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BLACK + WHITE MAKING THE NEWS
PHOTOGR APHY ne of the most important dates in the B+W calendar is the announcement

EDITORIAL
Mark Bentley, Claire Blow, Ben Hawkins
email: markbe@thegmcgroup.com
Scott Teagle
email: scottt@thegmcgroup.com
O
of the winning pictures in the World Press Photo contest. The competition
showcases the best photojournalism from around the world and highlights
the outstanding work done to expose injustice, show the plight of the poor,
the impact of climate change and the victims of war.
Photojournalism began in the late 19th century but really came to prominence in
Designer Toby Haigh the mid 20th century as photographers captured the realities of political unrest and
conflict in memorable pictures by Robert Capa, Gerda Taro, David Seymour, George
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email: gmcadvertising@thegmcgroup.com Rodger and a host of others. They used the new smaller cameras which enabled them to
tel: 01273 402855 react to situations quickly and move about easily. Their pictures were published in the
burgeoning number of newspapers and magazines printed for a news-hungry audience.
PUBLISHING
Publisher Jonathan Grogan The classic news pictures of the past were taken on B&W film. Today, digital
MARKETING technology means most pictures are shot in colour, but photojournalists often present
Marketing Executive Anne Guillot their work in B&W because it enables them to tell their stories more effectively.
email: anneg@thegmcgroup.com Removing the distraction of colour allows the viewer to focus on the people in the
PRODUCTION pictures and the sometimes terrible challenges they face.
Production Manager Jim Bulley It’s not an easy job. Photojournalists must understand complex situations and make
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Printer Buxton Press Ltd important decisions in high-pressure environments. As well as excellent compositional
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Above all, they must have high degrees of courage and integrity. We depend on them
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email: pubs@thegmcgroup.com
website: gmcsubscriptions.com
Pictures do make a difference. They help us understand the world a little better and
sometimes prompt us towards positive change. We are proud to show our pick of the
SUBSCRIPTION RATES best black & white pictures from this year’s World Press Photo contest on page 48. 01
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GMC Publications Ltd. With regret, promotional offers and
competitions, unless otherwise stated, are not available
of a series called Human Nature and
outside the UK and Eire. is among the highlights of this year’s
© Guild of Master Craftsman Publications Ltd. 2022 Sony World Photography Awards.
CONTACT US

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 © Alexander Diaz © Luigi Vaccaro

10 26

© Chris Killip. All Rights Reserved

42

02 © William Fortescue
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34

BLACK+WHITE PHOTOGRAPHY ISSUE 267 CONTENTS

FEATURES 34 NOMADS 70 MASTERS OF THE ART 20 ON SHOW

10 ON REFLECTION
The human condition provides
the inspiration for Alexander Diaz’s
various projects
26 IN PURSUIT
OF THE MOMENT
Street photographer Luigi Vaccaro
loves two things: travelling and
his Leica M10
32 60-SECOND EXPOSURE
Spotlight on Justyna Kulam
William Fortescue focuses on
giant tusker elephants and
other iconic species
42 ANOTHER COUNTRY
Gerry Badger offers a reappraisal
of Britain’s post-1945 documentary
photography
48 PHOTO SHOWCASE
Celebrate photojournalism with
the best of the 2022 World
Press Photo Contest
Nick Smith presents an overview
of Eugène Atget’s pictorial
recorded of Old Paris
NEWS
06 NEWSROOM
Niche competition results,
Leica models discontinued
and events for your diary
08 BOOKSHELF
Three new photobooks for
your delectation and delight
Tracy Calder previews the new
RPS International Photography
Exhibition in Bristol
22 IN THE FRAME
Inspiring photo and mixed-media
exhibitions across the UK
COMMENT
24 AMERICAN CONNECTION
Victory Tischler-Blue takes a closer
look at life inside a traditional
Nevada brothel
 © Louie Palu © Joanna Maclennan

48 76

© Andrew Wheatley

72

© Rick Bogacz

80
03
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EXCLUSIVE SUBSCRIPTION OFFER – SEE PAGE 79 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK

68 A FORTNIGHT AT F/8 INSPIRATION TESTS & PRODUCTS 80 SALON

Tim Clinch never lets the truth
get in the way of a good
travel photography story
TECHNIQUE
54 TOP TIPS
From crumbling cottages to
towering offices, Lee Frost gets
creative with architecture
60 SURREALISM
Tim Daly journeys through the
subconscious with his camera
64 ONE-DAY 84 B+W LOVES Rick Bogacz shares his evocative
PHOTO PROJECTS Canon, Fujifilm, Sigma and more images of the Canadian coast
Eddie Ephraums ponders the reveal their latest cameras, lenses
simple question: what type and accessories 90 HOW TO GET PUBLISHED
of photographer are you? Submit your images and join the
86 CHECKOUT online community
76 EYE, PHONE, Our pick of the best value for
PHOTOGRAPHY money telezooms 95 NEXT MONTH
NEW Tim Clinch talks B+W 268 is on sale 4 August
SERIES
ideas, freedom and YOUR BLACK+WHITE
experimentation with 72 SMARTSHOTS 96 LAST FRAME
photographer and iPhone Stunning single images from A stunning single image wins
convert Joanna Maclennan B+W’s talented readers a superb prize
 © Yael Martínez / Magnum Photos
The Flower of Time:
Guerrero’s Red Mountain
by Yael Martínez

04
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A series of pictures by Magnum photographer

FIRST Yael Martínez is among the winners in this
year’s World Press Photo. The pictures explore
FRAME the impact of the drug economy on Mexican
farming communities which have turned to
poppy cultivation as a means of survival.
Martínez put scratches and pinpricks into
prints of the photographs to represent trauma and the scratching
of the poppy flower during opium extraction.
This picture shows a Mixtec elder on the Cerro de la Garza in
Guerrero on 31 December 2021. On New Year’s Eve, Mixtecs
climb the hill to perform rituals commemorating the end and
beginning of a life cycle.
For more superb pictures from World Press Photo see page 48.
05
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 NEWSROOM
Edited by
Kingsley Singleton
LEICA MOVES
It looks like the end of the
line for Leica’s CL and TL2
mirrorless APS-C cameras.
In a forum statement, the
company said those models
will be discontinued in order
to focus attention on the
growing market for full-frame
cameras, with smaller-
sensored and compact
models having a shrinking
market. Both launched in
06 2017, the CL and TL2 are still
B+W available while stocks last
and customers who buy or
own them already will be fully
supported down the line.
On the upside, Leica and
Panasonic have announced
a new business alliance. The
companies, which share
the L-Mount used in bodies
such as the Leica SL and
Panasonic S5, will develop
new technologies under
the name L2 Technology,
maximising Leica’s optical
and imaging technology and
Panasonic’s video and digital
expertise. Good things to
come, we hope!
OPEN AIR
A new outdoor space
presenting the best in
contemporary photography
has opened in London. The
Soho Photography Quarter is
the redevelopment of space
around the Photographers’
Gallery in Ramilies Street, just
off Oxford Street. The area
has been transformed into a
pedestrianised space offering
a rotating programme of free
photography exhibitions along
with live events, artist talks
and installations.
SOLID WORK
The world is full of great photo competitions and
although some of them are pretty niche, they can
still produce wonderful results. Take the Global
Cement and Concrete Association’s (GCCA)
yearly photo contest, for example. We bet that’s
not on your radar, but this year’s winners include
some striking black & white images of a subject
that’s actually often monochrome by design.
The competition, which seeks to celebrate the
beauty, importance and sustainability of concrete
in today’s world, saw more than 13,500 entries
globally, while the grand winner scooped $10,000,
© Matthew Dunne
© Sara Goli
with category winners receiving $2,500. Concrete
is actually the most widely used human-made
material in the world, so there’s no shortage
of inspiration.
Winners include Sara Goli, who topped the
Concrete Infrastructure Professional category
with her shot taken in the Chitgar Complex,
Iran, and Amri Arfianto in the Concrete in
Daily Life Amateur section, whose shot shows
the Sheikh Zayed Grand Mosque in the United
Arab Emirates.
Visit gccassociation.org for more.
WINGS OF
DESTRUCTION
One of the
most intriguing
photobooks released
in recent years,
The Killing Sink by
Matthew Dunne
is an investigation
into the persecution
of wedge-tailed
eagles in Victoria,
Australia. Partly an examination of public
grief and partly a true-crime essay, Matt
visited the sites where eagles have been
trapped, shot, poisoned and killed, unpicking
the psychology behind some of Australia's
worst treatment of the environment.
Sadly, it’s a situation repeated countrywide,
as native species are destroyed in service
of agricultural interests, many hundreds of
miles from prying eyes.
The Killing Sink is published in softcover
by VOID, priced at £35, and covers 88 pages.
See void.photo and mattdunnephoto.com
for details.
 © Paul Trevor © Man Ray

MAN OF MORE
One of Man Ray’s most iconic
photographs, Le Violon d’Ingres,
has gone under the hammer at
Christie’s New York and broken
the record for a single photo
sold at auction. Created in 1924
and featuring model Alice Prin,
the image sold for $12.4 million,
almost doubling its estimate.
The previous record holder,
Rhein II by Andreas Gursky,
took $4.34 million in 2011.

07
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© Berlin Photo Week

BERLIN IN
THE DIARY?
If you fancy some culture this
year, why not get it in the heart
of Germany? You can catch
Berlin Photo Week from 2-9
September at the huge Arena
Berlin site, as well as satellite
locations across this vibrant city.
Central to the event is the
75th anniversary of Magnum
Photos and many iconic images
will be exhibited in celebration,
including recent works by
Adler Street, London E1, 14 May 1978. The start of the march behind Altab Ali’s coffin from
Christopher Anderson and
Whitechapel to Hyde Park, organised by the Action Committee Against Racial Attacks.
Alec Soth. Other cultural

TURNING POINT partners include Robert

Morat Gallery and the Helmut
A new exhibition documents a dramatic struggle The exhibition features 70 of Trevor’s images Newton Foundation. The event
for justice in east London at the end of the 1970s. alongside accounts of activists and forms a also includes photo walks
Brick Lane 1978: The Turning Point features powerful narrative of the time. The show is and workshops. Plus, it runs
the work of Paul Trevor, who photographed the supported by the National Lottery Heritage Fund alongside IFA, the consumer and
protests following the racist murder of Altab and runs at the Four Corners Gallery, 121 Roman home electronics show, so if you
Ali that year. The series shows a young Bengali Road, London, until 10 September. Entry is free. want to mix in some tech, you’re
community taking to the streets in action against Head to fourcornersfilm.co.uk and paultrevor. sorted for that too.
institutional racism and the National Front. com for more. See berlinphotoweek.com.
 NEWS BOOKSHELF
Edited by Life behind the Iron Curtain, New York subway candids and mindfulness
Jonathan Harwood
provide the themes and inspirations behind this month’s trio of new tomes.
08
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T
here is a quote at
the beginning of
photojournalist
Arthur Grace’s book
Communism(s)
that sends a shiver
down the spine: ‘Those who
cannot remember the past are
condemned to repeat it.’
Those words from philosopher
George Santayana seem only
too relevant given the current
global political situation – and as
deteriorating relations between
Russia and the West threaten
COMMUNISM(S): to usher in a new era of global
hostility, this book serves as a
A COLD WAR ALBUM timely reminder that the Cold
Arthur Grace War ended just a generation ago.
Damiani Grace was one of the few
Hardback, £48 Western photojournalists
operating behind the Iron
Curtain in the 1970s and 80s,
and this collection of more
than 120 black & white images
serves up a rare glimpse of
day-to-day life under the
communist regimes of the era.
Shot in the USSR, Poland,
Romania, Yugoslavia and East
Germany, the photographs reveal
the complex compact between
the state and everyday citizens,
who could live a life of moderate
comfort – a home, a job – in
return for their obedience.
Of course, that lack of freedom
cast a long shadow, which is more
than evident in Grace’s images.
There are portraits of factory
workers, farmers, churchgoers,
holidaymakers and teenagers
making the most of their lives
juxtaposed with images of bleak
apartment blocks, glorified May
Day Parades and the unnerving
presence of uniformed men and
security officials.
© Arthur Grace
Many of the pictures
document the rise of the
Solidarity movement in Poland
and the subsequent imposition
of martial law, often taken
with a long lens from the relative
security of a hotel room to
avoid the authorities.
Others highlight the ever-
present propaganda to which
those living under communism
were exposed and the realities
of life: long queues for meat and
groceries, horse-drawn carts
carrying produce to market.
Yet as Richard Hornik, Grace’s
Time Magazine colleague, notes
in the afterword, the images
capture the ‘gritty, multi-
dimensional reality’ of life behind
the Iron Curtain, defying the
propaganda while also rejecting
the counter-narrative of an
oppressed, impoverished people.

STATION TO STATION:
EXPLORING THE NEW
YORK CITY SUBWAY
Ed Hotchkiss
Daylight
Hardback, £31.99
T
he sprawling New York
subway system is a
microcosm of the city it
serves, with each carriage
gathering up a seemingly
random group of people, all with
their own unique lives, hopes
and dreams, who then disperse
and disappear upon exiting the
train. It is hardly surprising
this melting pot is catnip to
photographers.
The latest addition to the
canon of underground reportage
comes from the lens of Ed
Hotchkiss, an experienced
travel photographer and New
York native who spent 15 years
building the collection of images
found in this book.
The project began as a
study in street photography,
but Hotchkiss was soon lured
below ground and on to the
city’s underground network.
Hotchkiss travelled on every
line and to every terminus, from
Rockaway Beach in Queens
to Van Cortlandt Park in the
Couple under ad with baby
Bronx, observing the humanity
around him.
Working as discreetly
as possible, he would wear
unassuming clothing, hold a
newspaper and pretend to read
it, all the while sneaking glances
and holding his camera on his
hip in time-honoured street
photography fashion, often
using a cable-release shutter to
be as unobtrusive as possible.
The resulting collection
contains candid images of
people being people.
The black & white shots
certainly capture the energy
and diversity of the city, and a
sense of the different characters
and communities which collide
on the subway system. Jews
brush past Rastas, besuited
office workers travel alongside
youngsters in street wear, police
mingle with partygoers in fancy
dress. Joy, apprehension, world-
weariness and hope can be
seen etched in the faces of the
commuters, buskers and those
reduced to begging.
The one quibble might be
the quality of the finish on the
images, some of which fail to
‘pop’ quite as they could. But
nonetheless, this collection
expertly distills the essence
of a city and its most famous
transport network.
‘The project began
as a study in street
photography, but
Hotchkiss was soon
lured below ground
and on to the city’s
underground network.’
© Ed Hotchkiss
There’s no denying that
mindfulness is a buzzword
right now, and I’ve read a
number of photography books
that claim to help us identify
and explore the creative
possibilities lurking in the gap
between looking and seeing.
However, this is one of the best.
Howarth uses a blend of
quotes, images, personal
insights and practical
assignments to encourage a
sense of playfulness, gratitude,
honesty and acceptance in
our work. Unlike books of a
similar ilk, this beautifully
paced paperback is illustrated
THE MINDFUL with pictures that few authors
would have dared to request –
PHOTOGRAPHER for example, Edward Weston’s
Sophie Howarth Cabbage Leaf, 1931.
Thames & Hudson As a former curator of public
Paperback, £14.99 programmes at Tate Modern,
Howarth clearly has the
ne of my favourite contacts (and industry know-
O quotes comes from
photographer Ernst
Haas: ‘I want to be
open to everything in this world,
and I am even willing to unlearn.’
how) to draw material from the
very best. It’s a book that can be
devoured in one sitting, which
is exactly how I feasted on it.
Tracy Calder
The idea that even towards
the end of his life, Haas was still
09
© Courtesy of the artist and James Danziger Gallery
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brimming with curiosity and
questions thrills me. For him,
there was no destination and no
attempt to totally master a task
or skill. He remained entirely
receptive to new ideas, fresh
concepts and techniques, and
he even once declared, ‘Arrival
is the death of inspiration.’
To approach life in this way is
to banish ego, adopt a beginner’s
mind and value process over and
above the end product. It’s
a refreshing message, and one
that lies at the heart of this
fabulous pocket companion
from artist, writer and social
entrepreneur Sophie Howarth.
The word ‘mindfulness’
can make some people wince
– in recent years, we’ve been
bombarded with advice on how
to become mindful gardeners,
painters, eaters and even wine
drinkers. What’s more, high-
profile celebrities such as Ruby
Wax and Oprah Winfrey have
released books urging us to
slow down, take notice of small
details and observe our own
thoughts, feelings and emotions
– without judgement. Susan Derges, The River Taw, 1998
 FEATURE ON REFLECTION
As a documentarian and artist, Alexander Diaz uses photography
All images as a means of expression. Donatella Montrone finds out more
© Alexander Diaz
about the influences that shape his work.

