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COOL, CREATIVE AND CONTEMPORARY

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BLACK+WHITE PHOTOGRAPHY NOVEMBER 2017 JUDAH PASSOW + AUGUST SANDER + DIGITAL GRAVEYARD + NIGHT PHOTOGRAPHY + MIRRORLESS CAMERAS ISSUE NO.208
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 © Anthony Bailey

BLACK + WHITE THE ART OF THE

PHOTOGRAPHY
EDITORIAL
Editor Elizabeth Roberts
WINNING IMAGE

I
email: elizabethr@thegmcgroup.com
Deputy Editor Mark Bentley have been doing something a little strange lately.
email: markbe@thegmcgroup.com
I’ve been looking up what people are writing
Features Editor Anna Bonita Evans
email: anna.evans@thegmcgroup.com online about judging photography competitions.
Designer Toby Haigh And I think I’ve scared myself – or, to be more
precise, I find what is said, is scary.
ADVERTISING
Advertising Sales Guy Stockton
It all began with the launch of the Black+White
tel: 01273 402823 Photographer of the Year 2018 and deciding on the
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EDITOR’S team with an aim of achieving a well balanced, highly
Publisher Jonathan Grogan LETTER knowledgeable group of people who not only have
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NOVEMBER consider what others say. Above all they must come
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Production Manager Jim Bulley that it seemed to have nothing to do with openness.
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 © Judah Passow © Bruno Tamiozzo

10 26

© Die Photographishche Sammlung / SK Stiftung Kultur – August Sander Archive,

Cologne / VG Bild-Kunst, Bonn and DACS London 2017

44

© Lauren Semivan

34

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© Matthew Finn

70

BLACK+ WHITE PHOTOGRAPHY ISSUE 208 NOVEMBER 2017 NEXT MONTH’S ISSUE IS OUT ON 26 OCTOBER

COVER intriguing Lauren Semivan 08 ON SHOW

Picture by Alan Schaller Our recommended exhibition
70 FACE TO FACE
FEATURES Mother and son collaboration 20 IN THE FRAME
10 OF TIME AND PLACE by Matthew Finn Your guide to photography shows
Judah Passow on conflict
and identity NEWS 25 ON THE SHELF
04 NEWSROOM The best new photography books
26 DIGITAL GRAVEYARD The latest in black & white
Bruno Tamiozzo documents COMMENT
the world’s largest e-waste site 06 BLACK+WHITE 22 AMERICAN
BPOTY PHOTOGRAPHER CONNECTION
34 SELF-EXPOSURE 2018 OF THE YEAR Susan Burnstine discusses
The evocative, theatrical and Enter our fantastic competition identity with Ima Mfon

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 © Alex Schneideman © Rudolf Hummel

48 62

© Tim Clinch

72

© Lee Frost

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

44 MODERN EYE 72 SMART GUIDE TESTS & PRODUCTS 90 NEXT MONTH

Shoair Mavlian on the
art of August Sander
68 A FORTNIGHT AT F/8
Creativity is king, says Tim Clinch
TECHNIQUE
52 TOP TIPS
Low light photography
58 PROJECTS IN
VISUAL STYLE
Minimalist compositions
TO PHOTOGRAPHY 82 CHECKOUT Don’t miss it
A weekend challenge Six of the best mirrorless cameras
94 SUBSCRIPTION OFFER
INSPIRATION YOUR B+W Have B +W delivered
43 INSIGHT 74 SMARTSHOTS to your door
Vicki Painting on Could your picture win a prize?
encountering the unexpected 96 LAST FRAME
76 SALON A single winning image
48 THINKING PHOTOGRAPHY We feature the best of documentary framed by theprintspace
The truth of the picture
86 HOW TO GET PUBLISHED
62 WORKFLOW Getting your work in print
Developing your style

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 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
Royal Collection Trust / © Her Majesty Queen Elizabeth II 2017

HIGH CONTRAST
The search is on for the Outdoor
Photographer of the Year.
The big competition, run by
our sister magazine Outdoor
Photography, is aimed at
photographers interested in
landscape, wildlife, adventure,
underwater and travel. The first
prize is a Fjällräven equipment
award, enabling the winner to
choose Fjällräven gear up to a
value of £3,000. Deadline for
entries: 9 November.
opoty.co.uk
04
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FIRST WAR
PICTURES
Powerful images of the Crimean
War taken by the first war
photographer are now on display.
The pictures by Roger Fenton
are drawn from the Royal
Collection and are exhibited
in Scotland for the first time in
more than 150 years.
Fenton travelled to the Crimea
with 36 chests of cameras, glass
plates, chemicals, a stove and
other pieces of equipment – as
well as a wine merchant’s van
converted into a travelling
darkroom. His pictures helped
show the world the reality of war,
and include Lord Balgonie, the
first visual record of someone
suffering from shellshock.
Shadows of War: Roger Fenton’s
Photographs of the Crimea, 1855
is at the Queen’s Gallery, Palace
of Holyroodhouse, Edinburgh, Photographic van, 1855. Fenton’s horse-drawn photographic van,
until 26 November. with his assistant Marcus Sparling seated at the front.

NORTHERN LIGHTS
Top photographer Eamonn McCabe is among the portfolio reviews, a celebration of photobooks
names appearing at a new photography festival. and a screening of the film Blow-Up.
The Northern Eye International Photography A two-day conference at Theatr Colwyn on
Picture by Rob Walbers.
© Rob Walbers. Reprinted with permission Festival runs from 9 to 21 October at Colwyn Bay October 14-15 includes Eamonn McCabe, who
from Ammonite Press, Outdoor Photographer in north Wales. Attractions include exhibitions recently presented the BBC4 series Britain in
of the Year: Portfolio II, RRP £25.
by Jim Motram, Bryan David Stevens, Ed Brydon Focus, plus Bridget Coaker, Roger Tiley,
Fotografiska is to open a and Kwasi Boyd-Bouldin, plus workshops, Jonathan Goldberg and Amanda Jackson.
new gallery in London. The
Stockholm-based photography
Small Town Inertia
gallery is planning to open a new
site at the White Chapel Building by Jim Mortram.
© Jim Mortram
in Whitechapel High Street,
London, in 2018. It will be called
Fotografiska – London Museum
of Photography.
fotografiska.eu
Retailer CameraWorld is to hold
a free one-day photography
event in London on 28 October.
CameraWorld Live is at 155
Bishopsgate, Liverpool Street, and
features talks, seminars, Q+A
sessions and guided photo walks.
Leading camera manufacturers
will be there with the latest
gear and there’s a dedicated
secondhand camera kit area.
cameraworldlive.co.uk

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 NEW POLAROID
A new Polaroid camera is

HIGH POWER
Nikon has announced a new
pro-level camera with an
impressive list of specifications.
The Nikon D850 is the
successor to the much-admired
Nikon D810. The new camera
features a mighty 45.7Mp sensor
and an Expeed 5 image processor,
up from the D810’s 36.3Mp
sensor and Expeed 4 processor.
It inherits the same 153-point
AF system as the flagship Nikon
D5 and features extensive
weather sealing to protect against
harsh environments. The ISO
range is 64 to 25600 (extendable
from 32 to 102400), continuous
shooting is 7fps, or 9fps when
using the optional battery pack.
Users can shoot Raw in different
sizes (large, medium or small).
£3,499.99 (body only)
Maenserth Standing Stone, 1976 by Fay Godwin. © British Library Board (Fay Godwin)
LIFE ON THE LAND
Pictures by a string of influential
photographers will be displayed
in a new exhibition exploring
our relationship with the land.
The exhibition, A Green
and Pleasant Land, British
Landscape and the Imagination:
1970s to Now, features more
than 100 works by 50 artists.
Although film, painting and
sculpture will be on display,
the show is mostly made up
of photography, including
pictures by Keith Arnatt, John
Blakemore, Paul Caponigro,
Thomas Joshua Cooper,
John Davies, Susan Derges,
Fay Godwin, Paul Hill,
Jem Southam and Jo Spence.
The images explore the ideas
of land as a spiritual place and
as a site of social and political
history. They include John
Davies’ picture of Agecroft
power station and Fay Godwin’s
photograph of Maenserth
standing stone.
A Green and Pleasant Land is at
the Towner Art Gallery in Eastbourne
from 30 September to 21 January.
now available.
The OneStep2 is the first
analogue instant camera in
more than a decade to come
out under the Polaroid brand.
It features a fixed focus lens,
USB charging and a long
lasting battery.
The camera, which costs
£109.99, has a contemporary
design and takes i-Type and
600 film. Black & white, colour
and a range of special edition
films are available.
polaroidoriginals.com
05
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PHOTO AID
A series of books featuring
black & white photographs
has been created to help
Hello. © David Yarrow dementia patients. The series,

NEW SPACE Photographic Treatment, is

OPENS
A new London gallery space
has opened with an exhibition
by wildlife photographer
David Yarrow.
Maddox Gallery already has
two spaces in Mayfair and has
now opened a 4,000 square foot
gallery in Westbourne Grove.
The opening exhibition, David
Yarrow: The Untouchables,
features black & white wildlife
pictures by the acclaimed
photographer and runs until
5 October.
edited by French artist Laurence
Aëgerter and was developed in
collaboration with neurologists,
gerontologists and psychologists.
It comprises five books of
pictures, each with black & white
diptychs. Dementia patients
Portraits of Nisantasi. © Birol Bali – Courtesy Serdar Bilgili
are encouraged to recognise
THE BIG PICTURE connections between the
pictures. Recognition engages
An exhibition of black & white portraits is in the running to cognitive functions and creativity.
make the Guinness World Records. Although dementia cannot be
The exhibition of pictures by Serdar Bilgili is held on the outside cured, the book series is intended
to slow down degeneration.
of a 67m high building in Nişantaşi in Istanbul. It features portraits
Photographic Treatment is
of notable people who live in the area, including an architect, chef,
published by Dewi Lewis, price
singer, journalist, surgeon, businessman, designer and antique dealer. £12.99 for each book or £48
The 35 pictures range in size from 32sqm to 386sqm and can be for the set of five.
seen on the VK108 building.

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 B L ACK + W H I T E PH OTO GR A PH Y I N N OVAT IVE M O D E R N M O N O C H R O M E

BLACK+WHITE
PHOTOGRAPHER
OF THE YEAR 2018
WIN ONE OF
THREE FANTASTIC
6
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FUJIFILM CAMERAS

FIND OUT MORE AT BPOTY.COM

Closing date for entries – midnight 30 October 2017

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 MAIN IMAGE © VICKI PAINTING. WINNER OF BLACK + WHITE PHOTOGRAPHER OF THE YEAR 2015

7
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I N PARTN ER S H I P WITH

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 NEWS
ON SHOW
A new exhibition puts forward a collective portrait of America during a turbulent
point in history by some of the most renowned documentary photographers of
all time. Anna Bonita Evans reports on images that changed the face of a nation.

N
ottingham Contemporary assembles
250 works by 16 photographers
pivotal in shaping mid to late 20th
century documentary photography
in the United States for States of America:
Photography from the Civil Rights Movement
to the Reagan Era. Images by Diane Arbus,
William Eggleston, Bruce Davidson,
Stephen Shore, Mary Ellen Mark and
Garry Winogrand are on display, as well
as photographs by Lee Friedlander, Jim
Goldberg, Danny Lyon and Nicholas Nixon.
They highlight those in the shadow of the
American Dream and demonstrate innovative
ways of approaching the documentary genre.
The display is punctuated by two very
different times in the country’s history.
By choosing images from a specific time
went from a place of protest and
frame, curators Irene Aristizábal and
Abi Spinks effectively portray a major
transformation: in just over 20 years
America went from protest and reform to
conservatism and inequity. Protestors were
replaced by yuppies, post-war optimism into
financial anxiety (the country’s economy was
at its lowest since the Great Depression) and
co-operative centred thinking transformed to
become the me generation.
Here we see the photographers who exposed
America during those decades of upheaval
and their depiction of the people that this
newly defined freedom left behind. Many of
the photographers chose to go outside of the
metropolis and reveal what the rest of America
looked like, or to tell the stories of those
living in the city but on its fringes.
‘In just over 20 years America
reform to one dominated by
conservatism and inequity.’
From Winogrand’s action-filled pictures to
Arbus’ unnerving portraits and Shore’s
interest in the vernacular to Lyon’s portrayal
of subcultures, this is a compelling record
of a country’s psyche at a time of great change.
While this exhibition reveals the people
who made up a nation, it's interesting to take
note of the array of styles, thinking and
methods towards the genre evident.
Largely taken just after Robert Frank’s 1958
opus The Americans, these pictures are a
departure from the classic viewpoint of
Walker Evans and Eugene Smith – even the
European figures who so deeply influenced
the genre during the pre and inter-war years.
Opening up a new visual vocabulary,
the photographers embraced immediacy,
experimentation and a more inquisitive
approach. While monochrome photography
makes up the majority of the display, an
intriguing subtext is the mixture of colour

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“I wanted Christina to learn some responsibility for cleaning her room, but it didn’t work” 1973 by Bill Owens.

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 A Man in a Bowler Hat, 1976 by Dawoud Bey.
interesting subtext is the mixture of colour
and black & white works – often by the
same photographer – and how they differ.
Many of the images were drawn from the
Wilson Centre of Photography, an archive
of more than 11,000 images collected by
film producer Michael Wilson.
Open to the public until the end of
A boy in front of the Loew's 125th Street movie
theatre, 1976 by Dawoud Bey.
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November, States of America is an intelligent STATES OF AMERICA:
look at the complexities of a nation and the
many faces making up its identity. Endlessly PHOTOGRAPHY FROM THE
intriguing, this record of times past acts as CIVIL RIGHTS MOVEMENT
a prompt for us to reflect on America now
– especially in light of Black Lives Matter, TO THE REAGAN ERA
the call for transgender and gay rights and a is on show to 26 November at Nottingham
conservative, controversial, leader in power. Contemporary; nottinghamcontemporary.org
Kid looking over at camera, 1972 by Mark Cohen.
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 FEATURE
11
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All images © Judah Passow

OF TIME
AND PLACE
Judah Passow’s long career
in photojournalism has won
him four World Press awards
and a formidable reputation
for journalistic integrity. Here he
talks with Donatella Montrone
about conflict, identity and his
three cultural influences.

London 2010. A gay couple dancing at the end

of the Simchat Torah service at a liberal
synagogue in west London.

