© Anthony Bailey

BLACK + WHITE THE UNCERTAINTY

PHOTOGRAPHY
EDITORIAL OF PLAY

I
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com
was complaining in the office the other day that
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com
my photographic workflow, since I started using
Features Editor Anna Bonita Evans
film as well as digital, had completely gone up the
email: anna.evans@thegmcgroup.com spout. My lovely colleague, Anna, suggested that
Designer Toby Haigh this might open up new creative possibilities for
me. Sadly I had to reply that it was, in fact, just
ADVERTISING
Advertising Sales Guy Stockton creating a bit of incoherent chaos.
tel: 01273 402823 For years now I’ve had a neat system going with
email: guy.stockton@thegmcgroup.com Lightroom and before that a great negative filing
PUBLISHING EDITOR’S system, but somehow combining the two has
Publisher Jonathan Grogan LETTER thrown both into chaos.
MARKETING However, I have a perfect excuse. Our long-
Marketing Executive Anne Guillot JUNE protracted house move is about to reach fruition.
tel: 01273 402 871 2017 This has meant a temporary living space and a desk
PRODUCTION the size of a tea-towel to work on, most of which is
Production Manager Jim Bulley
Origination and ad design GMC Repro taken up by computer, keyboard and mouse. Files
Printer Buxton Press Ltd have piled up on the floor and nothing is where it was
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SUBSCRIPTIONS photography has been the one consistent thing that has held the uncertainty of not
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tel: 01273 488005 fax: 01273 402866
And now, on the brink of moving into our lovely new house where there will be
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desk space and shelf space, in a room that I can call entirely my own to work in,
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but tried again – and I’m pleased with the final results. Perhaps being liberated
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Cheques should be made payable to But don’t for a moment get me wrong – I think a good organised workflow is
GMC Publications Ltd. Current subscribers
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Once I have my big desk back, I’ll recreate those systems again and life will return
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Lewes, East Sussex, BN7 1XU, UK
Tel +44(0) 1273 488005,
Fax: +44(0) 1273 402866
or visit www.thegmcgroup.com
Elizabeth Roberts, Editor
Black+ White Photography (ISSN 1473-2467) is published
elizabethr@thegmcgroup.com
every four weeks by GMC Publications Ltd
Black+White Photography will consider articles for publication,
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offers and competitions, unless otherwise stated, are not
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© Guild of Master Craftsman Publications Ltd. 2017 follow us on twitter @BWPMag @bwphotomag
 © Tomasz Gudzowaty © Luke Tscharke

08 68

© Gauri Gill © Peter Franck, Germany, Shortlist, Professional, Landscape, 2017 Sony World Photography Awards

24 32

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BLACK+ WHITE PHOTOGRAPHY ISSUE 203 JUNE 2017 NEXT MONTH’S ISSUE IS OUT ON 8 JUNE

COVER 34 THE LIQUID SERPENT 18 IN THE FRAME

Image by Tim Clinch Nicolas Janowski captures Photography exhibitions
life in the Amazon around the country
FEATURES
68 FACE TO FACE 23 ON THE SHELF
08 TELLING STORIES Powerful landscapes The best new photography books
Award-winning press by Luke Tscharke
photographer Tomasz Gudzowaty COMMENT
NEWS
24 ARID LAND SPIRIT 20 AMERICAN CONNECTION
Life in rural India by Gauri Gill 04 NEWSROOM Susan Burnstine talks to
Photo London preview a photographer who gives
32 SONY WORLD and more traditional practices a
PHOTOGRAPHY AWARDS modern twist
Some of the best black & white 06 ON SHOW
pictures from this year’s The wonderful work 44 A MODERN EYE
competition of George Rodger Shoair Mavlian on György Kepes
 ©Tim Clinch ©Patty Gambini

70 72

©Lee Frost

52

©Jo Scott

62 ©Isaac Paul

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Selecting pictures for Six of the best memory 86 HOW TO GET PUBLISHED
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 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
© Michael Jackson

CAPITAL
SHOW
New work by top photographers
and classic pictures from the
past can be seen at this year’s
Photo London.
Nearly 90 galleries from
HIGH CONTRAST around the world have pictures
A wide variety of classic cameras on display at Somerset House
will be on sale at Photographica
from 18 to 21 May, with work
2017. Organised by the
ranging from portraiture and
Photographic Collectors’ Club
of Great Britain, Photographica fashion to abstract and camera-
offers cameras ranging from less photography.
wood and brass to modern New work includes pictures
classics, as well as early digital, from Africa, Latin America,
lenses, accessories, film, paper, China, Iran and Japan. From
literature and images. Around the world of B&W comes
135 tables will be used for photographs by Irving Penn,
buying, selling and swapping
Vivian Maier, Horst P Horst,
classic and antique cameras at
Daido Moriyama and Norman
the Royal Horticultural Society’s
Lindley Hall in Vincent Square, Parkinson. And from the early
days of photography are pictures
04 London, on 21 May.
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pccgb by Fox Talbot, Carleton Watkins
and Roger Fenton.
The earliest known print of a
Magnum Photos celebrates Triangle and circle placed within a cluster, a luminogram by Michael
key American photograph went
on display at this year’s Frieze its 70th anniversary with Jackson. His pictures are on show with MMX Gallery at Photo London.
in New York. Lunch Atop a key images by David
Skyscraper by an unidentified Hurn alongside prints by Other highlights include a new 18m mural by William
photographer features workers photographers who have work by this year’s Master of Klein and a virtual reality
on a steel beam 800ft above the swapped images with him. Photography, Taryn Simon, artwork by Matt Collishaw.
city streets. The original glass
negative is broken but a newly
discovered vintage print is being
shown by Daniel Blau gallery.
danielblau.com
Pictures by Yousuf Karsh, Cecil
Beaton, Jane Bown, John
Swannell and Laura Pannack
are among those on display at
a special exhibition celebrating
the 70th anniversary of the
Camera Press photo agency.
Camera Press at 70 runs at Art
Bermondsey Project Space in
London from 17 May to 10 June.
camerapress.com
The third edition of Photo Basel,
Switzerland’s international art fair
dedicated to photography, takes
place at the Volkshaus Basel
from 14 to 18 June. The fair,
which coincides with Art Basel,
has become one of the most
prominent photography fairs in
the German-speaking world.
photo-basel.com
Protester, Cuban Missile Crisis, Whitehall, London, 1963, by Don McCullin. © Don McCullin/Hamiltons
FESTIVAL TIME
Pictures by a variety of British
and international photographers
are on display at the Fix Photo
Festival in London.
The festival is based at
Bargehouse at Oxo Tower Wharf
in Bargehouse Street, London,
and coincides with Photo
London at Somerset House
and Off Print at Tate Modern.
Photographers showing work
include Chris Steele-Perkins,
Mischa Haller and Kuriko Sano.
Produced by LANG director
Laura Noble, the free exhibition
is over four floors and provides
a chance for artists to share work
outside of a traditional gallery
context. It runs from
12 to 21 May and includes
artist talks, curator tours,
book launches and signings.
lauraannnoble.com/fixphoto
NEW HOME
A new Photography Centre is to
open at the V&A in London in
autumn 2018.
The announcement follows
the controversial transfer of the
important Royal Photographic
Society collection from the
National Media Museum in
Bradford to the V&A.
More than 270,000
photographs, 26,000 publications
and 6,000 pieces of camera-
related equipment have moved to
the V&A. The collection includes
pictures by Fox Talbot, Julia
Margaret Cameron, Paul Strand
and Ansel Adams.
New purpose-built storage
facilities have been created
to house the photography
collection and work has begun
on cataloguing and digitising
the pictures. The Photography
© Weegee/International Center of Photography, Courtesy Daniel Blau, Munich
Ceylonese Women, 1875-79, by
Julia Margaret Cameron
© Royal Photographic Society
Centre will allow the museum to
display more pictures and there
are future plans for teaching and
research space plus a library,
studio and darkroom
for photography residencies.
TRIBUTE TO EDIS
A permanent tribute has
been set up to celebrate a key
photographer of the early
20th century.
Olive Edis was the first
British woman to become an
official war photographer when
she worked in France in 1919.
She also photographed prime
ministers, royalty, scientists,
artists and ordinary people.
Her pictures are held by
the Imperial War Museum, the
National Portrait Gallery and
elsewhere, but the largest
collection is at Cromer Museum
in Norfolk, which has now
created permanent galleries
of her work. On display are
original prints, reproductions of
autochromes and cameras.
A touring exhibition, The Road
to Ypres: The War Photography
of Olive Edis, is at North Norfolk
district council until 23 May then
moves to Farnham Museum,
King’s Lynn town hall, Belfry
Centre for the Arts, Norwich
Millennium Library and
Sheringham Museum.
© Norfolk Museums Service (Cromer Museum)
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Prince Edward, Duke of

Windsor (King Edward VIII)
by Olive Edis.

NEW PAPER
A new fibre-based paper for
monochrome printing is now
available. The Permajet FB
Bitter cold too much for mayor, by Weegee. Mono Gloss Baryta 320 is an

EXTRA! NEWS PICTURES BACK FROM THE GRAVE

More than 300 pictures by legendary news
photographer Weegee can be seen by the public
for the first time in 75 years.
Arthur Fellig, known as Weegee, was one of the
most successful New York crime photographers
of the 1920s to 1940s. A new exhibition, Extra!
inkjet paper designed to provide
strong monochrome prints. It
has a barium sulphate layer that
emulates traditional silver halide
Weegee, features hundreds of his pictures
papers right down to the smell.
discovered in an archive in 2012. The display also
Makers say the paper has
features his laconic descriptions of the crime a glazed gloss finish and
scene. The photos are at Fotografiska in Sweden produces rich blacks and smooth
until 28 May. They can also be seen in a new gradations of tone.
hardback book to be published shortly. permajet.com
 NEWS ON SHOW
Celebrated for establishing one of the most pre-eminent photography co-operatives,
All images
© George Rodger/ George Rodger was also a travel photographer, giving us a glimpse into another
Magnum Photos
world. Morton Hill gallery in London presents his work. Anna Bonita Evans reports.

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A Korongo Nuba girl, Kordofan, Southern Sudan 1949 Latuka rainmaker dancers, Sudan, 1949

G
eorge Rodger was
born in Cheshire in
1908 and is best
known for being one
of the founding members of
Magnum Photos. Despite being
instrumental in setting the
standard and integrity that
Magnum is celebrated for to this
day, wider recognition for
Rodger’s photographs was late
coming – his first major solo
retrospective (at London’s
Barbican) wasn’t until the year
he died in 1995; in the same year
Phaidon published the defining
monograph Humanity and
Inhumanity: The Photographic
Journey of George Rodger.
Reserved and self-effacing
in character, Rodger preferred
to leave the limelight to his
Magnum counterparts –
‘George Rodger belongs to the great
tradition of explorers and adventurers.
His work is a moving testimony
through time and space.’
Henri Cartier-Bresson,
Robert Capa and David ‘Chim’
Seymour. Although his public
profile during his life was
modest, his influence was
– and still is – vast: he created
some of the most iconic
photographs of defining
events in recent history.
A war correspondent for Life
magazine during the Second
World War, his portrayal of the
British home front as a proud,
strong and courageous nation is
integral to our knowledge of
that historic period; as Cartier-
Bresson said of his friend,
‘Many of George Rodger’s
images contribute to our
collective memory.’ He was the
first photographer to enter the
Bergen-Belsen concentration
camp in 1945 – an event that of
course had a profound effect.
Some years later, recalling his
response to the horrors he saw,
he said: ‘I didn’t know until then
– despite over five years of war
– what effect the war had had
on me personally. When I
discovered that I could look at
the horror of Belsen – the 4,000
dead and starving lying around
– and think only of nice
photographic compositions
I knew something had happened
to me, and it had to stop.’
Aware he needed to turn
towards a different subject
matter, Rodger went on a
28,000-mile photographic
pilgrimage across Africa and the
Middle East. In 1948 he learned
of the Nuba and Latuka tribes in
the Kordofan region of Sudan
and visited people that were,
in Rodger’s words, ‘Untouched
by our Western ways.’
Situated in the most remote
and inaccessible places in the
north-east African country,
the Nuba people appealed
to Rodger.
Wrestlers of the Kao-Nyaro,
Kordofan, Southern Sudan 1949

P
erhaps it was the Nuba
people’s simpler way of
life that hadn’t changed
for generations, their
connection to nature or unity
that drew Rodger to make them
his photographic focus
throughout the 1950s. Speaking
of his connection to Africa, his
wife Lois ‘Jinx’ Rodger said in an
interview with the Guardian: ‘In
the African bush, he could go
07
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back in time to where the world
was still clean.’ One aspect he
focused on was the tribe’s
passion for athletic competition,
particularly wrestling. The
strongest men would compete
with wrestlers from other
villages or communities to
project their strength. Often
their bodies were painted with
complex patterns to highlight
their beauty (another important
facet in the Nuba culture).
Rodger continued to make
images of Africa and its people
for more than 30 years. His
photographs are of great
historical significance as they
act as a record of a part of the
world that had not been widely
documented: he was the first
Western photographer authorised
to photograph the indigenous The Nubas, Kordofan, Southern Sudan, 1949
people. ‘George Rodger belongs
to the great tradition of explorers appeared in National Geographic published by Prestel and an Kodachrome and Ektachrome)
and adventurers. His work is a in 1951 – his colour work from exhibition at London’s Morton to offer an alternative view and
moving testimony through time the same assignments remains Hill gallery present these colour give fresh insight into the
and space,’ wrote Cartier-Bresson less well known. A new book photographs (taken on subject and photographer.
in 1994.
While his monochrome GEORGE RODGER: THE NUBA AND LATUKA, SUDAN 1948-1949
images are now celebrated and is on show at Morton Hill, 345 Ladbroke Grove W10 from 12 May to 23 June; serenamorton.com.
widely published – having George Rodger Nuba & Latuka: The Colour Photographs is published in hardback by Prestel at £35.
 F E AT U R E

All images
© Tomasz Gudzowaty

TELLING
STORIES
A collection of events
in Tomasz Gudzowaty’s
life inspired him to follow
his calling – and after
nine World Press Photo
Awards he hasn’t looked
back. Donatella Montrone
speaks to Poland’s best-
known contemporary
photographer.

