Black + White Photography - January 2018 UK

COOL, CREATIVE AND CONTEMPORARY
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© Anthony Bailey
BLACK + WHITE THE POSSIBILITIES

PHOTOGRAPHY
EDITORIAL
Editor Elizabeth Roberts
OF LANGUAGE
email: elizabethr@thegmcgroup.com ith photobooks becoming ever more
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com
Features Editor Anna Bonita Evans
email: anna.evans@thegmcgroup.com
Designer Toby Haigh
W popular – and interesting – I begin to
notice that the way we ‘read’ photography
is changing. Our engagement is less literal
– for instance, if we look at a series of documentary
images from the 1970s we read the images in a linear
ADVERTISING way because they are largely self-explanatory. Today, the
Advertising Sales Guy Stockton
tel: 01273 402823 demands put on us are different – there is a more subtle
email: guy.stockton@thegmcgroup.com approach; we are given clues and signs by which we
PUBLISHING
EDITOR’S decipher meaning and we can bring to the work our
Publisher Jonathan Grogan LETTER own experiences and feelings.
There’s nothing unusual about this – all genres of
MARKETING
Marketing Executive Anne Guillot
JANUARY creative work grow and change over time and so does
tel: 01273 402 871 2018 the audience’s understanding. But one thing I am pleased
PRODUCTION about is that text is now being included in a number of
Production Manager Jim Bulley different forms from prose to poetry. The success of this,
Origination and ad design GMC Repro
Printer Buxton Press Ltd
of course, is dependent on the writer’s competence and
Distribution Seymour Distribution Ltd engagement – as is the same for photography. So my
feeling is that images and text should be born together, nurtured and fed as though
SUBSCRIPTIONS
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When writing is used in parallel to imagery, it can
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© Michael James O'Brien © Christoph Jorda
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© Chris Friel
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© Giulia Berto
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BLACK+WHITE PHOTOGRAPHY ISSUE 211 JANUARY 2018 NEXT MONTH’S ISSUE IS OUT ON 18 JANUARY
COVER 32 ON THE ROAD 18 IN THE FRAME

Picture by Victoria Will. The innovative pictures Your guide to exhibitions in the UK
See Susan Burnstine’s interview of Chris Friel
with her on page 20 23 ON THE SHELF
68 FACE TO FACE The best new photography books
FEATURES Giulia Berto answers
08 HEAVEN AND EARTH our questions COMMENT
Christoph Jorda on photographing 20 AMERICAN CONNECTION
a beloved missionary NEWS Susan Burnstine talks to our cover
04 NEWSROOM photographer Victoria Will
24 WHO’S THAT GIRL? All that’s new in black & white
Michael James O’Brien on 66 A FORTNIGHT AT F/8
the theatricality of New York 06 ON SHOW Tim Clinch on the craft
drag queens A unique exhibition for you of photography
02-03_CONTENTS_211 ER-MB.indd 2 30/11/2017 14:47

© Lee Frost © The Irving Penn Foundation
50 42
© Tim Daly
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FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 86 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK
TECHNIQUE INSPIRATION TESTS & PRODUCTS 74 SALON

50 TOP TIPS 42 CENTENARY 80 CHECKOUT Photographs that tell a story
Lee Frost’s great ideas for using Celebrating the work of Six of the best 85mm lenses
shadows in your photography the great Irving Penn 86 HOW TO
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56 PROJECTS IN 46 THINKING Cool new gear We want to see
VISUAL STYLE PHOTOGRAPHY your best work
Add some artful distress Alex Schneideman on the YOUR B+W
to your pictures with Tim Daly development of photography 40 SUBSCRIPTION OFFER 90 NEXT MONTH
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70 SMART GUIDE 60 INSIDE THE BOX to your door
TO PHOTOGRAPHY Eddie Ephraums explores 96 LAST FRAME
Get the best from your how setting limits can 72 SMARTSHOTS Your picture could
photography apps promote ideas Your pictures could win a prize win a great prize
02-03_CONTENTS_211 ER-MB.indd 3 30/11/2017 14:48

NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
HIGH CONTRAST
An innovative book by Dayanita
Singh has won the Photobook
of the Year prize at Paris Photo.
Dayanita Singh was
interviewed in B+W 200. Her
book, Museum Bhavan, takes the
form of nine individual ‘museums’
in book form and is a miniature
version of her travelling exhibition.
Other winners in the Paris
Photo–Aperture Foundation
Photobook Awards were Mattie
Boom and Hans Rooseboom,
who won photography catalogue
of the Year for New Realities:
Photography in the 19th
Century, which accompanied a
recent major exhibition at the
Rijksmuseum in Amsterdam.
04 aperture.org
Exterior, foyer, cafe, conference
B+W
Hasselblad has introduced
a Rent a Hasselblad service. COMING SOON and academy lounge
Photographers can hire a camera Pictures have been released of a big new exhibitions by Annie Leibovitz, Bill Brandt,
and lens for a photoshoot or hire photography gallery due to open in London. Helmut Newton, Sally Mann and Irving Penn.
one to try the equipment out.
Fotografiska London will occupy 89,000 square As well as showing photography, the new gallery
Forty rental pick-up locations have
been set up around the globe.
feet of space and host up to seven exhibitions that in Whitechapel, London, will offer two restaurants,
hasselblad.com/rental will all be accessible with one entry ticket. a cafe and bar. An academy will run photography
The gallery, which opens in November 2018, courses and space will also be available for product
Get your entries in for the Pink aims to provide a world-class space to show launches, conferences and charity events. The
Lady Food Photographer of the international photography. The original gallery will also expand the Fotografiska for Life
Year. Categories cover a wide Fotografiska opened in Stockholm in 2010 and has initiative, which focuses on world issues and seeks
range of subjects and the deadline become one of the city’s top attractions, holding to help the subjects of the pictures.
for entries is 6 February, 2018.
pinkladyfoodphotographer
oftheyear.com
Eighty galleries exhibited work FILM IS BACK

at Fotofever in Paris. The fair, The film revival continues with the
which is dedicated to showing announcement of a new SLR camera.
contemporary photography, The Reflex 1 is described as a modern
featured galleries from around re-imagining of a classic SLR and is thought to
the world and attracted 10,000
be the first update on the manual SLR system
visitors. The next Fotofever is at
the Carrousel du Louvre in Paris for 25 years. Features include an interchangeable
from 9 to 11 November 2018. lens mount that allows lenses made by Nikon,
fotofever.com Canon, Olympus and Pentax, plus a daylight
interchangeable back for easy film loading and an
A new gallery has opened at app that automatically records camera settings.
Birmingham New Street Station. The Reflex is designed by a team of
The exhibition space, called photographers, designers and technologists and
Parkside Platform, is run by
was funded through Kickstarter. It is expected to
Birmingham City University,
which also runs Parkside Gallery. be available in August 2018 and will be followed by
bcu.ac.uk a range of photography products and accessories.
04-05_NEWS_211 ER-MB.indd 4 30/11/2017 11:21

INTO THE
WOODS
Pictures by Ansel Adams, Alfred
Steiglitz and Edward Steichen are
displayed as part of a new exhibition
at the V&A in London.
Into the Woods: Trees in
Photography charts how trees have
fascinated photographers from the
birth of photography to the present
day. The exhibition is the first to
draw from the recently transferred
RPS collection and the V&A’s
permanent collection.
Among the earliest pictures
displayed are an 1839 photograph
by Johann Carl Enslen, who was
a German painter inspired by
Henry Fox Talbot; and an 1854
image by William, Second Earl of
Craven, who had a custom-built
horse-drawn van that he used as
a camera and darkroom. Other
photographers include Paul Strand,
Agnes Warburg, Lady Clementina
Hawarden, Henri Cartier-Bresson
and contemporary artists Simone
Nieweg and Stephen Shore.
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The free exhibition continues
until 22 April.
Aspens, Northern New Mexico, 1958,

by Ansel Adams. © Ansel Adams
NEW FLAGSHIP
Panasonic has launched a new flagship compact
system camera boasting the highest picture
quality in the history of the Lumix series.
The Panasonic Lumix G9 is loaded with a
20.3Mp sensor without a low-pass filter. It also
has a High Resolution mode that provides images
at the equivalent of a whopping 80Mp.
Makers say the image stabiliser has been
dramatically improved and the AF speed is now
the fastest in the world, with a time of 0.04sec.
The camera is built with a magnesium alloy full
die-cast front and rear frame. It’s available in
January 2018. Price £1,499 (body only).
Ten Huts by Darren Moore.
WIDE-REACHING © Darren Moore
A black & white picture by British photographer Darren Moore has won the amateur
category of the Epson International Pano Awards. The awards celebrate the work of
panoramic photographers around the world and attracted more than 5,000 entries.
thepanoawards.com
04-05_NEWS_211 ER-MB.indd 5 30/11/2017 11:21

NEWS ON SHOW
Other art forms can enhance our photography and the latest display of
paintings at the National Gallery sheds new light on black & white, helping
deepen our knowledge of this aesthetic. Anna Bonita Evans reports.
A significant proportion of the display is

dedicated to artists from the mid to late
20th century, including Andy Warhol,
Gerhard Richter and Chuck Close.
With these more recent painters in mind,
an interesting idea is to trace painting and
photography’s interdependent relationship.
Photography’s inception led to monochrome
being widely used by artists to rival, imitate
or be inspired by this new art form. The
threat of photography to painting was first
apparent just before the turn of the 20th
century, especially within the portraiture
genre. Looking at Head of a Girl by Célestin
Joseph Blanc, with its diffused light on the
sitter who is in a classic pose, it strongly
relates to a traditional portrait photograph.
‘Since photography’s invention

06 painters consciously evoked the
B+W effects of the photographic image
in their work and the relationship
between photography and
painting continues to be fertile
and complex right up to today.’
C
urators Leila Packer and Jennifer
Sliwka have organised the 50
pieces into six separate rooms,
with each room addressing a
different aspect of painting in black & white.
Starting with Sacred Subjects, the display
progresses to Studies in Light and Shadow,
Independent Paintings in Grisaille and
Monochrome Painting and Sculpture, which
all largely look at how black & white was
Head of a Girl, 1867 by Célestin Joseph Blanc © Victoria and Albert Museum either used for preparatory sketches or
with moral or philosophical motives.
O
n show at the National black & white from a different perspective, The exhibition continues (in loose
Gallery is an exhibition expanding both our appreciation and our chronological as well as thematic order)
asking us to see the understanding of the aesthetic. to Black & White Painting in the Age of
history of Western art The first known major exhibition devoted Photography and Film and then ends with
differently. An exciting to the topic, this show presents more than Abstraction, with works by Bridget Riley,
collaboration between 50 pieces by pioneering artists from the last Cy Twombly and Frank Stella.
the leading London gallery and Düsseldorf’s 700 years. Expect to find new connections The penultimate room will inevitably
Museum Kunstpalast, Monochrome: Painting between pictures by Old Masters Jan van be of great interest to photographers.
in Black and White reveals how artists past Eyck and Rembrandt van Rijn when they’re As Gabriele Finaldi, director of the National
and present have cast the colour spectrum set alongside portraits from the Victorian Gallery, says in the catalogue’s introduction:
aside to truly explore the nature of seeing. era by Célestin Joseph Blanc and Louis ‘Since photography’s invention painters
By looking at artists who’ve consciously Daguerre – who is now best known for consciously evoked the effects of the
painted without colour, we can examine inventing the daguerreotype. photographic image in their work
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© The Metropolitan Museum of Art
Above Odalisque in Grisaille, circa 1824-34
by Jean-Auguste-Dominique Ingres
Right Joel, 1993 by Chuck Close 07
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and the relationship between photography and

painting continues to be fertile and complex
right up to today.’
This interconnection is seen in Andy Warhol
and Gerhard Richter’s work. They responded to
black & white photography’s influx into the
everyday in exciting ways. They used black &
white images (often from newspapers) as key
source material and a tool to communicate their
artistic intentions. Richter liked photography as it
provided the ‘perfect picture.’ Chuck Close would
begin his portrait paintings with a photograph
(normally a Polaroid of a tightly cropped portrait
of his sitter). Up close, his artworks often simulate
a pixelated photograph.
Demonstrating black & white’s multiple uses
– be it for studies and sketches, as a symbol of
expression or to shift the focus towards light,
shadow, texture and form, or even for abstraction
– here we see how artists from the Middle Ages
to today have found monochrome a useful visual
language to go beyond the ordinary.
ON SHOW
MONOCHROME: PAINTING
IN BLACK AND WHITE
is on show until 18 February at the
National Gallery; nationalgallery.org.uk
© Chuck Close, courtesy of Pace Gallery
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F E AT U R E HEAVEN AND EARTH
How did an extreme sports enthusiast go from shooting images of himself
All images slacklining in the Alps to documenting the life of Egypt’s most beloved
© Christoph Jorda
Coptic Christian missionary? Donatella Montrone talks to Christoph Jorda.
hristoph Jorda’s grandfather once offered to buy him An extreme sports enthusiast, Jorda and friends would go
C and his twin brother a camera for their birthday. ‘My

brother wanted a really small one – a compact – so
he could be like a spy and take pictures everywhere
without being noticed. But I wanted the biggest badass camera
available – a big, red fleshy camera, the bigger the better.’
slacklining in the Alps in summer and skiing off-piste in winter.
He’d often become the group’s designated photographer, capturing
gravity-defying feats in some of the most inhospitable terrains in
the world. ‘We went climbing and somebody had to capture the
moment – someone had to be the idiot behind the lens, so I said,
With his new camera in tow, he’d explore his home village in the “OK I’ll do it,” and soon the picture became more important to me
Bavarian Alps, clamber up trees to find the best angle, or perch on than the action. That’s kind of how I got into photography.’
a precipice to capture a fleeting object. ‘Photography has always Commissions soon followed – from ad agencies and the makers
been a part of my life. My father had this very heavy reflex camera of sporting goods equipment, including Patagonia, Salomon
with three lenses and I always watched how he took pictures and and Maier, as well as magazines Stern, Spiegel and National
changed the film. I was interested in what he was doing, but Geographic, with whom he has recently completed a book,
I never felt that I wanted to be a photographer,’ says Jorda. 
which will be available next spring.
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e’s travelled with NGOs to live with ‘I could write a book in October [2014] and asked them: “Do you

H host families and do community
service, and has documented the
favelas in Rio, children in Zimbabwe,
the fallout from the earthquake in Nepal and,
not least, a deeply moving series on a day in
about my two days with
Mama Maggie. So much
happened’, explains Jorda
think it’s possible to meet Mama Maggie?”
They said no, she’s a holy person, you can’t
just ask her if you can go around with her
to take some pictures. Besides, she lives in a
Muslim country and she’s a Coptic Christian,
the life of a Syrian boy whose face was terribly of his ‘divine’ happenstance.’ and it’s really dangerous to put her out there.
disfigured by war. Jorda’s work is evocative –
capturing both the immense natural beauty and her presence is like the arrival of a deity. flew to Cairo anyway to keep working on
of Earth and its inhabitants, as well as the
monstrous injustices meted out by Earth and
its inhabitants. His reportage of children is
vital, but often makes for devastating viewing.
‘Photographing in nature all the time, with
Dressed in flowing white linens, a headscarf
and giant crucifix suspended around her
neck, she is like the apparition of Mary
herself. Her movements are graceful and
measured, she speaks quietly and clearly, and
I my long-term project in the garbage areas
and one of the journalists called me to say
she had arranged everything with Mama
Maggie’s assistant. She said I could follow
her for one day to capture how a day looks
nothing but sunshine and fresh snow all smiles benevolently as she kneels to wash like in Mama Maggie’s life. She also told me
around you, would be too much – it wouldn’t a child’s feet. A former computer science that for the cover of the book, they would
work for me. But only going to conflict areas teacher at the American University in Cairo, need a photo of Mama Maggie looking
and seeing poor people all the time would she answered God’s call in 1989, dedicating directly into the camera and asked if I could
also be too much – I think it would be too her life to helping the zabaleen – the garbage take it. I said, yeah no problem, easy peasy,
desperate. I need both worlds. The light people – a minority Coptic Christian I can do it. That’s what I thought….
and shadow keep the balance,’ explains the community living in recycling slums on ‘It was four in the morning when the driver
German photographer, who has recently the outskirts of Cairo. ‘I could write a book picked me up. We drove to the church where
become a father. about my two days with Mama Maggie. So Mama Maggie was praying. Everyone was
And so it was in Egypt, when much happened’, explains Jorda of his ‘divine’ sitting on benches but there was one person
photographing the garbage cities, that Jorda happenstance, which led to the eponymous lying on the floor in the back of the church,
learned of Maggie Gobran, affectionately series, completed three years ago. dressed all in white. It was Mama Maggie.
known as Mama Maggie – the founder of the ‘Two German journalists who were writing ‘The ceremony went on for three hours;
charity Stephen’s Children, a beacon of light a book about Mama Maggie found my photos there was a lot of singing and a lot of incense
to the many thousands of children living in about the garbage areas on the internet and creating so much smoke – it almost choked
the darkest of slums in Egypt. Mama Maggie asked if they could use them in their book. me! When it was over, Mama Maggie got up
has been nominated for a Nobel Peace Prize, I said OK. I was planning to fly to Cairo again off the floor and everybody ran over to her.

