TWHOLLWNYIEN| al4vEDoL04 v3II1 @ a g g 2 i Erika Astrid Frank Horvat Stefano Schirato Alek: Myakishev Alberto Venzago02 MONOCHROM Sk vaRio 26-70 ‘Thenew Leke Vari: Elmar 24701728 Asph makes the Sl. theirspeial attributes PORTFOLIO Alberto Venzago 6 | PICTURE MAKER Over five decades, Venzago has explored all forms of photography - from art to commercial. We present asclection of his comprehensive oeuvre Erika Astrid The multi-talented photographer works intuitively and at high speed. In New York and Los Angeles she gave free rein to her ideas Stefano Schirato Schirato has documented the frightening side effets of the intense raw materials ext East India miningregion of Jharia Aleksey Myakishev 52 | RUSSIAN NORTH ‘The Russian photographer captures for eternity unrepeatal through villagesin northern Russia Frank Horvat On the streets.of New York ~ Frank Horvat 2020. The final photo book he was involved in isa real treasure trove on in the LIGHTBOX farneabrea ht sects ‘eros in Worl Koiwadn PHOTO 14 | BOOKS Treeshibition talon 106 | EXHIBITIONS Gi Seok Stock oie Museum, Weta 109 | LEICA GALLERIES ‘Overview af he ogra Leia Galleries aroun wre ncaing Lena Krvite argon Schade, M0 | INTERVIEW 12016, Nuno Rico Salgado founded a rather nine net 114 | MY PICTURE 114 | IMPRINT Cemera sitet Laie0 SVARIETY IS THE SPICE OF LIFE THE MANY FACETS OF THE LFI BLOG ALBERTO VENZAGO. LFlpresentsanextensive portfolio ‘ofthe Swiss photographer's work to complement his frst major retrox speetive, which opens at the Museum fiir Gestaltung in Zurichat the end of July. While his photo-journalistic ‘and advertising projeets were usually shot in colour, Venzago has always maintained a preference forblack and white, The artist portrait fea tured here was taken in the summer of 2019, duringa meeting with Peter Lindbergh — who was the one pressing, the shutter om the Leiea Q2. low the fl srias onthe LF Blog ERIKA ASTRID The fashion photographer. who ‘was born toa German mother and US-American father, first picked upacamera “out of desperation”. originally trained asa retail designer, she founded her own fash: ion label in 2004 = called Asuyeta, which is Cherokee for ‘chosen one In2012 she moved to Idaho, for love. Living'in the middie of nowhere she found nabady who might pho- tograph her collection. So she went ahead and did itherself~ and the rest, 2s they say, is history Most of our readers will already be familiar with the LFTBlog Along with photography challenges, book pre~ sentations, and additional material that complementsarticlesin the print edition, the blog frequently features exclusive stories, portfolios and in terviews - such as our conversation with Leica photographer Julia Baier, ‘who has transformed her nightly ddreamseapes into poeticvisual orches= trations. We were pleased to have this opportunity to talk to theartist, and share her exceptional series with our blog audience LFLGallery members are also Frequently featured on the LEI Blog for example, ifthey lave entered a story to submissions@f-onlinede,or because their gallery images are espe cially outstanding. Weare alwaysexcit- ced to receive sew images, and are keen for the LF Blog to present the work of established artists and promising ineweomersalike, Take look ~ there is much to discover! wtiy/tA biog STEFANO SCHIRATO For his latest project, the Italian pho. tographer entered what felt ike the furnace of hel. Inthe coal region of Sharia in eastern India, he witnessed first-nand how the Focal population is forced to navigate everyday life under table and poisonous constant threat from unpre fines, swelte fumes, His images not only highlight these shocking conditions, but also ‘emphasise the importance of pho- ngghea tography as.a means tora ness and, ultimately, help bringabout discussion and change.' ‘Alberto VenzagoYenzago’s workinciudes quiet moments 0s well pletores taken inthe ‘ida oflite: dancer backstage, Zurich New Your's Eve 1995 ALBERTO VENZAGO born in Zurich on February 10, 1950, Venzago first studied Remedial Education and Clarinet, before deciding to teach himself photography inhis mid-twenties, He enjoyed rapid success and has moved easily between journalistic, art and commercial photography. He has also added film directing to the mix. His most recent projec One — Seduced by the Darkness, was produced with his partner and muse, Julia Fokina, 26Hehas travelled around the globe, anJlived in Australia, Japan and New York. Hisreportages have been pub- lished and honoured internationally: hisadvertsing campaigns, like for Swiss Ai, are legendary; and hisfree- séylework has frequenilycauseda sti People ae atthe heart of his report ages, whether from [ran during the ‘smi Revolution, or the logging of tropieal rainforests child prostitution JnManils, orhis many yeas following ‘the Yalaza crime syndicatein Japan. “Asa photojournalist hisaim was to get “Inclose,even when it meant putting “hisown feat risk Therestrctlons on travel during .Covid-19 pandemic allowed Ven- gag toat lst find the time to organise, salogue and rediscover his archive. Hespends day after day in hisloftIook- through contact sheets, negatives cans of pst work Alargeparthas dy been digitised and lange-format sare produced on adaiy basisat atelier, n preparation for anexhibi- thissummer at the Museum fir gin Zurich, The pressure to cteall thecansfor the catalogue, the printingofimagesfor ‘exhibit isintense, yet the photos remains relaxed. I is surprising. enforthe photographer, to realise willbe the [projects would always take ee. Wespoke about this with .afarewell and [stil have -Byen though the exhib tions are defining my time jWhich means I don't get to phormake films. What have you learnt about yourself as you looked through yourarehive? ‘Thanks to Coronaand twelve months of hard work, 'm nearly through! ‘Time and again frm amazed by the pre- cision of my work, butalsoby the lev- ity with which I overeame dificult sit- uations and how f always diseovered new angles. Also, how multi-faceted I am, Asa musician I would say, not just variationsbut everything from folkand jz, to classic avant-garde. Music does in fact playa big role in {your life, The elarinet was your first instrument before the camera, Back in the day, my father was an ar- chaitect with passion for the violin, my older brother Mario played the piano, and I played clarinet; we would perform asatrio, A motorbike accident put an end tomy musical ambitions, Nowadays soe that asa stroke of luck. My brother became a conductor. Music remains a great driver in my life to this day: many of my films are about music. When did photography start toplay role in your life? Ob, Kalready began taking pictures of girls in our neighbourlrood when Iwas 15- they were nudes of course, ila David Hamilton or Sam Haskins. Natu- rally, the parents had a problem with that, but I loved the innocent intimacy. ‘The magazine Twen was my Bible at the time. Later on, my first commission was given to me by the Swiss magazine Pop: photographed bands like Pink Floyd, Led Zeppelin and the Stones when they performed in Switzerland, Atthe time I wasstudyingat the Music Conservatory —but Tspent my evenings with the greats ofthe rockera, But then there wasa decisive moment of upheaval in your life. [fled to Australia to avoid the military service. [had todecide between jail chase Australia and ‘ended up as a hippie among thee abo- rigines I couldn't have gone further away. This was where photography then became necessary toearn abit ‘of money. I taught myself everything: loved to be in.the darkroom. How was it that the conscientious objector became a war reporter? Asanacknowledged pacifist, wanted tolearn more about war. However, more than the action, I wasinterested inthe suffering of those affected, I possible to go around as an unaffiliated photogra- pher. Witha lot ofriskinvolved. won the ICP Infinity Award and, as aresult ‘was nominated to join Magnum. What did that mean for you? “Magnum was the