper could be used to create such
radically different work. ‘Prints were returned
using a wide variety of processes including
silver gelatin, lith printing, wet collodion,
paper negative, collage, lumen and hybrid
techniques combining analogue and digital,’
he explains. When pushed to choose a
favourite contribution Mike politely declines,
but I’m not quite as guarded. For me, Borut
Peterlin’s portrait is up there with the best.
This silver gelatin print was made from a wet
plate collodion negative and printed on Agfa
Brovira Grade 3 paper. It’s a statement about
the fragility and impermanence of life, and a
celebration of photography as a medium.
30
‘Borut made the picture for the project. ›
B+W

Top Asya Gefter Above Brian Griffin Opposite Borut Peterlin

31
B+W
 › He knew his grandmother wasn’t going to be
around much longer, and I believe she died a
few months later,’ says Mike. Another
favourite of mine is Untitled by Constanza
Isaza Martinez. What looks like a line of trees
standing at the edge of a misty lake is nothing
of the sort; what this image actually shows
is the section at the beginning of a roll of
32 35mm film where black turns to white.
B+W
Hearing the stories behind some of the
images prompts me to ask Mike if he might
consider a companion volume, offering more
detailed information about the subjects and
processes used. ‘Not really,’ he replies. ‘I didn’t
want the book to be about techniques – there
are some very good books available on the
subject. I wanted it to be about the work.’
Maintaining a level of mystery seems fitting
for a project that has embraced chance from
the start. When David found his uncle’s paper
and film he could have thrown it away, but
he brought it to Mike instead. Struggling for
space, Mike could have turned his back on the
old stock and binned it, but he sent it to those
who would recognise its significance. Thanks
to a few heartfelt decisions, friendships have
been forged, exciting work has been created,
and Bret’s influence as an artist and teacher
lives on. ‘I would love to know what he would
have made of his paper inspiring so many
people,’ says Mike. ‘David said he would have
loved it.’ I have no doubt about that.
‘As the boxes and envelopes
built up Mike was amazed
at how the same paper
could be used to create such
radically different work.’
Above Guillaume Zuili
Left Nicola Jane Maskrey
Obsolete & Discontinued, is published
by Brovira Press, ISBN 978 19164 50707,
has an RRP of £30 (including UK postage)
and is available directly from
obsolete-discontinued.com.
 F E AT U R E THE ISLE OF DOGS
When Mike Seaborne became aware of the major changes that were taking
All images place in London’s Docklands in the 1980s he knew he could not ignore them.
© Mike Seaborne
Now, published as a book, his work describes how the big money took over…

34
B+W

T
he regeneration of London’s
Docklands has been described as
the UK’s biggest social experiment
of the 20th century. When I began
photographing the Isle of Dogs
in 1982 it was known that big
changes were on the way, though their exact
nature and scale was still far from clear.
I stumbled upon the Isle of Dogs more
or less by accident after spending some
time photographing the river wharves
closer to central London. I was struck by
the extent to which the island still retained
its traditional industrial character, albeit
Above Old entrance to Millwall Outer Dock,
West Ferry Road, 1982.
Opposite top Factory floor workers’
canteen, Blythe Burrell Colours Ltd,
West Ferry Road, 1984.
Opposite below 1930s warehouses,
Canary Wharf, 1983.
Overleaf DIY car repairs outside Roffey House
(demolished 1988), Roffey Street, 1985.
one clearly in severe decline, and was
determined to document the area before
the London Docklands Development
Corporation (LDDC, set up in 1981)
carried out its transformation.
I began by photographing inside the
empty docks and surrounding derelict
factories and workshops and then, in
autumn 1983, I made contact with the
Island History Trust, a community-based
organisation dedicated to collecting and
preserving the history of the Isle of Dogs.
I collaborated with the IHT to produce an
extensive photographic documentation that
would cover not only the environment but
also the remaining working factories and
›
businesses and the social fabric of the area.
35
B+W
36
B+W
37
B+W
38 Islanders waiting for a boat to join the Docklands Armada, Cuba Street, 1985.
B+W

East Ferry Road entrance to Clippers Quay, a private housing Mothers and toddlers outside St Luke’s Church Hall, Alpha Grove, 1984.
development on the site of McDougall’s flour mill, 1984.

› By the end of 1986 the changes to the
island were becoming increasingly evident
and I documented some of these early
developments, notably the construction
of the Docklands Light Railway from
Tower Gateway to Island Gardens, which
opened in September 1987. The major
new financial centre at Canary Wharf was
still only a twinkle in the capitalist eye,
but some of the former industrial land by
the river was already being redeveloped
for luxury housing. The remaining large
industrial firms, notably Blythe Burrell
Colours Ltd (pigment makers), John
Lananton & Son Ltd (timber importers)
and the Tate & Lyle Millwall Sugar
Refinery, would soon be gone and only
the Burrell’s site would retain any trace
of what had once been. The Isle of Dogs Before the Big Money
by Mike Seaborne is published in hardback
To see more of Mike Seaborne’s work visit by Hoxton Mini Press at £17.95.
80sislandphotos.org.uk Visit hoxtonminipress.com
P RODU C I NG DIG I TA L F I N E A RT PA P E R S SU I TA B L E F OR A L L P HOTO G R A P H IC N E E D S

©Tom Schönfeld
©Andrzei Dragan

©Marie Hölscher

M A K I N G PA P E R S I N C E 1 5 8 4
THE HAHNEMÜHLE PHOTO AND FINEART PAPER RANGE
SUITABLE FOR GENERAL DAY TO DAY USAGE
TO ARCHIVAL EXHIBITION QUALITY.

TRIAL PACKS AVAILABLE IN A4 AND A3+ FORMATS

• u k s a l e s @ h a h n e m u e h l e . c o m • 0 8 4 5 3 3 0 0 1 2 9 • w w w. h a h n e m u e h l e . c o m • # h a h n e m u e h l e _ g l o b a l
 CO M M EN T
REFLECTIVE PRACTICE
When history intervenes in the landscape the photographer is inevitably
influenced and must work towards an interpretation that does not turn
@vickipaintingphoto
its back on the past. Vicki Painting reports from northern France.

40
B+W

Above A grieving female figure looks out over the ridge at Vimy near Arras, France,

T
he flat landscape of the Nord-Pas-
at the Canadian National Memorial site. Below A colossal male figure in despair de-Calais region of France is tucked
greets visitors at the Canadian National Memorial site at Vimy, France. high up in the north of the country
spanning the Belgian border. It is both
sorrowful and bleakly beautiful. On a clear
day you can probably see for miles with the
view stretching endlessly across fields, largely
uninterrupted by hedgerows, or woodland
with disused mine shafts and the dark
pyramid-like triangles of the slag heaps jutting
out of the plains. These are dark relics to the
region’s once rich industrial past. Vast swathes
of this area are now a world heritage site, part
of Unesco’s wider project intended to draw
our attention to places that don’t necessarily
conform to traditional notions of beauty or
antiquity but have an important story to tell.
Visiting in winter, with the sky practically
scraping the ground and the all-pervading
dampness amplifying the cold even further,
it is especially hard not to think of the battles
which also took place on this soil 100 ago, as
the land is also viewed collectively through
the prism of the trauma of the First World
War. There is a kind of haunting here, this is
 All images © Vicki Painting

a space which operates evocatively because

of the shared prior knowledge we have about
it. I am trying not to see the ghosts that are
everywhere, even when walking across what
initially appears to be bland agricultural
land, the line of a trench can be made out
and farmers have become unwitting forensic
archaeologists, frequently unearthing
remnants of the past as they work their fields.
This history is often not visually apparent;
photographers visiting these sites of
significant past events, myself included, can
be more interested in the idea of a lyrical,
subjective interpretation, which involves a
romantic, or deeply psychological or even
archaeological approach where the aesthetics
of the image will always be undermined by
past events and the photographer digs into
their own psyche or emotions.
Walking past a field, bare except for
a knobbly pile of sugar beets covered in
white tarpaulin which billows up as the
wind catches it, it appears ghost-like. As I
continue walking, I realise these mounds are
everywhere, and can be viewed from long
distances, some appearing to measure over
100m, rising up like long barrows, silvery
white against the dark slag heaps.

y contrast, the architecture of

B remembrance for the war dead

does not allow for interpretation or
individuality, though it is undoubtedly
impressive and moving. In death these men
remain a cohesive body whose graves lie in
41
B+W

regimented lines. Some cemeteries are small

and simple, often enveloped by protective
woodland, whereas others are grand
monuments to the fallen with majestic carved
god-like figures stretching upwards to the sky,
where they are inevitably attended by female
figures who look across the landscape in
mourning or searching for a soldier’s return.
The Canadian memorial at Vimy is
positioned on the highest point of the ridge
and dominates its surroundings. Another
memorial at Notre Dame de Lorette near
Arras, encircles its dead, the names of over
579,000 are listed on 500 sheets of bronzed
steel which form a ring of remembrance and
lists all nationalities linked together in an
elliptical form, which sits low on the ground.
The complexity of all these not so distant
but separate histories is drawn into our
picture-making consciously or not and our
reinterpretation of them adds another layer.
Top A mound of sugar beet covered in white
tarpaulin – a dominant feature of the bleak
winter landscape of Nord-Pas-de-Calais.
Middle Shroud-like coverings protect crops
in the wintery fields of Nord-Pas-de-Calais.
Bottom The Ring of Remembrance at Notre
Dame de Florette commemorates more than
half a million war dead.
BLACK+ WHITE PHOTOGRAPHY
B L ACK + W H I T E PH OTO GR A PH Y CO O L , C R E ATIVE AN D CO NTE M P O R ARY

SUBSCRIPTION OFFER

SAVE UP TO 30%
NEVER MISS AN ISSUE
HAVE B+W DELIVERED TO YOUR DOOR
Visit blackandwhitephotographymag.co.uk
Or call +44 01273 488005