10
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A
lexander Diaz became
interested in photography
at a young age, drawn by its
‘ability to accurately depict
one’s experiences’. His
childhood was spent on the
move, at army bases in the US and Germany.
He spent many of his teenage years in
north-east Florida, fishing in local creeks,
exploring woodlands and surfing.
As an emerging photographer, he’d
take photos of ‘just about everything’,
experimenting with composition using the
first camera he’d ever owned, a Canon AE-1
Program, which he had begged his mum to
buy at a flea market. And although he was
a keen documentarian, it wasn’t until high
school that he decided he wanted to be
a photographer.
‘I didn’t really know what that entailed,
though,’ he says. ‘At the time, I was mostly
interested in documenting my adventures
and exploring nature.’ So, he enrolled in the
University of North Florida’s photography
programme and soon came to understand
that the camera wasn’t merely a practical
device he could use to document his
surroundings. Rather, it was a tool he
could use to express himself.
Today, much of his work focuses on
the vagaries of the human condition,
everything from the destitution that exists
within the shadows of Vatican City, to kitsch
interior décor and narratives surrounding
faith. His colour series, Faith in Images,
explores how shrines are used as sacred
places to venerate religious figures, thereby
perpetuating the narrative of a higher power,
while Still Lifes from My Mother’s House,
a more intimate series, documents his
mum’s vast, eclectic collection of trinkets.
‘Growing up, I was overwhelmed by the
clutter,’ he says, ‘but as I got older, I grew
to appreciate her assemblages for their
complexity and uniqueness.’
Florida’s Mountains (featured here),
a conceptual work started in 2007, takes
as its focus the transformation of Florida’s
landscape – the Florida of Diaz’s youth.
Once wild and verdant, north-east Florida
‘has metamorphosised into a place of
conformity and monotony’ thrust upon it
by housing developments, strip malls and
adventure parks. These alterations to its
natural beauty reflect much of society’s
appetite for progress, ‘and now all that’s left
are fragments or resemblances of nature’.
The series is both a commentary on
how development can strip a place of its
essence, and an artistic work inspired in
part by Ansel Adams’ landscapes of the
American west. In Florida’s Mountains,
Diaz photographs mounds of dirt from
construction sites to resemble mountain
peaks. One image in particular mimics
Adams’ photographs of Half Dome, the
imposing granite structure that rises from
the depths of Yosemite in California.
Diaz wanted to ‘provoke a dialogue
on the deconstruction of the natural
environment’. What appear to be low-lying
rock formations are in fact dunes of grit –
the residue of rampant modern capitalism
– so the viewer is forced to confront the
ruthlessness of unsustainable development.
‘I barely recognise my hometown now. It
has lost the distinct qualities that made it
special, which is heartbreaking. In making
Florida’s Mountains, I wanted to remind
the viewer of the natural grandeur that
›
has been lost to rapid progress.’
11
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y contrast, Bus Culture of Latin
B
› America (also featured here) is an
observation on the slow pace of change
in many Latin American countries.
It’s a study of life around the public bus
networks, where interactions become shared
experiences. ‘I had travelled through Latin
America many times over the years, and was
always fascinated by how diverse the cultures
and rituals are from one country to another.’
But there are also many similarities, he
says, one of which is the infrastructure.
‘The one thing that always struck me was
that, throughout Latin America, much
of the population is reliant on public
transport. And because people are forced
to interact with one another, this is where
daily life unfolds for all to see. It’s in stark
contrast to life in the US, where most
Americans use a car to get around and
are fairly isolated from one another.’
In the summer of 2002, inspired by the
road trips of photographers Robert Frank
and Stephen Shore, Diaz returned to Latin
America to create a visual essay on this
shared bus culture. ‘I travelled by bus for a
month – over 1,800 miles – through Belize,
Guatemala, Honduras and El Salvador.
I documented the people who relied on the
bus network and explored how this reliance
structured their lives. Most of the buses in
these countries have irregular schedules and
are not the quickest form of transportation.
As a result, daily life unfolds at a much
slower pace than I was used to, which I
found quite beautiful and refreshing.’
Visually, Bus Culture of Latin America is
soft in tone, unhurried, with a slight vignette.
Diaz achieved this quietude using two Holga
cameras and natural light. ‘I used a 60mm
fixed lens that had a focus range from 3ft
to infinity. If I had moved any closer to my
subjects, they’d have been out of focus.
I loaded each camera with different speeds
of film to accommodate different situations,’ ›
15
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› he explains. ‘I develop my own film, which
allows me to be in total control of my
negatives, so I could push and pull my film
to fine-tune the exposures and contrasts. I
used black & white film for aesthetic reasons,
because I wanted the series to have a timeless
quality, which is hard to achieve with colour.’
Diaz now plans to expand on a recent
underwater series, Beneath the Surface,
in which he photographs Florida’s natural
springs. A popular tourist attraction, the
springs ‘can be chaotic on the surface,
but they are starkly different underwater
– sounds are muffled, movement is slow,
people seem to glide through this space. It’s
magical, quite a spectacle. These enchanted
waters remind me of what’s missing from our
lives – a sense of wonder, and connection
with the natural world. It saddens me to
reflect on how Florida has been transformed
over the years, but it’s reassuring to know
that fragments of paradise still exist.’
Alexander Diaz has an MFA in photography
from the University of Florida, where he is
currently a professor. His work has been
on show throughout the US, including at
Filter Space in Chicago, the Museum of
Contemporary Art in Jacksonville and Norton
Museum of Art in West Palm Beach.
alexdiazphoto.com
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midnight on 14 September 2022 and will be verified against specific criteria.
 NEWS ON SHOW
The world’s longest-running photography exhibition continues to ignite conversation
and give a voice to under-represented communities. Tracy Calder shares some of her
highlights from the RPS International Photography Exhibition 163.
ounded in 1854, when
F
photography was
still in its infancy,
the International
Photography
Exhibition (IPE) is now
in its 163rd edition. Each year,
the Royal Photographic Society
(RPS) invites entries from
new, emerging and established
photographers working across
any subject or genre. Pictures
selected for the exhibition are
chosen anonymously by an
expert panel, which this year
included multidisciplinary
artist Monica Alcazar-Duarte
and creative producer Sebah
Chaudhry, as well as RPS
director of programmes
Dr Michael Pritchard.
The IPE 163 Award was
given to Tim Franco, a French-
20
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Little Brother (Diddy) © Ryan Prince
Polish photographer, for his
series Unperson – Portraits of
North Korean Defectors. Franco
relocated to South Korea in 2016,
and spent three years developing
his project. The portraits he
made are disquieting – they have
an odd colour palette: greens,
blues and other cool tones that
make his subjects’ skin appear
washed out, almost grey.
(Franco often uses analogue
materials, in this case Polaroid
film, which helps to give the
series its odd look.)
‘The North Korean defectors
that Franco chose to portray have
decided to disappear, fleeing
sometimes for ideological reasons
and often out of despair,’ suggests
the text on the artist’s website.
Some of the defectors have
endured long, arduous journeys,
AdAstra3 © Rosie Dale
crossing multiple borders and
living with the fear of being
arrested. Having arrived in South
Korea, many of them struggle to
find a new identity. This sense of
displacement is communicated
perfectly in Franco’s work.
The Under 30s Award went
to KyeongJun Yang from South
Korea for his project Men Don’t
Cry – an intimate look at family
relationships and emotions.
KyeongJun’s series focuses on his
father, a man raised to believe
that tears are a sign of weakness.
‘He didn’t cry when our dog died
and when his son shaved his
head to join the navy. He also
didn’t cry on the day that his
dad passed away and his mom
abandoned him when he was six
years old,’ recalls KyeongJun.
As the years passed,
KyeongJun’s father realised that
he could no longer hold back
the emotions that he’d tried to
suppress, and the tears began
to flow. ‘My dad cries a lot these
days,’ adds KyeongJun. ‘I see
his tears very often.’ Looking
at the series, you can feel the
pain and love in every frame.
There’s no doubt that creating
these pictures was a cathartic
experience for both parties.
Shortlisted entrants include
Aneesa Dawoojee with her
image An Artist’s Pain.
Dawoojee specialises in sport
(especially Muay Thai) and
social photography with a
story. Discussing her work, she
says, ‘My storytelling is aided
by having studied history,
and hopefully this comes out
in the people and statements
Living Room © Andy Lloyd
An Artist’s Pain © Aneesa Dawoojee
I photograph. Working with
marginalised young people for
a significant part of my life has
given me the ability to draw out
emotions and vulnerabilities in
my clients.’ Dawoojee’s image
communicates a mixture of
strength and vulnerability – it’s
a hard balance to strike, but one
that she navigates perfectly.
Another notable entry comes
from Ryan Prince with his
picture Little Brother (Diddy).
I raved about the photographer’s
series Can You Sit for Me? when
Hug © KyeongJun Yang
21
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After the Storm © Michael Knapstein
I first came across it in the wider domestic setting. And lastly, how the camera and
press material for the Taylor ‘I am using my own family as the act of photography can be a
Wessing Photographic Portrait a springboard to contemplate vessel to explore familial ties.’
Prize, and it continues to charm themes around how the black This year, some of the imagery
me. Prince uses his camera to body is seen and represented,’ selected for the exhibition
explore his relationship with he explains. ‘What a typology focuses on the personal impact
his family, employing props of a modern black family from of the Covid-19 pandemic,
we often associate with London may look like away from showing hardship, grief,
formal studio portraiture certain stereotypes. How positive resilience and hope. It’s a
(such as a fabric backdrop), imagery can play a part in snapshot of life over the last two
but pulling back to include the challenging this racialised gaze. years that may well become an
important historical record. In
SEE THE PICTURES total, more than 8,000 images
International Photography Exhibition 163 is on show at RPS Gallery, were submitted to IPE 163, with
Bristol, until 21 August. To find out more, visit rps.org. 105 chosen for the final show.
 NEWS IN THE FRAME
If you would like an exhibition included in our listing, please email Mark Bentley
at markbe@thegmcgroup.com at least 10 weeks in advance. Edited by Tracy Calder.

LONDON This important exhibition reveals

the history of the fight against
antisemitism over the last century
ATLAS GALLERY in France, Britain and Germany.
To 10 September 29 Russell Square WC1B
Dennis Hopper wienerholocaustlibrary.org
Hopper dedicated more than
five decades of his life to exploring
the mediums of photography,
painting, sculpture, film
MIDLANDS
and installation. HERBERT ART GALLERY
49 Dorset Street W1U & MUSEUM
atlasgallery.com To 12 February 2023
Grown Up in Britain –
FOUR CORNERS 100 Years of Teenage Kicks
To 10 September A century of teenage life told
Brick Lane 1978: through photographs, objects
The Turning Point and stories, many submitted
Celebrating East London’s Bengali by the public.
activists of 1978 via the images Jordan Well, Coventry
of Paul Trevor. theherbert.org
121 Roman Road E2
fourcornersfilm.co.uk Thirty Pieces of Silver (Exposed) 1 STAMFORD ARTS CENTRE
© Cornelia Parker
TATE BRITAIN To 18 July
NATIONAL MARITIME MUSEUM To 16 October Who Needs Colour Anyway?
To 7 August Cornelia Parker Landscape and street photography
22 Astronomy Photographer First major survey of Parker’s work in London, featuring more than 90 from South Africa, UK, USA and
B+W of the Year 2021 artworks including installations, sculptures, photography and drawings. India by Stephen Burnett.
More than 100 images from the 13th Millbank SW1P tate.org.uk 27 St Mary’s Street, Stamford
year of this popular competition. stamfordartscentre.com
Romney Road SE10
rmg.co.uk our world and its inhabitants. artists around the globe.

THE PHOTOGRAPHERS’
GALLERY
To 31 August To 18 September To 6 November MUSEUM
Omoiyari –
Keiken X Gabriel Massan
First commission of Open Space –
an augmented reality (AR) initiative
developed for Soho Photography
Quarter, an art space in the
immediate surroundings of TPS.
16-18 Ramillies Street W1F
thephotographersgallery.org.uk
ROYAL ACADEMY OF ARTS
To 21 August After Industry: Communities in
Summer Exhibition 2022
Showcasing art in all its forms,
from prints, paintings and film
to architectural works, sculpture
and photography.
Main Galleries, Burlington House W1J
royalacademy.org.uk
ROYAL GEOGRAPHICAL SOCIETY
To 26 August Surrealism Beyond Borders
Earth Photo 2022
Shortlisted entries from this
international competition
stimulating conversations about
1 Kensington Gore SW7 rgs.org
SOUTHBANK CENTRE
Summer: In the Black Fantastic
An exhibition of 11 contemporary
artists from the African diaspora,
who draw on science fiction, myth
and Afrofuturism to question our
knowledge of the world.
Hayward Gallery, Belvedere Road SE1
southbankcentre.co.uk
TATE BRITAIN
To 30 October Cromwell Road SW7 vam.ac.uk
Northern England 1960s-1980s
Images and films recording the
lives of communities in northern
England during a period of
socio-economic upheaval.
Millbank SW1P tate.org.uk
TATE MODERN
To 29 August whitechapelgallery.org
Spanning 80 years and 50
countries, this groundbreaking
exhibition illustrates how
surrealism inspired and united
Bankside SE1 tate.org.uk NORTH
VICTORIA & ALBERT MUSEUM BRADFORD INDUSTRIAL
Maurice Broomfield: To 2 October
Industrial Sublime Angel Pavement:
Dramatic images of mid-century Exhibition of Photographs
British industry. by Cath Muldowney
To 6 November Part of an ongoing project
Known and Strange: celebrating life up north – from the
Photographs from the Collection unique beauty and character of the
Highlighting photography’s power urban landscape to the warmth,
to transform the familiar into spirit and humour of the people.
the unfamiliar. Moorside Mills, Moorside Road,
Eccleshill, Bradford
bradfordmuseums.org
WHITECHAPEL GALLERY
To 4 September IMPRESSIONS GALLERY
The London Open 2022 Permanent
Group show featuring works made Belle Vue Studio Exhibition
since 2018 including painting, Thousands of Bradford’s residents
sculpture, print, film, sound, had their pictures taken at this
performance and photography. influential studio between the
77-82 Whitechapel High Street E1 1920s and 70s. This exhibition
is part of Bradford’s National
Museum research project.
WIENER HOLOCAUST LIBRARY Pictureville, Bradford
To 9 September scienceandmediamuseum.org.uk
Fighting Antisemitism
from Dreyfus to Today INSPIRED BY... GALLERY
16 July to 10 September MK GALLERY
A Woodland Sanctuary To 25 September
A joint exhibition by Simon Baxter Vivian Maier: Anthology
and Joe Cornish celebrating the From carefree children to the
woodlands of the North York homeless, Maier’s images capture
Moors National Park. the highs and lows of everyday life.
Moors National Park Centre, Danby 900 Midsummer Blvd, Milton Keynes,
northyorkmoors.org.uk Buckinghamshire mkgallery.org

SCIENCE AND INDUSTRY

MUSEUM
To 14 August
Amazônia
Images celebrating the indigenous
people and breathtaking
landscapes of the Brazilian
rainforest by Sebastião Salgado.
Liverpool Road, Manchester
scienceandindustrymuseum.org.uk
SOUTH
BRIGHTON MUSEUM
To 2 October International Photography
The Jam: Cover Stars
Original magazine and music
press covers showing the Jam
throughout their six-year career
from 1977 to 1982.
Royal Pavilion Gardens, Brighton
brightonmuseums.org.uk
LACOCK ABBEY
To 31 August TATE ST IVES
Janus Rising
An exploration of time passing
by Sal Taylor Kydd.
WEST
BRISTOL MUSEUM
& ART GALLERY
To 4 September
Grayson’s Art Club
Art works chosen by Grayson Perry
and guest celebrities during
season two of the hit TV series.
Queens Road, Bristol
bristolmuseums.org.uk
RPS GALLERY
To 21 August
Exhibition 163
More than 8,000 images were Untitled, 1974
submitted to IPE 163, with themes DAVID HILL GALLERY © Courtesy of David Hill Gallery,
Rachidi Bissiriou
ranging from cultural heritage To 29 July
and gender politics to mental Rachidi Bissiriou: Gloire Immortelle
health and the natural world. First ever solo exhibition by West African photographer Bissiriou,
RPS House, 337-340 Paintworks, Bristol including previously unseen portraits.
rps.org 345 Ladbroke Grove W10 davidhillgallery.net
23
To 2 October with geology and the landscape
Wilhelmina Barns-Graham
and Jonathan Michael Ray
via paintings, photography,
printmaking and found objects.
SCOTLAND B+W

Lacock, near Chippenham, Wiltshire Two artists connected with west Porthmeor Beach, St Ives, Cornwall
nationaltrust.org.uk Cornwall display their fascination tate.org.uk
WALES
FFOTOGALLERY
To 3 September Achintore Road, Fort William
What is lost… what has been
Solo exhibition by Welsh artist
John Paul Evans exploring the
autoethnographic process of
weaving one’s personal history
into a visual dialogue.
The Old Sunday School, Fanny Street,
Cardiff ffotogallery.org
NATIONAL MUSEUM
CARDIFF
To 29 August
David Hurn: Swaps
Highlights from the David
Hurn collection, focusing on
photographic exchanges with his
Brand New Day Magnum colleagues.
NATIONAL HORSE RACING MUSEUM © Jayne Odell To 29 August
9 July to 4 December Wildlife Photographer of the Year
Time and Motion: Capturing the Lifeblood of a Racing Yard Stunning backlit images that ignite
Jayne Odell’s images – which cover everything from thoroughbreds in curiosity by showcasing Earth’s
training to the landscape and kinfolk of Newmarket – convey the unique extraordinary diversity and the
rhythm of a town devoted to horse racing. fragility of the natural world.
Palace Street, Newmarket, Suffolk nhrm.co.uk Cathays Park, Cardiff museum.wales
LIME TREE AN EALDHAIN
GALLERY
1 to 27 August
Society of Scottish Landscape
Photographers
Post-pandemic showcase of the
group’s best fine art photography
soslp.com
SCOTTISH NATIONAL
PORTRAIT GALLERY
To 25 September
Counted: Scotland’s Census 2022
Inspired by questions asked in the
census, this exhibition considers
the complex notion of identity.
1 Queen Street, Edinburgh
nationalgalleries.org
Subscribe to Black + White
Photography magazine
See page 79 for details
 CO M M EN T
susanburnstine.com
AMERICAN CONNECTION
An invitation to visit a brothel inspired Victory Tischler-Blue to authentically
All images © Victory
document the lives of its workers, resulting in an ongoing series that forced
Tischler-Blue
her to cast aside any preconceived notions. Susan Burnstine reports.

