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BLACK + WHITE OUT OF THE

PHOTOGRAPHY LIMELIGHT
EDITORIAL
Editor Elizabeth Roberts
I
email: elizabethr@thegmcgroup.com t is interesting where life takes us,
often when we least expect it. I’ve
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com recently given a lot of thought to the
Designer Toby Haigh
presentation of my photographs. There
is the obvious route which is website,
ADVERTISING Instagram and social media – and I
Advertising Sales Guy Stockton finally have a new website, but have not
tel: 01273 402823
email: guy.stockton@thegmcgroup.com
ventured into other online media so far
(will I ever catch up?). But what has begun
PUBLISHING to appeal to me over the last year or so is
Publisher Jonathan Grogan presenting images and text in book form.
MARKETING It started out very simply as foldout books
Marketing Executive Anne Guillot EDITOR’S LETTER MARCH 2020 and now has progressed to something
tel: 01273 402 871 more complex, but still handmade by me.
PRODUCTION So the question has arisen as to why do I want to do this and who is it for? And that has
Production Manager Jim Bulley taken me a long time to answer but ultimately I now know that this is just for me, because
Origination and ad design GMC Repro I love doing it and it gives me great satisfaction. I intend to make small editions that are
Printer Buxton Press Ltd all handmade, and I will give or sell them to people who I think would like them.
Distribution Seymour Distribution Ltd Now, that might seem simple enough but it involved quite a lot of other issues,
SUBSCRIPTIONS namely the recognition that I will never have thousands of followers, I will never be
tel: 01273 488005 a famous writer / photographer, I will never be rich from selling my work and I will
email: pubs@thegmcgroup.com never go down in history for it. (Of course, I knew all that anyway but it’s nice to have
SUBSCRIPTION RATES the odd daydream isn’t it?)
But what a relief all that thinking has brought about. I am now free to do what I really
01
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Save 10% with 6 issues want to do and not crave sanction and admiration. I’m wondering how many other
Save 15% with 12 issues photographers go through this. Of course, professional photographers have a lot of their
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work dictated by others, although they generally produce their own personal work as well,
Plus UK subscribers can save an extra
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but for the non-professionals, I think we are so often caught up in chasing the limelight
when really we should just be getting on with things. And for some who are talented
Cheques should be made payable to
GMC Publications Ltd. Current subscribers and lucky enough, the limelight might well seek them out.
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Lewes, East Sussex, BN7 1XU, UK elizabethr@thegmcgroup.com
Black+ White Photography (ISSN 1473-2467)

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08 26
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34
© Archivo Manuel Álvarez Bravo, S.C / Courtesy of Michael Shapiro

02 48
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BLACK+WHITE PHOTOGRAPHY ISSUE 239 MARCH 2020 NEXT MONTH’S ISSUE IS OUT ON 12 MARCH
COVER Martin Barnes on the work 18 ON SHOW

Picture by Keith Hodgson of John Davies Our recommended exhibition
FEATURES 40 BLACK & WHITE 20 IN THE FRAME

08 AN EYE FOR THE ABSURD SPIDER AWARDS Your guide to photography
Innovative photographer Dora Maar Pictures from the big competition exhibitions
gets the recognition she deserves
48 THE MODERN LOOK 23 ON THE SHELF
26 ARE YOU SITTING Celebrating some of the greats The best new photography books
COMFORTABLY? of 20th century photography
Richard Dunkley on his visual COMMENT
obsession with chairs NEWS 24 AMERICAN CONNECTION
04 NEWSROOM Susan Burnstine talks to
34 TAKING A SECOND LOOK All the latest Sharon Madden Harkness
© Tim Clinch © Graham Lally
66 76
Photo by David Rudkin, Courtesy the Henry Moore Foundation © Eddie Ephraums
18 68
03
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FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 86 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK
66 A FORTNIGHT AT F/8 72 SMART GUIDE 68 ONE-DAY PHOTO 76 SALON

Tim Clinch on planning TO PHOTOGRAPHY PROJECTS Pictures that tell a story
a photo project Photograph architecture with Eddie Ephraums on finding
your smartphone inspiration in the everyday 86 HOW TO GET
TECHNIQUE PUBLISHED
56 TOP TIPS INSPIRATION TESTS & PRODUCTS We want to see your work
How to make the most of ISO 06 MAGNUM OPUS 82 CHECKOUT
Discussing a Magnum photo Six of the best light tents 90 NEXT MONTH
62 PROJECTS IN A hint of what’s to come
VISUAL STYLE 44 STRAIGHT TALKING YOUR B+W
Great ideas for documenting Chris Gatcum on the impact 54 SUBSCRIPTION OFFER 96 LAST FRAME
shops and shopfronts of technological advances Your picture could win
74 SMARTSHOTS a great prize
Prize-winning photographs
NEWS
NEWSROOM
NEWS FROM THE BLACK & WHITE WORLD
Edited by Mark Bentley. markbe@thegmcgroup.com
© Don McCullin / Courtesy of the artist and Hauser & Wirth
04
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The Northern Arctic, Norway, 2019 by Don McCullin.
NEW FROM MCCULLIN

Three previously unseen Arctic landscapes by Sir Don McCullin of the Roman empire, including Palmyra in Syria, and a series
can be seen in a new exhibition of his work. of still lifes he composed in his garden shed and developed in
The pictures, taken during a trip to Svalbard in 2019, are among his darkroom at home.
more than 70 landscape photographs on display at Hauser & Wirth McCullin, one of the country’s most important war
Somerset in Bruton, Somerset, until 4 May. The largest part of the photographers, said: ‘My solace lies in recording what remains
exhibition features images of Somerset where McCullin lives, but of the beautiful landscape of Somerset and its metallic dark skies,
there are also urban landscapes of London and the north of which give this county an aged and sometimes remote feeling as
England taken earlier in his career as well as rural landscapes if the past is struggling against the future. The stillness of silence
photographed in England and Scotland. and sometimes my loneliness provoke my imagination, but, like the
Also displayed are McCullin’s pictures documenting the remains surrounding land, I am fighting to release the past in me.’
FREE ENTRY
The Royal Photographic Society has opened its gallery space for an auditorium, education and resource centre. As well as free
free for future exhibitions. exhibitions, the RPS has also revised its opening times, which
The RPS is celebrating its first year in its new building in the are now Thursday to Sunday, from 10am to 5pm.
Paintworks creative quarter of Bristol. The building is in the same The next show is the International Photography Exhibition 162,
area as the Martin Parr Foundation and offers gallery space plus which runs from 15 February to 22 March.
© Historic England Archive © Zanele Muholi
BUILT FOR SPEED

Canon has released a new high-
spec camera for professional Bester I, Mayotte 2015
sport and wildlife photographers. by Zanele Muholi.
The EOS-1S X Mark III is
the company’s new flagship MAJOR SHOW
camera and offers improved The first major UK survey of
AF tracking, image quality and pictures by South African visual
communication capabilities. It’s activist Zanele Muholi will be
also blisteringly fast, shooting held at Tate Modern in London
at 16fps using the viewfinder from 29 April to 18 October.
and 20fps in live view. Born in 1972, Muholi has won
The camera is housed in a numerous awards, including the
magnesium alloy body and Best Photography Book award
is built to withstand extreme by the Kraszna-Krausz
weather conditions. Inside is the Foundation and a fellowship
new Canon Digic X processor from the RPS.
and new 20.1Mp full-frame BUILDING MODERN BRITAIN Muholi’s work focuses on
CMOS sensor. A unique photographic record the public by autumn this year. black lesbian, gay, bisexual,
05
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A new AF sensor provides 28 of Britain’s construction history The pictures are from the John trans, queer and intersex lives
times the centre resolution of its is now available. Laing Photographic Collection in South Africa. The exhibition
predecessor and three times the Around 2,000 pictures of and are part of a 21-month features 260 photographs, from
number of AF points. A newly everything from cathedrals, project to digitise the collection. early work such as Only Half
developed advanced tracking mosques and houses to bus The Laing construction the Picture to on-going series
system can lock on to a subject’s stations, bridges and motorways company was set up in 1848 and Somnyama Ngonyama. The
head even when the subject’s have been released on the worked on projects as diverse as show is accompanied by an
eyes are covered by a helmet or Historic England website. This the M1 motorway, Sizewell B illustrated catalogue and a
goggles. A new high detail low- is the first batch of 10,000 nuclear power station and programme of talks and
pass filter samples the light point images to be made available to Coventry cathedral. events at the gallery.
over a greater number of points
to achieve sharper and higher
resolution images. The camera
can see in the dark, with an ISO
range of 50 to 819200. Buttons on
UP CLOSE
One of the joys of photography is the capacity to show things the eye cannot see. The Close-up Photographer
the body light up to aid shooting of the Year celebrates this by offering awards for the best in close-up, macro and micro photography.
in low-light conditions. The second edition of the competition is now open. Photographers can use any type of camera,
GPS, Wi-Fi and Bluetooth including a mobile phone or microscope. Categories include Animals, Insects, Plants and Funghi,
are all built-in and the camera Man-made World, Micro and Young Close-up Photographer of the Year.
also shoots 4K full-frame video. The Young CUPOTY winner will receive two Sigma lenses, while each category winner gets £300.
Price £6,499.99. The overall winner will receive £2,500. Deadline 17 May. Full details on cupoty.com.
Josiah Launstein (aged 14) became the first
Young Close-up Photographer of the Year
with his photograph of a monkey-moth
caterpillar, taken in Thailand.
© Josiah Launstein / cupoty.com
MAGNUM OPUS
Black+White Photography has
been invited by Magnum Photos
to choose one picture each month
from their archive to discuss, dissect,
examine and consider. This month
Elizabeth Roberts looks at a
fascinating image by Cornell Capa.
ornell Capa, like his
C
older brother Robert,
had a wonderful eye
for ‘the moment’ that
instills everything
that could be said
about a given time and
place. He is quoted as
saying: ‘It took me some time to realise that the
camera is a mere tool, capable of many uses,
and at last I understood that, for me, its role,
its power, and its duty is to comment, describe,
provoke discussion, awaken conscience, evoke
sympathy, spotlight human misery and joy which
otherwise would pass unseen, un-understood
and unnoticed.’
Here, in this photograph, he has done
06 precisely that. He has acted as a conduit
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between what he has seen and the viewer
of the image. The royal couple sit carefully
placed apart with the slash of the flooring
seemingly making the division more prominent.
And yet, the look they exchange, which is
central to the photograph, feels devastatingly
human. Beneath the jewelled dress and crown
and the immaculately tailored suit are two
people, 10 years married, under the scrutiny
of the press and public, with all the ordinary
marital problems that so many experience,
magnified and chewed over. But it is Capa, the
photographer, who has seen this split second
moment and known it to be revelatory – tender,
despairing, lonely or full of love, it is a deeply
felt connection between two un-ordinary
people that we recognise from our own
experience. Ultimately, he has humanised
them both.
Perhaps too, it is Capa’s comment on royalty.
Could it be his humorous side (of which
there is much evidence in his work) that sees
the slightly ludicrous pomp and ceremony
that surrounds royalty? Could he be asking
what all this is really about? We can take from
it what we wish, but knowing that it is a rare
moment of truth.
Queen Elizabeth and Prince Philip during the