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L
ocking eyes with someone through
a lens, hearing a shutter click
for the first time, watching an
image slowly appear on a sheet
of photographic paper: these
are all sensory experiences that
can change the course of someone’s life.
‘A person’s life consists of a collection of
events,’ says Polish photographer Tomasz
Gudzowaty, ‘But a single event can change
the meaning of the whole.’
Gudzowaty has experienced such life-
changing moments: one was the day he
met his wife, Melody Jimenez, the former
Miss Dominican Republic, with whom he
‘A person’s life consists of
a collection of events, but
a single event can change the
meaning of the whole.’
now has a child; and the other, perhaps
more formative, was discovering the
magic of the darkroom.
Gudzowaty was eight when he was given
his first camera, an inexpensive point-and-
shoot he used to photograph family
members and his surroundings in Warsaw,
but he was introduced to the darkroom
much earlier by an uncle whose passion
for image-making he would soon come to
share. ‘I realised early on that there is more
to making a picture than just pressing a
button, and it became a serious hobby for
me during my high school years. I was
already bitten by the photography bug,
but for some reason, when I was 19,
I decided to study law instead.’
After studying law, he abandoned all
thought of pursuing a legal profession
and instead focused his attention on the
viewfinder. ‘It took a few years before
I became disappointed with jurisprudence 
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 but suddenly – with diploma in hand – I
followed my heart and turned to photography.
Many documentary photographers come to
the profession from an unrelated background,
and in my case I had quite a lot of practise
before I turned professional.’
Gudzowaty is arguably Poland’s best-
known contemporary photographer, having
won numerous accolades, among which is
the nation’s highest civilian honour, the
Knight’s Cross of the Order of Polonia
Restituta, awarded to him in 2000 by then
president Aleksander Kwaśniewski. He is
‘I wanted to show the social
context in which sport becomes
a matter of national pride
and patriotic duty.’
the recipient of countless prizes, including
nine World Press Photo Awards ranging
from first prize in the singles category
for nature and environment in 1999, to
his most recent, third prize in the stories
category for sport in 2012. For Gudzowaty,
inspiration can come from anywhere –
‘A book, a news story, a place. Anything
can trigger an idea. Photography draws
from the external world, although it
also reflects a photographer’s inner self,
attitudes and emotions. When I was a
schoolboy, I remember an uncle looking at
a picture I had taken and saying it was very
artistic but that I had composed the frame
too tightly. He said that it might be due
to my personality rather than my artistic
preferences. “You should open up,” he said.

So I have followed his advice ever since.’
13
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 ‘I attempt to get a
certain understanding
of the world, and to pass
on my observations
to the viewer.’

H
aving travelled to more than 100
countries, across every continent and in
 some of the most inhospitable terrains
on Earth, Gudzowaty has documented
everything from the march of the emperor
penguins in the Antarctic (The Colony), to the
urban sport of parkour in Paris (Freerunning), to
the rigorous training regime of young gymnasts
14 in Shanghai and the Hebei province (Chinese
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Gymnasts), which tells the story of young
hopefuls whose success on the beam guarantees
them entry into a top school in China.
‘Winning a medal is usually a passport to a
first-degree school, which paves the way to an
international career,’ his website says. ‘Chinese
Gymnasts was shot in the year preceding the
Olympic Games in Beijing. It was a feverish
time – a time of big hopes and expectations.
I wanted to show the social context in which
sport becomes a matter of national pride and
patriotic duty. The children did not participate
in the Games, but they are a part of a great
army marching for victory,’ he explains.
The series was shot in two different sports
centres, taken with a large-format Linhof
Master Technika. ‘With the lighting that’s
needed for a shoot of this kind, it’s really
hard to remain unnoticed, transparent. In
this particular context, however, the scenes
happened naturally. Gymnastics is about
aesthetics, and I benefited from that.’
Much of Gudzowaty’s work is shot in high
contrast, resulting in deep, rich tones that add a
dramatic quality to his work, such as in Monsters
of the Deep, a documentation of the endangered
elephant seals of South Georgia, whose large
proboscis and gargantuan size, captured
through Gudzowaty’s gaze, give them an other-
worldy quality. Colour has always played a minor
role in his work, and for Chinese Gymnasts he
saw no place for it at all. ‘It may be because black, 
15
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  white and the whole range of mid-tones give
reportage a classical style, to which I am
deeply attached. I attempt to get a certain
understanding of the world, and to pass on
my observations to the viewer. When trying
to communicate that through pictures,
I believe excess is usually bad. It’s like trying
to hold a meaningful conversation in a
bustling railway station. Being an admirer of
the philosophy of the Far East, I frequently
repeat the following quotation from the
Book of Tao: “The five colours blind the eye;
the five tones deafen the ear.”’
He believes that objectivity is a key
principle in photojournalism and likens
it to a non-participant observation of
the events. ‘But the relationship between
photographer and subject – especially a
human subject – is always delicate and
complicated. It changes during their time
together, and they change the reality behind
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‘The five colours blind the eye;
the five tones deafen the ear.’
the act of observation. Within this concept,
the photographer is a storyteller, but his
narrative is made up of images that would
occur without his presence.’
O
n his website, Gudzowaty
describes himself as a
‘documentary, portrait and art
photographer’ – and explains
that though they appear to be disparate
they are actually contiguous parts of
a whole. ‘The essence of documentary
photography is catching reality as it
happens, where the photographer is a fly
on the wall. Portraiture, in turn, is almost
impossible without an intensive interaction
between subject and photographer, and
art photography is an expression of the
photographer’s personality. So it looks
like three different things, but they are
simply different facets of the same thing:
our insatiable desire to understand the
world and, through that, to understand and
express ourselves. This is what I deem the
ultimate goal of our profession.’
NEW WORK
Tomasz Gudzowaty and his wife
Melody, who is a model, are currently
working on a colour project together
called Planets Alive, in which traces
of the nine planets in our solar system
are manifested in the wild, unspoiled
landscapes of Namibia, the Maldives,
South Georgia and the abandoned
interiors of a French chateau.
gudzowaty.com.
 fototonic.co.uk

INSPIRATIONAL PHOTOGRAPHY
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photography workshops and continue with
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“Knowing the best locations and working with the
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opportunities for the best photos”
Andy Habin
 NEWS IN THE FRAME
If you would like an exhibition to be included in our listing, please email Elizabeth Roberts
at elizabethr@thegmcgroup.com at least 10 weeks in advance. International listings are
on the app edition of the magazine.

LONDON
ARCHITECTURAL ASSOCIATION
To 27 May
The Riverbed
Ben Murphy focuses on the architecture
and habitats of counter-cultural
communities in Spain.
36 Bedford Square WC1B
aaschool.ac.uk

ART PROJECT BERMONDSEY

17 May to 11 June
Camera Press at 70
Iconic images from the 1940s to the
present from the archives of Camera
Press photographic agency.
183-185 Bermondsey Street SE1
project-space.london

AUTOGRAPH ABP
To 27 May
Vron Ware: 13 Dead, Nothing Said
© Stephen Segasby
Photographs documenting the Black
People’s Day of Action in 1981.
Rivington Place EC2A INSIDE THE OUTSIDE:
18 autograph-abp.co.uk
EXPLORING CONTEMPORARY LANDSCAPE PHOTOGRAPHY
B+W
DULWICH PICTURE GALLERY To 2 June
To 4 June A group show by some of the best in the genre.
Legacy: Photographs by
Vanessa Bell and Patti Smith MMX GALLERY 448 New Cross Road, London SE14 inside-the-outside.com
Drawing together Bell’s images from
photo albums with Smith’s black & white
Polaroids of Charleston farmhouse. contemporary artist Gillian Wearing. 16-18 Ramillies Street W1F Caribbean and West Africa to
Gallery Road SE21 St Martin’s Place WC2H tpg.org.uk live in London.
dulwichpicturegallery.org.uk npg.org Millbank SW1P tate.org.uk
SAATCHI GALLERY
LITTLE BLACK GALLERY PARASOL UNIT To 30 May TATE MODERN
4 to 27 May To 21 May From Selfie to Self-Expression To 11 June
The Woman Who Never Existed Elger Esser: Morgenland Exploring the history of the selfie from Wolfgang Tillmans 2017
New work from Anja Niemi. New work that looks at the landscapes the old masters to the present day. An exhibition that focuses on work
30 May to 10 June of Lebanon, Egypt and Israel. 16 May to 16 June by this exciting and innovative
Etudes by Tyler Udall 14 Wharf Road, N1 Libya: A Human Marketplace artist since 2003.
A look at gender, sexuality and the blurry parasol-unit.org Mexican photographer Narciso Bankside SE1 tate.org.uk
line between fact and fiction. Contreras’ award-winning documentary.
13A Park Walk SW10 PHOTO LONDON Duke of York’s HQ, King’s Road, V&A
thelittleblackgallery.com 18-21 May Chelsea SW3 saatchigallery.com 6-28 May
Exhibitions include David Hurn’s Swaps, Prix Pictet: Space
MICHAEL HOPPEN GALLERY a collection built through swapping. SCIENCE MUSEUM Shortlisted photographers
To 20 May Embankment Gallery West, To 28 June explore global issues surrounding the
Untethered Somerset House, Strand WC2R Anderson & Low: Voyages environment and sustainability.
Two series by Joseph Szabo and photolondon.org The museum’s ship models are Cromwell Road SW7 vam.ac.uk
Siân Davey that explore adolescence. dramatically reimagined by the duo.
3 Jubilee Place SW3 PHOTOGRAPHERS’ GALLERY Exhibition Road SW7 VICTORIA MIRO
michaelhoppengallery.com To 11 June sciencemuseum.ac.uk 18 May to 29 July
Roger Mayne Isaac Julien: ‘I dream a world’
NATIONAL PORTRAIT GALLERY The first major London exhibition TATE BRITAIN Looking for Langston
To 29 May of the artist’s work since 1999. To Autumn Newly conceived large-scale black
Gillian Wearing and Claude Cahun: To 11 June Stan Firm Inna Inglan: & white photographic works
Behind the mask, another mask Deutsche Börse Foundation Black Diaspora in London 1960-70s and archival material.
Bringing together the work of Prize 2017 Recently acquired works by eight Gallery II, 16 Wharf Road N1
French surrealist Cahun and British The annual award. photographers who came from the victoria-miro.com
ZABLUDOWICZ COLLECTION TREACLE GALLERY
To 9 July 5 to 18 June
You Are Looking at Something A Wandering Eye
That Never Occurred A selection of work by John Chappelow.
Fourteen artists explore photography’s Beaufield Mews, Middle Street, Shere,
ability to suggest moments that are Guildford lximages.co.uk
far from certain.
176 Prince of Wales Road NW5
zabludowiczcollection.com EAST
MINORIES ART CENTRE

NORTH
DERBY MUSEUM
To 19 May
The Suffolk Monochrome Group
show their latest work.
AND ART GALLERY 74 High Street, Colchester
To 11 June art.colchester.ac.uk
People, Places and Things
Photographs from the WW Winter NATIONAL HERITAGE CENTRE
Archive that explores early studio FOR HORSERACING
photography from 1854 onwards. Requiem for an Owl & SPORTING ART
The Strand, Derby WILDLIFE PHOTOGRAPHER by Mats Andersson,
Sweden. Winner 2016,
To 18 June
formatfestival.com Gods of Sport
OF THE YEAR Black and White
© Mats Andersson Fifty years of sporting photography
HEPWORTH WAKEFIELD To 10 September by Chris Smith.
To 18 June Enjoy the world’s best nature photography Palace House, Palace Street,
Disobedient Bodies displayed on backlit panels. Newmarket, Suffolk
Fashion photographer palacehousenewmarket.co.uk
Jamie Hawkesworth photographs NATURAL HISTORY MUSEUM Cromwell Road SW7 nhm.ac.uk
123 Yorkshire schoolchildren.
Gallery Walk, Wakefield
hepworthwakefield.org NATIONAL MEDIA MUSEUM visit@thePhotoSpace.co.uk
WEST
BLACKFRIARS PRIORY
To 25 June 13 to 16 July
HIMLEY HALL
To 11 June
A Time it Was
Poetics of Light
The European premiere of an exhibition
of pinhole photography.
SOUTH
DIMBOLA LODGE
The National Print Exhibition
of Monochrome Photography
An exhibition of selected and awarded
Black Country photographs from the To 25 June MUSEUM AND GALLERY black & white prints from the 19
1970s to 1990s by Phil Loach. Britain in Focus: To 16 July Cotswold Salon 2017. B+W
Himley, Dudley dudley.gov.uk A Photographic History Tim Rudman: Via Sacra, Ladybellegate Street,
Charting the culture of photography in Iceland an Uneasy Calm Gloucester
MANCHESTER ART GALLERY the UK since the 19th century. Spectacular and powerful images of Cotswold-monochrome.co.uk
To 29 May Little Horton Lane, Bradford a strange and wonderful landscape.
Strange and Familiar: Britain
as Revealed by International
Photographers
nationalmediamuseum.org.uk

TATE LIVERPOOL
Terrace Lane, Freshwater Bay,
Isle of Wight dimbola.co.uk SCOTLAND
FOTOSPACE GALLERY
Over 200 photographs by leading 23 June to 15 October LUCY BELL GALLERY To 19 May
20th century photographers. Portraying a Nation: 7 May to 17 June Never Go Forwards Without
Mosley Street, Manchester Germany 1919-1933 Marilyn Stafford: First Looking Back
manchesterartgallery.org Painter Otto Dix and photographer August Stories in Pictures 1950-60 A retrospective of the work of the
Sander documented the radical extremes Documentary work by late Aase Goldsmith.
of the country during this period. a remarkable woman. Rothes Halls, Glenrothes, Fife
Albert Dock, Liverpool Waterfront, 46 Norman Road, St Leonards-On-Sea fifefotospacegallery.org
Liverpool lucy-bell.com
tate.org.uk/visit/tate-liverpool RHUEART
PITT RIVERS MUSEUM 17 June to 24 August
YORKSHIRE SCULPTURE 15 May to 29 October Tanera
PARK CENTRE Camel: A Journey through A unique portrait of place by Kevin Percival.
To 4 June Fragile Landscapes Rhue, Ullapool rhueart.co.uk
© Adrian Ashworth Anne Purkiss: Sculptors A story of connection, survival and

SOMEWHERE
Portraits of sculptors who have exhibited
at the park over the last 40 years.
interdependence on the edges of the
world by Roger Chapman. WALES
ABERYSTWYTH ARTS CENTRE
IN TIME Upper Space, YSP Centre,
West Bretton, Darton, Wakefield
Parks Road, Oxford
prm.ox.ac.uk To 24 May
To 3 June ysp.co.uk Walking the Dog
Adrian Ashworth’s black 35 NORTH CONTEMPORARY Photographs by Steve Bailey that cover the
& white images that lay bare
the lives of those living
with dementia.
MIDLANDS
THE PHOTO SPACE
FINE ART
4 to 28 May
Mark Nelson:
entire length of the Ceredigion coastal path.
Gallery 2, Aberystwyth
aberystwythartscentre.co.uk
To 20 May European Stories 1987-2017
THE CIVIC Echoes of the Great War A new collection of work from this Send your international
Hanson Street, Barnsley Peter Cattrell’s journey of remembrance well known artist.
exhibition details to
barnsleycivic.co.uk to the fields of the Somme. 35 North Road, Brighton anna.evans@thegmcgroup.com
4 Castle Street, Ludlow, Shropshire 35northgallery.com
 COMMENT
AMERICAN CONNECTION
It takes determination and vision to learn about traditional photographic
practices then use the skills to create pictures that seek to connect with nature.
susanburnstine.com
But Blue Mitchell has these qualities in abundance. He talks to Susan Burnstine.

