Black & White Photography

COOL, CREATIVE AND CONTEMPORARY IFC_BW_179.indd 1 6/12/15 11:21 AM ast week I was in a shop buying a take- translated to photography. I see, during the course EDITOR’S LETTER away lunch. A fairly uneventful situation of a day or a week or a year, an enormous number of © Anthony Roberts you might say, but then I started noticing photographs and I can guarantee that the ones that something about the young woman who was speak to me are the ones that say something about serving me. She was taking enormous care the photographer as well as the picture itself. It’s an and the salad she presented to me was just elusive quality that is difficult to capture with just Lthat bit better than the average. But her care extended the head, it needs the heart as well. beyond the salad to her manner which was friendly, Now, I’m not saying we should all be putting respectful and warm. I came away feeling that 120% into everything we do. We would be in danger everything about the experience had been special. of becoming a bit dull to others if we did – and be What struck me later was that she wasn’t the exhausted. I hope that young woman has an untidy owner of the shop but an employee and as such had bedroom and forgets to charge up her phone now and no extra vested interest in making her performance then – but if we decide that we will go beyond our exceptional, but what she did have was an approach in limits in certain areas – photography, for example which she demanded not just the best of herself, but – we might just come up with something that has Elizabeth Roberts, Editor something better. She gave something of herself. that added ingredient. Doing our best is great, but [email protected] I thought about how this approach could be sometimes going a step further would be greater.

facebook.com/blackandwhitephotog follow us on Twitter @BWPMag PINBOARD A REMINDER OF TIMES PAST Looking more like a photograph taken at the beginning of the 20th century, Andrea Passon’s picture, titled Left, has a softness and warmth in its tonality we don’t often see in modern photography. This image is part of an ongoing series by Andrea called Hands. 01 B+W flickr.com/ andreapasson © Andrea Passon © Helen Bushe MARY’S SHELL Taken on Cleveleys Beach, Lancashire, this serene image shows Mary’s Shell – a giant seashell sculpture by artist Stephen Broadbent. The photographer Helen Bushe used a Canon 7D, a 10-22mm lens, a 10-stop ND grad filter and 30 second exposure. See more on Helen’s website. helenbushe.com

© David Baker © Andy Parker TWO POSTS A PHOTOGRAPH WE LOVE We can’t stop looking at David Baker’s recent picture, Two Posts, We loved Andy Parker’s graphic image Detail of tourists on a cruise which he took on West Wittering beach in West Sussex. Probably best ship entering Venice when it popped up on B+W’s Twitter feed. Based known for his evocative seascapes from his Sea Fever series, David has in Venice for the last six years or so, Andy’s remained focused on a painterly approach to photographing the landscape quite unlike any photographing the essence of this fascinating city in black & white. of his contemporaries. @milouvision milouvision.com @andyparker72 cargocollective.com/andyparkerphotography

01_EDS_LETTER/PINBOARD_179/ABE/ER.indd 1 17/06/2015 10:52 © Alain Laboile 10 Issue 179 August 2015

COVER IMAGE © Jennifer Shaw © Sirkka-Liisa Konttinen © Tim Clinch This month's cover is 24 50 78 by Alain Laboile. To see more of his work turn to page 10.

GET IN TOUCH 02 Tel 01273 477374 + B W facebook.com/ blackandwhitephotog twitter.com/BWPMag EDITOR Elizabeth Roberts [email protected] DEPUTY EDITOR Mark Bentley [email protected] ASSISTANT EDITOR Anna Bonita Evans [email protected] FEATURES NEWS COMMENT

FOR FULL LIVING NATURALLY NEWSROOM AMERICAN DETAILS OF 10 Alain Laboile photographs 4 Your update on the black 22 CONNECTION the crazy world of kids. & white world Susan Burnstine meets HOW TO GET Ashly Stohl PUBLISHED IN JOURNEY OF ON THE SHELF BLACK+WHITE 24 DISCOVERY 9 Our pick of the best A MODERN EYE Jennifer Shaw explores New photography books 50 Shoair Mavlian on life PHOTOGRAPHY Orleans with a Holga in a northern town TURN TO IN THE FRAME CHARLESTON 18 Photography exhibitions A FORTNIGHT PAGE 54. 38 REVISITED across the country 78 AT F/8 Mike Hoban visits a farmhouse Tim Clinch campaigns for haunted by artists EXHIBITION real photography NEXT MONTH’S 20 OF THE MONTH ISSUE IS OUT 60-SECOND Our recommended show 80 EXPOSURE ON 6 AUGUST Gavin Dunbar on rash decisions and dangerous terrain

2_3_179_CONTENTS ER/MB.indd 2 17/06/2015 12:18 © Lee Frost © Allesandro Nermetti 60 32

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TESTS AND YOUR TECHNIQUE INSPIRATION PRODUCTS BLACK+WHITE

MAKE THE MOST BLACK+WHITE SAMSUNG NX1 PORTFOLIO 60 OF THE LIGHT 6 PHOTOGRAPHER 70 A mirrorless camera that 32 Your pictures could Lee Frost shows how to OF THE YEAR 2015 challenges full-frame DSLRs win a prize use light creatively Your chance to win the fabulous Leica M Monochrom CHECKOUT HOW TO PHOTO PROJECTS 74 Brush up your skills with 54 GET PUBLISHED 66 Tim Daly sets you READER our look at photography courses We want to see your work a photography challenge 44 WORKSHOP A day of photography in Rye BLACK+WHITE NEXT MONTH SMART GUIDE 84 LOVES 86 What’s coming soon 72 TO PHOTOGRAPHY ALL ABOUT Cool gear for photographers Smartphone photography tips 56 PRINTING SUBS OFFER from Tim Clinch Eddie Ephraums on the power 92 Have B+W of the printed image delivered to your door SMARTSHOTS LAST FRAME 82 The best smartphone 96 Win a framed print pictures this month of your picture

2_3_179_CONTENTS ER/MB.indd 3 17/06/2015 12:20 NEWS NEWSROOM News from the black & white world. Edited by Mark Bentley. [email protected]

HIGH CONTRAST A new BBC TV series will celebrate British portraiture through the ages. Presented by art historian Simon Schama, The Face of Britain will feature paintings and photographs of key politicians, reformers, artists and others. The series begins in September and is accompanied by an exhibition at the National Portrait Gallery in London from 16 September to 4 January. npg.org.uk Sebastião Salgado has been given two prestigious awards. The Royal Geographical Society presented him with the Cherry Kearton Medal and Award for his excellence in Amazonian photography and Photo London presented him with 04 the first Photo London Master of B+W Photography Award. rgs.org Iceberg between Paulet Island and the South Shetland Islands on the Antarctic Channel by Sebastião Salgado. Around 20,000 cameras are to be issued to police officers in London. The move follows trials indicating PHOTO LONDON IS A BIG HIT that Body Worn Video cameras A black & white picture of an iceberg by Sebastião Sebastião Salgado. Eye-catching sales included could reduce complaints and Salgado sold for $50,000 at Photo London. work by William Eggleston, Norman Parkinson, increase the number of early guilty Organisers of the big new event at Somerset Susan Derges and Robert Voit. pleas. London mayor Boris Johnson, said: ‘This is exciting technology House were delighted with the quality of the work There were also several commissioned that will build trust, help the police on show and the large number of visitors. Seventy exhibitions, including Beneath the Surface, do their jobs and allow the public to galleries from around the world exhibited at the which features pictures from the V&A archive hold officers more accountable.’ four-day event and more than 20,000 people and continues at Somerset House until 24 August. london.gov.uk came to see photographs by top contemporary Other attractions included talks, screenings A working darkroom plus photographers, vintage names and emerging stars. and awards. photographic experiments and Among the huge number of black & white The event proved such a success that organisers exhibits from the National Media pictures exhibited were photographs by Robert have confirmed it will return from 19 to 22 May Museum’s collections are on show as part of an exhibition celebrating Capa, Elliott Erwitt, Irving Penn, Nick Brandt and next year. the UNESCO International Year of Light. Light Fantastic: Adventures © Steve Gray in the Science of Light runs at the National Media Museum in Bradford SHOWCASING from 18 July to 1 November. nationalmedimuseum.org.uk THE BEST Pictures from the Photographic An exhibition at the Mall Galleries in Youth Music & Culture Archive are London will showcase work by some of displayed as part of the Festival of Love at the Southbank Centre in the best photographers to have studied London this summer. The archive under acclaimed photographer Charlie documents lifestyles, fashions, Waite and his team of tutors at Light and hairstyles, music and subcultures Land. Light and Land on the Mall features of young people from the 1940s landscape pictures by 100 photographers to the present. The festival runs until 31 August. and runs from 2 to 10 August. southbankcentre.co.uk lightandland.co.uk Ruined Chapel, Cwmorthin, Snowdonia, 2015, by Steve Gray.

4-5_NEWS_179 ER/MB.indd 4 10/06/2015 11:40 EARLY MARY ELLEN PIONEER MARK DIES Pictures by an early pioneer in American photographer Mary photography are on show at the Ellen Mark has died. Born V&A in London this summer. in 1940, she became one The photographs are by of the most distinguished photojournalists of her generation. Captain Linnaeus Tripe (1822- She was interested in life on 1902), who specialised in pictures the fringes of society and her of the architecture and landscape subjects ranged from brothels of India and Burma. More in Bombay to runaway children than 60 pictures are displayed, in Seattle. Her work appeared in alongside bound albums and magazines, books and galleries a panoramic scroll. around the world. Captain Linnaeus Tripe: She was a member of Magnum Photographer of India and Burma, FILM IN FASHION from 1977 to 1981 and in 2014 1852-1860 runs until 11 October. A wider range of black & white films is now available at Boots. was awarded the Outstanding The resurgence in film photography means Boots now stock Contribution to Photography Ilford Photo FP4 Plus in 36 exposure cassettes, HP5 Plus in 120 Award from the World Photography Organisation. roll film and HP5 Plus Single Use cameras, as well as HP5 Plus 36 maryellenmark.com exposure and XP2 Super 36 exposure. Boots buying manager Amie Klapsia said: ‘We have seen increasing demand for black & white film and the range we have will help photographers of all abilities to take stunning photos.’ The films are available from 450 of the larger Boots stores. They can also be ordered from Boots online and picked up at a choice of 2,300 stores the next day.

© Ian Mountford 05 B+W Near View of the Shwedagon GLOWING Pagoda, Rangoon, November 1855, by Linnaeus Tripe. SUCCESS A book of black & white photographs has won an independent publishers’ gold medal. The Glow of Paris by Gary TOP FORM Zuercher won first place in the The Royal Photographic Society Independent Publisher Book has produced a generic model Awards in New York. release form and made it marcorp-editions.com available for free. The form can be downloaded from the website below. Rose Teanby was the first photographer to use the form, after taking the picture below. rps.org/MRF

TEST DRIVE A new scheme allows photographers to test Olympus Wayward, Fife, Scotland, by Ian Mountford (Your View, interchangeable-lens cameras Landscape Photographer of the Year 2014). before they buy. The Test & Wow program offers a three-day test drive. Photographers can choose BEAUTY OF OUR LAND from the OM-D or PEN series, There’s still time to enter your pictures for the Landscape including the new OM-D E-M5 Photographer of the Year competition. The contest was set up Mark II, in combination with one Rose Teanby’s picture of Aardman by photographer Charlie Waite and celebrates the beauty of or more M.Zuiko lenses. Animation co-founder Peter Lord the British landscape. Deadline 12 July. wow.olympus.eu/GB_en CBE with Morph. take-a-view.co.uk © Rose Teanby ARPS

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6-7_BPOTY_COMP_179.indd 6 17/06/2015 14:21 BLACK+WHITE PHOTOGRAPHY COOL, CREATIVE AND CONTEMPORARY

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008_BW_179.indd 8 6/12/15 11:19 AM NEWS ON THE SHELF hen the image on PHOTO LONDON the front cover of Tough & Tender 2015 W was runner-up in teNeues the This is Life category in the Paperback, £25 LEE MILLER Black+White Photographer of Hatje Cantz the Year 2013, I fell in love with n May this year Somerset Softback, £26.99 it and later bought a print from House saw the launch of Sheila. I still find the image Photo London. With talks here have been a lot of intriguing – and find the rest of I and exhibitions, and around books in recent years on the body of work equally so. 70 galleries showing work, plus Lee Miller and her work It is interesting that while photobook publishers, the event T and you do begin to feel Sheila was not born and bred in was a milestone in photography that there is little more to say, the UK she has an affinity with in the UK – and, hopefully, one but this one does do a good our shoreline and the people that will be an annual draw for job. Covering a huge spectrum who inhabit it. Never cruel, the huge crowds that attended of her photographic life, the TOUGH & TENDER: always tender, her portraits this year. book explores through text describe a drama in which her This book gives a substantial and pictures how this woman ENGLISH SEASCAPES actors face the chilly windswept taste of what was on show, with photographed high fashion one Sheila Rock summers of England with each of the galleries illustrated minute and devastating war Kehrer Verlag resilience. They flock to the with a single photograph. What scenes the next. Hardback, £28 seaside with a determination to you discover is the overview There is no doubt about participate in the traditional rather than the detail but as such, it, she was extraordinary entertainments it provides. Shivering, draped in a towel, burned by it’s a great way to get the flavour and well deserving of our a rare burst of sun, or huddled in an embrace in a shelter, they offer of the event if you didn’t attend. 09 B+W attention, having for many years themselves to her camera with trust. Evocative, truthful and lovely. Perhaps more interestingly, it disappeared from view. The Elizabeth Roberts does offer a bigger picture of revival of interest in her work the place of photography in has revealed her skill both as a irst off, I’ll say two things the modern era through both photographer and a journalist, about this book: it is very contemporary and vintage work. able to adapt from one subject very heavy and it smells It will, hopefully, also provide matter to the next seamlessly. F wonderful. But, having the incentive not to miss the fair She was, however, not neutral in explored the physical aspects of next spring. her approach and was capable of it, at the heart of the book is one Elizabeth Roberts using a wry humour in the worst of the 20th century’s landmark of situations (the famous picture inventions, the Leica camera. ‘It’s a great way to of her bathing in Hitler’s bath). With around 560 pages Certainly a photographer who and 1,200 images this is a get the ﬂ avour of was unique to her time. magnificent chronicle of the the event if you Elizabeth Roberts history of the Leica camera and the history of photography from didn’t attend.’ the early 20th century to the present day, with subject matter ranging from hard-hitting EYES WIDE OPEN!: reportage to high fashion. All the greats are featured, 100 YEARS from Henri Cartier-Bresson OF LEICA to William Klein and William Eggleston to Bruce Gilden. And PHOTOGRAPHY while there is some colour, the Hans-Michael Koetzle images are largely black & white. Kehrer Verlag Whether you are a Leica Hardback, £50.70 user or not, this is a book to be cherished (as long as you have the strength to carry it home from the bookshop). Elizabeth Roberts

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All images © Alain Laboile

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LIVING NATURALLY Swinging from curtains, tormenting the cat, spitting, weeing al fresco and, of course, playing with a decapitated chicken’s head – it’s what kids do. Alain Laboile has captured many of the things his kids do – all six of them – in a candid series of breathtaking honesty. Donatella Montrone reports.