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 12
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J
udah Passow is perhaps best
known for his photographic
essays documenting conflict in
the Middle East – the Israeli
invasion of Lebanon in 1982,
the first and second Palestinian
intifadas, the flight of the Iraqi Kurds
during the 1990 Gulf War…
He spent 25 years photographing along the
fault lines in a region of frightening political
and religious complexity. But far from simply
documenting events that have shaped the
history of the place, his work conveys a
sense of the futility of conflict: a Palestinian
girl in a bridesmaid dress standing in front
of an armoured troop carrier in a Beirut
refugee camp; a Jewish toddler in a West
Bank settlement, crawling near an Israeli
soldier guarding him with an automatic rifle;
Palestinian children acting out scenes of
brutality from the intifada in their West Bank
living room; mourners at a funeral for an
Israeli soldier killed in Lebanon; and the Star
of David, the symbol of Jewish identity, often
appearing in photographs juxtaposed with a
moment of irony. These images explore two
sides cursed by conflict; two sides blighted by
senseless loss. ‘There isn’t one party that can
claim ownership of all the pain,’ he says.
Passow has won four World Press
Photo awards for his work in the region,
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Above London 2009. Simchat Torah at a liberal
congregation in West London, whose members
are redefining contemporary Jewish life
through the open and active involvement
of gay men and women, feminists, couples
from mixed religious backgrounds and those
who don’t regard themselves as religious.
Opposite top London 2010. Last minute
preparations for a wedding at a liberal
synagogue.
Opposite below Gateshead 2011. A rabbi has
a word with the catering manager in the
kitchen of an orthodox synagogue during
a dinner celebrating a bar mitzvah.
a collection of which appears in his first
book, Shattered Dreams: Israel and the
Palestinians, published in 2008. Shattered
Dreams received critical acclaim, was
accompanied by major exhibitions across
Europe and in Israel, and was nominated for
the Deutsche Börse photography prize.
His latest book, No Place Like Home, is a
more intimate body of work – a story about
belonging, told from an insider’s point of
view. It is possibly Passow’s most personal
work, inspired in part by the death of his
father, a rabbi and historian who devoted
his entire professional life to exploring
questions of Jewish identity. After his death
in 2008, Passow looked for a way to honour
his father’s legacy and began documenting
Jewish life in multicultural Britain. ‘My father
was fascinated by Judaism’s complexity. More
than anything else, though, he loved the fact
that Judaism was, at its core, essentially an
idea, and that everything which flowed from
that big idea is just someone’s interpretation.’
The photographs in No Place Like Home
are intended to serve as a visual conversation
with Britain’s contemporary Jewish
community, explains Passow. ‘They explore
one of its defining characteristics – the ability
to simultaneously acknowledge the traditional
past, live in the creative present, and build for
the future. They are about what defines us,
and what we do that gives our life meaning as
Jews living in Britain in the 21st century.’
I
ndeed, journalist Jonathan Freedland
touches on the notion of cultural hybridity
in the book’s introduction. He talks of
‘the fusing of apparent contradictions’ that
go beyond the obvious – like the image of a
woman at an orthodox synagogue carrying
a Marilyn Monroe handbag (see page 14),
or that of two young girls – one Jewish, one
Muslim, wearing a hijab – walking hand in
hand across the playground at King David
School in Birmingham, a Jewish primary
school that takes in a large percentage of
children of the Muslim faith (see page 15). 
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  ‘The Jews in No Place Like Home wear
different identities, multiple allegiances,
without apparent tensions. They are visibly
patriotic, proud of the land of their birth and
citizenship…but at the same time, Britain’s
Jews are inseparably associated with Israel,’
explains Freedland.
Passow is the sum of many complex,
interwoven parts which begin in Holon, a
town south of Tel Aviv. One of three siblings,
he and his family moved to Philadelphia when
he was five. ‘One of my earliest memories
from childhood is the first TV set my parents
bought. The first time it was switched on was
to watch Dwight D Eisenhower being sworn
in as president in January 1957. My parents
sat in silence as we all watched the ceremony
taking place on the steps of the Capitol
building. They were Democrats and had
voted for Adlai Stevenson. The TV quickly
became our cultural gateway to America.
My sister and brother and I watched Walt
Disney’s Mickey Mouse Club every afternoon
when we got home from school. It was our
way of belonging,’ he says.
‘By my early teens we had moved to
Manhattan, where I began high school at an
orthodox Jewish private school – not because
we were religious, but because the school
had an outstanding academic reputation. I
found the atmosphere insular, parochial and
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The photographs in No Place
Like Home are intended to serve
as a visual conversation with
Britain’s contemporary Jewish
community, explains Passow.
maddeningly shielded from the reality of the
world outside the building’s heavy iron and
glass front doors.
‘During a Hebrew literature lesson, I
got into an argument with the teacher, the
consequences of which dramatically altered
the trajectory of my life. The teacher was
explaining to the class of mainly orthodox
students that Israel is a paradise for ritually
observant Jews – a place where everyone
prays three times a day, everything comes
to a standstill on the Sabbath, and where
Opposite top Birmingham 2010 King David
Primary School. While the school has an
orthodox Jewish religious curriculum, its
population is 55% Muslim, 25% Christian,
Hindu, Sikh and Buddhist, and 20% Jewish.
Opposite below Two young girls – one Jewish,
one Muslim, wearing a hijab – walking hand
in hand across the playground at King David
School in Birmingham.
Below London 2009 A woman attending a
Simcha planning fair at an orthodox synagogue.
kosher food is served everywhere by law.
I found it difficult to listen to the fantasy
picture being painted of a place that most
of the students had never visited but which
I knew well. I stood up from my chair and
proceeded to explain that most Israeli Jews
are in fact secular and have never been inside
a synagogue, that traffic jams on the roads
to the country’s beaches are a major Sabbath
headache, and that non-kosher food is freely
available because many shops and restaurants
refuse to pay the extortionate annual fees
taken by the Chief Rabbinate for a kosher
certification. That, I said, is the real Israel.
‘The teacher was understandably furious
and ordered me to the principal’s office. He
told the rabbi that either I left the school,
or he would. I left that afternoon and the
following morning resumed my education
at a New York City municipal high school,
where I discovered journalism, the school
newspaper, and a passion for reporting that
would chart the course of my career.
A
t 16, Passow started spending the
school holidays working as a sailor
in the American merchant navy. ‘For
the next five years, every Christmas,
Easter and summer holiday, I worked on
passenger liners, container ships and oil
tankers, having some amazing adventures and 
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 15
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 Luton 2011. Two shochtim taking a break from their work at an abattoir.
16
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Manchester 2010. Yeshiva students at lunchtime reciting Birkat Hamazon, the traditional blessing after a meal.

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 Manchester 2010. Morning study session at an orthodox synagogue.
17
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London 2010. An annual charity fundraising dinner. The £1,500-a-couple dinner ticket is the basic building block of Jewish philanthropy.

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 London 2010. Sunday morning minyan at an orthodox synagogue.
18
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 earning money to pay for my university
education.’ One summer, while working as
a cabin steward on a liner sailing between
New York and Genoa, Naples and Portofino
in Italy, he became friendly with the ship’s
photographer who let him borrow a camera to
use when he went ashore. ‘In the evenings,
after finishing my shift, he’d work with me in
his darkroom to develop the film and make
prints. By the end of the summer, I knew I
needed my own camera. I showed my parents
the photographs I’d taken and explained that
I’d discovered something I wanted to explore.
They bought me my first camera – a Pentax
SLR with a 50mm lens – and I left for
university a few days later. The first pictures
I took with that camera were at a Chuck Berry
concert staged for the new freshman class.
They were everything Robert Capa warned
about: “If your pictures aren’t good enough,
you’re not close enough,”’ he said.
Passow initially planned to study journalism
but switched to filmmaking; he graduated from
Boston University in 1971, at the height of the
Vietnam War. Several years ago, during a Q&A
at the Frontline Club in London, Passow talked
openly about being drafted into the American
Army. ‘Like so many of my contemporaries
at the time, I didn’t support the Vietnam
War.’ So instead of going to Vietnam, he left
10-18_Judah_Passow_208 ER–MB.indd 18
the United States and returned to his native
Israel to do compulsory military service. He
was soon caught up in the 1973 Yom Kippur
War, serving on the southern front fighting
the Egyptian army. During the Q&A, Passow
explained how that experience shaped his
photography in two fundamental ways: the
familiarity with combat enabled him to go
into a conflict zone and work without being
paralysed with fear. ‘But the flip side of that
same coin is that the experience of having
been on a battlefield myself made me more
sensitive to the distress of others.’
When Passow got out of the army he took
a job as a photographer at the Jerusalem
Post, where he remained until 1978. ‘I was
working on what was essentially a small-town
newspaper and I knew that if I wanted my
photography to grow I was going to have to
come to Europe.’ He moved to London and
began freelancing for national newspapers,
first for the Sunday Times, then the Observer,
and subsequently for the Sunday Telegraph.
His first significant body of work to come
from the Middle East was in 1982, when the
Israeli army invaded southern Lebanon and
pushed through to take Beirut. ‘I was working
for the Observer, and the picture editor at
the time, Tony McGraw, spent a large part of
his foreign budget keeping me on that story.
Covering that region was something very
personal to me. I never really regarded taking
photographs in Israel, Gaza and the West
Bank as merely a newspaper assignment.
I wasn’t interested in simply delivering a
set of images to deadline. For me, it was a
personal journey – I was trying to understand
the culture I grew up with.’
Looking back on his childhood, Passow
says he and his siblings were raised ‘to
understand that our lives are governed
by an ethical code and a moral compass’.
Unsurprisingly, among his peers he is
considered a photojournalist of the utmost
integrity. ‘I am the product of three
fascinating cultures – Middle Eastern, North
American and European. Each has provided
a different set of attitudes and perspectives
on life, the combination of which enable me
to navigate around whatever cultural waters
I find myself in. I’m at home anywhere – as
long as I can sit down with a cup of coffee
and watch the world go by.’
Shattered Dreams: Israel and the Palestinians
is published by Halban and No Place Like Home
is published by Bloomsbury. Both are available
from bookshops and online.
To see more of Judah Passow’s work,
visit judahpassow.com
31/08/2017 09:53
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019_BW_208.indd 19 8/30/17 2:58 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
ATLAS GALLERY
North America showing work.
Strand WC2R somersethouse.org.uk

To 13 November STRAND GALLERY

Niko Luoma: Rhythm, Direction 18 to 22 October
and Weight The London Photo Show
New work by the Finnish artist, one of the Connecting aspiring photographers
most celebrated of the Helsinki School with a wider audience.
of Photography. 32 Adam Street WC2N
49 Dorset Street W1U thestrandgallery.wordpress.com
atlasgallery.com
TATE BRITAIN
AUTOGRAPH ABP To 19 November
To 28 October Stan Firm Inna Inglan:
Zanele Muholi: Black Diaspora in London 1960-70s
Hail the Dark Lioness Recently acquired works by eight
Muholi uses her body as a canvas photographers who came from the
to confront the politics of race and Caribbean and West Africa to live
representation in the visual archive. in London.
Rivington Place EC2A Millbank SW1P tate.org.uk
autograph-abp.co.uk White Studio, Photograph of stage set for Four Saints in Three Acts, 1934.

NORTH
© Archives/Wadsworth Atheneum Museum of Art

THE BOOK CLUB

To 5 November 4 SAINTS IN 3 ACTS: NOTTINGHAM CONTEMPORARY
Reverberation To 26 November
Dean Chalkley’s work is inspired by A SNAPSHOT OF THE States of America:
20 the seminal Beatles’ album Sgt Pepper’s
AMERICAN AVANT-GARDE Photography from the Civil Rights
B+W Lonely Hearts Club Band. Movement to the Reagan Era
100-106 Leonard Street EC2A 20 October to 11 February 2018 Almost 250 works by 16 iconic
wearetbc.com Photography from the groundbreaking American photographers, spanning the
modernist opera first staged in 1934. 1960s to the late 80s.
LITTLE BLACK GALLERY Weekday Cross, Nottingham
To 7 October THE PHOTOGRAPHERS’ GALLERY nottinghamcontemporary.org
Designers by Jean-Marie Perier 16-18 Ramillies Street W1F thephotographersgallery.org.uk
The French photographer’s first London SALTS MILL
exhibition showing the glamour and To 29 October (weekends only)
elegance of the fashion industry. Portraits that reveal a unique cultural and Pi ARTWORKS From Salt to Silver
26 October to 7 December social impact. 29 September to 21 November Photographer Ian Beesley’s 1980s
Naturalium 343-345 Ladbroke Grove W10 Sticks and Stones documentation of the Salts Mill stands
Rob Munday presents a series of morton-hill.com Fatma Bucak explores themes of alongside his new images that reflect
photographic light sculptures of flowers. freedom through photographs, videos the changes made over the years –
13A Park Walk SW10 MUSEUM OF LONDON and installations. with poems by Ian McMillan.
thelittleblackgallery.com To 15 October 55 Eastcastle Street W1W Victoria Road, Saltaire,
Here and Now: London Portraits piartworks.com West Yorkshire saltsmill.org.uk
MADDOX GALLERY An outdoor display of portraits shot on
To 5 October the streets of London by Niall McDiarmid. SCIENCE MUSEUM SIDE GALLERY
The Untouchables London Wall EC2 4 October to 31 March 2018 To 8 October
Solo exhibition from world renowned museumoflondon.org.uk Illuminating India: Shipbuilding on the Tyne
wildlife photographer David Yarrow. Photography 1857-2017 Bruce Rae’s documentation of shipyards
112 Westbourne Grove W2 PHOTOGRAPHERS’ GALLERY An ambitious and unprecedented in northern England.
maddoxgallery.co.uk To 8 October survey of the technological and cultural 5-9 Side, Newcastle upon Tyne
Gregory Crewdson: development of the medium in India – amber-online.com
MMX GALLERY Cathedral of the Pines one of two major exhibitions celebrating
To 4 November A new body of work and the first time India’s scientists and photographers. TATE LIVERPOOL
Silesia the Photographers’ Gallery has devoted Exhibition Road SW7 To 15 October
Micha Cala’s enigmatic imagery three exhibition spaces to one artist. sciencemuseum.ac.uk Portraying a Nation:
448 Cross Road SE14 20 October to 11 February 2018 Germany 1919-1933
mmxgallery.com Instant Stories: SOMERSET HOUSE Painter Otto Dix and photographer August
Wim Wenders’ Polaroids 5-8 October Sander documented the radical extremes
MORTON HILL GALLERY Work by the award winning filmmaker. Contemporary African Art Fair of the country during this period.
To 27 October 16-18 Ramillies Street W1F Forty-one galleries from across Europe, Liverpool Waterfront, Liverpool
Sory Sanlé: Volta Photo 1965-85 tpg.org.uk Africa and the Middle East and tate.org.uk

20-21_IN_THE_FRAME_208 ER-MB.indd 20 31/08/2017 09:53

 WHITWORTH ART GALLERY
To 1 January 2018
Sooni Taraporevala: Home in the
City, Bombay 1976 – Mumbai 2016
Black & white images depicting life
in the cities in which the photographer
grew up.
University of Manchester,
Oxford Road, Manchester
whitworth.manchester.ac.uk
SOUTH
PITT RIVERS MUSEUM
To 29 October
Camel: A Journey through
Fragile Landscapes
A story of connection, survival and
interdependence on the edges of the
world by Roger Chapman.
Parks Road, Oxford
prm.ox.ac.uk
TOWNER ART GALLERY
30 September to 21 January 2018
A Green and Pleasant Land:
British Landscape and the
Imagination 1970s to Now
An exhibition from the Arts Council
Collection that features some of the top
names in photography.
Devonshire Park, College Road,
Eastbourne
townereastbourne.org.uk
WOLFSON COLLEGE
To 31 December
Wolfson College Portraits
ALEC SOTH:
SLEEPING BY THE MISSISSIPPI
To 21 October
The first London exhibition of this acclaimed series.
BEETLES+HUXLEY
3-5 Swallow Street W1B beetlesandhuxley.com
20-21_IN_THE_FRAME_208 ER-MB.indd 21
Mariana Cook’s new black & white
series of world famous scientists,
academics, writers and politicians.
Call 01865 274 100 for opening times.
Linton Road, Oxford
wolfson.ox.ac.uk
WEST
THE ARCHANGEL
To 8 October
Kit Sadgrove
Black & white street photography
1 King Street, Frome
streetphotographyguide.com
THE CREATE CENTRE
13 November to 5 January 2018
Spike Island
Three different interpretations of the
same landscape by Gordon James,
Peter Brisley and Tony Cooper.
Smeaton Road, Spike Island, Bristol
spikeisland.org.uk
WALES
FFOTOGALLERY AT
TURNER HOUSE
5 to 8 October
The Quiet Zeitungsfoto 101 (Newspaper
Photograph 101) 1990
MA end of year show by students
THOMAS RUFF
© Thomas Ruff
from the University of South Wales
Documentary Photography.
Opening times 11am to 5pm. 27 September to 21 January 2018 21
Preview 4 October 6-9pm. The first major London retrospective of the renowned German artist. B+W
Plymouth Road, Penarth
ffotogallery.org WHITECHAPEL GALLERY
77-82 Whitechapel High Street E1 whitechapelgallery.org
SCOTLAND
GRACEFIELD ARTS CENTRE
Powerful images of the battlefield
and their impact on royal and public
perceptions of war through photographs
To 19 November acquired by Queen Victoria and
Don McCullin Prince Albert.
Work drawn from the Artists Rooms Palace of Holyroodhouse, Edinburgh
collection of modern and contemporary royalcollection.org.uk
art that reveal McCullin’s powerful
NORTHERN
humanity in the face of devastation.
28 Edinburgh Road Dumfries
dumgal.gov.uk/gracefield
SCOTTISH NATIONAL IRELAND
PORTRAIT GALLERY VOID
To 1 October To 7 October
A Perfect Chemistry: Collected Shadows
Photographs by Hill and Adamson An exhibition from the Archive of
The uniquely productive and influential Modern Conflict that will then go on
New Orleans, Louisiana, 2002 partnership of David Octavius Hill and tour throughout the UK, organised by
© Alec Soth / Magnum Photos courtesy
Robert Adamson at the dawn the Southbank Centre’s Hayward Touring.
Sean Kelly Gallery, New York and
Beetles + Huxley Gallery, London
of photography. City Factory, Patrick Street, Derry
73 Belford Road, Edinburgh derryvoid.com
nationalgalleries.org
THE QUEEN’S GALLERY
To 26 November Send your international
Shadows of War: exhibition details to
Roger Fenton’s Photographs anna.evans@thegmcgroup.com
of the Crimea, 1855
31/08/2017 09:53
 COMMENT
AMERICAN CONNECTION
Photographer Ima Mfon has quickly made a name for himself with his
eye-catching series of portraits entitled Nigerian Identity. He talks to Susan
susanburnstine.com
Burnstine about creating images that convey a strong emotional meaning.