decisive step. Isat through many a night in the Magnum Archiveat the Rue des Grands-Augus- ins, studying all the contact sheets ~ from Henri Cartier- Bresson as well. ‘This is where T learned how the great masters worked. Iwas nominee from 1985 101989, However, I disin’t make ‘many friends during that time; many of my colleagues were very self-absorbed and involved with their egos. René Burri became my mentor ~and friend. Back then you did most of your work with Leica M6. Did you also use it to take the Yakuza series? ‘Yes. At the time! was the only photog- rapher to get so close to the Yakuza. The ‘family’ quite simply accepted me and T wasableto go around pretty much everywhere with them, even ‘though [didn’t take even one picture during the first months, Nowadays all that is quite unimaginable. Many thanks, we're looking forward toall the (re)diseoveries, LLONLINEDE/ALOG: SLIDESHOW WITH FURTHER PICTURES 1714 Bri. 261/28, Noche 501/11 EXMIBITION Alberto Venzogo.Toking le= tures = Mating Pctres ofthe Museu for SGestetung in Zurich 9,202, to January 2, 2022; ne accompanying calaogue i proguces by Diogenes ncolcboration wh SteckLeicas Erika Astrid WILD AT HEART The multi-talented photographer works intuitively and at a high pace. In New York City and Los Angeles, she gives free rein to her ideas, capturing them with the Leica S, 3 lenses and the help of a creative taskforce.ASK MESH mRse eammRaBER aaaEnsit ase an, eee, em, we xawERAE SAMVA BAAR BRAHAM, REBAR, AHMAR, 2 ARE. AT, RSROMATRMDMTHT, OR, BE fet, SERA, RAAT MOMMA, AROMAT. BR BRET, ARVSNAMEA TERRIA, MATH, RERENNTSLALETE, BAREB, ABTA AUBAARAMAR, AMLABBARS, CRANTURABANE ARES,AN > 3 n Bch SY Tiger) Pye) AeJharia is in the true sense of the word, an incendiary region. It is also home to hundreds of thousands of people, whose lives and livelihoods are dependent on the coal deposits there. With haunting images, Stefano Schirato documents the horrific consequences of intensive resource extraction in the mining region of eastern India. 38Schiroto hopes tha hts work wil erate awareness of he conations existing in jhart. Ms pltures plows howe autfering of he foretront ond open up new spaces for ascussion STEFANO SCHIRATO Born in Bologna in 1974, Schirato graduated in Political Sciences and then went on toacareeras a freelance photographer working with a focus on social issues. He collaborates with magazines, associations and NGOs such as Caritas Inter- nationalis and Emergency. His work has been published in media outlets such as the New York ‘Times, Vanity Fair and CNN, Schirato teaches Pho- tography at the Leica Akademie Italy. 50Aleksey Myakishev RUSSIAN NORTH Aleksey Myakishev consid- ers photography a wonder- ful tool with which to un- derstand something about human character. Using a Leica, he captures for eter- nity unrepeatable moments from his journeys to north ern Russian villages. Zotar, yeors id ives in Kolodozera, witage in Korlla He cycles Hee klomees to school every dey 52PHOTOGRAPHY IS A TIME MACHINE, A MEMORY OF EVENTS, PLACES AND PERSONAL IMPRESSIONS.INITIALLY, PEOPLE IN THE NORTH APPEAR TO BE HARD. HOWEVER, ONCE YOU START TO TALK WITH THEM, YOU CAN LEARN MANY NEW AND INTERESTING THINGS.InversTHE PICTURES CAPTURE MOMENTS OF LIFE, REVEALING ITAS CLEAR AND AUTHENTICALLY AS POSSIBLE.ap.) meee ALEXEY MYAKISHEV was born in Kirov (Vyatka) in 1971, works asa photojournalist since 1991, He writes for m zines such as Newsweek in Russia or Helsingin Sanomat in Finland. In 1996 and 1997 he received grants from the Russian Ministry of Culture: in 1998 and 2001 he won awardsat the InterFoto Festival for Documentary Photography for his series on pilgrims in Northern U appeared in 20 solo exhibitions. His workhasHis oveofthe northern reaches of Russia began in 2007. On assignment for Newsweek, Myakishev reported from the small town of Kargopot in ‘Arkhangelsk Oblast He took portraits ofchildren, youths and the elderly, capturing their appearance and their characters. “Ata first glance, the peo- pleofthe north appear to be hard, qe, uncommunicative," he exp! “But once you begin talking with them, jouean lex many new and interesting things. They don’t open up immedi- ately, but rather do so little by itl, Photography offers a wonderful oppor- tunity to capture their essence and to Jearn somethingabout ther.” ‘The character of the people, slong withthe beauty ofthe landscape, have captivated Myakishev ever since that first journey. He travels regularly through the villages ofthe Republic of Karelia, and the Yaroslavl and Kirov districts, observingthe changes of sea son, people going about their everyday activites, and ifeina rural setting. Ina Russian village, everyone keeps atloat as best they can; they work as lumberjacks, fishermen and hunters, grow vegetables and collect scrap metal, The younger generation is ov inginto the cities, while the elders are passing away people are disappear- ingasthe years pass,asare the villages themselves. “In the past there was lifehere ~it was bubbling," he remem- hers. “People brought children into the world, they married, studied, cele- brated and mourned together. Nowa days there are onlya few let. and many loeaities are overgrown with grass and trees. Tobe able to take pictures inthese kinds of places, youoften need tobe communicative and authentic, That's very important Children play ina field, by a lake rin an old car; acoupte prepare to cat their dinner; two men go fishing. backgrounds composed of vil: lage life, wooden fences and houses, thurehes and natural panoramas.each ae tells its own story though all the photos were taken {in Russia, Mvakishev isnot trying to painta picture ofhis country. but rather to “capture moments of life at the peak of emotions and feelings, revealing it as clearly and truthfully 1s possible”. He produced this pro- ject between 2011 and 2019, yet the images give the impression of having taken astep out oftime, They are rem- iniscent to some degree of the films bby Russian director, Andrei Tarkovsky, ‘whose movies, Stalker, Mirvor or Nos talghia, have an inherent atmosphere of patina and age, the magic of time that has been frozen, “When [look al my pictures, think of time that can never be recaptured,” Myakishew muses. “For me, photography isa ma- chine for time travel. I remember ‘events and places that I have visited ‘and the personal impressions I gained, look into the faces of people who reno longer there, and I understand that they only-continue to live in these photos and in our memories -Myakishev was teenager when he learned about photography with black and white film. He took purtin a photo workshop, developingand printing the pictures himself The magic of the photograph emerging under the red light of adark-room really inspired him at the time, and the excitement from those early days has remained with hhim:*T love to go through the whol process, from the beginning tothe end," he says,“and then see the result of my work. [consider blackand white photography the best way to express ‘my feelings, without being distracted bysplashes ofcolous:" For most ofhis pictures he usesan analogue Leiea MP, witha Summarit-M 35 £/2.5;less fre ‘quently an M-2 produced in Canada with the Elmazit-M28 f/2.8, the Sum micron-M 50 f/2 and the Elmarit-M 90 £/2.8. These cameras have never Jet him down; not even when working im the harshest of conditions found inthe north, where temperatures can plummet to minus forty degrees Cel aresmall, depend- sius. The camer able and produce great visuals, For good photo, Myakishev explains, he looks fora compromise between form and content, emotion and the ‘moments for abalance between com- position and meaning, Myakishev hasbeen resident among Moscow's millions of inhabit~ nts for more than twenty years, He often visits the Tretyakov Gallery. ‘orthe Pushkin Museum for him art isa source of delight and reativity that has an influence on his own work, Regarding his longing for distant horizons he