20
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Fusion, 2014 Comet Shower, 2014

O
regon
photographer
Blue Mitchell
has a
boundless
passion
for 19th century alternative
processes with a modern twist.
Throughout the years, he’s
successfully merged hands-on
craftsmanship with thought-
provoking, conceptual based
narratives that focus on
reconnection with the power of
nature and mysticism, perhaps
most effectively achieved in his
series Chasing the Afterglow.
Early on in his photo career
Mitchell became bored
with straight photography
and yearned for a more
hands-on artistic approach
to the medium. He became
reinvigorated once he began
‘Most of my work is based on my longing
for spiritual connection.’
studying antiquated photo
processes, printing and working
with mixed media all of which
integrated concepts that
intrigued him the most.
The themes of mystery in
nature, magic, mythology and
metaphysics weave throughout
Mitchell’s work. ‘Most of my
work is based on my longing
for spiritual connection
with nature and my belief in
universal oneness,’ he says. ‘My
desire is to create photography
that conveys emotions of
delight, wonder, connectivity,
otherworldliness, spirituality
and magic. Sometimes I use
personal and written mythology
as symbolism to express these
ideas in a more narrative
sense, other times I implement
abstraction for a more
meditative experience.’
Chasing the Afterglow began
after Mitchell determined his
creative time was limited to the
evening, during twilight, and
late into the night. ‘I’ve always
enjoyed the night, especially
when there’s a moon present,’
he says. ‘As a goal, I decided to
photograph every full moon
night for two years. The subject
matter varied depending on the
moon’s location and visibility.’
On moonless evenings,
Mitchell works in the studio
to create what he refers to as
his ‘twilight lores’. ‘The studio
work allowed for an abstract
narrative and gave me the
freedom to add hand drawn
elements, figures and still lives,’
he says. ‘Additionally, some of
my favourite images from the
series have no moon at all, but
rather the sun in more of
a setting and glowing state.’
Mitchell’s previous series was
displayed by using light boxes.
As he began creating Chasing
the Afterglow, he realised he
wanted to replicate a similar
glowing cast from light boxes
but in a different manner in
his new work. That’s when
he came up with the idea of
transferring the images on to
silver leaf. ‘The use of silver
leaf and mixed media alters the
nature of the two-dimensional
photograph and creates a more
all-encompassing experience,’

Faeries, 2014
he says. ‘The technique
accentuates the luminance of
the subjects and gives the work
a tactile, sumptuous quality.’
I
n recent years, Mitchell
achieved a respectable list of
accomplishments in the world
of photography. Perhaps
one of the most notable was
the creation of his company,
One Twelve Publishing, which
includes Diffusion magazine,
a photography book publishing
division and an online photo
magazine venture, Plate to
Pixels. The aim of One Twelve
Publishing has been to further
educate audiences about
handmade processes, as a means
to celebrate practices that are
widely considered as teetering
on the brink of obsolescence.
Mitchell’s publishing ventures
are a pure labour of love to help
ensure others will continue to
appreciate these methods for
generations to come.
If all of that was not
enough, Mitchell balances his
photography and publishing
company with a full-time job
running a visual media
service department for a
healthcare organisation while
he and his wife are also raising
two young children. That is
indeed a full plate.
Currently, Mitchell is
continuing to work on some
new pieces for Chasing the
Afterglow, which will be
produced considerably larger
than his previous prints.
Additionally, he is working
on an extension of the series
with re-photographed images
and additional added physical
elements such as salt,
cinnamon and dirt.
Illumination, 2014
All images © Blue Mitchell
EXHIBITIONS
USA
BAKERSFIELD
Bakersfield Museum of Art
Until 6 August
Bob Kolbrener: Vision of Place
bmoa.org
BROOKLYN
Brooklyn Historical Society
Until 1 July
Truman Capote’s Brooklyn:
The Lost Photographs of David Attie
brooklynhistory.org
CHICAGO
Museum of Contemporary
Arts Chicago
Until 23 July
Eternal Youth: Featuring Larry Clark,
Dawoud Bey, Wolfgang Tillmans,
After these items are added Francesca Woodman
to the composition, the piece mcachicago.org
is presented as a straight
21
pigment print rather than LOS ANGELES B+W
lifts on silver leaf. The Getty
Additionally, he is Until 2 July
In Focus:
reinvigorating a former colour
Jane and Louise Wilson’s Sealander
series entitled Evanescent getty.edu
Energy, which involves creating
a colour image on positive film NEW YORK CITY
then burning the image with International Center
an open flame until the film of Photography
selectively melts, bubbles Until 9 June
and changes colours. Han Youngsoo: Photographs
bluemitchell.com of Seoul 1956-63
icp.org
NORFOLK
Chrysler Museum of Art
Until 16 July
Glen McClure: The Shipyard
Workers of Hampton Roads
chrysler.org
PORTLAND
Blue Sky Gallery
Until 30 June
Wendy Ewald: This is Where I Live
Ima Mfon: Nigerian Identity
blueskygallery.org
ROCHESTER
George Eastman Museum
Until 11 June
Richard Renaldi: Manhattan Sunday
eastman.org
 Winner of the TIPA Award

‘Best Photo Lab Worldwide’

Selected by the Editors of 28 International Photography Magazines

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A GALLERY FRAME

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 BOOK REVIEWS
ON THE SHELF
H
e was one of the ROAD NOISE
most influential
photographers of the Lorna Fellas
20th century. Irving Carbon Copy Press
Penn was born in 1917 and in Paperback, £10
a career lasting more than 60 Available at carboncopypress.com

years he became a master of
portraiture, fashion, still life
DALSTON and nudes.
IN THE 80S This book celebrates the
centenary of his birth and is
Andrew Holligan a fitting tribute to the great
Hoxton Mini Press man. Its 372 pages contain one
Hardback, £14.95 of the largest selections of his
I
first came across Carbon
Copy Press a few months
ago when I looked at the
publisher’s first two titles.
I was immediately drawn to
the experimental content and
superb production values of
these charming handmade

I
n the spring of 1984 New York
fashion photographer Andrew
Holligan needed a change so
he moved from Manhattan to
Dalston. A world apart from the
west coast art scene of the USA,
the east London borough was a
welcome contrast for Holligan:
‘I had changed city, changed
continent, now it was time to
change my photography. Fashion
seemed too predictable so I
bought an old 1950s Rolleiflex
2.8E2 camera and went out on
the street.’
photographs ever compiled, photobooks. After learning
CENTENNIAL ranging from portraits of key about the pair behind
Irving Penn cultural figures to influential this young yet impressive
fashion shots and studies of company (Lizzie King and
The Met
cigarette butts. Craig Tattersall) I realised
Hardback, £50
But it’s the portraits that the books were testament to
resonate most strongly here, not just the well known faces of their commitment to create
Picasso, Hitchcock and Dali, but the wonderful pictures of people limited edition, high quality
from Peru and New Guinea and (my favourite) the Small Trades yet affordable short books on
series on workers of Paris, London and New York. inventive photography.
It’s a book to treasure and accompanies an exhibition currently I was delighted then to
running at the Met in New York before travelling to Paris, Berlin discover Carbon Copy Press’
and Brazil.
Mark Bentley
latest book is just as enticing
23
and elegant as its previous B+W
titles. Road Noise is a set of

He lived in the district for
two years, documenting his
impressions of the place and
its people. Now, more than 20
years later, his photographs have
come together in this pocket-
sized book. As we’ve come to
expect from Hoxton Mini Press,
Dalston in the 80s is beautifully
produced. This is the 13th book
in the publisher’s East London
Photo Stories series and a
collector’s edition (with a print)
is available.
Anna Bonita Evans
A
small and deceptively photograms created by multi-
simple book, The disciplinary artist Lorna Fellas.
Vest Pocket Kodak & Initially the photograms were
The First World War sketches of the landscape Fellas
reveals the story of a tiny camera, drew during her journeys
the size of an iPhone, that for the between Manchester and
first time was able to document Norwich, which she then
the appalling story of a world transformed in the darkroom
war. Launced in April 1912, this to abstract impressions of her
camera could be tucked into local environment. The results
a jacket pocket (the American are evocative and thoughtful.
‘vest’) – and was so popular For something a little different
among young men going to the pick up a copy.
Western Front that it became Anna Bonita Evans
known as the Soldier’s Kodak.
Military historian Jon
Cooksey has brought together a
remarkable number of pictures
taken by soldiers of all ranks
THE VEST POCKET
that give us an insight into KODAK & THE FIRST
daily life during the war, from
the trenches and the battlefield WORLD WAR
to the Christmas truce and Jon Cooksey
prisoner of war camps. By 1916 Ammonite Press
it was a court martial offence to Hardback, £7.99
take photographs, which makes
it all the more astonishing that these pictures were not only taken
but have survived to tell the unofficial story. It proves how important
photography is in recording our lives and that soldiers were willing
to risk serious punishment to be able to do just that.
Elizabeth Roberts
24
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 25
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F E AT U R E

All images © Gauri Gill

When Gauri Gill set

out to photograph one
of the largest states in her
country, little did she know
it would take more than
two decades to create her
response to rural desert
living in India. Anna Bonita
Evans unpacks her complex
portrait of Rajasthan.
Izmat, Barmer
26
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Jogiyon ka Dera, Lunkaransar
S
trange and compelling, Gauri
Gill’s portraits have a resonance
that comes from the deep
connection she has with those
she photographs. The pictures
you see here are part of Notes
from the Desert, a series where Delhi-
born Gill travelled across rural Rajasthan
and photographed the people she met.
Stylistically varied, the body of work includes
a range of photographic practices: Gill is
not a documentarian but an interpreter, she
plays with performance, form and the harsh
reality of living in a formidable environment.
Gill started the project in 1999 and for
close to two decades has journeyed across
the vast and arid state, visiting Jodhpur,
Barmer and Bikaner districts – among
others. She photographed villagers in some
of the most remote parts of the north-west
region with the focus of telling their stories
in her own unique way. Gill does not treat
the project as finished, however, and sees
individual narratives within it. She hopes
to publish each narrative in book form, the
first, Balika Mela, was published in 2012.
Boy bathing in talaab, Baran
‘My work itself is a small
attempt to try and explain the
kind of extraordinary people
I met, to honour those people
and my experience.’
Her work has garnered much attention,
with exhibitions at countless international
galleries (including the venerable
Smithsonian Institution in Washington DC)
and praise from a range of leading critics.
The New York Times described her as, ‘One
of India’s most respected photographers,’
while the Wire said Gill is, ‘One of the
most thoughtful photographers active in
India today.’ In 2011 she received Canada’s
prestigious Grange Prize (an award of
$50,000) and there is no doubt more acclaim
is to come.
W
ith Gill’s background in
photojournalism, Notes
from the Desert might have
developed as an extensive
photographic survey – one rooted in
documentary – or as a set of arresting
portraits with an underlying political
agenda, yet the series takes on a more
organic and intricate form: she shows us
what it looks like when poverty, agriculture
and the unforgiving desert meet. The
results are hugely powerful.
Gill gives voice to those who might
otherwise go unnoticed. She is sensitive
to her subjects and develops an affinity
towards them: she often refers to the work
– especially the more posed and structured
portraits – as collaborations with friends.
This project is a visual tribute to a group of
people she admires, the respect she has for
them is clear in her imagery and her writing.
In the series’ accompanying essay, Gill
speaks of a woman called Izmat who, with
longing in her voice, urged the photographer
to tell of her community’s hardships.
This, along with other poignant encounters
(including seeing a pupil beaten by her
teacher and the corpse of a young girl)
seems to have been the catalyst for Gill
to embark on such an ambitious project. 
 27
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Urma and Nimli, Lunkaransar

28
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Ayesha in her grandparents’ home, Barmer

 29
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Jannat, Barmer
30
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Karima and Nimli, in a home destroyed by flooding due to extra rain, Lunkaransar
 ‘My work is a small attempt to try and
explain the kind of extraordinary people
I met, to honour those people and my
own experience,’ Gill says. ‘My friends
live close to the elements, in a unique
landscape, often inhabiting very precarious
circumstances – and yet they continually
look for ways to try and prevail, to
overcome those circumstances. They
don’t easily lose humour, or hope.’
A
nother reading could be that this
is Gill’s photographic pilgrimage
through one the largest states of
her native country: an exploration
of a powerful demographic that reconnects
her with her ancestral land. In her essay Gill
speaks of a young girl in rural Barmer, who
was terrified of the Delhi-born, English-
speaking Gill with her jeans, short hair
and camera: ‘She thought I must be a boy.’
So did this girl’s reaction provoke Gill
to produce such an extensive exploration
of Rajasthan? ‘It certainly formed part of
the motivation for me to learn, to try and
understand. I was startled into realising
that I knew nothing of the world outside
the cities I had grown up in – or if at all, it
New homes after the flood, Lunkaransar
was only a very superficial understanding.’
Although their heritage is shared, the young
girl and Gill had very different perspectives.
Notes of the Desert may be thought of
as a response to India’s shifting identity
towards a more modern, industrial and
westernised country, reminding us there
are some who are being left behind. Gill
addresses this aesthetically by printing to
encompass as many grey tones as possible,
creating a bleached appearance in her
photographs. Not only is the lack of intense
shadows a reflection of the overwhelming
light and heat found in the desert, but it
gives her cherished friends – or subjects
– an ethereal quality. Many are ghost-
like figures in the landscape, captured
hauntingly in their traditional way of life.
‘Yes, part of the project was and is to
make those visible that have disappeared
from our self-obsessed consciousness.
India’s shift to modernity has been both
good and bad, depending on who you’re
speaking to. It has benefited a few people
a great deal, at the cost of many others.
It is not an inclusive modernity, but an
exclusive, violent one, and therefore
although the poverty indicators may have
gone down, inequality has only risen.’
gaurigill.com
 31
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Hooran, Barmer
 NEWS SONY WORLD PHOTOGRAPHY AWARDS
We present our pick of some of the best black & white pictures
from this year’s photography awards in London.