Queen’s visit to New York, 1957 by Cornell Capa.
© Cornell Capa / International Center of Photography / Magnum Photos
INSPIRATION
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FEATURE
AN EYE FOR THE ABSURD
More than two decades after her death, artist Dora Maar is finally getting the
recognition she deserves and stepping out of Picasso’s shadow, says Tracy Calder.
itting among the wall- mementoes. Or so the story goes. talented and prolific artist was destined to
S
length mirrors, chandeliers Maar’s career as an artist spans much of be remembered as a bit player in Picasso’s
and ornate columns of Café the 20th century, and yet it’s her eight-year life. However, recognising the importance
Les Deux Magots in Paris, relationship with Picasso that repeatedly and urgency of redressing the balance, Tate
a young woman is intent on makes the headlines. Following her death Modern recently joined forces with Centre
catching the eye of a man in 1997 she was described as ‘The most Pompidou in Paris to organise a major
nearly 30 years her senior. poignant of Picasso’s mistresses’ (The exhibition of her work. ‘Pompidou was
Placing one hand, dressed Independent), ‘Picasso’s lover and the donated, and acquired, a vast collection
in a neatly embroidered black glove, on principal model for many of his so-called of Maar’s negatives and prints,’ says Emma
the table she takes a penknife in the other weeping women portraits’ (New York Lewis, assistant curator, Tate Modern. ‘In
and begins stabbing the blade between her Times), and ‘The dark-haired mistress collaboration with them, it seemed like
outstretched fingers. Now and then she and muse of Picasso’ (Washington Post). a good opportunity to show her work in
nicks the skin, drawing blood. The man, For a while, at least, it seemed that this depth. It wasn’t until she passed in 1997
his attention piqued by her performance, that people began to really understand
asks his companion to introduce them. the depth and breadth of her oeuvre.’
Having approached her table, he addresses
‘Maar’s career as an artist Henriette Théodora Markovitch (Dora
her in French, which he supposes to be her spans much of the 20th Maar) was born in 1907 to a mother who
native tongue, and she responds to him in owned a fashion boutique and a father
Spanish, which she knows to be his. The
century, and yet it’s her who made a living as an architect. Her
man is Pablo Picasso and the woman is eight-year relationship with childhood was divided between Argentina
Dora Maar. Successfully snared, Picasso and France, but she returned to Paris in
later asks to keep Maar’s blood-stained
Picasso that repeatedly 1926 to study applied arts and painting.
glove, locking it away in his cabinet of makes the headlines.’ By the beginning of the 1930s she had ›
8
08 © ADAGP, Paris and DACS, London 2019 © ADAGP, Paris and DACS, London 2019
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Left Untitled (Fashion photograph) c. 1935. Collection Therond. Right Untitled (Group of workers, Paris) c. 1934. Private collection.
Opposite Untitled (Photograph for advertisement) c.1935. Private Collection.
© ADAGP, Paris and DACS, London 2019
09
9
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© ADAGP, Paris and DACS, London 2019 © ADAGP, Paris and DACS, London 2019
Left Pearly King collecting money for the Empire Day 1935, Tate. Gift of Eric and Louise Franck London Collection, 2013.
Right Untitled 1932, The Museum of Modern Art, New York. Gift of Agnes Gund. Digital image, The Museum of Modern Art, New York/Scala, Florence.
Opposite Portrait of Ubu 1936. Centre Pompidou, Musée National d’Art Moderne, Paris.
10
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› decided to pursue photography as a career, ‘There was a boom in the of the subject matter, there is still a levity
and soon secured her first studio – a space to the work that is genuinely touching.
in the family home of film-set designer illustrated press, and editors, In 1935 Maar’s partnership with Kéfer
Pierre Kéfer, who worked alongside her. much like advertisers, were ended, and she set up her own studio at
The enterprise was an immediate success, 29 rue d’Astorg – a neighbourhood
and the pair was soon undertaking keen to commission strongly associated with haute couture.
assignments for clients in the fashion and photography in place of This clever positioning, and her obvious
advertising industries. ‘The inter-war skill, led to regular commissions from the
period was a particularly important one hand-drawn illustration.’ likes of Chanel, Jacques Heim and Elsa
for photographers,’ says Lewis. ‘There Schiaparelli. As ever, Maar brought her
was a boom in the illustrated press, and images that are unmistakably documentary signature style to the work, playing around
editors, much like advertisers, were keen in style. ‘Photographers, much like with notions of beauty and the female
to commission photography in place filmmakers during this period, were form. ‘If there’s one thing you can identify
of hand-drawn illustration.’ Maar and refining the idea of documentary, or what in different areas in which she’s working
her contemporaries had an impressive it means for the camera to bear witness to it’s this eye for the absurd, and a kind of
amount of creative freedom, and often hardship,’ explains Lewis. ‘Maar had a playful element,’ says Lewis. Outside the
used the opportunity to experiment with Rolleiflex at her disposal, which meant that relative safety of the studio, the political
sophisticated techniques. ‘She constructed she could take to the streets and respond situation in France was becoming
and manipulated her work,’ says Lewis. immediately to what she saw around her.’ increasingly unstable, with a change in
‘Whether through staging, experimentation In 1934 Maar travelled to London, where government every few months. ‘There is a
in the darkroom, or collage using scissors her interest in street photography grew. rise of the right and extreme far right and
and glue, her images declare a break Back in Paris she documented so Maar not only aligns herself but
with reality.’ communities living in the undeveloped becomes very actively involved in
area known as La Zone – a 34km stretch of movements, manifestos and so on that are
hile Maar was enjoying land around the city that was home to launched by left-wing artists, poets, writers
W commercial success in the

studio, Europe was
experiencing the worst
economic depression of modern times.
Moved by the plight of those less fortunate,
around 40,000 Parisians. ‘I think you can
see in Maar’s street photography that she
creates a portrait of a place through its
people,’ suggests Lewis. ‘She photographs
close up, or crops in to the image to focus
and intellectuals,’ says Lewis. She signs her
name to a number of manifestos including
Appel à la lutte (Call to the Struggle),
launched by surrealist poet André Breton
and screenwriter Louis Chavance in
she made a solo trip to Spain resulting in on the person.’ Despite the serious nature response to riots by the extreme far-right. ›
© Centre Pompidou, MNAM-CCI / P. Migeat / Dist. RMN-GP. © ADAGP, Paris and DACS, London 2019
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aar’s interest in left-wing
›
M politics, and her unique way
of rendering the familiar
strange, brought her close to
the surrealists. As a result, poets Paul Eluard
and Andréa Breton became close friends
(Maar had known Breton’s wife, Jacqueline
Lamba, since she was a student). Surrealism
rejected the rational and embraced the
lucidity of the unconscious mind, which is
one of the reasons why it was slow to accept
photography as a medium. ‘Photography at
the time was thought of as a tool for making
factual records,’ explains Lewis. ‘Surrealism
is about the spontaneous and unconscious
– the irrational’. In time, however, the
surrealists began to accept that through
extreme close-ups, unexpected contexts,
and photomontages, photography could be
used to subvert reality. Together with Man
Ray, Raoul Ubac and Hans Bellmer, Maar
was accepted into the surrealist’s circle. One
of the most important images she made at
this time is Portrait of Ubu. The subject of
the picture was once thought to be of plant
origin, but is more likely to be an armadillo
foetus. ‘Secrecy and mystery became
incredibly important in the surrealist
movement,’ explains Lewis.
Portrait of Ubu was included in major
surrealist exhibitions in Belgium, Paris,
12 Japan, London, New York, Amsterdam and
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Tenerife, and was often joined by another of
Maar’s works, The Pretender. This curious
photomontage features an image of a boy
taken from a street photograph she made
in Barcelona, set against a backdrop from
a plate by Albert Chevojon showing the
Orangery in the Palace of Versailles. Maar
always used existing photographs for her
backgrounds, pasting parts of her own
images (and those of others) on top. To
finish, she photographed her collages with
a large-format camera. With her position
in the surrealist’s circle assured, and her
work growing in popularity, Maar was at the
height of her career when she met Picasso in
the winter of 1935-6. He, on the other hand,
was experiencing something of a hiatus and
hadn’t painted or sculpted in months. It
was a union that would change both of their
lives. ‘In terms of the exhibition we could
have done one of two things: we could have
really downplayed this period in her life and
ignored Picasso completely, or we could have
used it as an opportunity to foreground her
voice and look at the very specific ways in
which they worked together and influenced
each other,’ explains Lewis. ›
Right Untitled (Pablo Picasso’s Guernica, in progress)

1937. Centre Pompidou, Musée National d’Art
Moderne, Paris.
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Photo © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / image Centre Pompidou, MNAM-CCI. © ADAGP, Paris and DACS, London 2019
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Untitled (Hand-Shell) 1934. Centre Pompidou, Musée National d’Art Moderne, Paris.
15
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Untitled c.1980. The J. Paul Getty Museum, Los Angeles.

hankfully, Lewis and her team chose
›
T to include works by Picasso, such as
The Weeping Woman, in the show.
When Picasso and Maar became
lovers the painter was still very much
involved with Marie-Thérèse Walter, who
had recently given birth to their daughter,
Maya. Naturally, neither of the women were
particularly happy with this unorthodox
arrangement, and it led many to believe that
The Weeping Woman was Maar’s pain made
visual. Lewis, however, is not convinced.
‘Maar said this was not a portrait of her, it
was a motif,’ she urges. ‘It’s a representation
of the suffering and tragedy of the people
of Spain during the Spanish Civil War.’ To
support this view, it’s believed that while
Picasso sketched Maar many times, she
never formally sat for him. ‘She also said,
quiet amusingly, that if she’d commissioned
the portrait she didn’t know if she would
have been very pleased [with it],’ adds
Lewis. In May 1937 Picasso began work on
Guernica, his most political painting to date.
‘According to the testimony of those closest
to the couple, it was no coincidence that
Picasso made his most political work at the
time he was with Maar,’ says Lewis. She, in
turn, was commissioned by the art journal
Cahiers d-art, to record the work in progress.
16
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surrealist’s circle assured, and
her work growing in popularity,
Maar was at the height of her
career when she met Picasso
in the winter of 1935-6.’
Picasso and Maar influenced each other
both artistically and personally: Maar taught
the painter cliché verre (a way of combining
photography and printmaking), while he
encouraged her to return to her first love,
painting. In the late 1930s she produced
a series of cubist-style portraits that are
certainly Picasso-esque. Painting was to
be her medium of choice for the remainder of
her life. ‘The narrative around Maar’s life and
work after her relationship with Picasso ended
implies that she became a recluse or no longer
exhibited, but this is not quite true,’ reveals
Lewis. ‘She was exhibiting in group and solo
exhibitions throughout the 1940s and 1950s.’
In 1946 Maar created a number of
engravings for the poetry anthology Above Untitled (Fashion photograph) c. 1935. Collection Therond.
Material Soil. These show a noticeable
shift towards more gestural and abstract was interested in the opportunities for if any were needed, that she was no weeping
impressions of the landscape. In later years construction and innovation,’ says Lewis. woman, broken by the end of a love affair.
she transferred her love of abstraction and ‘There’s a real correspondence with works In fact, her urge to create, construct,
mark-making to the darkroom where she on paper that she created years earlier.’ The and intrigue never left her.
created photograms, and negatives that extent of this darkroom work was only fully DORA MAAR is on show at Tate Modern
she heavily manipulated. ‘As always, she realised after Maar’s death in 1997 – proof, in London until 15 March.
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NEWS ON SHOW
Born less than a decade apart, Bill Brandt and Henry Moore shared plenty
of common ground, says Tracy Calder. A major exhibition at Hepworth
Wakefield explores their parallel and intersecting paths.
W
hen Bill Brandt and Henry blackouts and bombings, and daytime by the flexible, flitting between subjects and genres.
Moore were in the process of aftermath,’ says Droth. The 1940s was also a busy period for
establishing their careers in In time, both artists turned their attention Moore, who had used the outbreak of World
the late 1930s, photography to civilian life in the shelters created by War II as an opportunity to reconsider his
and art were generally considered two London’s underground system. Brandt artistic approach. ‘At the heart of Moore’s
separate (even opposing) forms, as Martina recorded heaps of slumbering bodies, their artistic shift at this time was his turn away
Droth from the Yale Center for British Art limbs intertwined; Moore, on the other hand, from the ethos of “truth to materials” towards
explains. ‘Each held a separate space: chose to draw displaced Londoners’ in neat, a long and sustained engagement with the
photography primarily associated with fact, endless rows. Many of the faces in Moore’s more economically and artistically
objectivity, and the sphere of news; art with drawings are featureless, as though their conservative practice of bronze casting,’ says
emotional and aesthetic choices and the bodies have been stored underground for Robert James Sutton, teaching fellow in
sphere of museums.’ Despite this perception, centuries. Despite their differences, these Twentieth Century Art. In 1944 Moore cast
both artists frequently found themselves artworks were printed on facing pages of the a number of small maquettes in bronze, and
gravitating to similar subject matter, starting magazine Lilliput in December 1942. four years later he won the International
with World War II. On 1 September 1939 the ‘Readers could hold the A5-format paper in Sculpture Prize at the Venice Biennale. (At
British government imposed a blackout, their hands and with a single glance compare this point, it’s important to note that Moore
which had a significant effect on civilian life. the aesthetic and emotional power of sketch was as much known for his drawings as for
Brandt took to the deserted city streets, and photograph, sculptor and photographer,’ his sculptures.) ‘In bronze, as in print,
capturing eerie images of St Paul’s and reveals curator and art historian Lynda Nead. Moore’s works came to represent a form of
Piccadilly Circus, as well as shots of But Brandt’s output at the time was not modernist practice that both public and
searchlights criss-crossing the sky. restricted to shots of wartime Britain, among private institutions deemed uniquely suited
Simultaneously, Moore responded to the other subjects, he also photographed nudes to public presentation,’ suggests Sutton.
blackouts and bombings with a series of – glamour and pin-ups were particularly
T
drawings commenting on the devastation popular at the time. One image, published in owards the end of the 1940s Brandt
of war. ‘Recording new horrific sights and Lilliput in October 1942, is reminiscent of the and Moore became interested in the
18 experiences that war introduced to daily life, art nudes he produced in later years. As a landscape and geological forms. As
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the work marks out the new rhythm in regular contributor to illustrated magazines Britain experienced a period of great
which night-time was characterised by and photographic agencies, Brandt had to be unrest and instability, the artists focused on
Hyman Collection, London, © Bill Brandt/ Bill Brandt Archive Ltd © Bill Brandt/ Bill Brandt Archive Ltd
Bill Brandt, Henry Moore, 1948 Bill Brandt, Self-portrait, 1966
© Edwynn Houk Gallery, New York, © Bill Brandt/ Bill Brandt Archive Ltd Tate, London, © Tate, London 2019
Bill Brandt, Normandy, 1959 Henry Moore, Tube Shelter Perspective, 1941
solid, stable objects, such as Stonehenge, BILL BRANDT/HENRY MOORE

or natural rock formations. ‘The 1950s was a The exhibition runs until 31 May at Hepworth Wakefield, Gallery Walk, Wakefield,
decade of crisis, trauma, and reconstruction, West Yorkshire. See hepworthwakefield.org. The accompanying book, Bill Brandt/
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which needed evocative stories of belonging Henry Moore, edited by Martha Droth and Paul Messier (published by Yale Center
and deep connection to the solaces of nature,’ for British Art) is now available.
Photo by David Rudkin, Courtesy The Henry Moore Foundation
suggests Simon Wallis, director of the
Hepworth Wakefield. (Interestingly, Brandt
took many pictures in Yorkshire, the county
where Moore grew up.) By returning to the
landscape, these artists were going against
many trends in modern art at the time. ‘Nature
provided solace and also inspired near-
religious feelings of connection to something
bigger than humankind,’ suggests Wallis.
While Brandt and Moore found common
ground in their choice of subject matter,
Moore also oversaw the creation of some
200,000 photographs (working with, among
others, Lee Miller, Brassaï, Cecil Beaton and,
of course, Brandt). Over a career spanning
seven decades he owned at least 16 cameras,
and in the late 1970s he began incorporating
cut-out sections of photographs into his
drawings. The importance of photography
to his practice has yet to be fully explored,
but research is well underway. Just as Moore
had used photography in his work, Brandt
turned to sculpture to inform his images of
the female form. Reduced to lines, shapes
and shadows, body parts merge with the
natural environment, fusing two worlds.
To understand the interdisciplinary, organic
nature of art production in 21st century
Britain, one has only to look at Brandt
and Moore. Henry Moore, Flint Torso, 1978
NEWS IN THE FRAME