SUBSCRIBE TO THE DIGITAL EDITION

Visit pocketmags.com
B+W
2019
 INSPIRATION
STRAIGHT TALKING
As photographers, we all have our strengths and weaknesses, so is it better
All images to specialise in one particular area? Being a jack of all trades keeps you
© Chris Gatcum
versatile, but specialism gives you identity, says Christ Gatcum.
I
don’t like photographing
people. Never have, never
will. That doesn’t mean
I haven’t done it, though:
friends’ kids and family
portraits were pretty much
expected until I increasingly
found myself ‘too busy’ to oblige,
44
B+W
and I was also once ‘invited’ to
shoot a wedding (although I
believe this was based purely
on the knowledge that my free
of charge acceptance of the gig
was guaranteed). Suffice to say,
I did not enjoy one protracted
minute of it.
That said, there are one or
two portraits I’m actually quite
happy with; I don’t claim to be
the next David Bailey, and I don’t
want to sound big-headed, but
they might even be considered
good. Now, if I was smart and
wanted to earn some coin
from my photography, I would
perhaps be well advised to do
something about this, because
as far as I can tell there are far
more people willing to part
company with their hard-earned
cash for pictures of themselves
or their nearest and dearest
than are likely to dig deep for
a photograph of a toy soldier,
robot, blurred animal of some
description, heavily processed
picture of a tree, animal skull/
bones that I’ve found in my
locale, or any of the other
slightly more esoteric subjects I
prefer to waft in front of my lens.
Yet despite being fully aware
of what I could do, I stubbornly
refuse to do anything about it
and my repertoire generally only
includes people if they happen
to be invading the outdoor scene
I’m trying to photograph (and
even they can be ‘disappeared’
with a long enough exposure). ›
‘Being labelled is
beneficial, as it
tells the world who
you are and what
you are about.’
Left I know this shot isn’t bad,
and I’ve seen worse produced
commercially – and paid for.
Perhaps it’s time I rethink my
relationship with portraits?
Opposite One of the main benefits
– and challenges – of studying
photography formally is that you
are forced into photographing
subjects you might not normally
choose. This shot was from the
obligatory ‘day in the life…’
project and would go on to
become my first published
photograph, having been
discovered by the author of a
portrait book on the reject pile of
what was then the Kobal Awards.
45
B+W
46
B+W
The people I prefer to photograph tend to stand under 6in tall and
are typically made of plastic or metal. Unfortunately, they rarely
pay me for my time.
› The only exception to this self-
imposed rule is photographs
of my kids, but that doesn’t
really count.
The vast majority of
photographers have a similar
modus operandi, photographing
the things they like and avoiding
the things they don’t. But we
all have our own particular
Kryptonite: mine is people,
yours might be landscapes,
or still life, or anything that
involves flash. We also all
implement it to a differing
degree, with some of us avoiding
maybe one or two areas that
O is immediately
we aren’t that keen on, while
others take it further and
single-mindedly photograph
one particular subject at the
exclusion of all others. The thing
we have in common, though,
is our desire to only see what
‘As a punter I want the reassurance
that I’m dealing with an expert.’
we want to see, effectively
pigeonholing our photography
and ourselves along the way.
But does wilfully narrowing
our focus in this way make us
better photographers?
One thing that
apparent is that very
few people have
ever become a master of their
genre by photographing
everything and anything.
Mining one particular subject
is what made Leibovitz great
at portraits, Adams a master
landscaper, and Cartier-Bresson
the granddaddy of street
snappers. Even those who don’t
I am not adverse to wildlife photography. In fact, I’m collecting quite
a box full of animals to parade in front of my lens…
go on to achieve the status of
a master can find that being
labelled is beneficial, as it tells
the world who you are and what
you are about. On a commercial
level, if I wanted professional
portraits of my kids I’d look for
a child portrait specialist as
opposed to someone who
‘sometimes photographs dogs,
but also likes seascapes and
shoots the odd wedding –
anything really’. As a punter I
want the reassurance that I’m
dealing with an expert and the
more expert they are, the better.
But while there are benefits
when it comes to establishing an
identity, there are also innate
creative risks to ploughing one
furrow, the greatest of which is
human nature. You can argue it
as much as you like, but people
are, on the whole, intrinsically
lazy; or, to put it a little more
politely, adept at finding
shortcuts. In life we naturally
look for ways to make things
easier or quicker and I have no
doubt this goes back to the day
we crawled out of the
primordial ooze: you’ll save a
whole lot of energy if you can
find a less labour intensive way
of doing things, and that saved
energy could come in handy for
fleeing anything that might want
to do us harm (and in those
early days I reckon there were
plenty of things looking to put
us in our place). In today’s
world, harm is often a little
further away, but time has
replaced it as our enemy:
everyone wants things now and
the easiest way of delivering
that is to cut corners – sorry,
find a shortcut.
In photography this can
quickly lead to certain motifs
coming into play. We don’t
necessarily create facsimile
images, but we certainly start to
identify what works (and what
doesn’t) and adjust our creative
game accordingly. You might
like the look of wide aperture
portraits, for example, or
shooting in-your-face street
shots with an ultra wideangle
lens, but as you venture down
your particular path two things
will inevitably happen: you will
start to build up a coherent
body of work that reveals your
specialism and your increasing
mastery of it, and you will start
to limit your photographic
range. At an extreme level this
can get to the point where
studio lights are locked down
and camera settings become
immutable, enabling you to
deliver a production line of
portrait poses with pixel-perfect
precision. Creative? Of course
47
B+W
not, but the prices I’m charged
for my daughter’s school
photograph suggest it can be a
lucrative process nonetheless.
But what’s the alternative to
this self-imposed limitation?
The obvious answer is to
photograph anything and
everything and develop an
arsenal of transferrable skills.
Shooting sport will arm you
with the abilities you need to
combat fast action, no matter
where or how it is encountered;
landscape can teach you
patience; studio work can teach
you artificial lighting, and so on.
By spreading your thematic
wings you can become the
proverbial jack of all trades and
a great all-round photographer,
but there is an undeniable truth
to the second part of the
proverb: master of none.
Shooting anything and Darkened edges, soft focus and artificially heightened grain are three of my go-to motifs,
everything may give you the seemingly regardless of the subject. Does this demonstrate my faultless ability to apply
tools you need to tackle most techniques across genres, or is it just laziness? I’ll let you decide.
things, but it won’t give you an
identity, and without that there making so many claims that photographers, or would we be I’m not sure what the answer is,
is little chance of becoming a your message becomes diluted. better served immersing but I do know one thing for
master; you will be holding so So does pigeonholing ourselves – at least on occasion certain: I’m not shooting
many different banners and ourselves make us better – in different ways of working? another wedding. No chance.
 F E AT U R E THE ENGLISH
In a new occasional series Alex Schneideman looks at classic, contemporary
All images British documentary photography and the books it has spawned.
© Ian Berry
We begin with a time-honoured work by Ian Berry.
48
B+W
I
t is now the 40th anniversary of the
publication of Ian Berry’s seminal work
of British documentary photography,
The English. The story of the book
starts in the mid-sixties when Ian Berry,
established Magnum photographer,
protégé of Cartier-Bresson, sole
photographic witness to the Sharpeville
Massacre and son of Lancashire, returned to
his homeland to set roots for his family and
to re-engage with the country of his birth.
By 1974 Berry, working as the first ever
contract photographer for the Observer,
had completed some photography that
would feature in his book, but it was an Arts
Council grant – the first of its kind – that
would enable him to travel through his
homeland and photograph it with the fresh
eyes of the son returned.
In 1974 political chaos and economic
recession vied to depress a nation that was
‘It is this compassionate,
humane gaze that announces
the photographer’s distinct
approach.’
still struggling its way out of the Second
World War. A three-day week prevailed and
in the space of one year two general elections
were held that saw Heath start the year and
Wilson finish it. A decision by the EEC in
1973 to allow expansion and invite the UK
had taken place and in 1975 the referendum
to join would be held. And, among other
indicators of decline and chaos, far right
parties secured over 10% of the vote in local
elections in some parts of London. Berry
would be delving into this scene of transition
and sadness as he spent some four months
travelling around his own country trying to
understand it in tones of black and white.
Above A sunny Sunday afternoon brings tourists
and residents on to the hill overlooking Whitby
harbour to relax and dream.
Opposite top Back-to-back houses in Ashington
in Northumberland, built for colliery workers
at a time when the mines were thriving and
almost all the men in the village worked
down the mines.
Opposite below Three men in cloth caps,
probably coal miners, with Durham Castle
and cathedral in the background.
erry describes the work of English
B pioneering photographer Frank
Meadow Sutcliffe as a particular
inspiration. In a satisfying homage
to Sutcliffe, Berry has placed his own image
of Whitby on the cover, this being the town
most closely associated with Sutcliffe’s work. ›
49
B+W
50
B+W

Above A miner hauls a barge of coal on the
canal at the newest and most up to date mine
in the country in Pontefract, Yorkshire.
Opposite top Patients queuing in a
doctor's waiting room in London.
Opposite below A geriatric ward in
a Midlands hospital.
› The scene here (see p48) is of a pleasant
Sunday afternoon; people are strolling and
lounging on a high bluff overlooking the
river Esk as it winds through the town. It is
as if we, the viewers, are placed in the midst
of the scene – the trippers who have taken a
seat in the long grass to enjoy gazing at the
white dinghies sailing along the river.
Imagine Berry taking this shot, he would
have been immersed in the scene; another
figure among the many taking time on a
warm afternoon. It is this compassionate,
humane gaze that announces the
photographer’s distinct approach.
n a long discussion I had with Berry in
I preparing for this piece he said he was
inspired by the essence of Robert Frank’s
The Americans (1958) but felt the pictures
didn’t go deeply enough into the lives of the
people and had, perhaps, gone some way to
‘This desire to go deeper and
closer explains the emotional
power of the work contained
within The English.’
dehumanise its subjects. In carrying out the
photography for The English Berry said it
was his aim to reflect the dignity of the
people he came across.
This desire to go deeper and closer
explains the emotional power of the work
contained within The English. For example,
I asked Berry how he managed to take such
intimate shots as he had in a hospital. One
photograph (see left) shows the sensitivity
and drive of the photographer to get as
close to his story as possible. He had sought
official permission to photograph in the
hospital but was rejected. However, a senior
doctor said he wouldn’t mind if Berry were
to don a white coat and have a look around
for an hour or so ‘informally’, as it were.
The resulting pictures confront us with the
frontline of the NHS as it was in 1974. Two
black orderlies in sparklingly white coats
are gently lifting and repositioning a very
old man in his bed. There is a tenderness
between the patient and the orderlies.
The picture offers a glimpse of a shared
51
B+W
compassion and, at the same time, makes a
vital social comment.
In an image of a doctor’s waiting room in
London (above left) we see another aspect
of Berry’s work; something he refers to as
shape. To Berry, whom Cartier-Bresson had
strolled with through the streets of Paris
teaching him a new way of looking, shape
is as crucial to a successful photograph as is
the capturing of the moment. ‘Sometimes
you have the moment and no shape and
sometimes the two come together,’ says
Berry. In the doctor’s waiting room image is
the graphic representation of this aesthetic
ethos. The photograph describes humanity
and form in a moment poised so delicately.
From the foreground to the background
the picture describes the predicament of
the people who find themselves waiting – it
describes the universal human condition.
This is a trademark of Berry’s work; the
balance between humanity and aesthetics.
T
he English was printed by the Oxford
University Press. It was their first
attempt at a duotone book – the
process by which monochrome
photographs are printed using two plates;
one inked with pure black and the other
with a hue of grey. Berry had been advised
by his publishers that the printing would ›
 › take a day. Duly he arrived on-press to find
every proof deregistered – which is to say
that the separate plates were not inking the
same area on the paper. Much to the chagrin
of the printers, who had been pleased with
their initial efforts, Berry spent a week at the
press until the plates were perfect. This effort
has contributed to the book’s longevity. For
Berry’s style the printing of the plates threw
up challenges to printers not used to the
tonality of his work. Big blacks and details in
the highlights give the images their dramatic
drive. If Berry had not persevered much of
the detail and latent power in the images
would have been lost.
Life in England has changed almost
unrecognisably in the 40 years since the
book’s publication; the grim industrial
landscapes, the working conditions of almost
everyone and the conditions of life that
pertained to women in particular have all
changed. The English is a significant book
that emerged from a time when England was
still struggling with the legacy of the Second
World War. His document of this moment
in time will be indispensable for social
historians as well as lovers of photography
for generations to come.