© Christian Vizl, Mexico, Shortlist, Professional, Natural World, 2017 Sony World Photography Awards © Christoffer Askman, Denmark, Shortlist, Professional, Still Life (professional), 2017 Sony World Photography Awards

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© George Mayer, Russian Federation, Shortlist, Professional, Portraiture, 2017 Sony World Photography Awards © Jayanta Roy, India, Shortlist, Professional, Landscape, 2017 Sony World Photography Awards

© Will Burrard-Lucas, United Kingdom, Shortlist, Professional, Natural World, 2017 Sony World Photography Awards © Javier Arcenillas, Spain, Shortlist, Professional, Current Affairs & News, 2017 Sony World Photography Awards
 © Peter Franck, Germany, Shortlist, Professional, Landscape, 2017 Sony World Photography Awards

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© Sebastian Castañeda/ Anadolu Agency, Peru, Shortlist, Professional, Current Affairs & News, 2017 Sony World Photography Awards
34
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 F E AT U R E

All images
© Nicolas Janowski

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THE
LIQUID
SERPENT
With a background in anthropology,
freelance photographer
Nicolas Janowski’s take on
the Amazon is a complex
kaleidoscope that encompasses
environment issues and the
drama of photography. Here he
interprets in words and pictures
his view of this vast region and
the river that feeds it.
36
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T
‘The courses of sweet he Amazon is neither man nor
animal. She is nature’s hybrid.
water are under grave Mirrors of man’s contradiction,
of a world to which she belongs
risk of contamination and yet remains distant. The Amazon
bears forth over-stimulated cities
and, consequently, pervaded by a savage force, which exist
life itself.’ simultaneously as survival mechanisms.
Even disintegrated indigenous groups
in the jungle, separated by language but
intimately linked by memory, share the
same myths and religious convictions.
But the accelerated transformation
process lived by the Amazon depends
as much on internal natural forces as it
does on the international world order.
Since its designation as one of the seven
natural wonders of the world in 2011,
global attention is newly aimed at the
Amazon rainforest, revitalising the
discourse about the practices
employed in the area. The historic
37
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moment consolidates an extractive
hegemonic model with a progressive
acculturation of the indigenous
communities that need medicine,
machetes and batteries for their
lanterns, generating processes of radical
transformation of their native culture.
At the same time, the participation
of new social actors with strong
global economic interests deepens the
ecological imbalance as they disregard
biodiversity and provoke the degradation
of the environment. Gold, petroleum, the
trafficking of exotic species, deforestation
on a massive scale, and the introduction
of cattle are only some of the threats to
sustainability. The courses of sweet water
are under grave risk of contamination
and, consequently, life itself.
In this transformation, gradual but
constant, the Amazon also modifies
that which draws close to her.
38
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40
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 RPUSE C
S OD
15
M EB
EMW1

%OFF SHS.ORG
BE7 AT
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© Ronald Williams LRPS | Contemplating

IF YOU HAVE A PASSION FOR PHOTOGRAPHY

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MEMBERSHIP IS THE CHOICE FOR YOU IN 2017
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workshops and events

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 INSPIRATION
INSIGHT
Black+White Photographer of the Year Vicki Painting is nearing completion
of her MA in Documentary Photography. She discusses her latest project
Image © Vicki Painting
and her plans to produce a book dummy of her recent work.

A
s I approach the end of
my MA in Documentary
Photography I am in
the process of selecting
pictures to produce a book
dummy. This seems the
most logical way for me to present the work
as different strands of my project have
produced different types of images.
A continuous thread is the central
protagonist’s dementia and this has led
to the editing process being driven by an
emotional response to the content rather
than forcing a linear narrative, mirroring
the disease itself which does not play out
in a straight line. Time has no meaning
and is continually disrupted. People with
dementia can get stuck in a loop as they
try to perform the tasks of daily living that
become insurmountable. They become
time travellers in their own lives as past
memories fleetingly become the present
before they are lost forever. Rather than
counter their reality, it is better to go along
with them on the journey. Perception is,
after all, a unique experience for every
individual and is neither right nor wrong.
Uniting elements of biography, metaphor
and history in a scattergun approach, I hope
to mirror this in the book’s production,
allowing the reader to enter the narrative
at any point and continue in any direction.
In working within the framework of
personal documentary I have focused on
my own experiences and how they have
impacted on me and my photography –
self-examination being a prerequisite for
examining somebody else’s life, perhaps
best explained by the photographer Jo
Spence in Beyond the Family Album (1979).
‘There is no way I could have understood
fully the political implications of trying
to represent other people (however well
intentioned) if I had not first of all begun
to explore how I had built a view of myself
through other people’s representations
of me’ – Jo Spence.

43
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Follow Vicki Painting @vickipaintingphoto

 COMMENT
A MODERN EYE
The studio is an essential space for an artist to experiment, innovate and create,
says assistant curator of photography at Tate Modern Shoair Mavlian. She puts
the work of Hungarian photographer György Kepes into sharp focus.

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Fins and Rectangles c1939-40. Hand and Magnet Photogram c1939-40. Opposite Lily and Egg c1939.

T
he artist’s studio
is a mysterious
‘This was a period of experimentation, London, then in 1937 emigrated
to the United States on the
and fascinating both in the studio and the darkroom. invitation of Moholy-Nagy
place. It’s often to run the Colour and Light
a space of For Kepes, like many photographers, Department at the recently
solace, a retreat
from the outside
the darkroom was a place for founded New Bauhaus in
Chicago, later to be renamed
world, where research and discovery.’ as the Institute of Design.
creativity is

explored and masterpieces are
created. Tate has investigated
this in the display In the Studio,
which looks at the work of many
different artists. The installation
includes works by György Kepes,
highlighting his use of the
photographic studio as a space
to create and the darkroom as
an area in which to experiment.
György Kepes was born in
Hungary in 1906 and studied at
the Royal Academy of Fine Art
in Budapest, graduating in
1928. Soon after he moved to
Berlin, following in the
footsteps of many great
Hungarian photographers who
were living and working in the
German city, which at the time
was a vibrant and creative hub.
Kepes worked in the studio of
László Moholy-Nagy, who
subsequently introduced him to
other key modernist thinkers
such as founder of the Bauhaus
School, Walter Groupius.
Like many artists of the time
Kepes was working across
different mediums (including
painting, photography and
design) and was interested in
how new technologies such as
photography could enable a new
way of seeing the world – ideas
central to the Bauhaus and the
New Vision movement.
In the lead up to the Second
World War Kepes spent time in
T
ate has 40 photographic
works by Kepes in its
collection, all made
during his time in
Chicago between 1938 and
1942. This was a period of
experimentation, both in the
studio and the darkroom. For
Kepes, like many photographers,
the darkroom was a place for
research and discovery;
exploring the process of
cameraless photography was 
All images © György Kepes

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 Prism and Wood, c1939.
46
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 a way to experiment with the
medium’s ability and produce
a unique image that doesn’t
exist in the real world.
It was the harnessing of light
and chemistry to create abstract
imagery which Kepes found
most interesting. He called his
experiments photogenics, or
photo-drawings, as a nod to
Henry Fox Talbot (who coined
the term in the 1830s) and also
as a reference to how he often
drew or painted directly on to
the surface of the print, adding
an additional layer of texture.
K
epes used a variety of
objects in the darkroom
and often utilised the
natural environment for
inspiration, as seen in Lily and
Egg (page 45). However Kepes
was equally interested in
science, in particular the
different properties of light and
how it could be recorded. By
using objects with different
levels of opacity he was able to
capture light and shadow in
many forms, as seen in Prism
and Wood (above) and Fins and
‘Although Kepes as an artist is still
relatively unknown, the influence
of his research and writings is
perhaps yet to take full effect.’
Rectangles (page 44). He was
also interested in recording
scientific phenomena,
capturing a feeling or
experience such as the
magnetic force in Hand
and Magnet Photogram
(page 44).
His initial fascination with the
relationship between art and
science went beyond the realms
of photography and became the
focus of his future research. In
1944 he published the influential
text Language of Vision, where
he highlighted the impact of
new technologies such as
photography, cinema and
television on visual culture. Here
he used the terms ‘visual culture’
and ‘new media’ long before the
popularisation of both.
As well as being an
accomplished artist, designer
Compass and Strainer Photogram (not dated) Opposite Untitled c1939-40.
and writer, Kepes’ role as an
educator played an important
part in his life and legacy. In
1946 he began teaching at the
Massachusetts Institute of
Technology and in 1967
founded the Center for
Advanced Visual Studies to
encourage and continue
interdisciplinary work between
the arts and new technologies.
Although Kepes as an artist
is still relatively unknown, the
influence of his research and
writings is perhaps yet to take
full effect. As new technologies
are integrated into our everyday
lives, it is this link between art
and new technologies that is
transforming our current
visual language.
When we think of Kepes in
his later life as a pioneer of new
media it is interesting to look
YOU MIGHT
ALSO LIKE…
Margaret de Patta (1903-
1963) was a renowned
jewellery designer who
also worked across
different mediums, utilising
photography throughout her
life. She studied briefly with
Moholy-Nagy at the Institute
of Design, Chicago, and
was interested in theories
of light, space, volume
and movement. De Patta
often used photograms
as a way to experiment
and make studies for her
jewellery designs.
back at his early work as a
precursor to his later, more
radical, practice.
47
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 INSPIRATION
THINKING PHOTOGRAPHY
Do you have to be an impoverished artist to create great pictures? Or do you
Follow Alex Schneideman
need financial backing to make pictures the world has never seen before?
on Instagram @schneidemana
Alex Schneideman looks at the close links between money and art.

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W
e are gripped by
the idea that art
should be resistant
to the pernicious
and anti-cultural influence of
money. We inherently mistrust
the unholy union of art and
money, but the reality is that
art needs money and we should
welcome it with open arms.
Let’s start with an ancient trope
– the struggling artist. We ascribe
virtue to the impoverished artist
because to work in a reduced
economic state speaks of a higher,
almost religious calling. We sense
that the artist without material
comfort is dedicated to a higher
plane and their art is the singular
medium by which they will
achieve oneness with their creator.
Certain stories have given
meat to the myth. Van Gogh is
often cited as an impoverished
‘We sense that the artist without material
comfort is dedicated to a higher plane.’
artist, partly because some of
his paintings nourished such
notions and partly through the
mythology of his life. His painting
Bedroom in Arles (1888) depicts
the simplest of accommodation
and underlines the link between
the purity of spirit required to
create artwork of genius and the
purity of spirit from which these
visions spring. However, here’s a
quote from the website of the Van
Gogh Museum in Amsterdam:
‘Van Gogh was not poor.
From 1882, he received financial
support from his brother Theo,
who had been appointed manager
of the Parisian branch of the
Goupil art dealership. In the first
few years he received an average
of 100 to 150 francs a month.
At the time, that was about 50
or 75 guilders, in any case a lot
more than the 32 guilders a
factory worker received back then
to support a family of seven.’
But there is no question that
Van Gogh struggled and it could
be argued that it is the struggle
that we have misplaced in our
estimation of the ground upon
which creativity occurs. Van
Gogh was well known for the
precariousness of his mental
state – this was a real struggle,
one that arguably produced
some of the greatest work of
the impressionist movement.
He died in 1890, not long
before the birth of a photographic
genius who had a very different
relationship with money. Jacques
Henri Lartigue was born in
France into privilege and wealth.
It was not until late in life that he
was recognised as the man who
established that photography
could do something that painting
or other art forms could not –
freeze time. He spent a lot of
time (and presumably money)
attempting to exploit the speed
at which a camera can record.
Without money he would not
have been able to establish a new
approach to photography that
helped ensure its recognition as
the medium of the 20th century.
He helped the foundation of an
appreciation of photography
as an art form bound by its
own physical limitations and
beholden to none other in
defining its own dialectic. 
All images © Alex Schneideman

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50
W
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ithout money, art
can have meaning;
 but without art,
money can have
no meaning. The wealthy and
powerful have understood the
power of art for centuries. Much
of the greatest work has been
created under the patronage of
rich men. Take Matisse’s 1909
paintings Dance and Music, for
example. These two paintings
were commissioned by the
Russian collector Sergei
Shchukin. Shchukin understood
that art gave his wealth meaning
and so, as he had the means to
consume great art, he gave the
world another view of itself – a
view that only money could buy.
Now to 1930s America, where
Roy Stryker of the information
division of the Farm Security
Administration (FSA) tasked
several photographers with the
job of introducing America to
Americans by depicting the
poverty, hardship and
everyday life of people in certain
rural areas – the FSA was in
charge of the resettlement of
farmers from arid dustbowl
lands to more fertile regions. great documentary photography future, we are faced with a
Among the photographers projects of all time. So many strange crisis – the potential loss
hired were Walker Evans, Ben great images were created as of a great many bankers and
Shahn, Dorothea Lange, Carl a result of the inspired work those related to the finance
Mydans and Arthur Rothstein. between a government industries. The debt owed by the
These photographers roamed department with a budget UK to the richest 5% is
the land, freely documenting and some ambitious and shamefully unacknowledged.
what they found – and all this in talented photographers. Money spent throughout the
the pay of the government. Here As the UK prepares to leave country on contemporary art is
a well-meaning government the European Union and the City on the one hand international
project turned into one of the of London ponders its long-term and on the other home-grown,
deriving as it does from the
activities of the Square Mile.
AGREE OR DISAGREE? To lose many of these buyers of
Let me know at schneideman331 or email me at art will have a negative effect on
alex@flowphotographic.com the ability of people who wish to
spend their lives making art.
THE IMAGES After all, it was Oscar Wilde
Money and art are fractured reflections of each other. who said, ‘When bankers get
I made a series of images using the darkened windows
together for dinner, they discuss
of closed galleries in the St James’s art district of
art. When artists get together
London. This quarter is known for the money that
for dinner, they discuss money.’
washes through the galleries so it makes a good
Art that is motivated only
backdrop for a series of self-portraits where I represent
by money will be a pastiche of
the ‘artist' and the reflections in the dimly lit windows
represent the nature of the relationship between the better work at best. There can
artist and money. It’s never what it seems... be no substitute for the raw
power of creation for its own
NEXT MONTH sake. The fire created by money
I will be looking into the general apathy of the British to spent wisely on art lights many
photography and their reluctance (compared to Europe candles; a flickering legion of
and the US) to regard photography as an art form. lights that illuminate, inspire
and provoke.
51
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 TECHNIQUE
TOP TIPS:
SHOOTING COASTLINES
From towering cliffs and windswept beaches, to quiet bays and sleepy fishing
villages, the British coastline offers a wealth of creative photo opportunities.
All images © Lee Frost
Lee Frost grabs his camera and heads to the seaside.

W
e might complain about the
 weather, council tax, Brexit and
many other things, but living in
the British Isles does have its
advantages. For starters, how many other
countries in the world can you name where
from any given point the coast is never more
than a couple of hours’ drive away? Not many,
and if you can, would you want to live there?
The fact is us Brits are incredibly fortunate.
Not only do we have an accessible coastline,
but like our landscape, it’s also full of variety:
bustling tourist resorts, picturesque fishing
villages, stretches of golden sand, beautiful
sea, desolate weather-beaten cliffs, heart-
stopping views, pounding surf, tranquil coves...
You name it and we’ve probably got it, spread
out over more than 10,000 glorious miles.
Add to that the vagaries of our climate,
which can totally change the mood of a
place in minutes, and the end result is a
photographer’s paradise. So why not start
making better use of this amazing resource
52 by heading for the coast with your camera?
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Look for foreground interest and keep your composition tight.
Canon EOS-1DS Mark III with 17-40mm zoom lens, f/16, ISO 100
. COASTAL COMPOSITIONS
A successful landscape depends not only
on great light, but also a strong composition,
and while you can’t control the former, the
latter is completely down to you. Most of the
coastal landscapes you shoot will be taken
with a wideangle lens, so you can get more
in. However, what you choose to include
has to be interesting to look at – if it isn’t, the
resulting image will be boring. End of story.
To avoid that, look for foreground interest
then get in close to emphasise it so the eye is
naturally drawn into and through the scene,
and a dramatic sense of depth and scale is
captured that makes your images appear
three dimensional.
You won’t have to look far to find something
of interest by the sea. Ripples in the sand,
a lump of driftwood on a beach, a lichen-
covered boulder, dune grasses, a rock pool, a
path, pebbles, seaweed, seashells, reflections
in the sand – you’ll be spoilt for choice.
You also need to make sure that everything
in the scene records in sharp focus, from the
immediate foreground to infinity. Wideangle
lenses help here because they give you lots
of depth of field, but you’ll still need to stop
down to f/11 or f/16. Don’t make the mistake
of focusing on infinity as the foreground may
end up out of focus. Instead, focus on a point
2-3m into the scene to maximise depth of field.
 