ictory Tischler- bassist for iconic all-girl rock In 2015 Tischler-Blue set a sexy smile. Bobbie took me

V
Blue’s powerful
series Wild
Dogs focuses
on a traditional
Nevada brothel,
the stories of the women who
work there and the culture
that surrounds and supports
24 both. Perhaps the most
B+W
striking element of this work
is that at face value it focuses
on sex workers, but on close
inspection, it has little to do
with sex. Instead, the heart of
this story is about meaningful
connections, relationships,
compassion and community.
Tischler-Blue developed
a love for photography at a
young age, but wasn’t able to
band the Runaways. During that
time, she came to recognise the
full extent of her passion for
photography after realising she
enjoyed being in a photographic
studio far more than being
on stage with the band.  owner, whose name was Bella,
After the Runaways broke
up in 1980, she acted in a few
notable movies and transitioned
from being a musician to
directing music videos. In the
1990s she got her first digital
camera, which proved to be a
gamechanger for her. She says,
‘I was able to reverse engineer
how to manually control
exposure by seeing what
I was doing in real time
through the viewfinder and
out on a road trip with her
partner and happened upon
Bella’s Hacienda Ranch purely
by chance. ‘We had stopped
at a little café in the middle of
nowhere,’ she says. ‘I asked the
what people did out there for a
living and she told me that they
either work there at the café, or
the truck stop or at the brothel
across the street, which she
also owned. Then she invited
us to the brothel for a tour.’
Upon entering the brothel,
Tischler-Blue recalls, ‘Madam
Bella rang a bell that sounded
throughout the building and
several girls dressed in beautiful,
sexy lingerie and heels appeared
by the hand and led me down
a darkened hallway. Our first
stop was the ATM machine, the
next stop was the dungeon –
Bobbie’s domain. After that, we
ended up in the “negotiation”
room, where Bobbie engaged
me in a discussion about my
hopes and dreams. From
there, she led me back into her
dungeon and the rest I captured
on my Leica Monochrom.’
She photographed Bobbie
for an hour and then
continued their road trip to
Wyoming. A few days later,
she downloaded the files and
was ‘blown away’ when she
reviewed what she had shot.

comprehend various technical
elements such as how to use a
light meter, since she suffered
from number math dyslexia. At
the age of 17, she became the
T
was finally able to control my and lined up in front of us and hroughout the five or so
own vision the way I saw it in introduced themselves,’ she says. years she’s been working
my mind’s eye.’ Afterwards, ‘We were each told to choose on Wild Dogs, Tischler-
photography became her a girl. I chose Bobbie, an older Blue came up against a
principal expression.  blonde with massive G cups and number of personal challenges
 EXHIBITIONS
USA

ASHEVILLE
Asheville Art Museum
Until 10 October
Draped and Veiled: 20x24 Polaroid
Photographs by Joyce Tenneson
ashevilleart.org

CHICAGO
Art Institute of Chicago
Until 1 August
Judy Fiskin: On Photography
artic.edu

DENVER
Denver Art Museum
Until 6 November
Georgia O’Keeffe, Photographer
denverartmuseum.org

HOUSTON
Catherine Couturier Gallery
Until 3 September
Wendi Schneider: Into the Mist 25
catherinecouturier.com B+W

LOS ANGELES
Getty Center
Until 2 October
In Focus: Sound
getty.edu

NEW YORK CITY

and real-life struggles. ‘The
two biggest challenges were
gaining the kind of behind-
the-scenes access to the
brothel that would allow me
to authentically document
it in-depth, and earning the
trust of the ladies who worked
there. Both took a lot of time
and patience,’ she says.  instance, one was earning
When Tischler-Blue first
arrived at the brothel, she
confesses, ‘I walked in with
judgement and a preconceived
notion of who these ladies
were, where they must have
come from and how they live
their lives. However, what I left
with was a completely different
understanding. The ladies came
from all different backgrounds
and were there for a variety of
reasons – some which were
predictable and other reasons
that really surprised me. For
extra money to pay for her
PhD because she didn’t want
the burden of student loans,
another was a former ER nurse
who was burnt out and looking
for new experiences, a third
was a dental hygienist working
three jobs to earn enough
money to buy a house, but
still couldn’t afford it, so she
became a courtesan, and so on.’
Currently, Tischler-Blue
is compiling a book for the
ongoing Wild Dogs series that
will include images, interviews
and text documenting her
experiences over the past
five years. Additionally, she
is turning it into an eight-
episode limited drama
for cable television.
desertstudiosllc.com
Museum of Modern Art
Until 1 January 2023
Wolfgang Tillmans: To Look Without Fear
moma.org
Morgan Library & Museum
Until 2 October
Please Send to Real Life:
Ray Johnson Photographs
themorgan.org
Fotografiska New York
Until 14 August
James Nachtwey: Memoria
Fotografiska.com
SAN JOSE
San Jose Museum of Art
Until 22 January 2023
Brett Weston
sjmusart.org
WASHINGTON DC
National Gallery of Art
Until 2 October
American Silence:
The Photographs of Robert Adams
nga.gov
 FEATURE IN PURSUIT OF THE MOMENT
When a photographer is not burdened with commissions or editors, they are
All images free to go after what they really love. For Luigi Vaccaro, this means taking
© Luigi Vaccaro
to the streets, from Cuba to India. Elizabeth McClair Roberts reports.

26
B+W

Two men in Trinidad waiting for something – anything – to happen.

ver the years, streets confronting whatever and whoever photography. ‘The real value of a Leica is

O
I have learned
that you can
determine a great
deal about a person
by looking at their
photographs. What
they choose to
make images of gives you insight into their
personality and their response to the world.
Without wanting to be too sweeping about
this, I have discovered that people who
respond to landscapes or still life tend to be
the introverts among us, while those who
explore the fine art end of photography
are predisposed towards the intellectual
life; those brave ones who go out on the
they meet are definitely the extroverts.
So, it was no great surprise, having
looked at the work of Luigi Vaccaro, to
discover a warm and exuberant person,
clearly in love with what he does. We
meet on Zoom and he tells me right away
his two great loves: to travel and to take
pictures with his Leica M10. ‘That little
camera has allowed me to go out with
just one body and one lens – my zoom
is my legs,’ he smiles. ‘Manual focus is
more difficult to achieve, but it’s more
rewarding when you get it right.’
Luigi has used Leica M cameras for the
last 25 years and feels they have become
an integral part of how he approaches
for street photography,’ he explains. ‘But,
of course, location is very important.’ I
would say that there is a third ingredient
to the mix, that of personality, so
essential in the interaction that happens
when a photographer hits the streets.
Luigi is clearly someone who is
comfortable with people, happy to
approach someone and ask to take a
picture, or to shoot quickly at a given
moment to capture the time and place and
the person within it. ‘I don’t take pictures
of everyone, I have to feel something about
them, their face, their expression, what they
exude from their being,’ he says. ‘I feel a
photograph should have something to say.’ ›

Opposite (top) Business in Tamil Nadu in southern India. Everywhere you look, people are trying to make ends meet.
Opposite (below) Kathmandu’s little champion. Nepalis love cricket and children play it everywhere.
27
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 f course, like any street

›
O photographer, he has been
rejected at times. ‘I have
encountered people who don’t
want to be photographed – as a selfish
photographer, I feel it’s an opportunity
wasted – but I just say thanks anyway
and move on. The world is a big place.’
But, as he explains to me, the comfort
or otherwise of being photographed is
largely a cultural concept. ‘I don’t feel
at all self-conscious about being on the
street with a camera, but it depends on
where I am – I very rarely take portraits
in London because the ratio of negative
response is so high. People just don’t want
to be photographed. Especially the type
of very close-up portraits I like to take.
‘I find Cuba very friendly and also Nepal,
India and Thailand. I would say the easiest
is Cuba – I speak a bit of Spanish and I’ve
been there seven times and I know the
place well; I know how the people live and
I know how to enter the culture, so that
helps a lot. When I go to Cuba, I spend
at least two weeks in the same place,
usually in small towns, so after a week
everyone knows me. It makes it easier.’ ›

28 ‘When I go to Cuba,
B+W
I spend at least two weeks
in the same place, usually
in small towns, so after a
week everyone knows me.
It makes it easier.’

Right A first-class carriage

somewhere in Cuba.
29
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30
B+W
 31
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Mr Hitchcock – walking in a small mountain town in central Italy.

› But probably the most effortless place
for him to photograph is his native Italy.
‘Of course, Italy,’ he says, ‘I have a lot of
friends and family and they are all used
to me pointing a camera at them.’
With disarming modesty, he admits
that some of his best pictures come
about through sheer luck. ‘There wasn’t
time to compose or wait for the perfect
light,’ he says. ‘I just had to shoot.’
uigi first came to the UK back in
L 1986. ‘I loved the freedom I found
in London – it was so different
from where I came from, a small
town in Italy,’ he says. ‘I kept going back
and forth and then, in 1991, I made ‘I don’t take pictures
London my home. And I have been very
happy about that. I have many British of everyone, I have
friends and I love them and they love
me. My brain switches from Italian to
to feel something
English all the time. It’s good to mix the about them,
two cultures. I speak English fluently
and can read and write well – I have an their face, their
accent, but people tell me it’s charming.’ expression, what
Luigi is an active member of the Leica
community, running several Leica portrait they exude from
groups. ‘I’m pretty well known among this their being.’
community,’ he says. ‘And it’s very nice to
be recognised and respected for something
that you really love.’ What more could any
of us ask from our photographic lives?

Opposite (top) On the road to the Himalayas, Nepal – the most adventurous road trip a photographer can wish for.
Opposite (below) Children at play on the outskirts of Kathmandu.
 FEATURE 60-SECOND EXPOSURE
Celebrating the work of cottage-industry artists, Justyna Kulam puts
All images humble spaces and talented craftspeople in the spotlight. Here she talks
© Justyna Kulam
to Tracy Calder about habits, mistakes and the best decision she ever made.
What role does photography showcasing his work. Finally, I love field) to pursue photography. I had which makes the selection process
play in your life? Portraits by William Eggleston no background in professional in post-production laborious.
Photography is my escape. When and Vineyards by Fred Lyon. photography, but it’s the best
I’m behind the camera, it's like decision I ever made. What would you say to
being in a high state of meditation. Tell us about a photographic your younger self?
opportunity you have missed. Name one item (aside from Set some goals, but most
Describe your style I still remember the faces of a camera) that every importantly enjoy the journey and
in three words? the people that I didn’t have photographer should own. the little wins along the way.
Lost in light. the courage to approach Vintage manual lenses – I’m in
and photograph. Gutted. love with my Olympus 135mm. What has been your most
What is your favourite embarrassing moment as
photographic book? Tell us your favourite Who would you most like a photographer?
There are so many to choose photographic quote. to collaborate with? I was an hour into a shoot when
from, and the list keeps on ‘A photographer’s gift to the I would love to have collaborated I realised the lens I was using
growing! My current favourites viewer is sometimes beauty in the with Arnold Newman. He was a wasn’t as clean as I’d hoped – my
are The Photographer’s Eye by overlooked ordinary’ – Saul Leiter true pioneer of environmental images were blurry as a result.
John Szarkowski and Sahel: The portraiture and could tell the story
End of the Road by Sebastião What’s the biggest risk you have behind a person in just one shot. Who would join you in your
Salgado (this is a masterclass in taken as a photographer? ultimate camera club?
light and the gradations between I left my job as a skin therapist in What is your worst Paweł Pawlikowski, director of
light and dark). I’m also a big fan central London (with more than photographic habit? the movie Ida. Pawlikowski’s
of André Kertész, so anything 20 years of experience in the I take too many photographs, compositional skills and visuals

32
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 33
B+W

are just breathtaking. I would also

invite Fan Ho, Saul Leiter, Arnold
Newman and everyone else
mentioned in the ‘books’ question.

What single thing would

improve your photography?
It would help if I could be more
present while shooting.

Which Instagram/social media

accounts inspire you?
I love Andrew Montgomery’s work
with craftspeople, artists and
makers (@montgomeryphoto),
and Tom Bunnings’ minimal,
calm captures (@tombunning).
Joanna Maclennan and Tim
Clinch of Two Photographers
(@twophotographers2020) are
also great. They have been with
me since the beginning of my
photographic journey.
Left
Maud Goldberg creates her ceramics.
Right top
Jill Walker with her art making tool. Justyna Kulam’s work centres around humble spaces and craftspeople working in trades from a bygone era.
Right below Her style brings simple matters into big focus, while also highlighting the beauty in cottage-industry
Paul Hackman preserving the artists who are making a big difference to our environment.
traditional way of making charcoal. justynakulam.com Instagram @justynakulam
34
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FEATURE

All images
© William Fortescue

NOMADS
William Fortescue’s latest collection focuses on iconic species that have been
pushed to the brink. He talks to photographer Graeme Green about getting face
to face with tuskers, avoiding long lenses and returning to the oceans.
35
B+W
 s a young wildlife
A
photographer starting out,
it can’t do any harm at all to
have Jonathan and Angela
Scott as mentors. As an
intern and later resident
photographer at Governor’s Camp in Kenya’s
Masai Mara, British photographer William
Fortescue benefited from the advice and
guidance of the Scotts, known for their TV
programmes, including Big Cat Diary, as
well as getting to spend time every day with
his cameras out in the wild, with access to
elephants, lions and other remarkable wildlife.
Having started out working largely in
colour, Fortescue’s work, including his latest
collection, Nomads, has shifted more to
black & white images and fine art prints,
many featuring giant tusker elephants and
other iconic species, such as rhinos. He’s
used his work to raise money for wildlife
organisations, including the David Shepherd
Wildlife Foundation and Saving the Wild,
and has been part of conservation initiatives
such as Prints for Wildlife and the New Big
5 project. His photography has also won
various awards, including at the recent
World Nature Photography Awards.
Although not turning his back on Africa,
his upcoming photographic expeditions will
see him exploring other global locations,
including the Arctic and the Indian Himalaya.
36
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You’ve worked in both colour and black
& white, but the latter is your focus now
– why did you make the transition?
It happened quite naturally. My first
photography job was working for the
Governor’s Camp in Kenya as a resident
photographer. I’d do three-month stints in
the Mara. I did a lot of work in colour there,
because a lot of what I was doing was digital
– Instagram, website stuff, advertising –
which suited colour.
Then I started moving into more print-
based stuff and that naturally put more
emphasis on shooting in black & white. A few
of my favourite shots are still colour, but the
demand is much more on black & white than
colour. I’ve really enjoyed the change. I try not
to shoot for the consumer, but to still shoot for
me, although 95% of what I sell is in black &
white, so I’d be shooting myself in the foot if
I went back to just shooting colour again.
Jonathan and Angela Scott must’ve been
great mentors.
Massively. I first went to Governor’s as an
intern when I was 18. I’d left school. I was
gently exploring the idea of photography.
I had a chat with Jonathan. I asked him,
‘How do I get to do what you’re doing now?’
He suggested a marine and natural history
photography degree at Falmouth University.
He suggested it at breakfast and I applied
that afternoon. I accepted the place on the
course simply because of that comment
from Jonathan.
I went back to Governor’s as resident
photographer for three years and we started
seeing a lot more of each other. I said, ‘You
won’t remember this conversation we had
five years ago, but you said do this and now
I’ve done it.’ I think he was quite touched.
Jonathan’s the kind of guy where you can
ask him a question and he’ll sit you down and
give you so much time. It doesn’t matter who
you are. To have Jonathan and Angie around
when you’re starting your photography career,
living at times in the same camp as you, willing
to answer your questions, it’s incredible. They
couldn’t have been more open with advice,
contacts and help.
What’s the idea behind your latest
collection, Nomads?
My first collection was African Origins, which
I released with Red Eight Gallery last year.
Now, I’m starting to work away from Africa,
so we needed a new title that could be all-
encompassing. The idea was that what we’re
facing now is a battle for space. You’ve got
great wildlife in national parks, but are we
going to push wildlife to the point where all
we’re left with is small pockets of nomads? We
can push that idea out to the Arctic for polar
bears, with what they’re losing at the moment.