If you would like an exhibition included in our listing, please email Elizabeth Roberts
at elizabethr@thegmcgroup.com at least 10 weeks in advance. Edited by Tracy Calder.
LONDON PURDY HICKS GALLERY

To 21 February
Eeva Karhu
BARBICAN ART GALLERY New work from Finnish artist Karhu
20 February to 17 May who layers photographs to explore
Masculinities: time and timelessness.
Liberation through Photography 25 Thurloe Street SW7
Group exhibition exploring the ways purdyhicks.com
in which masculinity is experienced,
performed, coded and socially constructed. RICHARD NAGY GALLERY
Silk Street EC2Y To 27 March
barbican.org.uk Breaking Away: Modernism in
Photography Since World War I
FOUR CORNERS GALLERY Fifty prints from masters of 20th-century
20 February to 2 May photography including Man Ray, Edward
Women Exile Photographers Weston and Imogen Cunningham.
Images by Dorothy Bohm, Gerti Deutsch 22 Old Bond Street W1S
and Lotte Meitner-Graf alongside lesser- richardnagy.com
known women photographers who came
to Britain as refugees in the 1930s. SOUTH LONDON GALLERY
121 Roman Road E2 To 23 February
fourconersfilm.co.uk Bloomberg New Contemporaries
This year photographers include Eleonora
HUXLEY-PARLOUR GALLERY Agostini and Simone Mudde.
To 14 March 65-7 Peckham Road SE5
Bruce Davidson southlondongallery.org
20 Life in 1960s Britain as viewed by
B+W American photographer Bruce Davidson. TATE BRITAIN
3-5 Swallow Street, Mayfair W1B To 3 May
huxleyparlour.com Steve McQueen – Year 3
Ambitious visual portraits of citizenship,
JERWOOD ARTS explored via the medium of a school
To 8 March class photograph.
Jerwood/Photoworks Millbank, SW1P tate.org.uk
Awards 2020 More London by William Beck came fourth and was
New photographic commissions by highly commended in last year’s competition. TATE MODERN
© William Beck/ Bath Preservation Trusts Architectural
artists Silvia Rosi and Theo Simpson. Photographer of the Year competition
To 15 March
171 Union Street, Bankside SE1 Dora Maar
jerwoodarts.org BATH PRESERVATION TRUST’S ARCHITECTURAL First UK retrospective of this icon of
surrealism, featuring more than 200 works.
JEWISH MUSEUM OF LONDON
PHOTOGRAPHER OF THE YEAR To 11 May
To 19 April To 21 June Steve McQueen
Jew Winners and runners-up of the 2019 competition, which included Exhibition featuring 14 major works
Exploring the nature of what it means categories Architecture of Entertainment, and Bath: After the Georgians. spanning film, photography and sculpture.
to identify as Jewish today, through Bankside SE1 tate.org.uk
34 large-scale prints. MUSEUM OF BATH ARCHITECTURE
Raymond Burton House, The Countess of Huntingdon’s Chapel, The Vineyards, Paragon, Bath, VICTORIA & ALBERT MUSEUM
129-131 Albert Street NW1 Somerset BA1 5NA museumofbatharchitecture.org.uk To 8 March
jewishmuseum.org.uk Tim Walker: Wonderful Things
Ten photographic projects inspired by
MAGNUM PRINT ROOM Photographer of the Year PHOTOGRAPHERS’ GALLERY the V&A’s collection.
To 3 April The world’s greatest space photography, 21 February to 7 June To 19 April
Good Morning, America selected from more than 4,000 entries. Jan Svoboda: Against the Light Into the Blue:
Ongoing project by Mark Power, Romney Road, Greenwich SE10 Redefining the language of photography The Origin and Revival of Pools,
examining the cultural and physical rmg.co.uk in relation to painting and sculpture. Swimming Baths and Lidos
landscape of America. 21 February to 7 June The architectural, cultural and social
3 Gee Street, EC1V NATURAL HISTORY MUSEUM Deutsche Börse Photography history of swimming baths and pools
magnumphotos.com To 31 May Foundation Prize in the UK.
Wildlife Photographer of the Year Four shortlisted projects vying for To 25 April
NATIONAL MARITIME MUSEUM Prize-winning nature photography, this year’s prize. Cairo Streets
To 26 April displayed on 100 lightboxes. 16-18 Ramillies Street W1F Everyday life in 19th century Cairo,
Insight Investment Astronomy Cromwell Road SW7 nhm.ac.uk thephotographersgallery.org.uk seen through historic photographs
from the V&A Collection. Photographers’ Association

To 31 August British press photography.
Valérie Belin: Reflection To 3 May
Large-scale works inspired by the Kehillah
V&A’s collection. Bradford’s synagogue is the subject of a
Cromwell Road, SW7 vam.ac.uk photo project by Nudrat Afza.
Lister Park, Bradford
MIDLANDS bradfordmuseums.org
CASS ART
IKON To 21 February
To 23 February David Gleave
Meryl McMaster: Portraits, street scenes and shots
As Immense as the Sky of bands and musicians.
Photography and performance 55-57 Oldham Street, Manchester
exploring First Nations’ identity. cassart.co.uk
1 Oozells Square, Brindleyplace,
Birmingham ikon-gallery.org HEPWORTH WAKEFIELD
To 31 May
NORTH Bill Brandt/Henry Moore

More than 200 works.
Gallery Walk, Wakefield
CARTWRIGHT HALL hepworthwakefield.org
ART GALLERY
To 19 April IMPRESSIONS GALLERY
Assignments 2019: British Press To 28 March
Arpita Shah: Nalini
A personal journey looking at daughters,
mothers and grandmothers.
Centenary Square, Bradford
impressions-gallery.com
OPEN EYE GALLERY

To 22 March 21
Visual Rights Anna May Wong, by Cecil Beaton, c.1929 B+W
© The Cecil Beaton Studio Archive at Sotheby’s
A look at how images can expose
the uneven distribution of power. CECIL BEATON’S BRIGHT YOUNG THINGS
19 Mann Island, Liverpool
openeye.org.uk 12 March to 7 June
Charting Beaton’s transformation from middle-class suburban
SOUTH schoolboy to glittering society figure. Features more than 150 works.
NATIONAL PORTRAIT GALLERY

HAUSER & WIRTH SOMERSET St Martin’s Place, London WC2H npg.org.uk
To 4 May
George Washington Wilson, Don McCullin: The Stillness of Life
Queen Victoria on ‘Fyvie’ with John
Brown, Balmoral, 20 October 1863.
Royal Collection Trust/ © Her Majesty
Queen Elizabeth II 2020
More than 70 photographs mapping
McCullin’s landscape and travel work.
Durslade Farm, Dropping Lane, Burton,
WEST To 1 March
Martin Parr in Wales
Welsh life and culture.
Somerset BA10 hauserwirth.com MARTIN PARR FOUNDATION Cathays Park, Cardiff
GEORGE To 14 March museum.wales/cardiff
WASHINGTON NORTH WALL Street Fusion: Bristol in 2019
WILSON:
QUEEN VICTORIA’S
To 7 March
Backstage at the Ballet:
Photographs by Colin Jones
Dutch photographer Hans Eijkelboom
captures Bristol in his own distinctive style.
316 Paintworks, Arnos Vale, Bristol
SCOTLAND
PHOTOGRAPHER Images showing the emotional intensity, martinparrfoundation.org ABERDEEN ART GALLERY
physical exertion and beauty of ballet. To 23 February
IN SCOTLAND
8 March to 5 July
Washington helped to
South Parade, Summertown, Oxford
thenorthwall.com WALES Martin Parr: Think of Scotland
and Aberdeen at Leisure
Two bodies of work by Parr.
promote a romantic view WORTHING MUSEUM NATIONAL MUSEUM CARDIFF School Hill, Aberdeen aagm.co.uk
of the Scottish landscape. AND ART GALLERY To 1 March
To 23 May ARTIST ROOMS August Sander ABERDEEN MARITIME MUSEUM
SIR DUNCAN RICE A Strange and Familiar Sea Portraits from Sander’s project To 13 April
LIBRARY, UNIVERSITY Bringing together work from three series People of the Twentieth Century. Cartomania:
OF ABERDEEN by Mandy Williams, all focusing on To 1 March A Victorian Phenomenon
Bedford Road, Aberdeen the sea. Bernd and Hilla Becher: Celebrating the first mass-produced
AB24 3AA rct.uk Chapel Road, Worthing Industrial Visions photography (cartes de visite).
worthingmuseum.co.uk More than 200 photographs. Shiprow, Aberdeen aagm.co.uk
NEWS
ON THE SHELF
Black+White’s line-up of some of the very best new photographic
publications out in the bookshops or to order online.
DOCUMENTARY FRIEDLANDER
PHOTOGRAPHY FIRST FIFTY
Introduction by
RECONSIDERED Giancarlo T. Roma
Michelle Bogre SPQR Editions and Haywire Press
Bloomsbury Hardback, $55
Paperback, $47.06
T
his is an excellent book
ocumentary capturing the essence of
D photography has
become one of the most
revered of photographic
genres with postgraduate
courses opening up the subject
COINCIDENCES:
NEW YORK BY
CHANCE
Lee Friedlander’s work
from the perspective
of his grandson. Looking at
the first 50 titles created
by the great American
and agencies such as Magnum photographer and shedding
Jonathan Higbee
INDIA promoting investigative
Anthology Editions
light on the process of each,
Steve McCurry photojournalism. Documentary Giancarlo hoped Friedlander
Hardback, £28
Phaidon is now taken seriously both as First Fifty would be a
B
Paperback, £29.95 an art form and a vehicle for latantly colourful, complete works tribute.
activism and social change. Jonathan Higbee’s On a cursory look, its full
S
teve McCurry has been Michelle Bogre’s investigation New York images appear pages and somewhat dated
photographing India of the subject is thorough, as though they are set- design might at first glance
for more than 30 years, painstaking and contemporary, up shots, so refined are they make the book appear a little
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having travelled to the taking us from the seemingly in composition and colour confusing, however as one
country some 80 times since simplest of questions – what juxtaposition. But, we are told, starts to engage with the
his first visit in 1978. Here we is documentary photography? these shots are the result of content the cluttered look
see 100 of his finest images – through to the complex sometimes hours of patience becomes insignificant –
of the country, and what issues of memory, the question or sometimes just a swiftness every element that’s included
wonderful images they are. of truth and witness, ethics of reaction. enriches our understanding
Responding to India’s and narrative form – all of Higbee’s eye is not the cruel and appreciation of a great
differences with a respectful which are addressed alongside one of some contemporary photographer.
eye, McCurry offers us scenes examples from some of the best street photographers, more With short interviews, book
to contemplate and wonder photographers in the genre. a considered fascination with jackets and images from each
at. As historian, writer and This is an absolute must people and their different title spread across four pages,
broadcaster, William Dalrymple for anyone with an interest in eccentricities that touchus it’s impressive (and slightly
writes in his introduction: documentary photography – in daily life. A cloud ofsmoke overwhelming) to see the
‘McCurry’s India is, above all, a intelligent and informative and appears to be coming from a rate that Friedlander shoots,
world of paradox, where the red very readable. grey-headed man, background develops and prints his work
robes of a Buddhist monk echo Elizabeth Roberts photographyof men running before editing collections,
perfectly the red of the Coke merges withthe foreground creating dummies and
advertisement behind him.’ reality, a pairof orange producing what is at the core of
McCurry’s ability to capture the striped trainersstand on the his practice: the photobook.
continent’s plentiful contrasts similar coloured lines of Anna Bonita Evans
in a single frame highlights an undergroundstation. The
his exceptional skills as a moments are funny and
documentary photographer. thoughtful and, ultimately,
Thanks to the book’s beautiful.
A3 format and excellent These images are unmistakably
production, each image framed New York, described by a
with a white border appears photographer who knows and
almost like a fine art print. understandsits citizens and,
A wonderful book made for perhaps, hasa great fondness
compelling viewing. for the place and its people.
Anna Bonita Evans Elizabeth Roberts
COMMENT
AMERICAN CONNECTION
In a relatively short time, Sharon Madden Harkness has developed
a distinct personal style while using a variety of printing processes to
susanburnstine.com
achieve her vision. She talks to Susan Burnstine about her work.
Front Yard Paso Robles
S
haron Madden Harkness along that just has a natural spark seven years ago after she moved she says. ‘At first it was to have a
is a photographic from day one. I have had the and aspired to document her new way to keep prints of my work for
24 chameleon who is distinct pleasure of watching surroundings. She became so myself, but it quickly turned into
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constantly reinventing Harkness’ artistry develop since involved in creating photographs making my own visual diaries
her vision. Readers of this she first attended my class at and re-learning the medium that and other non-traditional books.
magazine were first introduced Santa Fe Photographic she literally forgot to unpack her I am more interested in looking at
to her work in 2015 when she Workshops in 2013. She dabbled paints. A short time later she work in book form lately. One can
earned the Black+White in photography throughout her attended my workshop and spend time with a book, have an
Photographer of the Year award youth and later earned her promptly began developing a intimate relationship with it.
in the Natural World category Master’s degree in Drawing but distinct personal style once she It’s a sensual thing.’
for her series At the Hands of photography took a back seat to identified her intent. Through the
Man. And in 2016 her series her painting career and raising a past seven years she has been ne of her recently
Under a Different Sky was
featured in 60-Second Exposure.
Sometimes a student comes
family until a few short years ago.
A key transition in her creative
development occurred about
drawn to countless printing
processes so her aesthetics and
subjects have continuously
transformed, but a thematic
consistency focusing on what she
O completed books,
The Garden of
Discontent, features
portraits of Harkness, her
husband, daughter and several
has emotionally wrestled with gardens. ‘Discontent can take
unwaveringly remains. many forms. It can be a
Most recently she has produced dissatisfaction with
a collection of unique visual circumstances, and it can also be
diaries that resemble old an awareness of the underlying
handmade photo albums. She’s sorrow inherent in life; the
used several methods to create difficulty of balancing or
the prints found inside her embracing that as well as the
handmade books and she also great beauty of it all,’ she says.
enjoys scattering found objects ‘A photograph can be dark and
and memorabilia throughout disturbing and also very
the pages. When she was young, beautiful and life-affirming at
her father’s business had the same time. I’m interested
incorporated fine bookbinding, in that intersection.’
so she grew up with a deep The inspiration for this series
admiration and respect for books. began after her husband had two
‘I have only recently become consecutive back surgeries, while
Richard’s back interested in making my own,’ at the same time her daughter
All images © Sharon Madden Harkness
EXHIBITIONS
USA
BLOOMINGTON
Pictura Gallery
Until 28 March
Andy Mattern picturagallery.com
COLUMBUS
Wexner Center
Until 26 April
Stanya Kahn wexarts.org
HANOVER
Hood Museum of Art
Until 12 April
School Photos and their Afterlives
hoodmuseum.dartmouth.edu
HOUSTON
Catherine Couturier Gallery
Until 28 March
Heather in the Garden Maggie Taylor
catherinecouturier.com 25
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had several stitches in her ‘he fragility of our bodies, hearts and lives NEW YORK CITY
shoulder. She recalls, ‘The
fragility of our bodies, hearts was very much on my mind; the temporary Grey Art Gallery
21 April to 11 July
and lives was very much on my nature of everything, including me.’ Anne Brigman
mind; the temporary nature of greyartgallery.nyu.edu
everything, including me.’ use Lightroom or Photoshop to is focusing on hand painting her
New York Historical Society
She also integrates plant imagery make adjustments, not to add images and creating what she
Until 9 August
into the series as it has to do things or composite. I’m not a describes as ‘really bad tintypes’. Bill Graham and the
with the natural force of life, the purist and will futz with an But what she’s most excited Rock & Roll Revolution
constant, impersonal nature of it. image to get what I want.’ about is her unique, handmade nyhistory.org
When she first began creating Currently Harkness has visual diaries.
work for this collection Harkness shifted processes once again and sharonmaddenharkness.com PORTLAND
yearned to move away from Blue Sky Gallery
shooting digitally and produce 5 March to 12 April
images with her old Hasselblad John Baldessari blueskygallery.org
and an old Polaroid back. As luck
would have it, she happened ROCHESTER
upon a pack of Polaroid film that Eastman Museum
was years out of date and was no Until 28 June
longer being produced. The film Alejandro Cartagena eastman.org
she found was still available in
certain outlets such as eBay. ‘It
SALEM
wasn’t manufactured to be a Peabody Essex Museum
Until 12 July
peel-apart film, but I did peel it
Golden Prospects
apart and found I could make a pem.org
negative using bleach and water,’
she says. ‘I’d let it get scratched TAMPA
up in the process, sometimes Florida Museum
destroying everything I’d just of Photographic Arts
shot. I made digital prints by Until 1 April
scanning the images I wanted to Roger Ballen: In Retrospect
keep. I did sometimes go in and Thousand Oaks fmopa.org
F E AT U R E
All images
© Richard Dunkley
ARE YOU SITTING