The beginning or end of the day can provide beautiful light to work with.
Canon EOS 5D Mark III with EF16-35mm zoom lens, 1/60sec at f/11, ISO 100
53
. MAKE THE MOST OF LIGHT B+W

As with any type of scenic photography, the beginning and end
of the day always produce the best conditions, even when the
final images are destined to be black & white. Obviously, a golden
sunrise or sunset makes no difference, but the low angle of the sun
does – so it’s well worth heading out early and staying out late.
In clear weather, long, raking shadows are cast along the coast,
revealing ripples on sandy beaches, texture on rock and generally
adding a wonderful sense of depth to a scene. A recce will
determine if dawn or dusk is best for a particular location – don’t
assume that you can’t get decent sunsets on the east coast or
sunrises on the west coast; you can! Sunny, blue sky weather is
the least effective for coastal views as the light is bland and harsh,
but you can capture details and textures, or shoot infrared images
with a converted DSLR or IR filter – strong sunlight is ideal for
infrared photography. Dull days are also good for detail shots
and shooting long exposure seascapes.

. WATCH THE WEATHER

The most dramatic coastal landscapes
tend to be taken in changeable, stormy
weather, when there’s a strong wind
blowing, the sky is heavy with ominous
clouds and the sun occasionally breaks
through to illuminate the scene below
with magnificent light. You can’t catch
these conditions from the comfort of your
armchair though, so be prepared to don
your waterproofs and get out there.
Breaks in the light tend to be
unpredictable and fleeting, so unless
you’re on location, with your camera on
a tripod and the scene composed, you’re
going to miss the moment. You may well
return home wet and tired, having walked
 miles and taken no photographs, but
when things fall into place and you bag
Dark and stormy weather can be perfect for shooting on the coast in black & white. winning shots, it makes all the hard
Canon EOS 5D Mark III with 17-40mm zoom lens, 1/160sec at f/11, ISO 100 work worthwhile!
 . SMALL WONDER
You don’t have to shoot vast scenes with an ultra-wide lens to
capture the character of the coastline, so keep an eye out for
interesting details too. Textures on rock, the patterns created
by pebbles and seashells, ripples on a sandy beach, bleached
driftwood, tangles of ropes and fishing nets, lobster pots, the
rotting hull of an old boat – all these things and many more can
become the source of successful images.
Details are a great subject for dull, overcast days. Such conditions
produce soft light, and though it’s useless for sweeping vistas,
it’s perfect for detail shots as you can record every minute detail
without having to worry about shadows blocking-up or highlights
blowing. A close-focusing zoom or a standard 50mm lens will get
you close enough for most coastal details, while a macro lens will
allow you to fill your frame with the smallest of subjects.

. TIME AND TIDE

The type of coastal landscapes you shoot will differ greatly
depending on whether the tide’s high or low, so it’s worth checking
that before you embark on a trip. In some locations the sea may
be half a mile or more from coast at low tide, so your plans of
capturing waves washing up a beach or crashing against the
rocky shore will be scuppered. Similarly, if you want to photograph
ripples on a sandy beach there’s no point turning up at high tide
when the beach is several feet underwater. Ideally, the tide needs
to be receding, so the ripples are nice and fresh. You also need to
consider the risk of being cut off by the incoming tide.
You can buy regional tide tables in local shops. Alternatively,
check a website which will give you info on any part of the UK.
 I often use tides4fishing.com, as you can check the tide times
weeks or months in advance – handy when planning a trip.
Keep an eye out for the textures and patterns around you. bbc.co.uk/weather/coast/tides
54 Canon EOS 1000D with 18-55mm zoom lens, 1/60sec at f/11, ISO 100 tides4fishing.com/uk
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Tide times are crucial when

planning a coastal shoot.
Canon EOS 5DS with Zeiss 21mm
lens, 122sec at f/22, ISO 100
 55
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. SENSE OF SCALE
Coastal scenes often lack scale because there’s nothing in them of familiar size, but that’s A figure in the landscape
easily remedied by including a person in your shots, and as people love being by the sea, gives us a sense of scale,
it’s rarely a problem finding a figure. but it can also affect the
Look for lone dog walkers, kids skimming stones, loving couples enjoying the view, families mood of the picture.
or groups of friends in silhouette. Those people don’t need to be big and dominant in the Canon EOS-1DS Mark III
compositions. In fact, if you keep them nice and small the effect is often better because with 70-200mm zoom lens,
it helps to emphasise the grandeur of the scene and the scale of big open spaces. 1/1000sec at f/4, ISO 100


Shooting a panorama allows you to capture the majesty of the scene.

Canon EOS 5DS with 70-300mm zoom lens, 1/1000sec at f/5.6, ISO 200
. STRETCHING THE TRUTH
With its uninterrupted views, the coastline lends itself to panoramic photography. You can either shoot a series of images then stitch them
(I use Photomerge in Photoshop) or shoot a single frame with your widest lens then crop the top and bottom off. The latter option is fine
if you don’t intend to make big prints, but stitching is better if you want ultimate quality. If you do shoot a sequence, overlap each frame
by 30-40°, set the exposure mode to Manual (M) so each frame receives the same exposure (even if it means some are technically
over or underexposed) and if you’re using a tripod, make sure the camera is set up level and square.
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. HARBOUR INSPIRATION
If you happen upon a harbour during
your coastal travels, be sure to spend
an hour or two exploring it. Harbours
are particularly good on a dull day,
when the coastline is looking flat
and uninspiring, because they’re
full of fascinating details. Old fishing
boats are an obvious subject, full of
character after years at sea being
battered by storms and pounded by
waves – the textures and patterns
in peeling paintwork and weathered
timber will keep you occupied for ages.
Reflections in the water, rusty chains,
old anchors, coils of rope, fishing nets
and lobster pots piled on the quayside
are other subjects to look out for.

‘Harbours are particularly

good on a dull day, when
the coastline is looking
flat and uninspiring,
because they’re full of
fascinating details.’
On dull days harbours can be ideal
 for finding fascinating details.
Camera data not recorded
. MOTION STUDIES 
A great technique when photographing the
coastline is to use long exposures to record
motion in the sea and (clouds permitting) the
sky. I do this using a Lee Filters Big Stopper
10-stop ND filter, which slows exposures down
to several minutes, even in the middle of the day.
The resulting images have a surreal quality about
them. The sea is smoothed out, clouds record
as delicate streaks and static elements such as
piers, jetties and rocks stand out starkly.
Windy days are best as you get lots of
movement in the sky as well as the sea, though
dull, overcast weather can also produce beautiful
results – I’ve taken some great shots while
sheltering from the rain under a brolly. A 10-
stop ND filter is almost opaque, so compose the
shot and focus manually before fitting it to your
lens and set the shutter to Bulb. If the correct
exposure without a 10-stop ND filter in place
is 1/30sec, the exposure you need to use is 30
seconds, 1/15sec becomes 1 minute, 1/8sec
becomes 2 minutes and so on.

Long exposures help us see the world in a new way.

Canon EOS 5DS with 24-70mm zoom lens, 120sec at f/18, ISO 100



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Piers are wonderful structures and present a wide variety of photographic opportunities.
Canon EOS 5DS with 24-70mm, 120sec at f/14, ISO 200
. PIERS OF THE REALM
Piers are a feature of the great British coastline and though wideangle lens or far away with a telezoom; from on the pier
numbers are dwindling, there are still plenty around, especially itself looking along the boardwalk.
on the south coast (Brighton, Eastbourne, Hastings, Worthing, to Sunrise and sunset are great times to photograph piers, in
name but four). You can shoot piers in so many different ways – semi-silhouette against the fiery sky, but they also make good
from beach level and off to one side; from underneath to capture black & white subjects and are perfect for long exposure images
the intricate pattern of struts and poles; from close up with a with a 10-stop ND filter (see Motion Studies).
 PHOTO PROJECT 48:
TECHNIQUE
HIGH KEY
Why not try a lighter, fresher approach to your photography? Making high key
timdaly.com pictures involves creativity and thoughtful use of light – but the results can
All images © Tim Daly
be fabulous. Tim Daly unlocks the secrets to the technique.
H
igh key is one of the most graphic visual styles
within photography and is used as a clever
creative tool across all design disciplines.
High key describes not just a lighting
technique, but instead a broader approach
to shooting and post-production that
celebrates a clean look combined with lighter tones.
Less concerned with reality, high key forefronts pure
whites and crisp details with fewer greys than we usually
1 SECTION 1: THEMES TO CONSIDER
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1 LIGHTING HIGH KEY IN THE STUDIO
The easiest and most controlling way to shoot high key is to
use studio lighting, either flash or continuous sources. In these
circumstances, you can use a single light to illuminate both object
and background, as this example shows, or use a separate and
additional light source on the background.
Lighting the background separately with one stop more (+1.0) of
intensity will render it free of detail, leaving a crisp and clear setting
to show off your main subject. In this example, I’ve used a spotlight
set at a low, raking angle to pick up the texture of the background
paper and to create unexpected shapes thrown by the subject.
create when printing. We are surrounded by high key
photography in advertising brochures, point of sale
displays in retail outlets and through product photography
online. The high key style strips away subjects and things
from their natural surroundings through the careful use of
lighting, empty white space and sometimes high contrast.
To explore the high key look, we are going to experiment
with a range of different shooting and editing techniques
using easily available equipment and free resources.
For this project, choose a subject that you’ve got easy
access to, this could be a willing portrait sitter or a bunch
of flowers that you’ve clipped from your garden – the
techniques are the same for both.
2 THE INFRARED LANDSCAPE
A great alternative to lighting the world with high key techniques
is to use a specialised film that is designed to create an
unworldly result. Although Kodak infrared film is no longer
available, both Ilford SFX 200 and Rollei IE400 produce similar
results when used with a deep red filter over the camera lens.
In this example, I’ve used an IR film and a filter to capture
the intensity of the noon sun bouncing off a fairground ride.
Unlike panchromatic film, IR can create a wonderful halo effect
around bright subjects, especially if you overexpose the film and
thicken the negative. Gritty grain and fuzziness around strong
shapes can make your IR scenes look like they were recording
radioactivity rather than sunlight.
INSPIRATIONAL QUOTE
‘The photograph isolates and perpetuates a moment
of time: an important and revealing moment, or an
unimportant and meaningless one, depending upon
the photographer’s understanding of his subject
and mastery of his process.’ – Edward Weston
3 4
3 NATURAL LIGHT FOR A NATURAL WORLD
While flash technique can undoubtedly create conveniently clean
and white surroundings, you can also achieve a similar look using
freely available natural light. Shooting in bright, direct sunlight can
be tricky at the best of times, but as this example shows, it can also
provide you with an easily achievable bleached out look. Make sure
you use a lighter coloured background such as a sheet of card or
paper, then choose bright or white coloured subjects to shoot.
Experiment with your meter reading, but only bracket using
overexposure, as you want to reduce the intensity of greys and
blacks where possible. Try increasing your exposure using the +/-
exposure compensation settings, using the bigger +0.6 increments
until the image finally whites out. As this example shows, the high
key technique can also be bright but with low contrast, creating
a kind of vintage print feel.
5 digital C-type materials.
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4 HI-TECH HIGH KEY
A different way to approach your project is to seek out hi-tech
environments that are already designed with sleek and shiny
elements. Destination architecture like the cultural centres found
in cities such as Liverpool, Bilbao and Singapore present terrific
opportunities to explore form, shape and lighting.
In this example at the Marina Bay complex in Singapore, the
architects have created a seemingly ready-made modernist
pedestrian area, contrasting organic curves and straight lines
with high key finishes. Using your zoom lens, seek out and frame
contrasting elements to try to communicate the qualities of the
environment and try creating diagonal lines as an alternative
method of composition.
5 ABSTRACTING THE MAN-MADE WORLD
Shooting on the street and in busy public areas can present
you with the chance to draw a surreal boundary around your
subject, as this example shows. With so much information
vying for your attention, busy public spaces can provide
rich pickings but only if you look close enough.
Although your original image may have plenty of dull tones
and uninspiring colours within it, use your editing package to
increase the whites and greys, raising the contrast higher than
you would do normally. As long as your image has plenty of
structure and shapes, you can develop a high key interpretation
without losing sight of its meaning and message.
High contrast examples like this look great when printed out
on bright white inkjet papers or the more plasticky flex-type
 SECTION 2: HIGH KEY WITH NATURAL LIGHT
With better weather on the way and more daylight hours to play with, a simple
way to approach the project is to use natural light as an outdoor studio.

1 WAIT FOR THE MORNING SUN

Before the sun reaches too far overhead, get the most out of your and shapes. Use a tabletop to arrange your material upon or place
free illumination by making your shoot during mid morning. Set at a your set on the ground, so you can work comfortably and shoot from
high intensity but a lower angle, sunlight will shoot in from the side of all sides around it. As can be seen in this example, the natural light is
your subject, picking up textures and creating unexpected shadows both intense and contrasty, like a gigantic free spotlight in the sky.

2 3

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2 CREATING SHAPES WITH LIGHT

Use a plain background to arrange your objects on to – bright
white paper is an ideal choice or a light grey sheet of card, as
this example shows, as this causes less havoc with your camera
metering. Position your objects at an angle to the raking light,
then try to see what additional shapes and shadows you can
create purely by moving the different elements in relation to
each other. Shoot a couple of frames each time you change the
objects’ positions. At the same time, change your own shooting
position to see if that also can draw out a better composition or
some unexpected results. Looking downwards from an overhead
position, as this example shows, can also create unusual results.

3 ENHANCING WITH EDITS

Shoot a number of different variations before editing, then open
up your files in Lightroom. After you’ve made the Black and White
conversion in the Develop module, use the tools in the Basic panel
to enhance the high key feel.
Start by increasing the Shadow slider to 100%, then reduce the
Highlights until you can see details in the brightest areas. Click on
the tiny Highlight Clipping triangle in your histogram to make sure
you’ve not created any burnt out bits by mistake. Like this example,
aim for a bright, airy end result which still has plenty of detail.
SECTION 3: EDITING IN A HIGH KEY STYLE
Despite not being shot with special lighting, you can always mimic the look of high key using your editing application.