‘Much to the chagrin

52 of the printers, who had
B+W been pleased with their
initial efforts, Berry spent
a week at the press until
the plates were perfect.’

Left (top) Top hatted gentry at Ascot with

their Rolls-Royces and drivers.
Left (below) A woman contestant in a ballroom
dancing championship in Blackpool stops
for a cold drink.
Opposite top An elderly lady plays in
a family cricket game on the beach
at Whitby in Yorkshire.
Opposite below Sheepdrog trials
at Hethpool in Northumberland.

The English by Ian Berry was published

in softback by Penguin and in hardback
by Allen Lane in 1978. It is currently
out of print but available online.
53
B+W
 TECHNIQUE
TOP TIPS
FOUND STILL LIFE
Still lifes can look wonderful in black & white, but they can be difficult
All images to create. So why not look for ones that already exist? Lee Frost offers
© Lee Frost
his top tips for shooting found still lifes.

I
f there’s one subject that photographers struggle with more
than most, it has to be still life – and I’m no exception.
What makes it tricky is the fact that unlike landscape,
architecture and portraiture, where the subject matter is already
there in front of you, with still life photography you start with a
blank canvas. Creatively, the world’s your oyster – you can put
whatever you like on that canvas, compose it however you like,
light it however you like. Fans of still life see this as a huge bonus,
because it gives them ultimate control over their work from start to
finish. Unfortunately, for most of us there are simply too many
decisions to make and we end up either with a frame full of
confused clutter or a headache – usually both in my case.
Having realised I’m simply not cut out for constructed still lifes,
I decided to go in search of shots that other people or Mother
Nature had already created without even realising. It worked.
No more worrying about what to shoot, or how to arrange the
props to create an interesting composition – just shoot what
you find, as you find it. Genius.

54
B+W

1 CLOSE TO HOME
Places where you tend to find clutter and
junk make perfect hunting grounds for
found still lifes. Garden sheds can be a real
Aladdin’s cave – rusting tools covered in
cobwebs, stacks of terracotta plant pots,
dusty old bottles, tins of screws and nails.
If you live in an old house, take a look in
the loft too – we tend to consign unwanted
items to the roof space then forget about
them, but after years of gathering dust
they could suddenly be highly photogenic
– old toys, piles of books or magazines,
ancient vinyl records that no one plays any
more, tatty old suitcases…
Near Alnwick, Northumberland
These dusty old bottles were discovered at the
back of a farm shed and made a perfect subject
for a found still life. A shaft of sunlight beaming
in through a window provided the illumination.
Canon EOS 5DS with 24-70mm zoom lens,
1/400sec at f/8, ISO 400
2 VACANT POSSESSION
Abandoned buildings are well worth
checking out. Deserted cottages and
farmhouses are commonplace in remote
regions such as the Scottish Highlands
and often have lots of possessions still
inside that haven’t been touched for
decades – such as old furniture, discarded
books, rusting bed frames, pots and
pans. It’s the same with old hospitals
and factories, but beware of the dangers
of entering a derelict building, and
consider the fact that you may actually be
trespassing. If this kind of thing appeals
to you, search Urbex Photography online
and you’ll be amazed how popular it is.

Havana, Cuba
This child’s toy was discovered on the floor in
an abandoned building in Cuba. It made a rather
sad sight lying in the dirt, broken and unwanted.
Holga 120GN toy camera with 60mm lens,
1/100sec at f/8, ISO 400

2 55
B+W
3 ON THE MARKET 3
Away from home, markets and souks are
another great hunting ground for found still
lifes. The items on sale are often arranged
in such a way they create instant images –
all you do is point and shoot. It’s not only
inanimate objects that make interesting
subjects either – I love to explore fish
markets when I’m on my travels, the more
primitive and smelly the better, and over
the years they’ve been the source of
many great images.

Stonetown, Zanzibar
It’s simply impossible not to find loads of found
still life opportunities in markets. Just wander
around, camera in hand, keep your eyes peeled
and shoot anything that takes your fancy.
Holga 120GN toy camera with 60mm lens,
1/100sec at f/8, ISO 400

‘Markets and souks

are another great hunting
ground for found still lifes.’
 4 MAKE THE MOST
OF LIGHT
Ideally, shoot your found still life in available
light. Daylight streaming in through
windows, open doors or holes in walls and
roofs is ideal for interior shots, especially
when it’s reduced to narrow shafts that pick
out specific details and plunge everything
else into shadow. The soft, low-contrast
light of overcast days also works well
outdoors, particularly on natural still life.
Leave your flashgun at home – its light
is hard and unforgiving and will destroy
the atmosphere of the situation unless you
bounce it or diffuse it. You’re much better
off mounting your camera on a tripod
and using long exposures to work in the
available light – the images you produce
will be much better for it. Or, if you prefer
to handhold, simply hike up the ISO of your
digital camera. I happily shoot at ISO 3200
or even 6400 if necessary, and the grainy
effect this produces can enhance rather
than spoil a still life image.

Paro Valley, Bhutan

I happened upon this shot while hiking to the
56 famous Tiger’s Nest monastery in Bhutan. It’s
B+W
maybe stretching the idea of still life photography,
but there is life, and it was definitely still!
Canon EOS 1DS MKIII with 17-40mm zoom lens,
1/160sec at f/4, ISO 800

5 BESIDE THE SEASIDE 4

If you happen to find yourself on the coast,
head for a harbour or boatyard and look 5
for piles of fishing nets, lobster pots, coils
of old rope, rusty anchors and chains. The
older the place is, the more characterful
the details are likely to be.
For natural rather than man-made
found still lifes you could do a lot worse
than go for a wander along a beach.
The shapes and textures in sea-worn
rock offer enormous potential, as do the
patterns created by pebbles and boulders.
Flotsam and jetsam can be the source
of interesting images – driftwood, dead
birds, skeletal fish remains, sea urchins,
seashells, the list goes on.

Holy Island, Northumberland

It’s highly likely that another photographer
arranged these props for his or her own shot
then left them. I came along days or weeks
later and discovered them, which makes
my photograph a true found still life!
Canon EOS 20D infrared with 16-35mm zoom
lens, 1/50sec at f/5.6, ISO 100
 6

6 CAMERA MATTERS 7
You don’t need a top of the range digital
camera to shoot great still lifes. OK, I tend
to use a Canon EOS 5DS or 5D MKIII, but a
compact is ideal and as it’s small enough to
carry everywhere you can use it to capture
subjects you stumble upon by accident.
I’ve also taken some great still life shots
using a Holga toy camera and the camera
in my iPhone. The latest smartphones have
amazing cameras built-in that produce sharp,
well-exposed images in all lighting conditions,
the quality is high enough for you to print or
publish the results and you can carry one in
your pocket without knowing it’s there. There
are also loads of apps you can use to create
artistic results – I love Hipstamatic and also
57
B+W
Snapseed for editing phone shots.

Havana, Cuba
These still life images were made using the camera
in an iPhone 5 and the Hipstamatic app. No editing
was required – what you see is what I got!
No exposure info recorded

7 PUT IT TOGETHER
There are no hard and fast rules when it
comes to composing found still lifes. The
hard bit – putting the objects together – has
been done for you, so all that remains is for
you to decide how to frame what’s there.
Exclude anything that doesn’t contribute to
the main composition either by adjusting
focal length on your zoom or moving
the camera closer. Also, if adding more
elements, taking some away or rearranging
what’s there will improve the composition,
do it. Just don’t tell anyone I said that!
The most important thing is to keep things
simple, because that’s the key to any type
of still life photography.

Santorini, Greece
I love wandering around with a camera just
looking for interesting subjects and compositions.
When I spotted these objects arranged on a flight
of painted steps, I just couldn’t resist.
Canon EOS 5DS with 24-70mm zoom lens,
1/320sec at f/8, ISO 200
 8

8 CREATE YOUR OWN

Although the whole idea of found still
life photography is that you shoot things
you happen upon, there’s no reason why
you can’t give yourself a head start by
setting up the makings of an interesting
image then leaving it to evolve.
For example, you could arrange some
old keys or other metal objects then
leave them outside in the elements to
rust. Or how about taking a bunch of
dead flowers and leaving them outdoors
on a winter’s night so they end up
covered in frost? Stick an old wine bottle
in the corner of your garden shed for a
few weeks and it’ll soon be covered in
dust and cobwebs – an ‘almost’ found
still life, but still a great subject.