explains, ‘Perhaps it’s an ‘opportunity to get outaf the metropo- lis, toencountera different rhythm of life and meet new people. When | travel, [feel freeand happy; I know that will find something interesting for myself and for others. Itimpor- tant for me to show that there fe outside the megacities.” Life, that is above al the people, Myakishev sees the individual as the “great mystery’, andas the ‘object of, his detailed research’. To explore this, he goes to places where there are few people, where existence unfolds at ‘quiet pace, There he finds the time, ‘the aura and the calm, that mirror his own emotions and impressions. Ashe says, “A photo quite simply captures: ‘what I'm feeling. I love people and I show them as I perceive them within, [find itimpostant to capture them inthe present moment, and toexpress yy attitude in photography. My ap- proach is close to what isknown as hu- rmanistic photography. My picture addressed to the viewers, saying, ‘Look who weare in the moment; let us togeth+ erturn the world intoa better place! And so his pictures are to be under. stood as firework displays of life: in perception, reality and humanity long together. xaria kuenen EQUIPMENT Leica MP Mée2. Summort.i 3S 1125, Eimas-M 2812 Summicron-M 50172 Elnact-M 90128 1019 Vienna, up unl the end of May 65Frank Horvat SIDE WALK He saw the world through the eyes of a traveller, and frequently roamed New York's bustling streets. Frank Horvat passed away in 2020, aged 92. The very last photo book he compiled is a treasure trove of visual discoveries.“In New York, tenderness is always al the limit of eatastrophe; Mystery at the edge of explanation. Leould also say the same thing about myself, thence my affinity for this city, and my current approach.” The front cover of Frank Horvat’s last book is adorned with these words. This opening state- ‘ment’ isone of many diary entries to ‘complement the 90 photographs fea tured in this volume and give insight into the artist's provess. Horvat's per- spective of 1980s New Yorkseems. surprisingly poetic, considering that this was.an erawhen the city was noto- ious for its high erime rates, neglected subways, streets and parks, and dis tricts that were so dangerous they were best avoided altogether. In one of the book's diary entries, Horvat men ‘occasional warnings from passers-by" to “look after that eameral” Howerer, the photographer nev- cer shirked away from exploring the city’s less affluent areas, and had no qualms about using New York's pub- lic transport system. Here, too, he pointed his camera at fellow passer ‘gers, studying their tired faces and capturing brief moments oftheir sto ties ~ suchas the man squeezed inside a run-down subway carriage with doz ens of colourful balloons. This visual poetry is prevalent throughout the recently released volume. Roaming thecity at his leisure, the photogra- pher eaptured its rough and crowded atmosphere through the eyes of an unhurried abserver:someone who is immersed in urban life, butstill views itsodd and absurd aspects fram an outsider's vantage point. Apart from three earlier pictures, all featured photographs were taken between 1982 and 1986, They essen- lly present us witha version of New York that no longer exists. And yet, despite the vintage charm ofits sated Kodachrome colours the series never feels nostalgie— perhaps because it also shows the harsh realities and hhardships of the people it portrays. Oceasianally, Horvat (who was alsoan accomplished fashion photographes) shot close-ups that reveal his interest in era-specific details and accessories. Most of the time, however, his sub- jects are embedded into the shapes and colours ofa street seene - whether they are accentuated by bright neon. signs, or swallowed up by interplays of shadow and light, One of his many poignant scenes depicts a crowd of pedestrians rushing pasta poster that reads ‘Money is Everything’. Equally, Horvat was not afraid to address themes sich as pov- ‘erty or desolation, He photographed forlorn figuresin waitingrooms, and rough sleepers shelteringin doorways, ‘The visual effect is consciously com- pelling: in one image, a homeless person's sleeping bag (whose quilted fabric brings to mind a bright-yellow ‘caterpillar stands in strikingeontrast tothe colours ofthe surrounding architecture. ‘This is where the photographer imselfto be far more than a poet: he isa socio-critical observer ‘with a gift for compositions that invite Iongcontemplations. New York City, ‘with its buzzing urban atmosphere ‘and complex visual refractions, wasa, perfect place to highlight the contra- dictions between poverty and con sumerism, elegance and dilapidation, prosperity and defeat. ‘The collection featured in this book (and the engaging sequence in which it is presented) underline Horvat’ ability to take photographs from different places, seasons and conditions, and bring them together in one cohesive arrangement. To achieve this, he had to wrestle with the abundance that characterises the ty: Horvat eliminated pictures that were "too documentary or anecdotal", while favouring those with strict colour compositions. In light of this, it seems all the more regretful that ‘Side Watk is the last project copied bby the photographer's own hand. At the same time, the book becomes a t= ‘ing, posthumous tribute toan ama- azingartist.uuricw aoreR FRANK HORVAT Born in Abbazia, Italy (now Opatija, Croatia) on April 28, 1928, Horvat studied art in Milan before becominga selt- taught photographer. After ayear in London, he made Parishis home until his death on October 21, 2020. Horvat mainly focused on fashion and advertising photography until the late 1980s, after which time personal projects became inereasingly impor- tant. Side Walitis the first book publication dedicated to his independent excursions around New York. ORVATLANO.COM SIDE WALK Ector fordan AW, Test: Amat Git (nd Frenk Merv Design Frangeis Dezat 140 pages. 90 images. 1724 em, Hoe CConts The French edtion was eveared by Atelier Bx8/Eeiions Xaver Barro,F/STOP - YARIO-ELMARIT-SL 24-70 F/2.8 ASPH ~ FINE ART PAPERS - THE REBIRTH OF GREYSCALE PHOTOGRAPHY: THE EXTRAORDINARY RENDITION QUALITY OF THE LEICA @2 MONOCHROMItis true that the Leiea Q2 Monochrom is not for eve- ryone ~ and it isnot trying tobe, either. When Leica presented the camera at the end of 2020, itwas met with ‘reat enthusiasm, and cap- tured the imagination of photographers across the board. OF course, thisisnot tasay that everyone rushed ‘out toswap their existing systems ora compact eam- ‘erawitha fixed wide-angle lens, and no ability to recog- colours. However, many have been inspired to start thinkingabout composing pictures with shadow and light - and revisit ere tive concepts that had been ‘widely relegated to the long-gone days of analogue photography. For those trying to decide whether the Q2 Monochrom would bea suitablesecondary 78 LESS IS MORE LeIca a2 MONOCHROM ‘The Leica Q2 Monochrom is doubtlessly a niche product, albeit avery appealing one. We explore why the camera's primary restriction also happens. to be its greatest strength. (oreven primary) camera, experience reports, aswell ‘assample images, can be especially useful Our colleague, photog- rapher David Rojkowski, hasbeen keepingaQ2Mono~ charom close at hand for some time now, and found it to be a trusty compan- Ione would no longer ‘want to miss, David expe- rienced the eameraashoth ‘easy to take with him, and straightforward tose: “Phe Q2Monochrom offers automatic focus and expo- sure, which work brilliantly ~ ut you ean just as eas- ily take mattersinto your ‘own hands, Which is why itenablessuch versatile approaches.” This isa trait the photographer, who usually works with a Leiea SL, doubtlessly values. It ‘also puts the Q2 ata slight | advantage over the Leica ME the very first Leica miode! to be complemented byadigital black and white variant back in 2012, SELF-SUFFICIENCY. By its very nature, the Q2 Monochrom opens