1 2 3

1 THE STARTING POINT
Take a simple shape that has clean
edges and an uncluttered setting, like this
example shows. Shot in dull lighting, it’s
not the most inspired image but it can
easily be masked and transformed into
something better. Before you start the edit,
ensure there are no blown out highlights.
2 MASKING OUT
UNWANTED AREAS
In Lightroom’s Develop module, take the
Adjustment Brush and choose Auto Mask
mode. Switch on the option called Show
Selected Mask Overlay, which is found at
the bottom left of the image window. Use
a large brush to paint a mask over the
unwanted areas, as shown on this example.
The masked areas (those coloured red)
will be edited to give the impression of a
high key effect. If you’ve masked in any
areas by mistake, swap your brush to
Erase mode to repair the mask by
painting them back out again.
3 EDITING IN THE LOOK
After you’ve completed the mask, switch
off Show Selected Mask Overlay and now
increase Exposure and Contrast to turn
the unwanted surrounding areas into white
and aim to get it as bright as possible.
If any stubborn areas remain, use the
Spot Removal tool to clone them out.
61
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In my example, the final result looks like
a solarised print with pencil-like edges
around the cup and saucer with a clean
cut tonality that wasn’t there in the original.

4
4 FINAL
Aim for a series of images that explore your
chosen theme and make them into prints or post
them on your blog. Consider placing a thin black
line around the perimeter of the image so you
can see where it stops and the border starts.
 INSPIRATION WORKFLOW
In the second in our series on developing a personal practice,
Eddie Ephraums talks to Jo Scott about the evolution of her
All images © Jo Scott
work and how she came to accept that she was an artist.
62
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J
o Scott hasn’t always
been a photographer
and only recently
accepted this also
meant she was an
artist. Back in 1999
she bought an SLR and went
travelling with her husband to
see life beyond work. They were
both surveyors. Jo discovered
just how much she loved taking
pictures, but afterwards went
back to work part-time, took a
part-time photography course
and carried on photographing
for pleasure, taking pictures of
people, their kids and ‘arty stuff’.
The people Jo photographed
said she was very good and
she was offered a wedding
photography commission
through contacts at work.
Knowing she had little idea how
LOOK AROUND YOU. be a huge, therapeutic and
Jo’s advice: ‘Think about the location and the light, and how to use life-affirming value to having
them to create the results you want.’ your picture taken, as there is
Jo met John Somerville, a renowned sculptor and severe stroke survivor, in practising photography or
when his life-sized bronze sculpture of Spike Milligan had just been unveiled. attending a workshop.
I
She sought to portray ‘John’s gentle nature and thoughtful countenance,
coupled with his resilience and determination to continue enjoying his creativity.’ n all her photography,
It’s not just the expression on his face, but the thoughtful white space whether it’s commercial
above him that I love about this image. portraits or personal projects,
Jo strives to make artistic
to do it, she went on a course. on a writing workshop. Each images. She describes these as
Afterwards she decided that participant was asked to write pictures that have an intention
if she wanted to photograph something about all the others and which have been visualised.
professionally she needed to in the group. From what they She works with available light
get qualified, to know she was wrote about her, it was clear and natural surroundings to
good enough to charge people. they saw her as an artist, even create her photographs, rather
So she did a BIPP licentiateship though she didn’t. The workshop than taking snaps – which are
and associateship in portraiture, provided a safe space in which more simply responses to things
then a fellowship in fine art over she could accept this realisation. that look nice without
a six-year period. In a similar way, Jo says her understanding why.
For Jo, the realisation that portrait clients often cry when Jo’s journey into photography
being a photographer also they see pictures of themselves has been incremental and her
meant she was an artist came or their children. There can photographic practice continues 
 63
B+W

CONNECT WITH THE PERSON.

As Jo says: ‘Find a connection with the subject.
It provides the emotion to communicate.’
The words ‘engineering’ and ‘precision’ preoccupied
the sculptor Charles Hadcock, so Jo used them to
tap into his work, to create a beautifully engineered
composition of his gallery space. All that remained
was to position him – precisely – at the end of
a strong diagonal, next to one of his sculptures.

64
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 to evolve in this way. She has
various ways of achieving this,
whether it is setting herself
creative challenges, like the
personal project artists’ portrait
series shown here, or going on
various writing, photographic
and business-led workshops.
Also, she works in a mutually
supportive environment. Her
sculptor husband always
encourages her, while he
realised he wanted to be a
sculptor as a result of an art
course she gifted to him.
The way Jo talks about her
photographic practice reminds
me of the Elliott Erwitt quote:
‘Photography is an art of
observation. It has little to do
with the things you see and
everything to do with the way
you see them.’ Jo continually
works at how she sees life,
always noticing the world
around her, deriving inspiration
and energy from it, to charge
her creative batteries. Like
Erwitt, she has dictums of her
own, as you’ll read in the
DON’T GET BOGGED
DOWN IN TECHNICALS.
Jo believes you should:
‘Visualise the outcome you
want and use the technicals
to make it happen.’
The artist Saskia Gall combines
drawing, painting and 3D work.
She talked to Jo about the dichotomy
of violence and fragility, and the
tensions of mind and body, which
Jo sought to reflect in this image.
The most successful images are
often the more abstract ones, as
in this blurred picture of the artist
seen through her own art.
THE NEXT
CHALLENGE
Jo’s pictures speak for
themselves, but she says she
often struggles to explain to
others what they are about.
‘As a professional, it doesn’t
seem enough to simply say I
photograph people,’ she says.
As an artist she also
appreciates the power of
being able to articulate and
therefore inform her own
work. So the next challenge is
to produce an artist statement
with professional support.
To see more of Jo’s work
visit: joscottimages.co.uk
picture captions. But, if there
is one thing in particular that
I’ve got from my conversations
with her, it is not just to think
about the way we see things, but
to think about – and accept –
the way we see ourselves and
our potential.
Now, who among us can say
they are not an artist?
 COMMENT
A FORTNIGHT AT F/8
Looking at pictures by the great photographers can have a profound
effect on our own work. But to stay fresh we also need to keep up
timclinchphotography.com
with new ways of sharing pictures, says Tim Clinch.

W
hile not being
in the first flush
of youth, I like
to think that I
am not quite yet considered
dinosaur material.
I’m still working, I’m not
stuck in the past and I like to
keep up with what’s going on
in the world of photography.
I’m pretty much up to date with
what’s going on with the latest
post-processing software, I’m
an excited user of my iPhone
and against all the odds have
just had a change of the
camera system I use, from
Canon to Fuji.
However, often, when
dealing with young people on
my workshops, I am surprised
66 at their lack of knowledge
B+W
about the founding fathers and photographers they admire, I always tell them how lucky
of photography – the greats. and the results are fairly they are. To have never seen
Weston, Stieglitz, Penn, predictable, and split by age. any of the work that has shaped
Avedon…Lee Miller, Capa, The younger participants my whole life and to experience
Cartier-Bresson… Ansel Adams, almost always list their seeing these wonderful, life-
Walker Evans, Dorothea favourite photographers enhancing pictures for the first
Lange…Steichen, Kertész, as being among their time is a true privilege.
Muybridge, Karsh and Julia contemporaries, whereas the Hand on heart, I can tell
Margaret Cameron. I could go older participants will tend you that no-one is unmoved,
on, but you get my point. to mention some of the greats. every one of them will find
When someone books one This is not intended as any something that shocks them
of my workshops, I always send form of criticism, merely and every one of them will find
out a questionnaire for them an observation. something to inspire them, and
to fill out so I can get a handle The sheer joy of sharing I am always delighted to have
on what they are expecting and the work of these great played even a tiny part in their
what they want to get out of the photographers with people photographic education.
experience. One of the questions who have never seen their work However, when it comes to
asks them to list their influences cannot be overstated. trying to show people from the
upper age bracket something
The pictures this month are three unrelated images from my recent new and interesting, most times
trip to Mexico to shoot a cookbook. The groovy political graffiti (which I I end up wanting to bang my
wholeheartedly agree with) reads: ‘Without women there is no revolution.’ head against the wall.

‘The sheer joy of sharing the work of these great
photographers cannot be overstated.’
W
hen trying
to explain to
someone of my
age what young
people are using to find out
about photography, where many
of the new and modern ideas
are springing from, where more
and more people are getting
their love of photography from
and where the most exciting
and innovative photographers
(along with many established
professionals) are putting their
pictures – I am usually greeted
with either a blank stare or
snorts of derision. For that
thing, my friends, is Instagram.
Like it or not, for many
people today photography
is Instagram. It’s where people
go instead of reading books
about it and instead of going to
see exhibitions. It’s where
All images © Tim Clinch
people promote their latest
project or just enjoy
photography and expand
their knowledge of it.
Ignore it if you wish but
please do not disrespect it,
as so many people of my
generation are eager to do. It is
an amazing resource. Indeed
a vital resource, and one that
deserves some of your time,
whatever your age.
WHAT TIM DID
THIS MONTH
You know how I like to
recommend things to readers
of this august journal? Well,
I’ve just been somewhere
that, perhaps for the first
time, I would struggle to
recommend. I’ve been to
Mexico. And while I’m not
suggesting for a second that
you won’t come back with lots
of lovely B&W photographs,
I suspect that, like me, for
every nice B&W you come
back with you will have at
least 10,000 colour ones!
I’ve been before but not
for many years and I had
forgotten the impact that
colour has on this wonderful
country. If it moves (or even
if it doesn’t), paint it pink.
Or yellow. Or green and red
and blue. 67
I have never seen colour B+W
like it, anywhere. So, in order
to ingratiate myself with the
sainted editor – don’t go to
Mexico. Stay at home and
shoot B&W.
Speaking of Instagram,
my account is @clinchpics.
A good tip to start with is
once you have found a few
people whose work you like,
check out who they are
following. Always good
pointers there. Now, off
you go and have fun!
Having just been there,
I realise what a huge
influence Mexican
photographers have had on
me, perhaps the greatest
of them all being Manuel
Álvarez Bravo (1902-2002).
Massively influenced by the
Mexican muralist painters,
his work leads you on a dizzy
trip: Diego Rivera, Frida
Kahlo, Tina Modotti, Edward
Weston, Graciela Iturbide.
Incidentally, he was married
three times, each time to
influential photographers in
their own right – Lola Álvarez
Bravo, Doris Heyden and
Colette Álvarez Urbajtel. It
must be some sort of record.
 F E AT U R E
FACE TO FACE
Luke Tscharke specialises in photographing some of Australia’s most beautiful
All images and wild natural environments. He talks to Steve Pill about rugged locations,
© Luke Tscharke
shooting in infrared and the story behind a career-defining image.
1

The majority of your photography
focuses on the Australian landscape
68 and Tasmania in particular.
B+W
What appeals about that subject?
I love the ruggedness, remoteness and
uniqueness of the locations. I feel a strong
connection with the natural environment
there, which makes working in the wilderness
very calming and rejuvenating.
I find myself yearning to return to several
locations, such as the Labyrinth in Cradle
Mountain national park and Lake Oberon
in the Western Arthur Range. Some of these
require considerable effort to access, but that
is part of the attraction – without sounding
too dramatic, it is like a pilgrimage.
Your photography is technically very
proficient. Any tips for metering
and bracketing?
I let the camera do most of the work when
it comes to metering. I shoot in aperture
priority and have the camera set to an
evaluative metering mode. I just adjust the
exposure compensation on the camera to
make sure there are no blown highlights on
the in-camera histogram. Sony cameras also
have zebras, which show areas that may be
overexposed before the image is taken.
If I find that exposing for the highlights
is leaving the shadows too dark, I set the
camera to automatic bracketing and
capture a -2/0/+2 EV bracket. Quite often
I find that even though I bracket, I will only
end up using one frame anyway, but it’s
nice to have the option.
You sometimes shoot with an infrared
camera. What kit do you use?
I use an infrared-converted Sony A7R
camera, which accepts light with wavelengths
greater than 720nm, so part of the red

2 3
spectrum is included. I chose this conversion
4
to give the possibility of false-colour images.
It is also a less dense filter, allowing me to
handhold the camera without having to push
up the ISO beyond 100 in daylight. I pair this
with a Canon EF 16-35mm f/4L lens, which
performs exceptionally well in infrared.
Cloudy conditions are best for infrared,
ideally with sunlight piercing through and
illuminating the subject or a dramatic
feature in the distance. I find that without
direct or filtered sunlight, infrared images
are very flat.

Do you shoot in monochrome in camera

or do you edit them afterwards?
If I am using my standard Sony A7R II,
I photograph in colour. While I love making
black & white images, most often it is the
colour images that pay the bills. All of
my infrared work is shot in black & white
though, because the camera is unable to
output full colour anyway.
I tend not to think if a certain subject lends ‘Cloudy conditions are best for infrared, ideally with
itself to black & white, but rather if the way sunlight piercing through and illuminating the subject.’
the landscape is lit will make a great black
& white image. This is particularly true with
5
infrared captures, where sometimes the
worst light can make the best images.

Your web gallery of favourite

photographs includes Barossa Bolt.
Why in particular are you happy
69
B+W
with that image?
Barossa Bolt is definitely a career-defining
image. It managed to place within the top
three in almost every competition I entered
it in – it really was remarkable.
When I captured the image I was visiting
my sister in the Barossa Valley and a huge
storm had rolled over. I saw the tree in the
middle of the field and thought it would
make a strong central composition. For some
reason – fate, perhaps – I had decided that
I would only take my infrared camera to
photograph the storm, leaving my colour
camera behind. I had never seen an infrared
image of a storm before but luckily for me
it worked out very well.

IMAGES
1 Barossa Bolt
2 Lavender Farm
3 Kirkjufell
4 Shadow of Pegasus
5 Hvitserker

PROFILE
Luke Tscharke is a self-taught wilderness
photographer based in Sydney, Australia.
Born in 1981, he has won many awards,
including the Monochrome Awards’
Photographer of the Year 2015.
luketscharke.com
 TECHNIQUE THE SMART GUIDE TO PHOTOGRAPHY
What do you do when you are shooting on location in Mexico only
timclinchphotography.com
to discover that nobody wants to have their photograph taken?
clinchpics
Tim Clinch plucks up his courage and takes a big decision.