I’m going to Alaska in July, and the grizzly
bears face competition from salmon fishing.
So, the theme ties in well.
What’s it like to be face to face with a big
tusker elephant?
It’s amazing. When I first started taking
pictures, I’d look at Nick Brandt’s old stuff and
think, ‘I don’t know if I’ll ever get a chance to
do that’. The first time I saw Craig, the tusker,
in Amboseli, I was with photographer Graeme
Purdy on a five-day trip. The only thing I can
compare it to is when you first see a mountain
gorilla – an amazing experience. When you
see Craig, with another elephant next to
him to give perspective, and the tusks touch
the floor, you genuinely feel awe. They are
stunning animals.
What do you like about the look or feel of
black & white photography for wildlife?
The photos in black & white hold the interest
much longer. The viewer can put more of their
own interpretation on to what they’re seeing.
I now find myself shooting specifically for
black & white, so I’ll naturally chase things
that would suit a black & white image. For
example, I’ll follow big clouds, rather than
soft light for colour. It’s a very different shoot.
As soon as you start down the black & white
creative path, it’s rare the image will work in
both colour and black & white.
I understand you prefer getting close-up
photos of wildlife, rather than using long
lenses – how do you work?
Yes, I try to avoid big lenses. I was very lucky
with my job at Governor’s Camp, as I’d spend
three months at a time there. I can see the
value of long lenses when you go for a week.
For my upcoming Arctic trip, Nikon has loaned
me a 400mm lens, which will be the first time
I’ve used a super-telephoto. We’ve only got
seven days, so I’m not messing with a polar
bear if it’s miles away across thick ice.
But the guys I’ve always admired, like
Nick Brandt, had that philosophy in their work.
I was in the Kalahari recently and had some
beautiful sightings, including a caracal, but
with a 70-200mm I wasn’t able to do
anything, as it was too far away.
I’m in a fortunate position where I know I’m
37
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just shooting for prints. I like to get closer and
low when I can – it creates a more dynamic
picture. It also means you can read the animal
a bit more. Long-lens stuff can be beautiful,
but you can’t read the animal’s behaviour as
well. If you’re as close as you would be if you
were photographing a person, you can read it
a bit more and time the photo accordingly.
We’re organising a trip to do snow leopards
next year, and there will be no chance of using
a 35mm or trying to get any wide shots there.
With rhinos and elephants, that’s much easier.
You’ve spent time in Ol Pejeta Conservancy
in Kenya with the last two northern white
rhinos – what was that experience like?
I was looking through my pictures recently
of northern white rhinos and everything
I’ve got has a fence post or a ranger in the
background. All I could think was how sad it is
that we’ve pushed it to that point where these
two rhinos now live under lock and key.
Ol Pejeta gave me amazing access, with
Zac, the ranger, who’s brilliant. I wasn’t sure
what I was expecting. It’s not shooting wildlife,
in a sense, because they’re inside a fence – ›
38
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› it’s more like working with a model. You can
move around them on foot and they’re very
used to people. But from a human perspective,
it was actually quite sad. I’ve always wanted to
see these two northern white rhinos, but when
I got there, I couldn’t believe we have to see
them inside a fence under 24/7 protection.
A percentage of your print sales go to wildlife
charities, such as the David Shepherd Wildlife
Foundation and Saving the Wild – how do you
choose the organisations you work with?
Yes, 10% is going to the David Shepherd
Wildlife Foundation currently. We’re about to
launch a big campaign with them, starting
with an exhibition in October at the Red Eight
Gallery. Everything they do is based on a
very holistic approach. They work in Africa
and Asia. To not work with local communities
is a fatal error, so they work by making sure
people in the communities are at the heart
of what they’re doing. We’ll have a target
to try to raise, but a third of all sales at that
exhibition will be going to the David Shepherd
Wildlife Foundation.
Are you starting to explore more places
outside Africa now?
From a purely business point of view, I can’t
keep churning out elephant and rhino prints.
It doesn’t make sense to keep doing the same
thing over and over again. With Armstrong
Fortescue Safaris, the company I co-founded
last year, we take guests out on wildlife trips.
We’ve got the Arctic coming up and Alaska,
and then snow leopards next year. I’ll also try
to go out early and do my own thing.
I much prefer photographing herbivores to
predators. I understand people’s obsession
with big cats, but I find a day with elephants
a lot more exciting. A lot of work I’ve done
over the last few years is what I enjoy, but
I’m moving away from just photographing
the things I love to photograph, and trying to
expand my portfolio.
Other than polar bears, grizzlies and snow
leopards, what excites you to work on in future?
Marine stuff. My degree was half marine and
half terrestrial. A lot of my favourite work by
other photographers is underwater. I look at
people like Paul Nicklen and Steve Woods and
it’s absolutely beautiful. I qualified as a diver
when I lived in Kenya. It’s so different from
being on land and it’s a whole new skill to do
underwater photography. An absolute dream
would be to do some stuff with whales.
There’s also so much to do on land – I’d love
to photograph orangutans – but in the next 10
years, getting back in the water is high on my list.
For more on William’s work, see
williamfortescue.com. Follow him on
Instagram @willfortescue.
For details of upcoming wildlife
trips with Armstrong Fortescue, see
armstrongfortescue.com.
William’s prints are sold by Red Eight
Gallery in London and by Thou Art
Contemporary in Scotland. A new exhibition,
The Art of Survival, is planned at the Red
Eight Gallery for October and November,
with 33% of sales going to the David
Shepherd Wildlife Foundation.
41
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 F E AT U R E ANOTHER COUNTRY
Gerry Badger’s comprehensive reappraisal of British documentary
photography since 1945 is guaranteed to generate heated debate among
scholars and enthusiasts alike. Alex Schneideman explains why he thinks
Another Country is immense but not flawless.
© Bryn Campbell Courtesy Science Museum. Photo Lewis Morley © Seymour Platt

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René Upton and Child, 1959 by Bryn Campbell Christine Keeler, 1963, National Portrait Gallery, London by Lewis Morley

I
n his introduction to Another Country,
an account of the history of British
documentary photography from the
Second World War to the present
day, Gerry Badger addresses what
may be termed as ‘the problem of
photography in Britain’. Describing
how British photographic culture
dwindled in the early part of the 20th
century, the influential American
curator and photographer John Szarkowski
states: ‘It might be said that photographic
tradition in England died sometime
around 1905… When Brandt arrived in
the thirties, England had forgotten its
rich photographic past, and showed no
signs of seeking a photographic present.’
Perhaps an undeclared goal of Another
Country is to establish a ‘photographic
present’ in the UK today by taking account
of its past and outlining its current
momentum. Photography is yet to become
part of the mainstream of British arts
culture. A significant reason for this is that
the medium is mechanical; for the British,
a wariness of ‘machine-produced art’ is
rooted in William Blake’s vision of the ‘dark
satanic mills’ – a sense of the machine that
connects it with grime, labour, exploitation
and commerce – imagery that is inimical to
the traditional media of canvas and stone.
The influential 20th-century German-
Jewish philosopher and cultural critic
Walter Benjamin, in his seminal 1935
essay The Work of Art in the Age of
Mechanical Reproduction, questioned
the value of art that is mechanically
reproduced. His view was that the power
or ‘aura’ of an ‘original’ would diminish
when countless reproductions are made.
The British arts establishment has
traditionally been organised around the
capital value of an inimitable original
and this tendency persists today.
Photography, since Fox Talbot’s calotype,
embodied ‘reproducibility’ - its very
nature lends it to multiple, identical
physical and virtual versions of itself.
What’s more, the cultural mainstream
has never faced a challenge from a
Stieglitzian figure to bring photography
in line with other contemporary arts.
Add to this a pragmatic tendency to
regard machines as the servants of
capital not art and you have an outmoded
yet stubborn rationale that hampers
mainstream acceptance of photography
as a medium capable of artistic expression
on a par with other traditional (and
therefore justifiable) plastic arts.
 In addressing this problem, Badger
mentions the late British conservative
philosopher Roger Scruton, who, he
writes, ‘insisted that the mechanical
nature of photography ruled out artists’
intention’. This was, Badger argues, the
prevailing establishment approach to
photography as late as the 1980s and
it is a misgiving that Scruton mirrored
himself. In 1954, Sir Leigh Ashton, then
director of the V&A, wrote in a letter
to post-war street photographer Roger
Mayne that ‘…photography is a purely
mechanical process into which the artist
does not enter’. Badger notes that it was
only in 2009 that the Tate established a
dedicated department of photography.
Another Country is perhaps an argument
for sustained and broad institutional
support and development of photography
in the centre of the British arts ecosystem.
few words should be devoted to
A the author: Gerry Badger has
worked over decades to establish
a ‘photographic present’ in the
UK. Badger, who was born in Northampton
in 1946 (and graduated from the Duncan
The Royal Windsor Horse Show, Berkshire 1968-69 by Patrick Ward
of Jordanstone College of Art in 1969, an
institution which lists among other alumnae
the photographer John RJ Taylor), has
written numerous books on photography
and related practices including works on
photographic print making, Eugène Atget
and the renowned series of books about
books, The Photobook: A History (volumes
1-3), which he co-authored or contributed
to along with his longtime collaborator
Martin Parr (the words ‘Parr Badger’ is
now an indicator of collectible value).
Badger is also a photographer and curator
and his work has been widely exhibited,
including exhibitions at the Photographers’
Gallery, the V&A and the Tate. He has
curated shows such as Through the Looking
‘Perhaps an undeclared
goal of Another Country is
to establish a ‘photographic
present’ in the UK today by
taking account of its past
and outlining its current
momentum.’
Glass: Photographic Art in Britain 1945-
1989 at the Barbican Arts Centre in 1989,
an endeavour in which the seeds of this
new publication were surely planted.
Another Country comprises five
roughly chronological chapters: End of
Empire, Photographic Revival, Politics
and Photography, Going Global and New
Millennium. The division of such a diverse
body of work into discrete domains is an
arbitrary tool, but here, Badger manages it
well, not least because, from the outset, he
outlines his focus on work that falls broadly
into what is understood as ‘documentary’.
Badger explores what is meant (or intended)
by the term ‘documentary’ and questions
whether photographers document or
invent the worlds they explore: ‘Did Tony
Ray-Jones document 1960s England or
invent it? Did Martin Parr document
Margaret Thatcher’s Britain or invent it?’
In addressing the way we categorise
different forms of photography, Badger
allows that, owing to the diffuse borders
between the imagination and the real, the
work of other practitioners, whose work
may not be considered documentary,
is relevant to such a ‘showcasing’ of›
© The Artist
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 © Ron McCormick
› British photography. So, the work of
artists such as Peter Kennard and Jo
Spence is addressed to discover whether
a line may, or indeed should be drawn
between the various approaches.
Each chapter is introduced with an essay
in which Badger sketches an outline and
context for the work he has selected and
mentions photographers whose work is not
reproduced, but is worthy of consideration.
The diverse photography gathered in
chapters is an oblique way of representing
the rich variety of photographic work made
in Britain and reflects the various and
dynamic demographic shifts both in British
society as well as amid the photographic
culture that records these changes.
Take the fourth chapter, Going Global –
A Colour Revolution, as an example. This
loosely connected body of photographers
– and examples of their images made in the
© Nick Hedges 1980s and 90s – communicates the energy
of a period in which the photographic
document turned the social into the
political. From Paul Reas’ 1998 ‘fly on the
wall’ series I Can Help to Tom Hunter’s
carefully staged Living in Hell project (in
which flies were stuck on the wall), the
author shows how British photography
co-opted the camera to hold an image up of
a changing country for self-examination.
Badger shows there were other eddies and
44 swirls that would become entwined with
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a new confidence to document society – a
generation of photographers representing
diaspora cultures, but often settled in the
UK, brought new attitudes and cultural
perspectives to Britain. By shaping the
chapters in this way, Badger shows us that
all this was happening contemporaneously.
The British-Nigerian artist Yinka
Shonibare’s Diary of a Victorian Dandy is
juxtaposed with Scottish-Ghanaian Maud
Sulter’s Terpishore, from Zabat, 1989.
Both works examine Britain’s relation to
its colonial past and the contemporary issues
of identity and belonging in a country that is
in the process of a post-empire re-evaluation
of persisting colonial attitudes amid the
lessons it may (or may not) yet have learned. ›
Left (top) Street Musician, ‘Banjo – Jimmy Cross’,
Spitalfields, London, 1972 by Ron McCormick
Left (below) Lunchbreak Cabin Joke, Steel furnaces,
British Steel Bilston, 1977 by Nick Hedges
Opposite Mr Radcliffe, The Blackhill, Isle of Man,
1973 by Chris Killip

‘Badger explores what is

meant (or intended) by
the term ‘documentary’
and questions whether
photographers document or
invent the worlds they explore.’
 45
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© Chris Killip. All Rights Reserved.

 © Martin Parr / Magnum Photos

© Chris Killip. All Rights Reserved.

46
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Above Correct Distance, 1985-86 by Mitra Tabrizian
Opposite (top) Martin Parr, Straithwaite, West Yorkshire, 1975 Opposite (below) Youth on a Wall, Jarrow, Tyneside, 1976 by Chris Killip
I
n addition to Badger’s erudite
introductions, there are, interspersed
› throughout, smaller commentaries by
leading writers and academics. These
include pieces by the curator, broadcaster
and editor of Tank magazine, Ekow Eshun;
Lou Stoppard, who has become a leading
proponent of British photography and who
contributes pieces to the Financial Times,
New Yorker and Aperture as well as her own
books – most recently on Shirley Baker;
and Val Williams, who curated the 2007
Tate show How We Are: Photographing
Britain from the 1840s to the Present, which
offered a cogent and timely examination
of British photography from the early 19th
century to the ‘mid-oughts’. It also features
Clare Grafik, the head of exhibitions at
the Photographers’ Gallery (who I’d like to
commend for services to British photography
for, in 2020, in the interregnum between
lockdowns, cycling through a tropical
downpour from the West End to Flow
Photographic Gallery in Kensal Green,
winding her way through the hazardous
streets of London to visit Matthew Finn’s
exhibition The Rest is History, a laudable
example of professional commitment).
This is an important book: over the
course of 312 pages, more than 250 plates
and seven essays (not to mention the
contributed texts), Gerry Badger has created
an ontology of British photography that
will feed a thousand conversations. It is not
flawless: I question the omission of images
by Raymond Moore, Julian Germaine
and Alys Tomlinson in particular. And
some of the picture selections are curious:
Matthew Finn and Paddy Summerfield’s
inclusions are not representative of two
iconic bodies of work, and Vanessa Winship
– arguably our greatest documentarian
– does not feature as prominently as she
might. This is my perspective – a view of
photography from where I stand – not an
objective view. Badger’s achievement is
immense. I’m sure that every reader will
take issue with omissions and commissions,
© Courtesy the Artist
47
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but this is the energy that the volume
provokes and it is a great locus for heated
debate and, above all, acknowledgment
of the very particular culture and
achievements of British photography.
Another Country is an insightful guide to
the multilayered complexity that is the British
photographic body. It is also an academic
work with a bibliography and index that will
be consulted by scholars for decades to come.
Another Country: British Documentary
Photography Since 1945 by Gerry Badger is
published by Thames & Hudson in collaboration
with the Martin Parr Foundation. It’s available
in hardback, price £50.
 FEATURE

2022 WORLD PRESS

PHOTO CONTEST
From environmental catastrophe
to military coups, there is an
abundance of hard-hitting and
often thought-provoking black
& white photojournalism and
documentary photography among
this year’s WWP winners.
Here are our favourites.
Left (top) The Zebu War
Rijasolo, Riva Press
Security forces enter the village of
Ambatotsivala, Madagascar, in an operation
against cattle thieves, on 1 June 2014. Local
villages had been involved in numerous
attacks, after an initial raid by men from
Ambatotsivala to steal zebu cattle. Some 22
people were killed and 2,294 were left homeless
in the attacks, according to reports.

48 Left (middle) The Zebu War

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Rijasolo, Riva Press
Jean Maximis Nonon sits in his bedroom in
Mataviakoho, North Menabe, Bongolava,
Madagascar, on 25 November 2020. Military
authorities see Nonon as one of the region’s
most dangerous dahalo (bandit) leaders.
Nonon refuses to be considered a dahalo.

Left (below) The Zebu War

Rijasolo, Riva Press
Etosoa Mihary (left) and Tsiry Tam (right), of
the village of Ambatotsivala, considered by
authorities to be a zebu-raiding village, stand
after being arrested on suspicion of the murder
of an inhabitant of a neighbouring village in
Amboasary Sud, Madagascar, on 3 June 2014.

Opposite (top) Boundaries: Human-Tiger Conflict

Senthil Kumaran
A nine-month-old tiger cub recovered in
Valparai, near the Anamalai Tiger Reserve,
Tamil Nadu, India, on 17 October 2021.
Valparai, where forest has been cleared for tea
plantations, is a human-animal conflict zone.

Opposite (below) Boundaries: Human-

Tiger Conflict
Senthil Kumaran
A male adult tiger crossing the road in the
Tadoba Andhari Tiger Reserve, Chandrapur,
Maharashtra, India, on 3 May 2013. Single
tigers occupy from 15 to 30 sq km of territory.
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 Left (top) Amazonian Dystopia
Lalo de Almeida,
Folha de São Paulo/Panos Pictures
A member of the Quilombola community – an
Afro-Brazilian community of Black Brazilians,
some descended from enslaved peoples
from the African continent – lies passed out
drunk in Pedras Negras, São Francisco do
Guaporé, Rondônia, Brazil, on 29 January
2021. The process of providing land deeds
to communities started by former enslaved
people was slow before Jair Bolsonaro’s
election, and has now stalled completely.

Left (middle) Amazonian Dystopia

Lalo de Almeida,
Folha de São Paulo/Panos Pictures
Women and children from the Pirahã
community, standing next to their camp on the
banks of the Maici River, watch drivers passing
by on the Trans-Amazonian highway hoping
to be given snacks or soft drinks, Humaitá,
Amazon, Brazil, on 21 September 2016.

Left (below) Amazonian Dystopia

Lalo de Almeida,
Folha de São Paulo/Panos Pictures
A boy rests on a dead tree trunk in the Xingu
River in Paratizão, a community located near
the Belo Monte hydroelectric dam, Pará,
Brazil, on 28 August 2018. He is surrounded
by patches of dead trees, formed after the
50 flooding of the reservoir.
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Opposite (top left) Political Year Zero

Louie Palu
A US Marine from the White House practises
opening doors at the Capitol Building, in
Washington DC, USA, on 19 January 2021,
the day before the inauguration of Joe Biden as
president and Kamala Harris as vice-president.
This was one of several doors damaged when
protesters breached the Capitol Building in an
attempt to stop the certification of the 2020
presidential election.