Tuscany, Italy
I discovered this dusty old wine bottle in an
abandoned farmhouse. It looked like it had
been there for years, though it would be easy
to recreate the effect. You can even buy
spray-on cobwebs if you’re impatient!
Canon EOS 5D MKII with 24-70mm zoom lens,
1/15sec at f/5.6, ISO 400

58 9 OFF THE SCALE

B+W 9
We tend to think of still life subjects as
always being small – a vase of flowers, a
bowl of fruit and so on. If you’re creating
a still life from scratch, it makes sense to
keep your props a sensible size, otherwise
space is likely to be an issue. However,
when it comes to found still lifes, you’re
photographing what’s already there, so scale
doesn’t really matter – the subject matter
can be as big as you like. The most common
definition of still life is a work of art depicting
mostly inanimate objects, so in that regard,
an old bicycle propped against a wall is as
much a still life as a bunch of flowers.

10 CREATIVE EDITING
If you want to give your found still life
images a more rustic or fine art finish,
why not experiment with some creative
editing? Silver Efex Pro is the most popular
black & white conversion app these days
and gives you lots of options – I often use
the High Structure presets, Burn Edges,
Image Borders and Film Types to give my
images a unique look and feel. If you have
the full Nik Collection (available from dxo.
com), Analogue Efex Pro is also worth
Cienfuegos, Cuba experimenting with – the Classic Camera
Would you consider this to be a still life? I certainly do. The subject matter may be a little bigger than options, Dirt and Scratches and Lens
usual, but it fits the general definition of still life and also makes an interesting found image. Vignettes can be used to create an almost
Holga 120GN toy camera with 60mm lens, 1/100sec at f/8, ISO 400 endless variety of old-fashioned film effects.
 10

59
B+W

Santorini, Greece
I shot this image in the summer of 2018, though by applying filters and effects from Analogue Efex Pro 2 it could be a century old!
Canon EOS 5DS with 24-70mm zoom lens, 1/160sec at f/4, ISO 400
 timdaly.com All images ©Tim Daly

TECHNIQUE BEFORE THEY DISAPPEAR

PROJECTS
If you are bitten by the documentary bug, then why not make a study
IN VISUAL
of your local area for posterity? The pictures could provide lasting
STYLE
interest. Tim Daly talks you through the different tactics.

efore They Disappear was the title of one of Walker Evans’ change, creating photographs that capture things at specific

B self-initiated projects for Fortune magazine, capturing

the trademarks and signage of the 1950s transportation
industry that was already in decline. Many photographers
have been drawn to recording the processes of decay, decline and
deterioration – it’s a subject that holds a fascination for those of us
who are aware of the transient nature of things and places.
For this project we are going to explore the idea of recording
moments in their continuing physical journey. Faded stuff is
everywhere and no more so than during our autumn and winter
seasons when the weather has a physical impact on the things
we shoot. This type of project is at the core of the documentary
photography genre, but what you have to predict is subject matter
that is likely to disappear in the next few years. To help you develop
your project in more depth, read these ideas to get you started.

SECTION 1: THEMES TO CONSIDER

For this project try to remember a location that you’ve always wanted to photograph – this could be a place from your childhood or somewhere
more recent. If you’ve got personal memories and connections to your chosen theme then your work will be stronger for it.
Work with a local group and perhaps donate your completed project to your local museum.

60
B+W

1 2

1 THE CHANGING FACE OF THE HIGH STREET 2 RURAL DEPOPULATION

Shop fronts can be just as telling as any other indicator of social
change and provide a ready-made subject to document. What
we buy and what shopkeepers try to sell us through their carefully
crafted window displays provide a perfect snapshot of an era.
However, surrounded by things that are so familiar, it can be tricky to
separate out stuff for recording and stuff to ignore.
Before you start your project, think of the newer shops that have
emerged on our high streets recently – including vape suppliers,
tattoo parlours and nail bars – and perhaps consider restricting
your study to a single street too. Alternatively, seek out historical
shopfronts like this example captured recently in Paris.
Despite being an ever-present feature of the Irish landscape for at least
the last 50 years, it is surprising to see so many deserted houses still
very much on their journey. While most of these homes have been
left decaying to the elements, they provide a richly textural subject to
explore, full of signs and symbols of a long gone past. Rarely empty,
they can instead be full of personal mementoes, family artefacts and
domestic ware caught in a time warp.
If you get the chance to explore this kind of subject matter, look out
for smaller symbols and textures rather than grand visual statements,
as personal effects make for a richer story. If you feel strongly about
shooting everything in situ, then you may miss out. I don’t hesitate to
move items around to create better shots, as this example shows.

INSPIRATIONAL QUOTE
‘A photograph fulfils my deep need to stop things disappearing. In photography I have tried to create order
out of chaos, to find stability in flux and beauty in the most unlikely places.’
Dorothy Bohm
3

3 SIGNAGE FROM ANOTHER ERA

Without really knowing it, we’ve been absorbing visual styles and
information since childhood. Just like a nostalgic song on the radio can
take us back to earlier times, so too can examples of street signage
and lettering that have long been out of circulation. Make a collection of
letters you have found in one particular place – it could be from a fading
seaside town or community. As this example shows, good examples can
transport you immediately to a different era. Look too at house names,
especially if they describe their owner’s aspirations through humour. 4

4 THE SCRAPYARD 5 LAYERING NEW AGAINST OLD

Many big cities have at their margins scrapyards full of stuff waiting to
be repurposed and reused. Yet in addition to these yards, many parks,
gardens and museums have their own equivalent stores where things
are placed awaiting repair or removal, or having fallen foul of public
opinion. This example was spotted in a closed-off area of a park in
Florence, no longer on display but surrounded by firewood and other
broken things. Private collections of vintage cars and planes can
also provide you with a design capsule for you to document,
especially if they are rusted and full of texture.
Arguably a good documentary photograph only captures a thin slice
of time, as our environment is in a constant process of change and
entropy. In this light, an alternative way to document an area is to show
change over a longer period of time. In urban areas, street art, graffiti
61
B+W
and billboards all provide a rich layer against the more historical fabric
of the city. With some street art meant to be transitory, your task is to
record these snapshots of time across a longer period, such as a year.
If an area is destined for demolition, this can sometimes spark off a
flurry of street art activity too.

5
 SECTION 2:
PLAY WITH EMPHASIS
Walker Evans was a master of punctuating
his projects with different kinds of shots.
While famous for standout single images
encapsulating the American Depression, he
was also drawn to capturing smaller details.

1 COLLECT TEXTURES
It’s not necessary to make images that all
1 have a similar level of intensity of description.
Often, in longer projects, quieter and less
obvious pictures really help to build up a
rounder, richer story. Like Walker Evans,
keep a lookout for signs in the local
landscape – not vast all-encompassing
shots but details such as this one. While
it doesn’t work as a stand-alone image,
it does give a sense of the make do and
mend feel of the neighbourhood.

‘It’s not necessary to make

1
images that all have a
similar level of intensity
3 of description. Often, in
longer projects, quieter
62 and less obvious pictures
B+W 2 really help to build up
a rounder, richer story.’

2 OPPOSITES ATTRACT
Placing two visual elements together in a single
composition can also create emphasis, as this
example shows. Look for different textures and
surfaces and show how they interact with the
natural world or the environment. Sometimes
a location will be characterised by a particular
type of local stone or building type – this
can provide another useful ingredient.
Although I had the luxury of shooting this
image at a distance with a 50mm lens, if
space is tight use a 28mm (or equivalent).
Remember, cropping in close is what we
usually do, but the opposite can also work
for showing context.

3 ENHANCING TEXTURE
WITH CLARITY
Flat images (such as this dark grey subject)
really need careful editing to reveal details that
can be hidden in your Raw file. Lightroom’s
Clarity tool does a great job of increasing
contrast and sharpening surface texture –
which results in a much grittier final picture.
Remember, if you’ve got two or more
different tonal areas, create a mask then
apply separate Clarity edits to the areas. In
this example, I’ve made two masks – one for
the door and one for the brickwork.

3
SECTION 3:
DOCUMENTING AN
URBAN REGENERATION
PROJECT
Most towns and cities have a development
that’s underway or about to start, so see
if you can gain access.

1 WHEN TO SHOOT
While you should always seek proper
permission to visit a derelict site, you
might be lucky enough to gain access
during quieter weekends. Shooting under
the supervision of a security guard rarely
produces results, but if you can gain trust,
you may be allowed to return and work 1
unaccompanied. In this example of a historic
dockland building, I’ve tried to record
the large open spaces that have since
disappeared in its present hotel incarnation.

2 KEEP A LOOK OUT

FOR FADING THINGS
As you scoot around your chosen site,
keep your eyes peeled for smaller signs
and evidence of the past. While most of
these items will be swept away during the
modernisation project, your photographic
study might be the only record that remains.
63
B+W
Do your research beforehand to uncover
additional contexts. Link up with the local
preservation society and your library to get
yourself clued up about the site.

3 TRY TO SHOW
THE LOCAL CONTEXT
If possible, it’s a good idea to show your
chosen subject set against the backdrop of
its surroundings. This can help provide
a reference point when the building is altered 2 3
beyond recognition and also to set it in a
broader context. To create this kind of shot,
think about using a window as a device to
show inside and out, like Robert Frank’s
famous image of the Butte, Montana
hotel window.

4 FINAL OUTCOME
For my project I’ve documented a famous
housing estate in Paris due to be renovated
this year, removing most of its colourful
and characterful mosaic tiles.