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 They kissed her feet and tried to touch her. ‘Everyone was sitting on benches on her. I was like… Maggie, look around.
I always compare it to Michael Jackson – It’s a nice idea, but we don’t have a sunbeam,
but there was one person lying
you know, all those hysterical people, those and it’s dark in here.
groupies. And then she saw me and came up on the floor in the back of the ‘So she said OK, and went to take part in
to me. She said hello and gave me a chocolate. church, dressed all in white. the ceremony. I went outside because the
She speaks very quietly, and the next thing It was Mama Maggie.’ incense was giving me a headache, but I was
she said was, “I am going to pray for you.” kind of bored, so then I went back inside and
So she prayed for another half hour, and full of crucifixes. She can’t move, she can only there it was. There was the picture… she was
I took a picture of her holding candles. move her head. Mama Maggie told me this is standing in a sunbeam, inside the church.
‘After that I said, OK, Mama Maggie, we where she gets her strength. It was so intense and perfect.
need a cover. So, you stand right here and ‘Then she invited me to join her the next day I took about 1500 black & white pictures
look towards the camera and I will take the at the monastery. I knew that was a really big over those two days – all of them with one
picture. But she never looks straight into the honour because I knew I was one of the first body, my Canon. I love black & white – I think
camera. It goes against her religious beliefs. Western photojournalists who got to spend it’s timeless, it’s pure. If it were up to me I
Any time she realised that I wanted to take a the whole day with her, so of course I said yes. would do all my work in black & white,’ he says.
picture of her face, she would hold her hands Her driver picked me up the next day at four in Jorda exhibits his reportage internationally
and look up at the sky. In my mind I kept the morning and we drove to the monastery, and is often invited to give talks at galleries
thinking, “I need to take the cover picture for between Alexandria and Cairo. It was foggy, and workshops. ‘Doing this kind of stuff
the book. I need her to look into the camera.” and the cars in Cairo don’t have any wipers, so is never about making money; it’s actually
‘The next stop was to one of the garbage we had to stop every two metres to clean the where I spend my money. Travelling to
areas and some kindergartens. You just can’t windscreen. There were accidents all the way places like Nepal and Egypt, you have to
believe what goes on when she gets out of and it was misty and slippery. I kept thinking sleep somewhere, you still have to eat.
her car. Totally dressed in white, the people we would never get there alive. The commissions I do enable me to tell
go crazy, they cry, they all want to touch her. these stories, to do something purposeful
She’s like a saint to them. We spent about hen we finally arrived, it was with my photography.’
three hours there with the poor people, and
she talked to the children, she washed their
feet and gave away some presents, and then
we went to have lunch at the kindergarten.
Then we went to see a living saint – a really
W way too late, she was almost
done with praying. She showed
me the monastery and said
it would be very nice if she could have a
picture where she stands in a totally dark
To learn more about Mama Maggie's charitable
foundation, go to Stephen's Children at
stephenschildren.org.
To see more of Christoph Jorda’s work, visit his
old person who was lying in bed, in a room church, with one sunbeam casting a light website at christophjorda.com.

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017_BW_211.indd 17 11/27/17 3:45 PM

NEWS IN THE FRAME
If you would like an exhibition to be included in our listing, please email
Elizabeth Roberts at elizabethr@thegmcgroup.com at least 10 weeks in advance.
International listings are on the app edition of the magazine.
LONDON
BARBICAN ART GALLERY
India’s scientists and photographers.
Exhibition Road SW7
sciencemuseum.ac.uk
28 February to 27 May
Another Kind of Life: V&A
Photography on the Margins To 22 April
Photographers working with those Into the Woods:
on the fringes of society. Trees in Photography
Barbican Centre An exhibition that draws on works
barbican.org.uk from the RPS collection and the V&A
permanent photographs collection
BRUNEI GALLERY prior to the opening of the new
To 12 January Photography Centre later this year.
Egyptian Sufi Moulids: Cromwell Road, Knightsbridge SW7
Fairgrounds of the Faithful 2RL vam.ac.uk
Tim Coleman’s 30-year photographic
exploration of the ecstatic Sufi-Dervish WHITECHAPEL GALLERY
festivals in Egypt. To 21 January
SOAS, Thornhaugh Street, Thomas Ruff
Russell Square WC1 First major London retrospective
soas.ac.uk/gallery of the renowned German artist.
77-82 Whitechapel High Street E1
D-CONTEMPORARY GALLERY whitechapelgallery.org
To 6 January
Doug Scott: High Exposure
Black & white images by the mountain NORTH
18 photographer that reveal the extreme HUMBER STREET GALLERY
B+W beauty of the world’s highest mountains. Suzy Parker in Dior Hat, Tuileries, Paris, 1950. To 31 December
23 Grafton Street W1S Photograph by Louise Dahl-Wolfe. Hull, Portrait of a City
dcontemporary.com Collection Staley-Wise Galley. Magnum photographers Olivia Arthur
LOUISE DAHL-WOLFE ©1989 Center for Creative Photography,
Arizona Board of Regents. and Martin Parr are commissioned by
LAMB ARTS Hull UK City of Culture to create their
To 13 January To 21 January own unique portrait of the city.
Night Sky Rising Career retrospective of the influential 64 Humber Street, Hull
Kate Bellm’s first solo exhibition that American fashion photographer. humberstreetgallery.co.uk
explores the wild beauty of nature
through a surreal lens. FASHION AND TEXTILE MUSEUM IMPRESSIONS GALLERY
10 Horse Street, Mayfair W1J 83 Bermondsey Street SE1 ftmlondon.org To 30 December
lamb-arts.com No Man’s Land:
Women’s Photography
NATIONAL PORTRAIT GALLERY Instant Stories: A collection of previously unseen images and the First World War
To 8 Februay Wim Wenders’ Polaroids by this renowned photographer who Pictures taken by women who worked
Taylor Wessing Photographic Work by the award-winning filmmaker. came to prominence through the as nurses, ambulance drivers and
Portrait Prize 2018 To 11 February 60s and 70s music scene. official photographers, as well
The celebrated international competition. 4 Saints in 3 Acts: A Snapshot Proud Central, 32 Adam Street as contemporary artists.
1 March to 20 May of the American Avant-Garde WC2N 6BP proud.co.uk Centenary Square, Bradford
Victorian Giants: Photography from the groundbreaking impressions-gallery.com
The Birth of Art Photography American modernist opera first RESOURCE FOR LONDON
Images by Lewis Carroll, Julia Margaret staged in 1934. To mid January LADY LEVER ART GALLERY
Cameron, Oscar Rejlander and 11 January to 17 February A Gang of Four To 15 April
Clementina Hawarden. Drained Work by Fred Adams, wpnewington, Model Image: Fashion and
St Martin’s Place WC2H 0HE Work by Paul Hart from his new book Becky Frances and Joe O’Malley. Photos from the 1950s
npg.org.uk of the same name alongside work 356 Holloway Road N7 Exploration through photographs of the
from his previous publications, resourceforlondon.org life of top model June Duncan.
PHOTOGRAPHERS’ GALLERY Truncated and Farmed. Port Sunlight Village, Wirral
To 7 January 16-18 Ramillies Street W1F SCIENCE MUSEUM liverpoolmuseums.org.uk/
Near the Wind: Pentti Sammallahti tpg.org.uk To 31 March ladylever
and Kristoffer Albrecht Illuminating India:
A new commission by the two acclaimed PROUD GALLERIES Photography 1857-2017 WHITWORTH ART GALLERY
photographers which portrays the remote To 28 January Ambitious and unprecedented survey of To 1 January
Scottish islands in winter. London Rock: the development of the medium in India. Sooni Taraporevala: Home in the
To 11 February The Unseen Archive by Alec Byrne One of two major exhibitions celebrating City, Bombay 1976 – Mumbai 2016
18-19_IN_THE_FRAME_211 ER-MB.indd 18 22/11/2017 14:36

Black & white images depicting life in SOUTHAMPTON CITY
the cities in which the photographer ART GALLERY
grew up. To 7 April
University of Manchester, Common Ground
Oxford Road David Baker’s photographic four-year
whitworth.manchester.ac.uk exploration of a public park.
Civic Centre, Commercial Road,
MIDLANDS
BANBURY MUSEUM
Southampton southampton.gov.uk
TOWNER ART GALLERY

To 20 January To 21 January
Iceland, An Uneasy Calm A Green and Pleasant Land:
The myth and magic of Tim Rudman’s British Landscape and the
exquisite photography. Imagination 1970s to Now
Spiceball Park Road, Banbury Exhibition from the Arts Council Collection
banburymuseum.org featuring some of the top names
in photography.
IKON Devonshire Park,
To 11 March College Road, Eastbourne
Edmund Clark: In Place of Hate townereastbourne.org.uk
Artist’s new photography, installation Ringo Starr and John Lennon stand in adjoining
and video created following a residency WOLFSON COLLEGE doorways on the set of the film Help! 1965
at HMP Grendon. To 31 December © Stan Maegher/Express/Getty Images
1 Oozells Square, Birmingham Wolfson College Portraits
ikon-gallery.org Mariana Cook’s new black & white series QUINTESSENTIAL BEATLES 1963-1970
of world famous scientists, academics,
SOUTH
CRANE KALMAN BRIGHTON
writers and politicians. Call 01865 274
100 for opening times.
Linton Road, Oxford
To 20 January
The Fab Four at the height of their fame.
To 6 January wolfson.ox.ac.uk LUCY BELL GALLERY

Cream 17 46 Norman Road, St Leonards on Sea lucy-bell.com
A showcase of graduate
photography talent. WEST
CREATE CENTRE
University of Brighton,
Photography Department,
154-155 Edward Street, Brighton
To 5 January
Spike Island
same landscape by Gordon James,
Peter Brisley and Tony Cooper.
Smeaton Road, Spike Island, Bristol
WALES
NATIONAL MUSEUM
19
B+W
cranekalmanbrighton.com Three different interpretations of the spikeisland.org.uk CARDIFF
To 11 March
Swaps: Photographs from
the David Hurn Collection
More than 80 works by leading
photographers that David Hurn
collected by swapping works
with fellow photographers.
Cathays Park, Cardiff
museum.wales/cardiff
SCOTLAND
SCOTTISH NATIONAL
PORTRAIT GALLERY
To 15 April
When We Were Young:
Photographs of Childhood from
the National Galleries of Scotland
Exhibition that delves into the rich
collection of the National Galleries
of Scotland to explore how the
lives of children have fascinated
photographers from the early days
Les Mées, 2016 of the medium to the present.
© Andreas Gursky courtesy
Sprüth Magers
1 Queen Street, Edinburgh
ANDREAS GURSKY nationalgalleries.org
25 January to 22 April
The first major UK retrospective of the work of acclaimed German photographer.
Send your international
HAYWARD GALLERY exhibition details to
Southbank Centre, Belvedere Road SE1 southbankcentre.co.uk anna.evans@thegmcgroup.com
18-19_IN_THE_FRAME_211 ER-MB.indd 19 22/11/2017 14:36

NEWS OUTSIDE THE FRAME
If you would like an exhibition to be included in our listings, please email Anna Bonita Evans
at anna.evans@thegmcgroup.com at least 10 weeks in advance.
AMERICA
APERTURE GALLERY
151 Third Street, San Francisco
sfmoma.org
To 11 January SAN JOSE MUSEUM OF ART

Deutsche Börse Photography To 14 January
Foundation Prize 2017 This is not a Selfie
Work on show includes images Includes self-portraits by Diane Arbus,
by Dana Lixenberg, Sophie Calle Robert Mapplethorpe, Cindy Sherman
and Awoiska van der Molen. and Lorna Simpson.
547 West 27th Street, New York 110 S Market Street, California
aperture.org sjmusart.org
CANTOR ARTS CENTER SCANDINAVIA HOUSE

To 4 March To 5 March
About Face: The Experimental Self:
Intimacy and Abstraction Edvard Munch’s Photography
in Photographic Portraits Little known photographs by the
Work by Ansel Adams, distinguished Norwegian painter.
Imogen Cunningham, John Gutmann, 58 Park Avenue, New York
Barbara Morgan and Edward Weston. scandinaviahouse.org
328 Lomita Drive, California
museum.stanford.edu
CHRYSLER MUSEUM OF ART

AUSTRIA
ALBERTINA
To 1 April To 21 January
A New Deal Near Here Robert Frank
Depression era photography from Selected work showing his
20 the Chrysler Museum archives. development as a photographer.
B+W 1 Memorial Place, Virginia Albertinaplatz 1, Vienna
chrysler.org Mantes-la-Jolie, France, 1947 albertina.at
FRANCE
© Lucien Hervé
ERIE ART MUSEUM