Opposite (top right) Political Year Zero

Louie Palu
A Trump supporter pumps his fist as he is
ejected from the Capitol Building, after it had
been breached by rioters in an attempt to stop
the certification of the 2020 presidential election,
Washington DC, USA, on 6 January 2021.

Opposite (below) Blue Affair

Kosuke Okahara
Blue Affair is a contemplative experimental
documentary film based on the photographer’s
experiences of visiting Koza (officially Okinawa
City), Japan, and how places and people revisit
him in dreams. The documentary is based on
these dreams, and is composed of still images
taken over the course of three years. The video
asks us to reconsider the relationship between
dreams and lived reality.
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 Left (top) A Portrait of Absence
Viviana Peretti
Nidia Mancera flips through her memory diary,
the day before the 17th anniversary of her son
Deiber Castaño Mancera’s disappearance in
Colombia. Deiber disappeared in March 2003,
when he was 24. Nidia hopes her son is alive
and that someday he will return home.

Below (left) Uprising in Myanmar

Ta Mwe, Sacca Photo
Thousands of pro-democracy protesters
demand the release of political leaders as police
block the road during an anti-coup protest in
Yangon, Myanmar, on 9 February 2021. The
peaceful demonstration took place despite a
heightened security presence, a ban on rallies of
more than five people, and an overnight curfew.

Below (right) Uprising in Myanmar

Ta Mwe, Sacca Photo
A protester urges the military to restore
democracy, during an anti-coup protest in
Yangon, Myanmar, on 15 February 2021.

Bottom (right) Uprising in Myanmar

Ta Mwe, Sacca Photo
Pro-democracy protesters chant and give the
three-finger salute – a symbol of resistance –
at an anti-coup protest in Yangon, Myanmar,
on 31 March 2021. The protest came four days
after the armed forces had killed 114 civilians.
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Above Haze
Abriansyah Liberto
A firefighter throws another a hose, while attempting to extinguish a fire in Ogan Ilir, South Sumatra, on 5 September 2015.

Above (left) Haze Above (right) Haze

Abriansyah Liberto
A boy reacts to stinging smoke from a peatland fire in Ogan Ilir,
South Sumatra, Indonesia, on 10 September 2015.
Abriansyah Liberto
Indonesian President Joko Widodo (centre) accompanied by National
Police Chief General Badarudin Haiti (left) and Indonesian National
Military Commander General Gatot Nurmantyo (right) inspecting
devastation caused by fire in Ogan Komering Ilir, South Sumatra, on
6 September 2015. During this visit, the president took action to punish
companies that intentionally burn peatlands to plant oil palms.
 TECHNIQUE
TOP TIPS
HOW TO SHOOT ARCHITECTURE
Architecture is one of our most accessible subjects. With a little imagination,
All images Lee Frost reckons it can also be the source of amazing images. Try these
© Lee Frost
ideas for capturing the most inspiring and creative shots of buildings.
rom crumbling old cottages, ancient castles and towering architectural details make great shots too. One minute you can

F
cathedrals to state-of-the art office blocks, giant bridges
and magnificent monuments, architecture offers
endless opportunities to make creative images. We’re
not just talking outside either – interiors can be just as
inspiring – and as well as photographing entire buildings,
be shooting an entire structure with a wideangle lens, the next
abstracts and details with a telezoom. Plus, one building can be the
source of dozens of different images, shot both day and night, inside
and out. There are no rules when it comes to shooting architecture –
just let your imagination run free and see what happens!

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1 PERIOD PROPERTIES
Old buildings are hard to beat when it comes
to character. After all, they’ve had centuries
to develop it. Cathedrals, castles, twee old
cottages and ivy-covered manor houses
all make for fascinating subjects, whether
they’re as good as new or falling apart. Warm,
soft light is well-suited to old buildings, so
shoot early morning or late afternoon and
use side-lighting to reveal texture in the old
stonework. Framing the building from under
a tree, archway or doorway will help to focus
attention and hide unwanted details. By
excluding all signs of modernity, your images
will also have a timeless feel.
San Biagio, Tuscany, Italy
The huge 16th-century church of San Biagio stands on a
hillside below the ancient town of Montepulciano. I took this
photograph of it bathed in evening light using an infrared-
modified camera to make a feature of the foliage in the scene.
Canon EOS 5D MkIII (infrared) with 70-300mm lens,
ISO 400, 1/100sec at f/8
2 MIRROR IMAGE
Modern buildings are a great source of
reflections because the exteriors are usually
clad in glass panels that reflect everything
from the sky to other buildings nearby. Old
buildings such as castles and stately homes
often have water nearby, in the form or moats
or ornamental lakes – if you move in close,
you can capture a mirror image of the building
reflecting in the water. Use a telezoom to fill
the frame for abstracts and a wideangle for
broader views and remember to focus on
the reflection itself rather than the surface
containing the reflection.

Valencia, Spain
This is the Science Museum in the amazing City of
Arts and Sciences, captured on a very calm morning.
The reflection in the shallow pool makes the image
for me, creating symmetry and balance.
Canon EOS 5DS R with 16-35mm lens,
ISO 100, 1/25sec at f/11 2

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3 MODERN ARCHITECTURE
Brash and bold, hard and angular, modern
architecture demands a totally different
approach to old buildings. You can be more
adventurous with angles to emphasise shape
and line, or look for symmetry and exploit that.
For once, strong sunlight is friend rather than
foe because its harshness helps to highlight
the strong design elements and give your
images graphic appeal. Modern buildings give
architects the freedom to experiment and
explore, so do the same with your photography.
There are lots of amazing buildings in the UK
worth checking out: the Sage in Gateshead,
City Hall in London, Selfridges in Birmingham,
Salford Quays in Manchester. Seeing one in
the flesh will get those creative juices flowing
and before you know it, you’ll be filling memory
cards like they’ve gone out of fashion.
Valencia, Spain
The City of Arts and Sciences in Valencia is home
to some of the most stunning modern architecture
in the world, and well worth a visit. This is the Opera
House, looking rather like a giant praying mantis!
Canon EOS 5DS R with 24-70mm lens,
ISO 200, 1/250sec at f/8
 4 SHOOT INTERIORS
Although most architectural shots are taken
outside, often the inside of a building is just as
interesting, and while dull weather isn’t ideal
for external shots, the soft, flat light can work
wonders indoors because it keeps contrast
down. Same if the heavens open – get out
of the wet and keep shooting, you know it
makes sense!
Old buildings often have atmospheric
interiors because the windows are small
and light levels fall away rapidly to create
wonderful studies in light and shade. Low
light levels often make a tripod necessary to
avoid camera shake, while a wideangle zoom
will allow you to get a lot in the shot, even
when your back is against the wall – literally.
Modern interiors tend to be a riot of repetition
– lines, angles and edges, or clever curves
and sinuous swirls – while symmetry is often
4 evident if you find a central viewpoint.

Leadenhall Market, London

I arrived at this location nice and early, so there
was less chance of people walking through the
scene as I photographed it.
Canon EOS 5DS R with 16-35mm lens,
ISO 100, 1sec at f/8

5 CAPTURE DETAILS
The usual approach to architectural
56 photography is to capture the whole building,
B+W
but if you take a closer look, you’ll discover
lots of interesting details and aspects of its
design that make eye-catching subjects in
their own right. Magnify and isolate – that’s
the key. Forget about what’s going on outside
the viewfinder – all that matters is what’s in
it, and that’s down to you. Look for patterns
and repetition – spiral staircases, mirrored
panels, columns and buttresses. Juxtapose
shapes – hard corners with smooth curves,
overlapping forms, walkways against the sky.
Shadows and contrast can make a massive
difference to the impact of an image, so
shooting on a sunny day is a good idea –
everything looks rather flat when it’s overcast.
Don’t just look up either – paving, railing and
boardwalks create amazing patterns.
The great thing about architecture is that
buildings, whether ancient or modern, are
designed to work on different levels. You
can stand back and be awestruck by the big
picture, but look closer and you’ll see that
every building is a sum of its parts – parts that
make great photographs when abstracted
and isolated.

Manhattan, New York City, USA

This is a detail of the Oculus, an amazing structure built
close to the site of the original Twin Towers. Its ornate
exterior design offers great potential for abstract images.
Canon EOS 5DS R with 70-300mm lens,
5 ISO 400, 1/250sec at f/11
6 SEEING RED 6
Architecture is well-suited to infrared
photography. Old buildings take on a spooky
persona as skies go dark and foliage records
as ghostly white. The late Sir Simon Marsden
made a career out of this fact with books such
as The Haunted Realm. Modern architecture
responds well too, as the high contrast and
starkness of infrared suits the strong lines and
sharp angles of contemporary buildings. If
you’ve got an infrared-modified digital camera,
use it. Alternatively, an infrared-transmitting
filter such as the Hoya R72 will work fine.

Valencia, Spain
You don’t have to include trees in infrared
photographs to produce striking results –
the stark, high-contrast effect works
brilliantly on modern architecture.
Canon EOS 5D MkIII with 24-70mm lens,
ISO 200, 1/60sec at f/11

7 VACANT POSSESSION
Abandoned buildings are the guardians
of many secrets. Who lived there, why did
57
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they leave, what became of them? It’s not
uncommon to enter abandoned homes in
remote areas and find personal possessions
still inside – furniture, clothing, cutlery, pots
and pans, books and toys. Commercial
buildings such as hospitals, factories,
schools, dancehalls and nightclubs are
just as fascinating – they ooze mystery and
intrigue from every creaky floorboard or
broken windowpane.
You need to be sensible in terms of
trespassing and personal safety, but empty
buildings are hard to resist and can be the 7
source of stunning images.

Cosona, Tuscany, Italy

I noticed this rustic old storeroom while exploring
a derelict farmhouse in the Tuscan countryside.
The light flooding in through the open doors
looked wonderful.
Canon EOS 5DS R with 24-70mm lens,
ISO 1600, 1/40sec at f/4

‘Abandoned buildings
are the guardians of
many secrets. Who lived
there, why did they leave,
what became of them?’
 8 BACK OFF
Although you’re most likely to use a wideangle
zoom from close range to shoot architecture,
don’t be afraid to back off and switch to a longer
lens to reveal the building in its environment,
and use perspective to add impact. The longer
the lens, the more perspective is compressed,
so the elements in the scene appear crowded
together. This gives a totally different feel to
wide shots. In urban areas, a telezoom creates
a claustrophobic effect, with buildings squished
into the frame like a deck of cards. You can also
contrast old buildings with new to great effect –
for example, a church or cathedral with a tower
block looking up in the background.

Manhattan, New York City, USA

A telezoom lens allowed me to compress perspective
and completely fill the frame with windows in this
scene, captured as the Staten Island Ferry
approached Manhattan.
Canon EOS 5DS R with 70-300mm lens,
8 ISO 200, 1/1250sec at f/5.6

58
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9 WIDER VIEWS
Wide and low is an approach that pays dividends
with any type of scenic photography, but
especially architecture. If you want to exploit the
drama, scale and perspective of big buildings,
shoot from a worm’s-eye view with your widest
lens. Vertical lines converge dramatically, lines
fire off in all directions, curves sweep and
swoosh, and the sky becomes your background.
The urban landscape is where this approach
pays dividends because you can juxtapose
architectural features to create dynamic
compositions. Stand among skyscrapers and
look up. Find a flyover or underpass and use it
to frame the scene beyond. Stand under the
entrance to one building and crane your neck
to see others across the street.
Manhattan, New York City, USA
The Vessel at Hudson Yards is an amazing structure.
I took this shot from the ground floor looking up to
make the most of the symmetry in the structure.
Canon EOS 5DS R with 16-35mm lens,
ISO 200, 1/320sec at f/8
 59
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10 LEAN ON ME
If you shoot a tall building from close range with
a wideangle lens, often you’ll need to tilt the
camera to get the top of the building in shot. This
causes converging verticals, where the sides
of the building lean inwards. The effect can look
fantastic if you exaggerate it, but if you want the
building to look upright, you need to keep the
camera back parallel to it by shooting from a
higher viewpoint so you’re looking across at the
building. Moving further away from the building
and zooming in is another option, as the effects
of converging verticals are reduced with distance.
Alternatively, correct the convergence
in Photoshop. Go to Select>All then
Edit>Transform>Distort and pull the corners of
the image up and out to straighten the sides of
the building. Using View>Show>Grid can help
ensure the verticals are truly vertical.
10
Vauxhall, London
I used the Photoshop technique outlined left
to correct converging verticals in this long
exposure image of St George Wharf.
Canon EOS 5DS R with 24-70mm lens,
ISO 200, 2mins at f/8
 TECHNIQUE
SURREALISM
All Images If you’re intrigued by melting clocks and men in bowler hats, why not explore surrealism
© Tim Daly through our latest assignment? Tim Daly takes you on a journey to the subconscious.
T
he surrealism art movement is
synonymous with Paris in the
1920s, when artists were inspired
by psychology theory, especially
concerning the unconscious. European
artists such as René Magritte (men in
bowler hats) and Salvador Dalí (melting
clocks, lobster telephone) are well known
to us nowadays, but a wider surrealism
movement spanned the globe to include
1 PREPARING FOR
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South America, Mexico and Japan.
Surrealism inspired artists to play with
reality and devise alternative narratives
inspired by the everyday and is a lot more
than a visual style.
Photography, of course, played an
important role in the development of
the movement and the dreamlike work
of photographers such as Eugène Atget
were well known to Parisian artists at the
time. Man Ray, for instance, developed
a unique form of devised photography,
exploring constructed subjects, as did his
contemporary Dora Maar, who developed
stylish photomontages working across
commercial, fashion and personal projects.
If you’re stuck in a creative rut and
fancy working on something different,
why not try seeing the world afresh with a
surrealist sensibility?
YOUR ASSIGNMENT
Surrealism is a way of thinking and seeing
rather than a technique or style, so it’s
important to get into the right mindset
before you shoot. It’s useful to note that
we think most of our observational and
documentary photographs are indexical
– that is, they stand for or are equivalents
of the real thing. For this task, you’ll need
to suspend this belief and instead seek out
alternatives. Atget’s studies of Parisian
shopfronts, with their slightly spooky
mannequins frozen in time, are a good place
to start your visual research. We know these
are dummies and not real people, but they
still project a weird kind of resonance.
SECTION 1:
THEMES TO CONSIDER
1 STRANGER THAN FICTION
Sometimes, you may experience a real
situation which you’ve not envisaged or
imagined in your wildest dreams. Like all
popular surrealist paintings, which place
a familiar object in a completely different
context, finding and shooting the unexpected
is easier said than done. This example is
perhaps the oddest scene I’ve ever witnessed
in 40 years of photography – the sight of an
exotic swordfish captured in the murky River
Mersey back in the 1980s. Unplanned and
unprepared as I was, with only Kodak infrared
film in my 35mm camera, somehow the ghostly
fuzz makes the scene appear more eerie.
These situations are always unpredictable, so
don’t fall foul of Sod’s Law – carry a camera
phone with you and keep your eyes peeled.
2 THE MANNEQUIN
Much observed by Eugène Atget and more
recently by another French photographer,
Bernard Faucon, the mannequin has a built-in
spookiness that is on a cultural par with the
not-so-comical evil clown. The psychological
effects of such stand-in humans are really
 2 3

fascinating and, of course, affect people very
differently. Working in vast location settings,
Faucon acquired a unique collection of
period heads and figures from the 1950s, to
produce highly stylish staged images which
cause us to double take. Yet painted figures
and mannequins exist in all manner of places
today and still have the ability to stop us in
our tracks. Experimenting with your own
shooting position can also suggest a kind of
interaction, as this close-up example shows.
3 MUSEUM TABLEAUX
Like shop window displays, many of our older
museums favour static displays of objects
in cases and glass vitrines. Arranged in
a specific grouping to create a scientific
or historical context, these tableaux can
present a fascinatingly odd scenario whose
original purpose has long been superseded
by modern values. Stuffed animals are
especially indicative of an attitude to the
natural world that nowadays looks frozen
in time, providing us with an opportunity
to create Atget-like studies before they
disappear. In your local museum (especially
the small and obscure ones), see if you can
find surreal things to shoot, like this example.
4 STREET MARKET FINDS
Car boot sales and street markets are great
places to shoot and if you’re planning to visit
France anytime soon, keep a look out for
roadside posters advertising brocante or
vide-grenier – their Gallic equivalents. The
very nature of boot sales means you’ll see lots
of stuff in a state of permanent disarray, like
this example. Visually chaotic and almost too
much to take in all at once, seek out unusual
combinations of objects side by side and
don’t be afraid to ask if you can place or move
stuff around to make a more interesting shot.
5 WASTE MATTER
The edgelands of most towns, cities and
villages are littered with fly-tipping – a
heinous crime in most people’s opinion, yet it
can also be an opportunity to see and record
61
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unexpected stuff. With an environmental
subtext, consider documenting the surreal
way waste matter becomes merged into
more natural surroundings, like this example
of a set of weighing scales gradually being
swallowed up by weeds.