up an entirely new customer demographic. The black ind white M models were mostly seen as ideal sec- ondary cameras for those who aleeady owned ait established M system set- up. The Q2 Monochrom, ‘onthe other hand, requires no additional equipment: it fully self-contained and ready to go. With its ex- cellent lens and high-level performance, the camera will master almost any photographic situation ~ particularly, ofcourse, scenarios to which black and white cameras are es pecially well suited, such as available-light, portra and street photography. That intangible feeling that the camera in your hhand is not quite right fora specie shot, ems to hap- penless frequently with the Q2Monochrom than the Mi0 Monochrom. There {smo rational explanation for this, but it issomething David can only confirm: “Maybe its because I've aarown more used to black and white cameras, but with the M10 Monochrom, I felt off-track alot more often than I do-with the Q2 ‘Monochrom, ‘Theldeaofa camera that onlycapturesgreyscale > The G2 Monochvom' exterior borely iter rom tnotofits col- ovr-copoble sire mode oth Combine the odvanogenof2com poct camera wih the ergonomics of esphiy irgerboayera4 Anight-ime shot with he moons he main source of igh the almost moderate sensitivity of 6012 $00 ‘nas encughtocaphre this scene wih the comers’ standard ocallength of 2mm, /1 and WSsimages might have gain less of a following, ifthe Q: Monachrom did not offer ssover itseolour-capablle sister. After all, the stand: ard’ Q2isalso equipped with a dedicated blackand white mode. However, neither the process, nor the results are quite the same. On the standard Q2, the colour fi ter array placed over the elonly ns that each pi isred, green or bine, while the two missing colours must be interpo pouring pis els. Consequently, the cam: era alway image to begin with, and then goes ontoconvertitto black ane white The monochi iant,on the other hand, lens, recording images witha respective resalution 0f 30,1 ‘The desire works without colour fi ters and interpolation, so that the fi sand 7 megapixels. d field of view can be selected when I scope of the resulting images are inhe ograph is taken; cently sharper, which alse significantly n the pl however, raw files in DNG smatare still ro at full size and resolu and s esthe fi need for elaborate post cessingadjustments, red with automa VAST RESERVES. The ‘markers that ean optionally beadopted in post- process: ing Many Q phot es however, rarely make use cropped excerpton page 81 ilustratesjust how much the 47-MP sensor's cam be magnified with of this feature ~ including out compromising their David. "Yousalways know detail rendition. Theeam- that you'll beable to desome era also uses its sensor capacity to simulate focal lengths by means of quite extensive cropping inpost-processing” he says. afeel fort You get ed-mountedSummilux28 | itwhile shooting: [/1c7 Asph essentially be Speaking of post-provess: comes 235, 50.or 75mm ing:“Asarule, images CAMERA TALK RE ec Ce a aaa taken with the Q2 Mone- chrom don't need anything them,"David ex. They don't have to parameters.” The absence ofa colour filter array has also increased the cameras 180 sensitivity to more than twice that ofthe standard (Q2- facilitating photo- graphs at an incredible ISO 100000. Quite commonly a camera’s maximum ISO value fulfils more ofa mar keting purpose than aprac ever, David uses the ISO 100.000 setting with com plete confidence one, In this case, how of the high resolution itis very finely textured —rather like film grain.” And yet SORE e McLee ot aE WWW.YOUTUBE.COM/REDDOTFORUMitshigh ISO sensitivity and fast, stabilised lens are not theonly reasons for the Q2 Monochrom's impressive available-light performance: much efit isalsodue to the camera's electronic view. finder. “At night, the display shows avery stable mono- chrome image that almost looks better than the real life scene,” David reveals. "1 just find it more convenient than the rangefinder of the M. And I've been able to take pictures in moonlight without tripod - what more could you ask for?” CONCLUSION. Lookingat rib. tates, there will be many’ who sec the Q2 Monochrom as he most practicable black sand white camerato date. 50. TAMAR A ME JAHRE — “America's Premier Leica Specialist” NEW, USED, & COLLECTIBLE LEICA SINCE 1971 (800) BUY-LEICA | TAMARKIN.COM (CHICAGO, USA Itcan keep up with the M0 Monochrom in terms offimagge quality, and comes witha very attractive complete with autofocus, image stabilisation and ‘macro mode. David also prtised the eamera’sergo- nomies: "The Q3 Mono- chrom offers the easy hand ling of'acompact camera, but isslightly largerand therefore sits mot fortably in your h nd.” Of course, only the staunch cest black and white enthu siasts will make the Q2 Monochrom their primary, or possibly even their only camera, For everyone else, itis awonderful addition totheirexistingset-up,re gardless of what that may be ~ whereas the manachrome M models are mostly KIN THE LEICA G2 MONOCHROM RECAPTURES THE ONCE-LOST MAGIC OF BLACK AND WHITE PHO- TOGRAPHY WITH REMARKABLY HIGH-QUALITY RENDITIONS, tographers,as their lens portfolio ean obviously be In practical application, the Q2 Monochrom has con: vinced every photographer we have handed itto. After all, this isa eamera that brings back the once-lost magic of the blackand white aesthetic, n the form ‘of remarkably high-quality renditions; itoffers e thing from full auto mode to manual control, and excels inall genres typically associated with black and white photography. The our colleague's summary ‘might well be the most des sive endorsement of them all:“Working with this cameras just alotof fun!”UNIVERSAL ACCESS WARIO-ELMARIT-SL 24-70 F/2.8 ASPH The compact Vario-Elmarit-SL 24-70 £/2.8 Asph opens the SL syste! up to newcomers ~ and delivers a high-end performance in a vast range of applications. {ocoltengs from te mide angle to the short ee range ‘tha constont epertre of1/2 85 a Over the years the Leica SLsystem has gained loyal following, Thisis not on due to the system's high. cend cameras, but also to its enormous range of compa- tible lenses, which extends far beyond the system's native portfolio, As always, Leica are committed to the highest possible quality, particularly in the field of ‘optical performance. A perfect example isthe Sum micron-SL series, which now covers five focal lengths from 28mm to 90mm - whereby every lens is posi- tioned in the top tier of imag- ing performance. NEW UNIVERSAL 200M, ‘The sameis true for the three existing zoom lenses intheSL portfolro, When the Leica SLwas launched at the end of 2015, the num- ber of available lenses was still very Limited. Since the the position of the SLys- tem’s universal zoom has ws been held by the Blmarit-S1.24-90 £/2.8-4 Asph. As of now, share this role with the new Vario-Elmarit-SL 24-70 £/2.8 Asph, which ‘combines Leica’s customary rendition quality witha rela tively low weight of around 850 grams ~ as well asa lyattractive retail price. ‘There are many advan- tages to havinga choice of two universal zooms, par ticularly.as they a geared towards different priorities. The Vario-El- smuarit-SL.24-70 £/2.8.Asph mnexciting addition to the SL lens portfolio. Not only is it light-weight and compact, but itis also the first SLzoom lens with acon+ stant aperture — so that ite impressive speed of f/2.8, is maintained across the entire zoom range. The lens construction encompasses 19 lens ele- ments in 15 groups. Three clements feature aspherical surfaces on both sides, while nine are made-of specialist lass types with anoma- lous partial dispersion, At 24mm focal range, the closest focusing distance is 1Scentimetres from the sorplane = inother words, the subject could practically touch the lens hoad and still bein focus. The minimum focusing distance increases inaceordance with the focal length, all theway to 38 cen timetres at focal length (of 70 mm, With its elever bladed aperture, the new