To 28 January
Ancient Ink
LUCIEN HERVÉ: CANADA
STEPHEN BULGER GALLERY
B&W portraits of people with GEOMETRY OF LIGHT CLICK HERE To 13 January
tattoos by Mark Perrott. Koza
411 State Street, Pennsylvania To 27 May Deanna Pizzitelli’s poetic B&W
erieartmuseum.org Pictures by the leading architectural photographer. works of her time travelling through
Slovakia and Europe.
GEORGE EASTMAN MUSEUM JEU DE PAUME 25 avenue André Malraux, Tours jeudepaume.org 1356 Dundas Street, Toronto
To 13 May bulgergallery.com
Nandita Raman: Cinema Play House
Pictures of India’s disappearing cinemas.
900 East Avenue Rochester, New York
eastman.org
MONROE GALLERY
OF PHOTOGRAPHY
To 21 January
Pictures by Lewis Baltz, Robert Adams,
Diane Arbus, Stephen Store
and Lee Friedlander.
DUBAI
THE EMPTY QUARTER
Life in Winter Pier 24 The Embarcadero, California To 11 January
GETTY CENTRE Collection of black & white pictures, pier24.org Raya and Sakina
To 28 January all taken in winter. Pictures by Habby Khalil.
Photography in Argentina 112 Don Gaspar Santa Fe, New Mexico RUBIN MUSEUM OF ART Gate Village, Dubai
1850-2010 monroegallery.com To 29 January theemptyquarter.com
Featuring 300 works by 60 artists. India in Full-Frame
1200 Getty Centre Drive, Los Angeles
getty.edu
NATIONAL PORTRAIT GALLERY
To 15 April
Marlene Dietrich:
Photographs by Henri Cartier-Bresson.
150 West 17 Street, New York
rubinmuseum.org
FRANCE
FONDATION CARTIER POUR
INSTITUTE OF Dressed for the Image L’ART CONTEMPORAIN
CONTEMPORARY ART, BOSTON Pictures of the many different personas SAN FRANCISCO MUSEUM To 25 February
To 2 April of the German actress. OF MODERN ART Malick Sidibé: Mali Twist
Nicholas Nixon: 8 Street NW, Washington DC To 4 February The largest show of Sidibé’s portraits.
Persistence of Vision npg.si.edu Walker Evans 261 Boulevard Raspail, Paris
Resonant B&W pictures capturing Major retrospective of one of the fondationcartier.com
the passage of time. PIER 24 PHOTOGRAPHY pre-eminent photographers of the
25 Harbor Shore Drive, Boston To 31 January 20th century, featuring more than GALLERIE THIERRY BIGAIGNON
icaboston.org The Grains of the Present 300 vintage prints. 25 January to 10 March
NEW 20-21_OTF_211/ABE.indd 20 12/19/17 12:21 PM

Fragments #1 HOUSE OF PHOTOGRAPHY
Colourful, dreamlike Polaroid pictures 26 January to 21 May
by French fashion photographer Deluxe: New German Photography
Thomas Paquet. after the Düsseldorf School
9 rue Charlot, Paris Group show with exhibited images
thierrybigaignon.com all taken in the last 13 years. Includes
works by Maja Wirkus, Katrin Kamrau
GRAND PALAIS and Kolja Linowitzki.
To 29 January 1 Deichtorstrasse, Hamburg
Irving Penn deichtorhallen.de
Celebratory retrospective of one of the
greats of photography. More than 200 IMMAGIS FINE ART
prints on show, including portraits, PHOTOGRAPHY
still life, fashion and nudes. To 27 January
Avenue de Champs-Élysées, Paris Elephants in Heaven
grandpalais.fr Joachim Schmeisser’s B&W
photographs of elephants in the wild.
GERMANY 1 Blütenstrasse Munich

immagis.de
GALERIE HILANEH Underwater Swimmer,
VON KORIES
To 26 January HUNGARY NETHERLANDS
Esztergom, Hungary, 1917
© André Kertész – courtesy of Ministère de la
Culture et de la Communication / Médiathèque
Un regard Personel ROBERT CAPA CONTEMPORARY de l’architecture et du patrimoine
B&W photographs of Paris PHOTOGRAPHY CENTRE MIRRORING LIFE

in the 1950s by Sabine Weiss. To 18 March
35 Belziger Strasse, Berlin Golden Boundaries To 10 January
galeriehilanehvonkories.de Contemporary photographs André Kertész’ seminal work. CLICK HERE
of youths and adolescents.
HELMUT NEWTON 8 Nagymezö Street, Budapest FOAM MUSEUM Keizersgracht 609, Amsterdam foam.org
FOUNDATION capacenter.hu
To 13 May
Guy Bourdin: Image Maker
Fashion work by the Vogue photographer. ITALY Incontri
Italian photographer Paolo Roversi’s
Eddo Hartmann’s powerful
documentation of North Korea
Jebensstrasse 2, Berlin GALLERIA CARLA SOZZANI fashion pictures, highlight the influence and its people.
helmutnewton.com To 11 February painting had on his photographs. 401 Keizersgracht, Amsterdam 21
Corso Como 10, Milan huismarseille.nl B+W
galleriacarlasozzani.org
MUSEUM HILVERSUM
FORTE DI BARD 5 to 28 January
To 7 January World Press Photo
World Press Photo Arresting photojournalism from
Winning images on display this year’s competition.
in the historic fort. Kerkbrink 6, Hilversum
11020 Bard, Valle d’Aosta worldpressphoto.org
worldpressphoto.org
SPAIN
NETHERLANDS FUNDACIÓN MAPFRE
FOAM MUSEUM 25 January to 20 May
To 10 January Ed van der Elsken
Mirroring Life Major retrospective of work by Dutch
André Kertész’ seminal work. photographer Ed van der Elsken (1925
19 January to 28 March to 1990). Includes images from Paris,
Back to the Future Amsterdam, Hong Kong and Tokyo.
A display that looks at what the Bárbara de Braganza exhibition hall,
photographic medium was, what it is, Madrid fundacionmapfre.org
Kanazawa Hakkei, Yokohama #8, 1975-76 and what it is likely to be in
SWEDEN
© Ishiuchi Miyako
JAPAN
the near future.
CLICK HERE Keizersgracht 609, Amsterdam
foam.org FOTOGRAFISKA
RETROSPECTIVE: GRAIN AND IMAGE To 21 January
HUIS MARSEILLE MUSEUM Hygiene – A Circle of Life
To 4 March VOOR FOTOGRAFIE Ida Borg’s pictures exploring the
Ishiuchi Miyako’s most thought-provoking work; includes her To 4 March importance of hygiene.
radical interpretation of Hiroshima after the bomb Jerusalem Stone Stadsgardshamnen 22, Stockholm
and her interest in alienation. Ad van Denderen’s portrait of daily life fotografiska.eu
in Israel and the Palestinian territories.
YOKOHAMA MUSEUM OF MODERN ART To 4 March Send your exhibition to
3-4-1, Minatomirai, Kanagawa yokohama.art.museum Setting the Stage: anna.evans@thegmcgroup.com
Pyongyang, North Korea, Part 2
NEW 20-21_OTF_211/ABE.indd 21 12/19/17 12:22 PM

COMMENT
AMERICAN CONNECTION
Victoria Will had been photographing film stars for several years before
she had the idea of creating tintype portraits. By using a traditional process
susanburnstine.com
she was able to create something fresh and new, she tells Susan Burnstine.
fter living in
A
Los Angeles for
30 years and
working in the
entertainment
industry for much
of that time, glossy, flawless,
overly-produced celebrity images
rarely catch my eye. But when
I first saw Victoria Will’s tintype
celebrity images from Sundance
I was mesmerised.
Will began her career as a
staff photographer at the New
York Post, then took the leap into
the freelance world where she
worked for the Associated Press,
New York Times, Vogue and
many other notable newspapers
and publications. She had
been photographing portraits
of celebrities at Sundance for
three years but was approaching Anne Hathaway Sam Shepard
20 burnout. ‘It became more
B+W
challenging to keep it visually
interesting both for me as a
photographer and also for the
subjects, so I was always trying to
come up with something that felt
new and refreshing,’ she says.
Her creative spark was
reignited when she attended the
Photoville festival in New York
City and happened upon the
Penumbra Foundation’s booth
where photographer Lisa Elmaleh
made a tintype portrait of her.
‘I was completely captivated by
the process,’ she says. ‘Watching
her standing in front of the
camera, then disappear into the
darkroom, then re-appear, wash
and fix the plate. I knew if I was
that excited by the process and
seeing the final product then a
group of actors and directors at
Sundance would probably also Mark Ruffalo Maggie Gyllenhaal
enjoy it. It was a gamble I was
willing to make.’ little room for second chance, much they returned for a second and the conditions in the
Will taught herself the tintype attempting it at the Sundance sitting. Her goal was to complete building were hot and dry, a lot of
process by reading countless Festival was even more stressful 10 portraits that first year but she artifacts appeared on the tintypes
books, asking a number of since the actors typically had only made between 40 to 50 tintypes due to preparation and handling.
photographers for guidance and a few minutes allotted for each and was thrilled by the success. Many tintype purists consider
by watching videos of people PR shoot. Will had time to shoot She admits she did not know these artifacts are mistakes but
make tintype plates on You Tube. just one plate per subject, but a the chemistry well in the first Will declares: ‘To me, it’s what
As the tintype process leaves few actors enjoyed the process so year. As the chemistry is finicky makes them so beautiful.’
20-21_USA_CONNECT_211 ER-MB.indd 20 30/11/2017 11:43

All images © Victoria Will
EXHIBITIONS
USA
AKRON
Akron Art Museum
Until 11 March
Micro/Macro: Views of Earth by
Marilyn Bridges and Jeannette Klute
akronartmuseum.org
CHICAGO
Catherine Edelman Gallery
Until 24 February
Elizabeth Ernst:
Shady Grove Nursing Home
edelmangallery.com
HOUSTON
Catherine Couturier Gallery
Until 17 February
Maggie Taylor
catherinecouturier.com
LOS ANGELES
Annenberg Space for Photography
Until 4 March
21
B+W
Cuba Is. Featuring Adrian Fenandez,
Elliott Erwitt, Hermes Mallea,
Leysis Quesada Vera, Luis Gispert
and Michael Christopher Brown.
annenbergphotospace.org
NEW YORK CITY

Benrubi Gallery
Until 20 January
Andre Cepeda Depois
benrubigallery.com
PORTLAND
Elijah Wood Blue Sky Gallery
Until 31 January
Robert Frank:
‘I was completely
W
ill was pregnant reception. The book organically
Books and Films 1947-2018
the second year she came to life after she agreed to
created tintypes at captivated by work with the creative team of
blueskygallery.org
Sundance and was

the process.’ Ashly Stohl and David Carol at STANFORD
unable to handle the chemistry, Peanut Press Books. ‘Because it is Cantor Arts Center
so some photographers who yearned for a new direction that a celebrity book, it could be taken Until 4 March
worked with the Penumbra would be the opposite of tintypes. in so many directions, but right About Face: Intimacy and Abstraction
Foundation assisted her. ‘They She decided on a technology- at the beginning we all had the in Photographic Portraits
know the chemistry better, and driven series and is now creating same vision of the book,’ she says. Featuring Ansel Adams,
in their more experienced hands, cinemagraph portraits using a ‘We wanted it to be a piece of art Imogen Cunningham, John Gutmann,
there were fewer mistakes,’ she motion camera as a means to in its own right, not something Barbara Morgan and Edward Weston
museum.stanford.edu
says. In the end, the tintypes ‘bring a fresh perspective to what slick and commercial. That’s
produced that year lacked the is often a standard portrait studio.’ why I joined forces with them.’ TUSCON
artifacts present the previous year. She always wanted to publish Her book is now available Etherton Gallery
‘There is no right or wrong,’ she a monograph, but was not sure of through the Peanut Press Until 3 March
says. ‘I love both sets of images.’ the content until after the Books website. Rodrigo Moya, Graciela Iturbide,
After two years of shooting Sundance tintypes received an peanutpressbooks.com Masao Yamamoto
tintypes at Sundance, Will enthusiastic international victoriawill.com ethertongallery.com
20-21_USA_CONNECT_211 ER-MB.indd 21 30/11/2017 11:43

Repeat Winner of the TIPA Award
‘ Best Photo Lab Worldwide’

Awarded by the Editors of 28 International Photography Magazines
© Furniture by Vibieffe
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022_BW_211.indd 22 11/23/17 4:04 PM

BOOK
REVIEWS ON THE SHELF hrough Esther May’s
T grainy black & white

THE
images we are introduced DISAPPEARANCE
to Elm Tree Farm, a
working farm that grows a range OF JOSEPH
of organic vegetables, fruit and PLUMMER
flowers along with livestock. The
Amani Willett
DUBLIN farm is also a social enterprise
that offers training to adults with Overlapse
Krass Clement
learning disabilities and autism. Hardback, £35
RRB Publishing
Hardback, £45
WATER SALAD Campbell spent a year
earching the past
S
photographing the farm and its
ublished more than
ON MONDAY workers. The resulting pictures through photography is
P 20 years ago, Krass

Clement’s photobook
Drum became a classic
of the genre, and now his new
publication Dublin, while not
EM Campbell
esthermaycampbell.com
Softback, £20
are intimate, insightful and
tender, revealing moments in
which those who are cared for
become the carers – tending the
earth, the animals and the plants. A powerful role reversal.
a challenge, but one that
Amani Willett has risen
to with charm and insight.
Back in the 1970s his father
bought a piece of undeveloped
of the same groundbreaking ilk, The intriguing title comes, not from any poetic allusion but from a land in New Hampshire as a
does have the hallmark of his more prosaic source – simply a regular farming chore: water salad on place to escape the stresses
well-defined style. Monday, ready for Wednesday market. In many ways this represents of modern life, but it was not
During a short period from Campbell’s point of view – we see these people, often marginalised in until 2010 that Amani became
February to March 1991, society, as adults with a whole range of personalities, emotions and interested in the story of a man
Clement made three trips to talents, working hard and living their lives. called Joseph Plummer who,
Dublin to walk its streets and A moving and beautiful record which has taken insight, empathy he discovered, had lived as a
define his view of the city. and committment to achieve – in a very nicely produced book. recluse in these same woodlands
The resulting images paint a Elizabeth Roberts in the late 1700s. Captivated by
bleak picture of overcast skies, the story, he researched local 23
B+W
deprived areas and people ‘The resulting pictures are intimate, history and managed to define
enduring hard lives. But there a bare outline of the man’s life.
is also a kind of grim romance
insightful and tender, revealing The story is revealed through
about the place enhanced by the moments in which those who are fragmented images and text
richness of the black & white that allow the imagination to
printing – a street at night
cared for become the carers.’ wander with the photographer
hung heavy with fog, a lone and his father as they walk in
newspaper seller, an elderly man ragments of everyday the footsteps of Plummer, whose
on a horse-drawn cart – classic
images with an enduring appeal.
You feel as though you are
led through Clement’s vision of
the hardship and beauty of the
F life that, homed in on,
become sacred, moments
of grace that can never
be repeated in exactly the same
way – this is at the heart of
vehement rejection of progress
– roads and railways – led him
to a life of seclusion.
An intriguing and beautiful
book that draws you into a story
place, his own experience of the Cig Harvey’s latest monograph. that you can never fully know,
Dublin he saw. Having experienced a traumatic and one that questions the
Elizabeth Roberts road accident, Harvey’s focus values of progress.
on the incidental has become, Elizabeth Roberts
for her, a way of making sense
of life – and the fragile line that
lies between life and death.
Images that are enigmatic,
lyrical and compelling blend
YOU AN
with the intermittent text to ORCHESTRA
reveal a private world of personal
relationships, caught moments
YOU A BOMB
and magic-like experiences. Her Cig Harvey
daughter, Scout, her friends and Schilt Publishing
family all appear fleetingly on the Hardback, £40
pages like memories or dreams.
Encased between covers of a vibrant deep yellow, this book points us
to the awe of the present and to the future, fragile and uncertain as it is.
Elizabeth Roberts
23_ON_THE_SHELF_211 ER-MB.indd 23 22/11/2017 14:38