W
hat is it like to
be a Nigerian
living in America?
Photographer
Ima Mfon explores this
complex question by challenging
preconceived notions in his
series Nigerian Identity. These
striking, minimalistic portraits
photographed in high-key, high
contrast light are unusually
complex as the artist’s direct
approach creates a connection
between subject and viewer that
allows both parties to recognise
what it is like to be the other.
Mfon was born in Lagos, spent
most of his adult life in America
and has recently moved back to
Nigeria. After graduating with a
business degree, he was employed
in IT, but quit his job to pursue
a Master of Professional Studies
degree in digital photography at
the School of Visual Arts in New
York City where he created this
body of work, Nigerian Identities.
When Mfon graduated
from SVA in 2015, he split
his time between personal
and commercial work and
landed a number of impressive
assignments for companies such
as Vice Sports and Bloomberg
Businessweek. Concurrently, he
gained considerable attention for
Nigerian Identities by winning
the Lens Culture Emerging
Photography Award, landing
a feature on CNN and being

22
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22-23_USA_CONNECT_208 ER-MB.indd 22 08/09/2017 10:38


selected for Klompching Gallery’s
Fresh exhibit in 2015.
Toward the end of 2016 he
decided to limit his commercial
work and direct his focus on
his personal work. And clearly
that decision has paid off as he’s
earned solo exhibits this year
at Rick Wester Fine Art in New
York City and Blue Sky Gallery
in Portland, Oregon.
I first happened upon Mfon’s
work after receiving a notice
regarding his solo show in
New York City and was instantly
taken by the images. The white
background, negative space and
minimalistic style immediately
called to mind the work of
Richard Avedon, whom Mfon
admits was a tremendous
influence on his work. He says,
‘Beyond his masterful use of
black and white photography,
many of his portraits appear
emotionally charged, and this
inspired me to make visceral
images which also conveyed
a strong emotional meaning.’
Mfon’s inspiration for this
22-23_USA_CONNECT_208 ER-MB.indd 23
series was sparked by his personal
search to understand who he
was as an individual. ‘I was
exploring my identity as a black
man, and also my identity as a
Nigerian,’ he says. ‘This was the
inception of the project, but it
began to take on new layers as
I explored new themes. One of
the things I wanted to do was
reject the preconceived ideas,
both internally and externally,
of what it meant to be Nigerian.
When I first started creating these
portraits, people would initially
look at them and say, ‘These
are strong, but there is nothing
distinctly Nigerian about them.’
I would often respond by saying
‘Well, what does Nigerian look
like?’ and that became a central
part of this project.’
M
fon selected a simple,
white background to
‘further strip away
the context and ideas
that one would expect to
accompany portraits of Nigerians,’
he says. ‘The stark white
EXHIBITIONS
USA
COOPERSTOWN
Fenimore Art Museum
Until 31 December
Our Strength is our People: The
Humanist Photographs of Lewis Hine
fenimoreartmuseum.org
ERIE
Erie Art Museum
Until 28 January, 2018
Mark Perrott: Ancient Ink
erieartmuseum.org
NEW YORK CITY
Benrubi Gallery
Until 11 November
Matthew Pillsbury: New Work
benrubigallery.com
PORTLAND
Blue Sky Gallery
Until 31 November 23
Sylwia Kowalczyk: Lethe B+W
All images © Ima Mfon
Benoit Fournier: Babylon
blueskygallery.org
eliminated all environmental
context, as I was tired of seeing ROCHESTER
portraits of Africans against Eastman Museum
desolate rural backgrounds or Until 13 May, 2018
super colourful Dutch wax fabric Nandita Raman: Cinema Play House
backdrops. It is also my way of eastman.org
SAN FRANCISCO
guiding the viewers to focus on
the subjects and try to engage
with them on an emotional level.’ Pier 24 Photography
Until 31 January, 2018
To create further uniformity
The Grain of the Present
and intimacy, Mfon directed his
Featuring Robert Adams, Diane Arbus,
subjects to bare their shoulders Lewis Baltz, Lee Friedlander, Nicholas
and have a strong gaze into Nixon, Stephen Shore, Henry Wessel
camera. Additionally, when and Garry Winogrand
processing, he matched the skin pier24.org
colour for all his subjects to
further emphasise and celebrate TUSCON
the black skin. Etherton Gallery
He states, ‘Despite its title, this Until 30 December
project is very much a personal Todd Walker (1917-1998)
one. I do not aim to define The Manipulator: A Centenary
“identity” in factual terms. I only with Frank Gohlke, Mark Klett
and Stephen Strom
intend to explore my personal
ethertongallery.com
feelings as they relate to my
identity.’ He adds that this was all WASHINGTON DC
part of his ongoing exploration of National Portrait Gallery
human identity because, ‘When Until 3 June, 2018.
all is said and done, that is the Mathew Brady:
one thing we have in common.’ Antebellum Portraits
mfon.com npg.si.edu
08/09/2017 10:41
024_BW_208.indd 24 9/5/17 11:42 AM
 NEWS
PITTSBURGH 1950
Elliott Erwitt
Ghost Books
Hardback, £45
E
lliott Erwitt was just 22
years old when he spent
four months in 1950
documenting Pittsburgh
– on commission from the
legendary Roy Stryker for the
Pittsburgh Photographic Library
– before being called up by the
US army. The work was left with
the Pennsylvania Department
of the Carnegie Library of
Pittsburgh and has remained
there ever since, until now.
At the time Pittsburgh was a
city in flux. Highly polluted by
the steel industry and populated
by immigrants from Europe and
the South, it was undergoing
regeneration. Erwitt captured
this city in transition with his
unmistakably human eye and
unerring instinct for a picture.
It’s fascinating to see such
early work in which the seeds
of the later wit and maturity
are all there; to recognise the
signature of the photographer
in every photograph. It’s also
interesting to see that talent
begins at an early age.
Elizabeth Roberts
25_ON_THE_SHELF_208 ER-MB.indd 25
ON THE SHELF
A
ttempting a complete
portrait of a
photographer in just
one book is an
ambitious project but one that
Immordino Vreeland attempts
with verve, taking us from
Beaton’s early life and
friendships right through his
highly varied career, backing it
up with drawings, diaries,
scrapbooks and, of course,
photographs. But, at the end
of this whirlwind tour,
I found myself wanting more
LOVE, CECIL information and more in-depth
Lisa Immordino Vreeland imagery from particular genres.
Abrams It felt like a meeting that was OBJECT IMAGE
Hardback, £40 over too soon. Sarah Tulloch
Certainly Beaton was a
Daylight Books
fascinating figure who met most of the fascinating people of his era
Paper over Board, £25 approx
and, better still, photographed them. Immordino Vreeland dishes
U
up little snippets from his diary to reveal what he thought about sing found photography
all these fascinating people but, I suspect, however, that Beaton is not a new idea, neither
might have been appalled by such indiscretion. He might also have is using photographs as
suggested slightly better production values for the book… collage, but Sarah
With the cover and write-up promising so much it is a little Tulloch brings a fresh approach
disappointing to find that it doesn’t quite live up to its promises – to these genres. Her images have
25
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but in terms of value for money it’s not at all bad. an unsettling anonymity that
Elizabeth Roberts defies our ideas of entering
W
into the story within the image,
hen this book be it a portrait, place or event.
arrived in the office, We find ourselves, instead,
I must admit, rather flung back, rejected in our
shamefacedly, that approach, with faces masked
I said I was surprised that the out or places superimposed
world can take another Walker one on another to make them
Evans book. A quick check alien and disquieting.
online reveals at least three pages The fact is, these pictures
of them on Amazon and so my have to be fully engaged with,
question is: is this one special? they demand from us a
Well, for a start, there is the fact response we are sometimes
that the photographically learned unable to find easily. We are
Clément Chéroux has edited it. forced to unlatch our normal
As chief curator of photography approach to viewing an image
at the Centre Pompidou in Paris
at the time a major exhibition WALKER EVANS and embrace Tulloch’s work as
art objects in themselves. And,
on Walker Evans (of which this Edited by Clément Chéroux like any real engagement, the
is the catalogue) was shown Prestel rewards are worth the effort.
from April to August this year Hardback, £49.99 We find a way into Tulloch’s
– and later senior curator of language and begin to read
the department of photography at the San Francisco Museum of its signs and meanings with
Modern Art where the exhibition is currently showing until February increasing ease.
2018 – Chéroux must be the definitive source from which to discover The physical book is
everything you’ve ever wanted to know about the great man. a pleasure to handle with
After close inspection I would answer my question by saying, yes, a hand-bound feel to it and
this is special. It’s a celebration of Evans’ life and work, accompanied quality paper and printing,
with intelligent texts and more photographs than most of us have thus making the experience
seen before. of engagement a pleasure.
Elizabeth Roberts Elizabeth Roberts
08/09/2017 10:40
 26
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 F E AT U R E

Left A surreal film as seen

through a computer monitor.
All images © Bruno Tamiozzo

DIGITAL
GRAVEYARD
More than 100,000 tonnes of the
UK’s obsolete electrical products
were dumped in a former wetland
in Ghana last year. Photographer
Bruno Tamiozzo shares with Anna
Bonita Evans what he documented
at the world’s largest e-waste site.

C
lose to the centre of Ghana’s
capital city lies the Korle Lagoon.
Sixty years ago it was a thriving
wetland full of nature’s bounty,
now it’s one of the most polluted places on
Earth. The lagoon (nicknamed Agbogbloshie)
has become the world’s largest dumping
27
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ground for electrical waste – or e-waste.
More than 93 million tonnes of the
world’s old printers, computers, refrigerators,
smartphones, kettles, laptops and TVs
ended up in Agbogbloshie last year. While
we think our discarded electrical products
are recycled properly, many devices contain
toxic chemicals – making recycling expensive
– or have commercial value in developing
countries. Illegal dumping has become
lucrative in Ghana where a quarter of the
population live below the poverty line.
With the built-in obsolescence of electrical
products now the norm (2 billion mobile
phones were manufactured in 2016), the
amount of e-waste is believed to rise at a
rate of 5% each year. The effect e-waste has
on the 40,000 people living in Agbogbloshie
is sobering. Many boys and young men
extract the copper, aluminium or other
valuable materials through harmful methods,
exposing themselves to dangerous chemicals.
Many suffer chronic nausea, debilitating
headaches and respiratory problems. The
toxins slowly poison the workers, soil and
atmosphere – a lot of the young men die
before they reach 30 years old.
These facts tell us a lot but sometimes
pictures tell us more. Italian photojournalist
Bruno Tamiozzo first visited Agbogbloshie in
2014. Here he shares his thoughts and imagery
from the series Sodom and Gomorrah… 

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  Anna Bonita Evans: When did your interest in
e-waste and the Agbogbloshie dumpsite begin?
Bruno Tamiozzo: I first became interested
after my frequent travels to India – I visited
every corner of the country riding a motorbike
– and realised what it’s like to live in polluted
areas. I then joined a humanitarian mission
conducted by the Italian Navy in 2013 and
during that mission I learned about Ghana
and Agbogbloshie.
ABE: After art school you went to Rome’s
Academy of Great Arts to study scenography
(the design and painting of theatrical scenery);
how do you think this training has affected
your approach to photography?
BT: I think that any kind of study will
eventually influence the way you feel and
approach photography. The academy taught
me a lot, especially my view of people. You
breathe a different air inside that place
than you do outside. You meet all kinds of
personalities in there, with limitless cultural
backgrounds. Painters, sculptors, musicians,
photographers, have their own world of
knowledge and are ready to give it all to those
who can receive it. From a technical point of
view, the academy was of great help: technical
drawing taught me how to focus better,
artistic drawing helped me learn more about
composition and tonal contrast, art history
taught me about the masters.
28
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The working parts of these mobile phones will be reused on new phones.
26-33_BRUNO_TAMIOZZO_208 ER–MB.indd 28
ABE: Your compositions are a cross between
the conventional and unconventional: you
combine a more traditional, objective style
with intriguing placement of your subjects.
Can you say a bit more about this?
BT: Whatever I shoot changes depending
on my mood and what I feel in that exact
moment. Everything is in constant evolution,
just like our inner soul, and I don’t want to
limit myself to the routine of things.
ABE: This series has a strong conservation
message, like a lot of your other work.
Do you think photography has the power
to change things?
BT: To answer this question I’ll quote
photojournalist Eddie Adams: ‘Photographs
are the most powerful weapons in the world.’
This particular sentence, along with his
photograph, Murder of a Vietcong by Saigon
Police Chief, changed the way Americans
approached the Vietnam conflict. I’m not sure
about my photos having such an impact on
humanity, but they’ll certainly be out there
and serve as proof of our time.
ABE: Some of your pictures, especially the
portraits, are intimate. How much did you get to
know the people in these photographs?
BT: I like to look for the human aspect in
my work. I try to spend time with people
prior to photographing them, so I can adapt
to their lifestyle and not be too intrusive.
Unfortunately, I haven’t spent much time
with the people you are referring to but I do
think about them a lot – I wonder what they
are up to and whether they’re still alive.
ABE: Aside from the amount of waste, what did
you find the most striking on the site?
BT: Entering Agbogbloshie reminded me of
verses from the Divine Comedy, where certain
characters are condemned to suffering before
being freed by death. The air is suffocating;
there’s no actual land as it’s hidden under a
thick amount of garbage; the river has a colour
I can’t describe. The worst thing of all, though,
is the look on the children’s faces.
ABE: The title of this series refers to two cities
mentioned in the Book of Genesis; why did you
give your photographs this parallel?
BT: Sodom and Gomorrah is a nickname
that was given to the site. According to
legend, even God gave up to the violence and
corruption. If you go there and ask about the
dump, many people won’t know what you’re
referring to because they only know it by that
nickname. Rather than a reference to the
sacred scripture, I see it more as a connection
to the people who live there and are aware
of the stories of the place.
brunotamiozzo.com
31/08/2017 10:03
 A man recovers copper from old electric motors.
29
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Some animals, especially cattle, still roam and graze on the site.