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y wife bought a chicken. I had ‘My images capture life, learning, a pedagogy that centres around to cut its head off so we could creativity and the exchange of ideas. Rather cook it and my little one asked situations that build naturally than impose learning by rote, Méthode M if she could have it. She kept – they are not photography Freinet encourages expression and discovery, it for two days, playing with it among her in the belief that trial and error is the basis Barbies. She was very disappointed when we sessions with my family.’ of all learning. ‘For me, this time at school had to throw it out,’ says photographer Alain was magical – spending days in the forest, Laboile of the image of his daughter playing one of four boys, he spent much of his youth collecting mushrooms and pine cones for with a dead chicken’s head. The description exploring the French countryside. As a child projects. I learned a lot thanks to this way may repel, but the image itself does not, for he had little restraint, no sense of urgency of teaching, and I think my photography is in it Laboile captures innocence – the purity and no concept of time. Between the ages of in many ways connected to this.’ of mind of a child at play. six and 10 he attended a small rural school At 11 his father was offered a job on a Laboile was born in Bordeaux in 1968; focused on the Celestin Freinet method of dam-building project in the Ivory Coast 

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10-17_ALAIN_LABOILE_179 ER/MB.indd 13 10/06/2015 11:42  and his family relocated to Buyo on the lens, I was hooked.’ He quickly developed family became a viral ‘one to watch’ in Sassandra River for one year. ‘My brothers a taste for macro photography and shared photography circles. He started attracting and I spent a lot of time in the bush, despite his first images of insects on internet the attention of online magazines and when the dangers of running into wild animals. forums, where he received a surprising LensCulture featured his work, his career as I played with monkeys, a pangolin and a amount of feedback from members. This a photographer took off. ‘My photos spread parrot – they were my pets.’ But there are no encouragement spurred him on. He entered all over the world in just a few weeks. It was photos of his time in the Ivory Coast, nor of an online photography competition and pretty fantastic. Really, I exist because of his early years in Bordeaux, so his memories won, and from there he turned his lens away the internet.’ of childhood are somewhat meagre, he says. from les insectes and toward les enfants. ‘I started taking photographs of my family, a Famille is an ongoing series that has e met his wife Anne in 1990; at the my children – that was the beginning of grown and matured, together with time she was studying art history in La Famille.’ In 2007, after the birth of his Laboile’s blossoming family. It has Bordeaux, and one day he decided fifth child, he won a Canon competition, L none of the usual contrived, stylised H to attend a lecture with her. ‘That’s and suddenly this unassuming image-maker images of toddlers in flowerpots, blowing when I discovered art, when I learned to living in a farmhouse with his burgeoning on dandelions, or sitting in an explosion of appreciate it.’ Soon Alain the artist began alphabetti spaghetti. None of the images are to emerge. He started experimenting with ‘Some day I hope my photos staged. Instead, he captures spontaneous sculpture and made a number of pieces that moments, disorderly moments, and moments gained some attention in France. ‘I needed will allow my children to dive of familial tenderness – ‘snapshots of life on to put together a portfolio of my work to back into their childhood and the edge of the world’, he says. show clients so I bought a compact camera. As parents Laboile and his wife encourage As soon as I started playing with its macro relive those emotions.’ ‘merry mess’ – the kind of creative autonomy

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Laboile himself enjoyed in his own free-flowing and I press the shutter, I can’t a fawn, taken in 2007. The family found it childhood. ‘The kids often play around me,’ guarantee they’ll be completely within the wandering the road one morning on their he says. ‘Sometimes I get involved in their frame – and that’s when I find some really way to school, so they brought it home and games, but other times I am a spectator, so I great surprises. My images capture life, nursed it for 10 days. They called it Lily. don’t intervene. I don’t interfere in what they situations that build naturally – they are not ‘We bottle-fed it day and night. It became are doing because I don’t want to interrupt photography sessions with my family.’ part of the family. Unfortunately, it hadn’t their flow. I never direct them and say, One of Laboile’s favourite images from received enough antibodies from its mother “Stand here, do this.” When everything is the series is an early one of his daughter and and died. My kids will always remember our 

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 time with Lily, because my photographs have his family at one with nature and with each La Famille started as a personal immortalised those invaluable moments.’ other, unaffected by society’s scrutinising gaze. documentation of home life, a keepsake ‘I don’t have any photographic influences,’ Laboile could gift to his children – something aboile doesn’t believe in overloading his says Laboile, ‘because I didn’t become a he regrets does not exist of his own childhood. children with structured after school photographer in the traditional way. I don’t ‘Time goes by so quickly. Some day I hope activities; instead, their home and their have a particular “master” who influenced my my photos will allow my children to dive L natural surroundings become their work. In fact, I prefer to keep a good distance back into their childhood and relive those playpark – and nothing is off-limits. ‘Because away from photographic culture. I simply shoot emotions. Revisiting your childhood through we live in the countryside, in such an isolated what I feel like shooting – I capture moments.’ photography is very rewarding, and I hope place, our children evolve in accordance La Famille will do that for them.’ with nature.’ As a result his family – and by extension his photography – is rarely ‘Because we live in the Alain Laboile is represented by Jiro Miura encumbered by the social mores that insist countryside, in such an isolated Gallery in Tokyo. La Famille was recently on we cloak our children, shield them. ‘I shoot exhibit at Musée Français de la Photographie exactly what we live.’ And so life “on the edge place, our children evolve in in Bièvres and in Galerie La Passerelle in Gap. of the world” has enabled Laboile to capture accordance with nature.’ Visit Alain’s website at laboile.com

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10-17_ALAIN_LABOILE_179 ER/MB.indd 17 10/06/2015 11:43 NEWS IN THE FRAME If you would like an exhibition to be included in our listing, please email Anna Bonita Evans at [email protected] at least 10 weeks Brought to you in advance. International listings are on the app edition of the magazine. by Leica Camera

Cromwell Road, SW7 LONDON vam.ac.uk GALLERY@OXO 23 July to 16 August Focus on the Wild EAST Roger Hooper’s wildlife images. QUAY GALLERY Bargehouse Street, SE1 31 July to 6 August rogerhooper.co.uk Snape Maltings The Suffolk Monochrome Group. GREENWICH GALLERY Snape, Suffolk 3 to 16 August suffolkmonochromegroup.com 8th Greenwich Annuale Group show. Peyton Place, SE10 NORTH thegreenwichgallery.com IMPRESSIONS GALLERY To 29 August GRIMALDI GAVIN Extraordinary: Photographs of To 25 July Britain by the Caravan Gallery Beyond Memory Jan Williams and Chris Teasdale capture Tomoko Yoneda’s images of conflict. the quirky side of British life. Albemarle Street, W1S Centenary Square, Bradford grimaldigavin.com impressions-gallery.com

JAMES HYMAN GALLERY LADY LEVER ART GALLERY To 14 August To 27 September Raymond Cauchetier’s New Wave Hirbaiben Lobi on her three-acre farm, Jambur, by Ketaki Sheth, 2005 Picturing Venice 18 Work by the film-set photographer. © Ketaki Sheth Photos of the city by Carlo Ponti and B+W 16 Savile Row, W1S paintings by Turner, Sickert and Brangwyn. jameshymangallery.com ON BELONGING: PHOTOGRAPHS Port Sunlight, Wirral OF INDIANS OF AFRICAN DESCENT liverpoolmuseums.org.uk MALL GALLERIES 2 to 10 August To 31 August LAING ART GALLERY Light and Land Ketaki Sheth’s pictures of an African minority living in India. To 19 September Images by 100 photographers. For Ever Amber: Stories from The Mall, SW1Y NATIONAL PORTRAIT GALLERY St Martin’s Place, WC2H npg.org.uk a Film & Photographic Collection mallgalleries.org.uk First major retrospective of archives belonging to the Amber Collective. MEDIA SPACE NATURAL HISTORY MUSEUM Strand, WC2R New Bridge Street, To 13 September To 30 August photolondon.org Newcastle-upon-Tyne Revelations: Wildlife Photographer of the Year twmuseums.org.uk/laing-art-gallery Experiments in Photography Images from this year’s competition. TATE MODERN Rare examples of scientific photography. Cromwell Road, SW7 To September MILLENNIUM GALLERY Exhibition Road, London, SW3 nhm.ac.uk Close-up: Identity and the To 16 August sciencemuseum.org.uk Photographic Portrait Taylor Wessing Photographic PHOTOFUSION Lisette Model and Paz Errazuriz. Portrait Prize 2014 MUSEUM OF LONDON 17 July to 28 August To 25 October The prestigious international competition. DOCKLANDS NCM Exposed Barbara Hepworth: Arundel Gate, Sheffield To 1 November Featuring work by 100 photographers. Sculpture for the Modern World museums-sheffield.org.uk Soldiers and Suffragettes: 17A Electric Avenue, SW9 Photograms and archival photographs. The Photography of photofusion.org Millbank, SW1P MUSEUM OF LIVERPOOL Christina Broom tate.org.uk To 6 September The first female press photographer. ROYAL GEOGRAPHICAL L8 unseen West India Quay, E14 SOCIETY V&A MUSEUM Large format images relating to race, museumoflondon.org.uk 24 July to 5 September To 11 October culture and identity in Britain today. Travel Photographer of the Year Captain Linnaeus Tripe: Pier Head, Liverpool NATIONAL PORTRAIT Winning images from the competition. Photographer of India and liverpoolmuseums.org.uk GALLERY 1 Kensington Gore, SW7 Burma, 1852-1860 To 18 October tpoty.com Tripe’s pictures from two expeditions. MUSEUM OF SCIENCE Audrey Hepburn: To 1 November AND INDUSTRY Portrait of an Icon SOMERSET HOUSE A History of Photography: To 3 August Pictures of the famous film star. To 24 August Series and Sequences Open for Business St Martin’s Place, WC2H Beneath the Surface Pictures by Sally Mann, Sze Tsung Leong Nine of the world’s leading Magnum npg.org.uk Pictures from the V&A’s collection. and Stephen Gill are among the selection. photographers’ pictures of contemporary

18-19_IN_THE_FRAME_179 ER/MB.indd 18 10/06/2015 11:44 British manufacturing. 28 July to 27 September Liverpool Road, Manchester Local by Finn Hopson openforbusiness.uk.com Hopson’s pictures of the South Downs. 52-53 Kings Road Arches, BN1 NATIONAL CIVIL WAR CENTRE brightonphotography.com To 5 November The Failing Leviathan: Magnum DENBIES WINE ESTATE Photographers and Civil War 20 July to 1 August Inaugural exhibition. Mirage 15 Appleton Gate, Newark Photographs by the Mirage Group. nationalcivilwarcentre.com London Road, Surrey denbies.co.uk OPEN EYE GALLERY To 23 August FARLEY FARM GALLERY Open To 20 September Work that explores social portraiture. Lee Miller: Motifs in Silverprint 19 Mann Island, Liverpool Work from the Lee Miller Archives. openeye.org.uk Chiddingly, East Sussex farleyfarmhouse.co.uk TATE LIVERPOOL Manchester, 1967 © Shirley Baker Estate – Courtesy of Mary Evans Picture Library To 18 October STADE HALL Glenn Ligon: 1 to 14 August SHIRLEY BAKER: WOMEN, CHILDREN Encounters and Collisions Annual Exhibition Group show. 1066 Mono Photographic and Rye Studios AND LOITERING MEN Albert Dock, Liverpool The Stade Hall, Hastings 17 July to 20 September tate.org.uk First London based exhibition of pioneering work by the late WEST Shirley Baker. Includes colour and B&W images. SOUTH 44AD ARTSPACE PHOTOGRAPHERS’ GALLERY 18 to 23 August, 12 – 6pm 16-18 Ramillies Street, W1F thephotographersgallery.org.uk ASSEMBLY ROOMS PHOTOBATH: STREET SEEN 15 to 22 August Work by a network of photographers. Annual Exhibition 4 Abbey Street, Bath BA1 1NN Claverton Manor, Bath 129 Muir Street, Hamilton Chichester Camera Club. photobath.co.uk americanmuseum.org streetlevelphotoworks.org North Street, Chichester 19 chichestercameraclub.org.uk AMERICAN MUSEUM BLACKFRIARS PRIORY NATIONAL MUSEUM B+W IN BRITAIN 23 to 26 July OF SCOTLAND BRIGHTON PHOTOGRAPHY To 1 November Cotswold Salon To 22 November To 26 July Spirit Hawk Eye: A Celebration Digital and darkroom prints. Photography: Serendipity of American Native Culture Ladybellegate Street, Gloucester A Victorian Sensation Work by Toby Mason and Steve Wrigly. Recent portraits by Heidi Laughton. cotswold-monochrome.co.uk Tracing the evolution of photography. Chambers Street, Edinburgh EDEN PROJECT nms.ac.uk To 23 October People of the Rainforest SCOTTISH NATIONAL Six B&W images by Robin Hanbury- PORTRAIT GALLERY Tenison and Sebastião Salgado. To 6 September Bodelva, Cornwall Lee Miller and Picasso edenproject.com A story of friendship Queen Street, Edinburgh WALES nationalgalleries.org ABERYSTWYTH ARTS CENTRE STREET LEVEL PHOTOWORKS To 1 August To 27 August Lin S F Huang: Silk Road to China Open for Business Black & white historical pictures. Work by nine Magnum photographers. 7 August to 7 November Trongate 103, Glasgow Artist Rooms: streetlevelphotoworks.org Robert Mapplethorpe Seminal works by this photographer. Aberystwyth University, Ceredigion NORTHERN Two Trees, Midleton (Winter) © Brian Adams aberystwythartscentre.co.uk HIGH LINES IRELAND To 16 August SCOTLAND BELFAST EXPOSED Intriguing B&W series of the Peak District’s Monsal HAMILTON LOW PARK MUSEUM 3 July to 22 August and High Peak trail by Brian Adams. To 26 September Tokyo Compression What Presence! Michael Wolf’s fine art photographs of BUXTON ART GALLERY AND MUSEUM The Rock Photography people commuting in Tokyo. Terrace Road, Buxton derbyshire.gov.uk of Harry Papadopoulos 23 Donegall Street, Belfast Images of 70s and 80s musicians. belfastexposed.org

18-19_IN_THE_FRAME_179 ER/MB.indd 19 10/06/2015 11:44 NEWS OUTSIDE THE FRAME If you would like an exhibition to be included in our listings, please email Anna Bonita Evans at [email protected] at least 10 weeks in advance.

in late 1800s Sydney. AMERICA Macquire Street, Sydney 1285 AVENUE OF THE sl.nsw.gov.au AMERICAS ART GALLERY To 18 September Photographs CANADA Includes work by Diane Arbus, NATIONAL GALLERY Sally Mann, Dorothea Lange and OF CANADA Mary Ellen Mark. To 30 August 1285 Avenue of the Americas, For the Record: Early Canadian New York Travel Photography aperture.org Set of revealing historical images from the Library and Archives GEORGE EASTMAN HOUSE Canada collection. To 6 September 380 Sussex Drive, Ottawa In the Garden gallery.ca Examples of how photography has been used to record the cultivated landscape. STEPHEN BULGER GALLERY 900 East Avenue, Rochester To 12 September eastmanhouse.org Canadian Modernism Group show of innovative works METROPOLITAN MUSEUM created during the modernist era. OF ART 1026 Queen Street West, Toronto To 16 August bulgergallery.com Fatal Attraction Imaginative photographs by Polish artist Piotr Uklański. Irmgard Seefried, Opera Singer, Singing an Aria from Madame FRANCE 20 1000 Fifth Avenue, 82nd Street, Butterfly, Vienna Opera House, Vienna, Austria, 1945, by Lee Miller FESTIVAL PHOTO LA GACILLY B+W New York © Lee Miller Archives England 2015 To 30 September metmuseum.org With a focus on people and nature, France’s largest outdoor MUSEUM OF MODERN ART AUSTRIA photography festival has a significant To 4 October LEE MILLER proportion of B&W works on show Art on Camera: Photographs at this year’s event. by Shunk-Kender, 1960 to 1971 To 16 August Various locations Work by duo Harry Shunk and Largely unpublished pictures Miller took in Vienna in 1945. festivalphoto-lagacilly.com János Kender. To 4 October ALBERTINA Albertinaplatz 1, Vienna albertina.at FONDATION CARTIER POUR From Bauhaus to Buenos Aires: L’ART CONTEMPORAIN Grete Stern and Horacio Coppola 11 July to 15 November Pictures by two leading figures in RINGLING MUSEUM OF ART Congo Kitoko avant-garde photography. 10 July to 13 September AUSTRALIA Includes B&W photographs from 11 West 53 Street, New York Appalachia USA AUSTRALIAN CENTRE 1950s to 60s Kinshasa, the largest moma.org Builder Levy’s B&W images spanning FOR PHOTOGRAPHY city of the Democratic Republic four decades of his time spent with the To 16 August of the Congo. PARRISH ART MUSEUM coal mining community of Appalachia. Ex & Post – Eastern Europe 261 Boulevard Raspail, Paris 2 August to 18 October 5401 Bay Shore Road, Florida Under the Lens fondation.cartier.com Andreas Gursky: Landscapes ringling.org Works by 14 contemporary Collection of highly acclaimed photographers based in Eastern JEU DE PAUME photographer’s most magnificent works. ROBERT MANN GALLERY Europe will be on show. To 27 September 279 Montauk Highway, New York To 15 August To 16 August A Photographer’s Journey parrishart.org Classic Works and Collaborations The Outside Land Selection of Germaine Krull’s work, Seminal works by avant-garde German Stephen Dupont’s powerful a photographer best known for her PHILADELPHIA MUSEUM photographer Ellen Auerbach. documentation of the changing urban pictures associated with the OF ART 525 West 26th Street, New York landscapes of Papua New Guinea. avant-garde movement. To 9 August robertmann.com 257 Oxford Street, Paddington To 31 October Take One: acp.org.au Pierre De Fenoÿl Contemporary Photographs THROCKMORTON FINE ART Photographer’s B&W travel First in a two-part series of exhibitions To 12 September STATE LIBRARY OF documentary and landscape pictures to feature images made since Mirror Mirror… NEW SOUTH WALES taken during the latter half of the roughly 1975. Photographs of Frida Kahlo. To 23 August twentieth century. 2600 Benjamin Franklin Parkway 145 East 57th Street, New York Crowd Source 1 Place de la Concorde, Paris philamuseum.org throckmorton-nyc.com Early street photographs taken jeudepaume.org POLKA GALERIE serve their country, will be displayed in To 1 August the Böhm Chapel part of the gallery. Marc Riboud Hahnenstrasse 37, Köln Seminal B&W works by the jablonkagalerie.com prestigious photographer. 12 Rue Saint-Gilles, Paris VITRA DESIGN MUSEUM polkagalerie.com To 13 September Making Africa Major show with works revealing GERMANY contemporary African designs, HELMUT NEWTON including images by JD Okhai Ojeikere FOUNDATION and Mário Macilau. To 15 November Charles-Eames Strasse 2, Newton. Horvat. Brodziak Weil am Rhein Displaying images by three design-museum.de photographers, Helmut Newton, Frank Horvat and Szymon Brodziak, WALTHER COLLECTION whose work lies at the intersection To 10 October Nostalgia, Oekraïne 1989-1992 of fashion and portraiture. The Order of Things © Otto Snoek Jebensstrasse 2, Berlin Sequences in photography from the helmutnewton.com 1880s to the present day. HOLLAND 21 Reichenauerstrasse, Neu-Ulm NOSTALGIA HOUSE OF PHOTOGRAPHY walthercollection.com To 6 September To 6 September The Day Will Come When Man Falls Otto Snoek’s photographs of Ukraine made between 1989 and 1992. Includes 50 self-portraits by leading HOLLAND photographers such as Cindy Sherman, HUIS MARSEILLE, MUSEUM HUIS MARSEILLE, MUSEUM FOR PHOTOGRAPHY Nan Goldin and Lee Friedlander. FOR PHOTOGRAPHY Keizersgracht 401, Amsterdam huismarseille.nl 1-2 Deichtorstrasse, Hamburg To 6 September deichtorhallen.de Life is Strange / Photographic discoveries in popular magazine JABLONKA GALERIE Het Leven KUNSTHAL KADE To 28 September Taken from the Spaarnestad Photo To 30 August RUSSIA Platon: Service collection, 235 images from Dutch Photographs 1999 to 2015 ERARTA THE MUSEUM Pictures from British photographer’s magazine Het Leven are on show. Selection of colour images AND GALLERIES OF series Service, consisting of portraits Keizersgracht 401, Amsterdam by Ryan McGinley CONTEMPORARY ART 21 B+W of men, women and their families who huismarseille.nl 77 Eemplein, Amersfoort To 13 November kunsthalkade.nl The Rodchenko’s Circle: Stylish People NEDERLANDS FOTOMUSEUM B&W pictures of and taken by To 23 August Alexander Rodchenko – the Russian Faces artist, sculptor and photographer European portrait photography who was pivotal in the since 1990. constructivism movement. To 31 December 2016 Number 3, 29 Vasilievsky Ostrov, The Darkroom: Extraordinary St Petersburg Stories from the History of erarta.com Dutch Photography Exhibition brings more than 185 years of Dutch photography to life. SWEDEN Willhelminakade 332, Rotterdam FOTOGRAFISKA nederlandsfotomuseum.nl To 13 September On this Earth, A Shadow Falls, Across the Ravaged Land ITALY Nick Brandt’s powerful black & white GALLERIA CARLA SOZZANI series which documents endangered To 31 October wildlife in Africa. Fotografia Futurista Stadsgardshamnen 22, Stockholm Pawnee National Grasslands, Colorado, 1984 Around 100 photographs from fotografiska.eu © Robert Adams the futurism movement. Corso Como 10, Milan galleriacarlasozzani.org SWITZERLAND SWITZERLAND MUESUM OF DESIGN TREES VENICE BIENNALE To 18 October To 22 November Steve McCurry: To 15 November Variety of works on show; includes Photographs from the East Taken from the private collection of Rosella and Philip Rolla, Poéticas de la Disidencia – an exhibition Celebrated pictures by one of the most 36 pictures relating to trees will be on show. by Chilean artists Paz Errázuriz, influential photojournalists living today; Lotty Rosenfeld and Nelly Richard. includes unpublished works. ROLLA.INFO 6837 Bruzella, Switzerland rolla.info Various locations 97 Pfingstweidstrasse, Zurich labiennale.org museum-gestaltung.ch NEWS EXHIBITION OF THE MONTH Alongside Marilyn Monroe and Marlon Brando, Audrey Hepburn is one of the most famous faces from mid 20th century American cinema. An exhibition at the National Portrait Gallery celebrates her life in pictures. Anna Bonita Evans reports. © Leo Fuchs arly one morning a New Hepburn before she had been York City taxi stops on propelled into the highest Fifth Avenue outside echelons of Hollywood society. E Tiffany and Co. Out of One particular picture of her as the car steps Holly Golightly a 13-year-old girl performing who, dressed in a Givenchy a dance recital in 1942 shows black dress, her hair in a high her initial ambition to become a chignon and adorned in jewels, prima ballerina. On loan from her holds a coffee in one hand and a sons’ Sean Hepburn Ferrer and croissant in the other. Walking Luca Dotti’s personal collection, over to the desirable shop’s these portraits let us trace window, the woman stops to gaze Hepburn’s rise to become one of longingly at the display. At that the first international stars. moment, in the opening scene of Breakfast at Tiffany’s, one of orn Audrey Kathleen the most recognisable film stills Ruston in Brussels in in cinema was created and put 1929, Hepburn moved actress Audrey Hepburn on the B to London in late 1948. course to become the female While attending Notting Hill’s legend she is today. Rambert Ballet School she Celebrating the iconography discovered her dream to be a of Audrey Hepburn, the National ballerina was unattainable so 20 Portrait Gallery’s new exhibition concentrated on acting. After B+W shows some of the most well- a number of performances as a known and loved pictures of the chorus girl in the West End and star. A muse to many leading 20th some cameo parts in a few British century photographers, portraits films, there was soon interest in by Norman Parkinson, Terry the talented young actress. O’Neill, Richard Avedon, Irving Her first Broadway stage Penn and Cecil Beaton are among Audrey Hepburn on location in Africa for The Nun’s Story by Leo Fuchs, 1958 performance in Gigi in 1951 the display. Original film posters, © The Cecil Beaton Studio Archive at Sotheby’s introduced Hepburn to an magazine spreads and front covers American audience. In 1953 she (including the seminal 1961 Life was the first female actress to magazine cover of Hepburn in win an Academy award, Golden Breakfast at Tiffany’s) complete Globe and Bafta in the same year the story of one of the world’s for her role in Roman Holiday. most photographed women. After Hollywood’s golden Despite Hepburn’s naturally age Hepburn left the film set introverted and modest behind and dedicated herself to demeanour, she was sure of how humanitarian work. In 1992 she she wanted to be represented. In was awarded the Presidential an interview with the Guardian Medal of Freedom in recognition arts correspondent Mark Brown, of her contributions. co-curator of the show Helen Even 22 years after her death Trompeteler says: ‘She had a very Audrey Hepburn’s legacy as clear idea of how she wanted to one of the most elegant, wistful be portrayed and in terms of how and inspiring female figures in her image was used.’ Hepburn popular culture remains as strong was not a passive subject but an today as it did when Breakfast active model who worked with at Tiffany’s was first screened in the photographers to achieve the 1961. Audrey Hepburn: Portraits vision she wanted. of an Icon, which is the first Alongside the more familiar British exhibition to be organised photographs are 35 that have with support from the Audrey never been shown in public Hepburn Estate, is a tribute to the before. It’s in this set we see Audrey Hepburn in Rome by Cecil Beaton, 1960 star in every sense. © Reserved