F E AT U R E
WHO’S THAT GIRL?
Michael James O’Brien’s portraits of New York drag artists are an
All images intriguing mix of tradition and the avant-garde. Thirty years on, the series
© Michael James O’Brien
has had a resurgence of interest, but why now? Anna Bonita Evans reports.
W
hen Michael James on a different persona is tricky. When you’re reality TV series RuPaul’s Drag Race (2009
O’Brien returned to the photographing people in drag they put on an to present) that it was truly acknowledged.
city of his birth he saw entire layer, so I had to try and get through This late coming acceptance of drag has
a bubbling subculture at that to take a compelling portrait. It was a lot given Girlfriend a second wave of popularity,
odds with conventional of work. Drag queens are very strong people with a major exhibition shown at LOOK/15,
society, which only and very forthright, but in another way they Liverpool’s international photography festival.
spilt over when the sun went down. The are also very fragile and uncertain. I’ve often As recognition started to grow O’Brien had
nightclubs of 1980s New York embraced been criticised for not being more immersive to reconnect with Girlfriend, as after the book
the burgeoning drag queen scene and every in this project. Nan Goldin’s The Other Side was released he quickly fell out of love with it:
night of the week their stages were filled with is an interpretation of a similar scene – ‘For a while I couldn’t look at the project.
entertainers who subverted the status quo and a piece of work I love – but it’s totally I wasn’t sure what direction to take the
through music, costume and performance. opposite to what I do. Girlfriend had project in and my life had changed so much.
Recognising the movement and community to be more objective but still show full I really had had enough and needed to do
was largely undocumented, O’Brien began understanding and empathy.’ something different, so I stopped for a while.’
to create a photographic archive of this Rather than creating an intimate Putting the camera to one side O’Brien
coterie of the avant-garde. documentation of his subjects’ lives, turned to writing poetry, something he’d
Girlfriend is a collection of these O’Brien places drag queens centre stage, done since he was a teenager. With Frank
24 monochrome portraits. Originally conceived giving this shunned community full O’Hara and Allen Ginsberg as continual
B+W
as a book and published in 2000 by Random exposure. Loaded with poise, glamour, sources of inspiration, O’Brien’s poetry is
House, the series has evolved into a project humour, beauty and weirdness, these far more immediate than his photographs
O’Brien revisits intermittently. A mixture of portraits champion the unique art form. – a refreshing change from the complex
portraiture and reportage, here you see the From butch queens to pageant queens, shoots for Girlfriend. He also worked with
series’ earliest photographs – all taken in comedy queens to androgyny queens, American artist Matthew Barney for a decade
early 90s New York. While O’Brien’s subjects O’Brien has photographed the many forms and opened a restaurant in New York’s East
are the embodiment of the era’s ‘now’ his style of drag. ‘These pictures aren’t of transgender Village. His main focus was charity work and
follows tropes of an earlier period, possibly or transsexual people, or even of female he became heavily involved with Susanne
stemming from his time with Walker Evans, impersonation, drag is different. At the time Bartsch’s fundraisers to help fight Aids.
who taught O’Brien during his Master of drag was all about an attitude: it was making ‘When I came back to photography
Fine Arts degree at Yale University. ‘The most a statement about sexuality and gender that I wanted to redefine portraiture for myself,
important lesson I learned from Walker,’ says had come out of terrible repression.’ to create work without any frills,’ says
O’Brien, ‘was the ability to be both present O’Brien. ‘At the same time I was concerned
and invisible when you’re creating a portrait.’ ‘Drag queens are very strong about the generation directly after Aids
Influences of other defining photographers people and very forthright, but and how the devastating disease that had
are clear, with echoes of Irving Penn and shaken the LGBT community of the 80s and
Richard Avedon in each frame. August in another way they are also 90s had affected them.’ Based on a group of
Sander’s powerful Face of Our Time was very fragile and uncertain.’ paintings in Madrid’s Museo Nacional del
a key inspiration, as well as the work Prado, O’Brien created Portrait of a Young
of Nadar, Diane Arbus and O’Brien’s ross-dressing has long been part Man, a straightforward set of colour images
contemporary Peter Hujar. With
a background in fashion photography
(he regularly worked for GQ, Vogue and the
New York Times), O’Brien was well trained
in getting the most out of his sitters while
C of our popular entertainment
(the pantomime dame harks
back to the 16th century when
Shakespeare also widely explored gender
role reversal in his plays), yet drag has largely
of young men dressed in black. O’Brien now
enjoys his time as a lecturer of photography
at the Savannah College of Art and Design in
Atlanta, Georgia. While his pictures of drag
queens now hold additional retro appeal,
still keeping them at ease. stayed on the periphery. Although they’ll always serve as a progressive, powerful
As he talks about the joys of working with Paris is Burning (a 90s documentary statement that recognises the group of people
such theatrical people, he reveals how the chronicling the New York drag scene in the who gave their era warmth, vitality and the
project wasn’t without its challenges: 80s) is a cult classic, it seems it wasn’t until shake-up it needed.
‘To take a portrait of somebody putting the unprecedented success of the American michaeljamesobrien.com
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Lady Bunny

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Sister dimension

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La Homma

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Butch Queens in Chanel

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Miss Guy

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Ebony Jet

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Constance

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F E AT U R E
ON THE ROAD
Chris Friel sees the
world differently and
translates his outlook
through an experimental
photographic practice.
Using intentional camera
movement in a unique
way, Friel is known as one
of the most innovative
image-makers today.
He shares with us Road,
an ongoing project all
shot from the windows 33
of moving vehicles during B+W
his travels to 150 countries
– including Ukraine, India,
Syria and South America.
cfriel.com
All images ©Chris Friel

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BLACK+ WHITE PHOTOGRAPHY
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INSPIRATION
CENTENARY
To celebrate 100 years since
Irving Penn was born,
the Grand Palais in Paris
looks back at the great
American photographer’s
70-year career, with more
than 235 photographic prints
on show. Here we celebrate
some of his finest pictures.
Opposite left Marlene Dietrich, New York,

1948 by Irving Penn © The Irving Penn Foundation
Left Cafe in Lima (Jean Patchett), 1948
by Irving Penn © Condé Nast
Below left The Empty Plate, New York, 1947
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Below right Fishmonger, London, 1950 B+W

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IRVING PENN
is on show to 29 January 2018
at Grand Palais, Paris. The exhibition
then embarks on an international tour.
grandpalais.fr
Opposite Truman Capote, New York,

Below Naomi Sims in Scarf, New York,
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INSPIRATION
THINKING PHOTOGRAPHY
The past two decades have seen a huge transition from traditional to digital
Follow Alex Schneideman
photography that is unique in its history. Alex Schneideman asks if we
on Instagram @schneidemana
have we now experienced the end of the beginning of photography?
ssuming that 1830 give or take a few years. has a future too. If this is the in a unique time because there
A
the Astronomer And now, some 190 years later, case, then where can we place are so many of us around who
Royal, Martin we have moved from the realm ourselves, right now, in the grew up in a time before digital.
Rees, and a few of brown bottles containing development of photography I can recall going to one of the
other notable poisonous substances to the and how will we be written first demonstrations of
thinkers and bland world of flat, shiny about by future historians? What Photoshop in the early 1990s
scientists aren’t right, then machines designed for chatting will photography look like and when it was still just a tool for
human civilisation is set to last that also happen to have small what will shape it as it develops? manipulating film-originated
a bit longer. And, as Mark Twain lenses in them. But for now, let’s examine the images (having been scanned on
said, history doesn’t repeat itself Evidence that human beings unique time in the development the ‘system’ as it was known).
but it often rhymes, we can be have always shown signs of an of photography that we inhabit. Let’s make another assumption
reasonably sure that we have a innate drive to record the world I wonder, of all the people who – when did the digital era start?
few more centuries to go. around them would make it take pictures today, what For me, it started in about 2004,
Let’s agree that what we call safe to assume that, if we have proportion of us have ever taken so let us say for the sake of
photography started in about a future, then photography a picture on film? We are living historical accuracy the digital era 
‘As the inherent value of the photograph has changed, so has the viewer, and this change
in relationship between consumer and medium accounts, in a substantial way,
for how photography has grown as an art form and a technology.’
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Film
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All images © Alex Schneideman
Digital
47
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Digital

Digital
Digital
 started in 2000. That’s only 17 of science to another, from one represents the beginning of the era of photography was about the
years ago – roughly 11 per cent way of thinking about medium whereas the advent of recording of experience for
of the time that photography has photography to another. digital technology heralded the almost exclusively personal
existed. And how far and fast inevitable mastering of consumption. As technology
has technology developed since o make my argument photography by machines for the advanced, the medium was taken
then? This means that you and I
live in a really special time in the
development of photography.
Future historians will call this an
age of transition from one kind
T work, I have to make
several more assumptions.
A new one I’m going to
posit is that the purely chemical
based era of photography
purpose for which machines
were invented – rapid and wide
dissemination and consumption.
We can describe this transition
in another way; the silver halide
from the private into the public
domain as mechanisation made
distribution more possible. In
this way a photograph has gone
from being a private document to
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Film

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Film
‘Where can we place ourselves, right now, in the development of photography

and how will we be written about by future historians?’
a public record. Put another way, the print itself (this is another photograph has changed so has and medium accounts, in a
photography has grown up just subject for another issue!). As the viewer, and this change in substantial way, for how
as a child does – first spending all the inherent value of the relationship between consumer photography has grown as
its years in its own private world an art form and a technology.
and then, as it becomes an adult, AGREE OR DISAGREE? We who are alive today and
moving into the world at large. Let me know at schneideman331 or email me at active photographically have
Another way that alex@flowphotographic.com a unique part to play in the
photography has recently continuing development of the
come of age is the way that THE IMAGES medium. Some of our children
a photograph is consumed by The photographs here represent something of my personal are even returning to film,
the viewer. The earliest journey from film to digital. I first visited the Berber town of hugely fortunate that the
photographic impressions, Taroudant in 1991 as a photographic assistant. I returned to chemicals, techniques and
fugitive as they were, would Taroudant in 2011 to photograph it again, but this time with my expertise still exist for voyages
have been held as delicately and first digital SLR, a 5D Mark 1. As you can see, my style has of discovery into outdated yet
preciously in the regard of the changed – perhaps the difference in shooting media helped that mysterious photochemical
viewer. Rapidly, as images change on its way. An interesting comparison, I hope you agree. reactions. The past is chemical
became first fixable and then and the future is digital. The
reproducible, the value that we NEXT MONTH only time that we will ever
placed in each reproduction I discuss how photography, unlike any other art form, lives straddle the beginning and the
diminished, making the content independently of the teachings of art schools and how it end of the beginning of the
of the image more valuable than develops and changes according to its own lights. medium is now.

TECHNIQUE
TOP TIPS
PHOTOGRAPHING SHADOWS
They help to reveal texture and form in an image, they add contrast
and depth and they make a fantastic subject in their own right.
Lee Frost chases the shadows.
There’s nothing more annoying than locking a wideangle lens on intrusion, let them work for you rather than against you. Shadows
your camera and composing a great shot, only to find your shadow have great visual strength, especially in black & white photography
is right in the way. Shoot early or late in the day with the sun to your where black is a vitally important tone. They can add impact and
back and it’s inevitable – a long, skinny version of yourself dynamism to a composition. They’re brilliant at revealing texture
stretching into the distance and spoiling the shot. and form, so an image looks three-dimensional even though it
The problem is that shadows are visually powerful. They catch isn’t. Shadows work well as both an element in an image and as
the eye and once they’ve got it, they don’t let go. So if you’re trying the main subject of that image. Best of all, wherever you find light
to shoot a great landscape and your shadow creeps in, it’s going to you’ll also find shadows, making them an accessible, versatile and
(ahem) overshadow the beautiful scene you’re trying to capture. exciting subject. Not sure where to begin? Here are my top ten
Turn a negative into a positive. Instead of seeing shadows as an shadow shooting tips.
. SHADOWS IN THE LANDSCAPE

Shadows raking across the landscape not only add a sense of
depth and help to reveal texture, but they can also be used to
lead the eye into the scene or create frames that direct the eye
towards the focal point. For the best results, shoot early or late in
the day when the sun is close to the horizon and throws long, weak
shadows. Keep the sun to the side of the camera so those shadows
become an integral part of the composition and take care if the sun
is behind you as your own shadow may end up in the shot.
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
You never know where you’ll find interesting shadows. I spotted these when
I stopped at a small roadside cafe while driving over the Atlas Mountains.
Coffee had to wait a few more minutes until I’d taken some shots!
Canon EOS 5D MKIII with 24-70mm zoom lens, 1/320sec at f/8, ISO 200
. STILL LIFE SHADOWS

It’s easy to introduce shadows into still life shots because you have
control over every aspect of the image – from lighting to props to
composition. Choose objects that will cast interesting shadows
then experiment. For this kind of effect, use a powerful light source
such as a torch or digital projector and position it low down to I normally prefer to shoot these rock details in overcast weather so the light
the props so the shadows cast are long and strong. Try lighting is soft, but on one occasion I turned up and the sun came beaming down.
the props from different directions to vary the appearance of the At first I was unsure, then I realised that the shadows cast helped to
shadows and play around with unusual camera angles to add reveal the texture of the rock strata, adding a tactile feel to the image.
impact to the composition. Canon EOS 5D MKIII with 70-300mm zoom lens, 1/80sec at f/32, ISO 400
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All images © Lee Frost
. SHADOW PATTERNS
Avenues of trees, telegraph poles, pylons and other
repeated features in the landscape are ideal for
creating shadow patterns. If you look down an
avenue of trees or row of columns, for example,
each element will have its own shadow, effectively
creating a pattern in light and shade. If the sun is
high those shadows will be short and dense, but
when the sun is low the shadows will be cast
across the ground. The pattern effect will be
emphasised if you shoot with a telezoom, so
perspective is compressed and the shadows
appear much closer together, while excluding the
sky and other unnecessary elements will result
in ordered, eye-catching compositions.
Where you find repetition you also find patterns,

and when shadows are thrown into the mix,
that pattern becomes even stronger. Sunlight
beaming through a window created this
shadow pattern on some old stone steps.
Panasonic Lumix GF1 with 14-42mm zoom
lens, 1/125sec at f/7.1, ISO 400
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 . REVEALING CHARACTER
Shadows play a powerful role in portraits. You can use them to
reveal texture and modelling in your subject’s face by side-lighting
them so one side is lit and the other plunged into shadow. Window
lighting is ideal for this – just pose your subject with a window to
their side and fire away. Outdoors you can achieve a similar effect
when the sun is low in the sky during the morning and afternoon.
Side-lighting isn’t exactly flattering because it reveals every blemish
in your subject’s skin, so it’s not ideal for portraits of women, but
for men it works well – the older and craggier the better!
Shadows can also be used to add a sense of mystery and
intrigue to portraits because they hide detail. If you ask your
subject to step into the shadows so you can only see part of their
face and body, the viewer will be left wanting to know more: who
are they, what do they really look like?
Shadows add depth and mood to portraits. For this shot I simply asked my
subject to face an open door while standing in a shady interior, so his face
was flooded with reflected light from outside.
Canon EOS 5D MKIII with 70-300mm zoom lens, 1/200sec at f/5.6, ISO 1600
. FULLY EXPOSED
Getting the exposure right when shooting shadows is fairly easy
thanks to the accuracy of modern metering, but you may need
to give your camera a helping hand from time to time. I normally
use aperture priority (Av) mode with Canon’s evaluative metering
and take a straight shot with no exposure compensation applied.
More often than not this produces an acceptable image. The only
time your camera may struggle is when the shadow areas take up
most of the image and cause overexposure – though providing the
highlights haven’t blown, and you’re shooting in Raw, overexposure
of a digital image is fine as it records more tonal information and
52 you simply correct the exposure during Raw processing.
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I grabbed this shot when I noticed the

woman walking towards me. I love the
contrast between the old man sitting in
his workshop and the silhouette of the
woman in the shady alleyway.
Canon EOS 5DS with 24-70mm zoom
lens, 1/20sec at f/4, ISO 3200


I was wandering past a church when I noticed how the overhead  53

sun was casting interesting shadows on a wall. Moving in close
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to remove all sense of scale or reference resulted in a series
of interesting shadow abstracts.
Canon EOS 5DS with 24-70mm zoom lens, 1/500sec at f/8, ISO 100
. ABSTRACT SHADOWS
Abstract images are all about shapes, textures, patterns
and tones. What you’re shooting is unimportant – it’s
how you shoot it that counts, and the best abstracts are
those where you’re not quite sure what you’re looking
at because all points of reference have been excluded.
Shadows can play a part, adding a sense of intrigue as
well as creating fascinating shapes in light and shade.
They also add contrast – usually where there are
shadows you will also find highlights and these
extremes help to give your images impact.
. SHADOWS AND ARCHITECTURE

Modern and industrial architecture, with its strong lines,
sharp angles and bold shapes, is particularly well suited
to the inclusion of shadows. Choose a clear, sunny day
when the light is intense and shadows dark, maybe
using a polariser to darken the sky and boost contrast.
It doesn’t matter if you shoot in the middle of the day
because a high sun can cast long shadows down the
façades of buildings and other structures, making them
easy to see and exploit. Use a telezoom lens to home
in on interesting areas and create simple compositions
where shadows are an important element.
Modern architecture can be a great source of shadow images,

especially on a bright, sunny day when the light is strong and
shadows bold.