Vario-Elmarit-SLalso deli ers avery pleasing boke! while basing the focus oma single Tens element has ena- bled an extremely fast and quiet autofocus, ‘Thanks oits elaborate optical design, the lens de= livers a super’ imaging performance that is only minimally supported by corrections. Asa result, the reliable excel lence that characterises theSL system ismaintain- ced in shooting situations. across the board. The com- pensation of vignetting distortion and chromatic aberrations takes place in- camera: all other types of aberration are either ba ly visible duetto the high- quality construction, or least very well corrected. SIDE-BY-SIDE. When comparing the two univer- sal zooms, the differences in price point and weight are most notable. Because the Vario-Elmarit-SL24- 90 /2.8-4 Asph wasating ny a he cameraxin Uekc’s he Votle-Eirart-S. 24-7028 wlthe new tensoins tee existing SL zooms rom thee the ApS Voro- mori SL. 90-280 (28-4 the Vario-Ermori-$ 24-90 28-4 Asphond the Super ALL SET, Alookat the small print reveals that the new Vario-Elmarit-SLis not made in Wetzlar, but in Jn where tis produce accordance with Leica's high quality standards, The lens comprises the same robust metal body’ ann high end components as all other SL lenses. Its retail price, however, is signifi- cantly lower ~ and thereby helps make the SLsystem more accessible to neweom- ers, Inaddition, Leicaare currently offering two lens- and-cameea bundles - each representing asavingof 650 euros. They comprise the oneofthe firstSLlenseson | announced. Itwasvital that | application,ratherthanan | -newlens witha Leica SL2-S the market, itwas designed the system's first univer: ‘optical superlative, or an SL2, Either option toembody the high quality salz00m would be able to Whilethelackofin-lens provides the photographer nds Leicaweresetting _keepupwith these planned image tabilisationis adraw- with an ensemble that will forthenewlylaunched cam- futurelenses-whichis why back forownersofanSL, master wirtually any shoot erasystem. At that stage, | its performance was the they willstillbenefitfrom _ ingsituation. As for the few there were no fixed foes developers’ main priority theconsistentlyhigher lens applications the new lens length lensesfortheSLsys- | ThenewVario-Elmarit-SL speed. Owners of an SL2 may not cover: thanks toits tem, but of course, their 24-7OL/2.8Asph, bycom- | or SL2-Swillnotbe affect- __Lhayonet mount, the SL sys jeationshad longbeon parison, isintendedasan ed, asthelreamerss come _temiseasier to expand than decidedand theSummilux- all-rounderthatis primarily | withbuilt-in, fve-axisimage any other camerasystem, SLO had already been eared towards practical stabilisation. HOLGER SPAR We buy, sell & trade Leica worldwide! We want your used & rare Leica! TOP $$5 paid for all Leica gear. Ask about our low consignment rate. Please call Sam Shoshan at 1-888-534-2272 Toll free (US) CLASSIC CONNECTION LLC BURT sip fetus 20 Fir TOSS USA may 203-371-2352 | 203-371-2353 Sam@ClassicConnection.com | www.classicconnection.com mel Leica USA Authorized Dealer fica 88 | iDUAL TALENT Url = sa years ago ENLARGING AND CLOSE-UP LENS: THE LEITZ FOCOTAR SOMM F/4.5 Any enlarging lens which has been specially corrected for the focusing range of the normal enlarger will also give excellent performance in the special sphere of close-up photography. The Leitz Focotar f/4.5, ‘50 mm, gives its best performances at enlargements between about 2:1 and 5:1 Used on the camera as a photographie lens this means that the Focotar will sive its best performance at scales of reproduction of between about 1:5 and 1:2, Naturally the image lity given by this lens nt Ianger and smaller scales of reproduction is till outstanding. All inal, itean be said that the Focotar is “a lens specially corrected for close-up photography”. 1 Facotarf/4.5,50 mm, isof Selement, 4compo- nent construction, It has click stops from 4.5 to {/16. The mount (which has no helical focusing motion) has the universal Leica thread. The lens thus fits the focusing bellows Il with adapter 16590. In order to ‘mount it direet on the Visoflex [Tor for, withadapter 14127 oF 14167 on the focusing bellows R, abayonet ‘adapter (14097, 14098, oF 14096) is required. Admittedly the mountingofthe Facotar on the focusing bellows Rby vay of the twoadapters isa litte roundabout, but the possibility atleast exists, The fact that the Foco: tar is basic equipment for the Leitz enlargers is praof close-up lens. enough ofits suitability as re awatase for C10? inthe LF App Aa The Leica Magazine since 1949 “LEI, | think this is the beginning, of a beautiful friendship!"- three issues ata special price. CHECK OUT LFI AND SAVE MONEY Have three issues of LFl sent directly to your home - with 20% savings ‘ond no strings attached. EXCLUSIVE ADVANTAGE FOR SUBSCRIBERS Expand your digital archive by getting each current issue for free via the LFI App foriOS and Android. ORDER NOW! www e.com/trial Phone: #49 (0) 2225/70 65-370 e-Mail: Ifi@aboteam.deEXQUISITE PAPERS FINE ART PRINTING IN PRACTICE Part three of our series on fine art printing offers a brief overview of Japanese washi papers: which subjects are most suited to each variant, and what practical considera- tions should you keep in mind? Paperhasalwaysplayed an | HANDLING.Withaweight | formerhasonlyoneprint- | from the inner bark of mal- importantrolein Japanese that efrequentlyaslowas able surface, while the Inbe | berry tres, and features culture, hosehistoryof 70gsm,washipapersareex- Thickisdouble-sided- distinctive fibre structure. paper productionstretches ceptionallydeicate. There- | makingitagoodchoice for The fibresare particularly back over 1000 years. The fore. a brush to remove high-end photo books. visible from certain angles, raw materialsused forJapa- excess fibres before print- Due to its blend ofhemp dominating the depicted nesepaperscanvarygretly. | ingisasessentil as cotton and kozo bres, the Inbe "| scene, Printingon the Unga While Western manufactur- _ glovesto protect the sen- feels vastly different to papers | ‘Thin White is straightfor- ‘ers have traditionally relied sitive surface from per- made of cellulose. In fact, ward, despite its low weight oncelluloseand cotton, | spiration. Evenverythin_itssoft texture especially of just $0 gsm. Powertul many Japanesepapersare | typesofwashi paperare thethinvariant’s-ismore | colours and heavy inkapal- hasedonbamboo.asvellas notpronetotearing.sothe reminiscent offabrie. The cation will cause the thin theplantRbres of mulberry printingprocessismuch _colourfsaplensantly warm paper tocurl quite severly, treesand hemp. Thespecial- | thesameaswith machined white, withatint thatismot butoncethe inkhas dried, isttermsare'kozo! (papers | fineart papers.Theonly _overlyyellow,makingthis the sheet will bealmost as madefrommulberry tree | additionalconsideration —_averyuniversaloplion. The flatas before. fibres) and‘kanaP Gourved | is tomakesurethatany | rendition of the printsis Uneyu paperisvery from a bibiseus variety) ultra-thin variants, aswell | assoftasthe material:even appealing. but its compat- Washi papersarenot | aspaperswithraggededges though the Inbehas no _ibilityis rather limited. only distinguishedby thelr (known asdeckle edges), _troubledisplayingstrong_Seenes containing larger rawmaterials,butalsoby —areproperlyaligned in the contrasts, it rulyexcels_areavof bold colours. aswell thefactthat they aregen- feeder tray. wheniteamestomoredeli-- as monochrome images erally handerafted without catemunncesofcolowr. The | -withatrong contrasts can theuse ofchemicals Inad-AWAGAMIINBE WHITE | Inbe is abeautifulaltera- prove challenging. Images dition, washipapersare AND UNRYUTHIN WHITE. tivetocotton-based paper. that epit delicate colours especialy durable asought-Thetnbe Whiteisavailable. |The Awagimi Unryy ideally against a neutral after attribute in the field in twovariants: thin(70gsm) _refers to a special type of ‘background - tend to yield of