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Audrey Hepburn by Antony Beauchamp, 1955

AUDREY HEPBURN: PORTRAITS OF AN ICON runs until 18 October at the National Portrait Gallery, London, St Martin’s Place, WC2H; npg.org.uk/hepburn; #hepburn

20-21_EOTM_179/ABE/ER/MB.indd 21 10/06/2015 11:45 COMMENT AMERICAN CONNECTION Ashly Stohl has created a touching and funny series about her son, Charlie, who has ocular albinism. His love of Star Wars and hero worship susanburnstine.com of Darth Vader inspired these images. Susan Burnstine reports.

am forever inspired by parents who transform the lives of their children into imagery that balances honesty, humour and intimacy without becoming Isaccharine. Los Angeles photographer Ashly Stohl has exceeded on all accounts by creating a touching, sensitive and funny series about her son entitled Charth Vader. Following a high-pressure career, Stohl’s life changed dramatically after she gave birth to her daughter in 2001. As a stay at home mum, she discovered that in between changing nappies and feeding she had 22 a captive subject who was B+W changing every day, so she began her foray into photography by taking portraits of her. In 2003 Stohl’s second child, Jake, was born and diagnosed with ocular albinism In 2008 Stohl’s second of his identity, but not all of it.’ Charlie enjoyed wearing his a few months later. ‘Jake was son, Charlie, was also born Ever since Charlie was very Darth Vader mask and Stohl blind at birth, which was a with ocular albinism but the young, he was an avid fan of frequently found him doing devastating thing to find out,’ discovery wasn’t as traumatic Star Wars and always cheered absurd things with the mask on. she says. ‘Since then, his vision the second time for her. ‘We on Darth Vader. ‘We couldn’t Once she decided to photograph has improved and he goes to knew that other than having convince him to be a good guy,’ Charlie wearing his mask, mainstream schools. He has terrible vision, he would become Stohl admits, ‘He loved Darth she concluded, ‘There was some big challenges, but he is his own person. Like his Vader so much that his something in what he was doing doing so much better than we brother, we could see that being siblings started calling him and how I was photographing ever expected.’ visually impaired would be part Charth Vader.’ him that made him seem small,

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CHICAGO ART INSTITUTE OF CHICAGO Until 23 August Jean-Luc Mylayne: Mutual Regard artic.edu JACKSONVILLE MUSEUM OF CONTEMPORARY ART: JACKSONVILLE Until 30 August Raymond Smith: In Time We Shall Know Ourselves mocajacksonville.org despite his efforts to look fierce ‘We knew that things with the helmet on and LOS ANGELES and powerful.’ at other times she asks him to ANNENBERG SPACE FOR other than having put it on. She often picks the PHOTOGRAPHY tohl started setting, gives Charlie the helmet Until 20 September photographing Charth terrible vision, he then allows him to art direct. Emerging: Emerging Photographers Vader with whatever would become his ‘A six year-old can think of annenbergphotospace.org camera was available things an adult would never THE GETTY 23 S B+W – an iPhone, digital camera or own person.’ consider,’ she says. ‘He’s my Until 6 September film camera – and then began favourite art director.’ Light, Paper, Process: posting her images on Tumblr to be a child. ‘As a parent, our This summer Stohl released Reinventing Photography to share with her family. hearts are breaking over and her first book, Charth Vader. getty.edu Once she recognised Charlie’s over as we watch them struggle She worked closely with portraits could become a with issues big and small. Those photographer and writer NEW ORLEANS meaningful series, she decided struggles help them grow, but David J. Carol, whom she GUTHRIE CONTEMPORARY to shoot all of the images it’s difficult to watch. It’s that describes as a great editor Until 31 December Jennifer Shaw: Space Between with black & white film, her sadness, fear and struggle that with invaluable experience guthriecontemporary.com preferred medium. I’m interested in, and at the same editing and publishing books Stohl confesses that she time the dark humour of it all.’ for himself and others. NEW YORK CITY wasn’t interested in creating The images are typically a ‘What attracted me most to MUSEUM OF THE CITY precious photographs of her combination of spontaneous this project was Ashly’s desire OF NEW YORK child; instead, she aspired to and staged. At times Stohl and ability to make meaningful Until 13 September communicate how hard it is catches Charlie doing strange photographs that included her Hip Hop Revolution: Joe Conzo, family members,’ Carol recalls. Janette Beckman and Martha Cooper ‘And yet the images transcend mcny.org the “family snapshot” to become legitimate photographs that PORTLAND stand on their own.’ BLUE SKY GALLERY The book is an edition of 500, Until 31 September with the first 100 in a boxed Jan Kempenaers: Spomenik limited edition that includes a Marc Shoul: Brakpan blueskygallery.org silver print. All the profits from sales of the book will be donated SANTA FE to the Vision Center at the VERVE GALLERY Children’s Hospital Los Angeles, OF PHOTOGRAPHY an institution that helps Until 5 September children with vision issues, Cause & Effect: Daniel Beltra, regardless of their Chris Jordan, Jamey Stillings ability to pay. and Wyatt Gallery ashlystohl.com vervegallery.com

22-23_USA_CONNECT_179 ER/MB.indd 23 10/06/2015 11:46 FEATURE JOURNEY OF DISCOVERY

On the banks of the Mississippi Jennifer Shaw spent her daily walk taking pictures with a Holga. Little did she know that the All images © Jennifer Shaw place was soon to change out of all recognition. Steve Pill reports.

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Opposite Anchor Buoy, 2001. Tin House, 2001.

camera is a fantastic filter did just that in 2001, when she moved to slightly downtrodden neighbourhood, through which to explore New Orleans and began work on her project, and I wanted to capture it on film.’ new surroundings. Whether Relics. The two-mile journey to her new job at Jennifer had grown up in the Rust Belt going on holiday or moving a photo laboratory took her along the banks city of Milwaukee, Wisconsin, so she already to a different city, the lens of the Mississippi, so she would walk or bike had a certain fascination for what she calls acts as a comforting buffer, the distance with her Holga camera around ‘fading symbols of American industry’. Aa means of distancing yourself a little as her neck, taking pictures as she went. ‘When Wandering the streets that bordered the you grow accustomed to the unfamiliar. By I started the project I was fairly new to the river along the Gouldsboro Bend, she mapping things out visually or picking up area, so part of the impetus was the simple gravitated towards places and objects that on favourite details, photography can allow curiosity of exploring new territory,’ explains had become weathered, worn or overgrown. us to get a handle on an otherwise vast and the 43-year-old photographer today. ‘I found Anchor Buoy (2001) was taken with one of seemingly alien locale. myself enamoured with the post-industrial the first rolls of film that Jennifer used during American photographer Jennifer Shaw landscape nestled within this historic but her Mississippi walks and the success of that 

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Railroad Ties, 2003.

 particular image galvanised her approach to skills at the Louise S. McGehee School, but Despite featuring some quite cumbersome the rest of the series. ‘I loved the light, the methodical planning or strict academic rules industrial subjects, there is a sweet, textures, the relationship of the forms and have never weighed down her practice. meditative, perhaps even melancholic feel to the richness that the image took on with the She opted instead to walk or bike the many of the images in Relics. While Jennifer split tone process,’ she says of her chosen way streets and turn wherever the spirit took acknowledges that there is ‘an inherent to develop her Ilford HP5 films. ‘It just felt her. ‘There were certain areas I would romanticism to the subject matter’, she also right, like the camera and technique were occasionally return to, because the subject believes this was a reflection of her mood and a good fit for the subject matter.’ matter was rich and varied, such as the outlook while she was taking the pictures. chain yard that housed gigantic anchor ‘For me photographing is a very Zen process, ennifer graduated in photography chains and buoys, or because the area was wandering with an open mind and being from the prestigious Rhode Island undergoing rapid changes, but overall it receptive to what the world has to offer,’ she School of Design (whose former was a pretty catch-as-catch-can process, says. ‘And while I was working on the series I J tutors include Diane Arbus and Harry exploring with open eyes, chasing the light was certainly aware that documenting the area Callahan) and currently teaches darkroom and following my whims.’ was in certain ways an act of memento mori.’ 

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Stolen Car, 2002.

24-31_JENNIFER_SHAW_179 ER/MB.indd 27 17/06/2015 11:08  It was unclear at the time how true a also give birth to her first son, Claudio. effect on the city as a whole, the changes to statement that would become. When news It was two months and 6,000 miles before this particular part of New Orleans have of the impending Hurricane Katrina broke the new family eventually returned home. been partially man-made too, as the streets in the early hours of 28 August 2005, a Shaw turned her attentions to two new around the Gouldsboro Bend became heavily pregnant Jennifer and her husband photographic projects, one that told the the site for a dramatic regeneration plan. packed their important belongings – emotional story of her evacuation through ‘Walmart wiped out a segment of industrial including four pets and two large crates of children’s toys (the surreal and oddly shops and there was a major overhaul of negatives – into a truck and evacuated their haunting Hurricane Story) and another that the St. Thomas Projects, a public housing home for a motel in southern Alabama. focused on the physical damage caused area that was torn down and redeveloped in the city’s Lower Ninth Ward (the 2006 in the new urbanism style,’ explains Shaw. he following day, not only would the Aftermath series, which shares a similar ‘In addition, the area has undergone a lot of hurricane devastate vast swathes of split-toned sepia aesthetic with Relics). gentrification since Katrina. It’s the natural New Orleans and the rest of the Gulf However, while Hurricane Katrina high ground, dubbed ‘the sliver by the river’, T Coast, but the photographer would obviously had a devastatingly transformative and after the flood this formerly edgy area 

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Two Valves, 2004.

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Power Plant, 2003.

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Celeste St Wharf, 2004.

 became hot property. Many of the small Perhaps due to the personal upheaval made during Relics was that she finds big houses built for working class families that followed the Relics project or just industrial machinery ‘kind of sexy’. have been renovated into larger two storey the modesty that is a trait of many Nevertheless, the irony is that just homes, including that amazing little hand- successful female photographers, Jennifer 10 short years after using her camera crafted ‘tin house’ that I photographed is reluctant to offer grand conclusions to develop an intimacy with unfamiliar in 2001, which no longer bears any about the significance of the series and surroundings, those same photographs resemblance to its former self.’ its relevance to recent American history. would be unrecognisable to a fellow ‘These days,’ she adds ruefully, ‘you’re Having previously stated in Black+White newcomer to the area. Relics, then, is a more likely to find a luxury SUV parked on Photography that she uses photography powerful reminder to always photograph the street than a rusty old delivery truck, as a way of ‘understanding the world and something while you have the chance, no though the neighbourhood still retains a bit understanding myself’, today Jennifer jokes matter how quotidian or built to last the of an unkempt air.’ that the main bit of self-discovery she subject may seem.

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Float, 2004.

‘I found myself enamoured with the post-industrial landscape nestled within this historic but slightly downtrodden neighbourhood.’

24-31_JENNIFER_SHAW_179 ER/MB.indd 31 17/06/2015 11:09 YOUR B+W PORTFOLIO We want to see the very best monochrome work on the pages of Black+White – submit your images and if they are published you win £50-£100 worth of goods of your choice from THE IMAGING WAREHOUSE. Turn to page 54 for full details.

ALLESANDRO NERMETTI £100 ALLESANDRO’S KIT Canon EOS 550D 32 EF-S 24mm f/2.8 lens B+W

32-36_PORTFOLIO_179 ER/MB.indd 32 17/06/2015 11:23 All images © Allesandro Nermetti

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32-36_PORTFOLIO_179 ER/MB.indd 33 17/06/2015 11:23 34 STEVE WILLIAMS B+W STEVE’S KIT £50 Sony Nex-7 Sony 10-18mm lens

‘This project is entitled The Fens and the pictures were all shot on the same day last September within two kilometres of one another.’