. INTO THE LIGHT
Shadows tend to be more interesting
when the sun is low in the sky during early
morning and late afternoon. Shadows are
long and reveal even the finest texture,
whereas with the sun high in the sky
shadows fall short, modelling is dramatically
reduced and everything looks rather flat
and featureless. That said, you can still take
great shadow shots in the middle of the day
in full sun if you choose the right subject.
Keep the sun on one side of the camera
if you want shadows to rake across the
scene, revealing texture and form, or shoot
into the sun so they race dramatically
towards the camera. If you do shoot into
the light, any solid features in the scene will
probably be reduced to silhouettes, which
can work well if you choose simple, bold
subjects such as trees, buildings or people
that are still easily identifiable when reduced
to solid black shapes.
Shoot towards the sun or any other light source

and shadows are inevitably created. People
make great shadows because their shape is
instantly recognisable.
Diana toy camera, ISO 400 film, no exposure recorded
. TUNNEL VISION
Passages, walkways and tunnels are great
for shady shots because they create layers of
54 tone that carry your eye through the scene.
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The further you go, the less light there is
and the shadier it gets. The effect can be
mysterious and disturbing, bringing back
those childhood fears of bad things lurking
 in dark places! Contrast can be very high so
you may find that highlights blow out and the
darker shadows block-up. It doesn’t matter
if they do – you don’t have to be scared of
black & white any more than you need to fear
that dark. However, if contrast is too high,
you can easily overcome it using HDR.
More and more cameras now have
an integral HDR mode where you can
automatically fire off three images at different
exposures then the camera blends them
for you. I use this feature of my Canon EOS
5DS quite frequently and it works really well.
The other option is to shoot a bracketed
sequence of images from, say, -2 to +2 stops
in full stop increments, then merge them in
Adobe Camera Raw (the Raw processor in
Photoshop and Lightroom) or using specialist
software such as HDR Efex Pro.
I love shooting archways and tunnels where

shadows are naturally formed by the change in
contrast from light to dark. If the contrast is too
high, I normally shoot a sequence of images and
merge them using HDR software – or use my
camera’s integral HDR mode.
Canon EOS 5S with 24-70mm zoom lens,
 1/320sec at f/8, ISO 400

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I took this shot while exploring the village of Imerovigli on Santorini late one afternoon. I immediately noticed these raking shadows
and knew there was an interesting shot to be taken – but it only came to life when I converted the Raw file to black & white.
Canon EOS 5DS with 24-70mm zoom lens, 1/50sec at f/8, ISO 200
. CONVERT TO BLACK & WHITE

Your shadow images will really come to life when you long is anyone’s guess as Google no longer support the
convert them to black & white. Colour is distracting, software). I love punchy, contrasty black & white images,
but remove that colour and your images will be made so I often use the High Structure presets initially to see if
simpler and more impactful because you’ll emphasise the they give me the look I’m after. If they don’t then I make
difference between light and shade much more effectively. custom adjustments to Contrast and Structure using the
I mainly use Silver Efex Pro II for black & white conversion relevant sliders. It rarely takes more than a minute or two
(part of the Nik Collection by Google – though for how to complete the conversion but the results look fantastic!

timdaly.com All images ©Tim Daly
TECHNIQUE
PROJECTS
SURFACE DISTRESS
Want to make your pictures stand out from the crowd? If you like the
IN VISUAL
idea of manipulating the look and feel of your work, explore these
STYLE 6
vintage and distressed styles with Tim Daly.
With digital photography so popular there’s been a noticeable

convergence of style and technique driven by DSLRs and software
– and with everyone using the same tools it’s hard to make your
work look different. Many young photographers are now trying to
break out of this mould, exploring tools and materials that enable
their work to stand out from the crowd.
For this project, we’ll be exploring ways of breaking the normally
invisible surface of the photograph, instead drawing attention to the
print as a tangible object and the end point of a personalised
workflow developed by the photographer alone. Of course, we
associate a distressed image with age, repeated handling and
perhaps also happy accidents inherent in the analogue world.
However, as seen in the work of Sarah Moon and Deborah
Turbeville, a deliberate manipulation of the print can lead to
wonderful end results.
We’ll be exploring several different ways of introducing surface
distress using little or no special equipment or materials.
SECTION 1: APPROACHES TO CONSIDER

For this project, work with a set of images that you’ve shot already.
56 From your library find pictures that have a simple premise – such
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as single objects in a central composition with plenty of empty space
around the main subject.
2 PEEL-APART FILM
Peel-apart instant print film like Polaroid Type 55 is a special material
to work with, but at a high cost, requiring specific equipment which
is no longer in production (although it is available on internet auction
sites for astronomical sums).
An alternative to shooting with real film is to scan an existing
peel-apart edge and layer this on to your work, as this example
shows. If you don’t have access to an original, you can find high
1 resolution scans of this kind of film edge to buy from an image library
such as iStockphoto.
1 GLASS PLATE NEGATIVES Once layered within your image, explore split toning effects to
Despite being up to 150 years old, glass plate negatives are still create a vintage feel. Look at the photographs of Simon Larbalestier
relatively easy to source in car boot sales, ephemera fairs and for inspiring examples of both digital and film edges.
online auction sites. Look out for broken, scratched and damaged
surfaces, especially if they have cracked and peeling emulsion
present. Glass plates have the advantage over film, as they are INSPIRATIONAL QUOTE
simple to scan using a flatbed device. ‘I destroy the image after I’ve made it, obliterate
This example was bought from a boot sale and had a fantastic
surface texture, roughed up and split in parts. When combined with
it a little so you never have it completely there.’
an existing digital image, it was layered and edited to reveal the – Deborah Turbeville
underlying details. See section 3 for further details on the technique.
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3
3 DELICATE PRINT PAPERS

A more hands-on approach to developing surface
interest is to employ a textured paper in your output
workflow. Rather than using purpose made inkjet
paper, try non-standard art papers with your home
printing set-up. This example was printed on to a
sheet of Indian handmade paper, thin and delicate
but with an interesting fibrous texture.
To get the best results from this kind of material,
prepare your image file much lighter than you would
do normally (editing the shadows until they are lighter
too) and set your printer resolution to its coarsest
720dpi, draft or basic quality. Make a series of test
prints and keep experimenting until you achieve a
good balance between detail and brightness. You’ll
never get the same kind of sharpness as you would
using inkjet paper, but it has a quality all of its own.
Check out artists the Starn twins for examples of
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innovative printing on unconventional materials.
4 DISTRESSED FILM
Robert Capa’s shoot of the Omaha Beach landing
arguably gained a greater cult status because of the
background story concerning his damaged negatives.
Although the lab assistant who mistakenly over-dried
the film until the emulsion literally slipped off the base 5
must have been mortified at the time, his actions
created a much reduced set of eleven images that 5 SIMPLE COMPOSITIONS
have since caught the public imagination. Images for surface distress editing are best if they have a simple central composition
Deliberate methods of distressing film such as with plenty of defocused details in the surrounding areas. Most of the effects we
reticulation, chemical burn and emulsion peel are all will experiment with add density to the image, so it’s essential that you prepare your
relatively difficult to achieve nowadays, but similar images in Lightroom to look light and with low contrast.
effects can be had using specialist plug-in applications Numerous effects overlaid one on top of another will start to destroy sharpness
such as this example created with Analog Efex Pro. and overcook the look. Keep it simple, bright and effective. This example has a
Check out artist Sarah Moon for more examples texture pattern overlay that doesn’t interfere with the underlying image.
of deliberate processing errors. Look at the work of Tom Baril for inspiring examples of minimal composition.

SECTION 2: USING A PLUG-IN WORKFLOW
You can mimic the look and feel of textured surfaces by using a specialist plug-in such as Analog Efex Pro to work alongside Lightroom or Photoshop.
STEP 2 – SETTING UP ANALOG EFEX PRO

If you’re using the plug-in for the first time, ensure you select the
Camera Kit option on the left hand panel as shown. Surprisingly,
Analog Efex doesn’t open with all of its tools visible, so first tick all the
option boxes available as this provides you with corresponding control
1 panels on the right. To create convincing surface distress effects,
I’ve explored the Photo Plate, Light Leaks and Film Type options.
STEP 1 – PREPARING YOUR IMAGE
If you need layers but are a dyed in the wool Lightroom user, all is not STEP 3 – TWEAKING ANALOG EFEX PRO
lost. You can edit any image in Lightroom by nominating an external The plug-in is a well-designed tool providing an unexpected level of
editor such as Photoshop, Photoshop Elements or a special plug-in sophistication, but you do have to keep an eye on things. With each
like Analog Efex Pro, which you’ll need to download and install first. edit you’ll start to see your image lose a little sharpness and fine tonal
To start, right click on your chosen file in the filmstrip view then details. Be cautious of how many adjustments are taking place – each
choose Analog Efex Pro. When prompted, choose Edit a Copy with of the creative controls on the right hand panel will apply their edits
Lightroom Adjustments, with Tiff as your chosen file format, as this to your image if their respective boxes are ticked – you need to untick
will create a new document containing all your edits to date and will each box to switch them off as they don’t have a zeroed starting point.
launch it in the plug-in. This creates a new file that will be visible in For my example, I’ve combined just the three effects as described in
58 Lightroom when you return from the plug-in. Step 2. Press Save and return to Lightroom to see the finished result.
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SECTION 3: USING A SCANNING WORKFLOW
If you feel like getting out the paintbrushes and textured papers, then it’s easy to create your own unique surface textures using a flatbed scanner.
1 USE A MARBLING KIT 1

Available from most good craft shops or
through an online bookbinding supplier,
the colours within a paper marbling kit can
make really effective textures. This example
was produced by floating a single colour in a
developer tray containing water and washing-
up liquid, then watching it spread into this
pattern which looks like a microscope slide.
By dipping paper on to the surface of the fluid,
the inks are transferred across within seconds.
2 SCAN THE TEXTURE

Once dry, the paper is best scanned at
600ppi using a flatbed or an all-in-one printer,
then it’s ready to edit in Photoshop. If you’re
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using Lightroom, you’ll need to scan your
texture as an RGB. Once imported, you’ll
need to use Photoshop as an external editor
so you can experiment with layers. To do this,
right click on the image and choose
Edit In>Adobe Photoshop.
4
3
4 FINAL OUTCOME
3 LAYER AND BLEND For my project, I’ve played around with water stains and Polaroid
Open the two files in Photoshop, then copy edge effects using both Analog Efex and a scanned-in texture.
and paste the texture file into your image,
creating a separate layer. Use your Transform
tool to shape the texture so it matches the RESOURCES
Polaroid Type 55 edges. Visit iStockphoto and use the search term
dimensions of your image file. Next, click on
‘polaroid edge’. Prices start from about £9.
the texture layer and choose Multiply from the
Layer Blends menu, as shown. This makes Analog Efex Pro. Available free from Google, as part of the Nik Collection.
the white elements invisible in your layer INSPIRATIONAL ARTISTS
and creates an instant blend. If the texture Simon Larbalestier
obscures your main subject, use the Eraser Deborah Turbeville
tool to rub it away, or make a mask to create Sarah Moon
a hole in the layer, as my example shows.

INSPIRATION
INSIDE THE BOX
Imposing limitations on ourselves can give a boost to our creativity and
spark ideas for themes, projects and books. Eddie Ephraums sets a
time limit and finds it’s amazing what can be achieved in a week.
© Eddie Ephraums
F
or many years I’ve
co-run residential
workshops up on the
north-west coast of
Scotland. I love the
familiarity of the
place, so much so that it feels
like home. Yet, with each return
visit my appreciation of the
area grows, as I see it in its
never-ending guises.
Rather than dulling my
senses, revisiting this and
other places close to my
actual home in London
enhances my awareness,
tuning me into the myriad
photographic opportunities
that each presents. Also, as a
workshop leader, I spend a lot
of time looking and noticing,
60 hoping to point out things to
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participants, more than I
spend time making images.
So, when I do get the chance
to take photographs, it is for
short, intense periods, when
being in the moment is what
really counts.
In this series about working
within limitations, I have
found a limitation on shooting
time, preceded by looking,
thinking, discussing, dreaming
and tuning-in time, is a very
powerful creative tool. Take the
example of a recent workshop.
Towards the end of the week
I had an hour off and decided
to make some photographs
while the participants were
enjoying a creative writing
session, developing their skills
with B+W Photography editor
Elizabeth Roberts.
As the workshop was based at
the National Trust for Scotland’s
world-renowned Inverewe
PHOTOGRAPH LOCALLY – A MUSEUM PERHAPS Garden, I set myself the brief of
The National Trust for Scotland’s Inverewe Garden was established by Osgood Mackenzie back in 1862. photographing the ground floor
The estate house is now a small museum. It made the perfect subject for a one-hour photo session, to museum of the recently restored
make a postcard-size foldout book. I shot the images with an inexpensive little Panasonic G3 camera 1930s estate house where the
and a 20mm f/1.8 pancake lens. I love the simple, compact nature of the camera and its fully group was staying.
articulated screen, which is great for exploring places and trying out visual ideas. I gave myself the added
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© Eddie Ephraums
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challenge of producing a set AIM TO PRODUCE SOMETHING – LIKE A SMALL BOOK same week and they never
of nine sequenced and post- It’s hard to describe the satisfaction of completing something real, that ever fail to deliver. They are
processed images, to make can be physically handled rather than just viewed on screen. And unlike always amazed at what they
a postcard-size book – all in ordinary books, a postcard foldout book like this can be displayed on a have achieved, but then they
the same day. I also set myself shelf or mantlepiece, or shared with others as a gift, as postcards begin to wonder how they did
the challenge of printing normally are. Printing on a nice paper like Fotospeed Smooth Cotton it! Perhaps the most important
these images as a nine-panel 300gsm helps to enhance the experience. Avoid papers that obviously limitation we can apply to our
Lightroom contact sheet, from feel single-sided. They can feel strange to hold. photography is to limit the
which the foldout book would opportunity for self-doubt.
be made after dinner, when n our world of creative to amaze me what we can A workshop environment is
any sensible person would be
thinking of their bed. Who says
there aren’t enough hours in the
day? (Me, usually!) Or that being
sensible is the right approach?
I photography, there is no
place for ifs or buts, or the
other reasons we give
ourselves to hesitate and to not
achieve. In fact, it never ceases
achieve if we only get out of
our own way. Give a group of
workshop participants an
exhibition to shoot, as well as
to print, curate and hang in the
one way to provide this.
One thing we are likely to
learn on a workshop, or when we
simply get on with things, is that
we are far more capable than we 

© Elizabeth Roberts
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 realise or than we wish to realise. KEEP THINGS SIMPLE – A BOOK CAN BE MADE FROM A SINGLE SHEET and trip ourselves up.
Maybe we need to put structures This nine-panel Lightroom A3 contact sheet was printed with an extra When I asked editor
– especially limitations – in 15mm right margin for gluing the three strips of three images together. Elizabeth Roberts during the
place, to enable us to experience (The three strips are only partially cut here for presentation purposes). workshop what she thought
our true potential. I used an inexpensive manual paper creaser (search ‘paper creaser’ I should write about for this
Consider the limitation of on the web) to help make the folds. Alternatively, run a hobbyist’s article, she said ‘simplicity’.
keeping things simple, choosing perforator wheel vertically between each of the images to create folds I rather hoped she might offer
readily accessible subjects like and to enable each of the postcard-sized images to be torn out. more. One word doesn’t fill
a local museum, rather than three pages of a magazine or
looking to photograph more limitation of making a foldout things, or give ourselves too make a nine-panel foldout book
‘exciting’ new places farther book from a single A3 sheet? much time to over-think, that – and yet somehow it has.
afield. Or how about the It’s when we over-complicate we begin to doubt ourselves I wonder how that happened?
‘We are far more capable than we realise or than we wish to realise.’