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 The steering wheels from old vehicles provide iron to sell.
30
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Along the banks of what was once a clean river full of wildlife.

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 Workers burn e-waste, releasing toxic chemicals, to extract valuable metals.
31
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Electrical cables are burned to recover the copper inside. Overleaf A worker inside a toxic cloud.

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 F E AT U R E

All images
© Lauren Semivan

SELF-EXPOSURE
Evocative, theatrical and endlessly intriguing,
Lauren Semivan’s photographs are the result
of her quest to tap into her innermost thoughts
in a creative way. Anna Bonita Evans takes a
closer look at her most recent series Pitch.

‘M
y relationship to photography is essentially a
continuous questioning about the world and my
experiences,’ says Lauren Semivan in the artist
statement accompanying her new series Pitch. If these
images are Semivan’s investigation of the world and her relationship
to it, they are then – to some degree – self-portraits. Photography
is a way for Semivan to reflect, to look into a mirror. Each time she
presses the shutter, narrative is put to one side so every image is an
expression of her psyche rather than a story being told.
Semivan leaves reality behind by constructing elaborate sets in
her studio. Each scene is abstract and created with mixed media
(such as charcoal, chicken wire, fabric and plenty of string), which
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she then photographs with a large format camera – a tool she
claims changed her perception of time and space in photography.
She later scans, enlarges and prints the negatives so each element
is rendered in startling clarity, contrasting beautifully with the
rich and soft tonality of her work – something which is fast
becoming part of her visual signature.
Born in Detroit in 1981, Semivan studied studio art at Lawrence
University and went on to complete a Master of Fine Arts degree
in photography at America’s leading Cranbrook Academy of Art.
Now she is represented by New York’s Benrubi Gallery and her
images have been exhibited internationally. Her work is part of
the prestigious Elton John Collection and has been a feature of
Paris Photo and AIPAD Photography Show in recent years. Her
intensely imaginative and deeply personal work– despite the
obvious influences – is garnering attention.
Much like the beguiling work of Francesca Woodman, Semivan
looks at ideas relating to identity and the role that photography
has in constructing that identity. Often placing herself in the
frame but never showing her face, she appears as a blurred,
spectral figure. Her physical presence and use of quirky, antique
objects is less prominent in Pitch than her first introspective series
Observatory (2010-14). Semivan’s multi-layered style is – like Saul
Fletcher and the recent work of Roger Ballen – showing that she
is making that shift from photographer to artist; she is becoming
freer and her pictures are more elusive, ethereal and engaging.
Symbolic, sculptural, provocative, theatrical, spirited and
playful, Pitch is contradictory and oscillates between chaos and
harmony, the real and the fictional, light and dark. Although
Semivan’s style carries echoes of others, it is distinct and she is
experimenting with all the artistic possibilities she can conjure,
inviting us along the way to get lost in her creations.
laurensemivan.com

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 ‘My relationship to photography is
36 essentially a continuous questioning
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about the world and my experiences.’

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 ‘Symbolic, sculptural, provocative, theatrical,
spirited and playful, Pitch is contradictory 41
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and oscillates between chaos and harmony.’

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 OUT
NOW!

164
pages

A hand-picked collection of the best landscape technique

articles featured in Outdoor Photography

Available from supermarkets, newsagents or direct from us at: ONLY

outdoorphotographymagazine.co.uk/essential-guide £9.99
essential guide ad gradient no shapes UPDATE.indd 42 9/6/17 11:29 AM
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INSPIRATION
INSIGHT
Vicki Painting, winner of the Black+White Photographer of the Year 2015, has now
completed her MA in documentary photography. Here she reflects on the personal
Image © Vicki Painting
journey she has undertaken and the unexpected twists and turns it has revealed.

I
am now at the end of my MA and have
been reluctant to employ the word journey
to describe the process but, if I am to use
its simplest definition of starting in one
place and ending in another, then I can’t
express it in any other way.
A journey, within this context,
involves some form of personal change
or development. We are expected to have
learned something. It might result in
new knowledge. I am a long way from my
original starting point and have not ended
up where I thought I would be. My journey
has not taken a linear route but has instead
retraced barely recognisable sites last visited
over 40 years ago. There have been many
twists and turns and I have encountered a
‘I am a long way from my original
starting point and have not ended
up where I thought I would be.’
number of dead ends. This has often felt like
entering a labyrinth with endless choices
leading off in many directions, each one as
relevant as the others.
The resulting disorientation has
mimicked the ‘walking about’ experienced
by a person with dementia who goes in
search of something but may not be entirely
sure what it is they are looking for. My
camera has functioned as a research tool
rather than the photographs produced
always being an end in themselves. Some
pictures have triggered writing which has
better conveyed what I wanted to say, which
has led on to further picture making.
I have taken pictures from the family
archive and reimagined them and examined
collective archives. What became clear
however, is that once this material was
assembled it all held equal weight as a
method of investigation, even though these
different media have revealed different types
of knowledge. Overlaying images with text
has introduced an element of performance
to the work that is tinged with nostalgia,
often a pejorative term but here functions
to heal the past, present and future.
Follow Vicki Painting @vickipaintingphoto

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 COMMENT

All images
THE MODERN EYE
© Die Photographishche
Sammlung / SK Stiftung Kultur
When August Sander started work on a project to photograph his fellow citizens he
– August Sander Archive,
Cologne / VG Bild-Kunst,
little knew how it would grow in size and, more importantly, in historical significance.
Bonn and DACS London 2017.
Shoair Mavlian, assistant curator of photography at Tate Modern, reports.

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Bricklayer 1928 Pastrycook 1928 Opposite Nun 1921

A
ugust Sander is often
referred to as the
most important
portrait photographer
of the early 20th century, having
embarked on a project to
document the face of a nation
during a crucial moment in
German history. Over 100
photographs by Sander are
currently featured in the
exhibition Portraying a Nation:
Germany 1919-1933 at Tate
Liverpool, which focuses on the
work of Sander and fellow
German Otto Dix, among
others, during the interwar
years, highlighting how both
artists reflect on the radical
extremes experienced in
‘What is striking about his images is how commercial commissions
and cycling around and
he continued to use a formal approach to photographing people along
portraiture outside the studio, positioning the way.
In 1910 Sander embarked on
and framing the sitter in an almost the beginnings of what would
performative way.’ become an epic project, the
documentary work he later
Germany during this time. as a photographic technician, called People of the Twentieth
August Sander was born in he began working in, and later Century (Menschen des
Herdorf, Germany, in 1876 and owned, several different Zwanzigsten Jahrhunderts).
learned photography during the photographic portrait studios in With this ambitious long-term
final decade of the 19th century Linz. In 1909 he relocated from project, Sander set out to
assisting the official company Linz to Cologne, opening document the face of a nation,
photographer while working at a studio there. However, soon a sociological document of a
a local mine. With help from after the move, he changed his cross section of society during
his uncle he acquired his own approach, abandoning the the Weimar Republic. The
darkroom equipment and, traditional photographic studio project eventually consisted
following completion of his setting in the city and instead of seven sections including The
military service where he trained exploring the county, doing Farmer, The Skilled Tradesman, 

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 SS Captain 1937

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Working class mother 1927 Victim of Persecution c. 1938

 Women, Classes and Professions,
The Artist, The City and The
Last People, loosely comprising
the elderly, homeless and
vulnerable. Within these seven
categories Sander originally
compiled 45 portfolios, with
each portfolio containing
approximately 12 photographs.
‘Sander was closely associated with the German professor. What is striking
about his images is how he
avant-garde and his creative vision and ability continued to use a formal
to produce work was greatly hampered by the approach to portraiture outside
rise of the National Socialist Party.’ the studio, positioning and
framing the sitter in an almost
straightforward and that Nun, 1921 is both categorised in performative way. Although he
similarities can be found across Woman and the subsection knew some of his sitters well,
the different groups and Occupations, signalling that others would have been virtual
categories. The way in which people fit into different strangers, yet he was successful

A
s may be expected,
Sanders’ project, with
its vast ambitions and
typological approach
to the subject of humanity, is
somewhat problematic, but the
end result offered an interesting
thesis, namely that nothing is
Sander categorised his subjects
is fascinating, and changed over
time as the project became
more complex – so too did the
organisation as crossovers
between different categories
becomes inevitable. For
example, the portrait titled
categories simultaneously. This
type of crossover can be found
throughout the project.
For Sander, in terms of his
approach, each subject was of
equal standing as he captured
a farmer or labourer in the same
way he captured a doctor or
in building a rapport with his
subjects. This rapport may also
be because Sander approached
his sitters in their own
environment, where they were
most comfortable, allowing
them to dominate their own
space, which meant he became

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 YOU MIGHT
ALSO LIKE…
Albert Renger-Patzsch
(1897-1966) was a
German photographer
who, like Sander and
Dix, was associated
with the New Objectivity
movement popular
in Germany in the
1920s and 1930s.
Renger-Patzsch was
concerned with finding
beauty in the everyday
and focused on the
industrial landscape as
well as nature.

an observer of the environment.

His technical approach is also
very interesting as although
he abandoned the traditional
studio setting he continued
to use traditional studio
equipment, preferring a heavy
large format camera on a tripod.
The use of the large format
camera means his images are
rich in detail and tone and offer
a clear record of the sitter and
their surroundings.
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Sander stated that in
photography, ‘We have the
power to fix the history of the
world’, acknowledging the
extraordinary power of the
photographic medium to
capture the everyday world in
crisp, realistic detail. With the
benefit of hindsight this
statement is particularly
interesting in relation to the
turbulent time in which he was
working. Sander was closely
associated with the German
avant-garde and his creative
vision and ability to produce
work was greatly hampered by
the rise of the National Socialist
Party. In 1929 he published in
book form the first version of
the project Face of our Time
(Antlitz der Zeit), which in 1936
was confiscated and the
printing plates destroyed by the Police Officer 1925
Nazis. Later, in a bid for safety
and to save his work, Sander knowledge of history play an in time. Paired with the work of into a society in transition,
moved to the countryside, important role in how we see painter Otto Dix – he and Sander highlighting two different visual
taking many of his negatives Sanders’ work. His archive became close friends in the 1920s representations of Germany in
with him, but much of his work of images is not only a – the exhibition gives an insight the interwar years.
that remained in Cologne was documentation of people but an
destroyed by fire during the war. overview of a cross section of PORTRAYING A NATION: GERMANY 1919-33
The passing of time and our society at a very specific moment The exhibition is on display at Tate Liverpool until 15 October.

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 INSPIRATION
THINKING PHOTOGRAPHY
There is always a version of the truth that is nothing more than a story,
Follow Alex Schneideman
says Alex Schneideman, so why burden photographers with the sole
on Instagram @schneidemana
responsibility for veracity? Surely it’s a question of subjectivity…

Y
ou know the adage,
the one about
lies and cameras
and the negative
correlation
between the two.
It’s stuck because it’s true.
A camera can’t tell lies any
more than a banana can but,
then again, I have never sought
the truth from a banana. The
growth of critical thought
around photography led to
the enshrining of one of its
great strengths in the public
consciousness – that because
a camera is a mechanical light
recorder with no brain of its
own, it cannot possibly tell an
untruth or record anything
other than the pristine truth.
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Even today, we ascribe to the ‘fact’ of a photograph but, for imaginable – she has been
photograph the quality of ‘fact’. the purposes of this article, napalmed by a US airforce
A photograph is an artefact we are not concerned with attack, her nakedness adding to
which, at its irreducible base, the wholesale ‘shopping’ of the horror of the scene. For me,
is a statement that something images, rather the image itself the anguish on the face of the
took place and was recorded as defined by the frame or its boy on the left of the picture is
the way it is shown by virtue eventual crop. just as affecting, but the title of
of it being a photograph. We I have written before about this picture is Napalm Girl. For
are used to questioning the Nick Ut’s famous Napalm Girl a long time after the picture was
veracity of images – first, (1972) photograph shot in the first printed in newspapers the
the system (camera, lens midst of the Vietnam war. soldier/journalist seen casually
etc), then Photoshop and It shows a young girl running reloading his camera on the
now countless apps – have down a road away from the right of the frame was cropped
eroded the reliability of the most hideous experience out, perhaps because it reduced
the anti-US/anti-war power
of the image. The role of the
‘The role of the (seemingly) oblivious ‘man (seemingly) oblivious ‘man on
on the right’ confused the story and took the right’ confused the story
and took the emotional power
the emotional power away from the heavy away from the heavy drama the
drama the rest of the image depicts.’ rest of the image depicts. 

All images © Alex Schneideman

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M
any people
questioned the
 veracity of this
image. Not because
of any questions arising from the
crop but from a disbelief of the
scene it portrayed and a suspicion
that it was merely anti-Vietnam
war propaganda. President Nixon
questioned the truth of the
image but it wasn’t until Nick Ut
(corroborated by ITN) described
the circumstances in which the
image was made that the truth
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programmes are made, and the
‘Capa lived to take pictures and by the age of
experience of living in a media
25 was already being described as the greatest world saturated by partisan
war photographer in the world. But that doesn’t ownership and the powerful
demands of the market or politics.
mean he was always telling the truth.’ But for some reason the still
was established. This image is We are all well aware of the skill photograph carries an air of
an excellent example of how one of the film editor who edits a truth that is not accorded to
picture can represent various documentary and how subjective other media. There is a myth
‘truths’ because it shows how, that process can be. We take it for about the photographer that is
depending on the sensibilities granted that the truth as revealed not granted to other
of the viewer, belief in an image, to us in a TV documentary needs documenters or artists. This
regardless of its provenance, to be appreciated through the myth goes right to the heart of
is subjective. filtered awareness of how how photography has been
06/09/2017 10:53
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popularised by illuminating
talents – such as Robert Capa.
In his illustrated memoir of his
time in World War II, Slightly out
of Focus (the most exciting
photographic account I’ve read),
Capa describes his experiences.
Needless to say it is riveting.
Capa lived to take pictures and
by the age of 25 was already
being described as the greatest
war photographer in the world.
But that doesn’t mean he was
always telling the truth. Doubt
about the veracity of his famous
image, the Falling Soldier
(Spanish Civil War, 1936), has
many times been questioned –
but that photograph is famous
not because of its truthfulness
but because it was understood
to encapsulate a universal
moment of truth. The picture is
still Capa’s most famous, despite
its ragged history.
It is part of the human
condition to discern between fact
and fiction. At the very least we
must accept that truth is a
subjective concept. As Garry
Winogrand said: ‘There is nothing
as mysterious as a fact clearly
described...’ Photography is a
storytelling medium that
intersects occasionally with the
truth. How and when this
happens is up to us each to decide.
NOTE: While researching for
this article I came across the
Time website (time.com) which
still features the cropped version
of Napalm Girl…and to add
to the mystery, I also discovered
that it may not have been the
USA who dropped the napalm
that burned the little girl that
day. It is authoritatively claimed
that it was the South Vietnamese
Airforce who napalmed their
own villages in support of their
ground forces. In other words,
this time, the Americans had
nothing to do with it. Truth,
especially when it comes to a
single image, is a slippery beast…

AGREE OR DISAGREE?
Let me know at schneideman331 or email me at
alex@flowphotographic.com

THE IMAGES
I took these pictures in Versailles in 2007 while on an assignment.
The news of US torture in Abu Ghraib prison was coming out and these
strange covered statues reflected the images of hooded prisoners that
were everywhere at the time. Since then questions of truth and trust
have been at the heart of our national consciousness as we examine our
role in past, current and future events.

