Black + White Photography TruePDF-March 2019
Black + White Photography TruePDF-March 2019
Black + White Photography TruePDF-March 2019
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untidy desk in the office are
a couple of portfolios that I
PHOTOGRAPHY dumped there a few years ago
when I was moving house. I had
EDITORIAL quite forgotten about them until
Editor Elizabeth Roberts
email: [email protected] last night when I had, for me, the unusual
experience of lying awake in the night. My
Deputy Editor Mark Bentley
email: [email protected] thoughts drifted around and out of the blue
Designer Toby Haigh
I started thinking about a picture I took
about five years ago. It was a digital pinhole
ADVERTISING portrait that I had a digital negative made
Advertising Sales Guy Stockton from, and I printed the image using the
tel: 01273 402823 EDITOR’S LETTER MARCH 2019
email: [email protected]
cyanotype process, finally dipping the
print in builders’ tea. The effect was to
PUBLISHING
Publisher Jonathan Grogan
MARKETING
AS THINGS turn the blue of the cyanotype into a soft
monochrome, and I was delighted with it.
During the sleepless hours I thought
Marketing Executive Anne Guillot
tel: 01273 402 871 MOVE ON more and more about this print and tried
to figure out where it could be. Gradually
the memory of the portfolios came into my
PRODUCTION
Production Manager Jim Bulley mind and so, today, during my lunch break,
Origination and ad design GMC Repro ‘But looking back at those I dusted them off and rifled through them.
Printer Buxton Press Ltd Disappointingly, I didn’t find the print,
Distribution Seymour Distribution Ltd old prints made me realise but what I did find has started me thinking.
SUBSCRIPTIONS that the ‘voice’ I had with Inside one of the portfolios was a set of
tel: 01273 488005 darkroom prints I had made about 15 years
email: [email protected] film is no longer relevant ago. In those days I had the wonderful
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with Forte Polywarmtone paper and
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Save 10% with 6 issues the search for a new voice.’ somehow it seemed to suit my pictures
Save 15% with 12 issues so well. I knew exactly who I was as a
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photographer. But that was a long time
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ago and what interested me then does not interest me so much today – I’ve changed
and maybe grown and what I want to say is different.
Cheques should be made payable to
GMC Publications Ltd. Current subscribers I’ve been through years of digital capture and have now turned back to film – not
will automatically receive a renewal notice exclusively, of course, the sheer convenience of digital far outweighs the slowness and
(excludes direct debit subscribers) expense of film – and I have enjoyed the experience. But looking back at those old prints
made me realise that the ‘voice’ I had with film is no longer relevant to me and I have
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GMC Publications Ltd, 166 High Street, Change just for the sake of change is not often productive, but change that comes from
Lewes, East Sussex, BN7 1XU, UK inside and wants to be given a voice can be very interesting – although it’s not always an
easy path to go down, and there are certainly no quick answers.
I have no idea where this will take me but it will mean experimenting, discarding one
Black+ White Photography (ISSN 1473-2467)
is published every four weeks by GMC Publications Ltd thing and taking on another. It might include a hybrid of film and digital (as in my builders’
Black+White Photography will consider articles for tea cyanotype) or I might find quite another way of working. Whatever it is, it will be
publication, which should be sent to the editor together fascinating to try.
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 expressed by individuals in the magazine Elizabeth Roberts, Editor
do not necessarily represent those of the publishers
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BLACK+WHITE PHOTOGRAPHY ISSUE 226 MARCH 2019 NEXT MONTH’S ISSUE IS OUT ON 14 MARCH
54 40
© Tim Clinch
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© Remis Scerbauska
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64 A FORTNIGHT AT F/8 Shooting with Tim Clinch and about on the south coast 72 SMARTSHOTS
Tim Clinch on the masters Your pictures could win a prize
INSPIRATION TESTS & PRODUCTS
TECHNIQUE 06 MAGNUM OPUS 80 CHECKOUT 74 SALON
54 TOP TIPS Elizabeth Roberts discusses Six of the best 2-in-1laptops A documented story
Great ideas for photographing a Magnum photograph
found still lifes from Lee Frost 84 BLACK+WHITE LOVES 86 HOW TO GET PUBLISHED
44 STRAIGHT TALKING Cool new photography kit We want to see your best work
60 PROJECTS Chris Gatcum on versatility in the shops and online
IN VISUAL STYLE versus specialism in photography 90 NEXT MONTH
Documenting the past YOUR B+W What’s coming soon
66 ONE-DAY 42 SUBSCRIPTION OFFER
70 SMART GUIDE
NEW PHOTO PROJECT Have B+W delivered 96 LAST FRAME
TO PHOTOGRAPHY SERIES Eddie Ephraums out to your door Prize-winning single image
NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. [email protected]
INSPIRATIONAL
The Royal Photographic Society
has announced a list honouring 100
inspirational women in photography.
The Hundred Heroines list marks the
centenary since some women were able to
NUMBERS vote in the UK and celebrates the global
contribution to photography made by
DOWN women. The names include Sophie Calle,
A new report published by the Rineke Dijkstra, Valie Export, Susan
World Press Photo Foundation Meiselas and Vanessa Winship.
shows a significant decline in Initially the public and key figures in
the number of photojournalists photography were invited to nominate
working full-time. women for the list. A panel of judges
The report, based on surveys chaired by Rut Blees Luxemburg then met
of photographers entering to whittle the 1,300 nominated women
the annual World Press Photo down to 100. The Hundred Heroines will
competition, reveals the number each receive the Margaret Harker medal.
in full-time work dropped from
Harker was the first female president of
74% of respondents in the first
the RPS and the first female professor of
survey in 2015 to 59% in 2018.
Close to 40% admit their financial photography in the UK. An exhibition
circumstances are difficult and publication are planned to celebrate
or very difficult. the Hundred Heroines. The RPS also
However, more than 62% enjoy aims to celebrate historical heroines
their work, describing themselves Valie Export – Smart Export, 1970. © Valie Export of photography later this year.
as either happy or very happy © Tariq Zaidi/tpoty.com
A community darkroom on
the brink of closure has been
given new life by a group of
photographers. The darkroom in
the St Paul’s area of Bristol has
been supported by the Real
Photography Company. The
darkroom now offers supported
darkroom sessions, photographic
projects with community groups
and schools, optical science
education, exhibitions, talks
and lectures. Elie, 45, struts his stuff in the streets of
the world will have work on This picture by Tariq Zaidi of a dapper gentleman Tom Law, Magdaléna Straková and Mauro de Bettio.
display at the Photography Show is among the winning images in the Travel The winning photographs can be seen at a free
at Pier 94 in New York City from Photographer of the Year awards. outdoor exhibition at London Bridge City from
4 to 7 April. More than 75 galleries
More than 20,000 pictures were submitted to the 28 March to 30 April and at Tpoty exhibitions
will present work from the 19th
competition by photographers from 142 countries. internationally, including the Xposure International
century to the present. Visitors
can also see a special exhibition The overall winner was Stefano Pensotti, who is the Photography Festival in Sharjah and Dubai. Some
curated by Alec Soth. first Italian to win since the awards began in 2003. of the best black & white pictures can be seen in
Award-winning black & white photographers include the digital edition of this magazine.
© Benedikt Partenheimer
© David Hixon
CELEBRATING WORK
A nationwide arts festival will celebrate the
work of refugees from Nazi-occupied Europe.
The Insiders/Outsiders Festival runs
© Nicholas Triantafyllou
from March 2019 to March 2020 at venues
BRUTAL TRUTH including Tate Britain, Sotheby’s, the
Photography tours of a London area famous for its brutalist architecture are on offer. Coutauld Institute of Art, Glyndebourne,
The tours of the Barbican Centre and Barbican estate are led by Peter Chadwick, Pallant House Gallery and Ben Uri Gallery.
founder of This Brutal House – a platform to share photography and design work about Little Happenings: Photographs of Children by
brutalism. The tours will explore some of the less well-known corners of the brutalist Dorothy Bohm is part of the festival and can
buildings. The tours are held on 13 April and 11 May, price £15. Participants can share be seen at the V&A Museum of Childhood in
their images on the This Brutal House Twitter and Instagram feeds, and have them Bethnal Green, London, until 17 March.
printed and displayed in the Barbican shop. shop.barbican.org
I N S P I R AT I O N
MAGNUM OPUS
Black+White Photography has
been invited by Magnum Photos
to choose one picture each month
from their archive to discuss, dissect,
examine and consider. This month
Elizabeth Roberts looks at an image
of Dr Martin Luther King Jr
by Leonard Freed.