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32-36_PORTFOLIO_179 ER/MB.indd 35 17/06/2015 11:23 All images © Jean Marie De Brauwer

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JEAN MARIE DE BRAUWER JEAN MARIE’S KIT £50 Nikon D800 24-70mm f/2.8 lens

32-36_PORTFOLIO_179 ER/MB.indd 36 17/06/2015 11:23 037_BW_179.indd 37 Processes |IntroductiontoColourPrintingfromFilmStudioLightingAlternative Introduction to Digital Photography | Documentary/Street Photography-The City Photography|Documentary/Street Introduction toDigital and The EastEnd|NightPhotographyfromtheCitytoRiverIntroduction friendly andprofessionalfriendly team. advice andguidancebyexpert our willbegiven writers inexperienced your specialistsubject?New and ideaor freshapproachtooriginal Then why notcontactuswithyour to fill ofyour thegaps existinglibrary? passion for photography? Doyou long have you written, your abookabout Have you ever thoughtofwriting, or booksaboutPhotography Writing forWrite Us Photographic Printmaking|PhotographyTuition -PreparingyoutoShow to Black andWhite Photography|SpecialistBlack andWhite Darkroom www.thecass.com/shortcourses University The Cass,LondonMetropolitan Photography ShortCourses Emma Foster, Publishing Coordinator, Website: Email: [email protected] Telephone: +44(0)1273477374 86 HighStreet, Lewes, EastSussex, UK, BN71XN MasterCraftsmanThe Guildof Publications Ltd, Write to: @GMCbooks www.thegmcgroup.com

Image: Rod Morris 6/23/15 10:44AM FEATURE CHARLESTON REVISITED Discovering what is behind the accepted view of a place is only part of what Mike Hoban is interested in. When it came to photographing the Sussex home of the Bloomsbury group, he had his own ideas of how it All images © Mike Hoban should be portrayed. Elizabeth Roberts reports.

harleston Farmhouse, once the home of the famed Bloomsbury group, nestles in the Sussex countryside, charming visitors from far and wide. The ghosts Cof the artists, writers and intellectuals who spent time there sit comfortably among the hand-painted furniture and the flower laden gardens. It has an atmosphere of creativity and art that seduces the senses, exuding a nostalgia for the enchanting romanticism surrounding it. It is history frozen in time. Or is it? For photographer Mike Hoban it has a darker side. ‘I love Charleston,’ he says. ‘I love the history of the place and the idea of living that bohemian lifestyle. But the reality must have been very different from the picture of it we see today.’ And so Mike decided to photograph Charleston from a 38 different angle. ‘I wanted to get beneath B+W the surface,’ he explains. He was given permission to shoot the house in winter when it was closed to the public and the artifacts were under wraps. ‘I’d never seen it mothballed like that until I went in on the first day of the shoot,’ he says. ‘I was immediately struck by how the light worked – maybe a bare bulb or a half open door. It gave you hints of what was there, rather than the complete picture. All the books and articles written about the place present a utopian view of how these people lived. But that’s not the whole truth – there must have been conflict and anguish – and perhaps people don’t want to acknowledge that.’ But this was what Mike was interested in. Being an arts and performance photographer, specialising in opera, he has a heightened sense of drama and is constantly thinking of new ways to portray it. That is how he came up with the idea of 

‘You are forced to look deep into the images rather than at them, not only because of their literal, but their implied, darkness.’

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 shooting Charleston in out of date Polaroid ‘I wanted to show would rather not go,’ says Mike. ‘You are film that he bought on the internet. ‘I like forced to look deep into the images rather it because it’s unpredictable,’ he explains. something that was less than at them, not only because of their ‘It’s quite the opposite of a digital image literal, but their implied, darkness.’ where you know exactly what you are literal than the Charleston The small size of the Polaroid images, getting. With Polaroid you can have very we are presented with.’ within their large frames, accentuates different results, even if you use the same this intensity, demanding that the viewer exposure, the same processing time. It’s spends time with them, engaging in just the way the chemicals react.’ He also a woman to a woman? There was a lot of their imaginary voyage into the past. felt that this medium, that he has so little simmering sexuality but there must have But there is too a simplicity about them control over, might well capture the elusive been torment and suffering too – most that presents the place without the darkness he was searching out. artists experience these things. I wanted romanticism that generally overlays it. to see a glimpse of it in the photographs.’ It reveals the bare bones. nd he was right. The images, The resulting set of pictures, entitled For Mike, however, this is not the end of mysterious, intriguing and A Different Palette/Charleston Polaroids the project; his fascination with Charleston haunting take us to a Charleston was shown at the Chelsea Arts Club in continues. ‘There is more I’d like to do,’ he A that is unfamiliar. ‘I wanted to London earlier this year. Dramatically says. ‘I would like to photograph the gardens show something that was less literal than framed, the images entice you in – ‘They by full moon – round the pond, through the the Charleston we are presented with,’ lead the viewer to a place they perhaps trees…’ It is something to look forward to. he says. ‘I thought about the people who lived there or visited the place – they were intellectuals, conscientious objectors, homosexuals at a time when it was illegal, CHARLESTON FARMHOUSE they were artists and thinkers who often Charleston Farmhouse is open to the public from Wednesday to Sunday had complex personal lives. I thought about and Bank Holidays from 25 March to 1 November. who walked up those stairs. What room did Visit the website at charleston.org.uk. they go to? Was it a man going to a man or

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38-43_CHARLESTON_REVISITED_179 ER/MB.indd 43 17/06/2015 11:47 INSPIRATION READER WORKSHOP People at work, their tools, materials and workplace offer a rich source of subject matter for the black & white photographer. Bearing this in mind we took five lucky readers to a special place in the Sussex town of Rye…

erchant & Mills is a quiet the south coast. It was here that we brought before taking each shot (remember the phenomenon. The brainchild B+W readers Cedric Sherwood, Christine Le price of a roll of film and the processing?). of Carolyn Denham and Heup, Colin Field, Dan Schiraldi and Peter He also asked them to interpret their photographer Roderick Field, O’Brien to photograph the charms of the surroundings in their own individual way, M it has grown from a cherished shop and workroom. to look at what interested them and to idea into a highly successful business, selling Our leader for the day was Roderick and, record their response. On the following its wares all over the world from London being a one-time user of film, he suggested pages you will see what they came up with. to Tokyo, New York to Sweden – but its to the participants that they should mimic To find out more about Merchant & Mills heart, and its headquarters, is in Rye, on the film approach by thinking carefully visit merchantandmills.com

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COLIN FIELD

All images this page © Colin Field All workshop participant portraiture © Roderick Field

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CHRISTINE LE HEUP

All images this page © Christine Le Heup

44-48_B+W_READER_WORKSHOP_179 ER/MB.indd 45 17/06/2015 11:52 46 B+W PETER O’BRIEN

All images this page © Peter O’Brien

44-48_B+W_READER_WORKSHOP_179 ER/MB.indd 46 10/06/2015 11:51 All images this page © Dan Schiraldi

DAN SCHIRALDI

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44-48_B+W_READER_WORKSHOP_179 ER/MB.indd 47 10/06/2015 11:51 CEDRIC SHERWOOD

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All images this page © Cedric Sherwood

44-48_B+W_READER_WORKSHOP_179 ER/MB.indd 48 10/06/2015 11:51 NEW PHOTOGRAPHY BOOKS

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077_BW_179.indd 77 6/17/15 10:17 AM COMMENT A MODERN EYE This month Shoair Mavlian, assistant curator of photography at Tate Modern, reflects on the work of Finnish photographer Sirkka-Liisa Konttinen

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Kendal Street, 1969. Opposite Girl on a spacehopper at the bottom of Janet Street back lane, 1971.

istorically Tate did not ‘By the time Konttinen arrived in 1969 formation and is still active in collect documentary the group today, contributing to photography. Byker was suﬀ ering from extensive neglect nearly five decades of production. However, in recent The Amber Collective is the years, this approach and demolition was already under way.’ longest running collective Hhas changed dramatically with practising in the UK. the acknowledgement that it politically and socially engaged up with a like-minded group Byker is a seminal is impossible to understand documentary practice and her of fellow students, with whom documentary project which contemporary lens based practice series Byker (1969-1981) has come she formed the Amber Film Konttinen began almost without considering the tradition to be known as a key example of and Photography Collective. In immediately after the group of documentary photography British social documentary. 1969, shortly after its formation, relocated to Newcastle. The on which so much of it is based. Born in Finland in 1948, the group decided to relocate title of the project refers to the This change has seen a focus Sirkka-Liisa Konttinen showed to Newcastle-upon-Tyne in inner city area on the east side on collecting and displaying an interest in photography the North East of England, the of Newcastle, a working class documentary photography in the from an early age and moved objective being to establish a area built during Victorian times gallery with displays of artists to London as a young adult to creative relationship with local and strategically located close to such as Don McCullin, Chris study film at the Regent Street communities and to document both industry and the river. Up Killip and Karen Knorr. Polytechnic. It was during this working class life in the region. until the 1960s Byker consisted Sirkka-Liisa Konttinen’s work time in London, while still a Konttinen has been a key of row upon row of terraced is rooted in this history of student, that Konttinen met member of Amber since its flats housing a self-contained 

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50-53 A MODERN_EYE_179 ER/MB.indd 51 10/06/2015 11:52  community. However, Byker was already destined for wholesale demolition to make way for a new master planned estate designed by architect Ralph Erskine. By the time Konttinen arrived in 1969 Byker was suffering from extensive neglect and demolition was already under way. For Konttinen the resilience, humour and vibrancy of the put-upon Byker community translated into setting up her home there and a photographic project spanning twelve years, a portrait of a rich working class culture on the eve of its destruction.

hat is remarkable about the series is the range and W variety of images, from formal studio portraits to images captured spontaneously on the street, and intimate Heather playing the piano in a derelict house, 1971. views into the domestic living quarters of the people of Byker. part of for six years, until her was a foreigner explaining that: have remained closed to another This close perspective is down street was demolished and she ‘Being a foreigner gave me one photographer, and invitations to Konttinen’s continued too was forced to leave. Konttinen advantage – I could be nosey, extended to the kind of hospitality engagement with the local also puts her acceptance by the and be forgiven. Many doors and intimacy that would normally community which she lived as locals down to the fact that she were opened for me that would be reserved for family only’. 52 B+W

Young couple in a back yard on a summer’s day, 1975.

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Children with collected junk near Byker Bridge, 1971.

This trust was built up over community. The use of carefully her connection to the area, an extended period of time placed excerpts of text in the Konttinen returned to Byker in YOU MIGHT during which Konttinen also photobook gives a descriptive 2003, and began a new project experimented with different and often comical insight titled Byker Revisited, this time ALSO LIKE… approaches to documentary into the inner workings of the documenting the new inhabitants practice, at one point setting up community by juxtaposing of the Byker Wall Estate. a portrait studio in a disused different perspectives, including Although the redevelopment of hairdressing salon and offering text written by Konttinen, with the 1960s promised to keep the free portraits to the locals. This interviews and stories being community intact, by the time enabled her to both engage with recounted by the residents of the regeneration was complete and build relationships within the Byker. The texts also give an less than one fifth of the community in the early stages. honest and abrupt insight into original inhabitants remained. Like many of Konttinen’s long how the photographer herself was For Konttinen, returning to Chris Killip (b.1946) and term projects, Byker exists in viewed within the community Byker was like returning to an Graham Smith (b.1947) both many different forms. In 1983 and how she was received and unknown landscape with very made extended documentary Byker was released by Amber as viewed as an outsider. few familiar faces. She spent six projects in areas of the a film and at the same time it was In a move which reaffirmed years making Byker Revisited, north east of England in the published as a photobook, while photographing the remaining 1970s and 1980s and in 1985 the exhibition toured in Europe, ‘Being a foreigner gave original residents alongside the showed their work together Mexico, USA and China. These later arrivals, highlighting both in an exhibition titled Another different forms of presentation me one advantage – the loss of a generations-long Country: Photographs of the offer alternative ways of viewing community and the emergence of North East of England which the project and provide a more I could be nosey, and a new, now widely multicultural toured to several locations in-depth understanding of the be forgiven.’ and a much more transient one. around the country.

50-53 A MODERN_EYE_179 ER/MB.indd 53 10/06/2015 11:52 HOW TO GET PUBLISHED IN BLACK+WHITE PHOTOGRAPHY Your chance to see your images on the pages of Black+White Photography and win great prizes!

HOW TO SUBMIT PORTFOLIO

Send us a carefully edited selection of images (no more than 20) or a single image on a CD or memory stick to the address below. Create two folders, one containing hi-res Tiff or Jpeg files at 300dpi to approx. 30x24cm, Mac compatible; the second folder should contain the same images at low-res. Only send 8-bit, not 16-bit, files and flatten any layers.

Write your name and contact details on the CD or include a text file on the memory stick.

PRINT SUBMISSIONS Should be no larger than 12x16in and not sent in a tube.

ALL SUBMISSIONS SHOULD INCLUDE THE SUBMISSION FORM OR A SEPARATE SHEET OF PAPER WITH YOUR Send us a photo-story or a single image for a chance to win NAME, TELEPHONE NUMBER, EMAIL ADDRESS AND £50 to £100 worth of vouchers from the Imaging Warehouse. 54 WHICH CATEGORY YOU ARE SUBMITTING TO. PLEASE + B W WRITE THESE DETAILS VERY CLEARLY.

IF SUBMITTING TO PORTFOLIO PLEASE INCLUDE TECHNICAL DETAILS (CAMERA, LENS ETC).

SUBMISSION CHECKLIST SMARTSHOTS Hi and low-res files on a CD or memory stick Name and contact details on the CD or memory stick A submission form OR contact details plus the category you are submitting to on a separate sheet of paper.

SEND YOUR SUBMISSIONS TO

Black+White Photography, GMC Publications Ltd, 86 High Street, Lewes, East Sussex BN7 1XN

IMPORTANT TO REMEMBER

We do not accept online submissions. We receive many submissions each month and we Shoot with your smartphone and send in your pictures – you cannot therefore enter into any correspondence could be one of three lucky winners each month who wins a regarding your work. Samsung Class 10 EVO 16GB MicroSD card. For Smartshots If you have not heard from us within 10 weeks it is you can send in your images by email to anna.evans@ unlikely that we will be using your work on this occasion. thegmcgroup.com or via Twitter by tagging us @BWPMag If you would like your submission returned please and using the hashtag #smartshots. If you are successful send a stamped addressed envelope. we will request hi-res files. GMC Publications cannot accept liability for the loss or damage of any unsolicited material.

54-55_HOW_TO_179/MB.indd 54 10/06/2015 11:52 LAST FRAME JOIN OUR ONLINE COMMUNITY

Do you have a single FOLLOW US ON FACEBOOK image that you would like Keep up with the black & white world by ‘liking’ to see printed big and B+W at facebook.com/blackandwhitephotog hung on your wall? Send the file to us and you could FOLLOW US ON TWITTER win just that, provided by Stay in touch through Twitter at theprintspace and twitter.com.BWPMag delivered to your door. You can email the editor, Elizabeth Roberts, at [email protected]

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If you would like an EXHIBITION or EVENT included in Black+White Photography please email Anna Bonita Evans at PHOTO PROJECT [email protected] at least 10 weeks in advance. If you have a NEWS story that you think would interest readers please email Mark Bentley at [email protected].

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PORTFOLIO 55 LAST FRAME B+W PHOTO PROJECTS Have you been working on a photo project inspired by SMARTSHOTS Tim Daly’s monthly feature or have you created your own? Either way send it to us when it’s complete and you could find it published on the pages of B+W. Name

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54-55_HOW_TO_179/MB.indd 55 10/06/2015 11:52 INSPIRATION ALL ABOUT PRINTING

There’s nothing that beats the tactile quality of a photographic print but achieving the right mood and character for the image takes sensitivity All pictures © Eddie Ephraums and skill. Eddie Ephraums on creative artistry and how to achieve it.

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ast May I went to CANAL-SIDE BICYCLE, AMSTERDAM negatives have more ‘physical Photo London, the First light provides such wonderful opportunities. All three images here volume’. I get what he means, but international photo were taken in a 10-minute window and within a 10-metre radius of each it’s just as hard to explain this in fair, featuring many other. A contre-jour subject like this can take on a whole other mood if writing as it is to experience the of the world’s leading printed low key. The addition of a cool, as opposed to warm, sunlit tactile nature of a print on the galleries. It was a tone is intended to create a more dreamlike, other worldly feel. screen. It’s why I like to print and Lwonderful opportunity to see Fuji XE1 with 35mm f/1.4 lens, 1/4000sec, ISO 200 to view original prints: they speak photographs exhibited in the for and of themselves. flesh, in their printed form. The appreciate their full meaning. printing. At the fair, I noticed With a traditional wet process prints came in all shapes and For me, nothing beats the there was something about those there is a physical or chemical sizes and I was struck by how tactile, physical presence of a prints made from negatives, using limit to how far we can take it. much their size, ranging from beautifully crafted print. After darkroom, wet processes. I asked If we want to push things further diminutive to heroic, affected writing about shooting film myself what this difference was. than the process permits, we have their meaning – unlike seeing in the past five issues of B+W Talking with a fellow film-user to invest something else, typically images on a screen when there Photography, I want to take the and platinum printer friend, his of ourselves, in the process. Call is no guessing what size they next step here and talk about theory was that prints made from it artistry. With digital post- should be viewed, or whether processing methods it’s possible your screen matches the artist’s ‘Prints need to have a certain presence about to rely on software to push an calibrated screen. Photographs them. Th ey must captivate and engage the image or refine it that bit further, really do have to be viewed in and then some more, beyond their original, conceived form to viewer, and somehow continue to do so.’ what’s natural with a traditional 

56-58_EDDIE_EPHRAUMS_179 ER/MB.indd 56 17/06/2015 11:58 BIKE AGAINST TREE All three pictures were shot with the Fuji (50mm equivalent) prime lens wide open. Imagine them with the aperture stopped down. Here, all that was needed was some edge burning-in, and to retain that sense of early morning light bouncing back into the shadows. Higher contrast would kill the effect. Fuji XE1 with 35mm f/1.4 lens, 1/3200sec, ISO 200

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56-58_EDDIE_EPHRAUMS_179 ER/MB.indd 57 17/06/2015 11:58  process. And before we know it, this can create an overly ‘refined’, perfectly manufactured-looking, homogenous result.

hether we use analogue or digital processes, once the W process is mastered an element of it has to be unlearned. This is especially true if we want to make it our own and prevent it becoming stylised. Prints need to have a certain presence about them. They must captivate and engage the viewer, and somehow continue to do so. How can over-worked digital images do this if they leave nothing to the imagination or to the human hand of the artist? One of the most beguiling things about Photo London was the emotional effect different printing processes conveyed. I’ll let you be the judge of my images here, that are in part a nod to B&W printing processes over the ages: whether it’s the wonky wheel, Lartigue-inspired, 58 chlorobromide, warmtone silver B+W print effect, or the cool toned, Payne’s grey, dreamlike world of Sarah Moon, or the rich sepia- brown, salt type print of the old bike against the tree. In truth what really inspired the way I processed these images was how to emotionally convey the way I felt about each subject. I knew I liked cycling, but I didn’t realise I liked it so much. It’s amazing what photography – and especially printing – gets me to see.