COMFORTABLY?
For the past 20 years
photographer Richard Dunkley
has had an ongoing project – that
of photographing chairs. On his
travels, in between jobs and in
his free time, they became an
obsession that wouldn’t go away.
Finally, he has published a book
of the work so that he can share
his fascination with the world.
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s a professional
A
photographer, I have been
privileged to work in the
homes of many interesting
people. I have found
myself in diverse locations,
sometimes grand or strange – but, of course,
there is always somewhere to sit down. To
see the chair and desk where Virginia Woolf
sat to write, for example, evokes the spirit of
the time. Other seating situations have been
recorded for their beauty, their strangeness,
eccentricity or interesting composition. The
sheer good fortune of being with a camera
in the right place at the right time is the
essence of most documentary photography.
Whatever the situation, at the heart of
my project is Matisse’s quote: ‘The object
is not so interesting in itself, it is the
surroundings that bring the object to life.’
I am not doing ‘portraits’ of chairs; rather,
I am making landscapes. Chairs are a part
of the composition just as people are in
street photography. ›
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‘I am not doing ‘portraits’ of chairs; rather, I am making landscapes.

Chairs are a part of the composition just as people are in street photography.’
› But the bench is also important. Sturdy, elements of time, such as lichen, moss and
permanent, blunt, even brutalist – it is a assorted creeping vegetation.
functional item, usually lacking the refined Many aspects of this project have quietly
lines of its relative, the chair. But a bench obsessed me: the demise of promenade
– on a remote stretch of coastline, in the chairs in Nice due to endless theft, the
deepest countryside, by a river, roadside, or adjustable leg lengths of Italian hill town
in a park – is a welcome sight to the weary tables and chairs (to keep them horizontal),
walker. Benches predominate where chairs and those revered chairs which have
are largely absent. accommodated the bottoms of famous
Let us not underestimate the charm of composers, writers and philosophers. The
the bench. They are not all of standard extraordinary shapes and shadows thrown
issue and are sometimes imaginatively up by chairs add another dimension. Chair Stories: Spaces & Places
constructed from wood, rock, concrete, I have tried to suggest the varied lives that by Richard Dunkley is available through
even cement, or carved out of a tree trunk. chairs inhabit. I conclude that most people his website richarddunkley.co.uk/chairstories
Benches usually have a longer life than have a favourite seat, be it a homely sofa, at £19.99 plus P&P.
chairs, being built to withstand heavy-duty a café corner chair or bench with a view. An exhibition of the work will be on
use in all weathers. The aging process of a Chairs are part of our environment – it in London in early summer. Keep an eye
utilitarian bench can be enhanced by the seems we cannot live without them. on our listings pages.
FEATURE TAKING A SECOND LOOK

In an extract from John Davies’ new book Retraced 81/19, Martin Barnes
All images looks at this compelling work, in which the photographer visited and
© John Davies
revisited sites in the UK and Europe, telling a very human story.
Retraced 81/19 By Martin Barnes
I
have admired John Davies’ photographs for many years and stories about process, change and transformation. He often
have been privileged to look often at his original prints, many works over years on long-term projects, documenting the social
of which are held in the permanent collection of the Victoria consequences of economic forces in the formation of the landscape.
and Albert Museum (V&A). On a purely technical level, he Davies was born in the north of England and his formative years
produces exquisite prints that show a complete command of his were spent living in both coal mining and farming communities.
craft. On an aesthetic level, his signature style demonstrates an He began photographing the rural landscapes of Britain during
acute visual intelligence. Often taken from an elevated viewpoint – the mid-1970s. From the early 1980s he documented key industries
seeming to give the illusion of a disembodied eye – his photographs and the social landscapes left over from the industrial revolution
give an encompassing, inclusive and expansive impression. to reveal their impact in shaping present urban environments.
However, Davies does not rest on his considerable technical His images show areas of coal mining, textiles, steel, quarrying,
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Above Goods Way, Kings Cross, London, England 1988. | Opposite Goods Way, Kings Cross, London, England 2019.
railways and shipping along with the towns and cities associated they are symbols of human endeavour. They are about the actions
with these industries. In 2000 he started to investigate the way and legacies of people within a culture shaped over generations.
major British post-industrial cities had changed from distribution And they reflect the individual and collective impact on the
hubs to consumer and cultural centres. Some of his images show environment that continues to shape our world. These pictures
how former sites of industrialisation have now been reclaimed by represent a human story of effort and achievement but also the
nature, or how new forms of energy production, housing, cultural many, often untold, histories of conflict and exploitation. The
infrastructure or transport have made their mark on the country. photographs capture a specific place at two moments in time. But
This book gathers together a selection of the work made by Davies perhaps the real subject of Davies’ pictures is the suggestive space of
in Britain, and further into Europe, where he has retraced his steps time between those moments. His vision is undiscriminating in the
in time, re-visiting and re-photographing landscapes he depicted best sense, compelling the viewer to draw their own conclusions.
in the years between 1981 and 2019. These pairs of before and after
images, made from the same vantage point, reveal sometimes subtle
and sometimes dramatic physical transformations. They tell of the
alterations created by human activity and bear witness to cultural
and social changes over nearly four decades.
Davies’ written introduction to this book does not describe in
detail what you can see in his pictures. Rather, it signposts some
of the key historical contexts that have given rise to the revealing Retraced 81/19 is published by
documentary landscapes he has chosen to make. These landscapes Gost in hardback at £45
are not just about surface appearances and architectural features; gostbooks.com
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36 Above Motorway Construction, Mouhet, France 1998. | Below Coal Train and Dawdon Colliery, Seaham, England 1983.
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Above The Keel, Former Graving Dock, Liverpool, England 2019. | Below Queen’s Graving Dock, Liverpool, England 1986.
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Above Potsdamer Platz, Berlin, Germany 1984. | Opposite Potsdamer Platz, Berlin, Germany 2019.
‘From the early 1980s, he documented key industries and the social
landscapes left over from the industrial revolution to reveal
their impact in shaping present urban environments.’
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NEWS BLACK & WHITE SPIDER AWARDS

More than 6,000 entries from around the world were received for the
Black & White Spider Awards, which honours excellence in black & white
photography. Here we present some of the best pictures from the competition.
© Philip Lawrence
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© Lance Carter
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© Graham Eaton
© Amardeep Singh
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© Thomas Lay
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© Lawrence Lustig
INSPIRATION
STRAIGHT TALKING
With every increasing technological advance that enables us to make better
All images and better images, Chris Gatcum questions whether there is room for any
© Chris Gatcum
one photographer to become a true great like the ones of the past.
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ay back in camera manufacturers have
W B+W 229 I
suggested that
photography has
become so easy
that even a chimp could produce
a photographic masterpiece
given enough stabs at the shutter
always strived to simplify,
demystify and streamline the
picture-taking process so that
an ever-increasing number
of people can produce more
great shots with minimal fuss,
effectively reducing the risk of
release button. I attempted to human-based cock-ups. Sure,
prove the point by arming an the overriding goal of these
errant three-year-old with a advances is to oil the company’s
suitably robust compact, which, cash-cogs, but I don’t think any
it transpires, was not quite robust of us – even on the most cynical
enough. However, I stand by my of days – could deny that we
argument, which was based haven’t benefited in some small
squarely on the capabilities of way from one advancement or
the camera technology we another; emulsion coming on
are witnessing today. a roll instead of a glass plate is
Not only has the shooting a technological advancement
process been simplified to the that many of us accept without
point where a pixel-perfect a second thought.
result can often be achieved
with a single unthinking push ‘We already have facial
of a button, but as AI and recognition that can
computational photography
increasingly infiltrates our differentiate between
camera systems we are starting Aunt Maud and Uncle
to see algorithms that can Bob, and not just spot
deliver results that are superior
to our vision. We already have the difference between
facial recognition that can a person and a potato.’ 45
differentiate between Aunt
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T
Maud and Uncle Bob, and not he upshot of all of this
just spot the difference between is that as photographic
a person and a potato; night technology – in both its
modes that can quite literally electronic and chemical
see in the dark; and background guises – has been refined across
defocus and digital lighting the years, photographers have
algorithms that don’t need been given the opportunity to
physics to produce a portrait experience an increasing number
(and, in due course, may not of perfect pictures, regardless of
even need someone in front whether they are the creators or
of the camera). consumers of photographs.
Although much of this tech It’s very much like climbing
is implemented in phones – and Everest. While I am pretty sure
is arguably designed more to that ascending this Himalayan
shift boxes of near-disposable peak is harder than trying to
Androids than to altruistically wrap your head around f/stops
improve our collective visual and circles of confusion – or at
wellbeing – there is no doubt least more dangerous – more
that we will see more and people have reached the 8,848m
more of this labour-saving (29,029ft) summit in the last
magic employed elsewhere; 24 months than stood at the
we can already see it trickling peak between 1953 and the
into software and consumer- Opposite This shot was taken a decade ago using a superzoom travel year 2000. Now my knowledge
orientated digital cameras. compact with a 10x zoom lens. At the time, such an extreme focal length of mountaineering is precisely
Of course, this is not news, range was pretty rare, but in modern company it seems quite limited: zilch, but to me, those numbers
or indeed new. Whether it today’s technology would have let me zoom in much closer had I wanted to. suggest that as routes up
was automatic film loading, the mountain have become
the appearance of automatic Above As well as providing us with the tools to take great shots, digital established, as guides have
focus, automatic exposure technology has also given us the freedom to experiment. Looking up at this gained more experience, and
modes or any other camera building in Prague resulted in severe converging verticals and I perhaps as clothing and other
function that could be wouldn’t have shot it on film, but shooting digitally it was easy to correct equipment has advanced,
automated, the mainstream the extreme distortion and create a much stronger image. Everest has become an easier ›
46
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› mountain to conquer. Not easy, Above Thanks to the off-the-shelf availability of ever-more obscure technological wheel is fast
but certainly easier. historic processes, analogue photographers can also take advantage of tracking us all to the summit
And so it is with our technological advances to help reduce the margin for error. Meanwhile, like a queue-jumping pass at a
photographic Everest. Where those working in the digital darkroom can create a similar look at the theme park. As the cliché goes:
once we would have seen the push of a button. ‘there is no better time to be
three isolated figures of Fox a photographer’.
Talbot, Niépce and Daguerre initiating an anti-digital rant No, we can choose any flavour However, standing in Base
struggling to determine a path (which I appreciate can often of historic process and find all of Camp, watching the next
to the summit, we can stride sound like my intent), it is not the ingredients ready prepared generation of photographic
forwards with a plethora of just digital developments that for us to buy off the shelf; it is climbers setting out, I often
guides and technologies that have helped us all to up our hardly surprising that it seems find myself asking one simple
provide us with deep and clear game. Anyone wishing to swim like more photographers are question: will we – and can
footprints to follow in the against the digital tide now has a using wet plate now than were we – ever see another truly
snow. We are at a point where plethora of alternative analogue in the 1850s. great photographer? I’m not
ever-more affordable and ever- options to choose from, so we talking about photographers
L
more capable digital cameras no longer need to turn ourselves ike Everest, photography who achieve Insta-fame through
can propel us straight into the into alchemists in the hope is still not an easy journey, their YouTube channels, and
big league, be it through an of creating and extracting a but there is no doubt become the poster children
extensive dynamic range that latent image. that the turning of the for kit-makers and trinket-
can cover up any exposure pedlars. While there’s probably
errors or the built-in histograms ‘Like Everest, photography is still not an easy something admirable about
that – as I proposed last month those with the necessary
journey, but there is no doubt that the turning of
– should ensure we never get an commitment to chase followers
exposure wrong to start with. the technological wheel is fast tracking us all to the and likes – and well done to
Before I get accused of summit like a queue-jumping pass at a theme park.’ them if they manage to snag
a few shiny baubles along scenery, there were precious