T
his picture says so much with
so little. There is the history
of a people encapsulated in this
one shot, there is the history of a
nation, the USA, and the history
of slavery and racism. This man,
Dr Martin Luther King Jr, had earlier that
month been awarded the Nobel Peace Prize
for combating racial inequality through
non-violent resistance. What an achievement
– but more than that, these women, so long
marginalised, see the possibility of their lives
changing for the good. He brings them hope
for the future. No wonder they want to touch
his hand to show reverence, to feel part of
who he is, to give thanks to him – the touch
06 of a hand, and all that it means.
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Everything in the picture is focused on
the hands, the outstretched arms, the hands
touching and waiting to touch, and the great
man’s hand joyfully crushed, clasped and
clutched, a wordless embrace of honour.
The women’s faces are rapt with
concentration, their eyes not looking at
King’s face, just at his hand, and he, warm
and willing to receive their rapture. It is a
moment of absolute understanding between
them symbolised through touch. What is
more human and more satisfying than the
touch of a hand?
And yet. There is something else going on.
There are two men who attempt to protect
and shield King with their arms and bodies,
and when we realise this, we see the darker
side of the picture. In the background are the
white faces of the police looking on with an
edge of cynicism – are they there to protect
or to threaten? It is only four years later that
this extraordinary man, at the age of 39, is
assassinated, and rumours still persist today
that his killer, James Earl Ray, was associated
with the FBI.
Martin Luther King is remembered for his
far-reaching work encapsulated in his ‘I have
a dream’ speech. Maybe Leonard Freed will
be remembered for this picture that captured
the present and foresaw the future.
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ector Emanuel’s documentary 1973 uprising at Wounded Knee, survived shoot on the reservation,’ explains Emanuel.
H
project on Pine Ridge came an assassination attempt, and was stabbed The result was a powerful photo that made
about because of a Washington in prison. He was also an actor, his biggest the cover of Washington Post Magazine –
Post Magazine commission. role as Chingachgook, opposite Daniel Day- Means with his arms folded in defiance,
He was assigned to photograph Lewis in The Last of the Mohicans. the South Dakota Badlands visible on the
Russell Means, an Oglala Sioux ‘Means was arguing for the creation of horizon. ‘While there, I also made Republic
born on the reservation, and a champion a republic of Lakotah, a country within a of Lakotah. I felt it was important to give
of Native American rights. Means, who country, because of the many broken treaties a sense of the place since it was central to
passed away in 2012, was arguably the most that date back to mid-1800s. He was in Means’ visit to Washington DC.’ Historically,
notorious Native American since Sitting Washington DC trying to get support for Pine Ridge is the most important reservation
Bull, and the most controversial. He once his campaign, and I was commissioned to in the United States, for it’s the site of the
urinated on the Washington monument at do a photo-shoot. I thought: “I can’t only 1890 Wounded Knee Massacre. It’s also the
Mount Rushmore, filed a lawsuit against take pictures of Means running around poorest reservation. Unemployment rates
the Cleveland Indians baseball team for Washington like a caricature of himself.” are above 85%, and most of the residents
using Chief Wahoo as their mascot, led the So I suggested to the editor that we do the live below the poverty line. Infant mortality›
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› is disproportionately high, life expectancy ‘I would tell them I’m a I’m from Peru.’’ And they would say, “So you
is low, and each year many elderly die from are an Inca – you are like us.’’’
frost due to a lack of basic amenities. There
photographer and their Emanuel takes a long view when making
are few road signs, no bus stops and no street immediate reaction was, “What documentary work, stitching together
addresses. Pine Ridge is hidden in America’s kind of white man are you?” And images to tell a story. ‘I never set out to take
landscape – out of sight, out of mind – which I’d say, “I’m not, I’m from Peru.” a single amazing image. I’m actually thinking
is why Emanuel wanted to avoid making a about how each little bit is going to add
documentary project that serves as little
And they would say, “So you are up to a story. With Republic of Lakotah,
more than pictorial voyeurism. an Inca – you are like us.”’ I wanted to show what it feels like to live
there without having this filter of nostalgic
I
felt I couldn’t make an in-depth essay I didn’t have an agenda, so while I was there Native American Indians. I wanted to make
on the social issues that affect Pine Ridge I hung out and got to know the community. it real – I wanted it to be about everyday life.’
because I was only there for 10 days, which I would tell them I’m a photographer and He felt an immediate connection with the
is a lot for a commission, but not when you their immediate reaction was, “What kind community and says they understood what
want to portray the complexity of a society. of white man are you?” And I’d say, “I’m not, he was trying to achieve. ‘It’s difficult to
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represent a group of people as an outsider, house and that’s when I walked into one hotography was always a hobby for
especially where there’s a power construct,
even though we do that all the time as
photojournalists. But the people were really
open. I felt like they trusted me right away.’
Emanuel was invited into many homes and
of the bedrooms and took a picture of a
little girl sitting on the bed talking to her
grandfather. Everything may look a bit
rough, but in those kind of places, people
often do look rough.’ In another image,
P Emanuel, who moved to Washington,
DC from Lima at the age of 14. He
became truly immersed, however,
while studying for his PhD in physics at
Virginia Tech. ‘I guess one of the things
spent time with a number of families, even children are seen running past a clothes line, that inspired me to be a photojournalist
the Tre Tres, the most notorious gang among laughing. ‘One of those children is the same was a magazine spread I saw of Sebastião
a growing number on the Sioux reservation. little girl I had photographed earlier on the Salgado’s photos. I remember looking at the
‘I walked into this tiny ranch house bed. Different moments tell different stories, pictures and thinking they reminded me of
where the Tre Tres live – there were 17 and that’s why it’s important to spend time Peru – of where my grandfather lived. I felt
people living in it. There was a guy getting with people, because there is never only one a certain connection with those photos, and
a tattoo because his wife had just delivered version. There is never only one story. As when I found out he was Latin American,
a stillborn baby. It was an intense house. documentary photographers we have to be it all made sense. I didn’t want to be just a
I asked if I could check out the rest of the careful not to portray one stilted view.’ newspaper photographer; I wanted to do ›
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› projects, even though I had no idea what ‘Pine Ridge is hidden in Hector Emanuel’s work has been exhibited
that meant, or how you would go about it. internationally and has appeared in
I started reading about photography and
America’s landscape – out of numerous publications and media
spent a lot of time in the labs at university. sight, out of mind – which is campaigns, among which is the New York
As a scientist, the one thing I don’t have is why Emanuel wanted to avoid Times, M Le Monde Sunday magazine, the
a fear of the technical side of photography!’ American Red Cross and ProPublica. He has
A lot of Emanuel’s work focuses on making a documentary project received a World Press Photo prize and an
Latin America. ‘Because I am a Hispanic that serves as little more than NPPA’s Best of Photojournalism award for
immigrant in the US, I tend to gravitate his documentation of the civil conflict in
pictorial voyeurism.’
towards those stories. But when I was at Colombia, as well as two POYi prizes for
Pine Ridge, I felt like I was in Latin America his series on Pine Ridge, and for his most
– and I hadn’t had that feeling in the United want to make a statement about Pine Ridge. recent work in his homeland of Peru.
States before. People want to tell their It’s so much more than just a poor
stories, especially in communities that community, and I wanted to give people To see more of Hector Emanuel's work,
have been ignored for so long. I didn’t a sense of the place.’ go to hectoremanuel.com.
Proud Galleries © Jerry Schatzberg
N E WS
ON SHOW
For more than 60 years
Dior has played a major
role in shaping the female
silhouette, says Tracy Calder.
A new show at Proud Central
in London looks at the early
years through the eyes
of four photographers.
ne of the 20th
O
century’s most
influential
couturiers,
Christian Dior
Proud Galleries © Mark Shaw/mptvimages.com
(often referred
to as just Dior)
was founded on
16 December 1946 in Paris and held its debut
show two months later. The first collection
comprised 90 different looks, with many
18 dresses featuring calf-length full skirts with
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cinched waists and generous busts. The
average dress contained around 20 yards of
fabric, giving it an air of opulence at a time
when women were still wearing the practical,
no-nonsense outfits that had served them so
well during World War Two (fabric was
rationed in Britain between 1941 and 1949).
Dior’s extravagant new look received some
criticism, but for many it represented the
return to a joyful, extravagant time when
clothes were less of a uniform and more
of a vehicle for self-expression.
After the show the fashion house received
orders from the likes of Rita Hayworth and
Margot Fonteyn, and it was the start of a
long-lasting relationship with the British
royal family. Dior designed a spectacular
gown for Princess Margaret’s 21st birthday
in 1951. This over the top dress is one of the
highlights of the V&A’s Christian Dior:
Designer of Dreams show in London,
which runs until 14 July.