WONKY WHEEL First I photographed the whole bike with the zig-zag shadow running up the steps, but it was too literal and lacked humour. Going in closer, printing the shadows black and keeping the midtones quite bright, yet flat, has emphasised the form of the idea behind this picture. In contrast, imagine it printed low-key, like the canal-side image. Fuji XE1 with 35mm f/1.4 lens, 1/4000sec, ISO 200

Find out more about Eddie: envisagebooks.co.uk @envisagebooks

56-58_EDDIE_EPHRAUMS_179 ER/MB.indd 58 17/06/2015 11:58 Nothing matches the Creative space creative buzz and ... collective experience of a small group OSW residential workshop Nov: 16-22, 2015 ABOUT A PLACE | ANDREW NADOLSKI & EDDIE EPHRAUMS Our unique range of outcome- based workshops cover the Look beyond the single image. Learn how to create meaningful bodies of work with two of the practical, creative and aesthetic UKs most experienced and passionate photobook maker-designers. Shoot, edit, sequence and considerations of being a photographer. You will be skilfully lay out your images in a beautifully printed concertina-foldout book. inspired, motivated, encouraged and pleasantly challenged.

Nov: 23-29, 2015 The Open Studio Photo Workshop Centre (pictured PHOTOBOOK MAKING | MALCOLM RAGGETT & EDDIE EPHRAUMS above) overlooks Loch Ewe, Shoot, edit, design, print and bind a unique hardback book, and develop a critical eye for what in NW Scotland, looking towards the Torridon mountains and the makes a great photobook. You’ll have ample opportunity to make several books, to develop Outer Hebrides. With its own your confidence and practise all the necessary skills. sea-view cafe, lecture room and fully equipped imaging studio, it makes the perfect photo Mar: 8-13, 2016 location workshop centre. WRITING FOR PHOTOGRAPHERS | ELIZABETH ROBERTS & EDDIE EPHRAUMS

Mar: 14-20, 2016 PHOTO NOTEBOOK WORKSHOP | PAUL WAKEFIELD & EDDIE EPHRAUMS

To find out more about our approach to photography, visit: www.openstudioworkshops.com

059_BW_179.indd 59 22/06/2015 17:18 TECHNIQUE

All images © Lee Frost

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60-65_LEE_FROST_179 ER/MB.indd 60 10/06/2015 11:56 MAKE THE MOST OF LIGHT It’s the primary ingredient in every picture we take – without it there would be no photography! Lee Frost looks at light, the role it plays in the monochrome image, and how to use it to best effect.

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ST LEONARDS PIER, SUSSEX When the weather’s grey and drab it’s tempting to pack your camera away and head home, but in such conditions I often dig out my 10-stop ND filter as the soft light is ideal for creating long exposure fine art images. Canon EOS 5D MKIII with 17-40mm lens, 200 seconds at f/22, ISO 100

60-65_LEE_FROST_179 ER/MB.indd 61 10/06/2015 11:57 films I use just the one digital SLR, shoot everything in colour in Raw format then convert selected images to black & white later. It’s a win-win situation! You may see this as a strange way to work, but for me it’s perfectly natural because I’m not dedicated to black & white or colour and instead switch between whichever medium I feel will give me the best image in any given situation, based on the subject and what I’m trying to portray in my photographs of it – which is usually dictated by the weather and, of course, the light.

n black & white, what constitutes ‘good light’ is based on different criteria to colour because we’re no longer trying to depict I realism. As soon as colour is removed from an image, that image ceases to be real – one of the reasons I love black & white photography in the first place is it offers endless freedom for creative interpretation. Light therefore plays a different role. Instead of adding a sense of realism, the job of light NEAR GEYSIR, ICELAND is to reveal shape, form, detail and texture. The graphic simplicity of this winter landscape has been aided by the fact that the weather was Dull, overcast weather is generally grey and overcast. The lack of detail in the sky works well, echoing the starkness of the snow undesirable for colour photography, but for and providing an uncluttered background for the trees. black & white it’s highly versatile because Canon EOS 5D MKIII with 24-70mm lens, 1/250sec at f/8, ISO 800 the low contrast and soft light produces rich, detailed images with a wide tonal range. ’ve always been an impatient – which means colour photographs taken For long exposure (10-stop ND) coastal photographer. I hate returning home in such conditions also look flat and drab. shots I love overcast weather as it allows me 62  feeling that an early start or a late finish, However, the low contrast and soft light to create simple, evocative images where + B W I a long hike or a soaking in the rain was a is actually ideal for black & white. Which the sky and sea act as a smooth, plain waste of time. I have to be rewarded for my is why I carried that second camera body background to any solid elements efforts. Which means come what may, I like loaded with Ilford HP5 or Fuji Neopan 1600. I position against them. Soft light is also to get at least a few shots in the bag. I still work in the same way today, for ideal for portraits as you can record loads In the good old days of film, I used to carry exactly the same reasons. The main of detail in the skin, and for detail shots of two 35mm camera bodies when I went out difference now, of course, is that instead of any kind such as patterns in rock. Woodland shooting. One was loaded with colour film carrying two bodies loaded with different photographs also benefit from dull weather and the other with black & white. If the weather played ball and produced nice light, I’d generally reach for the colour camera. But if I found myself dealing with a dull, drab day, or the sun dipped behind cloud and took the edge off the light, I’d take black & white photographs instead. Consequently, I rarely took colour photographs in overcast weather and I hardly ever took black & white ones in sunshine. I worked in this way because back then, to me, the quality of light wasn’t as important for black & white photography as it was for colour. The colours we see are dictated by the light falling on them – its harshness and intensity and also its colour temperature. So at sunrise and sunset, when the light’s very warm because its colour temperature’s low, the landscape is bathed in a beautiful golden glow and it’s natural to want to INLE LAKE, MYANMAR capture the scene in a realistic way – by Bright, hazy weather creates very high contrast lighting and a limited tonal range. It’s pretty shooting in colour. useless light for colour photography, but lends a simplicity and starkness to black & white On a damp overcast day it’s a different that works well on the right subject. story. Colours tend to look flat and drab Canon EOS 5D MKII with 70-200mm lens, 1/160sec at f/8, ISO 100

60-65_LEE_FROST_179 ER/MB.indd 62 10/06/2015 11:57 DALBEG BEACH, ISLE OF LEWIS, SCOTLAND Stormy weather creates fantastic light for landscape photography – the combination of TRINIDAD, CUBA a dark, dramatic sky contrasted with a sunlit This young girl was sitting in the window of her home and her face was flooded with reflected foreground is hard to beat. daylight. The softness of the light was perfect for her flawless complexion while the fall-off in Canon EOS 5D MKII with 17-40mm lens, 0.6ND hard grad, illumination inside the room created a naturally dark background. 1/250sec at f/16, ISO 200 Canon EOS 5D MKIII with 70-200mm lens, 1/320sec at f/4, ISO 400

as you don’t have to deal with high contrast fit. Just as we used to dodge and burn peaking of which, stormy weather which blocks up shadows and blows and use different contrast grades in the is hard to beat if you want to create highlights – try shooting in woods when the darkroom to achieve the desired look, so dramatic images. A dark, menacing 63 + sun’s shining and you’ll see what I mean. you can do the same using your computer S sky paired with a sunlit foreground B W Remember, also, that the image your and applications such as Photoshop, creates an unbeatable combination. camera’s sensor records is only the Lightroom and the very popular Silver Efex Landscapes shot in stormy light don’t starting point. A Raw file is really a digital Pro. In other words, photographs taken in need colour to be successful. In fact by negative that contains the information you dull weather don’t have to look like they converting to mono you can boost the need but then leaves you to interpret and were. They don’t have to be flat and dull. drama even more without the final image manipulate that information as you see They can be contrasty and full of drama. looking unnatural. It’s all about confidence – see how far you can darken an image before it looks wrong, or increase contrast before it goes totally over the top. You’ll be surprised just how far you can go. The other type of light that colour landscape photographers loathe is the harsh, contrasty stuff you get in sunny weather, especially around the middle of the day when the sun’s overhead. It’s even worse in summer because the sun reaches its zenith by mid morning so the light’s very harsh for most of the day – and haze often makes an appearance, just to make life even more difficult. But I don’t mind this kind of light at all. In fact I like it – a lot. Why? Because when I’m faced by such conditions, all I do is pop my Canon EOS 5D MKIII back into my backpack and bring out my infrared modified Canon EOS 5D MKII. Strong, middle of the day sunlight is ideal for NEAR GRUNDAFJORDUR, ICELAND infrared photography. Foliage comes out The light on a bright overcast day is very revealing and allows you to capture a wide range of ghostly white. Blue sky (if it is blue) goes details and tones. It also produces Raw files that give you lots of scope for creative interpretation. black. White clouds turn into balls of cotton Canon EOS 5D MKIII with 70-300mm lens, 1/320sec at f/5.6, ISO 800 wool. Deep shadows and shimmering 

60-65_LEE_FROST_179 ER/MB.indd 63 10/06/2015 11:57 DALBEG BEACH, ISLE OF LEWIS, SCOTLAND The lighting direction wasn’t ideal for this shot as the stone walls were mostly in shadow, MARRAKECH, MOROCCO but use of a strong ND grad on the sky, careful exposure and judicious post-processing Strong sunlight casts shadows that can create allowed me to capture the mood of the scene. interesting patterns and become a subject in Canon EOS 5D MKII with 17-40mm lens, 1/250sec at f/9, ISO 200 their own right. I spotted this photo opportunity when I wandered into a café to escape the heat. architecture – and a single building can be dramatic way to light a subject or scene Canon EOS 5D MKIII with 24-70mm lens, the source of many different images if you because shadows fall away from you so 1/320sec at f/8, ISO 200 explore it from different angles. depth and form is lacking. Of course, you may not want or need depth – I often  highlights aren’t a problem because they ot only must you consider the keep the sun to my back when shooting add to the impact of infrared images. overall quality of the light when abstracts, patterns and details. Frontal 64 I also enjoy shooting modern architecture shooting, but also the direction lighting can also work well for portraits if + B W and abstracts in strong sunlight as the high N it’s coming from in relation to you’re shooting early or late in the day and contrast can be a benefit, adding a graphic the scene and your camera, as this has the sun’s low in the sky as your subject’s element to mono compositions. Deep a profound effect on how much or little face will be bathed in soft light. shadows help to separate features and add texture and modelling is revealed, and A more effective option is to keep the sun a bold, stark look. A telezoom is handy for how high the contrast is. on one side of the camera so light strikes isolating details – I use my 70-300mm Frontal lighting, created when the sun the scene at a right angle. This is particularly Canon zoom a lot when shooting is behind the camera, is perhaps the least effective when the sun is close to the

SHADY DEALINGS If the light’s harsh and you’re struggling to get shots that you’re pleased with, all you need to do is step into the shade where the light is reflected and much softer. Shade light is particularly good for portraits as it allows you to capture so much detail in your subject’s face – I shoot most of my travel portraits in the shade as it beats direct sunlight hands down. Shade light is also very effective for details and patterns. If there’s no shade naturally when you’re shooting details, you may be able to create some by casting a shadow of yourself over the area you want to photograph. VINALES, CUBA A reflector held between subject Infrared photography is well suited to strong light so I tend to carry an IR converted digital SLR and sun will also soften the light when I’m travelling, and use it in the middle of the day when the light quality’s not so great. and produce much better results. Canon EOS 5D IR, with 17-40mm lens, 1/160sec at f/11, ISO 100

60-65_LEE_FROST_179 ER/MB.indd 64 10/06/2015 11:57 WEATHER TO WATCH I’m a bit of an obsessive weather watcher; not so much because I’m a fair weather photographer, but more because I like to have an idea of what the weather’s likely to be doing, for better or for worse, when I head out. Armed with that information I can then formulate a plan of action, which will include the type of locations I’m likely to visit and the techniques I may employ. If it’s going to be bright and sunny, for example, I may decide to shoot infrared images, whereas a dull, overcast day or a stormy, windy day is well suited to long exposure images made with the aid of a 10-stop ND filter. NEAR KENGTUNG, MYANMAR The three main weather When I’m shooting portraits on location I often pose my subjects in the shade as the light’s websites I use are: metoffice.gov. much more characterful and easier to control. In this case the two ladies were standing uk, metcheck.com, xcweather. in the entrance to a tribal house. co.uk. I wouldn’t say any one is Canon EOS 5D MKIII with 50mm lens, 1/250sec at f/1.8, ISO 100 better than the other and often mainly associated with increasing colour exposure wrong is increased due to the I consult all three just to see if saturation and deepening blue sky – but excessive brightness of the sun and sky. they concur. Ultimately, if you darker blue also means darker grey when If you rely on your camera’s metering want to know what the weather’s you convert the image, which can be system to determine exposure, the reading really doing there’s only one thing beneficial, and the way a polariser boosts obtained will be influenced by the brighter for it – to get out there. colours is by reducing glare, which also parts of the scene and any solid features improves clarity and contrast in black & will probably record in silhouette because 65 + horizon during the morning and evening as white as well as colour. they’re in shadow – statues, trees, buildings B W shadows rake across the scene, revealing Another option is to shoot into the light and so on. This effect can work well, texture and adding a strong sense of depth or contre-jour. When the sun is low in the especially at sunrise and sunset, but if you to your images. Polarising filters also give sky this approach can create stunning set out to produce silhouettes, be sure to the strongest effect on side-lit scenes. results. At the same time, it’s one of the keep the composition simple, otherwise You may not think about using a trickiest lighting techniques as contrast is you’ll end up with a confusing muddle of polariser for black & white, because it’s maximised and the chance of getting the overlapping black shapes. To create a backlit effect when shooting into the sun, all you have to do is meter for the shadows so the highlights overexpose – a great technique to try in woodland with sunlight bursting through the trees, or in misty weather. The easiest way to do this is by gradually increasing the exposure in 1/3 stop increments – using your camera’s exposure compensation facility – until the image looks right. This may require +2 stops or more of exposure compensation. The more you overexpose, the more high key the final image will look. Again, experiment and see how far you can push this technique. There’s an increased risk of flare when shooting into the light so you need to keep your lens elements and filters clean. That said, on the right subject flare can work well anyway, so don’t worry if you see it streaking across your shots. Shadows also rush towards the camera when you LONDON, ENGLAND shoot into the light and this adds a sense of Bright sunlight is harsh and intense. This makes it generally unsuitable for landscapes and tension and urgency that can work brilliantly, portraiture, but ideal for bold subjects such as architecture and abstracts. as well as providing an effective lead in as Canon EOS 5D MKIII with 17-40mm lens, polariser, 1/125sec at f/11, ISO 200 the shadows form converging lines.

60-65_LEE_FROST_179 ER/MB.indd 65 10/06/2015 11:57 TECHNIQUE PHOTO PROJECT 24: All pictures © Tim Daly except where stated CITY OF SHADOWS If you have already noticed how atmospheric light can change the look of your favourite places, then why not turn this into a project? Tim Daly shows you how to capture those fleeting moments. © Gabriele Croppi SECTION 1: THEME IDEAS Choose one of the following themes that link into your local area and be mindful of the best time of day to shoot. Remember, it’s not important how many images you create; what’s important is to capture one fleeting atmospheric moment.

abriele Croppi’s astounding 66 book New York: Metaphysics of + B W the Urban Landscape captures those rare moments when light, the city and the passage through it are perfectly frozen in time. Croppi also finds these moments next to some of the greatest cultural landmarks, such as this example made in Pisa. Photography, above all else, is about light and time Gand our project this month brings together those two protagonists. Dusk, dawn or the magic light of early evening have fascinated photographers over the years, but what about those unusual events when light and man-made structures conspire to construct a visual spectacle? For this project we’re going to explore the project of light in the city and the idea that we can capture those rare fleeting moments in a single shot.

INSPIRATIONAL QUOTE ‘A photographer must be prepared to catch 1 THE ARCHITECTURE OF COMMERCE and hold on to those elements which give Many unspectacular industrial and commercial buildings are distinction to the subject or lend it atmosphere. transformed by descriptive light and can be easily re-imagined in a project. Look beyond famous examples of architectural They are often momentary, chance-sent things: styles and see if you can find other gems among the commercial a gleam of light on water, a trail of smoke from districts of your home town. Aim to get a human figure in your shot, as this example shows, a passing train, a cat crossing a threshold, so we have a better idea of the scale. Look at photographers the shadows cast by a setting sun.’ such as EO Hoppé, who left us with some spectacular images of Battersea Power Station. Bill Brandt’s images of gloomy mills Bill Brandt and smoky factories are worth a look too.

66-69_TIM_DALY_179 ER/MB.indd 66 10/06/2015 11:58 2 ON A DOMESTIC SCALE 2 If you are drawn to smaller, quieter elements then why not try to capture atmospheric light in a domestic setting? These images could be observed or set-up with a few carefully chosen props and shot over a period of time. This example, for instance, is a window that I’ve been shooting for over ten years – each time it’s different and no two images are the same. For inspiration, look at the window sill pictures of Josef Sudek and some of the domestic themed images by Abelardo Morell.