INSPIRATIONAL ARTISTS
Robert Frank – The Americans
Walker Evans – Havana
Eugene Richards – The Blue Room
David Campany – Walker Evans:
The Magazine Work
4
 COMMENT
A FORTNIGHT AT F/8
For photographers, the most important thing is to get out there and get
timclinchphotography.com
photographing. But sometimes it’s good to immerse yourself in the history
@clinchpics
of the subject and learn about the greats of photography, says Tim Clinch.
ur shared By definition, it’s a discipline that of interesting books about My thoughts about this have

O
passion, requires us to be active. But if photography, looking at it and been brought about by necessity.
photography, you are anything like me, there learning about its history. Don’t I’ve not been very well (nothing
is obviously a is probably something you don’t get me wrong, there is nothing too serious and am now back to
visual thing. It do nearly enough. like getting out and about and match fitness – you’ll not get rid
is a pastime or Thinking. Thinking about actually shooting. I am a great of me that easily) and have spent
a profession that requires us to photography. Sitting down believer in doing, but never a while under strict instructions
get up, get out there and shoot. somewhere quiet with a couple overlook the cerebral. from the doctor to rest. I am not
at my best in circumstances like
this. The beloved partner assures
me I have the attention span and
patience of a gnat, and even I will
admit I get bored quickly.
So once all the boxsets on
Netflix had been exhausted and
my brain had turned to jelly, and
once the slightly turgid Russian
novel I had been meaning to read
all my life had been ploughed
through (and yes it was worth
it, in the end), I turned to an
old friend that had helped me
through situations like this
64 before. I have talked about them
B+W
before, and the two volumes of
The Daybooks of Edward Weston
did not let me down.

or more than 15 years

F Edward Weston kept a

diary in which he recorded
his struggle to understand
himself, his society and his art.
These books are a fascinating
insight into the mind of one
of the giants of 20th century
photography. Apart from the
fact that he had a passionate
affair in Mexico with another of
my photographic heroes, Tina
Modotti (which I am very jealous
about, but what with one thing
and another I have finally got
round to forgiving him), it is
always a relief to know that even
one of the greatest photographers
ever to have lived had the same
struggles as us mere mortals,
and that the phrase ‘are my
pictures any good?’ was never
far from his lips.
So when you have time I
seriously recommend getting to
know the history of photography
better. Think about the work you
do, the pictures you produce.

Consider where you want to
take your work, what you want
to do with it. Think about your
influences. Think about what it
is you like about them. Why do
they influence you?
Yes, get out there and do
photography. Take pictures as
much as you can. But at no time
underestimate the power of
thinking, learning about one’s
craft, finding out about what
came before today’s photography
and how it has influenced us.
Try the following: The Decisive
Moment by Henri Cartier-
Bresson, Why People Photograph
by Robert Adams, The Americans
by Robert Frank, Photographers
A-Z by Hans-Michael Koetzle
and the seminal On Photography
by Susan Sontag.
Never forget the past. Never
ignore the greats. Never
underestimate your influences.
As Edward Weston says in his
Daybooks: ‘As great a picture
can be made as one’s mental
All images © Tim Clinch
capacity – no greater. Art
cannot be taught; it must be
self-inspiration, though the
imagination may be fired and the
ambition and work directed by
the advice and example of others.’
WHAT TIM
DID THIS
MONTH
I am lucky enough to have close
friends who live in Spain. I am sitting
in their house now writing this. I am in
Cadiz, in the centre of town. The city
is full of locals with barely a tourist to
be seen. It was cheap to get here and
accommodation is at its lowest price.
The bars and restaurants are not busy
and only the locals are using them. The
weather, even in winter, is glorious. It
is, for me, as close to perfection as life
gets and – having spent a lot of time
thinking about my photography – I am
positively buzzing with enthusiasm and
enjoying shooting like never before.
I cannot recommend a winter break
enough. Get on a plane. Take a couple
of interesting books about photography
and give yourself a shot in the arm!
The pictures I have chosen this
month are a great example of what
65
B+W
I mean. I had been commissioned
by an American magazine to shoot a
story about the island of Milos in the
Cyclades island group in the Aegean.
It was late October at the end of the
season and I had completed my shoot
when a massive storm shut the airport
and cancelled all the ferries. After
two days the sun came out again but
as all the flights were booked I was
(delightfully) trapped. A further two
days wandering happily around the
quiet island shooting away to my
heart’s content were perfect!
This month’s photographer for your
perusal is not one, but a whole family.
The amazing collective of artists that
Edward Weston’s family has become.
Edward, Brett, Cole, Kim, Gina and
Zach Weston – four generations of
photographic excellence known as the
Weston Collective (thewestoncollective.
org) – and between them they offer
scholarships, workshops, tuition,
darkroom hire, exhibition space. In
fact, their HQ in Carmel, California, has
become ‘Photography World’.
Long haul flights have become a
thing of the past for me now, but if
there was one photographic landmark
I could visit, this would be it.
 ONE-DAY PHOTO PROJECTS/1
INSPIRATION
A DAY TRIP TO BIRLING GAP
In the first of a new series exploring the challenge of a day-trip photography
All images project, Eddie Ephraums heads for the south coast to explore his photographic
© Eddie Ephraums
roots and discover who he has become as a photographer.
et’s stop taking pictures that driving force? Does its raw of the darkroom safelight. Back challenge) I got into landscape

L for a moment and imagine

one instead – a picture of
our photography when we
first got into image making. How
did it look back then? Forget
its technical flaws or imitative
style. Think instead of what
inspired us and the excitement
we felt. Do we still connect to
energy and pure innocence still
infuse the images we now make?
What I first loved about
photography was the sense of
creative possibility. It felt so life-
affirming holding up a camera
to the world and then marvelling
at B&W prints coming into
being from the womb-like glow
then my gaze was focused on
the human interest, everyday
interactions of life and inevitably
this got me into documentary
photography. However, as a
painfully shy young adult it was
never going to be easy inhabiting
this role. By accident (or perhaps
not wishing to tackle this
photography through a poster
company. Somehow they heard I
had travelled through France that
summer. I was too embarrassed
to tell them my landscape images
were holiday snaps, so I quickly
learnt how to dress the pictures
in creative darkroom printing
techniques and the rest is history.

66
B+W
 67
B+W

Opposite THE INSPIRATION Above THE IDEA

In this first One-Day Project article, I thought it would be interesting to look
back to our photographic roots, to revisit what got us into photography.
Back then my interest was in the human condition and in documentary
photography. As a young photographer, with very inexperienced thoughts,
I was more of an observer, perhaps like the people taking pictures in this
image. Nowadays, I like to weave in what interests me with what I’ve
learned, together with my views on life, to create – rather than just take
– images that express my thoughts and feelings.
I wanted to make an abstract, sculptural image that paid joint homage to
the sculptor Barbara Hepworth, whose work inspired my wife as an art history
student, and to the photographer Bill Brandt who had so inspired me when
I started out in photography. As well as Brandt’s documentary work, I loved
his abstract, human forms, shot against the white cliffs. On this occasion I
wanted to find a sculptural-looking flint, reminiscent of his and Hepworth’s
work. But, I found none. Judging by the carrier bags, people take them
as souvenirs. I settled for this raw, unchiselled block of chalk instead.

I expect for all of us our
photography will have evolved
since its early days. We are likely
to have polished our technique
and smartened our visual
thinking. But, in our efforts to be
better or cleverer at photography
(or to hide our failings), have
we perhaps lost sight of our
uniqueness? As we search for
interesting subject matter, it is
so easy to forget what is truly
meaningful to us. The personal
stamp we put on our images,
rather than the travel ones we
put in our passports, says more
about us and our view of life.
As I write this, I am reminded
of my love of human-interest
photography. It feels like a
light bulb being switched on
and I am back in time, eager
to pick up where I left off. The
difference now is that I have
the confidence (or is it simply
the determination?) not to be
stopped by shyness or by any
other impediment. I’m already
thinking about people-focused
subjects I would like to explore
and some will feature in this
One-Day Project series. ›
68
B+W
› It’s interesting for me to realise
that in this first article I set out
to make a landscape-type image
without people in it. In doing so,
I walked away from the hoard
of tourists scrambling around
Birling Gap, to find the abstract
landscape image I went there for.
When this failed to materialise,
the penny dropped and I
realised that the real subject was
back there, with those people
and my interest in them.
As I walked back along the
beach, I noticed the mainly
young tourists taking selfies,
playing dare with the incoming
THE REALISATION point, the light was fading and
Exploring ideas has always been an important part of my photographic I had just enough time to make
practice and I love to think them through with a compact camera. The screen the documentary photograph
acts as a feedback loop. Here, the idea of photographing a three-dimensional shown here. For me, it says
abstract rock-form against a visually compressed, two-dimensional landscape something of my feelings for the
backdrop didn’t appear to work. The idea may have been fine, but the rock place and what I realised from
– or perhaps my treatment of it – didn’t live up to expectations. What I then this first One-Day Project. In the
realised was that the people on the beach were the subject. image, I like to see the contrast
between the clearly defined and
waves, trying not to get their – watching some of them stand ghostly figures as a metaphor of
expensive trainers wet, or worse right on the cliff edge. At this who I’ve been as a photographer,
as opposed to who I might really
‘As I write this, I am reminded of my love be. I wonder what you discover
of human-interest photography. It feels like a on your days out?
light bulb being switched on and I am back envisagebooks.com
in time, eager to pick up where I left off.’ openstudioworkshops.com
 TECHNIQUE
SMART GUIDE TO PHOTOGRAPHY
Why do people behave differently online to how they do in real life? Tim Clinch
All images is an exponent of treating people with respect and courtesy – wherever you
© Tim Clinch
happen to come across them – and rudeness is not to be tolerated…

70
B+W

timclinchphotography.com | @clinchpics | clinchpics

o, you have embraced the joys If you are anything like me, you will have truly the leading source of photographic

S
of shooting on your smartphone.
You have chosen your
processing app of choice (in my
case, the mighty Snapseed). You
have taken the time and trouble
to learn how to use it properly. You have
worked out that you really don’t need all
those gimmicky apps that you bought
when you first started and have deleted
the majority from your phone.
You have worked out that smartphone
photography does not necessarily need
to look like smartphone photography
and that the very best of it simply looks
like photography.
excitedly explored shooting with video,
then realised that you’re rubbish at it and
don’t like it because, after all, you are
interested in photography first and foremost
and have got rid of all those dreadful little
movies to free up more space and,
importantly, you have joined the Instagram
community and started enjoying it.
As you all know, I love Instagram and
put a lot of effort into my feed (@clinchpics).
It is where I get my daily dose of inspiration
from all the brilliant, talented photographers
I follow, and it enables me to keep up with
the ebb and flow of photographic trends
that breeze through my community. It is
inspiration available today. However, there
is one major thing about it that bugs me.
I keep reading articles about so-called
Instagram etiquette, about how we should
behave while on the platform, about what
we should and shouldn’t do, about how,
or indeed if, we should react to any
comments posted on our pictures.
aybe I’m just old. Maybe it’s
M an online thing, but I find the
answer to all the questions
posted in these wretched
articles to be blindingly obvious. Instagram is
a community, and like any community there
will be friends, people you like, and other
people whose work you like but don’t admire
as human beings, and people you don’t like.
I think you should treat the people in your
Instagram community exactly the same way
you would treat anybody in real life. If
somebody comments on one of your pictures
saying that they like it? Say ‘thank you’. If you
want to use, borrow or re-post something?
Ask politely. If someone offers you
constructive criticism? Think about it, and
discuss it with them. If someone is
gratuitously rude or offensive to you? Don’t
waste your time arguing with them, simply
have nothing further to do with them, or block
them. If someone approaches you trying to
flog something that you really don’t need then
simply do not respond or, again, if they are
obviously spamming you, then block them
(my attitude to obvious spam, by the way,
is that I always report it. If I’m right then the
account will be taken down).
So come on. It’s a community, and if we
allow it to be one where we can learn and
grow our own talents, that’s good.
So, just be nice…

71
B+W
THE PICTURES THIS MONTH
These pictures are all based on the
statement in the main text that smartphone
photography does not necessarily need
to look like smartphone photography.
As we all know, one of the early criticisms
of a lot of pictures shot on a phone was
that they were faux vintage. The question
was constantly being asked as to why an
image, shot on a cutting-edge, 21st century
capture device, had to look like it was
shot by a Victorian studio photographer.
As we all know now, once we have got
the app-happy stage of our smartphone
photography out of the way, and once we
dedicate ourselves to serious photography
shot on our phones, the better we become.
But there is one app that I still
enjoy playing around with, and that is
Hipstamatic’s Tintype with which all
these pictures were processed.