By November 1948 Dior had established a
luxury ready-to-wear house in New York and
released its first perfume, Miss Dior, a tribute
to its founder’s younger sister, Catherine,
who had joined the French Resistance and
been captured by the Gestapo (she was held
at Ravensbruck, Germany’s biggest
concentration camp for women). Although
the odds were stacked against her, she
survived and lived to be 91.
Christian, on the other hand was not so
lucky, suffering a fatal heart attack in 1957
at the age of just 52. Since his untimely death
there have been numerous artistic directors
at Dior including Yves Saint Laurent, Marc
Bohan, Gianfranco Ferré, John Galliano,
Raf Simons and Maria Grazia Chiuri, who
currently has the hot seat. Chiuri’s T-shirts
bearing the slogan We Should All Be Feminist
(from her debut spring/summer collection)
have already made fashion headlines. For
Dior, celebrating and empowering women
is key to the success of the brand, and Chiuri
plans to use her position to create a healthy
dialogue with her female customers.
W
ith the Christian Dior: Designer
of Dreams show in full swing
at the V&A, Proud Central
in London is hosting its own
tribute to the fashion house with The Dior
Collection, an exhibition featuring the work
of four prominent fashion photographers:
Mark Shaw, Jerry Schatzberg, Norman
Proud Galleries © Bert Stern Trust
Parkinson and Bert Stern. Covering the first
two decades of Dior, the show includes slick
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editorial work produced for Life magazine,
as well as lesser-known behind the scenes
studio snapshots. When viewed together,
these images provide a fascinating insight
into the rich heritage and metamorphosis
of Dior during the early years, as well as a
glimpse into what the future would hold for
the brand. As Chiuri’s debut show suggests,
Dior continues to have a major impact on
the fashion industry today. Looking at Stern’s
image of Marilyn Monroe wearing a dress
that seems to both conceal and reveal her
figure, or Shaw’s beautiful soft focus image
of a model wearing a Dior gown and hat,
it’s easy to see why.
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NEWS EXTRA
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Scott Portelli
© Scott Portelli/tpoty.com
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Mauro de Bettio
© Mauro de Bettio/tpoty.com
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Mauro de Bettio
© Mauro de Bettio/tpoty.com
Tariq Zaidi
© Tariq Zaidi/tpoty.com
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Tariq Zaidi
© Tariq Zaidi/tpoty.com
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Tom Law
© Tom Law/tpoty.com
011
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Tom Law
© Tom Law/tpoty.com
012
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Tom Law
© Tom Law/tpoty.com
013
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Tom Law
© Tom Law/tpoty.com
Magdaléna Straková
© Magdaléna Straková/tpoty.com
014
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Magdaléna Straková
© Magdaléna Straková/tpoty.com
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NEWS IN THE FRAME
If you would like an exhibition included in our listing, please email Elizabeth Roberts
at [email protected] at least 10 weeks in advance. Edited by Tracy Calder.
to a remarkable variety of
expressions when sitting for a EXHIBITIONS
portrait. Moon’s initial intention
USA
to create these portraits was to
explore the emotions of animals
in a series. ‘It wasn’t my goal to
capture human-like qualities,
and I was actually surprised at
the wide range of expressions
they have. But I feel that if we
ignore our similarities, we risk
seeing the birds as separate,
and I think empathy plays an
ATLANTA
important role, so we can see Lumiere Gallery
Until 22 March
them as animals that deserve
Vivian Maier: The Color Work
respect,’ she says. ‘The farther lumieregallery.net
we go from nature, the more we
seem to lose, and it’s not just
the animals and the trees, but
BALTIMORE
Baltimore Museum of Art
diversity in general. This world
Until 24 March
of symbiotic, interconnected Time Frames: Contemporary East
relationships that ensure Asian Photography
survival cannot be repeated.’ artbma.org
CLEVELAND
T
he majority of the
chickens photographed Cleveland Museum of Art
for this book are Until 26 May
endangered, specifically Beyond Truth:
because only a few select breeds Photography After the Shutter
have been used in the food Featuring Luis Gonzáles Palma,
industry for many years so raising genetic diversity,’ she says. Currently, Moon is working Kehinde Wiley, Laure Albin Guillot,
the remaining breeds became Another notable element on several new series. Anderson & Low
impractical to most. Additionally, about the book is that each Additionally, her exhibition State clevelandart.org 23
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Moon was mostly interested in portrait is paired with Of Change will be on view at the
photographing heritage breeds quotations from classic Bolinas Museum in Bolinas, HOUSTON
because they differ from factory literature. While the two might California, from 30 March to Catherine Couturier Gallery
breeds as they are slow growing, seem unrelated, the combination 2 June and her exhibition The Until 30 March
naturally mated chickens with a proves to be a natural marriage, World To Come will be on view Rachel Phillips: Ghost Light Theaters
long productive outdoor life. which Moon says she spent at the Michigan Museum of Art catherinecouturier.com
Primatologist and three years curating through from 27 April to 28 July.
anthropologist Dr Jane Goodall instinct rather than rules. bethmoon.com LOS ANGELES
and actress Isabella Rossellini The Getty
provide very personal, moving Until 9 June
essays in the book. ‘Jane Goodall Oscar Rejlander: Artist Photographer
getty.edu
has long been a hero of mine,’
Moon says. ‘I first came into
contact with Jane in 2013 when NEW YORK CITY
she wrote on behalf of a previous Edwynn Houk Gallery
book, Ancient Trees. Her work Until 20 April
Nick Brandt: This Empty World
with the chimpanzees has
houkgallery.com
changed the way we look at
animals and was a great
inspiration to me doing this
NORFOLK
work. By example, she has Chrysler Museum of Art
Until 23 June
taught me that the collective
A Labor of Love: The Caregiver
power of the individual action Portraits by Dr Michael Geller
can make a big difference.’ chrysler.org
Moon contacted Isabella
Rossellini directly to photograph
some of her heritage breed
SANTA FE
Georgia O’Keeffe Museum
chickens last year. ‘She has the Until 22 April
most wonderful farm in Long The Candid Camera
Island with sheep, pigs, turkeys, Featuring Ansel Adams, Todd Webb,
dogs and bees. Isabella believes and Alfred Steiglitz
each farm has a part to play in okeeffemuseum.org
NEWS
ON THE SHELF
Black+White’s line-up of some of the very best new photographic
publications out in the bookshops or to order online.
W
Steidl
Hardback, £35 prize for a long
term project in the
ewis Hine was a World Press Photo
L brilliant documentary
photographer whose
pictures of child labourers
in the US helped end the
practice. He also took portraits
BEAUTIFUL
AMERICA
2018, this book is a tribute to
childhood innocence. The two
main protagonists in the story
are sisters Hannah and Alena
who live on a horse farm with
of some of the thousands of Jerry Berndt their parents, some miles from
immigrants who arrived in New Steidl Vienna in what seems an idyllic LOOKING AT
York and he photographed relief Hardback, ¤38 rural dream. Joined in the
work by the Red Cross. summer by other children from THE OVERLOOKED
This book highlights his t was that particular time in the city who come to spend John Myers
less well-known pictures for
the National Research Project.
Between 1936-37 he took
hundreds of photographs of
I American history – between
the late sixties and the
eighties – that produced a
plethora of great documentary
their school holidays on the
farm, Hannah and Alena run
free and do what all children
do when left to find their own
RRB Photobooks
Hardback with print £75
T
he second of a three-
factories as part of a government photographers, Jerry Berndt amusements. volume set to be published
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effort to show the innovation among them. A committed The project ran from 2012 by RRB, Looking at the
taking place in the American anti-Vietnam war activist in his to 2018 and ended only when Overlooked has the same
economy in the wake of the early days, he set out to record their childhood was ending and deadpan charm of John Myers’
Great Depression. the America that had spawned with it, their innocence. No Portraits, the first in the set.
Fascinated by new technology, the war, later working in the longer could Kegelman follow What Myers himself termed
Hine criss-crossed the country press and turning to social them throughout their days, an ‘boring pictures’ are anything
photographing the men and documentary. insider outsider, trusted and but. Through them we see
women who worked the This overview of that period ignored. We see the final stages the world in a new way. The
machines. In powerful B&W of his work tells us a great deal as the two girls become young everyday and commonplace –
pictures, he captured the skills, about the American people he women, no less free but now the things and places we hardly
focus and precision of the saw on the streets and in their with a difference. notice – are transformed by the
workers, and the repeating homes; it describes a society at a Elizabeth Roberts photographer’s eye.
patterns of levers, pipes and point of change and turbulence, All taken during a 10-year
wheels. He caught the subtle attempting to re-define itself but period from the early seventies
relationship between people and finding the struggle difficult. to the eighties, within walking
technology, and the beauty of What is particularly distance of Myers’ home in
light as it fell through a factory interesting about the work is Stourbridge, they have a distinctly
window at the dawn of a new era. its modernity that precluded British feel to them, depicting the
Mark Bentley later work by contemporary time and place that some of us
photographers. The ironic use lived through and hardly noticed.
of the word ‘beautiful’ in the title When viewed as a whole, the
is not lost on the viewer – these pictures of buildings, bus stops,
images talk of many things but shop windows, golf courses and
beauty, in its conventional sense, car parks take on new meaning by
is not one of them. viewing them through Myers’ lens.