3 ALONG THE NARROW STREETS Close-knit alleyways found in the older commercial centres of most towns and cities create their own unique kind of light show. Make an effort to scope out your territory before shooting and make some 67 + notes on the times of day when the light is at its most descriptive. B W This example, shot in a narrow alleyway in Florence, captured a slit of light that disappeared within 20 minutes, so you have to be in the right place at the right time. Henri Cartier-Bresson and Eugene Atget are two photographers worth looking at to see how they deal with the geometry of light within confined spaces.

4 OPEN TO THE ELEMENTS 5 THE ABSTRACT WORLD If you are drawn to full-on wreckage and decay then decide to Even in the most ruthlessly designed metropolis you’ll always shoot your chosen quarry when the light is as spectacular as this see some evidence of the natural world. Think of this project as example shows. Look for visual rhythms and see if the light creates a visual treasure hunt, prompting you to find the most exquisite dynamic shapes that aren’t ordinarily present. abstract arrangements in the most unlikely of locations, as this For inspiration, look at the landscapes of Minor White, especially example shows. Look at photographers such as Brett Weston those where he has gathered in the giant shadows of nearby trees and Aaron Siskind and see if you can collect up as many and pylons. fragments of the city as you can find.

66-69_TIM_DALY_179 ER/MB.indd 67 10/06/2015 11:58 SECTION 2: CHOOSING A TONAL STYLE Fortunately, black & white prints are made in lots of different tonal and contrast styles – but which one is for you?

1 SOFT TONES AND MANY GREYS 68 This type of print is descended from chemical photography where darkroom alchemists devised wonderful potions and + B W processes for eking out tone from all areas of the print. Producing a visually stunning result, these kinds of prints made a virtue out of tone control using the famous Zone System alongside silver-rich paper and two stage print developers. Nowadays you can mimic these kinds of results by playing with Lightroom’s B&W sliders – especially the Yellow, as shown here. By reducing the Yellow in your image you’ll start to see a creamy, light grey appearing which can replace harsher whites and give the print a richer register.

2 BRINGING OUT TEXTURE 3 BALANCING ORIGINAL Texture can be a spectacular element of your print, as shown here, COLOURS IN MONOCHROME if you carefully edit it into prominence. Shooting at a particular Lightroom has a built-in recipe for making the initial translation time of day will really help to show the effect of raking light on a from colour to monochrome (Lightroom>Preferences>Presets tab> surface, but you can also enhance this further by using Lightroom’s Apply auto mix when first converting black and white), so you may miraculous Clarity tool, found in the Presence panel. want to switch this off if you’d rather be in total control. Increasing Clarity increases contrast and sharpness on those Aim to make each important shape in your image stand out from areas of your image that are textured, leaving flat colour areas each other by moving the B&W sliders until they darken or lighten. alone. You can also enhance texture further by using the Detail Keep an eye out for noise, especially if you’ve made extreme tools, raising the texture by increasing the Amount slider from 25-75. adjustments with Blue.

66-69_TIM_DALY_179 ER/MB.indd 68 10/06/2015 11:58 SECTION 3: CONTROLLING HIGH CONTRAST IN LIGHTROOM Shooting dramatic black & white can be a rewarding business, as long as you keep an eye on the two polar extremes of highlight and shadow.

1 WORKING WITH SHADOWS Empty black shadows are the enemy of all print photographers, as we’d rather see detail in every area of the print. When shooting in lighting extremes, you’ll be drawn to rich black shadows as these define the full dynamic range of tones in your image – but 2 WORKING WITH HIGHLIGHTS you need to be wary of their extent. Extremes of light can also cause highlight burn out, especially if Lightroom’s excellent Shadow Clipping tool is set at the top left you are working on Jpeg rather than Raw files. If in doubt, use hand corner of the Histogram and when editing in the Develop Lightroom’s Highlight Clipping tool, which is found on the top module this needs to switched on. Do this by clicking the tiny right hand corner of the Histogram dialog box. triangle, as shown, until you see a thin white line around its box. Click the tiny triangle icon until it has a thin white line around it, Once switched on, the Shadow Clipping tool marks empty then you should see some areas of your image rendered with a black areas of your image with a bright blue colour. All areas red marker colour. If this is the case, all areas lying under the red under this blue marker colour will print solid black with no visible patches will print pure white without a visible dot of detail – which detail. If no blue appears then your blacks aren’t hitting their is usually a very distracting thing in a print. maximum value. If, however, you see lots of blue patches then It’s essential to have a little bit of pure white in a print (unless 69 + you’ll need to decrease the Black slider to minimise them, but still it’s deliberately low-key or flat in contrast), so if this is the case B W retain some element of pure black. increase the Highlights slider until you start to see some red patches appear, as shown.

3 USING PRINT PROFILES PROJECT OUTCOME All black & white photographs should be printed with profiles as Even the most unpromising locations can turn interesting the print profile does an excellent job of re-mapping the tones when the conditions are favourable, as this abandoned of your image into the available dynamic range of your chosen trailer in a car park shows. paper. Remember, when printing on soft, cotton art papers you Aim for a single atmospheric shot as your end point. won’t get the same full-on black as you’d get on glossy media. In Lightroom’s Develop module choose the Soft Proofing option, as shown, then select your paper profile from the Profile INSPIRATIONAL ARTISTS pop-up in the Soft Proofing dialog, installing this beforehand GABRIELE CROPPI if you haven’t done so already. Once selected, the profile will Gabriele’s astounding book New York: Metaphysics of the change the way your image appears on screen and do a better Urban Landscape is available for around £30. There’s also job of mimicking how it will appear on your chosen paper. an intriguing film of his project online at the address below: vimeo.com/106164633 timdaly.com

66-69_TIM_DALY_179 ER/MB.indd 69 10/06/2015 11:58 TESTS AND PRODUCTS

All images © Andy Luck

amsung’s NX1 is a new mirrorless camera that has DSLR pretensions S and a DSLR presence to go with it. In a similar vein to Panasonic’s GH4, the Samsung NX1 is a big camera for a mirrorless model, but with 28.2Mp it has nearly double the resolution of the GH4 and more pixels then any other APSC DSLR. The extremely high quality magnesium alloy shelled, weather sealed body also puts the NX1 squarely in the territory £1,299 (body only) of APSC DSLR cameras like the new Canon EOS 7D MkII and SAMSUNG NX1 Nikon D7200. With its strong specifications and high quality body, Samsung’s new The NX1 weighs less than mirrorless camera rivals full-frame DSLRs. Andy Luck puts it to the test. 70 competing DSLRs, but still + B W feels chunky at around 550g. (at around £940 and £1,200 plate adds to the impression very natural looking colours It feels even meatier once you respectively) but bring superior that this camera has more in and does not suffer from add one of Samsung’s APSC- optical performance, high build common with professional reflection outdoors as so sized lenses. For example, the quality and weather resistance DSLR cameras. However, many monitors do. It also 16-50mm f/2-2.8 S ED OIS to what is currently a rather the positioning of the shutter tilts, which is a very welcome standard zoom weighs 655g limited NX fit lens line-up. speed dial, set back behind the addition. The electronic and the 50-150mm S lens In the hand, the NX1 with shutter release button, is a little viewfinder, with 2,360,000 I also tried with the camera lens attached is on the heavy odd and feels a bit awkward. dots and 100% coverage, is weighs a hefty 915g. size but its fit and finish feel of The 3in Super AMOLED also among the best out there, Both of these S brand a very high order. The small screen provides a beautifully providing a big, bright picture lenses are also very expensive LCD status screen on the top clear and smooth display with with a very low lag time.

THAMES BARRIER RAVENSBOURNE COLLEGE ON THE GREENWICH PENINSULA Metering was very good in challenging conditions and the dynamic The detail recorded by the NX1’s 28 million pixel sensor is right up range of the NX1’s files allowed me to emphasise these clouds for there with full-frame cameras. creative effect in post-production. Samsung NX1 with NX 16-50mm f/2-2.8 S OIS lens, 1/400sec at f/6.3, ISO 100 Samsung NX1 with NX 16-50mm f/2-2.8 S OIS lens, 1/640sec at f/5.6, ISO 100

70-71_Samsung_NX1_179 ER/MB.indd 70 17/06/2015 12:02 ‘In performance terms, the new Samsung NX1 could be the photographic surprise of the year.’

LIKES by quite some margin! TECHNICAL SPECIFICATIONS The NX AF system III in Lovely OLED screen and EVF Camera type Mirrorless, interchangeable lens this camera is also perfectly Blistering 15fps Sensor 28.2 megapixel APSC BSI CMOS capable of keeping up. Claimed Very good IQ to be the world’s fastest, it Resolution 6480 x 4320 Strong build utilises 209 contrast detect and File formats Raw, Jpeg, MP4 Fast AF 205 cross-type phase detection Shutter speeds 30 to 1/8000sec points across an impressive AF 205 point hybrid system DISLIKES spread encompassing 90% Max burst rate 15 frames per second Current lack of any super of the frame area. I found it ISO 100 to 25600 telephoto lenses tracked fast moving subjects LCD 3in with 1,036,0000 dots Wall charger should be supplied quite effectively, giving very little Viewfinder EVF OLED 100% coverage USB battery charging only away to top full-frame sports- Storage SD, SDHC, SDXC, UHS-I, USH-II Limited battery life orientated cameras. Connections Wi-Fi, NFC, Bluetoooth, USB 3.0, Micro USB Then there is the sensor Dimensions (WxHxD) 138.5 x 102.3 x 65.8mm 71 + n performance terms, the itself, which is a 28.2Mp, Weight 550g B W new Samsung NX1 could be APSC BSI (Back Side the photographic surprise Illuminated), CMOS sensor. in lower noise and better low to the last bar after 276 shots, I of the year, with a blistering Not only is this the highest pixel light performance. so I am not convinced battery 15 frames per second burst count in its class, but the BSI I was impressed with the level performance is up to DSLR shooting with full autofocus and system is a first for an APSC of detail and the colours and standards. The optional 4K video, all quite impressive for camera and has several benefits tones from this camera, which battery grip for the BP1900 less than £1,300. are close to full-frame standards. battery would probably be a When the camera is in Battery life is rated at 500 wise investment if you were full speed mode it sounds (CIPA), which is somewhat planning to make much use of fantastic, with an addictive, limited compared to the 1,110 the NX1’s high speed shooting well damped and sewing shots you would get from the capabilities. This would, of machine-like shutter sound that Nikon D7200. My experience course, also add further weight rattles off the still frames at an bore this out as I was down and bulk to the camera. unprecedented rate. Samsung’s smartphone VERDICT experience has resulted in the All the speed in the world would mean little if the image NX1’s powerful Quad-core quality wasn’t something pretty special but with the NX1’s DRIMe processor that does an 28.2Mp back side illuminated sensor comes some of the amazing job moving the NX1’s best IQ currently achievable with an APSC camera. large Raw files (along with Some will still prefer an optical viewfinder, but the simultaneously recorded Jpegs) Samsung NX1 is the current peak of electronic viewfinder, with such alacrity. mirrorless design. It leaves everything else standing in The buffer of around 20 shots terms of speed and, for the money, sets the bar very high or so in Jpeg+Raw is reached PETER BURKE’S ASSEMBLY, for others to try and reach! in short order, however, and WOOLWICH RIVERSIDE requires a fast card to clear The NX1 with the standard NX RATINGS quickly. Nevertheless, this is still 16-50 lens yields very crisp, HANDLING 94% impressive stuff, outgunning high-resolution results for both PERFORMANCE 98% the frame rates of even the stills and video. SPECIFICATION 95% 96% top sports-orientated DSLRs Samsung NX1 with NX 16-50mm f/2-2.8 VALUE FOR MONEY 97% OVERALL – including full-frame cameras – S OIS lens, 1/100sec at f/8, ISO 100

70-71_Samsung_NX1_179 ER/MB.indd 71 17/06/2015 12:02 TECHNIQUE THE SMART GUIDE TO PHOTOGRAPHY When it comes to modern technology it’s the younger generation, born and bred to it, that have the edge. Tim Clinch introduces star guest, 11-year-old timclinchphotography.com Martha Shaylor who’s been teaching him a thing or two…

’m old enough to remember the days before the now ubiquitous remote control for the TV. In those days there was much consulting of the Radio Times 72 before I, as the youngster, was asked to + B W get up from my chair, walk across the Iroom and click the big clunky switch round to see what was ‘on the other side’. When the first remote control arrived in our household it was solely for use by my father. The man of the house. Even in those days I was aware that my 2 dad didn’t really know what he was doing with it, but it was considered ‘man’s work’ long lunch and discussing what we could I was instructed with alarming simplicity to use it and for me, a mere child, it was and couldn’t do with it, a small voice on about some app I’d been trying out and firmly out of bounds. the other side of the table piped up, ‘It’s finding a bit fiddly, and then, with what Well…based on the principle that things easy…you just do this, then this’. Then, was, I have to admit, a slightly exasperated have changed, I’ve just discovered the sigh, I was asked, ‘Do you have Retrica on best bit of kit that anyone struggling with your phone? It’s what I use.’ mobile photography could get to ease their Yes…Martha, aged 11, was writing passage into this exciting new world – a my column for me! The ease with which child. Preferably one with a mobile phone. Martha used the apps, and the instinctive Andrew Shaylor (my great friend and oft knowledge gained, I guess by being part of mentioned splendid photographer – see a generation who had grown up with this shaylorphoto.com), his wife and 11-year-old stuff, was a revelation! daughter, Martha, have just spent a few Martha is a natural when it comes to days with us in Bulgaria. Young Martha, like taking pictures. Is part of it the fact that most youngsters, loves her mobile phone her dad is a great photographer? I guess and is an avid (and I hasten to add, carefully so, but it’s also the fact that the young parentally monitored) user of Instagram and generation have always had this technology other forms of social media. at their fingertips. They’ve all grown up Instagram, as I have banged on about at taking pictures. length in recent columns, has become a Will she become a future star of home for some really great work and many photography? Who knows. Will her interest inspiring photographers are now using it. in it continue as she grows older? Again, only I urge you to try it. But as Andrew and I time will tell. But would she be able to help were sitting discussing its merits over a 3 you find your way round a new app? Explain

72-73_SMART_GUIDE_179 ER/MB.indd 72 17/06/2015 12:06 All images © Tim Clinch how things on your new phone work? Or tell you a neat, simple way to convert your pictures to B&W with the minimum of fuss? Yes, she, and I suspect a huge percentage of her contemporaries, would. So, don’t be afraid to use the knowledge that the younger generation possess. We can all learn from them, and may I present to you the first guest contributor to this column. Thanks Martha! APP NEWS Well, the apps that Martha recommended to me were Retrica and Aviary. They are both neat, simple to use and very intuitive processing apps. Both are available for IOS and Android, both are free and both, I suspect, provide a lot of young people with their first taste of how to have fun with their photography. It was interesting that Martha seemed very keen to move on a bit and to enjoy the brief session we had together when I showed her what my processing app of choice, Snapseed, could do.

ONE NOT RECOMMENDED There is a new app called Fling which enables you to take a photo and send it to up to 100 people at random. It also ‘enables’ you to receive random pictures from random people at all times of the 4 day and night…at random. The internet 73 + is a wonderful thing and photography is B W great – but do I really have to spell out to you what a terrible idea this is? AND SADLY, SOME BAD NEWS… One of my favourite and most used apps is no more – the wonderful Alien Skin company’s Alt Photo app. A statement on their website says: ‘Alt Photo has been discontinued. We are focusing on desktop photography products and don’t have the resources to keep Alt Photo updated for the latest versions of IOS’. At the moment it’s still on my phone and still working, so my advice is if you still have it don’t delete it as you won’t get it back! THE PICTURES 1 Me being shown the ropes by Martha. 2 In my garden, by Martha. Shot on the native camera in her Samsung phone and converted to B&W using Retrica. 3 The church in my village. Again by Martha using the same app. 4 The local priest, by me. Both of my pictures shot using Hipstamatic and the Loftus lens with DC film and converted to B&W using Retrica (because I was told to!) 5 A doorbell in my village, by me. 5

72-73_SMART_GUIDE_179 ER/MB.indd 73 10/06/2015 12:00 TESTS AND PRODUCTS CHECKOUT If you want to brush up your photography skills or learn the basics then a course could be just what you need. Daniel Calder goes back to school to see what six different courses can offer. LONDON SCHOOL OF PHOTOGRAPHY PHOTOGRAPHY INSTITUTE

LEARN IN LONDON TRAIN TO BECOME A PRO

74 he London School of and Career Coaching. These he Professional modules then shift to a more + B W Photography (LSP) runs can be taken on a flexible, Photography Course professional slant, looking a range of workshops part-time or full-time basis. The from the Photography at Equipment and Software, T and lessons from its full-time course is extremely T Institute is an online Retouching, Resolution and premises in Camden. Each intensive, allowing you to learn course comprising 12 modules Printing, and the Studio. The workshop can be booked skills and build a portfolio in a and assignments. Each module last two modules reveal How separately, or the majority short space of time. To achieve is downloaded like an ebook to Construct a Professional can be undertaken as part of this, you will need to be at the and runs to around 60 pages of Portfolio and How to Get Work the Professional Photography LSP for four days a week (with detailed information and images. and Keep it. Course. This course is aimed Wednesdays and weekends The practical assignments The Photography Institute has at novices and leans towards off), 10.30am-4.30pm for five are uploaded for marking and an impressive roster of tutors, commercial photography. weeks, and 6.30pm-9pm for evaluation by your tutor. many of whom shoot at the top The seven modules are the last two weeks. The part- The course has been written end of the market, so you should Foundations, Photojournalism time course takes place every by George Seper, a freelance receive worthwhile feedback. and Street, Portrait, Studio Wednesday 10.30am-4.30pm photographer who has been You can also join the company’s Lighting, Food and Product, over six months. The flexible shooting fashion, food and Facebook group, which boasts Lightroom Essential Training option allows you to complete interiors for major publications more than 10,000 students. the course at your own speed, for more than 30 years. His taking between two and six aim is to help you become a months. The tutors are young working photographer. The first Each module and international, and the six modules cover the basics, of the senior trainers have plenty of as well as the finer points, of Photography professional experience. On using a camera. The How To Institute completing the course you Take Better Photos module course runs The LSP conducts a wide range will receive a certificate and allows the author to introduce to around 60 of workshops from its premises be eligible to take part in the tips and tricks that are personal pages of text in Camden, London. annual LSP exhibition. and unique to the course. The and images.