INSTAGRAMMER
OF THE MONTH
Ron Cooper (@roncooperphotography)
from Denver, Colorado, is a friend of mine
and a brilliant, thoughtful photographer
who produces beautiful, calm, considered
portraits from his travels around the
world, many of them in rich black & white.
Good work Ron!
 SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see the
pictures you take when the moment is right. We have three Samsung EVO Plus
64GB MicroSDXC cards with SD Adapters (worth £25.99) which have up to
100MB/s Read and 60MB/s Write speed to give away each month to three winners.

72 WINNER © MARK STEVENS © MARTIN BRUNTNELL

B+W

© ANDREW KENYON © MICHAEL GINDLING

© STEVE BOWERMAN WINNER © JON HARRISON

73
B+W

WINNER © MARTIN TIERNEY

SUBMIT YOUR PICTURES

Submit your hi-res pictures through our website at: blackandwhitephotographymag.co.uk
or via Twitter by tagging us @BWPMag and using the hashtag: Smartshots.
If you are submitting via Twitter we will contact you for hi-res if you are chosen.

www.samsung.com/memorycard
 YOUR B+W
SALON
In our search for some of the best work by black & white aficionados,
All images we discovered Remis Scerbauska’s street photography with
© Remis Scerbauska
a different slant – that is also a comment on society.

‘In my search for new ideas for street photography, I shot a series of pictures of people in front of white
surfaces so as to separate them from the cityscape. My idea was to create the feeling that these people
were isolated from their surroundings, always in a hurry, and with no connection to the environment.’
74
B+W
75
B+W
76
B+W
77
B+W
 SUBMIT YOUR WORK TO SALON
78 We are looking for stories told entirely in pictures. If you think you have just that,
B+W submit a well edited set of between 10-15 images online at blackandwhitephotographymag.co.uk.
Turn to page 86 to see how you can submit your work.
 !… ‫ٳ‬n… !Á 0 ( áX Á R

16-19
March 2019
The NEC, Birmingham

find your angle

ÁȸɵȒɖɎƏȇƳƫɖɵɎǝƺǼƏɎƺɀɎƬƏȅƺȸƏɀƏȇƳǸǣɎ

Be inspired by the world’s top photographers

nƺƏȸȇȇƺɯɀǸǣǼǼɀƏɎǼǣɮƺƳƺȅȒɀƏȇƳȵȸƏƬɎǣƬƏǼɎƏǼǸɀ

25% off tickets

with Black+White
Photography
Use code: BAWTPS19 *
0ɮƺȇɎɀɖȵȵȒȸɎƺƳƫɵ

THE EVENT FOR EVERYONE PASSIONATE

ABOUT PHOTOGRAPHY & MOVING IMAGE
B O O K VI A PH OTO G R A PH YS H OW.CO M

FREE ENTRY PASSES AVAILABLE FOR PROFESSIONAL PHOTOGRAPHERS **

*Discount code applies to standard adult tickets only and cannot be used in conjunction with any other promotion. Group discounts are available
‫ٮ‬ȵǼƺƏɀƺƺȅƏǣǼɎǝƺȵǝȒɎȒǕȸƏȵǝɵɀǝȒɯ۬ǔɖɎɖȸƺȇƺɎِƬȒȅǔȒȸƳƺɎƏǣǼɀِ(ǣɀƬȒɖȇɎƬȒƳƺɀƺɴȵǣȸƺƏɎȅǣƳȇǣǕǝɎȒȇ‫ב׏‬xƏȸƬǝ‫ننِח׏׎א‬³ɖƫǴƺƬɎɎȒɀȵƺƬǣˡƬƬȸǣɎƺȸǣƏ
 TESTS AND
PRODUCTS
CHECKOUT
Ideal for mobile workflows, 2-in-1 laptops provide the best of both worlds:
a powerful laptop that also functions as a tablet. There are some excellent
machines out there. Daniel Calder looks at what’s on the market.
LENOVA
YOGA 920
Best…priced
premium
machine
The Lenovo Yoga 920 is a
beautiful looking machine —
a thin aluminium laptop in a
bronze or platinum finish. Six
hinges, similar to stainless steel
watchstraps, allow the laptop
80 to be fixed into a tent position,
B+W
or flipped all the way round as
a tablet. As the machine is so
slim, it doesn’t feel too unwieldy
in tablet mode, although it does
obviously suffer from having the
keyboard on the back.
The Yoga 920 does everything
well, is a pleasure to use and
relatively cheap for a premium
laptop, but besides having
truly outstanding battery life,
it doesn’t necessarily excel at
anything. The display is very
good and sports a thin bezel
but it’s not 4K and doesn’t
have a wide colour gamut. The
processor copes admirably with
image editing, but the integrated
graphics card limits performance
when editing video. Equally, the
Lenovo Active Pen 2 performs
soundly, but it costs an extra
TECHNICAL SPECIFICATIONS
Screen
Processor
RAM
Storage
Graphics card
Weight
Guide price
Contact
APPLE IPAD PRO 12.9IN + KEYBOARD
£75, takes batteries and has
no home except for a plastic
holder that slots into the USB
port. There is a great balance
of ports though, with one USB
Type-A for older peripherals and
a couple of USB Type-C ports.
LIKES
Attractive, slimline design
Excellent battery longevity
Good spread of ports
DISLIKES
Integrated graphics card
limits video editing
Can be noisy when
it’s working hard
Stylus costs an extra £75
The elaborate watchstrap hinges
of the Yoga 920 allow the display
to be set at any angle.
13.9in (1920 x 1080)
Intel Core i5-8250U (1.6-3.4 GHz)
8GB RAM
256GB Solid State Drive
Intel UHD Graphics 620
1.37kg
£999
lenovo.com
Best…tablet
Strictly speaking, the iPad
Pro is not a 2-in-1 laptop,
but a powerful 12.9in tablet
that comes with a detachable
keyboard. That’s not to
say it isn’t a great tool for
photographers, especially those
searching for a mobile workflow
solution. After all, the iPad Pro
is extremely portable, has a fast
enough processor to handle
large Raw files and also offers
a cellular connection upgrade if
sharing images on location is a
priority. The display is gorgeous
and the touch interaction with
the iOS apps is close to perfect.
But you are relying on apps
rather than the full software
suites. Thankfully Lightroom CC
performs many of the functions
you’ll find in Lightroom Classic
CC, while being simpler to use,
especially when coupled with the
Apple Pencil. If you’re not a fan
of cloud storage you’ll need to
get the largest capacity iPad
you can as it doesn’t accept
TECHNICAL SPECIFICATIONS
Screen
Processor
RAM
Storage
Graphics card
Weight
Guide price
Contact
LIKES
Compact, lightweight and portable
Powerful processor
A pleasure to use
DISLIKES
Disappointing keyboard
Stylus costs an extra £119
Can’t back up files to an
external hard drive
an external hard drive.
The Smart Keyboard Folio is
incredibly thin, but it’s not ideal
for users who spend a lot of time
typing. Upgrading to the 512GB
model costs an extra £200,
while the 1TB model with 6GB of
RAM costs a further £400.
With the addition of
the Smart Keyboard Folio
the iPad Pro becomes
a lightweight laptop.
12.9in (2732 x 2048)
Apple A12X Bionic chip (2.48GHz)
4GB RAM
256GB Solid State Drive
Unknown
0.63kg (tablet only)
£1,318
apple.com
MICROSOFT SURFACE BOOK 2 (15IN)
Best…all-rounder
The Microsoft Surface Book
2 (15in) handles almost any
task: it’s a high-spec image
editing laptop, all-round office
worker, games machine,
media player and tablet. It’s
ridiculously well equipped with
the latest generation Intel i7
processor and discrete NVIDIA
graphics card, so that heavy
image or video processing
is handled with aplomb. The
excellent backlit keyboard is a
joy to use. The display is super
sharp, close to 4K, and works
beautifully with the Surface
Pen stylus, with just the right
amount of friction and no
perceptible lag.
Once unclipped from the
hinge, the display becomes a
superb tablet and sketchbook,
albeit a strangely large one. It’s
a handsome and well-crafted
machine too, but while the
hinge enables the machine
to be used in multiple ways,
it also increases the profile of
the machine while creating
an unattractive gap between
display and keyboard. Two
type-A USBs and a type-C
(3.1 Gen 1) USB are included,
along with a full-sized SD
card reader.
If the steep asking price of
TECHNICAL SPECIFICATIONS
Screen
Processor
RAM
Storage
Graphics card
Weight
Guide price
Contact
more than £2,000 puts you off,
it’s worth looking at the less
powerful 13.5in versions that
start at £1,149.
LIKES
Extremely powerful machine
Incredibly long battery life
Fantastic display
DISLIKES
Hugely expensive
Surface Pen costs an extra £99
Ungainly hinge
‘It’s a high-spec image
editing laptop, all-
round office worker,
games machine, media
player and tablet.’
Below A clever hinge allows the
display of the Surface Book 2
to be tilted back or detached.
15in (3240 x 2160)
Intel Core i7-8650U (4.2GHz Turbo)
16GB RAM
256GB Solid State Drive
NVIDIA GeForce GTX 1060 with 6GB GDDR5
1.9kg
£2,149
microsoft.com
HP SPECTRE X360 (13IN)
Best…value for money
Attractive design and top-spec
hardware are the hallmarks
of this HP Spectre X360
(13in), yet you can purchase
it for £500 or so less than
the Microsoft Surface Book 2
(15in) and Dell XPS 15 2-in-1
reviewed. By matching a latest
generation Intel i7 processor
with 16GB of RAM and a 1TB
hard drive, HP has created a
fantastic machine for image
editing and storage. The only
concession is the integrated
graphics card, which will
struggle with heavy video
editing tasks.
HP hasn’t compromised the
build quality though, fashioning
a stylish machine in a trendy
silver finish. Two hinges,
etched with ‘Spectre’, fix the
screen in a variety of positions
or allow it to be flipped over
into tablet form. This top of
the line model features a 4K
display with an excellent colour
gamut. A Type-A USB as well
as two Type-C Thunderbolt
3 ports provide good
connectivity, while a microSD
card slot is also included.
HP is one of the few
TECHNICAL SPECIFICATIONS
Screen
Processor
RAM
Storage
Graphics card
Weight
Guide price
Contact
manufacturers to include a
stylus in the price, making it
even better value. By sacrificing
the 4K display, top end chips
and memory you can get the
entry-level model for £1,199
or mid-range option for £1,399.
LIKES
Top-end processor and memory
81
Beautiful 4K display
B+W
Excellent value
DISLIKES
Some flex to the keyboard
Integrated graphics card
The Spectre X360 looks
amazing on the outside
and boasts high-spec
components within.
13.3in (3840 x 2160)
Intel Core i7-8565U (1.8-4.6GHz)
16GB
1TB Solid State Drive
Intel UHD Graphics 620
1.33kg
£1,699
store.hp.com
DELL XPS 15 2-IN-1
Best…for post-processing
If you’re seeking the ultimate
2-in-1 image editing laptop
then look no further than
the Dell XPS 15 2-in-1. The
combination of a powerful i7
Intel processor and discrete
Radeon graphics card enables
it to churn through image
processing at top speed. The
4K display boasts 100% Adobe
RGB certification, so you’ll see
a wide colour gamut as well as
exceptional detail, while the Dell
Active Pen (made by Wacom)
allows you to edit images with
a stylus quickly and accurately.
The machine may have
a boring appearance, but it
boasts a slim profile, almost
bezel-free display and strong
hinges that allow the screen
to flip round and be used
as a tablet or put into a tent
position. The keyboard keys
travel a very short distance
and require a firmer touch
than most. Some users will
miss a USB Type-A port, while
others will be pleased with 2x
Thunderbolt 3 ports and 2x
USB Type-C 3.1 ports.
There’s also a microSD card
reader built-in.
TECHNICAL SPECIFICATIONS
Screen
Processor
RAM
Storage
Graphics card
Weight
Guide price
Contact
As usual with Dell, there are
heaps of options to configure
your laptop, but you can save
£350 by downgrading the
screen, processor and RAM.
LIKES
Outstanding power
for image editing
Beautiful 4K touch display
Good selection of ports
DISLIKES
Below average battery life
Stylus costs £75 to £125 extra
Expensive
The XPS 15 2-in-1 is a formidable
image-editing machine, especially
when you add the stylus.
‘If you’re seeking
the ultimate 2-in-1
image editing laptop
then look no further
than the Dell XPS
15 2-in-1.’
15.6in (3840 x 2160)
Intel Core i7-8705G (2.6-4.1GHz)
16GB RAM
256GB Solid State Drive
Radeon RX Vega M GL with 4GB HBM2
1.98kg
£2,100
dell.com
GOOGLE
PIXELBOOK
Best…for Android apps
Neither Mac nor Windows, the
Google Pixelbook uses Chrome
as a lightweight, browser-based
operating system with access
to the Google Play Store for
Android apps. So instead of
running fully-fledged software,
it uses more streamlined,
less functional, but easier to
use versions of Lightroom
and Office. This will put off
photographers who need to
do a lot of post-processing,
but may appeal to those who
rarely stray beyond simple
adjustments, use a phone as
a main camera, or require a
mobile workflow solution.
The machine itself is a
premium product, with a top-
notch touchscreen display. It
doesn’t actually detach from
the keyboard, but instead flips
all the way around until the
keyboard is on the back, which
can feel a little odd. That aside,
TECHNICAL SPECIFICATIONS
Screen
Processor
RAM
Storage
Graphics card
Weight
Guide price
Contact
everything works superbly:
it’s fast, the stylus is great and
the keyboard is one of the
best around. Two USB 3.1
Type-C ports allow super fast
charging and the connection of
a peripheral or hub.
You can save £100 by
dropping down to the 128GB
version, or if you desire more
oomph you can spend another
£500 on an i7 processor, 16Gb
RAM and 512GB storage.
83
B+W
LIKES
Lightweight Chrome
operating system
Runs Android apps
Outstanding keyboard
DISLIKES
Expensive for a Chromebook
Pen costs an extra £99
Reliant on apps rather than
software suites
The display of the Pixelbook folds
back against the keyboard so
it can be used as
a tablet.
12.3in (2400 x 1600)
Intel Core i5-7Y57 (1.2-3.3GHz)
8GB
256GB Solid State Drive
Intel HD Graphics 615
1.1kg
£1,199
store.google.com
 THINK TANK
LEICA SOFORT
Matt black version of Leica’s instant camera. SECURE PIXEL
Features modes for macro, sport and POCKET ROCKET
people, plus a self-timer with two different Designed to hold multiple card sizes, this wallet has zip
delays. A black & white film is now available pockets and a clear identification window. It can be attached
for the camera. to clothing or a bag and is available in green or black.
£275 leica-camera.com £22 thinktankphoto.com