Elizabeth Roberts The book comes signed with
a 5x4 print.
Elizabeth Roberts
INTERVIEW TO BE CONTINUED
When photographer and printer Mike Crawford was given a shopping
trolley of outdated photographic paper and film it kick-started a personal
project with far-reaching consequences, as Tracy Calder discovers.
T
he area around Archway station about an individual by spending a little time to be dispatched. This stack comprises
in Islington is where people go to in their darkroom. Standing in the corner, copies of Obsolete & Discontinued, Mike’s
get things done. A computer repair trying not to get in Mike’s way, I am struck latest labour of love, and the reason for
shop sits next to a barbers on one by how confidently he moves around the my visit. In 2015 David Yates – a client of
side of the street, while a Hoover room in the semi-darkness. Here I am a fly Mike’s – turned up with a shopping trolley
specialist shares the strip with a in the ointment, unintentionally blocking full of outdated photographic paper and film.
nail bar on the other. It’s a refreshing mix of his route to tongs, dishes and timers. The materials once belonged to his uncle,
businesses and residential properties; the kind Thankfully Mike is unruffled, and soon we an artist and teacher by the name of Bret
of place where a cat senses your approach are happily chatting while he immerses a Sampson, who passed away in 2005. David
and emerges from nowhere expecting to print in the developer and starts rocking the was clearing out his uncle’s darkroom when
be petted. Just off the main road there is tray to and fro. It’s soothing to watch, and he came across the sizable stash, and was
an imposing building known as Belgravia it’s a testament to Mike’s skills that he can hoping Mike would know what to do with
Workshops where an eclectic bunch of people answer my questions while producing what it. ‘He turned up with a trolley of Brett’s old
share office, studio and workshop spaces. turns out to be a perfect print. paper and said I could either have it or we
Climbing an exterior staircase to the Job complete, we return to the office and could chuck it in the bins down there,’ recalls
second floor, I find photographic printer settle down next to a stack of books waiting Mike, gesturing to the courtyard below. To
Mike Crawford hard at work in the begin with the idea of binning the lot was
darkroom. Mike welcomes me into the tempting. ‘As you can see, I have run out of
office he shares with Paul McKenzie Studio
‘Judging by the design of space for more stuff,’ says Mike, casting his
and then rushes back to the print he’s the boxes, Mike deduced eyes around the room. But when push came
started. When he invites me to join him I to shove Mike just couldn’t bear to throw the
jump at the chance. Darkrooms are very
that most of the paper was whole lot out so he came up with the idea of
private spaces, and much can be learnt between 20 and 40 years old.’ giving it away to other photographers and
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Above Constanza Isaza Martinez Opposite top Mike Crawford Opposite below Jacqueline Butler
printers instead. ‘The next time David and time photographic paper can become usable, for instance.’ Some of the oldest
I met he brought the rest of it,’ says Mike. discoloured, lose contrast and suffer from papers fared well, displaying good contrast,
fogging. Consequently Mike had low but in most cases the deterioration was
J
udging by the design of the boxes, expectations when he started carrying out noticeable. Undeterred, Mike began to
Mike deduced that most of the tests on the paper in his darkroom, but in experiment with lith developers, which led
paper was between 20 and 40 some instances he was pleasantly surprised. to some remarkable results. ‘I’d forgotten
years old. ‘Photographic paper ‘I tested everything, all the papers and how good old Kodak lith could look!’ he
has a limited shelf life and for the film,’ he explains. ‘The results varied: exclaims. Suitably encouraged, he began to
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optimum results it’s best used within a few some were totally fogged – the film had a wonder what could be achieved using other
years of manufacture,’ he explains. Over lot of base fog and was very grey, but still processes and darkroom techniques. ›
› In the weeks that followed Mike compiled ‘In the back of his mind he film to other photographers and printers
a list of all the papers, with suggestions as to see what they could produce with it. At
to how they might be treated. ‘Some of the was already toying with the idea the time Mike was heavily involved with the
papers were purely for lumen prints because of sending the out-dated paper London Alternative Photography Collective –
they were so fogged that you couldn’t process he had given a few presentations to the group,
them,’ he reveals. Reading through the notes, and film to other photographers and got to know quite a few people as a result.
his expert knowledge is clear to see. In the Before long, he had invited the members to
back of his mind he was already toying with
and printers to see what they participate in his Obsolete & Discontinued
28 the idea of sending the out-dated paper and could produce with it.’ project. ‘They were a prime, captive audience
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consisting of people working in alternative
analogue photography processes,’ says Mike.
He originally planned to hand out paper
(and test notes) to around 15 photographers,
with the hope of an exhibition once the
material had been returned. However, word
quickly spread outside the LAPC and the
list of participants steadily grew. In the end
Mike sent out packages to more than 60
photographers – mostly in the UK, but some
as far afield as Slovenia, Norway and the US.
T
he brief was left purposefully open
to encourage experimentation. ‘The
idea was that everyone had to use
the paper in some way: whether it
be to produce a final print on it, or as an
intermediate part of the process,’ says Mike.
‘Several people used the paper as a negative,
for example.’ For his own contribution Mike
selected Ilfospeed Grade 1 10x8 Pearl paper
and made silver gelatin prints from scanned
photograms of salt crystals. The resulting
diptych is impressive, with rich, deep blacks,
and remarkable contrast and fine detail.
It’s the perfect example of Mike’s ability,
and willingness, to combine traditional and
contemporary processing methods. ‘I showed
everyone the list of materials, asked them to
choose three papers and then told them that ›
This page Keith Taylor Opposite Rosie Holtom
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› hopefully they would get one of their choices,’
recalls Mike. ‘And it worked!’ Looking at
the list makes me wonder if there is a paper
that many printers wish was still available.
‘Whenever I speak to photographers who
were active in the 1970s and 80s they always
seem to say Agfa Record Rapid,’ answers
Mike, ‘but to be honest the Record Rapid that
was included on the list was one of the worst
papers – it appeared very fogged when printed
conventionally, but lith printed very well.’
Within weeks, small packages began to
arrive at Lighthouse Darkroom, each
containing a carefully-considered
contribution to the project. As the boxes and
envelopes built up Mike was amazed at how
the same paper could be used to create such
radically different work. ‘Prints were returned
using a wide variety of processes including
silver gelatin, lith printing, wet collodion,
paper negative, collage, lumen and hybrid
techniques combining analogue and digital,’
he explains. When pushed to choose a
favourite contribution Mike politely declines,
but I’m not quite as guarded. For me, Borut
Peterlin’s portrait is up there with the best.
This silver gelatin print was made from a wet
plate collodion negative and printed on Agfa
Brovira Grade 3 paper. It’s a statement about
the fragility and impermanence of life, and a
celebration of photography as a medium.
30
‘Borut made the picture for the project. ›
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T
he regeneration of London’s Above Old entrance to Millwall Outer Dock, Corporation (LDDC, set up in 1981)
Docklands has been described as West Ferry Road, 1982. carried out its transformation.
the UK’s biggest social experiment Opposite top Factory floor workers’ I began by photographing inside the
of the 20th century. When I began empty docks and surrounding derelict
canteen, Blythe Burrell Colours Ltd,
photographing the Isle of Dogs factories and workshops and then, in
West Ferry Road, 1984.
in 1982 it was known that big autumn 1983, I made contact with the
changes were on the way, though their exact Opposite below 1930s warehouses, Island History Trust, a community-based
nature and scale was still far from clear. Canary Wharf, 1983. organisation dedicated to collecting and
I stumbled upon the Isle of Dogs more Overleaf DIY car repairs outside Roffey House preserving the history of the Isle of Dogs.
or less by accident after spending some (demolished 1988), Roffey Street, 1985. I collaborated with the IHT to produce an
time photographing the river wharves extensive photographic documentation that
closer to central London. I was struck by one clearly in severe decline, and was would cover not only the environment but
the extent to which the island still retained determined to document the area before also the remaining working factories and
its traditional industrial character, albeit the London Docklands Development ›
businesses and the social fabric of the area.
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36
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37
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38 Islanders waiting for a boat to join the Docklands Armada, Cuba Street, 1985.