NEXT MONTH
In some photographer’s work there seems to be a location or a world
view that is not dependent for its power on a physical space. I want to
look into this and discover what separates the photographer from a
material and notional sense of physical location.

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 TECHNIQUE NIGHT AND LOW LIGHT PHOTOGRAPHY
TOP TIPS
Although light is an essential ingredient of photography, you don’t need much
of it to produce great images. So when the light fades, it’s worth staying out with
your camera. Lee Frost offers his top tips for low-light shooting.
While most of the population are rushing out of the darkness a surreal glow to the sky long after sunset is over, and passing
and into the comfort of their homes at the end of the day, traffic creates light trails that stretch into the distance.
photographers everywhere are heading into it with a tripod under It’s not just the urban landscape that looks awesome at night
their arm, a camera over their shoulder and a big fat grin on their either. Head into the countryside and a whole host of different
face. Why? Because night-time is photographic fun time. photo opportunities present themselves, from moonlit
Even the most mundane scenes by day are transformed at landscapes to the night sky full of shimmering stars.
night. Floodlit buildings stand out vividly against the darkening sky, Wherever you happen to find yourself, there will always be
neon signs flicker outside pubs, clubs and bars, and a welcoming great night and low light shots to be had, and thanks to the
glow radiates from every shop window. Puddles and parked cars wonders of digital technology, producing perfect results is
reflect light from all around, light pollution from distant cities adds easier now than ever before.

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I captured this image of Chiesa del Santissimo Redentore during the morning blue
hour – the period between darkness and sunrise when natural and artificial lighting
is in balance. There’s also an evening blue hour between twilight and nightfall.
Canon EOS 5DS with 70-300mm zoom lens, 25secs at f/11, ISO 100

. GET THE TIMING RIGHT . SHOOT AT EXTREME ISO

The term night photography can be a little confusing because the best
period in which to shoot isn’t at night at all, but during the period after
sunset when artificial illumination, such as floodlights on buildings, is clearly
visible but there’s still a little daylight around to fill in the shadows and the
sky hasn’t turned completely black.
During this crossover period between day and night, natural and artificial
lighting is also in balance, so contrast is manageable and you can capture
scenes full of detail. If you shoot too early, the artificial lighting won’t be
obvious enough. Leave it too late and only the areas lit by the artificial
lighting will record while the shadows and the sky come out black. To make
the most of this brief period, which lasts anything from 20 minutes to an hour
depending on the time of year and weather conditions, scout your location
during the day so you can decide what to shoot and where to shoot from.
Have you noticed how high the ISO goes in the
latest DSLRs? The Canon EOS 5D Mk III’s range
is expandable to ISO 102400, but that’s nothing
compared to the ISO 1640000 of the Nikon D500
and ISO 3280000 of the Nikon D5!
The image quality you get at these high settings is
pretty poor, but at ISO 6400, 12800 and even 25600,
you can achieve surprisingly good results, which
basically means you can shoot handheld outdoors at
night or indoors in poor lighting without worrying about
camera shake! The images will be a bit on the grainy
side, but you can always reduce noise during post-
production – or just live with it, as I tend to do.

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Increasing the ISO beyond normal

levels allows you to shoot handheld
in situations where a tripod would
normally be unavoidable. The downside
in this case is digital noise in the sky,
but I quite like the filmic look it adds.
Canon EOS 5D MKIII with 70-200mm
 zoom lens, 1/125sec at f/4, ISO 6400
All images © Lee Frost

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  . LOW LIGHT PORTRAITS
It’s not just landscapes and architecture that look good in low light
– people do too! Inside old buildings, markets and souks you can
shoot amazing portraits. Look for light seeping in through small
windows or holes in the roof. Light from open fires, candles and
lanterns also provide perfect illumination.
Ideally, use a fast lens like a 50mm f/1.8 wide open and increase
the ISO to 1600 or more so you can shoot handheld at a decent
shutter speed. You’ll be amazed by how little light you actually
need to shoot moody portraits.

The interior of this room in the Dyer’s Souk was very dark, but thanks to
a shaft of sunlight beaming down through a tiny window, and a single light
bulb hanging from a wire, there was enough light to capture this portrait
of one of the dyers.
Canon EOS 5DS with 24-70mm zoom lens, 1/40sec at f/4, ISO 3200

. LOW LIGHT LANDSCAPES

Most landscape photographers pack up and head home once the
sun has gone down, but it’s always worth hanging back for a little
longer because as day turns into night (or night turns into day) you
can shoot amazing images. The sky acts like a huge diffuser, so the
light itself is very soft and moody.
Ideally, head for water so you can capture the light reflected –
a calm lake or a coastal view is perfect – and keep shooting until it’s
dark. If you head out before dawn you can capture the landscape
slowly coming to life as a new day begins. Early morning is a great
time to capture mist hanging in valleys or swirling through woodland.

The light at dawn and dusk is soft and atmospheric – ideal for moody mono
landscapes. I personally prefer morning light, especially if there’s a chance of
54 mist, which reduces scenes to a series of soft tones and overlapping forms.
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Canon EOS 5D MKIII with 70-200mm zoom lens, 1/25sec at f/11, ISO 100

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 

. CITYSCAPES AT NIGHT
Find a high viewpoint over a busy town or city at
twilight and you can’t fail to take stunning night
shots – there’s just so much detail out there.
Shoot from the window of a hotel or office block,
or drive to the top of a multi-storey car park and
shoot from the roof level. Many cities also have
high landmarks that give you amazing views.
Arrive at least 30 minutes before the optimum
shooting time, so you can get organised and
think about the shots you’d like to take.
Usually, it’s worth taking both wideangle views
and more selective shots with a telezoom.
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The best way to shoot towns and cities at
night is by finding a high viewpoint. This
shot was taken from a hill, but tall buildings,
monuments and bridges are also ideal.
Canon EOS 5DS with 70-300mm zoom lens,
13secs at f/8, ISO 200

. PAINTING WITH LIGHT 

Painting with light is a great technique to
try at night and takes on many forms. An
easy option is to use a torch or a flashgun
to illuminate a feature in the foreground of a
scene, such as a jetty on a lake, or a statue
or monument against the night sky.
On a bigger scale you could use a
powerful (2 million candlepower+) torch
or multiple flash bursts to illuminate the
exterior of a building by walking around and
gradually building up the light levels. This
was a tricky technique to get right in the
days of film, but with a digital camera it’s a
doddle because you can check your shot,
see where you went wrong and try again
until you get it right.

I used an electronic flashgun to illuminate this

monument so it stood out against the trees and
sky. Just a couple of pops while the camera’s
shutter was open on bulb mode was all it took.
Canon EOS 1DS MKIII with 24-70mm zoom lens,
10secs at f/8, ISO 200

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 
. SHOOT STAR TRAILS
If you leave your camera’s shutter open for
long enough, it’s possible to record stars in
the night sky. To do this you need a clear
night so there are lots of stars visible and
56 you need to be as far away from towns and
B+W
cities as possible so light pollution doesn’t
spoil the shots. Include the Pole Star in your
shots so the star trails record as concentric
rings around it. Set your camera to bulb
and a moderate ISO such as 100 or 200
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then mount it on a tripod. Use your widest
lens to include lots of sky, wait until the
stars are clearly visible, then lock the shutter
open using a remote release for a couple of
hours. Alternatively, use an interval timer to
take 200 to 300 30-second exposures then
stack them using Photoshop or software
such as Image Stacker (see tawbaware.
com). This latter method drastically reduces
the amount of noise in the final image.
 30secs at f/22, ISO 50
This desert star trail shot was made using
a single exposure. I basically set up my camera,
pointed it towards the northern sky, opened the
shutter on bulb then fell asleep! When I woke,
the battery was flat, but I had my shot.
Canon EOS 5D MKIII with 16-35mm zoom lens,
about 2 hours at f/8, ISO 200
. TRAFFIC TRAILS
A classic night subject is traffic trails – the
trails of light created by moving traffic on
busy roads. For the best results the road
needs to be busy at twilight – October to
March is ideal. Either shoot from a bridge
or building so you’re looking down on a
busy road or roundabout, or set up your
camera plus wideangle lens by the side of
a road, taking care not to stray too close
to the edge. Include buildings in the shot
to add interest and use exposures of 20
to 30 seconds to record lots of light trails.
If you stop your lens down to f/11 or f/16
and set ISO 100, you should naturally get
exposures that fall within this range.
Westminster Bridge is a great spot for traffic
trail shots as there’s a constant stream of
traffic and Parliament makes for a dramatic
background. The high light trails in this image
were created by a passing double decker bus!
Canon EO 5D MKIII with 17-40mm zoom lens,
31/08/2017 10:08
 . KEEP THE NOISE DOWN
If you shoot at high ISO, digital noise starts
to appear on your images. It’s a bit like film
grain, and the higher the ISO, the more
obvious it is, especially in plain areas of the
image such as sky. I personally don’t have
a problem with noise. It’s an unavoidable
side effect of shooting at high ISO, and in
black & white it can enhance the mood of
the image. Saying that, the latest DSLRs
control noise so well that even at ISO 3200
and beyond it’s becoming harder to see,
so if you like grain you may need to add
it during post-production!
When long exposures are used to shoot
low-light scenes, hot pixels often appear on
images as tiny bright dots. They’re caused
by charge leakage from individual pixels in
the camera’s CCD and show up on long
exposures because the pixels in question
literally light up. The longer the exposure,
the more hot pixels you can expect
because the sensor gets warmer. Modern
digital SLRs have high ISO and long
exposure noise reduction features. However,
I tend not to bother with them and prefer to
reduce noise during post-production using
software such as Nik Define 2.

57
B+W


This is the amazing Hassan II Mosque in Casablanca. Tripods were forbidden, but
fortunately there was enough light to capture the stunning interior handheld – just!
Canon EOS 5DS with 16-35mm zoom lens, 1/40sec at f/4, ISO 3200

The latest DSLRs offer amazing image quality at
high ISO, with noise surprisingly absent until you
get into high five figures. However, if noise does
become an issue, you can always reduce it
during post-production – I favour Nik Define 2.
Canon EOS 5D MKIII with 17-40mm zoom lens,
1/60sec at f/8, ISO 3200
. BUILDING INTERIORS
Old buildings tend to be poorly lit, but this can be a good thing because it creates
atmosphere. Churches, castles, cathedrals – they’re all worth a try. If you can use a tripod,
great. If not, just increase the ISO to 800 or 1600 and shoot handheld. A wideangle lens
will allow you to include huge spaces and you don’t need to stop the aperture down
beyond f/8 to record everything in sharp focus. Don’t worry about colour casts from
artificial lighting either – they’ll be gone when you convert the images to magical mono.

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 timdaly.com All images © Tim Daly

TECHNIQUE
PROJECTS
MINIMAL MATTERS
If you feel weighed down by the same way of working, why not explore
IN VISUAL
a leaner, more minimal approach to photography? It’s time to declutter
STYLE 3
your pictures. Tim Daly provides advice and ideas.

When the abstract artist Ad Reinhardt said: ‘The more stuff in it,
the busier the work of art, the worse it is. More is less. Less is more,’
he was describing a minimalist approach to visual art. Stripped down
and pared back, minimalism celebrates the use of a reduced palette of
often one single colour or tone and fewer picture elements in the mix.
Emerging at a time when artists drew attention to the ‘thingness’
of their works rather than being pictorial windows on the world,
minimalism took a hold in all areas of visual art, design, music and
literature. While many of the celebrated artists advocated a hardcore
approach to picture making, their ideas can be used to declutter our
own practice, removing unnecessary complications and refreshing
our approach. Think of this project like a visual detox!

SECTION 1: THEMES TO CONSIDER

You can apply many if not all of the ideas in a local setting, so choose
one of the following themes and explore within an easy to reach
location. Make a conscious effort to exclude elements from the frame
– experiment with how much you can actually leave out.

1 MODERNIST MINIMALISM
Pre-designed environments such as public buildings and shopping
centres will have been planned and conceived with a specific
visual aesthetic. Visit a visually striking location and see if you can
encapsulate its style within your pictures. I’ve chosen the famous
thirties lido in Saltdean on the south coast of England, which has
58 carefully spaced out windows, rails and curves.
B+W
Even a brutal concrete shopping centre or bus shelter could
provide a similar challenge. Visit the location and pick out the
1 elements that really describe the building – it could be a surface
detail or texture, a repeat pattern or interlocking geometric shapes.
2 See if you can reduce the style into a single frame. For inspiration,
look at Blue Crow Media’s photo maps of brutalist London and Paris.

2 EQUIVALENTS
Between 1925 and 1934, photographer Alfred Stieglitz created a
series of works called Equivalents. Using the infinite shapes and
alignments of clouds in the sky, Stieglitz wanted his work to be
stripped of any intended narrative or documentary purpose. The
pictures were abstractions of the real world and once made into
prints, became beautiful objects in their own right.
For this theme, imagine you can transform and elevate ordinary
subject matter into something more special. Look for extraordinary
shapes and tones in an ever shifting scene – this could be the sky,
on water or the reflections in a glass building. Turn what’s around
you into something else by finding the exquisite in the everyday.

INSPIRATIONAL QUOTE
‘When I make a photograph I want it to be an
altogether new object, complete and self-contained,
whose basic condition is order (unlike the world of
events and actions, whose permanent condition
is change and disorder).’ – Aaron Siskind

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 3

3 LIGHT EVENTS 5
While we are familiar with spectacular light events such as a rainbow, a sunset or forked lightning,
we think much less of the quietly transient occurances that happen every day all around us.
Many of the great modernist photographers (such as Harry Callahan and Minor White) drew
heavily on unexpected incidents involving natural light, in both domestic and outdoor locations.
Take your camera and walk around your local area to see if you can spot or predict when and
where an ephemeral light event might happen. It’ll be visible for perhaps only a few minutes each
day, or it may only illuminate a certain part of the building. In my example, I’ve spotted an odd-
looking light reflection in the Tate St Ives building.
59
B+W

5 TRACES IN THE SAND

You don’t have to be a nature enthusiast
to appreciate and work with elements of the
natural world. Visit a nearby beach and see
if you can spot interesting impressions on
the sand. Search for a plot that hasn’t been
4 disrupted by too much foot traffic and see
if you can find evidence of movement,
4 VISUAL HUMOUR or the passage of time or tide.
A different way to approach stripping back and paring down subject details is within a My example shows the delicate footprints
humorous context. Visual humour in photography is based on exclusion – the joke only works of a seabird trotting across a sand dune.
when the real stuff lying around the edge of your frame is left out. Using your lens and a carefully The single tones of the sand make for a
chosen shooting position, you can better isolate things so they look out of context, surreal or really stripped back image, so try to exclude
just plain daft. In this sense, the reductive approach of minimalism is used as an emphasis tool. any peripheral details or textures that might
In my example, I felt the artless, empty space around the figures made them look even disrupt the minimal look or tie your shot to
more absurd, as if they were patiently waiting for their boat to return. To see more examples a particular location. Working in this way,
of deliberately artless composition, search for the hysterically funny photographs by artist your viewer doesn’t know if your image
David Shrigley (best known for his humorous drawings). was shot in Bognor or Barbados.