INSPIRATIONAL QUOTE
‘My images were surreal simply in the sense that my vision brought out the fantastic dimension of reality. My only aim
was to express reality, for there is nothing more surreal than reality itself. If reality fails to fill us with wonder,
it is because we have fallen into the habit of seeing it as ordinary.’ – Brassaï

4 5
 1
SECTION 2: WORDS OUT OF CONTEXT
Photography excels when exploring the printed words all around us.
1 WORD COLLISIONS
Just like objects situated out of context,
words too can prove surprising when they
collide unexpectedly with other words.
62 Street signs are a great thing to explore
B+W
if you live near an industrial estate or a
local shopping precinct, as you’ll find
a higher instance of handmade and
personalised messages compared to
privately owned, gated shopping centres.
Use your framing to exclude and draw
perimeter edges around words, parts of
words or combinations, like this example.
The master of word framing is without
doubt Lee Friedlander and his inspirational
photobook Letters from the People.
2 3
2 UNUSUAL SALES
We’re so used to seeing text-based
advertisements on TV, online and on our high
streets that we can become desensitised
to the words and their intended meanings,
yet printed words in a public space can
conjure up all kinds of weird and wonderful
images in our imaginations. While most of
the big shopping chains have sanitised and
restrained advertising, many of the smaller
outlets and corner shops operate on a
different basis, using more homespun and
characterful ways of attracting your attention.
Look out for unusual goods, special offers
and the completely incomprehensible, like
this chalkboard sign spotted in Hastings.
3 PLAY ON WORDS
Sometimes, signs use words which have
a multitude of different meanings or are
ambiguous in an entirely unintended way.
Take time to notice your surroundings
and start to ‘read’ the words and signs in
your local area with a more open-minded
approach. Question your own interpretation
– have you got the wrong end of the stick or
are there meanings you may not have even
considered? As an example, I grew up not far
away from this industrial yard and for many
years assumed they made some kind of grisly
product from animal livers. Yet it was just a
company name using the word ‘liver’, as in
liver bird, to denote its Liverpool origins.
 1 2

SECTION 3: 3
SEASIDE SURREALISM
If you’ve got a couple of hours spare, visit
your nearest beach and see if you can
spot anything out of the ordinary.

1 OTHERWORLDLINESS
At its heart, surrealism is concerned with
creating alternative realities and mysterious
narratives dredged up from our collective
subconscious. While social media is full of
ridiculous images of apparitions such as the
63
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face of Jesus found in a KitKat, the premise of
seeing a different picture within another picture
has a long-standing basis in the psychologies
of perception and suggestion. Perhaps the
hardest thing to spot on location, but one
that you might be lucky enough to see is the
building, tree trunk or shadow that looks like a
face – in this case, a terrifying gas mask of a
face found on a washed-up jellyfish.
4
2 AT GROUND LEVEL
A different way to view the world is to shoot
from an ultra-low angle, like this example of
a splashy yellow line (take my word for it)
painted on the roadside. Use a standard lens
and get close to the things you find, isolating
and framing the subject to really emphasise
it. This angle of view can make really ordinary
things look extraordinary.

3 FLOTSAM AND JETSAM

Right at the far end of a storm beach that I’ve
been photographing for the last couple of years,
there’s a patch of seashore that always seems
to have weird stuff washed up on it. Every time I
visit the same place, I’m surprised by something
I wasn’t expecting, like this twisted tree, which
looked like some kind of sea monster. While this
was an entirely found situation, it reminds me
of the various fictional photographs of the Loch 4 FINAL OUTCOME
Ness monster, itself a fascinating idea for a For my project, I’ve been making pictures of visually unusual memorials left in graveyards,
future staged photography project. like this vase modelled in the shape of glazed china hands emerging from the earth.
 INSPIRATION WHAT TYPE OF PHOTOGRAPHER ARE YOU?
ONE-DAY PHOTO
PROJECTS It’s a simple enough question, but one that takes you to the heart of your image
All images making, says Eddie Ephraums. So, forget convenient photographic labels
© Eddie Ephraums
and think about your core beliefs: what is your work really about?
ow do you and fumbling for words? Or image making to another level. simply describe myself as an

H
respond when maybe photography is a hobby If this is you, you are most ‘art photographer’, which is
someone asks and you’ve never felt the need definitely not alone. Take me, partly true, as I like to explore
you the question, to explain the pleasure you get for example. ideas, but to say I’m an artist
‘What type of from image making. And why I earn my living from sounds removed – that my
photographer should you? photography, but it can be hard images and ideas are somehow
are you?’ Do you have a ready But that doesn’t mean to explain in a sentence the ‘sharper’ than my audience’s.
answer to, ‘What are your your photography can’t have type of photographer I am, as This would miss the premise of
images about?’ And how about, incredible power and give you I don’t do commissioned work. my work. Which is?
‘Do you have some prints I a wonderful sense of purpose. Instead, I work on a variety of Let’s look at the images here.
could see?’ Do such questions Having some answers (and self-initiated personal projects. Anyone could have taken them.
leave you feeling flummoxed some prints) could take your This might sound like I could That’s my point. I want my ›

64
B+W

The Inspiration Opposite The Idea

Being asked ‘What type of photographer are you?’ may not feel particularly inspiring, but it should
take you to the heart of your image making. So, forget photographic labels for the moment and think
core belief: my aim is to be attentive to what is around me. I try to consciously notice (and practise
this), using picture taking and image editing to better understand the world I inhabit, to make
meaningful statements of what speaks to me and what I want to speak about with others like you.
Thinking local is central to my photography. Taking a contrail picture out of my bathroom
window is something anyone could do. But being a photographer means looking out of all the
windows to hopefully create something more challenging – about contrails in every direction
the eye can see. Being a photographer also means creating a space to showcase your work.
This is a real challenge if your work is printed, which leads to this month’s realisation…
65
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66
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› work to be accessible and for
people to realise that through
photography (mine and theirs),
they can explore visual ideas.
I want there to be common
ground, rather than my work
having a distanced ‘I’m an artist,
you’re my audience’ feel to it.
These images were shot
on my ‘doorstep’ (through
the bathroom window, my
daughter’s bedroom window
and my wife’s office window).
They are a response to what
I recently noticed and often
see in north-west London –
early morning vapour trails that
sometimes cloud over the entire
sky. Nothing new here. But after
travel-free – contrail-free –
lockdown, I suddenly felt
I wanted to say something
about this.
My interest (the type of
photographer I am) is grounded
in noticing the potential of the
The Realisation everyday nature of the world
Making physical prints and books is another central tenet of my photography. But where and we inhabit, which I also use to
how do you show printed work? For me, it’s time to invest, not in another camera (!), but in illustrate university teaching
showcasing my work. We’re demolishing our front bike shed and building a dedicated garage- and workshops, and mentor
gallery space, where I can curate and display work. It’s a place I can invite the neighbours, the people like me, who continually
wider world and online visitors to share thoughts and ideas over a cup of tea. search for meaning in their
photography.
But how do you summarise
everyday, questioning what I can magazine reaches an impressive in a sentence the type of
make of it, exploring how I, and number of countries. Instead, photographer you are or
hopefully others, think and feel I work on projects close to where to see prints of your
about daily aspects of life. Such home and around the workshop work? In future, I will answer
moments might be about the centre where I co-lead courses with a simple invitation to
environment (the images here), in north-west Scotland. One visit where I plan to show my
or nature (urban trees in the last aspect of my work is similar to work. Construction is about to
issue, crows in the previous two). the National History Museum’s start on a front garage-gallery
They might also explore the recently established Urban display space where I can share
human condition, images that Nature project, which aims ‘…to images and ideas with the local
mark a transition from ancient to help everyone better understand community and the wider
traditional to modern-day life on the nature around us, in our world. Sometimes, we need to
a Hebridean island (B+W 262), or towns and cities’. invest in answering questions
they might imagine having failed I also like to explore and about our photography. Building
eyesight (a photobook based on better understand human a gallery display space will help
my late mother). nature. I use my photography me answer mine.
My photography isn’t to write articles, create books
globetrotting, although this and print folios about the envisagebooks.com
Supporting you and your photography

how do you see the world?

How do you see your world?

Open Studio Workshops

YOU AND YOUR PHOTOGRAPHY – 1 Nothing matches the
EDDIE EPHRAUMS & ADRIAN HOLLISTER creative buzz and
collective experience
Oct 31–Nov 6, 2022
of a small group OSW
residential workshop
Why work on your photography alone?
Set up by EDDIE EPHRAUMS
and ADRIAN HOLLISTER, our
This is the first in our series of workshops offering ongoing mentorship, to unique range of outcome-
based workshops cover the
provide you and your photography with the inspiration, the sharing of ideas and practical, creative and aesthetic
the insights we believe every photographer can benefit from. considerations of being a
photographer. You will be inspired,
motivated, encouraged and
pleasantly challenged.

I O WO
UD R
T

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PEN S

OS W
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–O

www.openstudioworkshops.com SC
info@openstudioworkshops.com OTLAND
 COMMENT
A FORTNIGHT AT F/8
Never let the truth get in the way of a good story, particularly if you’re a travel
All images photographer being pressed for more information about a picture, says Tim Clinch.
© Tim Clinch
Better yet, say nothing and let your work do the heavy lifting.
et your pictures know what you will be shooting. magazines, however, there occasionally a famous one.

L
do the talking.
No idea who said
it first, but as
advice goes, this
is up there with
some of the very
best. Forgive me
for blowing my own trumpet a
bit here, but I’m lucky enough
to have shot for some of the
best magazines in the world
throughout my career. Lucky
also to have had a fair few
covers (obviously my one
solitary cover of this wonderful
publication being at the
pinnacle of my achievements.
Hint, hint). I’m also lucky to
have been able to concentrate
on travel photography,
particularly in recent years.
Travel photography as a genre
68 is something I really enjoy,
B+W
mainly as you simply never
Food, landscapes, interiors, are some occasionally quite I will have been given a list
portraits, street scenes, still scary people one has to deal before heading off on the trip
life, details, architecture and with. The vast majority are by the picture editors, usually
even cars have all cropped up highly professional and, comprising four things:
on my travel shoots of late. It importantly, know exactly what 1) Essentials – pictures that
keeps you on your toes and they want. Now, occasionally are important for the story or
often really tests you as a I will have written the text mentioned in the text, such as a
photographer – and I love it. myself, but when working particular hotel room the writer
No time to worry too much with the top magazines, the stayed in or a key landmark.
and no time to get bored. photographer will be working 2) Extras – things mentioned in
When working for travel to the text of another writer – the text but not on essentials list.
3) Things seen along the way and
not asked for, but which I think
THE PICTURES might make a good addition to
All four of these images were taken on shoots originally commissioned the story.
by arguably the most important travel magazine in the world: Condé 4) Cover tries – any strong
Nast Traveller. All were shot in colour and converted to black & white vertical shot with plenty of room
for this article, as very few travel magazines publish in anything other at the top for the magazine title
than colour – a trend I have been unsuccessfully trying to change for to fit in and some negative space
many years. 1 The interior of the Hotel Hebros in Bulgaria’s second city, around for text to be added.
Plovdiv. 2 Men playing chess in the warm waters of the Széchenyi baths This is where the advice in the
in the Hungarian capital, Budapest. 3 A night-time shot of Budapest’s first sentence comes in. In my
famous Chain Bridge. 4 Michel Chapoutier’s shiny new delivery van at experience, the vast majority of
the headquarters of his famous winery in Tain L’Hermitage, France. photographers, when showing

1 2
 timclinchphotography.com | @clinchpics | clinchpics

69
3 B+W

their work, always talk too restaurant with your assistant. your work better, or they if anyone really presses you
much. Honestly, I care not a Degrees of difficulty are make you more interesting as for more information about a
jot for your slightly dull and occasionally interesting, I’ll a photographer. If you need particular shot, the best travel
long-winded explanations about agree, but never make the to explain anything, keep it photographers never let the truth
how you got up at dawn and mistake of thinking they make brief and always remember, get in the way of a good story.
yomped to the top of a nearby
hill, dodging clouds of midges
4
and negotiating a couple of
‘obviously’ deadly poisonous
snakes in order to get your shot.
If it’s a good enough picture,
I don’t care if you stuck your
camera out of the car window
when filling up at a petrol
station. The trick is just not to
bang on about it too much. ‘Let
your pictures do the talking’ is
a phrase that does pretty much
exactly what it says on the tin.
Certainly, those picture
editors won’t give a tinker’s cuss
how you got the picture. Quite
simply, if you give them a set of
really great images to choose
from, and if they get a really
good one that makes the cover
and makes their job easier, it will
be an awful lot easier to slide the
receipt from the really expensive
lunch you had at a great
 MASTERS EUGÈNE ATGET: EARLY IMPRESSIONS OF PARIS
OF THE ART
Fin de siècle photographer Eugène Atget spent more than two decades creating
The creators and
innovators that a pictorial record of Paris, a city that was on the point of changing beyond
made B+W history
recognition. Nick Smith reports.
70
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Street Musicians, 1898-99
nashamedly
U
a commercial
photographer,
Eugène Atget is
most accurately
described in his own
words. His business card simply
read: ‘Creator and purveyor of
a collection of photographic
views of Old Paris,’ and he hung
an improvised sign on his Latin
Quarter studio door advertising
‘Documents pour artistes’.
Although a freelancer, Atget
tended to avoid working on
commission, preferring to
amass his own photo library
of reference imagery that he
sold to artists, architects and
stage designers. Retrospectively
championed as one of the
fathers of straight photography,
Atget is remembered for
his stand-in-the-right-place
approach to making pictures.
Despite being lionised by art
movements such as surrealism
and modernism, his output –
for all its ethereal excellence –
was resolutely conventional.
It was Atget’s atmospheric
depiction of the people and
architecture of Zola and
Balzac’s city that was to
immortalise his name. In a
much-quoted letter to the
Ministre des Beaux-Arts, Paul
Léon, dated 12 November
1920, Atget declared that for
‘more than 20 years I have
been working alone and of
my own initiative in all the
old streets of Old Paris to
make a collection of 18×24cm
photographic negatives…
today this enormous artistic
and documentary collection is
finished; I can say that I possess
all of Old Paris.’
While Eugène Atget’s
Café Restaurant, Montmartre
biographers habitually repeat
the observation that the
photographer was a flâneur –
an almost untranslatable word
loosely meaning ‘an observer
of industrialised life’ – the term
casts hardly any light on a man
regarded by the French public
as an idiosyncratic vagrant with
a camera. Aware of his image,
Atget is reported to have said
in a moment of self-deprecation
that his photography was
only appreciated by ‘young
foreigners’.
But he was also admired
by Henri Matisse and Pablo
Picasso, while dada and
surrealism protagonist Man
Ray was one of his earliest
collectors, who would publish
several of Atget’s photographs
in La Révolution Surréaliste.
It was Man Ray – who lived
in the same street as Atget
in Montparnasse, the rue
Campagne-Première – who
gave his American protégée and
darkroom assistant Berenice
Abbott the opportunity to
‘discover’ Atget. Abbott would
become an important 20th-
century American urban
photographer, and it is due to
her efforts that a significant
collection of Atget’s work –
more than 1,000 glass plates
and as many at 10,000 prints
– is now housed in New York’s
Museum of Modern Art.
ean-Eugène-Auguste
J Atget was born on
12 February 1857 in
Libourne in south-
western France. Orphaned
at the age of seven, he was
brought up in Bordeaux by his
grandparents before joining
the merchant navy as a cabin
boy, sailing to Africa and
South America. While it is
recorded that Atget became a
professional photographer in
the late 1880s, according to the
Victoria and Albert Museum:
‘Details of his life prior to this
are relatively scant. He is known
to have been a sailor, and then
an amateur actor. This latter
profession may have informed
his photographic ability in
setting a scene.’
What seems certain is that
by 1878, Atget was living in
Paris, where his acting career
was interrupted by military
service in the 63rd Infantry
Division, followed by a stint
in the provinces where he
unsuccessfully tried his hand
at landscape painting. The
Encyclopedia of Nineteenth-
Century Photography does
establish Atget as back in Paris
by 1890, having met his wife,
actress Valentine Delafosse
Compagnon, whose son Léon
was to die on the Western Front
during the Great War.
His military commitments
and lack of star quality as an
actor meant that treading
Street Vendors
the boards did not present
an economically sustainable
career choice for Atget, who
doggedly persisted in referring
to himself as an actor for the
rest of his life. As his citation in
the International Photography
Hall of Fame and Museum tells
us: ‘Jobs in the theatre soon
became more and more scarce,
and Atget was once again
forced to find another source
of financial means.’
With little more than the
desire to somehow create a
visual record of all that was
artistic and picturesque in
Paris, Atget taught himself the
basics of photography and set
forth on his quest. Armed with
an enormous plate camera, he
obsessively photographed the
streets of Paris day after day
and almost always in the early
light. Travelling the length
and breadth of the city and
its suburbs, from Versailles to
Saint-Cloud, he photographed
churches and shopfronts,
back streets and monuments,
as well as a series of portraits
of prostitutes.
As his work became more
popular with his architect
and editor clientele, Atget
eventually rose to financial
independence as a professional
photographer. All of which
pre-dated his ‘discovery’ by
Abbott and Man Ray, who
would oversee the migration
of his work from the world of
commercial photography to
fine art. This may not have
been a wholly comfortable
transition for Atget who, when
asked for permission to use an
image in connection with the
surrealist movement, replied:
‘Don’t put my name on it. These
are simply documents I make.’
Abbott, who photographed
Atget shortly before his death
in 1927, would later describe his
legacy as ‘an urbanist historian,
a genuine romanticist, a lover
of Paris, a Balzac of the camera,
from whose work we can weave
a large tapestry of French
civilization’.
‘I can say that I possess
all of Old Paris.’
Eugène Atget
Coin rue de Seine
EUGÈNE ATGET
(1857-1927)
Best known for
Recording the disappearing
architecture of turn of the
century Old Paris.
INFLUENCE
Thought of as one of the
founders of straight photography.
Influenced both surrealism and
modernism movements.
LEGACY
Inducted into the International
Photography Hall of Fame
in St.Louis, USA, in 1984.
FURTHER INFO
Paris, Eugène Atget,
by Andreas Krase and
71
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Hans-Christian Adam.
 SMARTSHOTS OPEN TO ALL PHOTOGRAPHERS

Whatever camera you have, we want to see the pictures you take when the
moment is right. For our winners we have three Samsung 64GB EVO Plus
microSDXC memory cards with SD Adapters which offer superfast U1,
Class 10 rated transfer speeds of up to 130MB/s to give away each month.