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East Ferry Road entrance to Clippers Quay, a private housing Mothers and toddlers outside St Luke’s Church Hall, Alpha Grove, 1984.
development on the site of McDougall’s flour mill, 1984.
› By the end of 1986 the changes to the for luxury housing. The remaining large
island were becoming increasingly evident industrial firms, notably Blythe Burrell
and I documented some of these early Colours Ltd (pigment makers), John
developments, notably the construction Lananton & Son Ltd (timber importers)
of the Docklands Light Railway from and the Tate & Lyle Millwall Sugar
Tower Gateway to Island Gardens, which Refinery, would soon be gone and only
opened in September 1987. The major the Burrell’s site would retain any trace
new financial centre at Canary Wharf was of what had once been. The Isle of Dogs Before the Big Money
still only a twinkle in the capitalist eye, by Mike Seaborne is published in hardback
but some of the former industrial land by To see more of Mike Seaborne’s work visit by Hoxton Mini Press at £17.95.
the river was already being redeveloped 80sislandphotos.org.uk Visit hoxtonminipress.com
P RODU C I NG DIG I TA L F I N E A RT PA P E R S SU I TA B L E F OR A L L P HOTO G R A P H IC N E E D S
©Tom Schönfeld
©Andrzei Dragan
©Marie Hölscher
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CO M M EN T
REFLECTIVE PRACTICE
When history intervenes in the landscape the photographer is inevitably
influenced and must work towards an interpretation that does not turn
@vickipaintingphoto
its back on the past. Vicki Painting reports from northern France.
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Above A grieving female figure looks out over the ridge at Vimy near Arras, France,
T
he flat landscape of the Nord-Pas-
at the Canadian National Memorial site. Below A colossal male figure in despair de-Calais region of France is tucked
greets visitors at the Canadian National Memorial site at Vimy, France. high up in the north of the country
spanning the Belgian border. It is both
sorrowful and bleakly beautiful. On a clear
day you can probably see for miles with the
view stretching endlessly across fields, largely
uninterrupted by hedgerows, or woodland
with disused mine shafts and the dark
pyramid-like triangles of the slag heaps jutting
out of the plains. These are dark relics to the
region’s once rich industrial past. Vast swathes
of this area are now a world heritage site, part
of Unesco’s wider project intended to draw
our attention to places that don’t necessarily
conform to traditional notions of beauty or
antiquity but have an important story to tell.
Visiting in winter, with the sky practically
scraping the ground and the all-pervading
dampness amplifying the cold even further,
it is especially hard not to think of the battles
which also took place on this soil 100 ago, as
the land is also viewed collectively through
the prism of the trauma of the First World
War. There is a kind of haunting here, this is
All images © Vicki Painting
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I
don’t like photographing and I was also once ‘invited’ to That said, there are one or from my photography, I would
people. Never have, never shoot a wedding (although I two portraits I’m actually quite perhaps be well advised to do
will. That doesn’t mean believe this was based purely happy with; I don’t claim to be something about this, because
I haven’t done it, though: on the knowledge that my free the next David Bailey, and I don’t as far as I can tell there are far
friends’ kids and family of charge acceptance of the gig want to sound big-headed, but more people willing to part
portraits were pretty much was guaranteed). Suffice to say, they might even be considered company with their hard-earned
expected until I increasingly I did not enjoy one protracted good. Now, if I was smart and cash for pictures of themselves
found myself ‘too busy’ to oblige, minute of it. wanted to earn some coin or their nearest and dearest
than are likely to dig deep for
a photograph of a toy soldier,
robot, blurred animal of some
description, heavily processed
picture of a tree, animal skull/
bones that I’ve found in my
locale, or any of the other
slightly more esoteric subjects I
prefer to waft in front of my lens.
Yet despite being fully aware
of what I could do, I stubbornly
refuse to do anything about it
and my repertoire generally only
includes people if they happen
to be invading the outdoor scene
44 I’m trying to photograph (and
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even they can be ‘disappeared’
with a long enough exposure). ›
‘Being labelled is
beneficial, as it
tells the world who
you are and what
you are about.’
The people I prefer to photograph tend to stand under 6in tall and I am not adverse to wildlife photography. In fact, I’m collecting quite
are typically made of plastic or metal. Unfortunately, they rarely a box full of animals to parade in front of my lens…
pay me for my time.
› The only exception to this self- ‘As a punter I want the reassurance furrow, the greatest of which is
imposed rule is photographs human nature. You can argue it
of my kids, but that doesn’t that I’m dealing with an expert.’ as much as you like, but people
really count. are, on the whole, intrinsically
The vast majority of we want to see, effectively go on to achieve the status of lazy; or, to put it a little more
photographers have a similar pigeonholing our photography a master can find that being politely, adept at finding
modus operandi, photographing and ourselves along the way. labelled is beneficial, as it tells shortcuts. In life we naturally
the things they like and avoiding But does wilfully narrowing the world who you are and what look for ways to make things
the things they don’t. But we our focus in this way make us you are about. On a commercial easier or quicker and I have no
all have our own particular better photographers? level, if I wanted professional doubt this goes back to the day
Kryptonite: mine is people, portraits of my kids I’d look for we crawled out of the
yours might be landscapes, One thing that a child portrait specialist as primordial ooze: you’ll save a
or still life, or anything that
involves flash. We also all
implement it to a differing
degree, with some of us avoiding
maybe one or two areas that
O is immediately
apparent is that very
few people have
ever become a master of their
genre by photographing
opposed to someone who
‘sometimes photographs dogs,
but also likes seascapes and
shoots the odd wedding –
anything really’. As a punter I
whole lot of energy if you can
find a less labour intensive way
of doing things, and that saved
energy could come in handy for
fleeing anything that might want
we aren’t that keen on, while everything and anything. want the reassurance that I’m to do us harm (and in those
others take it further and Mining one particular subject dealing with an expert and the early days I reckon there were
single-mindedly photograph is what made Leibovitz great more expert they are, the better. plenty of things looking to put
one particular subject at the at portraits, Adams a master But while there are benefits us in our place). In today’s
exclusion of all others. The thing landscaper, and Cartier-Bresson when it comes to establishing an world, harm is often a little
we have in common, though, the granddaddy of street identity, there are also innate further away, but time has
is our desire to only see what snappers. Even those who don’t creative risks to ploughing one replaced it as our enemy:
everyone wants things now and
the easiest way of delivering
that is to cut corners – sorry,
find a shortcut.
In photography this can
quickly lead to certain motifs
coming into play. We don’t
necessarily create facsimile
images, but we certainly start to
identify what works (and what
doesn’t) and adjust our creative
game accordingly. You might
like the look of wide aperture
portraits, for example, or
shooting in-your-face street
shots with an ultra wideangle
lens, but as you venture down
your particular path two things
will inevitably happen: you will
start to build up a coherent
body of work that reveals your
specialism and your increasing
mastery of it, and you will start
to limit your photographic
range. At an extreme level this
can get to the point where
studio lights are locked down
and camera settings become
immutable, enabling you to
deliver a production line of
portrait poses with pixel-perfect
precision. Creative? Of course
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not, but the prices I’m charged
for my daughter’s school
photograph suggest it can be a
lucrative process nonetheless.
But what’s the alternative to
this self-imposed limitation?
The obvious answer is to
photograph anything and
everything and develop an
arsenal of transferrable skills.
Shooting sport will arm you
with the abilities you need to
combat fast action, no matter
where or how it is encountered;
landscape can teach you
patience; studio work can teach
you artificial lighting, and so on.
By spreading your thematic
wings you can become the
proverbial jack of all trades and
a great all-round photographer,
but there is an undeniable truth
to the second part of the
proverb: master of none.
Shooting anything and Darkened edges, soft focus and artificially heightened grain are three of my go-to motifs,
everything may give you the seemingly regardless of the subject. Does this demonstrate my faultless ability to apply
tools you need to tackle most techniques across genres, or is it just laziness? I’ll let you decide.
things, but it won’t give you an
identity, and without that there making so many claims that photographers, or would we be I’m not sure what the answer is,
is little chance of becoming a your message becomes diluted. better served immersing but I do know one thing for
master; you will be holding so So does pigeonholing ourselves – at least on occasion certain: I’m not shooting
many different banners and ourselves make us better – in different ways of working? another wedding. No chance.
F E AT U R E THE ENGLISH
In a new occasional series Alex Schneideman looks at classic, contemporary
All images British documentary photography and the books it has spawned.
© Ian Berry
We begin with a time-honoured work by Ian Berry.
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I
t is now the 40th anniversary of the ‘It is this compassionate, Above A sunny Sunday afternoon brings tourists
publication of Ian Berry’s seminal work and residents on to the hill overlooking Whitby
of British documentary photography,
humane gaze that announces harbour to relax and dream.