the way – I’m talking about few opportunities for anyone
photographers with the longevity else to join them. Like Hillary
and gravitas of, say, Adams, and Tensing, their tales were
Bresson, McCullin, Stieglitz or something we could listen to,
Weston: iconic photographers but never participate in: we
capable of shaping photography could climb a lesser peak, but
across a lifetime, as opposed to Everest itself was out of bounds.
enjoying 15 Warholian minutes Today, though, the visual
in the spotlight. monologue has become a
Or has the landscape of conversation, and we all have the
photography shifted so much opportunity to start climbing
that there is no longer the milieu to the top of the world. Sure, we
for an epoch-defining image- might never reach the summit –
maker? I am not for a minute and if we do we will not be able
suggesting that we will never to stay long – but technology
see another photographer of has at least put us in the
staggering talent. Quite the foothills surrounding Everest.
opposite. Thanks to myriad Now, where did I put
technological advancements and my crampons?
the wide-ranging experiences
and vast repository of images Left From our cameras to our
that can be witnessed with processing, we now have so many
the click of a mouse, I am options when it comes to how to
certain that we will only see take and treat a photograph that
an increasing number of we really have never had it better.
spectacular snappers – the It’s hardly surprising that the
weight of numbers says it cannot photographic bar has been raised
be any other way. But, just as universally, and we can all now
the summit of Everest is now access the tools that will help
the sight of a conveyor-like us produce our best images.
procession of successes, with
each visitor only able to snatch a
Below Whereas landscape 47
photographers would once have B+W
quick glimpse of the view before had to set up plate cameras on
they are jostled back down, tripods for lengthy exposures,
perhaps our fresh parade of today’s photographers have no
photographic talent is also likely a legacy. On that basis we sounds, it is perhaps not a bad such restrictions: this shot was
to rise fast and be replaced just arguably will not – and cannot – thing. While the old guard may taken from the passenger window
as quickly, leaving no time for see another iconic photographer. have had the space and time to of a motorhome rumbling through
any one individual to establish Yet as despondent as this sit atop Everest and admire the southern Spain.
FEATURE
THE MODERN LOOK

Collector and gallerist Richard Nagy and vintage
photography expert Michael Shapiro have created
a new exhibition featuring exceptional prints by some
of the masters of black & white photography.
are pictures by some of the biggest names in
R
20th century photography can be seen in a new
exhibition in London.
Breaking Away: Modernism in Photography Since
World War 1 is described as the first UK exhibition
of its kind outside of a museum and the finest
gallery exhibition of vintage photography ever
seen in London. It features 50 pictures by a stellar
list of photographers that includes Berenice Abbot, Ansel Adams,
Eugène Atget, Walker Evans, André Kertész, Dorothea Lange,
Irving Penn, Paul Strand and Edward Steichen.
The pictures, which can be seen at the Richard Nagy Gallery in
London from 6 February to 27 March, cover key themes of modernist
photography such as radical experimentation, the human form and
48 social documentary. Highlights include a newly-discovered print
B+W
of a nude by Edward Weston, a portrait of a musician by Imogen
Cunningham, a social documentary picture by Margaret Bourke-White,
rare photographs of London by Robert Frank, a double exposure by
Manuel Álvarez Bravo and a picture of Lee Miller by Man Ray.
The exhibition is presented by Michael Shapiro and Richard
Nagy. Shapiro is an international authority on vintage photography,
particularly the 1920s and 1930s. Nagy has been collecting vintage
modernist photographs for many years and is a longstanding
friend of Shapiro.
Clearing Winter Storm, 1940

by Ansel Adams
SEE THE PICTURES

Breaking Away: Modernism in Photography Since World War 1
is presented by Michael Shapiro Photographs and Richard Nagy Ltd
and runs at the Richard Nagy Gallery in Old Bond Street,
London, from 6 February to 27 March.
49
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© The Ansel Adams Publishing Rights Trust
© The Estate of Edward Steichen / ARS, NY and DACS, London 2019 / Courtesy of Michael Shapiro
© Conde Nast / Courtesy of Michael Shapiro

All Rights Reserved ©1981 Center for Creative Photography, Arizona Board of Regents / Courtesy of Michael Shapiro
50
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Top left Anna May Wong, New York, 1939 by Edward Steichen Top right Lisa Fonssagrives-Penn in harlequin dress by Jerry Parnis with a Lilly,
1950 by Irving Penn, Vogue Below Nude (Miriam Lerner), 1925, by Edward Weston
Courtesy of Michael Shapiro
51
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© 2020 Imogen Cunningham Trust / Courtesy of Michael Shapiro
© Copyright of the artist / Courtesy of Michael Shapiro
Top Gunsmith and Police Department, 6 Centre Market Place, 240 Centre Street, Manhattan, February 4, 1937 by Berenice Abbott
Below left Hand of Gerald Warburg, 1929 by Imogen Cunningham Below right Mark Rothko, 1950 by Consuelo Kanaga
© Archivo Manuel Álvarez Bravo, S.C / Courtesy of Michael Shapiro

© The LIFE Picture Collection via Getty Images / Courtesy of Michael Shapiro
52
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Top The Labyrinth Deciphered, Veracruz, Mexico, 1932 by Manuel Álvarez Bravo
Below Washers, Grand Coulee ("Construction Area: Extreme Danger"), 1937 by Margaret Bourke-White
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2020
TECHNIQUE
TOP TIPS
EXTREME ISO
The latest generation of digital SLRs can shoot at ridiculously
All images high ISOs. Lee Frost offers his top tips on how to make the
© Lee Frost
most of this invaluable feature.
1 MORE FOR LESS
W
hat’s the highest ISO But things have changed. Technology has
you’ve ever taken a advanced and improved. In the days of black & white film, the fastest
photograph at? Maybe A decade ago, once you started emulsions you could get were Ilford Delta
1600? Possibly 3200? shooting at ISOs beyond 400, image and Kodak TMax 3200. Both were pretty
Or perhaps you’ve had quality took a noticeable nosedive and good, given the speed, but they were also
a mad day and tried noise started to raise its ugly head. extremely grainy. Even on a 10x8in print the
6400? Well whatever it is, I reckon I can Venturing into four figures was like stepping grain was glaringly obvious, but as it was
beat it, because my Canon EOS 5D MKIII into a photographic minefield, and beyond par for the course we just accepted it. Not
goes all the way to ISO 102400. It’s true. ISO 1600 images started to look like they’d any longer. At ISO 3200, even 6400 in
And it’s not the highest you can get either, been shot through a tea strainer. some cases, image quality from today’s
not by a long way. The Nikon D5 has an ISO But as I say, things have changed. Digital digital SLRs is as good as you’d get from
range up to 3.2 million. That’s not a misprint! sensors are infinitely better than they used ISO 400 film – if not better. In practical
The very thought of taking photographs to be, image quality is far, far higher and terms this means you have an extra three
at such high ISOs will probably have some the ability to maintain that quality as ISO or four stops to play with, without seriously
of you breaking out into a cold sweat. In increases is phenomenal. I’ve taken compromising image quality. Add that to
this digital age, image quality has become hundreds, if not thousands, of images at the three or four stop advantage you get
an obsession, so low ISOs are all the rage ISO 3200 and ISO 6400 and the quality from lenses with image stabilisation and
and many photographers would rather die just blows me away. Creatively, this opens the benefits are obvious. Black cats in coal
than shoot at anything higher than 100. up some serious doors. cellars no longer pose a technical problem!
56
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1
Havana, Cuba
This shot was taken handheld an hour before sunrise with just street lighting for illumination. But with
the ISO cranked up to 12800 I still managed a decent exposure – and image quality is surprisingly good.
Canon EOS 5D MKIII with 24-70mm zoom lens, 1/100sec at f/4, ISO 12800
2 NOTHING WRONG
WITH NOISE
If you shoot at extreme ISOs then you
have to accept noise as part of the deal.
Fortunately, it’s not nearly as bad as you
might imagine. Also, in black & white
images the grain created by the noise
can actually work in your favour because
it adds texture and character. One of the
things I dislike about digital imaging is that
it’s quite clinical – it’s too good for its own
good and there’s a danger of producing
work that’s technically perfect but
creatively dull because we’re afraid to push
the boundaries and make full use of the
features our cameras offer. Add some
gritty grain in the form of high ISO noise
and your shots will look like proper black
& white photographs!
Venice, Italy
I purposely left my tripod at the hotel and went
for a stroll around Venice at night to shoot some
handheld high ISO images. This one was shot at
ISO 25600. It’s obviously grainy, but I like the
feel it adds to the image.
Canon EOS 5D MKIII with 17-40mm zoom lens,
1/30sec at f/4, ISO 25600
57
3 PUT YOUR CAMERA B+W
TO THE TEST
Pretty much all DSLRs and mirrorless
cameras offer excellent high ISO
performance these days. That said, some
are better than others, not only in terms of
how high their ISO range extends to, but
also the quality of the images produced. If
you’ve never pushed your camera to the
ISO limit, it’s worth conducting some tests
to see how it does. All you need to do is
2
photograph the same scene several times,
gradually increasing the ISO until you reach 3
the maximum. There’s no need to start at
the bottom of the range – maybe go from
ISO 400 then 800, 1600, 3200, 6400,
12800, 25600, 51200 and onwards if you
can. Download the images, process them
then compare them. You may find that
beyond a certain point image quality
plummets, in which case you’ll know not
to use the ISOs above that point unless
you really need to.
Bagan, Myanmar
My Canon EOS 5DS is an amazing camera overall,
but with a 50Mp sensor, image quality falls
dramatically beyond ISO 6400. Knowing that,
I never use it at ISOs any higher, whereas with
my 5D MKIII I’ll happily shoot at ISO 25600.
Canon EOS 5DS with 24-70mm zoom lens,
1/60sec at f/4, ISO 6400
4 4 SUBJECTS FOR
EXTREME ISO
Pretty much any subject suits the high
ISO treatment – portraits, landscapes, still
life, details, nudes and so on. More often
than not, when I shoot at extreme ISOs
it’s because I have no choice, usually in
low light situations where a tripod isn’t
permitted, or it’s not practical to use one.
If your subject is likely to move, for
example, then a tripod isn’t much good
because you still need to shoot at a
decent shutter speed, in which case you
might as well handhold. But I also hike-up
the ISO sometimes for fun or creative
effect.I enjoy wandering around at night,
shooting handheld low-light images, for
example. I also like the stark, gritty feel
that black & white images have when
shot at extreme ISO so I’ll occasionally
increase the ISO even if I don’t need to.
Marrakech, Morocco
I had a tripod with me when I took this shot,
so I could have used a low ISO and small
aperture to record the scene. However,
I wanted to freeze the people walking across
the square and also felt that high ISO noise
would add a nice gritty feel to the image.
1/250sec at f/4, ISO 6400
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5 SHOOT IN RAW AND WATCH YOUR EXPOSURES