063_BW_211.indd 63 12/1/17 9:28 AM
SPONSORED BY
TECHNIQUE
All images © Chris Routledge
THE
BIG
PICTURE
The SIGMA SD Quattro
is a truly versatile camera
that can deliver exceptional
black & white pictures.
But it also offers multiple
aspect ratios as well.
Chris Routledge explains.
or the past two Cumbria and northern England. government’s Flood Information differently, not only because the
F
years I have been I have heard passing tourists Service says flooding is possible. scene itself changes, but also
64 photographing a compare this stretch of the I began by documenting the because you see it differently
B+W
short section of the Rothay in summer to a Cotswold strange effects of the flood: over time. While working on my
river Rothay in the stream. But on 5 December, fences tightly woven with grass Rothay project I’ve used both
Lake District, 2015, the Rothay transformed and leaves, large stones flung film and digital cameras to
roughly between the eastern into a raging giant 50m wide, across sheep pasture and turf document the changing
end of Rydal Water, and the carrying branches and debris rolled up like a carpet by the landscape, to capture the
historic Ambleside stepping from miles upstream, smashing force of the current. Since then strangeness and unfamiliarity of
stones. The project began in bridges and sweeping away it has been the Rothay’s quieter the aftermath of the flood, and
the aftermath of Storm many of the stepping stones moods that have held my the slow return to normality.
Desmond, an Atlantic storm themselves. It peaked at a attention. Over the course of After almost two years I am
that delivered unprecedented record 3.71m, a whopping 2m a long project it is necessary to now beginning to edit my
rainfall to the mountains of above the level at which the UK look at the same scene images into a coherent
64-65_SPONSORED BY SIGMA_211 ER-MB.indd 64 30/11/2017 14:13

SPONSORED BY
collection, but when I had the ‘Actually being able to compose the frame Hasselblad X-Pan film camera
opportunity to visit the Rothay and close to the modern
with Sigma’s SD Quattro H and in the aspect ratio you want, while on widescreen cinema and classic
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18-35mm f/1.8 lens, I wondered Cinemascope formats. Being
whether an unfamiliar camera location, is very liberating.’ able to look through the
might help me find a new viewfinder and see the
perspective on familiar territory. In theory, this should give a square viewfinder of my widescreen sweep of river I was
In particular, I wanted to explore similar look, regardless of the Yashica, because of the way hoping to capture, or framing
whether it might complement significant differences in sensor it forces you to look at a scene a candid portrait with acres
my medium format film images. size. Of course, changing light, in a particular way. of moody dead space, is a
The answer rather surprised me. different characteristics of film Because the Sigma is a wonderful thing. And because of
and digital imaging, and lenses mirrorless camera, something the high resolution of the Foveon
n an early morning experiment made 40 years apart, make similar is achievable in its sensor, even a cropped image
I I pitted the SD Quattro H

against my Yashica MAT 124G
and a roll of Fujifilm Acros 100.
Allowing for the different sizes of
imaging sensors, the Sigma at
direct comparisons pointless.
But while the results from the
Sigma are pleasing, it was while
trying to frame to match the
square aspect ratio of the
electronic viewfinder. The
camera still records the whole
sensor, so you can change your
mind later if you like, but this way
you are making the decision at
like this has a potential size of
6192 x 2648 pixels: more than
enough for large scale prints.
Many film cameras made
changing aspect ratios possible,
35mm and f/1.8 (and cropped venerable Yashica that I the point of creating the image, using masks to expose different
square) comes in roughly – very stumbled on a feature on the rather than reframing after the areas of the film to give different
roughly – equivalent to the Sigma that changed the way event. And unlike many other aspect ratios. But as in so many
Yashica’s 80mm at f/3.5 in terms I used the camera from then on. mirrorless cameras, the Sigma other areas, digital cameras
of field of view and depth of field. In the Sigma’s well laid-out doesn’t have to record the open up possibilities for creative
main shooting menu – probably cropped frame as a Jpeg, but in freedom without the need to
Top left This square format image, the best menu system I have the Raw data, so no data is lost wait until you’ve used a whole
taken at dawn in the woods used – is an option to change and the full range of adjustment roll of film. As I came to realise
near Rydal Water, shows velvety the format of the frame you are is possible. Actually being able during the time I spent on the
black & white tones and gentle shooting. There is a range of to compose the frame in the river Rothay, the ability to shoot
transition to out of focus areas. options, from 3:2 and 4:3, aspect ratio you want, while on in different aspect ratios, and to
Top right Positioned down low, through square, 16:9 and finally location, is very liberating. compose for them in the field
the 21:9 format is ideal for 21:9 widescreen. Obviously While the square format was rather than after the event, is a
emphasising the sweeping these are crop modes, and of useful, what really caught my compelling creative opportunity.
bend of the river. course cropping can be done in imagination was being able to
Left The 21:9 format gives a post-production, but I’ve shoot in 21:9 aspect ratio, mottersheadandhayes.co.uk
cinematic look to portraits. always liked the immersive, similar to the legendary sigma-imaging-uk.com
64-65_SPONSORED BY SIGMA_211 ER-MB.indd 65 30/11/2017 14:14

COMMENT
A FORTNIGHT AT F/8
Whatever genre of photography you work in – from landscapes and portraits
to editorial and advertising – it takes years of dedication to develop your skills
timclinchphotography.com
to exhibition standard. Tim Clinch celebrates the craft of photography.
I
find an awful lot to admire at the Photographers’ Gallery and see the exhibition to know be suitable for an exhibition. It
about modern photography. in London. Apparently the what it would look like. could be a retrospective, or a
There are some wonderful pictures are very nice, if rather I am talking about what selection of images commissioned
people working in the predictable. They are beautifully photography has become, of the by a particular magazine (such as
medium at the moment who framed and artfully presented. point of photography. It used Beaton’s work for Vogue or Bert
give me great joy and lift my But after several interesting and to be that photography had a Hardy’s stories for Picture Post),
spirits. Some are fascinating and insightful conversations, I was purpose – as photojournalism, or the wonderful Family of Man
inspiring photographers. left with a feeling of numbness – portraiture, advertising and so on. exhibition curated by Edward
Many of my friends have of having missed the bus, missed After a suitable period of time the Steichen and shown at MoMA
been to see the exhibition of the point, feeling left out. It was body of work the photographer in New York in 1955 and seen by
Polaroids by Wim Wenders a feeling that I didn’t need to go had built up was considered to more than nine million people.
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All images © Tim Clinch
WHAT TIM
DID THIS
MONTH
Fielding a lot of picture

requests from various
magazines for images shot
many years ago, which is
making me realise how
disorganised my filing systems
and hard drives are. Still, winter
is always a good excuse to stay
in the warm and sort them out.
The pictures this month are
all from a shoot I did years ago
in a swish hotel in Tuscany. They
make me realise that I always
shoot loads of details that
seldom get used.
This month’s photographer, as
I’ve talked about her in the main
text so much, is American street
photographer Vivian Maier.
Born in 1926, she worked as a
nanny while taking photographs
in her spare time. When she 67
died in 2009, she had taken B+W
more than 150,000 pictures,
mostly of the people and streets
of Chicago, New York and Los
Angeles. But her pictures were
largely unknown.
A collector purchased a
box of her negatives as recently
ago as 2007, and since then her
work has become world famous.
A great introduction to her
work can be seen in the 2013
documentary film Finding Vivian
Maier, directed by John Maloof
and Charlie Siskel.
To bring things more up to am no Luddite and I am no anything along these lines. gunpowder magazine in 1654.
date, it could be the remarkable
and sensitive work of Sebastião
Salgado. But the point is that
photography was something
before it was exhibited. It had
I philistine. I am in no way stuck
in the past, and I appreciate
the importance of pushing
boundaries, but ask yourselves
about what you would choose if
Personally, I would take either
Migrant Mother by Dorothea
Lange, or a tiny painting of a
goldfinch done in 1654 by Carel
Fabritius. It is only about 20 x
Look at the case of Vivian
Maier, arguably the street
photographer. She was a woman
with an unbelievable eye and
vision, someone whose work has
been commissioned. you were to take one piece of art 30cm and is utterly exquisite. It changed photography and the
Nowadays the art world to your grave with you. Would it exemplifies exactly what I mean way we look at things. When her
reserves a special kind of scorn be a photograph? A painting? by craft. It’s beautifully painted work was discovered, it was a
for the working photographer, A sculpture? My guess is that it by a true master and perfect in lifetime’s work. There were
preferring to heap praise on would be one of these rather every way. It is one of only six thousands of negatives. The
those conceptual photographers than a 4m long plexiglas print of paintings left after Fabritius was images we now see are a fraction
who admittedly use photography a riverbank in the fog, or an blown to smithereens at the age of what she shot. These days,
to produce their artwork but unmade bed in a glass box, or of 32 at the explosion of the Delft unfortunately, street photography
for me cannot in any way be projects are ten a penny and
considered photographers. In ‘There are two men inside the artist, the poet and often they are the photographer’s
many ways it feels like the end first forays. Not all of us can have
of craft. Positive soul that I am, I the craftsman. One is born a poet. One becomes Vivian Maier’s eye, but we can
have to admit that it saddens me. a craftsman.’ – Émile Zola (1840-1902). take time learning our craft.
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F E AT U R E FACE TO FACE
Born in Italy, Giulia Berto is now based in New York while her partner
works in London and Dublin. Her pictures explore what it’s like to
All images © Giulia Berto
sustain a long distance relationship. She talks to Steve Pill.
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What was the concept behind your graduating from the International Center of programme, I decided to stay for another year,
Fragments series? Photography (ICP) in New York. The project which then turned into three. My partner John’s
Fragments is a long-term black & white is created with analogue film cameras and work kept him between London and Dublin
project in which I explore how it feels to Ilford HP5 Plus 400 film. I wanted to slow and I wanted to explore what New York’s
be together and apart as lovers: the long down and take the time to look at, reflect photography scene had to offer, and we both
waits, the special moments, the anxiety of on and reveal what closeness in a long- felt it was an important step for my career.
an imminent separation. It covers three distance relationship means to me.
cities in four countries, including my adopted Being apart must have been difficult.
home in New York and the north-east of How did you come to be apart for so long? Did you find solace in photography?
Italy, where I grew up. In 2012 I moved from London to New York It was not easy but photography did help me
I started Fragments in 2013, soon after to study at the ICP. After I completed the cope with the emotional repercussions and
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different challenges related to having a long
distance relationship over an extended period
of time. It channelled my thoughts and energy
into something tangible. I could depict my
feelings while processing them. It was very
liberating and cathartic.
It feels like a very intimate series.

Were any shots too personal to share?
I definitely struggled with that as I’m quite
a private person and this is the first time I
explored such an intimate topic. In a somehow
counter-intuitive way, after I graduated
from the ICP, I ended up wanting to create
something very personal and different from my
previous projects and challenge myself through
that process. So I suppose I had to learn to be
willing to expose personal aspects of my life.
You previously studied for a master’s

degree in animal and human behaviour.
Has that informed your photography in
any particular way?
I like to think that it has – and will continue to
do so. I am a pretty patient person by nature
but nonetheless the hardest lesson I learnt
while studying is that patience is key. I did
research in the field with wild animals and the
most important rule I had to quickly
assimilate was that animals dictate the timing.
To collect data in nature you have to develop a
fine balance between observing to understand
behavioural patterns, anticipating the animal’s
actions, and persevering even in difficult
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conditions in order to achieve the final goal.
Photography is very similar. It also has an
uncontrollable element to it that requires a fair
amount of patience, tenacity and sensitivity.
I find that taking photographs is never a one-
way process, but rather it is a collaboration
between the photographer’s vision and the
other person’s willingness to share something
personal in front of the camera. It is also the
ability of the photographer to read between
the lines and capture the moment when the
opportunity arises.
‘I explore how it feels

to be together and
apart as lovers.’
PROFILE
Giulia Berto was born in Friuli, Italy,
in 1982. She completed a master’s degree
in the evolution of animal and human
behaviour at the University of Turin, before
graduating from New York’s International
Center of Photography in 2013. Her
Fragments series has been exhibited in
London, Tokyo and Edinburgh’s Retina
Scottish International Photography
Festival, where she won Best in Show at
the annual Shutter Hub Open Exhibition.
bertogiulia.com
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TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
You don’t need many apps on your smartphone to create great pictures,
timclinchphotography.com
but it’s worth experimenting with the ones you do have to get the
clinchpics
most out of them, as Tim Clinch shows.
s you all know by now, the you can choose between B&W, colour and it right down so the depth of field is not
A
amount of apps I use in my sepia. Next, there is what they call Plate so shallow.
mobile photography has Grain, which is basically the amount of dust It is a very simple to use app, but one
shrunk so far that I now only and scratches you want to appear on your that it is very easy to over-do, so go gently.
have two on my phone. My image. I normally turn this down to almost With the right image, however, it can look
processing app of choice is zero. Next to it there is a choice of what lovely. The pictures I have chosen do not,
the mighty and wonderful Snapseed, which they call Frame. I always turn off the to my mind, look gimmicky, or look like
does 99% of what I need any processing raggedy edge, which simulates the wet they are trying to imitate something they
app to do without any gimmicks, but the plate look, and use the simpler version. are not, they merely look slightly more
other app I find myself using may surprise interesting and atmospheric.
you. It’s Hipstamatic’s TinType. ‘If you want to make your sitter
Yes, I can hear all the arguments now
look like an inmate in a Victorian INSTAGRAMMER OF THE MONTH
– about why mobile photography has to This month I recommend Marina Sersale
have a faux vintage look about it, about lunatic asylum – be my guest. (@eauditalie). Her site is a brilliant feed
how gimmicky it can be and how it It can be quite scary! and a constant source of inspiration.
undervalues the work of the real craftsmen. Marina’s beautiful and mainly black &
All that can be put aside if one likes the ext there is a button called white images evoke a sense of calm
results – and in some cases I do.
The TinType app can look pretty terrible,
especially if used for what it was created
for – which is to take portraits mimicking
the style of wet plate photography.
N Eye Strength which, as I don’t
like this app for portraits, I don’t
use. If you want to – and if you
want to make your sitter look like an inmate
in a Victorian lunatic asylum – be my guest.
and quiet. She has a great eye.
She is part of a very interesting group
who also have a fascinating Instagram
feed, namely @hikari.creative who started
as a group of photographers who used
However, if used on other genres, it It can be quite scary! Instagram to move beyond traditional
70 can be surprisingly successful. And last, but by no means least, there photojournalism and blend fine art and
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On opening the app there are four tools is a depth of field slider. This is very heavily documentary traditions. Fascinating
at the bottom of your image. On the left centre-weighted and, again, I usually take stuff and well worth following.
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All images © Tim Clinch
THE PICTURES
The pictures shown here are not at all what the app was intended for, but are all processed using the method
explained in the text. Once processed, I usually re-import them to Snapseed and convert them straight to
black & white as sometimes TinType can add a very small but noticeable colour cast.
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SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see the pictures you
take when the moment is right. We have three Class 10 32GB Micro SDHC EVO Plus cards to
give away each month. With a transfer speed of 95Mb/s, each MicroSD card also comes with
an SD adapter – meaning it’s compatible with both your smartphone and digital camera.
© KIRK MCELHEARN © JEREMY TILFORD © JON HARRISON
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© MARK STEVENS
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WINNER © JOHN WILLMORE
WINNER © STEPHEN PERCIVAL WINNER © BOB MASSEY
SUBMIT YOUR PICTURES