TECH SPECS TECH SPECS Course duration 7 weeks or 6 months Course duration 24 weeks to 1 year Qualification Certificate of Accomplishment Qualification N/A Course price £3,495 Course price £599 Contact lsptraining.co.uk Contact thephotographyinstitute.co.uk

74-76_CHECKOUT_179 ER/MB.indd 74 10/06/2015 12:01 DIGITAL MASTERCLASS INTERACTIVE DESIGN INSTITUTE

OCN ACCREDITED DEGREE STANDARD

igital Masterclass to work through, starting with ost of the certificates you should have done by each (DMC) offers a wide the fundamentals of digital and diplomas week in the semester. The range of online photography. Image editing earned through course stresses competent D courses to suit follows, then five different styles M photography practice in analogue and digital different requirements and of photography are looked courses count for little in the technologies, critical thinking abilities. Students can choose at in detail: landscape, black wider world, but there’s no and a working knowledge of between a full-scale diploma & white, macro, portrait and arguing with the prestige of the history and cultural context course or a modular pick-and- documentary. For the final a BA Honours degree. The of photography. It covers three choose experience. unit you will need to create a Interactive Design Institute (IDI) levels, moving from a core The Pro Photography portfolio of work to show future provides an online photography understanding of these aspects Diploma (PPD) is the most clients. On completion of the course that, on successful to a professional standard 75 + comprehensive course, covering course you will receive a Laser completion, earns a degree from portfolio of personal work and B W the basics of photography Learning Certificate unless you the University of Hertfordshire. dissertation or practice report. through to professional have paid the £80 supplement Instead of real-world lectures Part-time study is the most competence. It takes at least and completed extra tasks for and tutorials, the wide variety of popular option, requiring a 500 hours to complete (achieved the Open College Network teaching materials are accessed minimum of 15 hours a week at your own pace) and requires (OCN) accredited certificate. through your own online studio for completion of the degree in you to complete more than 30 Founders Paul Andrew and in the secure IDI-Study website. four years. Alternatively, full-time submissions and create eight Brian Beecroft have more than From here you also upload study can be completed in 2 portfolios, from which you will 40 years of teaching experience work for feedback from your years 8 months, but you will receive in-depth feedback from between them and bring great tutor and fellow students as need to dedicate 30 hours a the tutors. There are eight units knowledge and passion to DMC. well as keeping track of what week to the task.

Digital Masterclass offers an array of online courses, Teaching materials, course schedule and a forum are all accessed location workshops and one-to-one training. through the secure IDI-Study website.

TECH SPECS TECH SPECS Course duration Up to 2 years Course duration 2 to 4 years Qualification Laser Learning Certificate or OCN diploma Qualification BA Honours Course price £599 (PPD) Course price £12,750 Contact digitalmasterclass.co.uk / 01303 230958 Contact idesigni.co.uk / 0800 917 1118

74-76_CHECKOUT_179 ER/MB.indd 75 10/06/2015 12:01 INSTITUTE OF PHOTOGRAPHY IPHOTOGRAPHY COURSE

GOOD VALUE INTERACTIVE TRAINING

he Diploma in cost an extra £200, but it’s imed at beginners, photographic diary. The final Photography course currently the same price as the iPhotography parts are perhaps the most from the Institute of the diploma. online course teaches comprehensive, comprising T Photography (IOP) Course units cover all the A students the basics 20 video tutorials on advanced provides a good value basics, culminating in Advanced of photography, providing a editing skills using Photoshop. introduction to photography Composition and Using Light solid foundation in camera Each of the 18 modules has a that can be completed in 80 Effectively. Following units operation, while encouraging test at the end, which contributes hours on average. cover specific genres such as creativity and experimentation. to your final grade. This, however, The course takes place landscape, travel, portrait and The course is divided into 18 is somewhat inconsequential as entirely online and is divided black & white. The final two modules, each delivered in a you can take the test as often into 14 units. Each unit units deal with Image Editing series of bite-size, highly visual as you like until you pass. The combines written information and Making Money from and interactive lessons. marks are then recorded on the with video instruction and a Photography. Throughout the The first five modules IAO (International Accreditation 76 set of test questions. There process you have access to introduce the camera and Organization) certificate you + B W are 13 practical assignments a tutor for two hours a week, how to master the manual receive when you complete related to each unit, which, providing practical advice and controls, while modules six to the course. The 10 practical once the results are uploaded, a soundboard for new ideas. eight cover more advanced assignments are optional, but are critiqued by your tutor and Experienced photographer subjects such as composition you can send the results in peers. The Advanced Diploma and magazine editor Tim and light. Five modules focus for critiques from the tutors takes this a step further as the McCann wrote the course and on different genres, including throughout the course. You can tutor looks at seven photos in also provides tuition alongside black & white, before finishing also receive feedback and tips detail before providing in-depth experienced freelance with tricks, mistakes and the from your fellow students via feedback. Normally this would photographer Stewart Weir. benefits of establishing a the forum and gallery.

Students can show their images on the popular IOP The iPhotography course is delivered in bite-size Flickr group for feedback and encouragement. interactive lessons online.

TECH SPECS TECH SPECS Course duration Unlimited Course duration Unlimited Qualification IOP certificate Qualification IAO certificate Course price £199 Course price £499 Contact institute-of-photography.com / 0345 548 1125 Contact iphotographycourse.com

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049_BW_179.indd 49 6/16/15 3:40 PM COMMENT A FORTNIGHT AT F/8 In fine fettle, Tim Clinch takes on the world of conceptual photography, claiming it lacks soul and sells at inflated figures. For him, the image timclinchphotography.com should be a gift from the photographer, not a smack in the face…

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ast month, if you recall, ‘People who should be ashamed of the fatuous It is about putting our hearts into I was mildly peeved about our pictures. the state of photography. gloriﬁ cation of mediocre rubbish…’ Well, now I’m annoyed. nd do you know the In fact I’m quite cross. People who do not deserve the soul of photography on the worst part of it? I can’t LBordering on the seriously fed up. title ‘photographer’. People who cursed altar of conceptual art. do it. Simply because In fact REALLY ANGRY! If you I genuinely believe are not There. I’ve said it. I feel A as soon as I do I will were offended by my comments worthy of being praised in the like starting a Campaign for have become like them. A sock in last month’s column, I seriously name of photography. People Real Photography. A new and sandal wearing old moaner, recommend that you stop reading who should be ashamed of the movement dedicated to a grumpy old man… now, because you are not going fatuous glorification of mediocre REAL photography. To REAL So I’m stuck. Stuck here in to enjoy this. rubbish…people who call photographers, to people my little office typing away with I’m annoyed that my beloved themselves art dealers whose who care about their craft, steam coming out of my ears. world of photography seems only interest is in the mighty and practice it. This is NOT I’m NOT a Luddite. I’m NOT to be being invaded by people dollar. People who, frankly, about the digital devil. It is a bore. I’m not in any way who I consider charlatans, should be ashamed of NOT about putting one discipline saying that it was all better in blackguards, mountebanks and themselves and their mediocrity. above any other and it is NOT my day. I’m more excited about phonies of the highest order. People who have sacrificed the about what I, personally, think. my photography now than I’ve

Pondering more carefully than usual about the photographer I’ve chosen for you to think about, and whose work to consider this month. After much consideration, I have come up with William Eggleston (egglestontrust.com). I was once told (by someone who was studying photography in Scotland, and who had driven all the way down to Dungeness simply to attend a workshop I did with the magazine) that the tutors on her course had told her that if she did not like Eggleston she had no place being there. Well, I don’t like his work. I find it over-rated, over-hyped 2 nonsense and the epitome of the Emperor’s New Clothes. If you don’t know his work, check ever been…I’m just someone believe that a HUGE, bleached EXACTLY what you’d like to look it out. Apparently he’s dead good, with a passion who simply out print of an abandoned at every morning. 79 stinking rich and world famous. B+W doesn’t know which way to turn. parking lot in Denver on a rainy I’m not one of them. I still Someone in despair. February afternoon is the best believe that it’s easier to take Also pondering more carefully There will doubtless be a lot thing since sliced bread. And a miserable, depressing picture than usual about the pictures for of people out there who disagree that it’s worth the £25,000 price than an uplifting one. this month’s column. After a rant with me. People who genuinely tag attached to it. And that it’s Good grief…count me out. of those proportions I guess they’d better be good. Well, I’m avoiding responsibility a bit this month. Somebody must have thought they were OK as they have all been awarded a prize at the Pink Lady Food Photographer of the Year Awards in London. They are 1: Spoons with different flours at my friend Kate Hill’s house in Gascony. 2: Two gents serving lunch in a restaurant in Thessaloniki which specialised in some alarming stuff called ‘patsas’, and 3: A glass of amontillado from the barrel at one of my all time favourite bars Tabanco el Pasaje in Jerez where, incidentally, I wish I was right now! Also pondering how I can remove myself from the slough of despond and make next month’s column more cheerful. I’m about to go to Finland to do a workshop so maybe that might do the trick… although as I’ve just found out that it’s the most expensive country in Europe…possibly not! 3 Pictures next month.

78-79_FORTNIGHT_179 ER/MB.indd 79 17/06/2015 12:09 FEATURE 60-SECOND EXPOSURE In 2010 Gavin Dunbar attended a workshop that led to a passion for long exposure pictures. He talks to Tracy Hallett about rash decisions, dangerous All images © Gavin Dunbar terrain and his struggle to get out of bed in the morning.

Bow Fiddle Rock All That Remains

80 B+W I took up photography because… I’ve dropped a couple of glass turning point. After the course I a cat track [a path created by a I was looking for an excuse to filters in the past, which don’t decided to specialise in minimalist vehicle such as a Snowcat]. They explore Scotland and the rest come cheap! long exposure photography. had been completely destroyed in of the UK, but I’ve never been a fire the summer before. It was interested in simply sightseeing Who has been the greatest Tell us about a photographic snowing lightly, and the blackened or walking. As soon as I picked up influence on your photography? opportunity you have missed. stumps looked amazing against the a camera, all that changed. I attended a workshop run by fine A few years ago I was snowboarding white snow. I only had my iPhone art photographer Michael Levin in Whistler, Canada, when I came with me, so I took a quick shot and Tell us about your favourite in 2010 in Belgium. It was a real across a section of trees just off vowed to return with my SLR when themes and genres. similar conditions recurred. My main areas of interest are Lone Tree Unfortunately, the weather landscapes, seascapes and didn’t play ball for the rest of the architecture – shot in black & holiday and without the snow and white, using long exposures. low cloud the scene just didn’t look the same. I knew I would be back Name one item that every the following year, so I decided photographer should own. to try again then. Next winter I couldn’t be without an umbrella. rolled around and I went back to the spot only to find the trees had What’s the biggest risk you have been cleared away to create a taken as a photographer? new run. I was gutted. I was shooting along the Scottish coast on a cold and windy day What has been your most when I found myself clambering embarrassing moment as about on a wet rock shelf. The tide a photographer? was coming in and waves were I was travelling in Japan when almost breaking over my wellies. I decided to transfer images from The place was deserted, so one slip a memory card to a laptop and could have been fatal. It wasn’t a then delete them off the card. sensible thing to do. I later discovered there had been some sort of corruption within Which photographic habit do you the files. I didn’t need the space wish you could shake? on the card, so I have no idea why

80-81_SIXTY SECONDS_179 ER/MB.indd 80 17/06/2015 12:11 81 B+W

Monolith

I decided to delete them before The 10-stop filter, obviously! Tell us one thing that most people photograph the entire coastline of opening and checking each one on don’t know about you. Japan would be a dream project. my laptop. I managed to recover What would you say to your I love ice cream. the pictures, but for weeks I felt younger self? What single thing would like a complete idiot. Don’t worry, you turn out OK. What is your dream project? improve your photography? I don’t really approach If I could drag myself out of bed Tell us your favourite Which characteristics do you need photography in terms of projects, earlier in the morning I’m sure photographic quote. to become a photographer? but I guess having enough it would benefit my work. It’s not so much a quote, but I’ve Patience is crucial. time and money to travel and lost count of the times I’ve been If you hadn’t become a asked what birds I’m photographing photographer, what would when I set up my camera along the PROFILE you be doing right now? coast. When I explain I’m actually Fine art photographer Gavin Dunbar specialises in seascapes, Photography is just a hobby for taking pictures of the rocks in the landscapes and architecture, all shot using long exposures. He prefers me (I run two family businesses water, I get some strange looks, a minimalist approach and often spends hours in one place, reducing a to pay the bills) but it still plays which always makes me laugh. scene to its core elements. Gavin has won numerous awards in the Prix a significant part in my life. If de la Photographie competition and his work has been commended in I hadn’t taken up photography What, in your opinion, is the greatest the Sony World Photography Awards. He lives in Edinburgh. I would never have travelled so photographic invention of all time? To see more of Gavin’s work visit gavindunbar.com widely, or made so many friends.

80-81_SIXTY SECONDS_179 ER/MB.indd 81 17/06/2015 12:11 INSPIRATION 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 and you can’t resist a shot. We have three Class 10 EVO 16GB MicroSD cards to give away each month. With a grade 1 transfer speed of up to 48Mbs, each MicroSD card also comes with an SD adapter – meaning it’s compatible with both your smartphone and digital camera.

We look forward to SEND IN YOUR PICTURES seeing your work! By post on a CD to Black+White Photography, GMC Publications Ltd, 86 High St, Lewes BN7 1XN; by email to anna.evans@thegmcgroup. com; by Twitter at twitter.com/BWPMag. Please send high-res images – if submitting via Twitter we will contact you for high-res. www.samsung.com/memorycardwww.samsu

82-83_SMARTSHOTS_179 ER/MB.indd 83 17/06/2015 12:13 TESTS AND PRODUCTS

B+W

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84 B+W SAMSUNG PRO PLUS AND EVO PLUS Samsung’s new memory cards offer large LOWEPRO FASTPACK II NKUKU PHOTO ALBUM storage and high read and write speeds. Provides quick access to camera, laptop and Hand-finished photo album made from The Pro Plus handles photos and 4K UHD devices. Includes all-weather protective cover naturally dyed leather and recycled acid-free video from high-end DSLRs, while the Evo to keep gear safe and an option to secure cotton paper. is for compact cameras. pack to a rolling trolley. From £35 carolinemcgrath.co.uk Prices vary samsung.com From £96 lowepro.co.uk

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84-85_B+W_LOVES_179 ER/MB.indd 84 10/06/2015 12:07 RICOH WG-5 GPS Ideal for adventure, this 16Mp compact is waterproof to 14m, shockproof to heights of 2.2m and cold-resistant to -10°C. It shoots full HD movies and has GPS, a pressure/altitude/ depth gauge and digital compass. £259.99 ricoh-imaging.co.uk

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84-85_B+W_LOVES_179 ER/MB.indd 85 10/06/2015 12:07 BLACK+WHITE © Brett Killington PHOTOGRAPHY EDITORIAL Editor Elizabeth Roberts email: [email protected] Deputy Editor Mark Bentley email: [email protected] Assistant Editor Anna Bonita Evans email: [email protected] Designer Toby Haigh ADVERTISING Advertising Sales Raphael Pottinger tel: 01273 402825 email: raphael.pottinger@ thegmcgroup.com PUBLISHING Publisher Jonathan Grogan MARKETING Marketing Executive Anne Guillot tel: 01273 402 871 PRODUCTION Production Manager Jim Bulley Origination and ad design GMC Repro Printer Headley Brothers Ltd Distribution Seymour Distribution Ltd SUBSCRIPTIONS Subscriptions Helen Christie tel: 01273 488005 fax: 01273 402866 email: [email protected] SUBSCRIPTION RATES (includes postage and packing) 86 12 issues - Save 10%: B+W £48.60 (UK) £60.75 (Europe) £68.04 (Rest of world) 24 issues - Save 20%: £86.40 (UK) £108.00 (Europe) £120.96 (Rest of world) DD - Save 30%: £18.90 ever 6 issues (UK only) £37.80 every 12 issues (UK only) Cheques should be made payable to GMC Publications Ltd Current subscribers will automatically receive a renewal notice (excludes direct debit subscribers) POST YOUR ORDER TO The Subscription Department GMC Publications Ltd, 166 High Street, Lewes, NEXT MONTH East Sussex, BN7 1XU, UK Tel +44(0) 1273 488005, Fax: +44(0) 1273 402866 or visit www.thegmcgroup.com WORLD WAR 1 BLACK+WHITE PHOTOGRAPHY (ISSN 1473-2467) IS PUBLISHED EVERY FOUR WEEKS BY GMC PUBLICATIONS LTD Black+White Photography will consider articles THROUGH THE EYES for publication, which should be sent to the editor together with a stamped self-addressed return envelope. GMC Publications cannot accept liability for the loss or damage of unsolicited material, however caused. Views and comments OF BRETT KILLINGTON expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of GMC Publications Ltd. With regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire. SEPTEMBER ISSUE 180 ON SALE 6 AUGUST © Guild of Master Craftsman Publications Ltd. 2015