Just because image quality is affected by I had in mind. Jpegs shot at extreme ISO,
shooting at extreme ISO, don’t be misled especially in contrasty light, give you less
into thinking you can adopt a sloppy wriggle room when it comes to editing. I
approach. If anything, you need to be even also expose carefully and keep a watchful
more careful and critical so the images you eye on the histogram. Even if the final
produce are as good as they can be. image looks dark and moody, I avoid
I always shoot in Raw, for example, so the underexposing the Raw files as doing so
files produced contain as much tonal data reduces the tonal data recorded and also
as possible and I can manipulate that data increases shadow noise. At extreme ISO
however I choose to produce the image you’ve already got enough of that.
Bagan, Myanmar
The interior of this temple was illuminated only by candles, so light levels were low and contrast
high. I was shooting handheld and pushing my luck, but the final image has plenty of detail
and captures the atmosphere of the location.
Canon EOS 5DS with 24-70mm zoom lens, 1/20sec at f/4, ISO 3200
6 EDITING YOUR IMAGES

Once the high ISO images have been
downloaded to my Apple Mac computer
I usually make some basic adjustments
in Adobe Camera Raw – applying lens
correction, increasing clarity a little and
boosting contrast with the tone curve
sliders. Extreme ISO images tend to be
rather flat and muddy but using the tone
curve sliders to create a simple S-curve
usually does the trick. The image is then
opened in Photoshop and converted to
black & white using Silver Efex Pro 2, part
of the Nik Collection by DxO. I favour the
high structure preset, though it doesn’t
always give me the effect I want so I’ll
manually adjust brightness, structure and
contrast. One thing I rarely, if ever, do is
apply noise reduction as I actually like
noise in black & white images. I realise
not everyone will share my view!
6
Dades Valley, Morocco
I took this found still life on a recent trip to 7
Morocco. I found it inside an old kasbah, just
barely lit by natural daylight coming in from the
small window. The quality of light was actually
very beautiful; there just wasn’t much of it!
1/25sec at f/8, ISO 6400
59
‘I also like the stark, gritty B+W
feel that black & white

images have when shot
at extreme ISO.’
7 TAKE IT TO THE MAX

The very highest ISO settings in your
DSLR are likely to be labelled H, H1,
H2, H3 or something similar, rather than
numbers. What this means is that they’re
not true ISOs, but the highest native ISO
that is underexposed to effectively give
you an even higher ISO, then corrected
in-camera. In my Canon EOS 5D MKIII,
for example, the highest native ISO is
25600. Beyond that I have H1 and H2
settings, which represent ISO 51200 and
ISO 102400. In reality, H1 is ISO 25600
underexposed by a stop then corrected
and H2 is ISO 25600 underexposed
by 2 stops then corrected.
Havana, Cuba
Just to show you what an image shot at
ISO 1024500 actually looks like, here’s one I
prepared earlier. In colour it would be unusable,
but in black & white it doesn’t look too bad!
1/500sec at f/11, ISO 102400
8 INSIDE JOB
While photography is permitted in many
public buildings and spaces, the vast
majority impose a strict tripod ban.
Photographically, this creates a problem in
terms of light levels being low and the risk
of camera shake high. Fortunately, you can
solve that problem easily using your camera’s
ISO range. Hike it up to 1600 or 3200 and
in most situations you’ll be able to fire away
at a decent aperture and shutter speed
and at these kinds of ISOs the latest digital
cameras produce amazing results. It’s a win-
win situation – the tripod police stay off your
back and you produce some great shots.
London, England
The most interesting part of Tate Modern,
for me at least, is the concrete staircase in the
Blavatnik Building (the new wing). It’s also the
darkest part, so with tripods forbidden,
shooting at high ISO is the only option.
1/50sec at f/4, ISO 3200
9 REDUCING NOISE
Digital images suffer from two types of
noise – luminance noise and chrominance
noise. Luminance noise is the grey or black
grain in an image of which fine subject
detail is a component. Chrominance noise
60 is the coloured speckles that you see in the
B+W
mid-tones and shadows and is more
prevalent in high ISO images. If you fancy
shooting at extreme ISO but want minimal
noise or grain, there are steps you can
8
take to reduce it.
One is to enable the high ISO noise 9a 9b
reduction feature in your camera so that
noise is reduced at the time you take the
shot. Some DSLRs have different levels of
high ISO NR. Low level settings tend to
affect only chrominance noise and leave
luminance noise alone so that subject
detail isn’t affected. Standard settings
mainly affect chrominance noise but also
start to work on luminance noise, while the
strong settings reduce both types of noise
and should be used with caution as fine
detail in the image can be suppressed.
Another option is to use the noise
reduction feature in your Raw processing
software. In Adobe Camera Raw (ACR)
there are sliders for luminance and colour
(chroma) noise. Experiment with different
levels for both sliders but take note that Merzouga, Morocco
if you overdo it with the luminance slider These comparison shots show the effect noise reduction software has on a grainy high ISO image.
the image will look smooth and unnatural The shot on the left is unchanged while the shot on the right was opened in Nik Define 2
because a lot of fine detail will be and the default noise reduction applied.
destroyed. Canon EOS 5D MKIII with 50mm lens, 1/40sec, f/1.8, ISO 25600
A third option is to use noise reduction
software such as Nik Software Dfine, which DeNoise. Both can be used in default mode More often than not I don’t bother with
is part of the Nik Collection by DxO that to automatically reduce noise in an image, any form of noise reduction for black & white
also includes Silver Efex Pro, or Topaz Labs or you can control the level of reduction. images as I like the grainy effect it adds.
10 NIGHT ALL
When you’re shooting outdoors at night, a tripod can be both a blessing and a curse. London, England
It’s invaluable for keeping the camera steady so you can use low ISOs and long exposures, This is the Scoop near City Hall. Being
but it also attracts attention and marks you out as serious – which to the kind of unsavoury private property, security guards patrol
characters that often loiter in the shadows at night could put you at risk (although tripods the area and stop photographers from
do make a good weapon when required!). If you’re put off night photography for this reason, using tripods. You could probably get
why not leave the tripod at home and shoot handheld at high ISO instead? Just take one away with one at night, but I decided
camera and one lens. If you intend to convert the images to black & white, you’ll be to shoot handheld at high ISO instead.
surprised how high youcan go with the ISO and still produce acceptable results. Canon EOS 5D MKIII with 17-40mm zoom
Also, it’s quite liberating to abandon your tripod every now and then! lens, 1/40sec at f/5.6, ISO 12800
61
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timdaly.com All images ©Tim Daly
TECHNIQUE
PROJECTS
A NATION OF SHOPKEEPERS
IN VISUAL If you’re fascinated by the visual culture of the retail world, then why
STYLE
not try our latest project? Check out the details with Tim Daly.
espite the familiarity of the saying,
D it is highly unlikely Napoleon

ever did call the British ‘a nation
of shopkeepers’. Nowadays, of
course, the phrase feels stripped of insult
and merely describes our continuing
fascination with enterprise and in particular
the worrying state of our high streets.
For this project we’re going to document
shops and shopfronts, viewing them as
evidence of our rapidly changing urban
and rural landscapes.
Like the landing page of an online
shop, the physical appearance of a real
shopfront is designed to vie for your
attention and pique your interest. From the
colour and symmetry of a street vendor
setting out their fruit and veg stall to the
sophisticated department store designed
by a professional visual merchandiser – our
streets are a fascinating subject to explore
and contemplate. The challenge for this
62 project is to observe familiar shops with the
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critical eye of a documentary photographer.
SECTION 1: THEMES TO CONSIDER 1 HOLIDAY RESORT SHOPS

While there are shops pretty much everywhere, consider shooting in a part of town that Whether you’re holidaying in sunny Spain or
has its own unique community. Or, if you’re travelling abroad in the next few weeks, doing a staycation in seaside Britain, there’ll
the project is an ideal way to document cultural differences and similarities. always be a row of shops next to the beach
Look for character in new, old, plain, fancy, rich, poor, booming or bust. or caravan site. Holiday resort shopfronts
leave nothing to the imagination, using big
bold colours and lettering to proclaim their
1 straightforward messages. See if you can find
a row or street of shops in such a place and
document the imaginative ways they attract
attention, like this example shows.
Look for recurring visual styles such as
mock Tudor or snazzy Vegas-inspired neons,
or if you feel strongly about such a thing,
document the incorrect use of punctuation
in public signage. The marvellously named
Apostrophe Protection Society seeks to
preserve such order amid a growing chaos.
INSPIRATIONAL QUOTE
‘My early photographs focused almost
exclusively on the signs of an older culture
that was holding on for dear life. My interest
was more than documentary, for it seemed
to me that what was about to vanish was
important and irreplaceable and, frankly,
I wanted my photographs to offer, in some
manner, the power of resuscitation.’
John Rosenthal
2 3
2 LANGUAGE AND THE SHOPFRONT 3 MOBILE SHOPS

Humorous shop names are not just a British thing – they can be Roddy Doyle’s hysterically funny book The Van captures the saga
found across the world where shopkeepers seek to arrest your of two pals running a ‘chipper van’. Yet while greasy converted
attention for a split second. Using ambiguous titles, such as this Transit vans are pretty much a thing of the past, today’s mobile
wonderfully named establishment in London’s Petticoat Lane, street vendors are well worth another look. Appearing everywhere
or double meanings, the use of literary devices or tricks in shop from boot sale markets to festivals as well as permanent pitches,
names is a terrific idea for a long-term project. the mobile shop by its very size punches well above its weight. Built
Look out for the relentless puns used by hairdressers and with space at a premium, most mobiles are designed to unfold and
barbershops, such as Shear Lock Combs, Curl Up and Dye and unfurl their visual offer to attract punters, like this doughnut seller in
British Hairways. The trick with noticing these photo opportunities London’s Brick Lane market.
is to stop, read and reflect on the meanings and messages given Great places to find characterful mobiles are in industrial estates
out. Use an internet business directory to research pun-based and on busier A-road laybys. North Wales’ A55 coastal road is
shop names in your local area. famous for its mobile catering stopovers and burger vans, looking
after weary commuters and holidaymakers alike.
63
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4 5
4 EXPAT SHOPS 5 THE COMMUNITY FACILITY

How expats develop and build their own communities is a fascinating The polar opposite of a branded, chain or franchised outlet – the
subject for a longer-term project. Whether it’s the British in the Costa community shop doesn’t need to overstate its purpose. Targetting
del Sol, South Koreans in south-west London, or Germans in County nearby residents, this kind of shop may have existed unchanged
Sligo – each community has contributed aspects of their own visual for many years or is part of a social enterprise project.
culture to their new environments. This surreal example, shot in a town If you’re interested in the deadpan documentary approach and
in Normandy, shows an expat fish and chip shop that tried and failed seeking out quieter and less overt visual statements then this is an
to make a lasting impression on the local French cuisine. ideal project to explore. Look for well-established venues in small
See if you can find shops and shopfronts expressing their shopping arcades and keep an eye out for characterful or homespun
community origins in a visually interesting manner. signage. Perfectly symmetrical with a no-nonsense proposition,
this launderette is a deadpan dead cert.
SECTION 2: EXPLORE SHOPFRONT TYPOGRAPHY

If you’re interested in design, especially the graphic language of signage and typography, consider making a study of shopfront lettering.
1 VINTAGE STYLE If you are travelling soon on a city break, look out for vintage shops
It wasn’t the primary purpose of Eugene Atget to document the in a city’s cultural quarters, like this old 1950s delicatessen in Florence.
shopfronts of a rapidly changing Paris before modernisation, but thanks
to the photographer’s efforts we can now appreciate the city’s beautiful 2 THE WEALTHY ENCLAVE
but long gone lettering styles. Atget’s image of the barbershop front A great way of recording the social differences between districts in
Figaro Populaire captures a rare three-dimensional lettering and shows towns and cities is to document their shopfronts. Shops within London’s
a time when hand-rendered letters were the norm. Mayfair and Belgravia or New Bond Street have an entirely different feel
by tailoring their appearance to attract a wealthier clientele. Look for the
visual evidence and symbolism of status – this could be seen in a more
exotic use of materials, or through refined, understated typography and
colour. Look also for allusions to grandeur, as seen in this Romanesque
porch of an elite handbag shop in Italy.
3 VISUAL SURREALISM
While shopfronts and signs mostly describe their purpose, sometimes
the offer isn’t as clear as it could be. For this theme, consider seeking
out shopfronts that have a surreal or slightly oblique presentation.
This example shows a mysteriously titled establishment called BeBop,
which in fact turned out to be a music venue. Look for collisions and
contrasts between names and appearances. Look also at the work of
multi-talented artist, designer and foodieJake Tilson and his found fonts
collection. Travelling across Europe and Japan, Tilson gets inspired
by shopfronts, food packaging andthe chaotic visual spectacle of the
1 street. See the panel on page 65 for his website.
64
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2 3
SECTION 3: HISTORIC SHOPFRONTS

For a more sustained project, why not visit a heritage or historic location to make a longer-term study?
1 AUSTERE MINIMALISM
Surprisingly, documentary images gain more
importance as time passes. In this example,
a wonderfully plain and austere shopfront
depicts an era long since gone. The building,
dating back to the late 18th century, still had
its frontage intact with layer upon layer of
paint. It’s not entirely clear whether the shop
was a bar or just a shop (or both), but it’s
still attractive in its four-square appearance
and deadpan window display. Remarkably,
the shop still exists and is the subject of a
heritage restoration effort.
2 SHAPES AND STRUCTURE