fine art printing. and thiek (125 gsm). The -washi paper that is made | the best results, + 90 aSTORE Numberg a ts oe ee : “ey, eee EL Cole ico) ee WETZLAR«ILFORD GALERIE TESUKI- tailed landscape scenes. different eloth. They are not WASHIECHIZEN. Ilford’s ‘The textured variants are made or load and colourful Tesuld paper isproducedin distinguished by an irregu- scenes, but come into their severalvariations.differen-_larsurface structure that is own with serene depictions tiated by theirbasis weight barely noticeable when the arm colour tones (@0gsm/lOgsm), surface _sheetis blank, but becomes Washi papers are s structure (textured/smooth) _yerydominantafterprint- JAPANESE WASHI and tone (neutral/warm- ing Minimalistlandscapes PAPERS ARE NOT gem papers tone), Inaddition, ¢ areapatticularly good choice || MADE FOR LOUD with the Canon Image Pro- variantisavailable with an forthiseategory. AND COLOURFUL _ s2fPro-1000posed no untrinimed deckle edge. As problem. Due to the more with the otherwashipapers, | CONCLUSION. Abasis SCENES, BUTCOME — rorsinenttones that char the tone of the neutral weight of s5t0 200 gsm INTO THEIR OWN acterise many washi papers ants is actually closer to might conjure up thoughts | WITH SERENE it is agood idea to sot awarmwhite.Thewarm- | ofstandard paperforafiee DEPICTIONS OF proof images before print tonevariantshaveaslightly | printersandcopy machines BLEASANTWARM —_ing--otherwise, the results yellowish hue tha ‘batinthe context ofwashi COLOUR TONES. may turn out too dark patiblewithawiderange papers, thatassociation is, For our black and white of images, ofcourse, misguided. After prints, it was enough to Inthe smooth category, | all,even acoated 120 gsm slightly brighten the image you will nd papers with photo-paper ean neverbe In the case of colour pho: ‘apleasanttactilityandade- come more thananaver- tographs. it may be necess Vicate texture that issuited __age-quality print - whereas sary tolighten dark areas toamultitudeofgenres~in- Fapanese papers.are if you and adjust certain colours. cluding portraits and de- will,cutfroman entirely TwoMas aencso.o Pe) 13 WASHINGTON DG eu Uc) eae DC of the US Capi DC is the photographic ote Seo BUY. SELL. TRADE. 1,6 20004 | Phone: (202) 787-5900BEST OF LFI.GALLERY BEACH BREAK “These people, sitting ‘tthe seafront in Nice i ‘and locking ovt across the ocean, immediately ‘sought my attention. {In that moment | would hove liked to sit down ‘on one of those empty chairs, and join them in their relaxation. This pic: ture is supposed to re- ‘mind Us to not forget to take breaks in the middle of our busy dally ives.” Kim Byung te Leica (yp 280) win super Einar M 181/38 Asph 94 uyLIGHTBOX ee ee =a bis i P| ae eo FL 7a 'SWEET TWILIGHT “This couple has been selling sweets together for many, many years. admire their teamwork, especially now, in light of the continuing pan- omic. This pieture is 0 perfect example of the thing | always strive for inmy photography: that 's,totella story through visual means 05 96. EMBRACE LIFE Covid measures in New Orleans were relaxed tor Halloween. Lots of peo ie were out inthe streets, the weather was great cand a jazz band was ploy Ing music. The city was full of ite again, and it seemed that this woman was embracing it ll with her arms wide open.”CROWSCAPE “1 was making my of Worl! Koliwade, when saw this mur- gathered in front of the backdrop of Mum- bol skyscrapers. A few seconds after !had pressed the release, they had already flown away again.AFTER HOURS “Ityas an afternoon of changeable weather ‘when the sun showed itself again one last ime. Just atter noticed the light felling into the building someone was waiking 1 words it the just enough time to position mysett, when the person crossedt the spot that | envisioned forthe Image. Itwasa ser- ‘endipitous moment. RIBBONED “These kinds of PVC cur- tains were used in many {@ Polish household as fly proteetion. [havea car- tain kind of a nostalgic sentiment for these rem nants ofthe eighties, so when | saw one at the store, | simplyhod to buy It already knew, that it would make an interesting Image, especially when holding It inthe wine”SKYLINE FRANKFURT eeme across this ‘group of young peo- ple byehonee one film set: ust at that ‘moment. they were ‘obviously being fmed from below the parapet. often resting midday light effects 102ELLIOTT ERWITT FOUND NoTLosT Atover ninety years of age, Eliott Erwitt (born 1928) was already some: ‘what Limited in his movements, even before the pandemie hit; however, he 3a hasbeen makinguse of the time to 5 revise and consider the status of his fe's body of work. This project, in volved checking over 600 000 imag sheets ane memories. Time and again, this led him to thediscovery of motifs that had previously gone unno- ticed. Afterall, the photographer can look back over seven decades of photographic experience. The first revision left him with aseleetion of 1850 piecestin the end, the number for this book was reduced to171 all black and white. The emphasis of this collection is that they were mainly taken in the fifties, though the oldest was taken as early as 1947, and the mast recent in 2003, ~adouble portrait of Magnum colleagues Henri Cartier Bresson and René Burri, Among the images are private ‘moments, portraits of people who were important to Enwitt, remarkable places and situations, aswell asa few ‘on some of his most famous imagies ~ such a the kissing couple, bathed in the romantic light of sunset on aC: a beach. The book is full of marvels tohe discovered and rediscovered, Found - Not Lost is ahighly personal reflection on his life, his oeuvre, the question of what is important, and what remains. As result, many of the images have: holie ft’ usually more humorous angle. This itor feel, unlike treasure trove of photography isajewel of acollector's item, and not only for fans of “BE”. 252 pages 17 black ond wie images, 21529 cm Ghost VINCENT KOHLBECHER Hamburg photographer ‘cent Kohlbrecher (born 1960) casts his sights on Poland, probably-still the least known of Germany's neighbours. A thoughtful associative series ofchureh motifs, concentra- tion camp memorials, fores and wedding photography, papal adorations and bottle cap still lifes, ll eaptured be tween 2014 and 201 Jot poges. $4 colour images, Shem, Hartmann books FACES Individual rote playing versus ideological imagery: comple- menting the exhibition at the ‘Vienna Albertina, this vol- ‘ume encompasses portraits from the Weimar Republic The photographers at the time hada radically different view of portraits, developing newapproaches, perspectives, and typologi 248 poges, $60 Block onc write images, 23+285 cm, Hires LARA SHIPLEY ANTONE DOLEZAL DEVIL'S PROMENADE Inthe Ozark Mountains of the mid-western USA, you can bathe in the light of salvs ons much as div deepest darkness to encoun: terthedevil ona bridge. This is the conclusion reached by this joint project. Forten years, Shipley (born. 1980) and Dolezal (born 1982) spent time with the landscapes and people of the Ozarks, diseav- ering theireulture, identity rituals and mythology, as far backas the very first European settlers. The resulting pic othe tureis not clear and simple On the contrary, these grip: ping photographs often con: vey disturbing insight into the strongly religious lives of these communities, 19-28em OverJACQUES PUGIN ESTHER WOERDEHOFF, PARIS Jacques Pugin moved to Zurich to become a photogra- pher when he was 18 years old. Since then he has been known for his experimental nature, and his passion for life and the world. There is hardly any technology. that Pugin has not tried out in the course of his career, beit painting with light, digital photography, webcams or drones. About his own creations Pugin muses, "My photography is experimental, but my search for in always reflects the connection between time, space, and the relationship of man and nature.” Aftera run in his home country of Switzerland, the next stop for the exhibition