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 SECTION 2: PROJECT DEVELOPMENT IDEAS
For a more in-depth study, consider one of the following areas to develop a bigger project.

1 2

1 THE EMPTY LANDSCAPE 2 WORD FRAGMENTS

If you’d like to try a more sustained project using ideas gleaned from
minimalist art, consider approaching a landscape subject. As we now
recognise that industry, climate change and tourism have an impact on
the landscape (environmental and visual), consider exploring a location
where there’s an absence emerging. This could be the loss of a plant
species or the erosion of the physical space – anything that is leading
to change. Use this as the concept for your project, then seek and
photograph the last remaining examples or the landscape’s slide into
decline. In my example, I’ve shot a series of the few remaining trees
on a wild bog in Ireland, pulling back to show the isolation.
60
B+W
If you’re living or working in an urban space, consider basing a project
on abstracting word fragments, as this example shows. Walking in a
public space, there’s so much information vying for our attention, it’s
inevitable that some of those messages will get altered or overlaid.
While you can, of course, wait for other people to modify stuff for you,
it’s just as easy to use your shooting position and framing to exclude
and transform these signs and symbols into something else. This is a
playful project, so see if you can really abstract what’s in front of you.
If you’re successful, you’ll make your viewers interrogate the images,
anticipating the unexpected.

3 VISUAL PUZZLE
Once you’ve got the confidence to make photographs that aren’t
just about telling a story or reframing a spectacular view of the
world – you can give your images different functions. There are
many different kinds of visual art that are purely optical – look
at the ‘impossible’ drawings of MC Escher for example. Using
his works as a starting point, find and strip back commonplace
subjects with the notion of concealing their origin, identity or
purpose. In other words, create a visual puzzle which makes
the viewer work hard to make sense of your subject. In this
example, it’s really difficult to tell what the thing is, or how
big it is (it’s a side-on view of a graffitied gas holder).

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 SECTION 3: DEVELOPING THE VISUAL LOOK
There are plenty of shooting and editing tools that you can use to enhance the look of your minimal works.

1 2

1 NEGATIVE CLARITY 2 EMPTY SPACE

Lightroom’s wonderous Clarity tool, which combines edge
sharpening with an increase in contrast, is terrific for enhancing
texture. Yet if you apply negative Clarity edits, it will do the opposite
– smoothing away details and structure, as this example shows.
Like shallow depth of field, negative Clarity edits such as -20 when
applied into a masked-off area can really enhance the uncluttered,
minimal appearance of your image.
The great Japanese photographer Hiroshi Sugimoto is famed for his
ethereal images of the sea, using the same simple composition but
with seemingly infinite variations. Consider setting yourself a similar
reductive concept, using the same framing in different locations, or
shooting the same scene over a different time period. Find a location
that’s empty, then wait for something to enter that space before making
the shot, as my example shows. Embrace the accidental if it happens.

61
B+W

3 4

3 LENS TRICKERY 4 FINAL OUTCOME

While many of the kit lenses provided with
today’s DSLRs offer good value for money,
they rarely provide super shallow depth of field.
Even top price mini zooms have a maximum
aperture of f/2.8, which won’t provide the
blurring effects seen in this example. Consider
buying a standard lens for your kit that has
f/1.8 (or f/1.4 if you can push the budget).
Shooting at this aperture enables you to create
wonderful blurred backgrounds, isolating your
main subject and putting you in control.
For my project, I’ve chosen to shoot car rooftops in popular tourist locations,
like Sugimoto, using the same 50/50 composition trick throughout the set.
INSPIRATIONAL ARTISTS
David Shrigley’s photographs
Minor White and Harry Callahan’s abstracts
Alfred Stieglitz’s Equivalents
MC Escher
Blue Crow Media Brutalist Maps
Hiroshi Sugimoto Sea and Theatres series

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 INSPIRATION
WORKFLOW
In the last of his series on developing a personal photographic practice,
Eddie Ephraums looks at how our world view affects our picture taking,
and how a little self-doubt can open new doors of opportunity.
N
ow that we are at the
end of this series on
developing a personal
photographic practice,
I ask myself what is the key
lesson I have learned from the
participating photographers?
It is this: photography is not
their driving force. Rather, it
is how they each relate to life,
and the way they therefore
perceive the world, that informs
what they see and how they
photograph it – much more than
a particular camera or a certain
post-processing technique.
A classic example is Rudolf
Hummel. Rudolf is a keen
ornithologist. He is as happy
62
B+W
62-64_EDDIE_EPHRAUMS_208 ER–MB.indd 62
observing the landscape with a ear for birdsong, and this mindset, as technicalities creep
pair of binoculars as he is extends to the sounds of the in and distract me.’ Only after
photographing it. As he says, places he visits. Being outdoors he has returned, again and
‘There is nothing nicer or more with him has transformed my again, does he feel prepared
relaxing than being outdoors, experience of the landscape. to make images. Then, having
exploring a place. The more As Rudolf connects to a place, thought about a particular place,
I return, the more I feel part he rarely takes images: ‘It puts he begins to realise what he is
of that place and the more I the camera between me and looking for in his images. ‘Other
discover.’ He has an incredible the environment, altering my aspects, like light, weather and
season can then be added to the
THE PRACTICE OF LETTING GO, BY RUDOLF HUMMEL. selection process.’
In Rudolf’s work-in-progress Orridi book project, he is exploring the
S
subject of erosion in the glacially eroded foothills of the Alps. On one imilarly, Ian Macilwain’s
level the place appears static, its physical features fixed in time, but in photographic practice is
geological terms it is still subject to the ongoing process of erosion – a about immersing himself
dynamic that Rudolf says was initially beyond his visual comprehension. in a place. Since his
Through his practice of repeated visits and exploring ideas in written Romanian images featured in
form, such conscious barriers are themselves eroded. By letting go, the first Get Curating article
the images, and then the story, begin to reveal themselves. (B+W 197) he has had some
© Rudolf Hummel
06/09/2017 10:55

health issues. So, he decided to
get fitter and has walked more
than eight miles from his house
every day. What he has
discovered is that he doesn’t
have to go across Europe to find
his photographic subject.
Instead, he can think local.
‘What matters is right here,
under my nose, as I take each
step, one day after the next.’
I think of Haemin Sunim’s book
Things You Can See Only When
You Slow Down. Dipping into it,
my eye is caught by the words
‘Look at the world through the
lens of our mind…to notice what
we are really looking for.’
Sunim’s work isn’t a photography
book, yet, in a way, it really is.
Six months on, Ian is totally
energised and is designing a
book as he walks, to sell in the
62-64_EDDIE_EPHRAUMS_208 ER–MB.indd 63
© Rudolf Hummel
63
B+W
THE PRACTICE OF NOTICING, BY RUDOLF HUMMEL. practice totally sorted, he says
Watching water flowing and tumbling over rocks, Rudolf wondered there is always more to learn.
about the process of erosion and our human perception of it. How could For example, there is the issue of
he portray the erosive power of a waterfall on something as solid as which images to prioritise. Like
rock? At 1/1000 of a second its power appears static, while at 1 second most photographers he can be
it turns into a delicate silken fog. But, by capturing water drops wracked with doubt. Sometimes
cascading on to a leaf… he posts alternative images on
Facebook and is surprised by
local area. He’s got a phone app enjoyment of new discoveries. what other people prefer.
that maps each walk, giving Clearly there is a lesson here for I remember talking with my
the route, the distance and the all of us. Our practice doesn’t fellow workshop leader Paul
duration. He will include this have to be photographically Wakefield about doubt. His
information with the images, driven. Rather, photography is belief is that it plays a very
so others can experience what the means by which we make important, if uncomfortable
he has discovered. What he visible what we have discovered role. Doubt – that is being open
particularly likes is how he or come to realise, that we to question, as opposed to
arrived at this photographic wish to share. uncertainty or vacillation –
project naturally, out of a daily While it may sound like Ian keeps us on our creative toes.
practice of walking, and the has got his photographic A bit of this discomfort does our
photographic practice good, like
taking exercise, walking with a
‘Photography is the means by which we camera every day. Or we could
make visible what we have discovered.’ take a pair of binoculars instead. 
06/09/2017 10:55
 64
B+W

THE PRACTICE OF WALKING, BY IAN MACILWAIN

Every day Ian walks locally, making new discoveries about the
area, its nature and his attitude towards place. Previously he was
somewhat ambivalent towards his home patch on the outskirts
of Aberdeen. Now he can’t get enough of it. The simple daily
practice of walking has affected his mood with an atmosphere
of spontaneity, reflected in his one-camera-one-lens approach
to photography. He also takes a pair of binoculars.
© Ian Macilwain
rudolfhummelphotography.com broombankpublishing.com Facebook: Ian Macilwain

62-64_EDDIE_EPHRAUMS_208 ER–MB.indd 64 31/08/2017 10:10

065_BW_208.indd 65 9/8/17 10:58 AM
 TECHNIQUE
SPONSORED BY SIGMA
All images © Tim Shoebridge
SHOOTING INFRARED
Last month Tim Shoebridge introduced the SIGMA SD Quattro as
an ideal camera for infrared photography. This month he reveals how he
sets up the SD Quattro for infrared and how to get the best out of it.

T
o shoot infrared on the
SD Quattro you need to
remove the hot mirror
from inside the camera
lens mount and fit an infrared
filter to the front of your lens.
There are a variety of infrared
filters you can use and it is worth
experimenting with different
filters to find the one you prefer.
The infrared images shown
here were shot using a 720nm
filter, which is a common choice
and considered middle ground
for infrared photography. I use a
filter holder system and obtained
a 100mm square infrared filter
which is compatible with it. This
set-up is really useful when
swapping lenses but you need
to make sure there is no chance
of light leaks when fitting the
66 filter in the holder.
B+W
Infrared has traditionally been
a B&W medium, but the advent
of digital cameras has created
popularity in colour infrared
imaging too. For practical
purposes I recommend that
the SD Quattro is a camera
for B&W infrared capture only.
The Foveon sensor in the
SD Quattro records colour
information in a unique way
compared to mainstream Bayer
sensors, and infrared light will
almost exclusively be recorded
by the Foveon sensor in the red
channel to a greater degree of
accuracy than a Bayer sensor.
Given that the Foveon sensor
captures pure infrared images
as shades of red, it is not
possible to achieve a white
balance that properly supports
colour imaging.
I do not see this as a bad
thing, my preference is for black
& white infrared images over
colour ones and colour can still
be achieved with the SD Quattro
when using wider spectrum
filters or capturing full spectrum
images. So when capturing
infrared images on my

66-67_SPONSORED BY SIGMA_208 ER-MB.indd 66 08/09/2017 10:50


SD Quattro I set the colour mode
to Monochrome, and within that
mode I set contrast to maximum,
the filtering effect to red and dial
the sharpness down to
minimum. These settings give
me the strongest images and
the best starting point for further
editing in post-production.
Obtaining correct exposure
has always been a problem in
infrared photography, and
although modern digital camera
exposure meters are incredibly
sophisticated, they are designed
to measure visible light, not
invisible infrared radiation. The
SIGMA SD Quattro helps take
some of the guesswork out of
exposure, since you have a live
preview of the image on the
LCD and in the EVF.
However, even this live preview
is not a completely accurate
representation of the image and
it will require some testing to
determine what adjustments to
make. With my set-up and the
particular IR filter I use, the
camera generally overexposes
infrared images by between
66-67_SPONSORED BY SIGMA_208 ER-MB.indd 67
‘Using a mirrorless camera such as the
SD Quattro takes all the guesswork out of
obtaining focus with infrared imaging.’
two-thirds and one stop. So
when I have the live view and
histogram looking exactly as
I want, I know I need to reduce
the exposure by up to one stop
to ensure the captured image
exposure matches. I must stress
this is for my particular set-up,
the adjustment you make will be
dependent on the IR filter you
are using as well as the lighting
conditions and your subject.
Comparing the histogram
before and after capture is a
simple way to determine the
adjustment you need.
U
nderstanding how the
final image exposure is
likely to vary from what
the camera’s metering
system thinks it will be becomes
important when considering
exposing to the right (ETTR).
Relying on the live view
histogram alone when employing
an ETTR technique is likely to
create clipping in your final image
when shooting infrared, in my
case by up to one stop.
So why use ETTR for infrared
photography? First, it is almost
exclusively the camera sensor’s
‘red’ photosites that record any
information. This means the total
amount of usable data recorded
by the camera sensor for infrared
images is significantly less than
for regular visible spectrum
images, and is a general problem
for both Foveon sensors and
Bayer sensor converted cameras.
Second, the infrared spectrum is
much narrower than the visible
light spectrum, which is why
infrared images are naturally very
low contrast and flat. Infrared
images are prone to noise but by
ETTR we have the best chance
to eliminate that noise.
SPONSORED BY
67
B+W
Using a mirrorless camera
such as the SD Quattro takes all
the guesswork out of obtaining
focus with infrared imaging
because what you see in terms
of focused image through the
EVF is what you get in the
captured image. I usually focus
manually but I have tried
autofocus on the SD Quattro
when shooting infrared and it
worked very well.
But as with any digital camera,
you need to bear in mind that
the job of any camera plus lens
to obtain auto-focus is made
more difficult with infrared so
perfect auto-focus operation is
not guaranteed every time.
I strongly recommend you try
infrared, it can provide wonderful
opportunities to capture images
when lighting conditions for
traditional photography are not
favourable. And with the Sigma
SD Quattro you have two
cameras in one – it really makes
shooting infrared opportunistically
a practical reality.
timshoebridge.photography
sigma-imaging-uk.com
08/09/2017 10:50
 COMMENT
A FORTNIGHT AT F/8
Developing your own style is a key element of growing as a photographer.
You need to practice it and refine it, but ensure it never takes the place
timclinchphotography.com
of substance. Creativity is king, says Tim Clinch.

L
et us get one thing
straight before I begin.
I firmly believe that
digital post-production
is no different
from the analogue
darkroom manipulations
(such as dodging and burning)
that have always been essential
and useful components in the
photographer’s armoury.
use of digital post-production
and heavy-handed use of
Photoshop than I can shake a
stick at. But, going back to the
apparently halcyon days of film,
does anyone remember cross-
processing? It was the ludicrous
practice of processing neg film
in transparency developer (or
was it the other way around?).
There was some dreadful old
So, a style. It’s important to
get yours, practice and refine
it. But once you’ve got your
style there is one vital thing to
remember, without which you
are, as a photographer, dead
in the water. Style without
substance is nothing.
Creativity is king, and
coming up with new ideas and
new ways of seeing is really
is what all photographers
should be trying to do all of
the time. We will, of course,
have times of no inspiration
when we can’t seem to find
anything interesting to shoot,
when the muse deserts us,
when the personal project we
have been working on for so
long loses its spark.