Nowadays it can be hard to find towns
and villages in Ireland that haven’t rightfully
modernised to take full advantage of the
booming tourist trade. While bright colours 1
and eye-catching details are all the rage,
see if you can find older and more unusual
structures like this half bow-fronted former
newsagent’s shop. Sometimes you’ll not pick
up on every detail until you return back from a
shoot – with this image, I didn’t see the slightly
skew-whiff lines and angles until later on.
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3 DUAL-PURPOSE
Perhaps the most famous of all Ireland’s retail
premises are the dual-function pubs. Devised
at a time when it was impractical to have a pub
empty during the day or a shop empty in the
evening – whichever way you look at it, there
are still fantastic examples to photograph.
Here in this example in County Clare is
the famous Nagle’s Bar and Undertakers,
photographed back in 1992 – perhaps one-
stop shop for the habitual drinker. Examples
of these multi-purpose watering holes can 2 3
still be found in Curran’s Bar and Outfitters,
Dick Mack’s Bar and Leather Goods, both in
Dingle, County Kerry.
4 FINAL OUTCOME
For my project I’ve re-scanned a series of
shopfronts I’d shot in Ireland back in 1992.
Located mostly in the town of Ennistymon,
County Clare, the shops include the austere
James Griffin pub with its famous model boat
in the window. The establishment is still there
today but now expanded and modernised.
USEFUL WEBSITES
Search for Atget’s Figaro Populaire and other
street images of Paris
getty.edu
Look for Tilson’s found fonts and Tokyo shops
jaketilson.com 4
COMMENT
A FORTNIGHT AT F/8
It can be enormously satisfying to create your own photography project,
All images but inevitably there will be challenges and obstacles along the way.
© Tim Clinch
Fortunately, Tim Clinch has written a poem just for you…
s photographers a vital part in pretty much you benefit from the freedom subject. Work out a plan of
A
we all love a every image I take. These that one brings and the action and contact any people
project. How things are planning and chance. discipline from the other. So involved (subjects for portraits,
many of us at In your photography projects let’s deal with them both. owners of locations and so on).
the turn of each both are vital, and you need to Planning – it’s really not that Make appointments and stick
year wake up embrace one and not be afraid difficult and, to some extent, to them. Know the lie of the
and think: ‘Right, I am of the other. Only this way will glaringly obvious. Know your land and work out any pitfalls
definitely going to start that that may be involved in where
amazing project I’ve been you are intending to shoot well
thinking about for ages on the THE PICTURES in advance of your shoot date.
boat builders of Bodrum, or the The pictures this month are all from one of my finest unstarted When possible scout a location
guitar makers of Granada, or photography projects (of which there are sadly many) – market and have a good look round.
the shepherds of the Shipka traders and shopkeepers. They are shot in Veliko Turnovo in Also (rather an obsession of
Pass, or the old couple round Bulgaria, Istanbul, Jerusalem and Dryanovo in Bulgaria. mine recently as the old grey
the corner and their amazing matter slows down) write stuff
vegetable garden.’ I know I do. PHOTOGRAPHER OF THE MONTH down. I always have a small,
There are two things that This month’s recommended photographer is one of the passport-sized notebook and a
have been at the forefront of my greatest of all women photographers – Imogen Cunningham pencil on me for remembering
work during my entire career, (1883 – 1976). An American photographer known for her names, advice and information.
especially when embarking on a botanical photography, nudes and industrial landscapes, It’s a really good habit.
new and exciting photographic there is not much to say about her work other than she was Chance – so, you’ve done all
project. Two things that, amazingly talented, iconic and important. If you don’t know the planning. Jolly good. Now
66 although diametrically opposed her work I envy you. You are in for a treat. comes the difficult bit. On the
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to each other, have each played imogencunningham.com morning of your first shoot,
timclinchphotography.com | @clinchpics | clinchpics
when you’ve arranged to shoot go wrong. Yes, it’s all about giving up. In waiting to see
a portrait of the old couple in coming back with some good what chance will bring. WHAT TIM DID 67
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their vegetable garden, you
wake up and look out of the
pictures, but the times I’ve had
with some of my subjects over o ladies and gentlemen,
THIS MONTH
window. It’s raining. Not
drizzle either. Chucking it
down. Cats and dogs. Stair
rods. You’d done your research
(because you’d read this
the years, the cups of tea that
lovely old couple made me and
the fascinating chats I had with
them about their life during the
Blitz (because yes, it was one
S there is a new poet on
the block – Rudyard
Clinchling – and here is
an excerpt from his latest
poem, a muse on all of our
column) and looked at the of my projects), the friendships photographic projects. With
weather forecast and presumed forged and the memories I’ll apologies to Kipling and his
you’d be OK. keep are all wrapped up in not famous poem – If. Realising that quoting
So here’s your first challenge. Kipling is about as non-PC
What do you do? Cancel? A Photographic If as you can get, so apologies
Re-arrange? Or pack your kit for finishing my pastiche with
and get down there on the off If you are prepared to put in the hard yards and do some proper ‘my son’. It was purely done to
chance you might get a nice research before dusting off your lenses, illustrate a (rather silly) point
picture in the rain? If you are strong enough to follow your dream and not be put and I hope no-one is offended!
Come on, you know the off by sneering from other photographers who think you should
answer. I have got far more be shooting it in a different way, The rise and rise and the
pictures when the planned If you are prepared to stick to your guns and do your project massive influence of women
shoot hadn’t gone quite as exactly the way YOU want to do it without being swayed by photographers has been one
expected than when everything fashionable trends, of the joys of recent times. May
went like clockwork. The secret If you are prepared to accept that in photography nothing their influence soar like eagles!
is not to let circumstances out ever goes to plan…and I mean EVER,
of your control get the better I know I’m late to the
If you can accept that nothing attempted is a failure,
of you, to be strong enough to party but I’ve been watching
wing it when things go awry, And if you can, against all the odds, have the strength to the TV series The Queen
to trust in your abilities as a actually FINISH the blooming thing, and marvelling at the
photographer to get the shot. Then yours is the Earth and everything that’s in it, cinematography – it is
It is part and parcel of being And – which is more – you’ll be a Photographer, my son! beautifully shot. Each frame
a photographer and it is part is perfect and looks like a
and parcel of planning to You will all be delighted to know that Mr Clinchling’s new book photograph. Congratulations
realise that something will of poetry will not be published anytime soon. to whoever was responsible.
INSPIRATION
ONE-DAY PHOTO
A STILL LIFE PROJECT
PROJECTS/14 We don’t need to travel long distances to take photographs. And we
All images don’t need to find exotic subjects. Instead, we can find inspiration
© Eddie Ephraums
in the everyday, as Eddie Ephraums discovers.
o many great deriving creative satisfaction he photographed, it seems he Following a visit to my local
S
photographers have from a simple, attentive trusted in his amateur models farmers’ market, for this One-
found their muse in approach to image-making. and in his everyday still life Day Project I chose to make
the everyday world We only have to read the subject matter to reveal their a point of looking – I mean
they inhabit. For daybooks and look at the natural forms to him, rather really looking – at the everyday
such artists there images of a photographer like than impose a possible pre- items I had just purchased
is no great need to travel. The Edward Weston to realise existing vision on them. In that were now sitting on my
thrill of discovering the new just how visually abundant turn, they depended on his kitchen work surface. I was
is replaced by the challenge our immediate surroundings expertise to fulfil photography’s struck by the simple pleasure
of seeing possibility in their can be. He even managed to potential to showcase even the I got from taking time to look
immediate surroundings and make a beautiful picture of most utilitarian subjects in all at basic farm produce that I
in familiar subject matter, his lavatory. As for the nudes of their B&W glory. normally take a kitchen knife ›
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Above The inspiration Opposite The Idea

Who would expect to find inspiration in a brown paper bag? Not me! And yet When was the last time I spent a whole day exploring the photographic potential
this month’s One-Day Project challenged me to look at the everyday items of something as simple as a cabbage or a cluster of mushrooms in a cardboard
I had bought at my local farmers’ market, including their packaging, to find tray? Yet we live in an age when we are constantly reminded to be mindful. Just
unexpected photographic potential in them. Sometimes the simplest subjects looking and seeing the potential in these objects was as satisfying as making the
are the hardest – but potentially the most satisfying – to photograph. photographs. And the exercise didn’t end there. I have a whole series of work-in-
progress images I can reflect on, perhaps in the form of a handmade book.
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› to, but which I now wanted to

point my camera at. One of
the first things I noticed was a
similarity in the shape of the
cabbage and the crumpled paper
vegetable bag beside it. This
wasn’t a visual pairing I would
consciously have thought about,
but it triggered my imagination
and I decided to explore its
photographic potential.
One thing that has always
struck me about photographing
everyday subjects like these is
that I can’t rely on their obvious
dramatic splendour. For they
have none! Instead I try to look
for their small but far from
insignificant details with the aim
of teasing these out. The vein
of the cabbage leaf acquired a
heightened sense of beauty when
I noticed its line echoed in the
crumpled fold of the bag. The
paper-thin opening of the bag
took on an unexpected visual
significance next to the frilled
outer leaves of the brassica. As
for the silky sheen of the paper
bag? Illuminated and printed in
the right way it might give the
70 dimpled texture of the cabbage
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an added, palpable quality.
‘I chose to make
a point of looking –
I mean really looking –
at the everyday items
I had just purchased.’
lost track of the time I
I
spent totally absorbed in
photographing this one
cabbage – more time than
I might spend looking at a
new location, before moving
on to the next horizon and then Above The realisation camera lens. No. There is
to the next. Having explored Who or what defines beauty? We do. So why should a vase be kept solely nothing so obvious to focus on
the possibilities of the cabbage for flowers? Why not use it to display a cluster of mushrooms while they wait with a cabbage. Instead all that
and brown bag, I looked at a for the pan? Creative photography isn’t about reproducing existing notions any of us have to go on in these
cluster of mushrooms lying of beauty, but trying to discover something new. We don’t have to go out situations is belief. In what? In
in their cardboard container. of our way to find such beauty. It’s there in the everyday. being present to what we are
What could the juxtaposition capable of seeing. To trust in
of card and fungi reveal that And how might the contrasting, challenging about this type our sense of playfulness, to
photographing the mushrooms angular shape of the container of playful image-making is discover how we can make
by themselves might not? Which be visually employed? What knowing when – or even if – things appear to be in a
of our senses could be played would happen if I took these a picture looks right. It’s not photograph, rather than at first
on by selectively focusing on ideas a stage further and placed as if I’m witnessing an obvious how they merely looked.
the mushrooms? Might the some flat leafed mushrooms in decisive moment in a street
out of focus texture of the a vertically fluted glass vase? scene or find myself staring envisagebooks.com
container elicit something of A flower vase? into a subject’s soul as they envisageprints.com
the mushroom’s silky softness? Something I always find momentarily gaze into the openstudioworkshops.com
TECHNIQUE SMART GUIDE TO PHOTOGRAPHY

One of the advantages of smartphone photography is that the smartphone
All images is small and light, so it’s easy to carry. This makes it extremely useful for
© Tim Clinch
photographing architecture, says Tim Clinch.
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1 2
I
am writing this from Tel Aviv the strong elegant lines and to date forms of the amazing spring to mind when shooting
where I am having a short curves beloved of the Bauhaus Modern Art Museum in Tel Aviv, it on a mobile phone.
break with the family. It’s students, or the much more up surrounds us all and two things First and foremost is that
a fascinating, unique, really exploring and looking at
horrendously expensive THE PICTURES THIS MONTH architecture can involve a fair
and slightly difficult place. As explained in the main text, the pictures this month are from my bit of walking and the sheer joy
Along with all the bustling wanderings in Tel Aviv. Pictures 1 and 2 are of the Tel Aviv Modern Art of being able to do this without
markets, street life, unique Museum. Pictures 3 to 6 feature some of the wonderful Bauhaus architecture. lugging a great, heavy,
history and amazing food protruding DSLR around does
(which normally play such a RECOMMENDED APP absolute wonders for the eyes
large part in my photography), it Yes, I know I don’t really recommend apps anymore and yes, I can still and eliminates the strain that
is also home to some amazing pretty much get everything I want using only the mighty Snapseed, but a those great big lumps put on
modern architecture, particularly new B&W app for Apple smartphones has come to my attention. It’s called the back! And secondly, it’s the
the area we are staying in, Carbon-B&W Filters and Effects and it’s very good indeed. strength you can get in your
known as the White City, which Slightly annoyingly, it is a subscription app with a yearly, self-renewing images by using the forms
is home to one of the biggest fee but to purchase the whole kit and caboodle as I did is not extortionate. – the straight lines, strong
collections of Bauhaus I suspect that subscription apps are the way things are going, so once I’ve diagonals and amazing
architecture left in the world. found something I like I just swallow hard and get on with it. They have just geometric shapes against the
The Bauhaus was a German launched Carbon for Desktop as a plug-in for Lightroom and Photoshop but atmospheric cloud formations.
school of design operational I don’t think I need it, although it’s nice to know it’s there just in case.
T
from 1919 to 1933, and some It has a really useful collection of B&W filters, textures, borders and his all comes back to the
of the architecture is truly effects along with a neat toolkit for processing and it’s simple and intuitive question what are we
wonderful. It is also an absolute to use. A massive added bonus for me is it’s not too big! There is just going to do with our
joy to photograph – and this is enough information and stuff inside there to boost your creativity without images? Whether we
what I’d like you to think it trying to do everything under the sun, make you a cup of cocoa and care to admit it or not, fewer
about this month. read you a bedtime story afterwards. and fewer of us are getting
Modern architecture, be it Highly recommended and an app I have used constantly since I got it. pictures printed these days (so
timclinchphotography.com | @clinchpics | clinchpics
3 4
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5 6
let’s all get some prints done!) if you have started to use small, which means your mobile Don’t worry about all those crazy
and more and more of us are Instagram and are building your photography needs to be bold! angles and don’t worry too much
looking at our images on a community of like-minded So get out there, find some about the greys. Accentuate
smartphone or tablet. Nothing photography buddies, but interesting modern building and those lines and curves and get
wrong with this at all, especially remember, your devices are shoot! Remember to look up. as arty as you want.
SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see the
pictures you take when the moment is right. We have three Samsung EVO Plus
64GB MicroSDXC cards with SD Adapters (worth £25.99) which have up to
100MB/s Read and 60MB/s Write speed to give away each month to three winners.
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© JON HARRISON © ED ALDRIDGE
WINNER © MICK CANT © HELEN STROOSMA
SUBMIT YOUR PICTURES