titled Tracehumance is Pari, Itcovers nearly five decades of Pugin’s creative work, illuminat- ingits innovative claracter. As the title suggests, the exhibition deals with both the traces of humanity the artist finds and, in some cases, those he creates himself. Puginisa traveller and the globe is his arena, Sacred Side, for instance, was a project he pursued for over fif teen years: it represents thousands of kilometres, and reveals his curiosity about foreign history and culture. Whether the deserts of Aftica, Australi Indiaor Latin America ~in depicting these places of human origins, the series attempts to visualize the complex threads that tie man to nature. He shows the earth's beauty in all its glory of lights and colours, from countless per- spectives. His newest series, Désalpe 20, shows herds of cattle ina google earth, digital landscape. With his imagery he poses a fascinating question: what meaning willlandscapes have in the world of tomorrow? Socrea Site Death Valley USA, 2001-2018, CHO GI-SEOK FOTOGRAFISKA, STOCKHOLM Coexistence isa word Cho Gi-Seok often returns to in his photographic work. He believes everythingis meant to coexist: stones, trees, animals, spa humans. With Coexistence, Fotografiska is presenting the Korean photographer's first Digexhibition, witha selec- tion of works taken between 2018 and 2020. DEANA LAWSON, THE GuaGeNNEIM MustUM, Deana Lawson is the fist female photographer to receive the Hugo Boss Prize, an award given every two years by the Guggenheim ‘Museum. “Atonce dreamlike fandentrenched in the mun- dane, her works cohere into an overarching vision ofthe human eapsity for both ‘embodied connection and spiritual transcendence, writes the Guggenheim. Her ‘medtium to large-format, LEWIS HINE ASHEVILLE ART MUSEUM Our Strength Is Our People. wa ‘The Humanist Photographs. Lewis Hine offers a glimpse into the American photogra- pher's work. 65-vintage prints cover three main themes: the experiences of immigrants, child labour, and the An «can worker, Also included are studies of the construction of, the empire state building works reveal the artistic historyand documentary tr ditions that imbue her pho- tography, consideringsetting, lighting and poses when staging people inevery day situations,BRYAN ADAMS ATLAS GALLERY, LONDON The timing of this exhibi- tion is not coincidental ‘During the last year, many ve been in ourhomes protection ofush appre and sanctuary they offer, and hatha bout people who have no which to take ref uuge,” Ben Brudett, Director of the Atlas Gallery, explains made me think deeply homeless people, than socie at large truly realizes. The gallery is giving these other- ative face. Homeless shows people selling the mag- azine Th was founded in 1991 as.areac tion to the growing number of homeless peopl e Big Issue, which as people in precarious living situations. From 2011 to 2017 nal photographe Bryan Adams captured th rontof asim: protagonists in studio background, Removed fr n their regular was to free them from prejudices the viewe at times serious, proud, oF men kc directly into the camera even laughing. Even so, the sh reality oftheir lives the nd dealt to them by society, and the many sleep. Jess nights, remain etched in delibly in thei 107His photographs tell stories and have made history. At the intersection be portage, portrait, travel and jphy, the US Amer- ican Steve MeCurry (born 1950) photographers of our times. For The Eyes of Humanity exhibition at the Exnst Leitz Museum Wetalar, the Mag landscape photog: long been considered one of ‘num photographer has personally selected around 90 colour motifs that have special meaning for him, while also offeringa wonderful overview of his rich body of work, The photographs ‘were taken over the lst forty years in 26 countries. They include motifs from catastrophic and crisis situa tions, such asthe burning oilfields of Kuwait in 1991, and the destruction of the World Trade Centre Twin Tawers in New Yorieon 9/11/2001. Thereare also impressive landscapes and everyday scenarios; and, above all, ages that deal with the fates of an extremely broad range of people and ‘communities around the world. Me: Curry'socuvre belongs to the tradition of humanistic photography, and ove comes and cultural barriers. Consider his intense portraits from STEVE MCCURRY ERNST LEITZ MUSEUM, WETZLAR Pakistan, Tibet, Ethiopia and Ecuador time and again, his optimism and un: derstanding of human nature allowed him to gain aceess to, and the trust sity of people. Dueto his inexhaustible energy and empa- thetic curiosity, McCurry managed, repeatedly, todraw attention to those who would othersise remain un. noticed. His photogs of, gre world’s contrasts its beguiling beauty fs well as its abysmal depths,@ LEICA GALLERIES Jocob Ave Sobol Arrivals ahd Baparfuas i exhtied in he Leica Galery Wot ARENBERG CASTLE The Stills of Hannibal AUT | $020 Solzbura, Arensergte 10 (etorar 2020 ~ ty 2021 Boston Flat File =a collection of Leica Gallery Bostonartists USA | Boston, MA O26, 74.Arington St Maren 12 eng of une, 2021 Dieter Blum: Cowboys & Dancers pOsseLoone Esther Haase: Move! GER | KO Golere, Konigsaitee 40, Morch 4 ome 2, 2021 FRANKFURT jurmmer Collection 202 GER | A08i Frantturt om Moin, Groder Wrschgroben 1515 May August 202) Yoshino Oishi: Smiling In Spiteof Everything Lonoon Phil Penman: Street GIR | London 84-46 Duke See! WIKIO ‘Apri May 29,2021 Los ancetes Kwaku Alston: Son ‘ween, Cheriss May: Soul Connection USA | West Hollywood. Ca 96088, (0783 BeveriyBovievors| MaoRio “Jangen Schadebery ‘The Compassionate Eye ESP | 28008 Mari, Colle de lose ‘Ortege y Gasset 34 December 2, 2020 ~ end of May, 2021 Jesse Marlow: Second City [AUS | Metpoure, iC 3000, Level! St Coline Lane 260 Coline Stree! Febrvory 25 ~ end of une, 2021 Guido Harari Ith | 2012 Motlana, Vie Mengoni MUNICH Lenny Kravite: Drifter + Flash GER | BOSSS Mineman Mattar & ‘Apt = lane 30,2021 Paul Huttemann: Vishaad GER | 90403 Nar paacue Kuba Kamit Septuchy | The Whisperers porro LOBA 2020 Neweomer Gonealo Fonseca POR | 4000-427 Ferte Rus $0.40 Bonga, 48/52 Mol =1uty 2021 Jean Marquis: LArt de Voi AUT | 5020 Soiburg, Gasberg sho PauLo. Currently clase LOBA 2020; Luca Locatelli, Future Studies 01.20/21, 528 Norin Bridge Rl, 188719 Hid Apri ~ mit one 2021 sturToaar Elliot Erwitt: Personal Best for Leica we Sta 4, 7OI7SStttoar Moy6~ ity 31 2021 agnar Axelsson: Arctic Heroes ~ Where the World is Melting TAIPED LOBA 2020: Luca Locatelli Future Studies TWH | Toinan, No.3, Ln 6, ington St (sien Dit, Tspei Ca January ~ end a lune 2021 Yoshino Oishi: Memories ‘ofa Sugarcane Field Temporarily closed werzuar Jacob Aue Sobol: Arrivals and Departures GER | 35578 edz, Am Lie Park Aen 21 hone 27.2031 VIENNA ast. Byes Effect. ~ Part 2 Viktor Berezkin: Bakshevskaya Maslyanitsa; Maxim Marmur ‘The Coal People; Andrey Gordase- vich:Satka; Emil Gataullin; Me bySky’s Edge AUT | 1OIO Wen, wattschgosse 1 Hise, 2020 ~ September 2021 zinost Suzan Pektay: Dreams The Black:“BREAK DOWN OF HIERARCHIC LEVELS.” INTERVIEW Nuno Ricou Salgade founded ‘Parallel - European Photo Based Platform’ in Lisbon in 2016. It is unique on the photo scene: a network for promoting talent in the areas of innovative photography and curating, Let What is Parallel about and what spread anda fertile ground for foster- areits goals? ingnew dialogues, sparking fresh id NUNO SALGADO" It's network that and helping to boost creativity brings together creative European organisations committed to promot- LF: What makes Parallel so unique? ingeross-cultural exchanges, mentor- SALGADO: It's about the networking ships and exhibitions, in order to of different capacities in the photogra- set new standards in contemporary phy business, meeting and exchanging photography. We want tocreatenew altogether. In the music scene there opportunities for emergingartists, are several networks lke this, and we | bybringing fresh blood into the art developed a specific proposal to be 