I think if you do not
understand this then you
do not understand photography.
We all have a style. Even
the people who insist they get
everything right in camera have
a style. It may be a stripped-back,
minimalist style, but a style it is.
Like you, I have seen more
68
dreadful examples of over
B+W
T
nonsense displayed using this what it’s all about. Seeking out here are no end of
ridiculous system. new ways to push our creativity things to do to whet
your whistle again. The
countless inspirational
‘Look at the landscape, look into a articles in magazines and on
the internet. There are also a
flower, look at people’s faces, look up lot of really nonsensical articles
at buildings that you have walked past that will annoy you. This is
not necessarily a bad thing, as
many times without ever looking up.’ getting annoyed is often the

All images © Tim Clinch

68-69_FORTNIGHT_208 ER-MB.indd 68 31/08/2017 10:11


key to pulling your socks up
and getting on with things
(or writing a really grumpy
column for this magazine!).
Personally, in times of crisis
I turn to the greats. A couple
of hours in my office with my
small but well-chosen library
of photobooks usually does
the trick. A flick through one
of Irving Penn’s books works
a treat. However, one of the
things I find very few people do
68-69_FORTNIGHT_208 ER-MB.indd 69
when searching for inspiration
is one of the most simple –
look. Look around you, have
a wander, walk up a hill or
through a market just looking.
Look at the landscape, look
into a flower, look at people’s
faces, look up at buildings that
you have walked past many
times without ever looking up.
Try it without taking a camera
(or your mobile) with you. I can
pretty much guarantee that
within half an hour you will
have seen so many pictures you
wished you’d taken that you
will be hightailing it back to
your camera like Usain Bolt in
the 100m!
Very often the key to taking
good, new pictures is to spend
some time not taking pictures.
As Henri Cartier-Bresson said:
‘If you look for inspiration
nothing comes. It’s by
enriching yourself and living.’
WHAT TIM
DID THIS
MONTH
Visited Kiev, the amazing
capital of Ukraine (just go,
it’s great), and, as always,
realised what a shot in the
arm for my photography
going somewhere different
can be – even for a few days.
Definitely inspirational.
In honour of my visit
to Ukraine, this month’s
photographer is from that
wonderful country. Sergey
Polyushko is a commercial
photographer shooting
everything from interiors
to fashion, but his stunning
portraits of animals are
what caught my eye. He is
on instagram as @sergey_
polyushko or simply Google his
name. The portrait of the dog
in the snow is one of the best 69
animal pictures I’ve ever seen. B+W
The pictures this month all
come from an exhibition I was
involved with in Sofia, Bulgaria.
It was an exhibition of food
photography. The woman
who curated it insisted that
she chose the pictures from
my website herself. What she
chose was a complete surprise
and was certainly not what I
would have chosen, but when
displayed they looked rather
nice. What surprised me was
how different and abstract they
looked when I converted them
into B&W for the magazine. It’s
always interesting to see what
other people make of your
work and something I urge
you to do.
During our preliminary
discussions I learned a
valuable lesson from her about
my website. She had chosen a
picture of some cheese I had
taken many years ago in Malta
which was part of a travel story
about the island which featured
on my website. I explained to
her that I didn’t really like it
much and didn’t think it should
be in the exhibition. She looked
me straight in the eye and
asked: ‘Well why is it on your
website then?’ Point taken!
08/09/2017 10:52
 F E AT U R E
FACE TO FACE
It began as a learning exercise in photography but as Matthew Finn and
his mother collaborated it became an intimate exploration of their relationship.
All images © Matthew Finn
Steve Pill takes a look at a project that changed two lives.
The first photos in your Mother project
were taken when you were 16 years old. Did
you intend it to be a project from the start?
No, I was practising technique. I started
photographing my mum in 1987 and it just
continued. She got used to it to the point where
it became important in our relationship.
I think we would have both been disappointed
if we hadn’t had that interaction. It was like
a dance. Initially she knew nothing about
photography just like me, but we were both
learning. I was learning about what I wanted
to photograph and how I wanted to capture it,
and she was learning about the quality of light
and which was her best side. After a while,
I felt like she was positioning me, like I was the
technician and she was the author. It didn’t
really become a project until she had a heart
attack about 20 years ago. She was in hospital
and I could only visit in the morning and
the evening, so in the gaps between I printed
everything I’d done, 350-400 rolls of film.
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 You didn’t share the work for 25 years.
What changed?
I felt like I owed it to my mother. I did a year
of photography festivals, like Arles and Derby,
and the response blew me away. It gives you
confidence to show the work to more people.

What was the most surprising response?

Well, someone was talking about Oedipus!
I think people were taken aback that it was
a mother figure shown in isolation, and
a woman descending into middle age is
something you don’t often see either. And now
she has dementia and isn’t aware of the book.

How has that changed the dynamic?

It’s no longer a collaboration. We moved her
into a residential care home just outside Leeds
and she’s unaware of who I am. People always
asked: ‘Who is the work for?’ I was always
looking forward to sharing the work with my
mum, but now I have to say it’s purely for me
to launch a career. I’ll still keep photographing
her, but I haven’t put any photos from the care
home into the book. I wanted to keep it as
a celebration.

Did photographing your mother benefit

your relationship in any way?
It allowed us to learn about each other.
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Photography took the place of having difficult
conversations and it allowed us to build a
confidence we wouldn’t have had otherwise.
My mother was Irish Catholic and
unmarried. I was born in Manchester because
at the time that was where the only abortion
clinic in England was. She went there to have
me aborted but her family talked her out of it.
My father was really abusive and he didn’t
know anything about me. He died in 1994 and
I subsequently found out he was married to
multiple women who had nothing good to say
about him. After the funeral we got hideously
drunk and compared photo albums – it was
so strange to see the same father figure but
with you and your mother replaced by
another family.

PROFILE
Born in 1971, Matthew has an MA in
Photographic Studies from the University
of Westminster. He has since taught
photography and become a patron of
the Hull International Photography
Festival. In 2015 he received the
Jerwood/Photoworks Award for Mother,
which has since been published as
a monograph by Dewi Lewis at £30.
To order a copy visit dewilewis.com
mattfinn.com

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 TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
There are plenty of apps out there for changing the look of your
timclinchphotography.com
pictures, but if you really want to develop as a smartphone
clinchpics
photographer then Tim Clinch has a challenge for you.
O
K amigos, if you
are getting serious
about your mobile
photography, or feel
you really want to test your skills,
it’s time to do what I am now
doing more and more frequently.
Check your diary. Set aside a
long weekend. Check the prices
on the cheap airlines, look up
the train timetables, or simply
jump in the car. Book yourself
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a ticket somewhere interesting,
somewhere you’ve never been
before or somewhere you’ve
always wanted to go and…
Leave your camera behind.
Yep, that’s right. Cold turkey.
Leave all your usual toys at
home – pack no bags, no
laptops, no clip-on gizmos,
nothing. Hand luggage only.
And while you’re about it,
clear your phone of all apps
– apart from one, your main
processing app. My processing
app of choice is the very
wonderful Snapseed, which
I think is really good. By taking
only one app on your trip you
will be forced to learn it,
concentrate on it and master it
so that processing your mobile
images becomes second nature.
There are a few precautions
you need to take before setting
off. First and foremost, don’t
get your pocket picked! Be
careful at all times. Shiny new
mobiles are a lot more nickable
than any camera. As my dear
old mum used to say, ‘Keep
your hand on your ha’penny.’
Second, don’t forget your
charging cables and a battery
booster. I have my iPhone 6s
permanently secured in a
Mophie Juice Pack. It gives my
iPhone a good two extra
charges once fully powered up,
and is invaluable.
Third, make sure you have
enough space on your phone
for a few days’ shooting. Upload
your images to the cloud,
download them to a laptop, do
whatever you need, but
back-up, back-up, back-up.
O
K, so now you’re
off, wandering the
backstreets of a
European capital,
or exploring the paths of a
distant mountain range,
unencumbered by kit, not
getting hot and bothered by
heavy bags, or annoying
camera straps. Not having to
stop and change lenses when
you see something off in the
distance. You’ve got one lens,
so use it well.
Instead of zooming in on that
market stall that caught your
eye, walk towards it! Ask the
lovely old lady selling those
giant watermelons if you can
31/08/2017 10:18

take her picture and off you go.
Wow! Taking pictures and
talking with people – instead of
skulking in the shadows with
your expensive telephoto lens,
getting all pretentious about
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street photography. There’s
no stopping you now!
You’re shooting with your
phone. No-one cares, or bats
an eyelid. No-one suspects
what you are up to. No-one
asks you what you are going
to do with the pictures,
which they so often do
when you are shooting with
a massive DSLR. Freedom!
For me it has become the
All images © Tim Clinch
creative freedom I have long
desired. Photographic
storytelling, photo-sketching,
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call it what you will, it gives me
immense pleasure and that,
surely, is what it’s all about.
THE PICTURES
The pictures shown here
are all from a long weekend
I spent recently in Kiev,
Ukraine’s fascinating capital
city. I spent a delightful
four days in the city with
the beloved partner, who is
working there at the moment.
I only took my phone, and
we did none of the major
tourist destinations, we
simply wandered around her
neighbourhood, ate at little
local restaurants, rode on
the metro and walked and
walked and walked! Fantastic,
and with the added bonus of
absolutely no exasperated
glances from the beloved
partner when I messed about
with lenses or whatever –
as I didn’t have any!
You can see more of the
pictures, as always, on my
Instagram feed and on Steller.
@clinchpics
steller.co/timclinch
06/09/2017 11:00
 YOUR B+W
SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see
the pictures you take when the moment is right. We have three Class 10 32GB
Evo Plus Micro SDHC cards to give away each month. With a transfer speed
of 80Mbs, each MicroSD card also comes with an SD adapter – meaning it’s
compatible with both your smartphone and digital camera.

© ED ALDRIDGE
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© KEVIN SIFFERT

© MARTIN BRUNTNELL WINNER © DIAMUID DORAN

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 WINNER © CHENG LI

WINNER © ANDY PARSLOW

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© EMILY JANES © KEVIN SIFFERT

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

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 YOUR B+W
SALON
In our search for some of the best work by black & white aficionados, we found
Steve Geer’s fascinating mirror-images of Chicago, the city where he lives.
All images © Steve Geer
These pictures create an uncertain world where nothing is what it seems…

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‘I call this project From the Ground Up. In Lewis Carroll’s Through the Looking Glass, Alice finds
a world that is familiar, and yet not quite right. She notes: “Somehow it seems to fill my head with
ideas – only I don’t exactly know what they are!” Lewis Carroll was pointing out that seeing
something we don’t quite understand gets us thinking.
‘People stare as I kneel in puddles with a tripod-mounted camera pointing at the ground. I am staring
too, but at the shapes and tones and textures in my looking-glass world. This world is in a city. That’s
where I live. It’s a place in which almost every square inch has been utilised for some human purpose.
A landscape made from the earth, its ingredients ground up, separated and reconfigured.’

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.

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 TESTS AND
PRODUCTS
CHECKOUT
It has been another strong year for mirrorless cameras. They are smaller
and lighter than DSLRs and the picture quality can be excellent.
Daniel Calder rounds up the best of the new releases.

CANON EOS M6 LEICA TL2

Compact Canon User friendly
Leica, in collaboration with Audi Design, has created the impeccably
engineered TL2. It’s a camera at the frontier of product design
that emphasises intuitive handling and user friendliness. The TL2
is machined from a single block of aluminium, sports minimal dials
and buttons and relies on an uncommonly large touchscreen for
operation, just like a smartphone. There’s also 32GB of memory
on-board for the option of storing pictures without an SD card and
a USB 3.0 interface with a USB-C connector for extremely fast
data transfer and power charging. It takes excellent photos and
has a pleasing B&W High Contrast mode, but it falls a little behind
the competition in its autofocus performance. The stripped back
design means the tilting, swivelling Visoflex electronic viewfinder
needs to be bought separately for around £390, as does the flash.
Continuous shooting up to 20fps is possible with the electronic
shutter, and the TL2 records 4K video up to 30fps. The camera
uses the L-Bayonet mount, which allows a handful of hugely
Truly compact, lightweight and sharing most of the functionality expensive TL-System lenses to be attached. Buying a £300 adapter
found on the more expensive Canon M5 (£999), the M6 is a great opens up the wider range of M and R Leica lenses.
option for those who already own a few Canon lenses. By not
82 including a built-in viewfinder and relying on the impressive 3in tilting
B+W
touchscreen, the M6 achieves the lower price of £730. That said,
the EVF-DC2 electronic viewfinder (£220) is available separately
and plugs into the hotshoe. Built in Japan, the M6 is available in a
black or silver body, which is sprinkled with manual control dials and
buttons that will please Canon aficionados. The Dual Pixel CMOS AF
system and Digic 7 processor combine to form a fast and accurate
autofocus system, even in movie mode. Continuous shooting is
decent too, achieving 9fps with fixed AF and 7fps with continuous
autofocus. There’s no 4K-movie recording though, only Full HD up to
60fps. Although the range of dedicated EF-M lenses for this camera
is limited to seven options, purchasing an EF-EOS M adapter unlocks
the entire collection of Canon EF and EF-S lenses.

TECH SPECS TECH SPECS

Effective pixels 24.2 million Effective pixels 24.32 million
Sensor APS-C Sensor APS-C
Lens mount Canon EF-M Lens mount Leica L-Bayonet
Monitor 3in tilting touchscreen LCD, 1040K dots Monitor 3.7in LCD, 1300K dots
Viewfinder Optional Viewfinder Optional
Dimensions 112 x 68 x 44mm Dimensions 134 x 69 x 33mm
Weight 390g Weight 399g
Guide price £730 Guide price £1,700
Contact canon.co.uk Contact leica-storemayfair.co.uk

LIKES LIKES
Good value Exquisite product design
Compact and lightweight Intuitive touchscreen operation
Excellent autofocus system 32GB on-board memory for photo storage

DISLIKES DISLIKES
Limited range of EF lenses Limited range of dedicated TL lenses
Unimpressive battery life Unimpressive battery life

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 FUJIFILM X-T20
Retro style
With its retro good looks, nimble handling, excellent image quality
and latest technological advancements, the Fujifilm X-T20 ticks all
the right boxes. It shares many of the core features found on the
popular X-T2, including the 24Mp sensor and autofocus system,
yet comes in at half the price.
Plenty of dials and customisable buttons make the X-T20
appealing to use, but Fuji hasn’t overlooked adding a tilting
touchscreen to bring the camera up to date. A built-in electronic
viewfinder with 2.36M-dots and 0.62x magnification will keep the
traditionalists happy too.
The phase detection system covers less screen estate than some
other mirrorless cameras but still possesses 49 focus points, with
a further 42 selectable focus points towards the edge of the frame
using contrast detection. Up to 14fps can be captured using the
electronic shutter, compared to 8fps with the mechanical version.
A collection of film simulation options can be applied to images,
enabling you to recreate the appearance of classic Fuji films.
OLYMPUS OM-D E-M1 MKII To round off the package, the X-T20 records 4K-movie footage
High-speed shooter up to 30fps, or Full HD up to 60fps.

Olympus’ top of the line E-M1 Mk II offers fully customisable

manual control and high-speed performance in a traditionally
styled mirrorless body. This micro four-thirds camera includes
a built-in 2.36M-dot electronic viewfinder and comes packaged
with the detachable FL-LM3 flash. The weather sealed body is
liberally sprinkled with dials and buttons, while the touchscreen
LCD is fully articulated.
Inside the camera a TruePic VIII double quad-core processor
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rapidly processes and reviews images, while enabling up to 60fps
burst shooting with the electronic shutter. This processor coupled
with 121 cross-type phase detection focus points ensures
speedy continuous autofocus, capturing up to 18fps when used.
The camera benefits from 5-axis image stabilisation for stills
or video, which works with any lens and offers 5.5 stops of
compensation. Movies can be recorded at 4K (3840 x 2160) or
Cinema 4K (4096 x 2160) resolution. The four-thirds sensor
makes a lot of this possible, but the payoff is in lower quality
images compared to those captured with APS-C sensors.
Olympus micro four-thirds cameras are at a mature stage of
development, providing a varied range of lenses at different price
points, as well as a host of accessories.