© JANET SALMON © ANTJE FINDEISEN

72
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WINNER © PAUL RAY

© GREGORY PEASE

73
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© MICHAEL-NICHOLLS © KEVIN BALANDA

 © MALCOLM RENDLE © LEONG CHUN YAN

74
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WINNER © ANDREW WHEATLEY

 75
B+W

WINNER © IAN SIMPSON

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 and your image is chosen, we will contact you for hi-res copies.

samsung.com/uk/memory-storage
 TECHNIQUE EYE, PHONE, PHOTOGRAPHY
To celebrate the launch of his new column, Tim Clinch chats to iPhone convert
All images Joanna Maclennan about her newfound sense of freedom and rekindled
© Joanna Maclennan
love of black & white.
Welcome one and all to my new column about mobile Kicking off the new look for the column is my great friend,
photography. You will notice the new name comprising the three wonderful photographer and partner in the online photography
things that are essential to shooting with our mobile, namely community that we started when the Covid pandemic first hit
our eye, our phone and the knowledge that the gimmicky days (two-photographers.com), Joanna Maclennan. Joanna lives in the
of ‘faux vintage’ mobile photography have long since gone and south of France and is currently using an iPhone 12 Pro Max,
that ‘mobile photography’ has simply become ‘photography’. recently upgraded from her iPhone 6.

1 2

76
B+W

1 Taken at the Fête des Gardians in Arles, Provence. 2 At a famous café in Turin, Italy. Shot using portrait mode. 3 Roses shot in Joanna’s studio at her home.

Tim Clinch: When did you start

using your iPhone seriously?
Joanna Maclennan: When we
started Two Photographers, I was
only really using it for recces and
pictures of my daughter, Poppy,
as I never realised that the quality
could be as good as it is. When
you told me how you exported
the shots from your phone at
high quality, it made me think
a lot more about it as a serious
capture device.
TC: Do you think shooting with
your iPhone has changed you
as a photographer?
JM: Yes, I do a bit. I think it has
‘It can be quite easy to get so wrapped
up in our work that we sometimes forget
that we are supposed to enjoy it as well,
and the feeling of going out with just
a phone can be quite liberating.’
given me a lot more freedom
to enjoy myself. As working
professionals, it can be quite
easy to get so wrapped up in our
work that we sometimes forget
that we are supposed to enjoy it
as well, and the feeling of going
out with just a phone can be
quite liberating.
TC: Has your iPhone influenced
the way that you shoot in black
& white?
JM: Most definitely. When I was
starting out as a photographer,
I had my own little darkroom in
my flat and loved printing black
& white in there. Sadly, these
days, fewer and fewer clients are
interested in black & white and
shooting on the iPhone has given
me the chance to experiment
more and more with this. It has
to a certain extent re-started my
love for black & white and opened
up so many new possibilities.
TC: What advice would you
offer anyone about to start out
shooting with their mobile?
JM: Take it seriously! Take the
time to learn your equipment
properly and realise what it can
and can’t do. And make sure
to learn your post-production
software inside out. Oh, and
›
realise that it’s not just a

timclinchphotography.com | @clinchpics | clinchpics

77
B+W

3

78
B+W
› ‘point and shoot’ and that
the disciplines you use when
shooting on your phone should
be exactly the same as when
shooting with any other camera.
Composition, exposure and
keeping your verticals vertical
are all just as important. For
example, when shooting interiors
with my Hasselblad, I invariably
use it on a tripod at waist height,
timclinchphotography.com | @clinchpics |
so when shooting interiors on
my iPhone, I will kneel down.
Simple really.
TC: Speaking of post-production,
what do you use to process
your pictures?
JM: I only use Snapseed – it’s
the only app I have on my phone.
I enjoy using it and find that it has
pretty much all I need. I also love
clinchpics
4 5
all the black & white settings.
TC: Do you print your iPhone
pictures?
JM: I do now! I regularly print up
to A3 size from my iPhone and
sell prints on my website – once
converted to hi-res, the quality
is amazing.
TC: So, using your iPhone as a
4 Joanna’s daughter, Poppy, after playing
with friends in the mud. Shot in portrait
mode and a Noir filter in Snapseed.
5 An abandoned shop in a
village near Joanna’s home.
6 In the Loire valley, France.
7 Grapes at a friend’s vineyard in
Provence. Processed using Snapseed and
one of the filters in the Noir toolbox.
serious capture device has been
a positive experience?
JM: Absolutely. And I genuinely
never leave home without it these
days. Also, having taken the time
to learn about it, I feel that I can
trust it to produce the goods
pretty much all the time.
To see more of Joanna’s work,
visit joannamaclennan.com.
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 YOUR B+W

All images
© Rick Bogacz

SALON
In our search for some of the best
work by Black+White aficionados
we discovered Rick Bogacz’s
work. This collection of images
displays beautiful and considered
pictures of the Canadian shoreline.
I am based in Toronto, Canada, and have
Centre Island Pier, Toronto been photographing since my late teens with
an early emphasis on street photography and
later more abstract work. Lately, however,
I have been concentrating my efforts on black
& white landscapes. I shoot close to my home
town with an emphasis on long exposure
techniques which require – in my estimation
at least – a deliberate and perhaps more
thoughtful approach.
A disciple of the minimalist genre, I find
myself inspired by the works of photographers
such as Michael Kenna and Jan Bell as well as
80 painters like Edward Hopper and Canadian
B+W
realist Christopher Pratt. Each time I pick up
the camera the goal is to take an essentialist
approach where the image is reduced to its
most significant core elements. I hope to
produce a sense of balance and harmony in
my photography. My aim is not to deliberately
evoke a feeling of isolation; but when one is
within these natural environments it’s easy to
feel somewhat alone, but ultimately at peace
with the world that surrounds us.
Killbear Provincial Park, Nobel, Ontario
rickbogaczphotography.com

SUBMIT YOUR
WORK TO SALON
We are looking for stories told entirely in
pictures. If you think you have just that, submit
a well edited set of between 10-15 images
online at blackandwhitephotographymag.co.uk.
Turn to page 90 to see how you can
submit your work.
Pier in February, Toronto
 81
B+W

Ice Covered Rocks, The Beaches, Toronto

82
B+W

Railing and Pier, Toronto

Floating Rocks, The Beaches, Toronto

Snow Fence, The Beaches, Toronto
83
B+W

Pier Remains, Hamilton, Ontario

 BLACK + WHITE

LOVES
TESTS AND
PRODUCTS

LOMOGRAPHY DAGUERREOTYPE ACHROMAT 2.9/64 ART

Representing a modern twist on this 19th-century optical design, the Daguerreotype Achromat
2.9/64 Art is now available in new black and silver designs for Canon EF and Nikon F mounts, making
it a nice fit whatever vintage-inspired camera body you want to mount it on. Made of aluminium,
LAB-BOX 35MM it includes slot-in custom aperture plates to produce a variety of bokeh effects and can be used for
DEVELOPER KIT both impressionistic blur and sharp focus. Minimum focus is 50cm and it can fit 40.5mm filters.
Home developers take note! Recently back in £299 lomography.com
stock at Analogue Wonderland, the Lab-Box is
a tank-and-loader system that lets you develop
film without a darkroom or changing bag. It
comes in either 35mm or multi-format options,
and operation is as simple as inserting a roll of
film, closing the module and using the main tank
and external knobs to add chemicals. The latter
84 are also available from the site in the form of
B+W
Cinestill’s Df96 monobath at £24.
£150 analoguewonderland.co.uk

PANASONIC LEICA DG
SUMMILUX 9MM F/1.7 ASPH
This fast ultra-wideangle lens is designed for
micro four-thirds cameras, so it’s of interest to
both Panasonic and Olympus users. Giving a
full-frame equivalent view of 18mm and with an
f/1.7 maximum aperture, it should be ideal for
anyone wanting context in low-light situations.
Plus, it has an interesting close focus distance
of 9.5cm, which allows a magnification of 0.25x.
Great sharpness is promised, thanks to the use
of two aspherical lenses, two ED lenses and one
UHR lens. The filter size is 55mm, it weighs 130g
and has dust and splash resistance.
£499 panasonic.com
FUJIFILM X-H2S
Long beloved by street and portrait shooters,
Fujifilm has delivered a huge update in the shape
of its new X-H2S and fifth-generation X-Trans
sensor. This is the first camera to use the new
chip, which uses a new stacked design similar
to those used in full-frame pro models from
Canon, Nikon and Sony, meaning greater speed
and uninterrupted views through the EVF when
shooting. The 26.1MP X-H2S has some pretty
astonishing frame rates, topping out at 40fps
and being completely silent, which could be
very useful when shooting in crowds or avoiding
blinkies or awkward postures in candids. The
mechanical shutter reaches 15fps while ISO range
is 160-12,800, expandable to 80-51,200.
AF speed and accuracy are also increased and so
you can expect improved face and eye detection
on the street. It also has some impressive video
specs. There’s internal 4:2:2 10-bit video at
6.2K/30p and 4K/120p for silky slow-motion.
And like its predecessor, the X-H2S’s body has a
comfortable SLR-style grip. It uses twin card slots,
this time a CFexpress Type B and SD pairing,
measures 136.3x92.9x84.6mm and weighs 660g.
Fujifilm also announced new XF18-120mm f/4
and XF150-600mm f/5.6-8 zooms, plus three
additions to its lens roadmap: an XF30mm f/2.8
Macro, XF8mm f/3.5 and – most interestingly –
an updated XF56mm f/1.2.
£2,499 fujifilm.co.uk
SIGMA 16-28MM
F/2.8 DG DN C
For those wanting a small, light, fast and
versatile wideangle zoom, Sigma has just
released the 16-28mm f/2.8 DG DN C lens for
Sony E-mount and L-Mount (Leica, Panasonic
and Sigma) cameras. Using an internal zoom
mechanism, there’s no extension of the front
element, it measures just 100.6mm long and
weighs 450g. Made in Japan and offering dust
and splash resistance, the lens promises very
low distortion and edge to edge sharpness CANON EOS R7
via five FLD and four aspherical lens elements. AND EOS R10
It takes 72mm filters. Canon has released the first APS-C models in its mirrorless RF system – great
£750 sigma-imaging-uk.com news for photographers who want to work with smaller, lighter bodies. The EOS
R7 (£1,350) has a 32.5MP chip, Digic X processor and up to 30fps burst mode.
It writes to twin SD cards, there’s in-body image stabilisation and plenty of the
groundbreaking AF features similar to its full-frame cousins, such as subject
recognition modes for people, including head, face and eye options. RF-S 18-45mm f/4.5-
6.3 IS STM
It measures 132x90.4x91.7mm and weighs 612g.
Smaller and lighter at 122.5x87.8x83.4mm and 429g, the EOS R10 (£900)
has similar AF abilities as the R7 via its Dual Pixel CMOS AF II system, but with
a 24MP chip, a maximum 23fps burst mode and no internal image stabilisation.
85
B+W
When using the electronic shutter in continuous shooting mode, both cameras
can begin capture when the shutter button is half pressed, providing shots half
a second prior to taking a picture, which could be great for candids.
Canon has also announced two APS-C lenses: the RF-S 18-45mm
POLAROID GO f/4.5-6.3 IS STM (£320) and RF-S 18-150mm f/3.5-6.3 IS STM (£520).
SPECIAL EDITIONS In addition, the R7 and R10 can use all existing RF lenses
Measuring 105x84x61mm, the Polaroid Go is – and EF/EF-S lenses via an adapter.
the smallest analogue instant camera in the canon.co.uk
world and now comes in two new colours, along RF-S 18-150mm f/3.5-
6.3 IS STM
with a selection of accessories. There are now
neat black and red versions, plus a three-filter
set (£17.99), which includes blue, red or orange
plastic clip-ons for the lens, giving images
a pleasing monochromatic look, almost like
a cyanotype in the case of the blue version.
Film packs also now come with a black frame.
Now all we need is monochrome film!
£110 uk.polaroid.com
 TESTS AND
PRODUCTS
CHECKOUT
Longer focal lengths don’t have to cost the earth, which is why telezooms
offer the perfect balance of affordability and features. Here’s our pick of
the best value-for-money optics in this hugely competitive sector.
NIKON AF-S 200-500MM
F/5.6E ED VR
Powerful VR technology for fast action
This lens hits the sweet spot between features and price
perfectly, offering Nikon photographers a long telezoom with
a fairly speedy maximum aperture at a decent price. This 200-
500mm is designed for use with Nikon DSLRs such as the D5,
but it can also be used with the brand’s mirrorless cameras
such as the Z 6II and Z 9 via an adaptor, offering mirrorless
users a great telezoom option for a reasonable price.
What’s really key to the design of this lens is the impressive
Vibration Reduction (VR) technology, which buys back up to
SONY 70-300MM 4.5 stops of compensation to reduce the risk of any camera
shake, which is more prominent at longer focal lengths. The
F/4.5-5.6 G OSS lens also features a special Sport VR mode that delivers
Lightweight option for Sony full-frame a stable viewfinder image, which is helpful when shooting
exceptionally fast action, or when panning.
and APS-C The 200-500mm focal range is perfect for black & white
Sony lenses can be expensive, but this optic does well to nature, wildlife and sports photography, with the focal length
balance impressive features with a reasonable price tag. It’s switching up to 300-750mm when used with APS-C Nikon
designed for use on both Sony’s full-frame and APS-C E-mount bodies such as the D500. The 200-500mm f/5.6E ED VR can
cameras (where the focal range switches up to 105-450mm), be locked so that it won’t move during transit, while a constant
86 making this lightweight optic suitable for a range of genres, from maximum aperture of f/5.6 will help to keep shutter speeds
B+W
portraiture to wildlife right through to general travel photography. fairly rapid.
The lens features Sony’s Nano AR Coating technology to
eliminate flare and ghosting, while the circular nine-bladed
diaphragm design should produce attractive bokeh. This lens
actually sits in Sony’s G series and includes the brand’s built-in
Optical SteadyShot (OSS) image stabilisation to banish camera
shake, an effect that will be enhanced when the lens is used
with a camera that also features an in-body image stabilisation
(IBIS) system.
Other features include robust protection from dust and
moisture to ensure this lens can be used out in the elements,
and a filter thread size of 72mm, which should make finding
UV or ND filters a breeze.

LIKES LIKES
Compact design Pro build quality
Image stabilisation Versatile focal length
Nine-bladed diaphragm Advanced VR system

DISLIKES DISLIKES
Slower variable aperture Heavy and bulky

TECH SPECS TECH SPECS

Focal length 70-300mm Focal length 200-500mm
Mount E Mount F
Construction 16 elements in 13 groups Construction 19 elements in 12 groups
Minimum focusing distance 90cm Minimum focusing distance 2.2m
Filter diameter 72mm Filter diameter 95mm
Dimensions 84x143.5mm Dimensions 108x267.5mm
Weight 854g Weight 2.3kg
Guide price £1,100 Guide price £1,399
Contact sony.co.uk Contact nikon.co.uk
OLYMPUS M.ZUIKO DIGITAL SIGMA 100-400MM F/5-6.3
ED 40-150MM F/2.8 PRO CONTEMPORARY DG DN OS
Versatile telezoom for MFT enthusiasts Budget third-party choice with in-built OS
When is a 40-150mm lens not a 40-150mm lens? When it’s
paired with a micro four-thirds camera that offers a 2x crop factor,
switching up the focal length of this optic to 80-300mm, which
can then be extended further with the use of a teleconverter,
should you wish to.
For just over a grand, this has to be one of the best-value
telezooms on the market. Taking its place in Olympus’ PRO range
(now OM System, of course), the lens offers extensive weather
sealing and a maximum aperture of f/2.8, which will not only help
keep shutter speeds fast in low-light conditions, but will also
enable photographers to create a shallow depth of field.
Offering an incredibly close minimum focusing distance of
70cm, the 40-150mm is a hugely versatile lens that can cover
off a wide range of black & white photography genres, from
portrait and travel to nature and wildlife. Fast, accurate focusing
is achieved via the brand’s Dual VCM focusing technology and
the lens tips the scales at just 760g, despite all its high-end
technology and features.

Third-party brands always offer good value and Sigma is one of

the best. For less than a grand, the 100-400mm f/5-6.3 delivers
a combination of versatile focal length, impressive build quality
and advanced features. In addition to being available for Sony
E photographers, there is also an L-Mount option, meaning
Panasonic, Leica and Sigma shooters can use it too.
With a relatively small filter thread size of 67mm, the lens
employs 22 elements in 16 groups, with one FLD and four SLD
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elements used for the correction of aberrations and distortions.
As part of Sigma’s Contemporary series, there is a delicate
balance between features and price, but the lens does offer
Sigma’s Optical Stabilisation (OS) technology, with the built-in
system buying back 4 stops of compensation. Photographers can
change settings directly thanks to an AFL button and there’s also
a zoom lock which prevents it from rotating and causing the lens
barrel to extend under its own weight during transportation.
Interestingly, there’s a choice of two motor modes: one for
general photography and a tweaked version suitable for more
action-based genres that require panning. The lens is also
compatible with Sigma’s USB Docks system, providing a level
of future-proofing and allowing for firmware upgrades.