Submit your hi-res pictures through our website at: blackandwhitephotographymag.co.uk
or via Twitter by tagging us @BWPMag and using the hashtag: Smartshots.
If you are submitting via Twitter we will contact you for hi-res if you are chosen.
www.samsung.com/memorycard
NEW 72-73_SMARTSHOTS_211 ER-MB 2.indd 73 30/11/2017 14:33

YOUR B+W
SALON
In our search for the best work by black & white aficionados, we discovered
All images Huw Jones’ documentary of a group of intrepid women bikers. Single-minded
© Huw Jones
and independent, these women are inspirational role models, he says.
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People are the most interesting subject to photograph yet also the camera but on either side of it.’ Meeting and getting to know
one of the most difficult when it comes to capturing some essence the Lippy Ladies was a much bigger part of the project than the
of their personality. So, with that challenge in mind, I decided taking of the photographs; building that rapport with them has
to create a photographic essay. I ride a motorbike and, in spite been vital to the success of the project. Each of the Lippy Ladies
of the common stereotypes held by the public, I know how varied has a fascinating story. These are strong independent women
individual bikers are. I put out a request on the web to the – pilots, engineers, bike racers, ex-HGV drivers, with varied
motorcycle community and received an email from the Chair backgrounds but all with one thing in common, a love of speed
of the Lippy Ladies, a female-only motorcycle club based in the and motorcycles. Without exception they ride powerful bikes,
north of England. As soon as I met them, I knew I’d found my some regularly attend track days where they push their machines
subject. Over the next 12 months I photographed as many to the limit, others tour extensively around Europe and one has
Lippy Ladies as I could, and over the time I got to know them, ridden solo through Vietnam. These women are quietly leading
I also incorporated some South Yorkshire Lady Bikers as the two extraordinary lives, but with this project I hope to make them
clubs overlap territory and members. What I learned as I went more visible and celebrate them as role models to other
along was, as Edward Steichen said, ‘A portrait is not made in women – and also men – of all ages.
SUBMIT YOUR WORK TO SALON

We are looking for stories told entirely in pictures. If you think you have just that, submit a well edited set of between
10-15 images online at blackandwhitephotographymag.co.uk. Turn to page 86 to see how you can submit your work.
74-78_SALON_211 ER-MB.indd 74 30/11/2017 14:41

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74-78_SALON_211 ER-MB.indd 78 30/11/2017 14:41

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079_BW_211.indd 79 11/22/17 11:57 AM

TESTS AND
PRODUCTS
CHECKOUT
A favourite for portrait photography, the 85mm lens allows a little more
distance between the camera and subject, while creating attractive bokeh,
says Daniel Calder as he looks into six of the best optics.
NIKON 85MM F/1.8 G AF-S
Value for money
LIKES DISLIKES
Great price Cheap build quality
Small and lightweight Limited weather sealing
Manual focus override
By capturing sharp images and The barrel features a distance

costing a relatively small sum, scale window and a switch for
the 85mm f/1.8 G AF-S lens turning off the autofocus. Manual
is the Nikon equivalent to the focus can also be activated at
Canon EF f/1.8 USM already any time by simply turning the
reviewed. Although the Nikon focus ring. Autofocus is snappy
lens is roughly £100 more without being quite as quick as
expensive than the Canon optic, some other Nikon lenses.
it surpasses Canon’s overall The lens is great when
CANON EF 85MM F/1.8 USM DxOMark.com score by 44 shooting wide open, despite
Bargain price points to 35. some vignetting, and copes
Just like Canon, Nikon has superbly with chromatic
LIKES DISLIKES decided to trim the build quality aberration. Stopping down to
Manual focus override Performance falters at f/1.8 in order to keep the price low. f/5.6 will get the sharpest results
80 Exceptional price Lens hood not included Although it’s made in China of this terrific lens. If you need
B+W
Rapid autofocus No weather sealing and uses plastic as the primary something faster, marginally
material, it still boasts a rubber sharper and are unconcerned
Canon currently offers two All things considered, the seal around the mount for some about price, the Nikon f/1.4 G
85mm lenses at either end of f/1.8 looks an exceptional basic weather protection. is available for £1,379.
the price spectrum. The f/1.2 choice for Canon users seeking
option is an exceptional portrait an affordable 85mm lens.
lens, designed for pros, that Made from plastic, it lacks the
has a few quirky features and weather sealing found on the
comes in at around £1,749. In top Canon lenses, but by way
contrast, the slower f/1.8 lens of compensation it is small, light
is far lighter, much easier to use and unobtrusive. Autofocus is
and costs a smidge over £300. consistently rapid, while manual
Both are pretty sharp but both focus can be achieved at any
have been around for a while. time by twisting the focus ring.
Which is why Canon is releasing Opened wide at f/1.8, the
a new 85mm lens with an f/1.4 lens is soft around the edges
aperture that promises to blend and suffers from chromatic
L-series engineering with rapid aberration, but stopping down
focusing and built-in image to f/2.5 transforms the lens
stabilisation for around £1,569. into a top-quality optic.
TECHNICAL SPECIFICATIONS TECHNICAL SPECIFICATIONS
Aperture f/1.8-22 Aperture f/1.8-16
Image stabilisation No Image stabilisation No
Lens mount Canon Lens mount Nikon F
Filter size 58mm Filter size 67mm
Lens construction 9 elements, 7 groups Lens construction 9 elements, 9 groups
Diaphragm blades 8 Diaphragm blades 7
Diameter x length 75 x 71mm Diameter x length 79 x 74mm
Weight 425g Weight 350g
Guide price £339 Guide price £449
Contact canon.co.uk Contact europe-nikon.com
80-83_CHECKOUT_211 ER-MB.indd 80 22/11/2017 15:14

SONY FE 85MM F/1.4 GM
Superb functionality
LIKES DISLIKES
11 blades create lovely bokeh Expensive
Clickable aperture ring Limited weatherproofing
Focus hold button Not fully compatible with
all Sony cameras
Sony’s G Master series of seal around the mount, but by

lenses are built for professional adding an extra two diaphragm
use and aim to be future-proof blades to make 11, the lens
against the next generation renders some exquisite bokeh.
of high megapixel cameras The FE 85mm f/1.4 GM lens
and 8K video. As a result, the adds a high degree of real-
FE 85mm f/1.4 GM captures world usability to the impressive
incredibly sharp images when optical results. For instance,
paired with Sony’s full-frame an aperture ring with clickable
E-mount cameras, while also stops that can be turned on
performing admirably with the for stills photography and off
company’s APS-C cameras. for movies is a boon – as
Not every single function of the is the handily placed focus
lens, it should be noted, is fully lock button.
SIGMA 85MM F/1.4 ART DG HSM compatible with every camera There’s also a MF/AF switch,
model, but running the latest although manual override can
Best in test firmware update alleviates any be activated once the DMF
LIKES DISLIKES major issues. Dust and moisture focus mode is set on most
protection is limited to a rubber Sony cameras.
Amazing value No vibration control
Top quality lens Limited weatherproofing
Compatible with Canon, Large and heavy
81
B+W
Nikon, Sony cameras
By achieving the highest test a distance marking window and

score for an 85mm lens on a single AF/MF switch, although
DxOMark.com, Sigma has not a turn of the focus ring overrides
only created a hugely impressive single or continuous AF with
optic but one that can be manual focusing. A rubber seal
purchased for under £1,000. around the mount offers some
As it belongs to Sigma’s top weatherproofing but there’s
of the line Art range, it is much no built-in vibration control.
larger and heavier than many of Made in Japan, the 85mm
its 85mm rivals, enabling it to f/1.4 is available with a Canon,
maximise image capture for full- Nikon and Sigma mount, but
frame cameras. To move all this also works with Sony E-mount
extra glass, a new HSM (Hyper cameras in conjunction with the
Sonic Motor) adds 1.3x torque MC-11 mount converter.
to the older system, helping to If you have one of these
power fast, accurate and near- cameras you will be hard
silent autofocusing. pressed to find a better lens,
The clutter-free barrel sports even for an extra £500.
Image stabilisation No Image stabilisation No
Lens mount Canon, Nikon, Sigma Lens mount Sony E-mount
Weight 1,130g Weight 820g
Guide price £999 Guide price £1,549
Contact sigma-imaging-uk.com Contact sony.co.uk

082_BW_211.indd 82 11/28/17 12:08 PM
ZEISS MILVUS 85MM F/1.4 (ZF.2)
Manual focus lens
LIKES DISLIKES
Exceptional performance Heavy
Aperture ring on Nikon version Expensive
Focus ring turns 270 degrees No autofocus
for accurate manual focusing
The Zeiss Milvus 85mm f/1.4 This is a weighty lens, but

is a beautifully crafted, manual one that enables outstandingly
focus lens that comes with a sharp image capture while
premium price point for Canon limiting chromatic aberration
or Nikon cameras. A model to the edges and mostly when
of refined simplicity, it is sleek shooting wide open.
and free of any switches. Just Apart from the price, the main
a recessed rubber band for issue with buying this lens is
focusing adorns the casing, whether you’re happy to forgo
along with a depth of field scale autofocus. It’s not the easiest
TAMRON SP 85MM F/1.8 etched into the matt black skill to handhold the camera and
metal. An equally pleasing hood accurately focus with a shallow
DI VC USD (F016) is made from the same material, depth of field. It requires a slight
Image stabilised lined with felt. Discretely hidden shift in approach, although Zeiss
away on the Nikon model, next makes it as easy as possible
LIKES DISLIKES to the weather-sealed mount, is by making the focus ring silky
Vibration control Slower than some 85mm lenses a clickable aperture ring that can smooth as it turns through 270
Great value for money be silenced for video recording. degrees of rotation.
Weather sealing throughout
Compatible with Canon,
Nikon, Sony cameras
83
B+W
By sacrificing a little speed and the barrel enable you to turn off
opting for an f/1.8 maximum the VC when using a tripod and
aperture, this Tamron lens change the AF/MF setting. Build
offers excellent value for money, quality is excellent, as befits
especially when you consider the SP (Special Performance)
its premium features. designation for Tamron’s
Chief among these is the premium range of lenses.
vibration control (VC), allowing It loses little quality in image
you to shoot handheld at lower capture too, rendering sharp
ISOs, slower shutter speeds images with pleasing bokeh
and smaller apertures while to almost match the very best
capturing sharper images 85mm lenses.
than those taken with non- In fact, there’s no need to
stabilised lenses. Tamron has look beyond the Tamron if you
also gone the extra mile with have a Sony, Nikon or Canon
weather protection by adding full-frame or APS-C camera
a number of seals throughout and want to watch the pennies
the lens, instead of just one at unless, that is, you really need
the mount. Two switches on an f/1.4 or f/1.2 aperture.
Image stabilisation Yes Image stabilisation No
Lens mount Canon, Nikon, Sony Lens mount Canon, Nikon
Weight 700g Weight 1,210g
Guide price £749 Guide price £1,479
Contact tamron.eu Contact zeiss.co.uk

PENTAX K-1 LIMITED SILVER
X-RITE I1STUDIO Special edition of the Pentax K-1 with
Provides colour management solution from SIRUI NT-1005X TRIPOD high-grade silver-colour coating. Features
capture to print. Includes new dedicated Compact travel tripod with integrated CMOS sensor offering 36.4Mp, Full HD
black & white print module for creating monopod and extendable centre column. movie recording and five-axis in-body
custom profiles for five unique B&W looks. Includes ball head with spirit level, 360 shake reduction mechanism.
£375 degree panning and safety lock mechanism. £2,149.99
xritephoto.com £179.99 sirui.eu ricoh.com
TESTS AND PRODUCTS
BLACK+WHITE
84
B+W
LOVES BILLINGHAM 72
High quality bag for mirrorless and compact
M.Zuiko Digital ED 45mm

NEW PHOTOGRAPHY cameras. Made in England, it features a newly
designed arrangement of dense foam in a
f/1.2 PRO – £1,199.99 GEAR IN THE SHOPS continuous double layer around the whole
body of the bag. The fortified padding keeps
AND ONLINE all the edges and corners protected.
£100
billingham.co.uk
Zuiko Digital ED 17mm

f/1.2 PRO – £1,299.99
CANON POWERSHOT FOTOSPEED SQUARE
OLYMPUS LENSES G1 X MK III INKJET PAPER
Two new prime lenses for the Olympus New high-end compact in Canon’s Ideal for medium format or Instagram
PRO line-up. The two lightweight f/1.2 lenses Powershot range features a 24.2Mp sensor, photographers, Fotospeed’s range of square
promise excellent resolution and high- 3x optical lens and Digic 7 processor, plus papers are available in three sizes (8x8in,
precision AF. The 45mm is available now 4-stop image stabilisation and Full HD video. 10x10in and 12x12in) and three finishes.
and the 17mm is on sale from March 2018. £1,149 From £19
olympus.co.uk canon.co.uk fotospeed.com
84-85_B+W_LOVES_211 ER-MB.indd 84 22/11/2017 15:15

PRODUCT
OF THE
MONTH
LEICA THAMBAR-M
Return of a classic Leica 90mm lens.
The proportions and black finish of the
original have been retained, while slight
modifications have been made to match
it to modern M-lenses. The lens provides
a characteristic soft-focus effect.
£5,095 leica-camera.com
85
B+W
SONY α7R III

Designed for professional photographers, the Sony α7R III is a full-frame camera
loaded with a 42.4Mp back-illuminated sensor. It’s built without an optical low
LOMO INSTANT SQUARE pass filter to maximise resolution and boasts an updated processing engine
Analogue instant camera designed to take that boosts processing speed by 1.8 times compared to its predecessor.
square pictures. Features include multiple The upgraded focus system comprises 399 focal-plane phase detection
exposure, bulb mode, self-timer and remote AF points covering about 68% of the image area in both horizontal and vertical
control shutter release. The camera has a directions. A new low-vibration shutter reduces vibration and image blur.
compact foldable design with bellows and is The ISO range is 100 to 32000 and is expandable from 50 to 102400.
available in different colours. High speed shooting is up to 10fps.
From £169 lomography.com £3,199 (body only)
sony.co.uk
TECHNICAL
SPECIFICATIONS
Megapixels 42.4Mp
Sensor CMOS
Image processor BIONZ X
ISO range 100 to 32000
(expandable 50 to 102400)
MANFROTTO Lens mount Sony E-mount
BUMBLEBEE BAGS Storage SD, SDHC, SDXC
Made from strong but lightweight materials. Screen size 3in
Includes interchangeable dividers to custom
Movie recording 4K video
fit your bag around your gear, plus
a dedicated compartment for a tablet. Dimensions (wxhxd) 127 x 96 x 74mm
From £109.95 Weight (body only) 657g
manfrotto.co.uk
84-85_B+W_LOVES_211 ER-MB.indd 85 22/11/2017 15:15

HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
Visit our website
86
B+W
SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk
BL ACK+ WHITE PHOTOGR APHY COOL , CREATIVE AND CONTEMPOR ARY
86-87_HOW_TO_211 ER-MB.indd 86 04/12/2017 16:37

LAST FRAME SALON
Do you have a single image that you’d like We are looking for contemporary black & white pictures that
printed big and hung on your wall? Send tell a story about the world as you see it. Send us a well-edited
the file to us and you could win just that. set of between 10 and 15 pictures.
87
B+W
SMARTSHOTS PRINT SUBMISSIONS

Send your prints by post to:
Black+White Photography
GMC Publications Ltd
86 High Street
Lewes BN7 1XN
Please specify which section of the
magazine you are submitting to. If you
would like your work returned please send
a stamped addressed envelope. GMC
Publications cannot accept liability for the
loss or damage of any unsolicited material.
ONLINE COMMUNITY
FOLLOW US ON FACEBOOK
facebook.com/blackandwhitephotog
FOLLOW US ON TWITTER
@BWPMag
FOLLOW US ON INSTAGRAM
Shoot with your smartphone and send in your pictures – you could be one of three
@bwphotomag
lucky winners each month who wins a Samsung Class 10 EVO 32GB MicroSD card.
Upload your pictures to our website, via Twitter by tagging us @BWPMag and using FOR ALL CONTACT DETAILS
the hashtag #smartshots, or email them to anna.evans@thegmcgroup.com. blackandwhitephotographymag.co.uk
If you are successful we will request high-res files.
86-87_HOW_TO_211 ER-MB.indd 87 04/12/2017 16:37

Book
tickets
Now
Create
your
vision
7 + ( ( ǯ ( 1 7 ) 2 5
( ǯ ( 5 < 2 1 ( 3 $ 6 6 , 2 1 $ 7 (
$ % 2 8 7 3 + 2 7 2 * 5 $ 3 + < ȍ
02ǯ,1*,0$*(
6VQQPǸǹFECǻ
Ǯ V P ǹ F % : 7 3 6 ǲ P Ǹ
BTQFǱǴBǷEǴTǱPVOǹ
3+272*5$3+<6+2:ǫ20%:
*Discount is valid until 14/03/2018 and applies to standard adult entry tickets only.
Pro photographers may apply for free trade passes subject to validation criteria.
088_BW_211.indd 88 11/29/17 2:03 PM

089_BW_211.indd 89 11/30/17 10:37 AM
BLACK+ WHITE PHOTOGRAPHY
NEXT MONTH
B +W ISSUE 212 FEBRUARY 2018 ON SALE 18 JANUARY
WE REVEAL THE WINNERS OF THE

BLACK+ WHITE PHOTOGRAPHER
OF THE YEAR 2018!
90
B+W
© Gina Glover
90-91_NEXT MONTH_211.indd 90 30/11/2017 14:42

NIKI BOON – THE FREEDOM OF CHILDHOOD
GINA GLOVER – ON FRACKING
91
B+W
© Niki Boon
THE BEST BAGS FOR MIRRORLESS CAMERAS

A DIFFERENT APPROACH TO PRINTING
CONTACT US
Web blackandwhitephotographymag.co.uk Facebook facebook.com/blackandwhitephotog

Twitter @BWPMag Instagram@bwphotomag
90-91_NEXT MONTH_211.indd 91 30/11/2017 14:42

To advertise on these pages please call the Photography team
B W CLASSIFIEDS
+ 27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015 on 01273 402823 or email advertising@thegmcgroup.com
www.apertureuk.com
Pre-owned Leica Medium / Large & Other Format
Leica SL Type 601 (Complete; boxed) Mint £3790 Mamiya 50mm f4.5G (Mamiya 6) Exc £420
Leica SL Type 601 (Complete; boxed) Exc++ £3490 Mamiya 150mm f4.5G + hood (Mamiya 6) minor fungus Mint- £100
Leica 24-90mm f2.8-4 Vario-Elmarit-SL ASPH + hood (boxed) Mint- £2590 Mamiya 7 II with 80mm f4L + hood (boxed) Mint £2090
Leica M-P (240) Black with Leiva EVF 2 (Complete; Boxed) Exc++ £3290 Mamiya 43mm f4L + hood & V/finder Mint £850
Leica M (240) Silver (Complete; boxed) Mint- £2890 Mamiya 50mm f4L + hood no V/finder Mint- £690
Leica M (240) Black (Complete; boxed) Mint- £2890 Mamiya 150mm f4.5L + hood Mint £350
Leica M240 Black (Complete; boxed with spare battery) Exc++ £2750 Mamiya 150mm f4.5L Mint- £290
Leica MP 0.72 Hammertone LHSA Camera only Mint £3990 Mamiya 210mm f8N + V/finder Mint- £350
Leica M6 Black 0.85 TTL Black (boxed) Mint- £1550 Mamiya ZE-702 Polarising filter Mint- £70
Leica M6 Black #1762xxx (boxed) Exc++ £1290
Leica M4-P Black Exc+ £790 Rolleiflex 6008 Integral + 80mm f2.8 Planar PQS + RFH Exc+++ £950
Leica M4-P Black Exc+++ £890
Dedicated to the monochrome photographer
Zeiss 60mm f3.5 Distagon HFT PQ Exc £650

Schneider 180mm f2.8 HFT PQ + hood Exc+++ £890
Leica 21mm f2.8 Elmarit-M ASPH + hood #3885xxx Exc+++ £1490 Rolleiflex T (75mm Tessar) Mint £550
Leica 21mm f2.8 Elmarit-M ASPH + hood #3991xxx & Voigtlander V/finder Exc++ £1490
Zeiss 21mm f4.5 C-Biogon ZM T* + hood Silver (boxed) Mint £590 Fotoman 45PS with 58mm f5.6 Super-Angulon XL Exc++ £850
Zeiss 21mm f4.5 C-Biogon ZM T* Silver (boxed) Exc++ £490 Linhof Technorama 617S + 90mm f5.6 Super-Angulon & Finder & Centre Filter Exc £2090
Leica 24mm f2.8 Elmarit-M ASPH + hood #3755xxx Exc+++ £1190 Linhof Technika IV with 150mmm f5.6 Symmar Exc+ £890
Leica 24mm f3.8 Elmar-M ASPH + hood 6 bit #4087xxx Mint £1350 Cambo Wide 650 + Schneider 56mm f5.6 + Schneider 900 90mm f8 Exc+++ £1690
Leica 24mm f3.8 Elmar-M ASPH + hood 6 bit #4141xxx (boxed) As new £1390 Horseman SW-D II Pro + Schneider 24mm f5.6 Apo-Digitar XL + Phase
Leica 28-35-50mm f4 Tri-Elmar-M ASPH + hood (49mm filter) boxed Exc £2190 One Hasselblad H101 Adapter Plate Exc++ £2090
Leica 28-35-50mm f4 Tri-Elmar-M ASPH (55mm filter) boxed Mint- £2490 Schneider 47mm f5.6 Super-Angulon (Compurl 0) Mint- £350
Leica 28mm f2.8 Elmarit-M ASPH + hood 6 bit #3988xxx (boxed) Exc £1050 Schneider 58mm f5.6 Super-Angulon XL (Copal 0) Mint- £530
Zeiss 28mm f2.8 Biogon ZM T* (boxed) Mint £590 Schneider 72mm f5.6 Super-Angulon XL (Copal 0) Mint £650
Leica 35mm f1.4 Summilux-M ASPH + hood 6 bit #4039xxx (boxed) Exc+++ £2090 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Leica 35mm f2 Summicron Chrome 8 Elements User £1490 Rodenstock 300mm f9 APO-Ronar (Copal 1) Mint- £390
Leica 35mm f2 Summicron-M + hoods 3rd version #2661xxx Exc £1190 Nikon 600mm f9 Nikkor-T ED (Copal 3) Mint £1090
Leica 35mm f2 Summicron-M ASPH + hood #3907xxx Exc+++ £1490 Wista 6x9 RFH Exc+++ £120
Zeiss 35mm f2 Planar ZM T* + hood Exc++ £590 8x10 film Holder Exc+ £50
Zeiss 50mm f2 Planar ZM T* Silver (boxed) Mint £490
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 75mm f1.4 Summilux-M Built in hood Exc+++ £2690
We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 75mm f2 APO-Summicron-M ASPH #3988xxx Mint £1790 below and make sure to include your name; address and contact details for return postage.
Leica 75mm f2 APO-Summicron-M ASPH 6 bit #4007xxx Mint- £1690 An order form is availible to download from our website on the Film Developing Page.
Leica 75mm f2.5 Summarit-M 6 bit + hood #4048xxx (boxed) Mint £730 Please send your order to:
Postage for Process and Print
1 - 2 rolls.............................................£3
£690 Aperture 3 - 5 rolls.............................................£6
Leica 75mm f2.5 Summarit-M 6 bit #4144xxx Mint 6 - 10 rolls...........................................£9
PO Box 7045 11 rolls or more................................Free
Zeiss 85mm f4 Tele-Tessar ZM T* Silver Exc+ £320 London Process only
1 - 10 rolls...........................................£3
Leica 15mm f3.5 Super-Elmar-R 3 Cam with lens cover & pouch Mint £1590 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 35mm f1.4 Summilux-R ROM (boxed) Mint- £2990 Processing Prices (C41 Colour Negative Film)
Leica 60mm f2.8 Macro-Elmarit-R 3 Cam User £270 35mm develop only £6.00
Leica 180mm f2.8 Elmarit-R 3 Cam User £230 35mm develop + print £12.00
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Exc++ £2590 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica 35-70mm f3.5 Vario-Elmar-R 3 Cam User £250
Leica 35-70mm f4 Vario-Elmar-R ROM (boxed) Mint- £590 120 develop only £7.00
£100 120 develop + print £15.00
Leica 50mm Metal Viewfinder Exc+++ 120 develop + print + scan £17.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Mint- £100 120 develop + scan £11.00
Leica 13.5cm Metal Viewfinder Chrome Exc+ £80
Extra set of prints (order within 7 days) £5.00
Negative scan to CD or digital media (Per roll) £8.00
Voigtlander 12mm f4.5 Super Wide-Heliar (L39) + V/finder & M Mount Adapter Mint- £370
Voigtlander 15mm f4.5 Super Wide-Heliar (L39) Exc++ £250 Xpan develop + scan £18
Xpan develop + scan + print (5” x 13.5”) £24
Voigtlander 35mm f2.5 Color-Skopar Silver (L39) Mint £250
We also process Black and White Film!
Voigtlander 90mm f3.5 Apo-Lanthar + hood (L39) Mint £250
Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries
92 B+W CLASSIFIED JANUARY please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY
2018 Tel: 020 7242 8681 www.cameramuseum.uk
BW_211.indd 92 11/29/17 9:34 AM

B+W CLASSIFIEDS
27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
on 01273Tel:
402823 or email
020 7436 1015advertising@thegmcgroup.com 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681
Leica 35mm f1.4 Summilux-R ROM (boxed) Mint- £2990

Leica MP 0.72 Hammertone LHSA Camera Mint £3990
Leica 28-35-50mm f4 Tri-Elmar-M ASPH + hood (49mm filter) boxed Exc £2190
Cartier Tank MC Chronograph with White Dial, Black Strap (Boxed and guarantee Card) £4290
Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
P l e a s e c o n t a c t u s o n 0 2 0 7 4 3 6 1 0 1 5 o r 2 7 @ a p e r t u r e JANUARY
u k . c o m 2018 B+W CLASSIFIED 93
BW_211.indd 93 11/29/17 9:35 AM

B W CLASSIFIEDS
+ on 01273 402823 or email advertising@thegmcgroup.com
B+W APP
Buy or sell at Manchester’s largest selection of
The Real Camera Co.

used photographic equipment
Having trouble finding what you want? We’ve got nearly everything under one
roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.
BLACK+ WHITE PHOTOGRAPHY Got a question about photography? We can answer it.
Starting a college course? Want to set up a darkroom?
SUBSCRIBE TO OUR DIGITAL EDITION Baffled by digital? We can help.
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B+W
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FROM ONLY £2.77
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VISIT WWW.POCKETMAGS.COM COOL, CREATIVE AND CONTEMPORARY
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94 B+W CLASSIFIED JANUARY 2018
BW_211.indd 94 11/30/17 10:42 AM

B+W CLASSIFIEDS
on 01273 402823 or email advertising@thegmcgroup.com
JANUARY 2018 B+W CLASSIFIED 95
BW_211.indd 95 11/22/17 12:02 PM

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
B+W
Chicago, wet rush hour
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 papers for printing.
HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to: B+W Photography, Find out more at
Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
96_LAST_FRAME_211 ER-MB.indd 96 30/11/2017 14:45

IBC_BW_211.indd 1 11/22/17 11:58 AM
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 new website to discover more.
© Johnny Mobasher
OBC_BW_211.indd 1 11/29/17 9:44 AM

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COOL, CREATIVE AND CONTEMPORARY

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BLACK + WHITE THE POSSIBILITIES

01_EDS_LETTER_211 ER-MB.indd 1 22/11/2017 14:25

COVER 32 ON THE ROAD 18 IN THE FRAME

02-03_CONTENTS_211 ER-MB.indd 2 30/11/2017 14:47

FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 86 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK

TECHNIQUE INSPIRATION TESTS & PRODUCTS 74 SALON

02-03_CONTENTS_211 ER-MB.indd 3 30/11/2017 14:48

Eighty galleries exhibited work FILM IS BACK

04-05_NEWS_211 ER-MB.indd 4 30/11/2017 11:21

Aspens, Northern New Mexico, 1958,

Ten Huts by Darren Moore.

WIDE-REACHING © Darren Moore

04-05_NEWS_211 ER-MB.indd 5 30/11/2017 11:21

A significant proportion of the display is

‘Since photography’s invention

06-07_ON_SHOW_211_ABE-ER-MB.indd 6 30/11/2017 11:28

and the relationship between photography and

06-07_ON_SHOW_211_ABE-ER-MB.indd 7 30/11/2017 11:28

C and his twin brother a camera for their birthday. ‘My

08-16_Christoph_Jorda_ER-MB.indd 8 22/11/2017 14:33

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08-16_Christoph_Jorda_ER-MB.indd 10 22/11/2017 14:33

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017_BW_211.indd 17 11/27/17 3:45 PM

18-19_IN_THE_FRAME_211 ER-MB.indd 18 22/11/2017 14:36

TOWNER ART GALLERY

To 6 January wolfson.ox.ac.uk LUCY BELL GALLERY

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To 11 January SAN JOSE MUSEUM OF ART

CANTOR ARTS CENTER SCANDINAVIA HOUSE

CHRYSLER MUSEUM OF ART

ERIE ART MUSEUM

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GERMANY 1 Blütenstrasse Munich

B&W photographs of Paris PHOTOGRAPHY CENTRE MIRRORING LIFE

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NEW YORK CITY

Sundance and was

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‘ Best Photo Lab Worldwide’

Fill your walls with picture-perfect memories.

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T grainy black & white

P 20 years ago, Krass

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Butch Queens in Chanel

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