TECH SPECS TECH SPECS

Effective pixels 20.4 million Effective pixels 24.3 million
Sensor Four-thirds Sensor APS-C
Lens mount Micro four-thirds Lens mount Fuji X-mount
Monitor 3in vari-angle LCD, 1030K dots Monitor 3in tilting touchscreen LCD, 1230K dots
Viewfinder Built-in Viewfinder Built-in
Dimensions 134 x 91 x 69mm Dimensions 118 x 83 x 41mm
Weight 574g Weight 383g
Guide price £1,849 Guide price £799
Contact olympus.co.uk Contact fujifilm.eu

LIKES LIKES
60fps continuous shooting 91 selectable AF points
4K and C4K movie recording Hi-res electronic viewfinder
Exceptional image stabilisation Rich variety of X-mount lenses

DISLIKES DISLIKES
Smaller sensor than APS-C Phase detection area is smaller than some rivals

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084_BW_208.indd 84 8/30/17 3:01 PM

PANASONIC LUMIX DC-GH5
Video specialist
The Panasonic GH5 combines highly sophisticated video
technology with a polished and well-rounded stills camera.
Enthusiast and pro videographers will be attracted to the 4K
recording at 60fps. There’s no limit to the duration of filming either,
as SD cards can be swapped while recording. Broadcast quality
10-bit 4:2:2 internal recording at 30fps is also included for improved
colour grading, along with a host of other high-spec features.
Picture quality of the four-thirds sensor marginally lags behind
the top APS-C cameras, but Panasonic has included a 6K Photo
mode to tempt photographers. This mode records 18Mp stills at
up to 30fps, allowing you to select the best frame and never
miss the moment. Full sized (20Mp) burst shooting is possible up
to 12fps, or 9fps with continuous autofocus. The 5-axis image
stabilisation improves stills and video handheld situations.
Panasonic’s DFD (Depth From Defocus) AF system is fast and
easy to use with the touchscreen, allowing you to not only select
one of 225 AF points but also change the size of each point.
Alongside the articulating LCD, the impressive 368M-dot
electronic viewfinder is a nice addition.
SONY α9
DSLR beater
Sony continues to push the boundaries for mirrorless cameras
with the sport, action, event specialist that is the A9. With the
aim of rivalling the best DSLRs from Nikon and Canon, the A9
competes on burst shooting speeds and autofocus while
boasting a much smaller, lighter body.
The A9 is founded on a breakthrough 24Mp stacked full-frame
sensor with electronic shutter that allows 20fps of compressed
Raw files to be captured with AF/AE tracking, and without any
viewfinder blackout. A healthy buffer enables 241 compressed
Raw frames or 362 Jpegs to be recorded without pause.
Sony’s 4D Focus uses 693 phase detection AF points across
93% of the sensor, which enables rapid autofocusing and
accurate tracking. AF points are selected via the tilting
touchscreen or a joystick while looking through the brightly
detailed 3.7M-dot electronic viewfinder.
Handheld shooting for stills or 4K video is improved by the
5-axis image stabilisation system, which works with any lens
but is particularly effective with Sony’s optically stabilised lenses.
The A9 supports a variety of lens adapters but Sony has a
couple of high-quality zooms in its dedicated E-mount collection
to get the best out of the camera.
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‘Enthusiast and pro videographers will be

attracted to the 4K recording at 60fps.’
TECH SPECS
Effective pixels 20.3 million TECH SPECS
Sensor Four-thirds Effective pixels 24.2 million
Lens mount Micro four-thirds Sensor Full-frame
Monitor 3.2in vari-angle touchscreen LCD, 1620K dots Lens mount Sony E-mount
Viewfinder Built-in Monitor 3in tilting touchscreen LCD, 1440K dots
Dimensions 138 x 98 x 87mm Viewfinder Built-in
Weight 725g Dimensions 127 x 96 x 63mm
Guide price £1,699 Weight 673g
Contact panasonic.com Guide price £4,499
Contact sony.co.uk
LIKES
4K video up to 60fps LIKES
10-bit 4:2:2 video recording 20fps burst shooting with AF tracking
Outstanding, hi-res viewfinder 693 phase detection AF points
Hi-res electronic viewfinder
DISLIKES
Four-thirds sensor DISLIKES
On the large size Limited native lens options Expensive

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 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
Visit our website

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SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

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

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 LAST FRAME SALON

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

87
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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
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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_208 MB-ABE.indd 87 06/09/2017 11:02

 Your images, printed.

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 COOL, CREATIVE AND CONTEMPORARY

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 BL ACK+ WHITE PHOTOGRAPHY COOL , CREATIVE AND CONTEMPORARY

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 NEX T MONTH

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© Nelli Palomäki

THE MANY FACES OF NELLI PALOMÄKI

THE BEST PHOTOBOOKS

SHOOTING IN BAD WEATHER
THE COASTLINE IN PLATINUM
CREATE GRAPHIC MONOCHROME

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 B W CLASSIFIEDS
To advertise on these pages please call the Photography team
+ 27 Rathbone Place London W1T 1JE
on 01273 402823 or email advertising@thegmcgroup.com
Tel: 020 7436 1015
www.apertureuk.com
Pre-owned Leica Medium / Large & Other Format
Leica SL (Boxed; No instructions) Mint- £3950 Mamiya 50mm f4.5G (Mamiya 6) Exc+ £470
Leica M Monochrom with Charger Exc++ £2690 Mamiya 150mm f4.5G + hood (Mamiya 6) minor fungus Mint- £100
Leica M-P (240) Black with Leiva EVF 2 (Complete; Boxed) Exc++ £3550 Mamiya 43mm f4L + hood & V/finder Exc+++ £750
Leica M (240) Black (Complete; boxed) Mint- £2890 Mamiya 50mm f4L + hood & V/finder Mint- £790
Leica M (240) Silver with Charger Exc+++ £2790 Mamiya 150mm f4.5L + hood Mint £290
Leica M7 0.85 Black (boxed) Exc £1290 Mamiya ZE-702 Polarising filter Mint- £70
Leica M5 Black 2 Lugs #1353xxx User £490
Leica M5 Chrome #1355xxx Exc++ £750 Rolleiflex 2.8F Aurum with original wooden presentation box & strap Mint £2890
Rolleiflex 3.5F (75mm Planar) missing front cap Exc £790
Leica 21mm f2.8 Elmarit-M ASPH + hood #3885xxx Exc+++ £1490 Schneider 300mm f4 Apo-Tele-Xenar PQ for Rolleiflex 6008 Exc++ £1790
Leica 21mm f2.8 Elmarit-M ASPH + hood #3991xxx & Voigtlander V/finder Exc++ £1490
Dedicated to the monochrome photographer

Carl Zeiss 21mm f4.5 Biogon ZM T* -Silver (boxed) Mint £750 Phase One 645 DF Plus + Schneider 80mm LS + IQ250 & + carrying case Exc+++ £9990
Leica 24mm f1.4 Summilux-M ASPH + hood 6-bit #4088xxx (boxed) Mint- £3290 Fotoman 45PS with 58mm f5.6 Super-Angulon XL Exc++ £850
Leica 24mm f2.8 Elmarit-M ASPH + hood #3755xxx Exc+++ £1190 Horseman SW-D II Pro with Schneider 24mm f5.6 Apo-Digitar XL with Exc++ £2090
Leica 24mm f2.8 Elmarit-M ASPH + hood 6-bit #4036xxx (boxed) Mint- £1290 Phase one Hasselblad H 101 Adapter plate
Leica 24mm f3.8 Elmar-M ASPH + hood 6 bit #4087xxx Nr. mint £1450
Leica 35mm 1.4 Summilux-M ASPH FLE + hood 6bit #4101xxx Exc++ £2590 Linhof Technorama 617S with 90mm f5.6 Super-Angulon & Finder with Exc £2090
Leica 50mm f1.4 Summilux-M ASPH 6bit #4132xxx Exc+ £1890 Centre Filter
Leica 50mm f1.4 Summilux + hood #2848xxx (boxed) User £1090 Linhof Technika IV with 150mm f5.6 Symmar-S Exc+ £850
Leica 50mm f2 Summicron-M #2986xxx User £750 Linhof Technikardan S45 Mint- £850
Zeiss 50mm f2 Planar ZM T*+ Hood Silver (boxed) Nr. Mint £520 Schneider 47mm f5.6 Super-Angulon (Compurl 0) Mint- £370
Leica 50mm f2.8 Elmar #1820xxx Exc+ £370 Schneider 58mm f5.6 Super-Angulon XL (Copal 0) Mint- £530
Leica 75mm f2.5 Summarit-M 6 bit #4048xxx Exc+++ £720 Schneider 72mm f5.6 Super-Angulon XL (Copal 0) Mint £650
Leica 75mm f2.5 Summarit-M 6 bit #4053xxx Nr. mint £750 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Zeiss 85mm f4 Tele-Tessar ZMT* Silver Exc+ £320 Nikon 600mm f9 Nikkor-T ED (Copal 3) Mint £1090
Leica 135mm f4 Tele-Elmar-M Mint- £750 Wista 6x9 RFH Exc+++ £120
Leica 15mm f2.8 Super-Elmarit-R ASPH ROM (boxed) Nr. Mint £4490
Please visit our website for a full list of our current stock.
Leica 15mm f3.5 Super-Elmar-R 3 Cam with lens cover & pouch Mint £1590 w w w. a p e r t u r e u k . c o m
Leica 100mm f4 Macro-Elmarit-R 2 Cam User £320 Updated Daily
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Exc++ £2590
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 28-70mm f3.5-4.5 Vario-Elmar-R + hood Exc+++ £290
We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 35-70mm f3.5 Vario-Elmar-R 3 Cam Exc+++ £390 below and make sure to include your name; address and contact details for return postage.
Leica 70-180mm f2 Apo-Summicron-R ROM with Case Mint £4190 An order form is availible to download from our website on the Film Developing Page.

Leica 80-200mm f4 Vario-Elmar-R ROM #3835xxx Mint £1090 Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Aperture 3 - 5 rolls.............................................£6
Leica EV-F 2 with Pouch Mint £220 6 - 10 rolls...........................................£9
PO Box 7045 11 rolls or more................................Free
Leica 21mm Bright Line Viewfinder Exc £160 London Process only
1 - 10 rolls...........................................£3
Zeiss 35mm T* Metal Viewfinder Mint £220 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 50mm Metal Viewfinder Exc+++ £100 Processing Prices (C41 Colour Negative Film)
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Mint- £100 35mm develop only £6.00
Leica 13.5cm Metal Viewfinder Chrome Exc+ £80 35mm develop + print £12.00
35mm develop + print + scan £14.00
35mm develop + scan £10.00
Nikon F2 Titan Mint- £1490
Nikon F2 with DE-1 Chrome #7842xxx Mint- £650 120 develop only £7.00
£320 120 develop + print £15.00
Nikon F2 with DE-1 Chrome New Mirror Foam Exc 120 develop + print + scan £17.00
Nikon F2 Photomic A Black #7729xxx New Mirror Foam User £250 120 develop + scan £11.00
Nikon FM Black #3169xxx Exc+ £180
Extra set of prints (order within 7 days) £5.00
Nikon FM2n Chrome #7439xxx Exc+++ £350 Negative scan to CD or digital media (Per roll) £8.00
Nikon FE Chrome #4291xxx New foam fitted to mirror box Exc+++ £210
Nikon FE Black #3947xxx New foam fitted to mirror box and film door Exc++ £190 Xpan develop + scan £18
Xpan develop + scan + print (5” x 13.5”) £24
Nikon DA-2 Action Finder Light dent to the front Exc £120
We also process Black and White Film!
Nikon MD-4 ~ Motor for F3 Exc+ £60
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 NOVEMBER please2017
contact Camera Museum; located at 44 Museum Street, London WC1A 1LY Tel: 020 7242 8681 www.cameramuseum.uk

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 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
on 01273Tel:
402823 or email
020 7436 1015advertising@thegmcgroup.com 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Leica 70-180mm f2.8 Vario-APO-Elmarit-R ROM + hood with Pouch Mint- £3990

Dedicated to the monochrome photographer

Leica 15mm f2.8 Super-Elmarit-R ASPH ROM (boxed) Nr. Mint £4490

Leica SL (601) (boxed; no instructions) Mint- £3950

Leica 15mm f3.5 Super-Elmar-R 3 Cam with lens cover & pouch Mint £1590

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 rNOVEMBER
e u k . c o m 2017 B+W CLASSIFIED 93

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 B+W APP
BLACK+ WHITE PHOTOGRAPHY
SUBSCRIBE TO OUR DIGITAL EDITION

DOWNLOAD THE MAGAZINE

FROM ONLY £2.77
VISIT WWW.POCKETMAGS.COM

NEW 17-142 - BW_AP_AD.indd 94 9/6/17 11:34 AM

 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
on 01273 402823 or email advertising@thegmcgroup.com

Black and white landscape photography courses

River, loch & sea:
Long exposures
course on the
Isle of Skye
November
26 - 30, 2017
Black & White
Waterfall
Workshop
Yorkshire Dales

Dedicated to the monochrome photographer

December
9 & 10, 2017

*Introductory courses for beginners ΎŽƵƌƐĞƐŝŶĮŶĞĂƌƚŵŽŶŽĐŚƌŽŵĞƉƌŝŶƟŶŐ

new to black and white Ύ^ŵĂůůŐƌŽƵƉƐŝnjĞ͗DĂdžŝŵƵŵϱ
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WŚŽƚŽƐŚŽƉĂŶĚ^ŝůǀĞƌĨĞdž ϬϭϳϰϴϴϮϭϬϰϭŐĂƌƌLJΛŐĂƌƌLJďƌĂŶŶŝŐĂŶ͘ĐŽŵ

Isle of Skye - Glen Coe - Harris and Lewis - Yorkshire Dales - Lake District

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

used photographic equipment

AMMONITE PRESS Having trouble finding what you want? We’ve got nearly everything under one
roof, from Agfa to Zeiss, through books, cine, darkroom,
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Got a question about photography? We can answer it.

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Ammonite Press publishes market-leading photography
books, with the focus on innovative guides to photographic www.realcamera.co.uk
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B+W
from photographers and writers who are interested in
working with us. If you have an original idea or concept,
or a fresh approach to your specialist subject, please send

BLACK+ WHITE
a synopsis and sample images.

Write to Emma Foster, Publishing Coordinator PHOTOGRAPHY

bwphotomag
Ammonite Press, GMC Publications Ltd.
Castle Place, 166 High Street,
Lewes, East Sussex, BN7 1XU
T +44 (0) 1273 477374
E emmaf@thegmcgroup.com Find us on Instagram
www.ammonitepress.com
COOL, CREATIVE AND CONTEMPORARY

NOVEMBER 2017 B+W CLASSIFIED 95

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

96
B+W

This month’s winner is Rui Boino who wins a 20 x 24in print dry-mounted on to Foamex,
an exceptional quality and highly rigid foamboard. Rui 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_208 ER-MB.indd 96 31/08/2017 10:35

IBC_BW_208.indd 1 9/7/17 12:38 PM
 Refocus
your
attention Image credit: Johnny Mobasher

www.streetphotography.com
Our Revolution is to expose the BEST for free. To inspire & educate.
If you have outstanding street photography, street-portraits, street
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OBC_BW_208.indd 1 9/1/17 9:54 AM