Submit your hi-res pictures through our website at: blackandwhitephotographymag.co.uk
or via Twitter by tagging us @BWPMag and using the hashtag: Smartshots.
If you are submitting via Twitter we will contact you for hi-res if you are chosen.
www.samsung.com/memorycard
© MARTIN TIERNEY
© AMANDA FARMER
WINNER © MARTIN BRUNTNELL
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WINNER © SPYROS LAMBROU
© NICK
STATFORD.
BELOW © WILLIAM GRONES
© FINNEGAN O’MALLEY
YOUR B+W
SALON
In our search for some of the best work by black & white aficionados,
All images we came across Graham Lally’s documentation of a local pond
© Graham Lally
and the people who maintain it for the future.
‘Blatchington Pond in East Sussex was taken over and and the community activity that gathers in the area. Over a
restored by the local community in 1980, and has since been couple of years the focus moved away from the wildlife that
maintained by a handful of volunteers, meeting once a week. comes and goes, to the human elements, from tools to litter,
This photo project started out a few years after moving to and from missing pet notices to wood carvings.
the area and offering to volunteer – I wanted a significant There is an absence of animals from the series, partly because
photographic project to get into, and so decided to use this I was keen to use prime lenses and quick shots. However, this
as a way to explore how a small, local green space changes also means there is more focus on the longer term changes
throughout the year. – from the gradual composting and decay of vegetation and
As I worked on the pond, the photos I shot quickly evolved to bonfire ash over the year to the aging of the pond maintainers,
include the work that was needed to keep the site maintained, who ensure that the pond has a place in the future of the town.’
76
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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 86 to see how you can submit your work.
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TESTS AND
PRODUCTS
CHECKOUT
For professional looking product shots and still life studies you need
consistent, diffused lighting. Daniel Calder assesses six light tents
that will help you achieve top class results.
ANGLER PORT-A-CUBE CT-DLLEDII 27IN HAVOX PHOTO STUDIO HPB-80D
Built-in lighting High quality cube
The Havox Photo Studio is a like the interior, are fairly shiny
high quality piece of kit that offers and reflective. The Havox range
a variety of shooting includes a 40cm and 60cm
permutations. It’s key feature is model as well as an XD Series
the inclusion of two light bars with four light bars.
studded with 168 dimmable
SMD LED lights with a colour
temperature of 5500k, a
luminous flux of 13,000 lumens
and a Colour Rendering Index of
93+. These bars clip to the top of
the cube, while a diffuser fits
below to ensure the light is even
with minimal glare. A variety
of openings on the front and
top of the cube allow you to
photograph from different angles LIKES
The Angler Port-a-Cube and a Colour Rendering Index while limiting the likelihood of High quality materials
benefits from a sewn-in lighting of 82.1. The controller allows reflections from outside the box. and construction
82 panel that casts a fairly bright, the light to be dimmed from The cube itself takes a while to Replacement parts are
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even light from above. The 10 to 100%. The inside of the assemble, as you need to attach readily available
cube comes flat-packed and cube is made from a reflective 12 metal rods to the plastic Three different coloured
simply unfolds before each side silver material to bounce the corner joints. It takes around 5 to backdrops included
is lifted up to form the cube and light around. A front and top 10 minutes, which may limit your
fixed in place with Velcro. Once opening, hidden behind a desire to pack the thing away DISLIKES
folded back down, a mesh removable flap, allows you to into the slim carry holdall. Three Takes a while to set up each time
pocket on the front stows away shoot from different angles backdrops are included (black, The power pack has a
the power pack while a handle while reducing reflections on white and pink/gold) which, two-pin European plug
is attached for carrying. the subject. Four backdrops are
The 150 LED lights form included, made up of a white,
a square on the top panel black, grey and green flexible
of the cube to ensure even plastic that attaches with Velcro.
light distribution. They have a If the 69cm option is a little
colour temperature of 5400k, a large for you there’s a 43cm
luminous flux of 6,500 lumens version for just under $100.
LIKES
Quick and easy to put up
Four different coloured
backdrops included
Top and front apertures
for shooting through
DISLIKES
LED lights are built in to the top Not the best quality lights
The Havox Photo Studio features a front and top
panel of the Angler Port-a-Cube. Relatively expensive
aperture to photograph from different angles.
SPECIFICATIONS SPECIFICATIONS
Size 69cm Size 80cm
Lights Built-in LED lighting Lights 2 x LED light bars
Guide price $149.95 (about £115) Guide price £170
Contact anglerlights.com Contact havox.com
IMPACT PHOTO PRO LED BOOTH PLB-400 LASTOLITE STUDIO CUBELITE 100CM
Perfect for portraiture Light from below
Looking like something from
a conjurer’s stock room, the
Lastolite Studio Cubelite is a
free-standing light tent that
dispenses with the table other
light cubes require. Alongside
the benefit of providing a
comfortable working height,
the lower half of the product
allows a lamp to be placed
inside for uplighting to reduce
shadows and to enable
creative techniques. The white
top-half diffuses the light from
any direction and an acrylic
disc provides a solid base to
place the subject on. A semi-
LIKES
The Impact PLB-400 is a to the metal frame and a Self-contained studio that
portable full-sized photo booth diffuser panel can be fixed over can be put up anywhere
that’s large enough to fit a them. Each strip has its own Enables objects to be lit
person inside for portraiture. dimmer switch allowing you from below
Packed down into the long to control the light precisely. Easy to erect
but slim carry case it weighs It’s not the easiest thing to
a hefty 16kg, yet is compact construct, as you’ll need to DISLIKES transparent, flexible, plastic
enough to store easily and take combine the skill of erecting Demands considerable space, backdrop is included in the
to different locations. a tent with the patience of especially with lighting package, as is a detachable
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Lights are included and making a bed. Once the frame Only one semi-transparent panel with a zip to shoot
come as eight 60cm-long strips is assembled from a series of backdrop included through so as to minimise any
studded with 99 LEDs, metal tubes the exterior zips Rather expensive product dark reflections from
offering a colour temperature over it and is held in place with the room or the
of 5600k and a Colour Velcro. It’s lined with a reflective camera operator.
Rendering Index of 95.8. silver fabric and the zipped side- Each half
Magnets on the back allow openings allow you to shoot has a set of
each strip to be easily attached from either side as well as head four poles that
on. Three full-length coloured simply clip in to
vinyl backgrounds complete the erect the tent. It
package (blue, black and white) takes around 5 to
and three strong clips hold the 10 minutes to put
backdrop in place. up and take down,
and packs away to
LIKES a 1m square with a
Self-contained studio that 10cm depth. You will
can be put up anywhere need a fair amount
Side openings for shooting of room to use the
side-on Studio Cubelight, but
Large enough for portraiture you’re not reliant on
using a room with a
DISLIKES table and if you’re
Demands skill and patience photographing
The space within the Impact to set up smaller objects
PLB-400 is large enough Not the sturdiest product A light can be placed in the bottom it also comes in
for a person. Expensive item section of the Lastolite Studio Cubelite. a 70cm version.
Size 120 x 100 x 200cm Size 100 x 100 x 185cm
Lights Eight LED strips Lights Not included
Guide price $519.95 (about £400) Guide price £399.95
Contact impactstudiolighting.com Contact manfrotto.com
CAPTURE A FRESH PERSPECTIVE

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NEEWER LIGHT CUBE 80CM ORANGEMONKIE FOLDIO3

Value for money Rapid assembly
The Orangemonkie Foldio3 being unfolded into a large
is an ingeniously designed light tent. It only takes around
portable studio. It starts life 10 seconds to do and the
as a white rectangular case white plastic sheets are held
with a carry handle before in place with strong magnets.
Once you’re done it’s just as
quick to fold back down into
carrying mode, and it’s easy
to store as it only measures
62.5 x 39 x 6.5cm.
The top panel features three
LED strips along three of the
edges to provide fairly strong,
even lighting behind a diffuser.
More strips are available to
buy separately for $6 each, as
are a pair of Halo Bars for $32.
These more substantial units
fix to the studio’s magnets
or floor to provide extra light.
The Orangemonkie Foldio3 opens A single controller can dim
up quickly and easily. both sets of lighting.
If you only need a light tent for that diffuses light adequately. Only two backdrops are
occasional use then the low A detachable front panel with LIKES included with the package:
priced Neewer Light Cube is a a slit at its centre allows you to Great range of accessories and a black and a white option,
sound choice. It’s available in photograph within the tent free replacement parts which are attached by Velcro
an 80cm version for around £27 from glare and reflections. Ingenious, quick folding design to the top and bottom of the
and a 60cm version for around The package contains four Compact size for storage cube. A grey and a green
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£18, including postage. As it fabric backgrounds (in white, backdrop are also available
packs down into a small circular black, blue and red) finished DISLIKES in a pack of four along with
bag, it won’t take up too much with a Velcro strip for attaching Only two backdrops included a replacement black and
room either – once you’ve to the inside of the cube. LED strip lights could be brighter white backdrop for $15.
spent a while wrestling Unfortunately the backdrops
it into the bag that is. arrive so tightly packed that
Thankfully, opening it up is a they suffer from deep creases
lot easier as it pops into shape and you’ll be spending quite
as soon as it’s released. It’s some time soaking, steaming
made from fairly thin white nylon and ironing them out. You’ll
also need to think about
storage to avoid repeating the
process each time you need
to use the cube.
LIKES
Pops open in an instant
Incredible value for money
Four different coloured
backdrops included
DISLIKES
The backdrops arrive
with deep creases
The Neewer Light Cube comes Tricky to collapse for storage
with four coloured backdrops. Very basic storage bag
Size 80cm Size 62.5 x 64 x 55cm
Lights Not included Lights 3 x LED strips
Guide price £27 Guide price $139 (about £107)
Contact neewer.com Contact orangemonkie.com
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BL ACK+ WHITE PHOTOGR APHY COOL , CREATIVE AND CONTEMPOR ARY
LAST FRAME SMARTSHOTS
Do you have a single image that you’d Shoot with your smartphone and send in your pictures – you could be one of three
like printed big and hung on your wall? lucky winners each month who wins a Samsung EVO Plus 64GB MicroSDXC card.
Send the file to us and you could Upload your pictures to our website, via Twitter by tagging us @BWPMag and using
win just that. the hashtag #smartshots. If you are successful we will request high-res files.
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Leica M10-P Safari £6700 inc. VAT Leica M10-P Black or Silver £6450 inc. VAT Leica M10-D £6450 inc. VAT
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Leica 21mm f3.4 Super-Elmar-M ASPH Black £2350 Leica 50mm f1.4 Summilux-M ASPH Black £3250
Leica 24mm f1.4 Summilux-M ASPH Black £5990 Leica 50mm f1.4 Summilux-M ASPH Silver £3290
Leica 24mm f3.8 Super-Elmar-M ASPH Black £2090 Leica 50mm f2 Summicron-M ASPH Black £1950
Leica 28mm f1.4 Summilux-M ASPH Black £5190 Leica 50mm f2.4 Summarit-M Black £1390
Leica 28mm f2 Summicron-M ASPH Black £3390 Leica 50mm f2.4 Summarit-M Silver £1490
Leica 28mm f2.8 Elmarit-M ASPH Black £1850 Leica 75mm f1.25 Noctilux-M ASPH Black £10500
Leica 28mm f5.6 Summaron-M Silver £2150 Leica 75mm f2 APO-Summicron-M ASPH Black £3190
Leica 35mm f1.4 Summilux-M ASPH FLE Black £4090 Leica 75mm f2.4 Summarit-M Black £1650
Leica 35mm f1.4 Summilux-M ASPH FLE Silver £4290 Leica 90mm f1.5 Summilux-M ASPH Black £10700
Leica 35mm f2 Summicron-M ASPH Black £2650 Leica 90mm f2 APO-Summicron-M ASPH Black £3590
Leica 35mm f2 Summicron-M ASPH Silver £2750 Leica 90mm f2.2 Thambar-M Black Paint £4990
Leica 35mm f2.4 Summarit-M ASPH Black £1650 Leica 135mm f3.4 APO-Telyt-M Black £3190
All new Leica products are covered by usual manufacture’s guarantee; Please check our website for full list.
www.apertureleica.com Tel: 020 7436 9844 Email: info@apertureleica.com

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We are always keen to purchase your pre-owned cameras and lenses either outright or through part-exchange.
www.apertureleica.com Tel: 020 7436 9844 Email: info@apertureleica.com

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