TESTS AND
PRODUCTS

BLACK+WHITE

LOVES
84
B+W

DIANA INSTANT SQUARE

NEW PHOTOGRAPHY Lomography’s latest analogue camera is
the first instant camera with interchangeable
GEAR IN THE SHOPS lenses and a hotshoe mount. It takes
AND ONLINE square pictures and is available in two
different designs.
From £89 lomography.com

TENBA SHOOTOUT COLLECTION

Ready for adventure, Tenba’s Shootout range has been updated and expanded. Now available
in four sizes (14L, 16L, 24L and 32L), the bags feature water repellant fabrics, a waterproof base
panel, reinforced stitching and a protective pocket.
£170 to £260 tenba.com

APERTURE
JACKET
Designed for outdoor photographers,
the Country Innovation Aperture Jacket
boasts 13 pockets. Each pocket has side-
elastication, so it can expand to around
15cm to hold large objects. The jacket
has a tough cotton outer with a
waterproof, breathable lining.
From £275
countryinnovation.com

SAMSUNG
512GB MICROSDXC
New memory card with SD adapter offering
read and write speeds up to 100Mb/s and
90Mb/s. Compatible with a range
of devices, including DSLRs.
£227.99 samsung.com
COOPH
HEATABLE
PHOTO VEST
Developed in collaboration with THERM-
IC, this new photo vest features an internal
heating system to keep you warm while
photographing on cold days. It also boasts
a reversible design plus deep pockets
to store photo accessories.
€389 store.cooph.com
SONY FE
24MM F1.4 GM
This prime lens joins the line-up of Sony’s
flagship G Master series. It’s a compact and
lightweight lens for cameras such as the
α6500 and α6300. Makers promise high
resolution and beautiful bokeh.
£1,449 sony.co.uk
EIZO
CG279X
Aimed at pro photographers and
post-production experts, this new monitor
promises top-notch colour, accuracy,
consistency and clarity. It has a 27in screen
designed for precise colour management
and boasts a built-in calibration sensor.
£1,830 eizocolour.com
OLYMPUS EXPLORER
Designed by Manfrotto, the Olympus
Explorer holds any Olympus OM-D or
Olympus Pen camera body plus up to three
lenses and a 14in laptop. The bag has a
water repellent coating and a detachable
protective camera and lens pouch with
configurable internal dividers.
£139.99 olympus.co.uk
85
B+W
VELBON UT-3AR
TRAVEL TRIPOD
New tripod that weighs 787g but is capable
of supporting up to 3kg of camera gear.
Folds down to 29.5cm and comes with
carry case and carabiner clip.
£79.99 intro2020.co.uk
LEICA D-LUX 7
High performance compact camera
with a four-thirds sensor and a Leica DC
Vario-Summilux 10.9-34mm f/1.7–2.8 ASPH
zoom lens. The 17Mp camera offers a
touchscreen display, Bluetooth connectivity
and USB-C charging capability.
It also shoots 4K video.
£995 leicastore-uk.co.uk
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY

Visit our website

86
B+W

SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

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

 LAST FRAME SMARTSHOTS

Do you have a single image that you’d Shoot with your smartphone and send in your pictures – you could be one of three
like printed big and hung on your wall? lucky winners each month who wins a Samsung EVO Plus 64GB MicroSDXC card.
Send the file to us and you could Upload your pictures to our website, via Twitter by tagging us @BWPMag and using
win just that. the hashtag #smartshots. If you are successful we will request high-res files.