LIKES LIKES
Small and light Impressive range of features
Pro build quality USB Dock compatible
Fast maximum aperture Image stabilisation

DISLIKES DISLIKES
No image stabilisation Slower variable aperture

TECH SPECS TECH SPECS

Focal length 40-150mm Focal length 100-400mm
Mount MFT Mount E, L
Construction 16 elements in 10 groups Construction 22 elements in 16 groups
Minimum focusing distance 70cm Minimum focusing distance 112cm
Filter diameter 72mm Filter diameter 67mm
Dimensions 79.4x160mm Dimensions 86x197.2mm
Weight 760g Weight 1.135kg
Guide price £1,099 Guide price £899
Contact olympus-europa.com Contact sigma-imaging-uk.com
 KARL
HOWARD’S
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 CANON RF 800MM F/11 IS STM
Huge focal length – but fixed aperture
While this lens isn’t exactly a telezoom, it deserves its place
in this round-up thanks to its huge focal length and value-for-
money price tag. Lenses that break the 400mm barrier are
really worth taking notice of, as this is the focal length needed
to make a real difference when out in the field photographing
wildlife or other distant subjects.
This lens is a rarity for Canon, as RF optics are often
expensive, but for £1,100, this one delivers a whopping 800mm.
The compromise, of course, is that slower, fixed aperture of f/11,
but to counter the risk of camera shake, the lens does include
image stabilisation technology, which will afford you 4 stops
of compensation.
Other features include an STM motor for fast and accurate
autofocus, along with a lens control ring, which makes it
possible to switch settings such as exposure compensation
very quickly. It’s worth noting that Canon now offers APS-C
mirrorless RF-mount cameras in the shape of the R7 and R10,
and when paired with the RF 800mm f/11 IS STM, the focal
FUJIFILM XF50-140MM length switches up to 1280mm, breaking that magic
F/2.8 R LM OIS WR 1000mm barrier and getting you seriously close
to the action.
Weather resistance and fast aperture
Fujifilm's telezoom is one of the more expensive lenses in the
round-up, but it is incredibly high-spec and is a great option for
those using cameras such as the X-T4 or the new X-H2S. Of
course, as these cameras use an APS-C sensor, the effective
focal length switches up to 75-210mm, making this lens suitable
for both black & white portraiture work as well as wildlife, nature
and travel-related subjects.
What really sets this optic apart is the WR in the name, which
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denotes a high level of weather resistance to ensure you can keep
shooting when the rain starts to fall. Incredibly, the XF50-140mm
comes with a triple linear motor system, which is designed to deliver
fast and accurate autofocus, and this makes a huge difference
when shooting at longer focal lengths when it is critical to have a fast
response from the AF system to capture that split-second moment.
Add to the mix a 23 elements in 16 groups construction, a metal
build and 1m minimum focusing distance and this presents a very
attractive package, but the icing on the cake is that constant
f/2.8 maximum aperture, which will keep shutter speeds fast.
Plus, combined with the lens’ image stabilisation system, there
really shouldn’t be any problems with camera shake, even in low-
light conditions.

LIKES LIKES
Fast maximum aperture Value for money
Robust weather sealing Image stabilisation
Image stabilisation Lightweight dimensions

DISLIKES DISLIKES
On the expensive side Fixed f/11 aperture

TECH SPECS TECH SPECS

Focal length 50-140mm Focal length 800mm
Mount X Mount RF
Construction 23 elements in 16 groups Construction 11 elements in 8 groups
Minimum focusing distance 1m Minimum focusing distance 6m
Filter diameter 72mm Filter diameter 95mm
Dimensions 82.9 x 175.9mm Dimensions 101.6x351.8mm
Weight 995g Weight 1.26kg
Guide price £1,239 Guide price £1,099
Contact fujifilm-x.com Contact canon.co.uk
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY

Visit our website

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SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

BL ACK+WHITE PHOTOGR APHY COOL, CRE ATIVE AND CONTEMPOR ARY

 LAST FRAME SMARTSHOTS

YOUR B+W LAST FRAME SMARTSHOTS OPEN TO ALL PHOTOGRAPHERS

Here at B+W we’re looking out for some really stunning single images that Whatever camera you have, we want to see the pictures you take when the
just lend themselves to printing large scale. Each month one talented winner moment is right. For our winners we have three Samsung 64GB EVO Plus
will have their picture given this treatment by Spectrum Photographic – microSDXC memory cards with SD Adapters which offer superfast U1,
© Ralph Lightman
it could be you! Class 10 rated transfer speeds of up to 130MB/s to give away each month.

This month’s winner is

Ralph Lightman from Wigan
who wins a 20x24in giclee
print courtesy of Spectrum
Photographic. Spectrum
Photographic specialise in high
quality photographic printing,
as well as archival mounting.
They offer a range of museum
quality services.

FIND OUT MORE AT

© JANET SALMON © ANTJE FINDEISEN

© GREGORY PEASE

96 72 73
B+W B+W B+W

HOW TO ENTER
Go to our website:
blackandwhitephotographymag.co.uk

TERMS AND CONDITIONS

Black+White Photography magazine
competitions are open to entrants
worldwide unless otherwise stated. No
cash alternatives will be offered for any
prize. The judges’ decision is final and
no correspondence can be entered
into. Employees of GMC Publications and
sponsors, their associated companies
and their families are not eligible to
enter. Duties and taxes charged by
Customs in the destination country
are to be paid by the winner (if outside
of UK). By entering a competition, you
agree that details may be used in future
marketing by GMC Publications unless
you state otherwise. You can unsubscribe
to email newsletters at any time.
WINNER © PAUL RAY © MICHAEL-NICHOLLS © KEVIN BALANDA

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

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All images
© Rick Bogacz

FOLLOW US ON FACEBOOK SALON

facebook.com/blackandwhitephotog In our search for some of the best
work by Black+White aficionados
we discovered Rick Bogacz’s
work. This collection of images
displays beautiful and considered
pictures of the Canadian shoreline.

FOLLOW US ON TWITTER Centre Island Pier, Toronto

I am based in Toronto, Canada, and have
been photographing since my late teens with
an early emphasis on street photography and

@BWPMag later more abstract work. Lately, however,

I have been concentrating my efforts on black
& white landscapes. I shoot close to my home
town with an emphasis on long exposure
techniques which require – in my estimation
at least – a deliberate and perhaps more

FOLLOW US ON INSTAGRAM
thoughtful approach.
A disciple of the minimalist genre, I find
myself inspired by the works of photographers
such as Michael Kenna and Jan Bell as well as
80 painters like Edward Hopper and Canadian
81
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realist Christopher Pratt. Each time I pick up
the camera the goal is to take an essentialist
B+W

approach where the image is reduced to its

most significant core elements. I hope to
produce a sense of balance and harmony in
my photography. My aim is not to deliberately
evoke a feeling of isolation; but when one is
within these natural environments it’s easy to
feel somewhat alone, but ultimately at peace
with the world that surrounds us.
Killbear Provincial Park, Nobel, Ontario
rickbogaczphotography.com

PRIVACY

If you win a prize (Last Frame or SUBMIT YOUR

WORK TO SALON
Smartshots) you agree we can give We are looking for stories told entirely in
pictures. If you think you have just that, submit
a well edited set of between 10-15 images
online at blackandwhitephotographymag.co.uk.

your contact details (address, email Pier in February, Toronto

Turn to page 90 to see how you can
submit your work.
Ice Covered Rocks, The Beaches, Toronto

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 around 10 pictures.
 Aperture UK
17a&b Riding House Street, London, W1W 7DT. 020 7436 9844

Leica M11 - £7500 Inc. VAT (Lens not included)

Available in Black or Silver Chrome

* 60 Megapixel CMOS M-Sensor

* ISO 100 to ISO 50000
* Multi-field metering in rangefinder mode
* 64 GB internal memory
* Electronic shutter featuring a shutter speed of up to
1/16000 of a second

Leica SL2-S As new £3590

Leica M-P Safari kit £5890

We are an official Leica stockist. Please call or visit our website for your requirements and availabilities. We are
also keen to purchase your pre-owned cameras and lenses either outright or through part-exchange.

www.apertureuk.com Tel: 020 7436 9844 Email: info@apertureuk.com

 Aperture UK
17a&b Riding House Street, London, W1W 7DT. 020 7436 9844

Quality Pre-owned

Leica Cameras Lenses M Mount cont.

Leica S (typ 007) body with extra battery Exc+++ £3590 Zeiss 35mm f2.8 C-Biogon ZM T* Exc+++ £520
Leica S-E (Typ 006) Grey Mint- £1990 Leica 50mm f0.95 Noctilux-M ASPH Black Mint £6390
Leica 35mm f2.5 Summarit-S CS + hood (boxed) Mint- £2290 Leica 50mm f2 Summicron-M Black built in hood Mint- £1350
Leica 70mm f2.5 Summarit-S + hood (boxed) Exc+++ £1290 MS-Optics 73mm f1.5 Sonnetar F.MC Mint- £850
Leica 120mm f2.5 Apo-Macro-Summarit-S + hood Mint £1990 Leica 90mm f2.8 Elmarit-M Black Built in hood Exc+ £850
Leica 180mm f3.5 Apo-Elmar-S CS + hood (boxed) Mint- £2390 Leica 90mm f2 Apo-Summicron-M ASPH Exc £1690
Leica Multifunction Handgrip S with Battery Exc £320 Leica 90mm f2 Summicron-M Exc++ £850
Leica SL (Typ 601) Exc+ £1650 Leica 90mm f2.8 Elmarit Chrorme Mint- £450
Leica 35mm f2 Apo-Summarit-SL + hood (boxed) As new £1590 Leica Angle Finder M Mint- £180
Sigma 45mm f2.8 DG DN (L-Mount) boxed Mint £290 Leica M-Adapter L Black Mint- £270
Leica 90-280mm f2.8-4 Apo-Vario-Elmarit-SL Mint- £3690 Leica Visoflex (Tpe 020) (Boxed) Exc+++ £270
Leica T (Typ 701) Black (boxed) Exc+++ £390 Leica 18mm Metal Bright Line Viewfinder Black Exc+++ £220
Leica CL Black (boxed) Exc++ £1250 Leica 24mm Bright Line Viewfinder + pouch Mint £190
Leica 18mm f2.8 Elmarit-TL ASPH (boxed) Mint- £690 Leica SF-64 Flash (Brand New) Unused £390
Leica 60mm f2.8 Apo-Macro-Elmarit-TL ASPH Silver Mint- £1450 Lenses Screw and R Mount
Leica M10-R Silver (boxed) Exc+++ £5390 Leica IIIf Red Dial Mint- £450
Leica M10-R Black (boxed) Exc++ £5190 Leica IIIg Exc++ £790
Leica M10 Monochrom (Typ 246) Exc+++ £2990 Leica 3.5cm f3.5 Summaron L39 Exc+++ £390
Leica M (Typ 240) Black Paint (boxed) Exc £1990 Leica 3.5cm f3.5 Elmar Nickel Exc+ £490
Leica M8 Black 21500 Actuations Exc+ £1150 Leica 5cm f2 Summitar L39 Exc++ £390
Leica M6 0.58 TTL (Die letzten 999) 396/999 Mint- £4990 Leica 5cm f2 Summitar L39 scratch glass but useable User £190
Leica M6 Black Exc £2090 Leica R7 Black with Leica half case Exc+++ £450
Leica M4-P 70 yrs Anniversary Edition (1913-1983) Mint- £2390 Leica R5 Black Exc £290
Leica M2 Chrome Exc £1090 Leica 2X Extender Mint £120
Leica Motor-M Mint £250 Others
Lenses M Mount Canon FD7.5mm f5.6 Fisheye SSC Mint- £490
Leica 16-18-21mm f4 Tri-Elmar-M + Finder (boxed) Mint £3290 Canon FD100mm f2.8 S.S.C. Exc++ £170
Leica 18mm f3.8 Super-Elmar-M ASPH + hood Mint- £1450 Noblex Pro 6 / 150E Exc+++ £1290
Leica 21mm f2.8 Elmarit-M ASPH + hood 6 bit Mint- £1790 Rodenstock 35mm f4.5 Apo-Grandagon -Alpa fit Mount Exc++ £990
Leica 21mm f3.4 Super-Angulon Exc+++ £890 Mamiya 43mm f4.5L + hood & v/finder Mint- £850
Leica 24mm f2.8 Elmar-M ASPH + hood Chrome Mint £2990 Mamiya 150mm f4.5L + hood Mint £350
Leica 28mm f2 Summicron-M ASPH + Leica UV filter Exc+ £1790 Mamiya 150mm f4.5L + hood (boxed) Mint- £350
Leica 28mm f2 Summicron-M ASPH Exc £1490 Rolleiflex 3.5F (75 Planar) with ERC Exc++ £790
Leica 28mm f2.8 Elmarit-M ASPH + hood 6 bit Mint £1350 Rolleiflex T (75 Tessar) with ERC Exc+ £450
Light Lens Lab 35mm f2 V1LC Silver Mint £950 Rolleiflex T (75 Tessar) with ERC Exc++ £490

We are always keen to purchase your pre-owned cameras and lenses either outright or through part-exchange

www.apertureuk.com Tel: 020 7436 9844 Email: info@apertureuk.com

 @thericerocket26
Contrasty and full of character, this is a fantastically versatile
panchromatic film perfect for lovers of monochrome

• Panchromatic B&W Negative Film

• ISO 400/27° in Standard Process
• Two-Layer Emulsion, Fine Grain
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 NEXT MONTH
B +W ISSUE 268 – ON SALE 4 AUGUST

95
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© Giacomo Brunelli

GIACOMO BRUNELLI
IN VENICE

PARISA AMINOLAHI ON FAMILIAL LOVE

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 YOUR B+W LAST FRAME
Here at B+W we’re looking out for some really stunning single images that
just lend themselves to printing large scale. Each month one talented winner
will have their picture given this treatment by Spectrum Photographic –
© Ralph Lightman
it could be you!

This month’s winner is

Ralph Lightman from Wigan
who wins a 20x24in giclee
print courtesy of Spectrum
Photographic. Spectrum
Photographic specialise in high
quality photographic printing,
as well as archival mounting.
They offer a range of museum
quality services.

FIND OUT MORE AT

96
B+W

HOW TO ENTER
Go to our website:
blackandwhitephotographymag.co.uk

TERMS AND CONDITIONS

Black+White Photography magazine
competitions are open to entrants
worldwide unless otherwise stated. No
cash alternatives will be offered for any
prize. The judges’ decision is final and
no correspondence can be entered
into. Employees of GMC Publications and
sponsors, their associated companies
and their families are not eligible to
enter. Duties and taxes charged by
Customs in the destination country
are to be paid by the winner (if outside
of UK). By entering a competition, you
agree that details may be used in future
marketing by GMC Publications unless
you state otherwise. You can unsubscribe
to email newsletters at any time.
 George Tice • Lillian Bassman •
Jack Delano • Edouard Boubat • Ray
K. Metzker • Esther Bubley • Norman
Parkinson • Sid Avery • Sanford Roth •
Dorothea Lange • William Klein • Roman
Vishniac • Lewis Koch • Eadweard
Muybridge • Jim Marshall • Peter Beard
• Weegee • Sebastião Salgado • Melvin
Sokolsky • Edward Weston • William Gottlieb • Leon Levinstein • Sally Mann
• František Drtikol • Fred Zinnemann • Ralph Steiner • Joel Meyerowitz • Peter
Stackpole • Frank Gohlke • Cindy Sherman • Sonya Noskowiak • Josef Sudek • Eliot
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Stettner • Pentti Sammallahti • James Van Der Zee • Sarah Moon • Monica Denevan •
Dennis Stock • Margaret Bourke-White • Inge Morath • John Dominis • O. Winston Link
• Erwin Blumenfeld • Henri Cartier-Bresson • Don McCullin • Harry Gruyaert • Elliott
Erwitt • Lawrie Brown • Jaromir Funke • Minor White • Gyorgy Kepes • Michael Kenna •
Sabine Weiss • Garry Winogrand • William Garnett • Edward Steichen • Tina Modotti •
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Izu • Robert Mapplethorpe • Ruth Orkin • Wolfgang Suschitzky • Graciela Iturbide •
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McCaw • Edward S. Curtis • Horace Bristol • Jacob Riis • Mary Ellen Mark • Robert Capa
• Jack Welpott • Imogen Cunningham • Richard Prince • Paul Caponigro • Vilem Kriz •
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• Anne Brigman • Rondal Partridge • Tom Millea • Max Yavno • Flor Garduño • Brassaï •
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Paulin • Ralph Gibson • Edward Burtynsky • George Hoyningen-Huene • Cole Weston •
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• John Sexton • David Goldblatt • Max Dupain • Joe Rosenthal • Bruce Bellas • Alfred
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Henry Jackson • Herman Leonard • Colin Jones • Carleton Watkins • August Sander
• EtRobert Stivers • Wright Morris • Henry Horenstein • Mona Kuhn • Sid Grossman
• Robert
Robe Doisneau
oi • Cecil
ec Beatonon • Burt Glinn
li • David Seymour
ou • Vivian
ivian Maier • W.
Eugene
ug Smith
Smit • Cornell Capa • Bill Burke
Bu • William
il Wegman
gman • Bill
ll Brandt • Etc

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