The English. The story of the book the photographer’s distinct
starts in the mid-sixties when Ian Berry, approach.’ Opposite top Back-to-back houses in Ashington
established Magnum photographer, in Northumberland, built for colliery workers
protégé of Cartier-Bresson, sole still struggling its way out of the Second at a time when the mines were thriving and
photographic witness to the Sharpeville World War. A three-day week prevailed and almost all the men in the village worked
Massacre and son of Lancashire, returned to in the space of one year two general elections down the mines.
his homeland to set roots for his family and were held that saw Heath start the year and
to re-engage with the country of his birth. Wilson finish it. A decision by the EEC in Opposite below Three men in cloth caps,
By 1974 Berry, working as the first ever 1973 to allow expansion and invite the UK probably coal miners, with Durham Castle
contract photographer for the Observer, had taken place and in 1975 the referendum and cathedral in the background.
had completed some photography that to join would be held. And, among other
would feature in his book, but it was an Arts indicators of decline and chaos, far right erry describes the work of English
Council grant – the first of its kind – that
would enable him to travel through his
homeland and photograph it with the fresh
eyes of the son returned.
In 1974 political chaos and economic
parties secured over 10% of the vote in local
elections in some parts of London. Berry
would be delving into this scene of transition
and sadness as he spent some four months
travelling around his own country trying to
B pioneering photographer Frank
Meadow Sutcliffe as a particular
inspiration. In a satisfying homage
to Sutcliffe, Berry has placed his own image
of Whitby on the cover, this being the town
recession vied to depress a nation that was understand it in tones of black and white. most closely associated with Sutcliffe’s work. ›
49
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50
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Above A miner hauls a barge of coal on the ‘This desire to go deeper and compassion and, at the same time, makes a
canal at the newest and most up to date mine vital social comment.
in the country in Pontefract, Yorkshire. closer explains the emotional In an image of a doctor’s waiting room in
power of the work contained London (above left) we see another aspect
Opposite top Patients queuing in a of Berry’s work; something he refers to as
doctor's waiting room in London. within The English.’ shape. To Berry, whom Cartier-Bresson had
strolled with through the streets of Paris
Opposite below A geriatric ward in dehumanise its subjects. In carrying out the teaching him a new way of looking, shape
a Midlands hospital. photography for The English Berry said it is as crucial to a successful photograph as is
was his aim to reflect the dignity of the the capturing of the moment. ‘Sometimes
› The scene here (see p48) is of a pleasant people he came across. you have the moment and no shape and
Sunday afternoon; people are strolling and This desire to go deeper and closer sometimes the two come together,’ says
lounging on a high bluff overlooking the explains the emotional power of the work Berry. In the doctor’s waiting room image is
river Esk as it winds through the town. It is contained within The English. For example, the graphic representation of this aesthetic
as if we, the viewers, are placed in the midst I asked Berry how he managed to take such ethos. The photograph describes humanity
of the scene – the trippers who have taken a intimate shots as he had in a hospital. One and form in a moment poised so delicately.
seat in the long grass to enjoy gazing at the photograph (see left) shows the sensitivity From the foreground to the background
white dinghies sailing along the river. and drive of the photographer to get as the picture describes the predicament of
Imagine Berry taking this shot, he would close to his story as possible. He had sought the people who find themselves waiting – it
have been immersed in the scene; another official permission to photograph in the describes the universal human condition.
figure among the many taking time on a hospital but was rejected. However, a senior This is a trademark of Berry’s work; the
warm afternoon. It is this compassionate, doctor said he wouldn’t mind if Berry were balance between humanity and aesthetics.
humane gaze that announces the to don a white coat and have a look around
T
photographer’s distinct approach. for an hour or so ‘informally’, as it were. he English was printed by the Oxford
The resulting pictures confront us with the University Press. It was their first
n a long discussion I had with Berry in frontline of the NHS as it was in 1974. Two attempt at a duotone book – the
I
f there’s one subject that photographers struggle with more finish. Unfortunately, for most of us there are simply too many
than most, it has to be still life – and I’m no exception. decisions to make and we end up either with a frame full of
What makes it tricky is the fact that unlike landscape, confused clutter or a headache – usually both in my case.
architecture and portraiture, where the subject matter is already Having realised I’m simply not cut out for constructed still lifes,
there in front of you, with still life photography you start with a I decided to go in search of shots that other people or Mother
blank canvas. Creatively, the world’s your oyster – you can put Nature had already created without even realising. It worked.
whatever you like on that canvas, compose it however you like, No more worrying about what to shoot, or how to arrange the
light it however you like. Fans of still life see this as a huge bonus, props to create an interesting composition – just shoot what
because it gives them ultimate control over their work from start to you find, as you find it. Genius.
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1 CLOSE TO HOME
Places where you tend to find clutter and the loft too – we tend to consign unwanted Near Alnwick, Northumberland
junk make perfect hunting grounds for items to the roof space then forget about These dusty old bottles were discovered at the
found still lifes. Garden sheds can be a real them, but after years of gathering dust back of a farm shed and made a perfect subject
Aladdin’s cave – rusting tools covered in they could suddenly be highly photogenic for a found still life. A shaft of sunlight beaming
cobwebs, stacks of terracotta plant pots, – old toys, piles of books or magazines, in through a window provided the illumination.
dusty old bottles, tins of screws and nails. ancient vinyl records that no one plays any Canon EOS 5DS with 24-70mm zoom lens,
If you live in an old house, take a look in more, tatty old suitcases… 1/400sec at f/8, ISO 400
2 VACANT POSSESSION
Abandoned buildings are well worth
checking out. Deserted cottages and
farmhouses are commonplace in remote
regions such as the Scottish Highlands
and often have lots of possessions still
inside that haven’t been touched for
decades – such as old furniture, discarded
books, rusting bed frames, pots and
pans. It’s the same with old hospitals
and factories, but beware of the dangers
of entering a derelict building, and
consider the fact that you may actually be
trespassing. If this kind of thing appeals
to you, search Urbex Photography online
and you’ll be amazed how popular it is.
Havana, Cuba
This child’s toy was discovered on the floor in
an abandoned building in Cuba. It made a rather
sad sight lying in the dirt, broken and unwanted.
Holga 120GN toy camera with 60mm lens,
1/100sec at f/8, ISO 400
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3 ON THE MARKET 3
Away from home, markets and souks are
another great hunting ground for found still
lifes. The items on sale are often arranged
in such a way they create instant images –
all you do is point and shoot. It’s not only
inanimate objects that make interesting
subjects either – I love to explore fish
markets when I’m on my travels, the more
primitive and smelly the better, and over
the years they’ve been the source of
many great images.
Stonetown, Zanzibar
It’s simply impossible not to find loads of found
still life opportunities in markets. Just wander
around, camera in hand, keep your eyes peeled
and shoot anything that takes your fancy.
Holga 120GN toy camera with 60mm lens,
1/100sec at f/8, ISO 400
6 CAMERA MATTERS 7
You don’t need a top of the range digital
camera to shoot great still lifes. OK, I tend
to use a Canon EOS 5DS or 5D MKIII, but a
compact is ideal and as it’s small enough to
carry everywhere you can use it to capture
subjects you stumble upon by accident.
I’ve also taken some great still life shots
using a Holga toy camera and the camera
in my iPhone. The latest smartphones have
amazing cameras built-in that produce sharp,
well-exposed images in all lighting conditions,
the quality is high enough for you to print or
publish the results and you can carry one in
your pocket without knowing it’s there. There
are also loads of apps you can use to create
artistic results – I love Hipstamatic and also
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Snapseed for editing phone shots.
Havana, Cuba
These still life images were made using the camera
in an iPhone 5 and the Hipstamatic app. No editing
was required – what you see is what I got!
No exposure info recorded
7 PUT IT TOGETHER
There are no hard and fast rules when it
comes to composing found still lifes. The
hard bit – putting the objects together – has
been done for you, so all that remains is for
you to decide how to frame what’s there.
Exclude anything that doesn’t contribute to
the main composition either by adjusting
focal length on your zoom or moving
the camera closer. Also, if adding more
elements, taking some away or rearranging
what’s there will improve the composition,
do it. Just don’t tell anyone I said that!
The most important thing is to keep things
simple, because that’s the key to any type
of still life photography.
Santorini, Greece
I love wandering around with a camera just
looking for interesting subjects and compositions.
When I spotted these objects arranged on a flight
of painted steps, I just couldn’t resist.