4 system. Platform members include implemented in the world of visual museums, galleries, cultural centres, artists. Parallel is designed and led festivals, art schools and publishers~ by Procurarte,a cultural assaciation 18 vibrant European cultural hubs, based in Lisbon. Since 2005 it works from 16different countries. Thelarge forthe development and dissemina } and diverse nature ofthe network tion of creative industries, through the uphical creation of critical and constructive projects in the fields of arts, culture, creativity and innovation, ensures wide geo Above lohonne Katjolainan (Sc Cyc complex lets VitatyGalanena (ra Gyle) tom Ns UF: The network has a structure, Please give ussome insight sev" Huon Conetion into how it operates. SALGADO: The central part of the projects the network between every- ody: artists, curators, members, tutors, and the public. The platform is organized in cycles. Rach one with approximately 30 to 40 artists and five orsix curators. As we believeitis important tomicand to |enhance the network between all the participants in the platform, we over- lap some of ts key activities; forexam- ple, the ‘Intersection’, wh ‘we mix the ‘old? artists with the ‘new tones. In fact, the work of the artists ‘and curators is supported bya group of tutors who help them build theit newartwork or exhibition. normally rt Can you speaks about how Parallel is financed? SALGADO: The main financial source fs the Creative Europe Programme, which co-funded 70 per cent of the platform. Each one-of the members has to raise the other 80 per cent. In ourease, part of t comes from the Ministry of Culture and the City of Lisbon, and we have to find comple- mentary funds, That's not always Ft: What would you say is Parallels biggest success so far? SALGADO: One of the ma the Parallel platform is the relation: ship building up between the emer resullsof ing creators - artists and curators. Due to the creative process designed by Par- allel, emerging creators were able to break tl warmal” way of workingand establish a process with less hierarchic levels, fruitful collaborations. Equally important, is the way the emergingcreators, both artist and curators, slart to participate in theartsystem, After they participate in the platform, some of the emery. ing creators started to-receive prizes, special mentions, tabe selected for important contests and festivals, to work with cultural structures, curate \d with creative exhibitions, and so on. analogue and the digital experience, They need to focusona very personal nd, paint of view, the creative process: at the same time, be open to outside influences that come from th space’, Social and environmental issues willbe key tothe society we ive in, and artists have to havea proactive position in these subjects rt: How did the tean to the Covid pandemic? SALGADO: Our project is about inter ‘ational mobility and networks, so quite a challenge, We have trans- lapt Parallel formed physical exhibitions into online ones, Weneed to keep things movingas best as possible. All the meetings are held online. Audience developm but we need the exchange and the works very well onlitve “WE TRY TO INCLUDE THE DIFFERENT AESTHETICS THAT LIVE TOGETHER IN THE FIELD OF CONTEMPORARY VISUAL ARTS.” easy. So, like most independent in stitutions in the cultural field, weare in aweak financial situation. Yet we believe the platform will help solve the needs of emerging creators enter- ing the art system, And we also be lieve the art system will prof their inclusion from Ft: Photography involves awide range of aesthetics, technologies and actors. What does it take for photographers to become part of the platform? SALGADO: We try to include the differ ‘ent aesthetics that live together in the field of contemporary visual arts. The creators - photographers and curators have toapply'to the apen call. the independent jury lke their work, they are in, On average we get about 900 profiles from all around the world eve Curators apply by leter of intent. We guarantee gender balance. Ut Under normal circumstances, where do the ex SALGADO: Each year it takes place in different locations depending on the availability of each memberspace andalso the touringeoncept af the platform, Normally, each year the ity tions take place? members like to change the a they hast. For example, one. exhibition, nexta workshop, nexta ccuratorship and s0 on. UF What are you curious about, pho tography-wise? Do you recognise any trend in the way photographie works areplanned, produced or displayed? SALGADO: We live in a world sub: merged in images In thisimage reality. the photographer/ereator has toe: lish a position, clearly define a road and conceptual vision. I think there are some conceptual trends in the art world, in the way the artist has to be active in the various communica platforms, acting simultaneously on local nd global scenes, mixing the relationship with the public. It's a question notonly of the quantity of the viewers but the quality of those who look at the images, The only physical parts we have now are catalogues. Let What areyour plans for the future? SALGADO: Weare designing the next edition; hopefully, circumstances will change for the bette INTERVIEW Cevia Susan tor ona Manager of Porie, techbllons trom the 3rd Cycle 10 he atl 27 hye 202%, Fololestvel L83, ww prescurone 75ALEXANDRE CHAMELAT My PicTURE Sea levels are rising, nature demands its space, people must give way: a forceful symbol forthe climate crisis. outing complex Le Signal, Souloc-vr-Maer 2018 ‘The housing complex Le Signal was built in the sixties on the dunes along the Atlantic coast at Sotlac-sur-Mer. In 2014, the people iving in the building were evacuated ~ erosion was speeding up and makingit too danger- ‘ous to stay there. Since them the owners have received no form of compen sation. In 2020, the Senate voted on a possible amount: 70 percent of the ‘stimated market value ofthe building. with-out taking risks into aeeount. ‘The battle between, on the one hand, the ocean and this housing complex, “which damages the landscape, and,on the other, the middle-class co-owners and the courts, has become an allegory for rising sea levels. By the end of the century itis reckoned that up to 50000 French homies willbe threatened ‘bysoastal erosion, On the right side ofthe building you can rea “Memes droits pour tous - Same rights forall!” Alexandre Chomeiot was born in Fors in 1990. He graduated trom the School of Phtegrosny ond Gome Design (ETPA) ands member of the Cyclop photogromher collec liv who seek fo share the vision of ne world Comal ven Boxdeaun LEI 5/2021 WILL APPEAR ON JUNE 30, 2021 m4 ue LEICA FOTOGRAFIE INTERNATIONAL LerenoTocnamiecynn urate 1420006 Hare Germasy Phone: -49 40/226 21150 a s49/40/23691 1270 svt, ne olin, ‘stbmiosinstnlede EDITORAN-CHIKE aos Pape [AWE DIRECTION egies EDIFORIAL OFFICE atin wane Meats), ‘Tbh Habre Ster, Bernd te, ind Tojhowsl Dual gr Ulich Ree PICTUREDES. ‘oes Rice TRANSLATION, sUB-EDITING Tain Applet, lope Cat, An Spt Ons Vin CONTRIBUTORS Fo THIS ISSUE ‘Tham el Carls Smee ‘dma Kat tbe Helge Spar, ‘ati iim MANAGEMENT BOARD Steen [MEDIA SALES AND MARKETING ‘sour Hoar Phone r9/40/39021 1272 "eat totale Soh mine 3521 REPRODUCTION: Alta Hamburg PRINTEOptinal Med Gil Riel Me PAPER: ep Prima STRERU TION L130 0o19H2 spied times perenne Srp pice pesmi ching shipping) were 10 igang te {Flic ao matics ape the Ape ‘Mes slow dt Gorge Pay 10. Hor !3.31.D.58295Mechonbin Phone 1 /2835/7048-370 Fax 99/2224 /7088-309 [E-Male iabweanie Alles and estat oataid ‘te mageineare sujet othe lee ong Ary form tlt eyo ‘he mitered yh coat and without teers erulsionofthe publaber efron dil ponent ‘Theminingl LEtacimate sexta nats str rserton rest ‘Wana Giumsfor te ee 10 Tea S=s7) ‘PRINTED IN GERMANYFIRMWARE 2.0 FOR THE LEICA SL2-S Two Worlds. One Powerful Choice.> LEITZ AUCTION J2* June 2021 PHOTOGRAPHICA For more highlights please visit AUCTION WWW.LEITZ-AUCTION.COM