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by experienced (30+ years) Professional 35mm, 645, 6x6, 6x7, 6x9, 126, 127, 5x4 formats catered for Dev & Contact £8.50 36ex 6x4 £14, 7x5 £20, 6x8 £27.50 We run workshops in Photopolymer Gravure, Black & White Dev/Scan from £14. Prices include 1st Class post Darkroom, Solarisation, Lith Printing, Toning, Alternative Processes, and many others. We can also arrange private Michael White, Gosbrook, Wragholme Road, tuition in a wide range of processes. Please see our website for workshop dates and further details. Grainthorpe, LOUTH, Lincs., LN11 7JD

www.luxdarkroom.co.uk 01472 345607 07944 083368 VWXGLR(ţ)LUVW)ORRUţ7RUUHQVVWUHHWţ/RQGRQ(&914 www.blackandwhitepics.co.uk OX[GDUNURRP#JPDLOFRPţ

BLACK & WHITE LAB Processing since 1980 Dev & Contacts @ £6.50 each 2 or more @ £5.50 each and one FREE 6x8 Random print with every film processed ALL FORMATS CATERED FOR 36ex 6x4 @ £12.00 36ex 7x5 @ £15.00 All prints on genuine paper Ilford/Fuji colour/digital printing + £2.00 p&p

Send to: K. Howard, 16 Chalfont Close, Hemel Hempstead, Herts HP2 7JR 01442 231993 / 07935 369299

Buy or sell at Manchester’s largest selection of used photographic equipment

Having trouble ﬁ nding 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? Bafﬂ ed 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

The Real Camera Co. www.realcamera.co.uk

AUGUST 2015 B+W CLASSIFIED 89

BW_179.indd 89 6/17/15 10:13 AM 27 Rathbone Place London W1T 1JE 44 Museum Street London WC1A 1LY Tel: 020 7436 1015 Tel: 020 7242 8681 www.apertureuk.com

Pre-owned Leica Medium / Large & Other Format Leica M-Monochrom Silver (Complete; boxed) Under 500 Actuations only Mint- £4090 Fuji GA645W (45mm f4) Exc+++ £420 Leica M (240) Silver 100 Year Edition (boxed) As New £3590 Fujica 65mm f8 Fujinon-SW + Viewfinder Exc £590 Leica M (240) Silver #480xxxx (Complete; boxed) Mint- £3090 Contax 120mm f5 Apo-Makro-Planar T* Exc++ £790 Leica M9 Grey Under 37000 Actuation - Sensor replaced by Leica 2014 User £1990 Contax Auto Extension Tube 52 As New £150 Leica M7 0.72 Black #2885xxx Exc++ £1250 Mamiya 150mm f4.5G + hood for Mamiya 6 Exc++ £250 Leica M7 0.72 Silver #3328xxx Exc++ £1150 Mamiya 7 II with 80mm f4L + hood Exc+++ £1250 Leica M7 0.72 Black #2946xxx Exc+ £1090 Mamiya 43mm f4.5L + hood & V/finder Mint- £790 Leica M6 + 50mm f2 Summicron-M Royal Photographic Society Mint- £3990 Mamiya 50mm f4.5L + hood + V/finder Mint £750 Leica M6 Classic Chrome #2009xxx Exc++ £850 Mamiya 65mm f4L + hood Mint £590 Leica M4-2 Black #1531xxx Exc+ £590 Mamiya 150mm f4.5L + hood (boxed) Mint £370 Leica CL Nr Mint £370 Mamiya Polarising Filter ZE-702 Mint- £70 Mamiya 80mm f2.8 AF LS + hood for ( 645 AF-D designed by Schneider) As new £1190 Zeiss 18mm f4 Distagon ZMT* + hood Silver (boxed) Mint- £670 Noblex 135 N (boxed) Mint- £450 Leica 24mm f1.4 Summilux-M ASPH #4188xxx Mint £3290 Linhof Technorama 617S III with 72mm f5.6 Super Angulon XL (Complete) Mint- £4290 Leica 28mm f2 Summicron-M ASPH Silver + hood #4072xxx (boxed) As New £3190 Linhof Master Technika with Schneider 150mm f5.6 Apo-Symmar Mint- £2390 Leica 28mm f2 Summicron-M ASPH + hood #3913xxx Mint- £1750 Schneider 47mm f5.6 Super-Angulon (Copal 0) on Linhof sized board Mint- £590 Leica 35mm f1.4 Summilux with Specs (M3 type; steel filter rim) #1730xxx Exc++ £2290 Schneider 58mm f5.6 Super-Angulon XL (Copal 0) on Wista board Mint £590 Leica 35mm f1.4 Summilux-M ASPH FLE Silver + hood (boxed) As New £2890 Schneider 75mm f8 Super-Angulon (Synchro-Compur) on Linhof board Mint- £370 Leica 35mm f2 Summicron-M ASPH + hood #3892xxx Exc+++ £1490 Schneider 90mm f6.8 Super-Angulon (Copal 0) on Linhof sized board Mint- £430 Leica 35mm f2.8 Summaron #1095xxx Exc £450 Schneider 90mm f5.6 Super-Angulon (Copal 0) on Wista board Mint £370 Leica 50mm f0.95 Noctilux-M ASPH 6 bit with pouch #4221xxx Mint- £5490 Schneider 180mm f5.6 Symmar-S (Copal 1) on Toyo Board Mint- £270 Leica 50mm f1.4 Summilux-M ASPH 6 bit #4177xxx (boxed) Exc+++ £1950 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270 Leica 50mm f2 Summicron-M Built in hood #3907xxx Exc+++ £1050 Schneider 210mm f5.6 Symmar-S (Compur 1) Linhof Selected Mint £320 Leica 50mm f2 Summicron #2608xxx Exc+ £750 Rodenstock 240mm f5.6 Sironar-N MC (Copal 3) on Toyo style board Mint- £350 Leica 50mm f2 Summicron-M Built in hood #3907xxx Exc+++ £1050 Schneider 360mm f6.8 Symmar-S (Copal 3) on Toyo size board Mint £420 Leica 75mm f2 Apo-Summicron-M ASPH 6 bit #4076xxx Mint- £1690 Rodenstock 480mm f9 Apo-Ronar Copal 3) on Toyo size board Exc+++ £370 Leica 75mm f2.5 Summarit-M + hood 6 bit #4058xxx (boxed) As New £850 Leica 90mm f2.8 Elmarit-M Built in hood #3898xxx Exc++ £850 We offer an on-site processing and printing service at Aperture Rathbone Place. Leica 90mm f4 Macro-Elmar-M with hood; Complete Kit (boxed) Mint- £1990 Our C41 colour film processing service for 135 and 120 film with 24 hour turnaround. We also process black and white film, please refer to our website for prices. We also accept mail order at the following address, and will return your photographs within 4-5 working Leica 28mm f2.8 Elmarit-R 3rd Cam #3314xxx Exc+ £330 days. Send your film(s) packed securely to the P.O Box below and make sure to include your name; address and contact details for return postage. Leica 50mm f2 Summicron-R 3 Cam #2865xxx Mint- £420 An order form is availible to download from our website on the Film Developing Page. Leica 60mm f2.8 Macro-Elmarit-R 3rd Cam #3390xxx Exc+ £390 Postage for Process and Print 1 - 2 rolls...... £3 Please send your order to: 3 - 5 rolls...... £6 Leica 180mm f2.8 Elmarit-R 3 Cam #3324xx Exc+++ £470 Aperture Photographic 6 - 10 rolls...... £9 11 rolls or more...... Free Leica 180mm f3.4 APO-Telyt-R 3 Cam #2749xxx User £490 PO Box 7045 Process only London 1 - 10 rolls...... £3 Angenieux 35-70mm f2.5-3.3 R Mount Exc++ £490 10 - 30 rolls...... £5 W1A 1PB 21rolls or more...... Free Leica R8/R9 Motor Winder (boxed) Mint £150 We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club) Please send us your order with your payment details or phone us for further details. Leica 55mm Polarising filter Mint £80 Processing Prices (C41 Only) 24~48 hours Leica 21-24-28mm Viewfinder Mint- £270 35mm develop only £5.00 Leica 35mm Metal Bright Line Viewfinder Chrome Exc+++ £270 35mm develop + print £10.00 35mm develop + print + CD £12.00 Voigtlander 90mm Metal Viewfinder Black Mint- £90 35mm develop + CD £8.00 Leica Televid 77 with 32x Eyepiece Exc+++ £750 Extra set of prints (order within 7 days) £4.00 Leica Motor M Exc+++ £170 Film scan to CD or digital media £7.00 Leica Ever Ready Case (to fit camera with Leicavit; boxed) Mint- £90 120 develop only £6.00 120 develop + print £12.00 Voigtlander Bessa-R2A (35,50,75,90mm frame lines) Mint £390 120 develop + print + CD £15.00 Voigtlander T-Winder Mint- £70 120 develop + CD £9.00 Voigtlander 15mm f4.5 Super Wide-Heliar (L39) with V/finder (boxed) As New £290 Extra set of prints (order within 7 days) £4.00 £7.00 Voigtlander 28mm f3.5 Color-Skopar Silver (L39) with M adapter Mint- £290 Film scan to CD or digital media We also process Black and White Film! Please check our website Aperture Camera Repairs Voigtlander 50mm f1.5 Nokton ASPH VM Silver Mint- £590 or phone us for prices and turn around time

All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: [email protected] For all Hasselblad equipment please contact Camera Cafe located at 44 Museum Street Tel: 020 7242 8681 Please contact us on 0207 436 1015 or [email protected]

090_091_BW_179.indd 90 6/12/15 11:28 AM 27 Rathbone Place London W1T 1JE 44 Museum Street London WC1A 1LY Tel: 020 7436 1015 Tel: 020 7242 8681 www.apertureuk.com

Leica 28mm f2 Summicron-M ASPH Silver + hood 6 bit & Leica Silver UV filter #4072xxx (boxed) , As New , £3190

Leica 50mm f1.4 Summilux-M Silver Built in hood (L39) #3868xxx (boxed) , Mint , £1690

Contax 21mm f2.8 Biogon T* + V/finder (boxed) , Mint- , £590 An order form is availible to download from our website on the Film Developing Page

Nikon F2 AS , Mint,- £790

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 cannot 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

We also process Black and White Film! Please check our website A perture Camera Repairs or phone us for prices and turn around time Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica, Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week. All repair work carries a guarantee of six months. Please contact us on 0207 436 1015 or [email protected]

090_091_BW_179.indd 91 6/12/15 11:28 AM

14-251 BWSubs ad(Priceincrease).indd 92 ✁ 3 EASY WAYS TO SUBSCRIBE UK I would like to subscribe to Black+White Photography magazine Photography Black+White to subscribe to like I would UK only SAVE 30% only) (UK Debit Direct by Pay Rest of World Europe products which will be of interest to you. If you would prefer not to be informed of future offers, please tick this box box this tick please offers, future of overseas. informed available not be to sorry not issues; some with prefer gift free Plus would you 31/12/2015. If expires Offer you. to interest of be will which other on date to up kept are you products that ensure will Publications Craftsman Master of Guild details. for receipt Society. your see Building or Please Bank own your by protected and monitored is Scheme the of security and efficiency The Scheme. Debit The Direct Debit Guarantee: SAVE 12 10% issues cheque/card by Pay Email Telephone Country Postcode Address Surname Initial Title +44 1 CALL Subscription options options Subscription Subscriber details ( 0 ) 1273 488005 1273 This guarantee is offered by all Banks and Building Societies that take part in the Direct Direct the in part take that Societies Building and Banks all by offered is guarantee This

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14-251 BW Subs ad (Price increase).indd 93 6/17/15 10:21 AM Call: 0333 003 5000 Click: www.calphoto.co.uk CALUMET 8 stores nationwide Visit: Canon EOS 5DS Canon EOS 7D Nikon D810 Nikon D750 & 5DS R Mark II

FREE NEW CF CARD & BATTERY

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Canon EOS 5DS Body £2999.00 Canon EOS 5DS R Body £3199.00 Canon EOS 7D Mark II Body £1429.00 Nikon D810 Body £2349.00 Nikon D750 Body £1749.00

Canon DSLRs Nikon DSLRs Fujiﬁ lm Cameras

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EOS-1D X Body £4499.00 EOS 5D Mark III Body £2249.00 Df Body £1999.00 D4S Body £4449.00 X-T1 Graphite Body £999.00 X-T1 Black Body £879.00 Df+50mm f1.8 £2098.00 Available in Black or Silver FREE FREE FREE LEATHER SD CARD & SD CARD & CASE BATTERY BATTERY

EOS 6D Body £1139.00 EOS 70D Body £734.00 D610 Body £1184.00 D7100 Body £749.00 X-100T Black/Silver Body £869.00 X-Pro1 Twin Lens Kit £648.00 (Body + 18mm & 27mm) EOS 6D+24-105mm £1499.00 EOS 70D+18-55mm £767.00 D610+24-85mm £1599.00 D7100+18-105mm £899.00 Nikon Lenses Fuji Lenses Zeiss Lenses Canon Lenses

EF 50mm F1.4 USM £244.00 Fujifi lm XF 16-55mm NEW F2.8WR EF 50mm F1.8 II £88.00 Nikon 300mm £799.00 EF-S 60mm F2.8 USM Macro £333.00 F4E PF ED VR NEW EF 85mm F1.2L II USM £1499.00 £1639.00 Otus 55mm F1.4 14mm F2.8 XF £649.00 £3170.00 EF 100mm F2.8L IS USM Macro £635.00 18mm F2R XF £359.00 EF 8-15mm F4.0L USM Fisheye £915.00 23mm F1.4 XF £649.00 EF 16-35mm F2.8L USM II £1111.00 14-24mm F2.8G AF-S ED £1315.00 27mm F2.8 Black or Silver XF £292.00 EF 17-40mm F4.0L USM £549.00 16-35mm F4.0G AF-S ED VR £829.00 35mm F1.4R XF £379.00 EF 24-70mm F4L IS £727.00 18-35mm F3.5-4.5G AF-S ED £519.00 56mm F1.2 XF £729.00 Distagon 15mm F2.8 £2352.00 EF 24-70mm F2.8L II USM £1400.00 18-200mm F3.5-5.6G AF-S VR II £569.00 56mm F1.2 XF APD £999.00 Distagon 21mm F2.8 £1449.00 EF 24-105mm F4.0L IS USM £699.00 18-300mm F3.5-5.6G AF-S ED VR £599.00 60mm F2.4R Macro XF £424.00 Distagon 28mm F2 £979.00 EF 24-105mm F3.5-5.6 IS STM £375.00 24-70mm F2.8G AF-S ED £1229.00 10-24mm F4 R XF £714.00 Planar 50mm F1.4 £559.00 EF 70-200mm F2.8L IS USM II £1499.00 28-300mm F3.5-5.6G AF-S VR £659.00 18-135mm F3.5-5.6 WR £579.00 Planar 85mm F1.4 £989.00 EF 70-200mm F4.0L IS USM £866.00 70-200mm F2.8G AF-S VR II £1579.00 50-140mm F2.8 WR OIS £1099.00 APO Sonnar 135mm F2 £1599.00 EF 70-300mm F4.0-5.6 IS USM £368.00 70-200mm F4G AF-S ED VR £939.00 50-230mm F4.5-6.7 OIS Black or Silver XC £299.00 Makro-Planar 100mm F2 £1449.00 EF 70-300mm F4.5-5.6L IS USM £904.00 80-400mm F4.5-5.6G ED VR £1899.00 55-200mm F3.5-4.8 R LM OIS XF £495.00 Otus 55mm F1.4 £3170.00 EF 100-400mm F4.5-5.6L IS USM II £1999.00

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JOIN TODAY further information on our trade in process. FREE We also stock a wide range of second GIFTS & RECEIVE WORTH £150! hand equipment across our stores, check with your local store or visit our website for current stock and prices. Price Promise JOIN TODAY If you fi nd an identical product available at a lower price at a UK based retailer simply tell Buy online, in any nationwide store or call 0333 003 5000 us who the competitor is and their price and we’ll match it*. Even if you fi nd it cheaper up to 7 days after purchasing!

All prices include Vat at 20%. Prices correct at time of going to press. E&OE. * T&Cs apply. 0852-0615

094_BW_179.indd 94 6/15/15 2:46 PM 095_BW_179.indd 95 6/16/15 10:47 AM 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 lucky winner will have their picture given this treatment by London’s state © Torbjörn Gustafsson of the art printing service, theprintspace – it could be you!

96 B+W

This month’s lucky winner is Torbjörn Gustafsson who wins a 20x24in print mounted on to Dibond, a rigid yet lightweight composite of aluminium and PVC. Torbjörn can choose from a range of four digital C-type and seven fine art inkjet papers for printing.

NEXT MONTH You can win a print dry mounted on to aluminium, giving your image a wonderfully metallic feel. HOW TO ENTER Send your hi-res image 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

96_LAST_FRAME_179 ER/MB.indd 96 10/06/2015 12:08 Art Business Website of the Year

9.6 out of 10 on Trustpilot 9ÕÀ>}iÃ«ÀÌi`wi>ÀÌ«>«iÀÃvÀËÇV°`i www.point101.com 020 7241 1113 Each year the Art and Framing Awards are held by the Fine Art Trade Guild, of which Point101 is a printer member. Up against several other nominees with established businesses we are thrilled to have the recognition for our website and ÀiViÛiÌ i>Ü>À`°6ÃÌÕÀÜiLÃÌi>`>ÃÕÃ ÜÜiV> i«ÞÕvÕwÞÕÀ«ÀiVÌÃ°

088_BW_179.indd 88 6/12/15 11:25 AM I felt I needed to get more out of photography and looked for a way to develop my skills, but more importantly artistic awareness. The OCA was a great place to start and since then I have never looked back. The courses opened my eyes to the visual world I live in, I look at things differently now, I see pictures and meaning all around. The OCA taught me that photographs are not simply pictures, they are precious objects that convey meaning.

Shaun Clarke Photographer

Open College of the Arts 0800 731 2116 oca.ac.uk

IBC_BW_179.indd 1 6/12/15 11:25 AM