Canon EOS 5DS with 24-70mm zoom lens,
1/320sec at f/8, ISO 200
8
Tuscany, Italy
I discovered this dusty old wine bottle in an
abandoned farmhouse. It looked like it had
been there for years, though it would be easy
to recreate the effect. You can even buy
spray-on cobwebs if you’re impatient!
Canon EOS 5D MKII with 24-70mm zoom lens,
1/15sec at f/5.6, ISO 400
10 CREATIVE EDITING
If you want to give your found still life
images a more rustic or fine art finish,
why not experiment with some creative
editing? Silver Efex Pro is the most popular
black & white conversion app these days
and gives you lots of options – I often use
the High Structure presets, Burn Edges,
Image Borders and Film Types to give my
images a unique look and feel. If you have
the full Nik Collection (available from dxo.
com), Analogue Efex Pro is also worth
Cienfuegos, Cuba experimenting with – the Classic Camera
Would you consider this to be a still life? I certainly do. The subject matter may be a little bigger than options, Dirt and Scratches and Lens
usual, but it fits the general definition of still life and also makes an interesting found image. Vignettes can be used to create an almost
Holga 120GN toy camera with 60mm lens, 1/100sec at f/8, ISO 400 endless variety of old-fashioned film effects.
10
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Santorini, Greece
I shot this image in the summer of 2018, though by applying filters and effects from Analogue Efex Pro 2 it could be a century old!
Canon EOS 5DS with 24-70mm zoom lens, 1/160sec at f/4, ISO 400
timdaly.com All images ©Tim Daly
efore They Disappear was the title of one of Walker Evans’ change, creating photographs that capture things at specific
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1 2
INSPIRATIONAL QUOTE
‘A photograph fulfils my deep need to stop things disappearing. In photography I have tried to create order
out of chaos, to find stability in flux and beauty in the most unlikely places.’
Dorothy Bohm
3
5
SECTION 2:
PLAY WITH EMPHASIS
Walker Evans was a master of punctuating
his projects with different kinds of shots.
While famous for standout single images
encapsulating the American Depression, he
was also drawn to capturing smaller details.
1 COLLECT TEXTURES
It’s not necessary to make images that all
1 have a similar level of intensity of description.
Often, in longer projects, quieter and less
obvious pictures really help to build up a
rounder, richer story. Like Walker Evans,
keep a lookout for signs in the local
landscape – not vast all-encompassing
shots but details such as this one. While
it doesn’t work as a stand-alone image,
it does give a sense of the make do and
mend feel of the neighbourhood.
2 OPPOSITES ATTRACT
Placing two visual elements together in a single
composition can also create emphasis, as this
example shows. Look for different textures and
surfaces and show how they interact with the
natural world or the environment. Sometimes
a location will be characterised by a particular
type of local stone or building type – this
can provide another useful ingredient.
Although I had the luxury of shooting this
image at a distance with a 50mm lens, if
space is tight use a 28mm (or equivalent).
Remember, cropping in close is what we
usually do, but the opposite can also work
for showing context.
3 ENHANCING TEXTURE
WITH CLARITY
Flat images (such as this dark grey subject)
really need careful editing to reveal details that
can be hidden in your Raw file. Lightroom’s
Clarity tool does a great job of increasing
contrast and sharpening surface texture –
which results in a much grittier final picture.
Remember, if you’ve got two or more
different tonal areas, create a mask then
apply separate Clarity edits to the areas. In
this example, I’ve made two masks – one for
the door and one for the brickwork.
3
SECTION 3:
DOCUMENTING AN
URBAN REGENERATION
PROJECT
Most towns and cities have a development
that’s underway or about to start, so see
if you can gain access.
1 WHEN TO SHOOT
While you should always seek proper
permission to visit a derelict site, you
might be lucky enough to gain access
during quieter weekends. Shooting under
the supervision of a security guard rarely
produces results, but if you can gain trust,
you may be allowed to return and work 1
unaccompanied. In this example of a historic
dockland building, I’ve tried to record
the large open spaces that have since
disappeared in its present hotel incarnation.
3 TRY TO SHOW
THE LOCAL CONTEXT
If possible, it’s a good idea to show your
chosen subject set against the backdrop of
its surroundings. This can help provide
a reference point when the building is altered 2 3
beyond recognition and also to set it in a
broader context. To create this kind of shot,
think about using a window as a device to
show inside and out, like Robert Frank’s
famous image of the Butte, Montana
hotel window.
4 FINAL OUTCOME
For my project I’ve documented a famous
housing estate in Paris due to be renovated
this year, removing most of its colourful
and characterful mosaic tiles.
INSPIRATIONAL ARTISTS
Robert Frank – The Americans
Walker Evans – Havana
Eugene Richards – The Blue Room
David Campany – Walker Evans:
The Magazine Work
4
COMMENT
A FORTNIGHT AT F/8
For photographers, the most important thing is to get out there and get
timclinchphotography.com
photographing. But sometimes it’s good to immerse yourself in the history
@clinchpics
of the subject and learn about the greats of photography, says Tim Clinch.
ur shared By definition, it’s a discipline that of interesting books about My thoughts about this have
O
passion, requires us to be active. But if photography, looking at it and been brought about by necessity.
photography, you are anything like me, there learning about its history. Don’t I’ve not been very well (nothing
is obviously a is probably something you don’t get me wrong, there is nothing too serious and am now back to
visual thing. It do nearly enough. like getting out and about and match fitness – you’ll not get rid
is a pastime or Thinking. Thinking about actually shooting. I am a great of me that easily) and have spent
a profession that requires us to photography. Sitting down believer in doing, but never a while under strict instructions
get up, get out there and shoot. somewhere quiet with a couple overlook the cerebral. from the doctor to rest. I am not
at my best in circumstances like
this. The beloved partner assures
me I have the attention span and
patience of a gnat, and even I will
admit I get bored quickly.
So once all the boxsets on
Netflix had been exhausted and
my brain had turned to jelly, and
once the slightly turgid Russian
novel I had been meaning to read
all my life had been ploughed
through (and yes it was worth
it, in the end), I turned to an
old friend that had helped me
through situations like this
64 before. I have talked about them
B+W
before, and the two volumes of
The Daybooks of Edward Weston
did not let me down.
WHAT TIM
DID THIS
MONTH
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I expect for all of us our we perhaps lost sight of our about us and our view of life. the confidence (or is it simply
photography will have evolved uniqueness? As we search for As I write this, I am reminded the determination?) not to be
since its early days. We are likely interesting subject matter, it is of my love of human-interest stopped by shyness or by any
to have polished our technique so easy to forget what is truly photography. It feels like a other impediment. I’m already
and smartened our visual meaningful to us. The personal light bulb being switched on thinking about people-focused
thinking. But, in our efforts to be stamp we put on our images, and I am back in time, eager subjects I would like to explore
better or cleverer at photography rather than the travel ones we to pick up where I left off. The and some will feature in this
(or to hide our failings), have put in our passports, says more difference now is that I have One-Day Project series. ›
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› It’s interesting for me to realise THE REALISATION point, the light was fading and
that in this first article I set out Exploring ideas has always been an important part of my photographic I had just enough time to make
to make a landscape-type image practice and I love to think them through with a compact camera. The screen the documentary photograph
without people in it. In doing so, acts as a feedback loop. Here, the idea of photographing a three-dimensional shown here. For me, it says
I walked away from the hoard abstract rock-form against a visually compressed, two-dimensional landscape something of my feelings for the
of tourists scrambling around backdrop didn’t appear to work. The idea may have been fine, but the rock place and what I realised from
Birling Gap, to find the abstract – or perhaps my treatment of it – didn’t live up to expectations. What I then this first One-Day Project. In the
landscape image I went there for. realised was that the people on the beach were the subject. image, I like to see the contrast
When this failed to materialise, between the clearly defined and
the penny dropped and I waves, trying not to get their – watching some of them stand ghostly figures as a metaphor of
realised that the real subject was expensive trainers wet, or worse right on the cliff edge. At this who I’ve been as a photographer,
back there, with those people as opposed to who I might really
and my interest in them. ‘As I write this, I am reminded of my love be. I wonder what you discover
As I walked back along the of human-interest photography. It feels like a on your days out?
beach, I noticed the mainly
young tourists taking selfies, light bulb being switched on and I am back envisagebooks.com
playing dare with the incoming in time, eager to pick up where I left off.’ openstudioworkshops.com
TECHNIQUE
SMART GUIDE TO PHOTOGRAPHY
Why do people behave differently online to how they do in real life? Tim Clinch
All images is an exponent of treating people with respect and courtesy – wherever you
© Tim Clinch
happen to come across them – and rudeness is not to be tolerated…
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o, you have embraced the joys If you are anything like me, you will have truly the leading source of photographic
S
of shooting on your smartphone. excitedly explored shooting with video, inspiration available today. However, there
You have chosen your then realised that you’re rubbish at it and is one major thing about it that bugs me.
processing app of choice (in my don’t like it because, after all, you are I keep reading articles about so-called
case, the mighty Snapseed). You interested in photography first and foremost Instagram etiquette, about how we should
have taken the time and trouble and have got rid of all those dreadful little behave while on the platform, about what
to learn how to use it properly. You have movies to free up more space and, we should and shouldn’t do, about how,
worked out that you really don’t need all importantly, you have joined the Instagram or indeed if, we should react to any
those gimmicky apps that you bought community and started enjoying it. comments posted on our pictures.
when you first started and have deleted As you all know, I love Instagram and
the majority from your phone. put a lot of effort into my feed (@clinchpics). aybe I’m just old. Maybe it’s
You have worked out that smartphone
photography does not necessarily need
to look like smartphone photography
and that the very best of it simply looks
like photography.