70
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1 3

I
’m writing this at the airport in Mexico
City, on my way back from a memorable
shoot during which I took a decision
that will prove to be either inspired
or foolhardy.
I have been in Mexico with my friend,
cookery writer Kate Hill, shooting a
cookbook for a project called Yo’on
Ixim. Yo’on ixim means heart of corn
in the indigenous Tzotzil language
spoken by the people here.
On day one, arriving at the school they
have set up in the city of Puebla before
‘I swallowed hard and said,
‘‘Right. Let’s shoot the whole
book on the iPhone.’’’
heading off to their village high in the
rainforest in Chiapas in the south of the
country, I was presented with a problem.
I was shooting exclusively with women,
and Samantha, the charming founder of the
project, told me that some of them were
worried and a little frightened about having
their photographs taken. Having recently
changed my equipment from the hefty
Canons I have been using for many years
to the much lighter and inconspicuous Fuji
X-series, I was pretty confident there
would not be a problem. But there was.
As soon as I got my camera out of the
bag, faces tightened, several of the women
scuttled away and the air could have been
cut with a knife.
Camera on tripod, I struggled through my
first portrait, which was OK, if not exactly
an award winner. Once done, I whipped out
my iPhone to take a few more pictures –
 All images © Tim Clinch
and something remarkable happened.
Everyone smiled. All of the women and
girls clustered around me, eager to get a
look at the pictures I’d been taking on the
phone. Then – laughter. Everywhere
I looked they were laughing, and then
they began one by one to ask if I would
take their picture.
Puebla is a big city and on the spur of
the moment I turned to Sam and said,
‘Is there an Apple Store here?’
I looked at Kate, who had been aware
of my discomfort during the first shoot,
swallowed hard, and said, ‘Right. Let’s
shoot the whole book on the iPhone.’

U
ntil then I’d had the iPhone 6,
which is great, but a recent visit
from a friend with the latest twin
lens iPhone 7 Plus had convinced
me it was the way to go.
Phone calls made, credit cards checked
and taxis booked, we hightailed it off to the
mall and bought one. I honestly did not get
the cameras out of the bag once during the 4
whole two-week trip.
Was it a success? Well, time will tell, but
I can tell you a bit about the iPhone 7 Plus.
It is a remarkable beast. It is substantially
bigger than the iPhone 6, and I must admit
I struggled with its size for several days,
but in the end I got used to it. The main
problem I found was with making sure it
71
B+W
was vertical or horizontal, especially
when shooting food from above. I had
people positioned to the side when I was
shooting and the phrase ‘nose up a bit’
was the most overused of the whole trip.
I also struggled with camera shake more
than with the iPhone 6, but again I got
used to it and always did a few more
shots than I usually do.
The huge pluses are the two lenses,
which make portrait photography so much
better. Best of all is the amazing portrait
mode, which imitates a shallow depth of
field effect. It works a treat on portraits and
even manages to work out strands of hair
perfectly (see pic 1), but also works well on
still lifes (see pics 2 and 3). And it is great for
a lot of food photography.
The pictures here are all from this project,
and I will be reporting back about the
progress and any problems or successes
arising from it in the coming weeks.
From where I’m standing right now, and
as I write this column about how much I
love mobile photography, it’s the first time
I’ve had the courage of my convictions
enough to shoot solely with my iPhone
without covering myself with a camera.
Fingers crossed!

Find out more about the wonderful

work done by Yo’on Ixim at yoonixim.org. 5
 YOUR B+W
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 Class 10 32GB Evo Plus Micro SDHC cards to
give away each month. With a transfer speed of 80Mbs, each MicroSD card also comes with
an SD adapter – meaning it’s compatible with both your smartphone and digital camera.

© ED ALDRIDGE © KEITH MERCER

72
B+W

© NIYAL AKMANALP
WINNER © PATTY GAMBINI
73
B+W

WINNER © RICHARD BLAKE WINNER © RICHARD SAMBROOK

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
74
B+W

YOUR B+W SALON

In our search for some of the best work by black & white aficionados,
we discovered Isaac Paul as he embedded himself with a varsity rugby
team. The thud of bodies colliding at high speed, the injuries and the
All images © Isaac Paul
passion of the game all go to make up the story.
 75
B+W

Turn to page 86
to see how you can
submit your work.
76
B+W
77
B+W
78
B+W

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
 Your images, printed.

9.5 out of 10 on Trustpilot

Archival Giclée Print on Hahnemuhle Baryta 320gsm

point101.com 020 7241 1113

“I have no hesitation whatsoever in recommending this company to others and fully intend to keep using
this company now and in the future. They are very easy to deal with, knowledgeable and friendly. Excellent
communication, service and quality. Long may it continue!” Malcolm M
 TESTS AND
PRODUCTS CHECKOUT
With so many cards, connections and cables, there are a wealth of choices
when it comes to buying a memory card reader. So which is the right
one for you? Daniel Calder looks at six of the best.

DELKIN USB 3.0 MULTI-SLOT LEEF IACCESS IOS

CFAST 2.0 READER MICROSD READER
Best for…CFast 2.0 card users Best for…iPhone users

T
his Leef Reader is a
pretty specialised product
as it doubles up as a
microSD card reader
while expanding the storage
capacity for iPhones and iPads
with a Lightning port. The reader
itself is a hook-shaped piece of
white plastic that plugs securely
into the Lightning port and
curls behind the Apple device,
allowing enough room for most
types of protective cases. The
Leef stresses the usefulness
of the reader when used in
conjunction with GoPro action
cameras, allowing you to pop
out the card, insert it into your
phone or tablet and review, edit
or share the footage immediately
without the need for a laptop.
The reader’s other use is to
expand the often limited storage
found on many iPhones, up
to 128Gb at a time, so you
can record photos directly to

A
lthough this Delkin
Reader accepts a
variety of cards, the
80 main reason to get
B+W
one is if you are using a CFast
card. CFast 2.0 cards are the
same size as CF cards but use
a different interface, SATA III, to
achieve a maximum theoretical
transfer speed of 600Mb/
sec. This is the fastest transfer
speed of any memory card
widely available.
If you are using a CFast
card then you probably own
the Canon EOS-1D X Mark
II, in which case you will be microSD card slips into the base the card, leaving space on the
slightly disappointed to hear of the reader. phone for apps and other things.
that this reader doesn’t accept
the CompactFlash cards
that are used in the camera’s
second slot. This is a shame
as it means you won’t be
able to take full advantage of
downloading files from different
cards at the same time.
Instead, the reader accepts
SD cards with the UHS-I and
faster UHS-II interface and
microSD cards. There’s also
a port for attaching a flash
drive via USB.

TECH SPECS TECH SPECS

Compatible memory cards Compatible memory cards
CFast 2.0, SD / SDHC / SDXC (UHS-II), microSD / microSD / microSDHC / microSDXC up to 128Gb
microSDHC / microSDXC (UHS-I) Interface Apple Lightning connector
Interface USB 3.0 Max. read speed Not stated
Max. read speed 500Mb/sec (CFast) Warranty 5 years
Warranty 5 years Guide price £49.99
Guide price £34.98 Contact leefco.com
Contact delkindevices.com

LIKES LIKES
Astonishingly quick transfer speeds with CFast cards Useful for GoPro users
Supports UHS-II SD memory cards Efficient way to download images in the field
Port for USB flash drives Expands the small storage capacity of iPhones
Attractive price

DISLIKES DISLIKES
Unexciting appearance Requires an Apple product with a Lightning port
Doesn’t accept CompactFlash cards Only accepts microSD cards
LEXAR PROFESSIONAL USB
3.0 DUAL-SLOT READER
Best for…SD and CF card users
T
he Lexar Pro USB 3.0
Dual-Slot Reader is an
extremely popular choice
among photographers
and it’s easy to see why. It takes
the two most commonly used
memory cards, CompactFlash
(CF) and SD, and is available at
a competitive price.
The included USB 3.0 cable
works with older USB 2.0
sockets, but to get considerably
faster transfer speeds (up to
150Mb/sec with a CF 1000x
card) you’ll need a USB 3.0
socket on your computer.
This sturdy little reader pops
out from its own protective
case when squeezed from the
side, keeping it dust free and
safe from bumps. The CF slot
TECH SPECS
Compatible memory cards
CF (UDMA 7), SD / SDHC (UHS-II) / SDXC
Interface
Max. read speed
Warranty
Guide price
Contact
LIKES
Snug fit for CF cards
Pop-up design keeps slots clean
LED shows when files are transferred
CF and SD cards can be read simultaneously
DISLIKES
Just the two card types accepted
Read speed is limited to 150Mb/sec
provides a nice snug fit, so
there’s no fear of bending any
pins through misalignment, and
grooves in both slots help guide
the cards in accurately. Both
cards can be used at the same
time and you can even transfer
data between them. A helpful
LED notifies you when the
transfers are completed.
The Lexar Pro USB 3.0 Dual-
Slot Reader shuts down into a
protective shell for safe travelling.
USB 3.0
150Mb/sec (CF 1000x)
5 years
£39
lexar.com
MOSHI CARDETTE TYPE-C
Best for…Mac users
T
he Moshi Cardette on top of the reader. A sliding
Type-C is compatible base conceals and protects the
with the latest cable when travelling. Adjacent
MacBooks, MacBook to the three card slots are two
Pros and most other PC USB 3.0 ports on one side,
laptops with a USB-C port. enabling the device to be a
Despite connecting via USB-C, handy USB hub for those who
the Moshi Cardette relies on still have peripherals with the
a USB 3.1 Gen 1 cable so older USB Type-A connector.
it’s only as fast, but no faster,
than most of its competitors.
It doesn’t take advantage of
UHS-II SD cards either, but it
does accept an impressively
wide variety of cards, including
CompactFlash, microSD (with
an adapter), memory cards
and a few other less
commonly used formats.
The sleek design sits
comfortably next to a MacBook The cable packs away beneath
and boasts a subtle indicator the sliding base of the Moshi
light in the dot of the i found Cardette Type-C.
81
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TECH SPECS
Compatible memory cards
CF (UDMA 7), SD / SDHC / SDXC (UHS-I), microSD /
microSDHC / microSDXC (UHS-I), MS, M2, MultiMediaCard, xD
Interface USB Type-C
Max. read speed Not stated
Warranty 3 years (upon registration)
Guide price £39
Contact moshi.com
LIKES
Acts as a USB 3.0 hub
Wide range of cards accepted
Cable tucks away beneath the device
Subtle LED light on the top of the device
DISLIKES
Requires a laptop with USB-C port
Not compatible with UHS-II cards
 B+W APP
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SONY XQD/SD
READER (MRW-E90)
Best for…XQD card users
S
ony is a key player in
developing XQD cards,
so it makes sense for
it to offer an XQD card
reader as part of its line-up. XQD
currently rivals CFast 2.0 cards
for data transfer speeds, but
also has the theoretical capability
of achieving much faster speeds
(up to 1000Mb/sec) in the future.
TECH SPECS
Compatible memory cards
Interface
Max. read speed
Warranty
Guide price
Contact
LIKES
Astonishingly quick transfer speeds with XQD cards
Push-in release of cards from the reader
Supports UHS-II SD memory cards
LED lights up during file transfers
DISLIKES
Short warranty
Expensive
The MRW-E90 accepts the
older version 1.0 XQD card and
the current version 2.0. It also
has a second slot for SD cards
and can take advantage of the
faster UHS-II cards. This will be
of particular interest to Nikon
D500 users, where the dual slot
uses these exact two cards.
The device is made of grey
plastic and could be a touch
more durable. Instead of pulling
the cards out, you push them in
to let them spring out, much like
you would in the camera itself.
A tiny red LED sits beside
each slot to show when
the data is being
accessed.
With its USB 3.1 Gen 1
cable, the Sony XQD/SD
Reader offers faster transfer
speeds than USB 2.0.
XQD, SD / SDHC / SDXC (UHS-II)
USB 3.1 Gen 1
Not stated
1 year
£90
sony.co.uk
TRANSCEND
RDF9 READER
Best for…UHS-II SD card users
T
he Transcend RDF9 is the front of the device, with a
a versatile card reader port for memory stick cards on
that capitalises on the the back. An LED comes on
significantly faster read when a card is inserted and
speeds offered by UHS-II SD shows you when the transfer
cards. Although only a few is complete. Transcend has
cameras take advantage of the also included its own recovery
faster write speeds offered by software to help retrieve lost
UHS-II cards, most cameras data from the card.
are compatible with them,
allowing quicker data transfers
to your computer.
When plugged into a USB
3.0 port, Transcend claims a
260MB/sec read speed and
190Mb/sec write speed. But
don’t be deceived by the USB
3.1 Gen 1 capability as it’s the
same speed as USB 3.0.
Alongside the SD card slot The back of the Transcend
is a slot for microSD cards RDF9 features a slot for
and CompactFlash cards on memory stick cards.
83
B+W
TECH SPECS
Compatible memory cards
CF (UDMA 7), SDHC / SDXC (UHS-II), microSDHC /
microSDXC (UHS-I), MS (MSXC)
Interface USB 3.1 Gen. 1 / USB 3.0
Max. read speed 260Mb/sec (UHS-II)
Warranty 2 years
Guide price £23
Contact transcend-info.com
LIKES
Attractive price
LED shows when files are transferred
Supports a good range of memory cards
Fast read speeds up to 260Mb/sec with UHS-II cards
DISLIKES
Unexciting appearance
Relatively short warranty
 TESTS AND
PRODUCTS

BW + NANGUANG FLEXIBLE
LIGHTING KIT CNST288C/2
Two flexible panels (30 x 60cm) studded

LOVES
SIGMA 135MM with 288 bi-colour LEDs can be shaped
F1.8 DG HSM A to create interesting effects or attached
Sigma’s flagship mid-range telephoto prime to the included 60 x 60cm or 30 x 120cm
lens promises a stunning compression effect, aluminium frames. They can be used outside
making it the ideal candidate for portraits in all weathers and offer stepless colour
New photography gear and event photography. adjustment (5600-3200K) to boot.
Price TBC £680
in the shops and online sigmaphoto.com kenro.co.uk

84
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EPSON SURECOLOR
SC-P5000
Released in the UK for the first time,
the SureColor SC-P5000 is designed
for professional standard fine art and
photographic printing. It produces up to 17in
wide prints and can be fitted with an LLK ink
set for enhanced monochrome printing.
£2,154
epson.co.uk
COOPH LEICA ROPE STRAP
Made from mountaineering rope and trimmed
with leather, these new camera straps from
Cooph are tough. They are available in
100cm or 126cm lengths and four colours:
fire, oasis, night and glowing red.
€65 (about £56)
store.cooph.com
SIGMA 24-70MM
F2.8 DG OS HSM A
Sigma’s highly regarded 24-70mm zoom
lens gets a refresh with the introduction of
a brand new optical stabilisation system
for improved handheld photography.
Price TBC
sigmaphoto.com

MANFROTTO STREET BAGS

Designed for an urban environment,
Manfrotto’s Street bags come in seven
different shapes and sizes to suit
CSC or DSLR camera kits.
£29.95-£109.95
manfrotto.co.uk
SIGMA 100-400MM
F5-6.3 DG OS HSM C
Part of Sigma’s Contemporary range of
lenses, this 100-400mm super telephoto
lens is relatively compact and lightweight,
while featuring a 160cm minimum focusing
distance and 0.26x magnification.
Price TBC
sigmaphoto.com
77D
HAHNEMÜHLE PHOTO
GLOSS BARYTA 320 CANON EOS 77D
Sharing the darkroom properties of traditional AND 800D
barite paper, this photo paper for inkjet These two new DSLRs from Canon share
printing has a bright white glossy surface the same 24.2Mp APSC sensor and Digic
that renders impressively deep blacks. 7 processor, which allows up to 6fps
From £28 (30 x A4 sheets) continuous shooting. The 800D is aimed
hahnemuehle.com at beginners, while the 77D will suit
enthusiast photographers.
77D £829
800D £779
canon.co.uk

85
B+W

B&W INTERNATIONAL
OUTDOOR CASES
Tough, impact-resistant polypropylene SIGMA 14MM
cases made for outdoor photography in F1.8 DG HSM A
black or yellow. They come in 11 sizes and The world’s first full-frame 14mm wideangle
are waterproof, shockproof and able to prime lens with an f/1.8 maximum aperture
withstand temperatures of -30°C to +80°C. will fit on Canon, Nikon and Sigma cameras.
£33-£400 Price TBC 800D
intro2020.co.uk sigmaphoto.com

SIRUI
KINGSTON DATA R-3213X
TRAVELLER ULTIMATE GT TRIPOD CANON EOS M6
The world’s largest capacity USB flash drive Suitable for photographers and filmmakers, Canon’s latest mirrorless camera features
comes in a 1Tb or 2Tb version. It features this carbon fibre tripod is supplied with a a 24.2Mp APSC sensor, 9fps burst
a zinc-alloy metal casing and USB 3.1 removable mounting plate, a centre column shooting and a tilting touchscreen.
(Gen. 1) connector for fast data transfer. that reaches up to a 179cm maximum Unlike the larger M5 it has an optional
1Tb £795 height, and a 75mm half bowl adapter. (rather than built-in) viewfinder.
2Tb £1,372 £529.99 £729
kingston.com shop.sirui.co.uk canon.co.uk
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
Visit our website

86
B+W

SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

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

 LAST FRAME SALON

Do you have a single image that you’d like We are looking for contemporary black & white pictures that tell
printed big and hung on your wall? Send a story about the world as you see it. Send us a well-edited set
the file to us and you could win just that. of between 10 and 15 pictures.