87
B+W

ONLINE COMMUNITY SALON

FOR ALL CONTACT DETAILS

blackandwhitephotographymag.co.uk

FOLLOW US ON FACEBOOK
facebook.com/blackandwhitephotog

FOLLOW US ON TWITTER
@BWPMag

FOLLOW US ON INSTAGRAM
@bwphotomag

PRIVACY

If you win a prize (Last Frame or

Smartshots) you agree we can give
your contact details (address, email
and telephone number) to the prize
sponsor so they can contact you
about sending you your prize. They We are looking for contemporary black & white pictures
will not use your details for any other that tell a story about the world as you see it. Send us
purpose or pass them on to a third party. a well-edited set of between 10 and 15 pictures.
 27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
www.apertureuk.com
Pre-owned Leica N i k o n Film Cameras
Leica SL (Boxed + Spare Battery) Mint- £3390 Nikon F with Eye Level Finder New Mirror Foam Exc+++ £450
Leica SL with charger + Spare Battery Exc+++ £3250 Nikon F2 with DE-1 Chrome #8027xxx Exc+ £370
Leica 24-90mm f2.8-4 Vario-Elmarit-SL + hood (boxed) Mint £2650 Nikon F2 Photomic AS Chrome #8021xxx User £320
Leica 90-280mm f2.8-4 APO-Vario-Elmarit-SL Exc++ £3090 Nikon F2 Photomic AS Chrome New Mirror Foam #8029xxx Exc+ £420
Leica 35mm T2 Summicron-C PL with Leica M-PL Mount and Mint- £8500 Nikon F2 Photomic SB Black New Mirror Foam #7727xxx Exc+ £450
CW Sonderoptic Baseplate (boxed) Nikon F2 Photomic SB Chrome New Mirror Foam #7547xxx Exc+++ £590
Leica Q-P Black (Boxed) Mint £3490 Medium / Large & Other Format
Leica Q Silver (Complete; boxed) As new £2790
Mamiya 6 MF + 75mm f3.5 G + Hood Exc++ £1350
Leica M-Monochom with Charger 11800 Actuations Exc+ £2690
Mamiya 150mm f4.5G + hood for Mamiya 6 (boxed) Mint- £190
Leica M10 (Complete; boxed) Mint- £4790 Mamiya 7 II (Champagne) + 65mm f4L + hood Exc+++ £2650
Leica M (240) Black Paint with Handgrip M (Boxed) Mint- £2690 Mamiya 43mm f4.5L + V/finder Mint- £750
Leica M (240) Black Paint (boxed with Spare Battery) Exc+++ £2590 Mamiya 43mm f4.5L + hood & V/finder Mint £790
Leica M (240) Black Paint (boxed) one small ding on top plate Exc £2290 Mamiya 50mm f4.5L + V/finder Some minor coating marks on front glass Exc++ £650
Leica M (240) Black (Complete; boxed) Exc £2490 Mamiya 150mm f4.5L + hood Mint £350
Leica M9 Black Paint - New sensor May (Complete; boxed) - 1500 act Mint- £2190 Mamiya 210mm f8N + V/finder Mint- £350
Leica M6 0.85 Exc+++ £1490 Mamiya ZE-702 Polarising filter Mint- £70
Zeiss 21mm f4.5 C-Biogon ZM T* (boxed) Mint- £590
Leica 21mm f2.8 Elmarit-M ASPH + hood #3885xxx Mint- £1450 Rolleiflex 2.8 E2 (Planar 80mm with meter) Shutter Service by us Exc £850
Rolleiflex 3.5F (Planar 75mm) Exc+ £750
Leica 35mm f1.4 Summilux-M ASPH FLE + hood Mint £2850
Schneider 180mm f2.8 HFT PQ + hood (6000 series) Exc+++ £890
Zeiss 35mm f1.4 Distagon ZM T* Mint- £1050
Fotoman 45PS + 80mm f4.5 Super-Symmar XL Mint- £750
Leica 35mm f2 Summicron-M ASPH Exc++ £1450
Horseman 6x9 RFH Exc++ £90
Zeisss 35mm f2 Biogon ZM T* (Boxed) MInt £650
Leica 50mm f1 Noctilux-M built-in hood (boxed) Exc++ £4490 Voigtlander Bessa III 667 + Hood (Boxed) Exc+++ £2350
Leica 50mm f1 Noctilux-M + hood (boxed) Exc++ £4290 Widelux 1500 (Boxed) Exc+++ £1290
Zeiss 50mm f2 Planar ZM T* (boxed) Mint £490 Schneider 47mm f5.6 Super-Angulon (Compur 0) Exc+++ £1690
Leica 5cm f2 Summitar L39 Exc+++ £320 Schneider 90mm f8 Super-Angulon (Compur 0) on recessed Linhof size board Mint- £350
Leica 75mm f2 APO-Summicron-M ASPH Mint £1990 Nikon 600mm f9 Nikkor-T ED (Copal 3) Exc+++ £250
Leica 90mm f2 APO-Summicron-M ASPH Mint £1990
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 90mm f2.5 Summarit-M 6 bit (boxed) Mint- £750 We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 90mm f2.8 Tele-Elmarit Exc £250 below and make sure to include your name; address and contact details for return postage.
An order form is availible to download from our website on the Film Developing Page.
Leica 90mm f2.8 Elmarit Chrome Suprisingly clean optics Exc+++ £390
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 90mm f4 Macro-Elmarit-M Mint £1590 Aperture 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 135mm f3.4 Apo-Telyt-M #3842xxx (boxed) User £1390 PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica 13.5cm f4.5 Hektor Chrome User £70 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica SF-26 Flash (Boxed) Mint £170
Processing Prices (C41 Colour Negative Film)
Leica EVF-2 Mint- £190
35mm develop only £7.00
Leica 1.4X Viewfinder magnifier (boxed) As new £160 35mm develop + print £14.00
Voigtlander 15mm Viewfinder Mint £80 35mm develop + print + scan £16.00
35mm develop + scan £11.00
Sony FDA-V1K 35mm Viewfinder by Zeiss (boxed) Mint £190
Leica 36mm Metal Viewfinder Exc+++ £120 120 develop only £8.00
120 develop + print £15.00
Leica 13.5cm Metal Viewfinder Chrome Mint- £80 120 develop + print + scan £17.00
Leica Lens Hood for 50mm f1.4 Summilux-SL ASPH Mint- £70 120 develop + scan £12.00
Leica R6.2 Black Exc++ £450 Extra set of prints (order within 7 days) £6.00
Leica 250mm f4 Telyt-R 3 Cam Exc+++ £390 Negative scan to CD or digital media (Per roll) £8.00
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Exc+++ £2590 Xpan develop + scan £18
Leica 35-70mm f3.5-4.5 Vario-Elmar-R 3 cam (German) Exc+ £370 Xpan develop + scan + print (5” x 13.5”) £25
Leica 80-200mm f4 Vario-Elmar-R ROM #3835xxx Exc+++ £890 We also process Black and White Film!
Voigtlander 25mm f4 Snapshot-Skopar Silver L39 Exc+++ £220 Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY Tel: 020 7242 8681 www. cameramuseum.uk
 27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
Tel: 020 7436 1015 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Deardorf 8x10 Field Camera with 5x4 reducing back & dark slides (Lens sold seperately) User £1590

Rodenstock 300mm f5.6 Sironar-N MC Mint- £450

Rodenstock 360mm f6.8 Sironar-Nwith LEE Filters Bellows hood for 10×8 Mint- £550

Sinar 115mm f6.8 Sinaron W Mint- £550

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
Please contact us on 0207 436 1015 or 27@apertureuk.com
 NEXT MONTH
B + W ISSUE 227 APRIL 2019 ON SALE 14 MARCH

MARINA KORYAKIN’S QUIET

APPROACH TO STREET PHOTOGRAPHY

90
B+W

© Marina Koryakin

THE BEST CREATIVE LENSES

HOW TO APPROACH STILL LIFE
ONE-DAY PHOTOGRAPHY PROJECT
NICOLAS LABORIE’S WET PLATE FLOWERS
CONTACT US

Web blackandwhitephotographymag.co.uk Facebook facebook.com/blackandwhitephotog

Twitter @BWPMag Instagram@bwphotomag
 © Alys Tomlinson

91
B+W

AWARD-WINNING DOCUMENTARY BY ALYS TOMLINSON

 B+W APP
BLACK+ WHITE PHOTOGRAPHY
SUBSCRIBE TO OUR DIGITAL EDITION

DOWNLOAD THE MAGAZINE

FROM ONLY £2.77
VISIT WWW.POCKETMAGS.COM
FINE ART C-TYPE WORKING WITH
& GICLÉE PRINTING PHOTOGRAPHERS
& GALLERIES
IMAGE ARCHIVING SINCE 1993
01273 708222 | info@spectrumphoto.co.uk
Lower Ground Floor, Frederick House
ARCHIVAL PRINT 42 Frederick Place, Brighton, BN1 4EA
FINISHING spectrumphoto.co.uk
 To advertise on these pages please call the Photography team
B W CLASSIFIEDS
+ on 01273 402823 or email advertising@thegmcgroup.com

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

BRIGHT ROOMS
DARKROOM & STUDIO, PECKHAM, LONDON
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

B+W
BLACK+ WHITE
OPEN ACCESS DARKROOM & STUDIO
PHOTOGRAPHY COURSES | MASTERCLASSES PHOTOGRAPHY
ALTERNATIVE PROCESSES | PRIVATE LESSONS
WWW.THEBRIGHTROOMS.COM | HELLO@THEBRIGHTROOMS.COM
bwphotomag
INSTAGRAM & FACEBOOK: @THEBRIGHTROOMS
Find us on Instagram
423 PECKHAM LEVELS, 95A RYE LANE, PECKHAM, LONDON, SE15 4ST
COOL, CREATIVE AND CONTEMPORARY

(ONVNLQ
EHFDXVHWKHUHVQRWKLQJ
EHWWHUIRUFDPHUDVWUDSV

ZZZHGG\FDPFRP
GLVWULEXWRU8.MRKQVRQVSKRWRSLDFRXN
&RPIRUWDEOHDQGKDUGZHDULQJ
)LQQLVKHONVNLQLVRQHRI WKHWKLFNHVWDQGÀQHVWOHDWKHUVLQWKHZRUOG7KLVKLJKTXDOLW\QDWXUDOSURGXFWWKHHUJRQRPLFGHVLJQRI WKHVWUDSDQGSDLQ
VWDNLQJDUWLVDQDOSURGXFWLRQLQDVPDOO*HUPDQIDFWRU\PDNH(''<&$0SDUWLFXODUO\FRPIRUWDEOH\HWH[WUHPHO\GXUDEOHDQGWKHUHIRUHVLPSO\XQLTXH

94 B+W CLASSIFIED MARCH 2019

 Professional
Repair Services
Camera, Lens & Lighting Equipment

Free estimates
Professional sensor cleaning
Fast turnaround times
Collection/Delivery available

020 7582 3294 ZZZȴ[DWLRQXNFRP

Mon - Thu | 8 - 5.30 | Fri 4.30 London, SE11 5RD

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

96
B+W

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

HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to: B+W Photography, Find out more at
Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
 Refocus
your
attention
www.streetphotography.com
Our Revolution is to expose the BEST for free. To inspire & educate.
If you have outstanding street photography, street-portraits, street
art-photography, street-documentary or have something impressive
to say about the past, present or the future of street photography,
then we’d like to hear from you. Visit the website to discover more.