It is where I get my daily dose of inspiration
from all the brilliant, talented photographers
I follow, and it enables me to keep up with
the ebb and flow of photographic trends
that breeze through my community. It is
M an online thing, but I find the
answer to all the questions
posted in these wretched
articles to be blindingly obvious. Instagram is
a community, and like any community there
will be friends, people you like, and other
people whose work you like but don’t admire
as human beings, and people you don’t like.
I think you should treat the people in your
Instagram community exactly the same way
you would treat anybody in real life. If
somebody comments on one of your pictures
saying that they like it? Say ‘thank you’. If you
want to use, borrow or re-post something?
Ask politely. If someone offers you
constructive criticism? Think about it, and
discuss it with them. If someone is
gratuitously rude or offensive to you? Don’t
waste your time arguing with them, simply
have nothing further to do with them, or block
them. If someone approaches you trying to
flog something that you really don’t need then
simply do not respond or, again, if they are
obviously spamming you, then block them
(my attitude to obvious spam, by the way,
is that I always report it. If I’m right then the
account will be taken down).
So come on. It’s a community, and if we
allow it to be one where we can learn and
grow our own talents, that’s good.
So, just be nice…
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THE PICTURES THIS MONTH
These pictures are all based on the
statement in the main text that smartphone
photography does not necessarily need
to look like smartphone photography.
As we all know, one of the early criticisms
of a lot of pictures shot on a phone was
that they were faux vintage. The question
was constantly being asked as to why an
image, shot on a cutting-edge, 21st century
capture device, had to look like it was
shot by a Victorian studio photographer.
As we all know now, once we have got
the app-happy stage of our smartphone
photography out of the way, and once we
dedicate ourselves to serious photography
shot on our phones, the better we become.
But there is one app that I still
enjoy playing around with, and that is
Hipstamatic’s Tintype with which all
these pictures were processed.
INSTAGRAMMER
OF THE MONTH
Ron Cooper (@roncooperphotography)
from Denver, Colorado, is a friend of mine
and a brilliant, thoughtful photographer
who produces beautiful, calm, considered
portraits from his travels around the
world, many of them in rich black & white.
Good work Ron!
SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see the
pictures you take when the moment is right. We have three Samsung EVO Plus
64GB MicroSDXC cards with SD Adapters (worth £25.99) which have up to
100MB/s Read and 60MB/s Write speed to give away each month to three winners.
73
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www.samsung.com/memorycard
YOUR B+W
SALON
In our search for some of the best work by black & white aficionados,
All images we discovered Remis Scerbauska’s street photography with
© Remis Scerbauska
a different slant – that is also a comment on society.
‘In my search for new ideas for street photography, I shot a series of pictures of people in front of white
surfaces so as to separate them from the cityscape. My idea was to create the feeling that these people
were isolated from their surroundings, always in a hurry, and with no connection to the environment.’
74
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75
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76
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SUBMIT YOUR WORK TO SALON
78 We are looking for stories told entirely in pictures. If you think you have just that,
B+W submit a well edited set of between 10-15 images online at blackandwhitephotographymag.co.uk.
Turn to page 86 to see how you can submit your work.
!
ٳn
!Á 0 ( áX Á R
16-19
March 2019
The NEC, Birmingham
nƺƏȸȇȇƺɯɀǸǣǼǼɀƏɎǼǣɮƺƳƺȅȒɀƏȇƳȵȸƏƬɎǣƬƏǼɎƏǼǸɀ
TESTS AND
PRODUCTS
BLACK+WHITE
LOVES
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APERTURE
JACKET
Designed for outdoor photographers,
the Country Innovation Aperture Jacket
boasts 13 pockets. Each pocket has side-
elastication, so it can expand to around
15cm to hold large objects. The jacket
has a tough cotton outer with a
waterproof, breathable lining.
From £275
countryinnovation.com
SONY FE
SAMSUNG 24MM F1.4 GM
512GB MICROSDXC This prime lens joins the line-up of Sony’s
New memory card with SD adapter offering flagship G Master series. It’s a compact and
read and write speeds up to 100Mb/s and lightweight lens for cameras such as the
90Mb/s. Compatible with a range α6500 and α6300. Makers promise high
of devices, including DSLRs. resolution and beautiful bokeh.
£227.99 samsung.com £1,449 sony.co.uk
85
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EIZO
CG279X
Aimed at pro photographers and VELBON UT-3AR
post-production experts, this new monitor TRAVEL TRIPOD
promises top-notch colour, accuracy, New tripod that weighs 787g but is capable
consistency and clarity. It has a 27in screen of supporting up to 3kg of camera gear.
designed for precise colour management Folds down to 29.5cm and comes with
and boasts a built-in calibration sensor. carry case and carabiner clip.
£1,830 eizocolour.com £79.99 intro2020.co.uk
COOPH
HEATABLE OLYMPUS EXPLORER LEICA D-LUX 7
PHOTO VEST Designed by Manfrotto, the Olympus High performance compact camera
Developed in collaboration with THERM- Explorer holds any Olympus OM-D or with a four-thirds sensor and a Leica DC
IC, this new photo vest features an internal Olympus Pen camera body plus up to three Vario-Summilux 10.9-34mm f/1.7–2.8 ASPH
heating system to keep you warm while lenses and a 14in laptop. The bag has a zoom lens. The 17Mp camera offers a
photographing on cold days. It also boasts water repellent coating and a detachable touchscreen display, Bluetooth connectivity
a reversible design plus deep pockets protective camera and lens pouch with and USB-C charging capability.
to store photo accessories. configurable internal dividers. It also shoots 4K video.
€389 store.cooph.com £139.99 olympus.co.uk £995 leicastore-uk.co.uk
HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
86
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Do you have a single image that you’d Shoot with your smartphone and send in your pictures – you could be one of three
like printed big and hung on your wall? lucky winners each month who wins a Samsung EVO Plus 64GB MicroSDXC card.
Send the file to us and you could Upload your pictures to our website, via Twitter by tagging us @BWPMag and using
win just that. the hashtag #smartshots. If you are successful we will request high-res files.
87
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FOLLOW US ON FACEBOOK
facebook.com/blackandwhitephotog
FOLLOW US ON TWITTER
@BWPMag
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@bwphotomag
PRIVACY
Deardorf 8x10 Field Camera with 5x4 reducing back & dark slides (Lens sold seperately) User £1590
Rodenstock 360mm f6.8 Sironar-Nwith LEE Filters Bellows hood for 10×8 Mint- £550
Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
Please contact us on 0207 436 1015 or [email protected]
NEXT MONTH
B + W ISSUE 227 APRIL 2019 ON SALE 14 MARCH
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VWDNLQJDUWLVDQDOSURGXFWLRQLQDVPDOO*HUPDQIDFWRU\PDNH(''<&$0SDUWLFXODUO\FRPIRUWDEOH\HWH[WUHPHO\GXUDEOHDQGWKHUHIRUHVLPSO\XQLTXH
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YOUR B+W LAST FRAME
Here at B+W we’re looking out for some really stunning single images that
just lend themselves to printing and mounting large scale. Each month one
talented winner will have their picture given this treatment by London’s
© Robert Bolton
state of the art printing service, theprintspace – it could be you!
96
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This month’s winner is Robert Bolton who wins a 20x24in print dry-mounted on to Foamex,
an exceptional quality and highly rigid foamboard. Robert can choose from a range
of four digital C-type and seven fine art inkjet paper for printing.
HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to: B+W Photography, Find out more at
Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
Refocus
your
attention
www.streetphotography.com
Our Revolution is to expose the BEST for free. To inspire & educate.
If you have outstanding street photography, street-portraits, street
art-photography, street-documentary or have something impressive
to say about the past, present or the future of street photography,
then we’d like to hear from you. Visit the website to discover more.