87
B+W

SMARTSHOTS PRINT SUBMISSIONS

Send your prints by post to:
Black+White Photography
GMC Publications Ltd
86 High Street
Lewes BN7 1XN
Please specify which section of the
magazine you are submitting to. If you
would like your work returned please send
a stamped addressed envelope. GMC
Publications cannot accept liability for the
loss or damage of any unsolicited material.

ONLINE COMMUNITY

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Shoot with your smartphone and send in your pictures – you could be one of three
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lucky winners each month who wins a Samsung Class 10 EVO 32GB MicroSD card.
Upload your pictures to our website, via Twitter by tagging us @BWPMag and using FOR ALL CONTACT DETAILS
the hashtag #smartshot, or email them to anna.evans@thegmcgroup.com. blackandwhitephotographymag.co.uk
If you are successful we will request high-res files.
BLACK+ WHITE PHOTOGRAPHY
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2017
 BL ACK+WHITE PHOTOGRAPHY COOL , CREATIVE AND CONTEMPORARY

B + W JULY ISSUE 204

ON SALE 8 JUNE

NEXT MONTH
MIKE MANDEL’S 1970S
FOND ENCOUNTER WITH
CALIFORNIANS IN THEIR CARS

90
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© Mike Mandel
 91
B+W

© Portobello Road, 1980 © Markéta Luskačová

NEXT MONTH
FIFTEEN YEARS OF ENGAGING
WITH THE STREETS OF LONDON
ˇ
BY MARKÉTA LUSKACOVÁ

WORKING IN LOW KEY

CONTRE-JOUR POLAROIDS
PERFECTING YOUR PERSONAL WORKFLOW
CONTACT US

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

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 B W CLASSIFIEDS
To advertise on these pages please call the Photography team
+ 27 Rathbone Place London W1T 1JE
on 01273 402823 or email advertising@thegmcgroup.com
Tel: 020 7436 1015
www.apertureuk.com
Pre-owned Leica Medium / Large & Other Format
Leica M Monochrom (Complete; boxed) ~ 3000 actuations Exc+++ £2790 Contax 35mm f3.5 Distagon T* for 645 Exc+++ £890
Leica M (240) Black (Complete; boxed) Mint- £3090 Fujica 65mm f8 Fujinon-SW + Viewfinder (Rare) Exc £450
Leica M (240) Silver (Complete; boxed) Exc++ £2790
Leica M9 Black Paint boxed ~ 2900 Actuations New sensor Oct. 2016 Mint- £2190 Mamiya 6 with 50mm f4G + hood Exc+ £1450
Leica M6J 1975-28 + 50mm f2.8 Elmar-M (Complete; boxed) Mint £3590 Mamiya 150mm f4.5G + hood (Mamiya 6) Exc++ £170
Leica M6 Chrome Exc+++ £1190 Mamiya 150mm f4.5G + hood (Mamiya 6) Mint- £190
Leica M4-2 Black #1529xxx Exc++ £750 Mamiya 7 II with 80mm f4L + hood (boxed) Mint- £1790
Leica M4 Black Chrome #1382xxx Rare camera in outstanding condition Mint- £1590 Mamiya 43mm f4L + hood & V/finder Exc+++ £750
Leica 10-42 BA with Pouch Exc+++ £590 Mamiya 50mm f4L + hood & V/finder Exc+++ £690
Mamiya 150mm f4.5L + hood Mint £290
Leica 21mm f2.8 Elmarit-M ASPH + hood #3885xxx Exc+++ £1490 Mamiya ZE-702 Polarising filter Mint- £70
Leica 21mm f2.8 Elmarit-M ASPH + hood #3991xxx & Voigtlander Exc++ £1490
Dedicated to the monochrome photographer

Leica 21mm f2.8 Elmarit-M ASPH + hood 6-bit #4068xxx Mint- £1650 Rolleiflex T (White Face) Exc+ £590
Leica 24mm f2.8 Elmarit-M ASPH + hood 6-bit #4036xxx (boxed) Mint- £1290 Rolleiflex 2.8F (Planar) Exc+++ £1290
Leica 28mm f2 Summicron-M ASPH 6 bit + hood & Pouch #4068xxx Mint- £1750 Rolleiflex Wide (55mm Distagon) User £1390
Leica 28mm f2.8 Elmarit-M + hood #3426xxx Mint- £790
Leica 35mm f2 Summicron-M ASPH + hood Silver #3845xxx Mint £1590 Horseman SW-D II Pro with Schneider 24mm f5.6 Apo-Digitar XL & Exc++ £2090
Leica 50mm f1.4 Summilux-M ASPH Black 6 bit #4154xxx Mint £2090 Phase one Hasselblad H 101 Adapter plate
Leica 50mm f2 Summicron-M (Built in hood) #3958xxx Exc++ £990 Fotoman 45PS with 58mm f5.6 Super-Angulon XL Exc++ £850
Leica 90mm f2 Apo-Summicron-M ASPH 6 bit #3893xxx Mint £1790
Leica 90mm f4 Macro-Elmar-M + hood Silver with Macro-Adapter-M Mint- £1890 Ebony SV45TE Exc+++ £2190
Leica 90mm f4 Elmar (3 element) in Lens keeper Exc+++ £390 Schneider 47mm f5.6 Super-Angulon (Compurl 0) Mint- £370
Leica 135mm f4 Tele-Elmar-M Mint- £750 Schneider 58mm f5.6 Super-Angulon XL (Copal 0) Mint- £530
Schneider 72mm f5.6 Super-Angulon XL (Copal 0) on Recessed board Mint £650
Leica Remote Control R8 (14202) ~ 5 metres Mint- £40 Schneider 135mm f5.6 Apo-Symmar (Compur 0) Mint- £290
Leica 21mm f4 Super-Angulon-R 2 Cam User £320 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Leica 35mm f2.8 Elmarit-R 1 Cam + hood Exc+ £290 Schneider 240mm f5.6 Symmar-S (Compur 3) Exc++ £250
Leica 50mm f1.4 Summilux-R 3 Cam Exc £790 Schneider 360mm f5.5 Tele-Xenar (Compur 3) Exc++ £390
Leica 60mm f2.8 Macro-Elmarit-R 3 Cam User £320 Nikon 600mm f9 Nikkor-T ED (Copal 3) Mint £1090
Leica 100mm f4 Macro-Elmarit-R 2 Cam User £320
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Exc++ £2590
We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 28-90mm f2.8-4.5 Vario-Elmarit-R ASPH ROM #3974xxx (boxed) Mint- £3750 below and make sure to include your name; address and contact details for return postage.
Leica 35-70mm f3.5 Vario-Elmar-R 3 Cam Made in Germany Exc++ £450 An order form is availible to download from our website on the Film Developing Page.

Leica 70-210mm f4 Vario-Elmar-R 3 Cam Mint- £270 Please send your order to:
Postage for Process and Print
1 - 2 rolls.............................................£3
£1090 Aperture 3 - 5 rolls.............................................£6
Leica 80-200mm f4 Vario-Elmar-R ROM #3835xxx Mint 6 - 10 rolls...........................................£9
PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica Motor-M Mint- £150 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 21mm Bright Line Viewfinder Exc £160 Processing Prices (C41 Colour Negative Film)
Voigtlander 75mm Metal Bright Line Viewfinder Black Mint £110 35mm develop only £6.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Mint- £100 35mm develop + print £12.00
Leica 13.5cm Metal Viewfinder Chrome Exc+ £80 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica 1.25x Magnifier (with chain & pouch) Mint- £120
Leica 1.4X magnifier Eyepiece Mint £140 120 develop only £7.00
120 develop + print £15.00
120 develop + print + scan £17.00
Nikon F2 Titan Mint- £1490 120 develop + scan £11.00
Nikon F2 with DE-1 Chrome #7842xxx Mint- £650
Extra set of prints (order within 7 days) £5.00
Nikon F2 Photomic SB Black with 50mm f2 Mint- £790 Negative scan to CD or digital media (Per roll) £8.00
Nikon F2 Photomic Chrome New Mirror Foam User £190
Nikon FE2 Black #2170xxx New foam fitted to mirror box and film door Exc+++ £270 Xpan develop + scan £18
Xpan develop + scan + print (5” x 13.5”) £24
Nikon FM Black New foam fitted to mirror box and film door #2515xxx Exc++ £190
We also process Black and White Film!
Nikon FE Black #3710xxx Exc++ £190
Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries
92 B+W CLASSIFIED JUNE 2017 please contact Camera Museum; located at 44 Museum Street Tel: 020 7242 8681 www.cameramuseum.uk
 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
on 01273Tel:
402823 or email
020 7436 1015advertising@thegmcgroup.com 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Linhof Technikardan 5x4 Exc+++ £890

Dedicated to the monochrome photographer

Leica Q (Complete; boxed) Mint £2690

Nikon F2 Titan Mint- £1490

Ebony SV45TE Exc+++ £2190 (lens not included)

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
P l e a s e c o n t a c t u s o n 0 2 0 7 4 3 6 1 0 1 5 o r 2 7 @ a p e r t u r e u k .JUNE
c o m 2017 B+W CLASSIFIED 93
 B W CLASSIFIEDS
+ on 01273 402823 or email advertising@thegmcgroup.com
Dedicated to the monochrome photographer
A stunning collection of photographs
from the 2016 Outdoor Photographer
of the Year competition
FIND OUT MORE AND ORDER ONLINE AT
opoty.co.uk/pages/book/
94 B+W CLASSIFIED JUNE 2017
To advertise on these pages please call the Photography team
Buy or sell at Manchester’s largest selection of
The Real Camera Co.
used photographic equipment
Having trouble finding what you want? We’ve got nearly everything under one
roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.
Got a question about photography? We can answer it.
Starting a college course? Want to set up a darkroom?
Baffled by digital? We can help.
The Real Camera Company. Run by enthusiasts.
Photographic retailing like it used to be.
Sevendale House, 7 Dale Street
(Entrance on Lever Street), Manchester M1 1JA
Tel/Fax: 0161 907 3236
www.realcamera.co.uk
FILM PROCESSING
B&W and Colour Negative
Develop/Scan/Burn to CD
B&W RC Prints and Fibre Prints
Colour Prints
All formats catered for 35mm to 5x4
Fast Mail Order Service
Tel: 01472 388810 or 07944 083368
£25
+ p&p www.filmprocessingmailorder.co.uk
 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
on 01273 402823 or email advertising@thegmcgroup.com

Unwanted camera
gear in the attic?
…or, cupboards, under the stairs, behind the sofa. Why not sell them
to us for extra spending money. We buy all sorts of photographic
equipment – digital or film cameras, autofocus and manual lenses,
camera bags, tripods and accessories – it’s SO easy & fast!

Get in touch
Give us a call and have a chat
or fill out our simple form at

Dedicated to the monochrome photographer

www.cameraworld.co.uk/used

Get free pick-up

Pop it in the post or we can
collect it when convenient
(dependant on value).
ow b uying
N m eras
Get paid fast film c a
Take advantage of one of our super
Trade-Up Offers, or just take the money & ENJOY!

We buy more | We pay more | We smile more

Just call or email us for expert valuation and advice: 01245 255510 Email: chelmer@cameraworld.co.uk

“
WHAT OUR CUSTOMERS SAY:
Thank you CameraWorld for confirming that the great
customer experience is alive and kicking in the high street!
Scott D | 10.11.16

Thank you so much for your excellent help and support with
choosing a new camera... Absolutely brilliant shop.
Alan H | 09.03.17

”
The sales assistant, Jordy, was extremely helpful,
offering unbiased and useful advice...
I could not have asked for a better level of service.
Kevin G | 05.03.17

100’S MORE ONLINE AT: www.cameraworld.co.uk/testimonials

cameraworld.co.uk
020 7636 5005 LONDON
14 Wells Street (off Oxford St), London W1T 3PB
sales@cameraworld.co.uk
01245 255510 CHELMSFORD
High Chelmer Shopping Ctr, Chelmsford CM1 1XB
chelmer@cameraworld.co.uk

*
Most brands considered. DSLR, Mirrorless and Top Compacts. 35mm and Medium Format. Auto and Manual Focus Lenses. Items must be in excellent condition and complete with relevant accessories.
Subject to inspection. E. & O. E. Goods and delivery services subject to stock and availability. Prices subject to change. Pictures are for illustration purposes only. All prices include VAT@ 20%. E. & O.E.

JUNE 2017 B+W CLASSIFIED 95

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

96
B+W

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

HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to:
B+W Photography, Last Frame, GMC Publications Ltd Find out more at
86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
 YOUR CONSTANT
COMPANION
IMAGE TAKEN WITH X100F BY RINZI RUIZ | WWW.RINZIRUIZPHOTOGRAPHY.COM

VISIT FUJIFILM-X.COM/CAMERAS/X100F
24.3-MEGAPIXEL X-TRANS CMOS III SENSOR | ADVANCED HYBRID VIEWFINDER
SIMPLE, ONE-HANDED OPERATION | DIGITAL TELECONVERTER | FOCUS LEVER