Black + White Photography - August 2016 UK PDF

COOL, CREATIVE AND CONTEMPORARY
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Unseen
London Paris New York
Neil Libbert, Wall Street, 1968
Photographs by
Wolfgang Suschitzky, Dorothy Bohm, Neil Libbert

Until 27 August 2016
Ben Uri Gallery & Museum
Open daily, free entry
108a Boundary Road, off Abbey Road, London, NW8 0RH
www.benuri.org @BenUriGallery
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BLACK + WHITE
PHOTOGRAPHY
EDITORIAL
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Anthony Roberts
THE STORY OF
A MEMORY STICK
arlier this year I went, as I always do, to a

number of end of year shows. Its good to see
what young people are doing in photography
and its very interesting to see how they are
being taught which is evident in the results.
Sometimes I see a students work that stays
EDITORS
with me long after the show has closed. There is perhaps
LETTER
something about the work that has drawn me to it and Ive
maybe seen an element of potential that I think is interesting.
AUGUST
I sometimes take notes and look up the work online.
2016
But it was last year that I saw an exhibit that still
makes me think.
I say that I saw the work but in fact I didnt. Let me
explain. I was at Brighton University end of year show and
I noticed a piece of work that looked intriguing. The student (whose name I regrettably
didnt take note of) had acknowledged the fact that we live in a digital world by putting his
work on a memory stick attached to a plinth. Visitors were invited to plug the stick into
their phones to view his pictures. It seemed like a good and original idea.
But I didnt do it. Why? Im not sure laziness, not wanting to look at work on the small
screen of my phone, being distracted by the images hanging on the surrounding walls?
I dont know. But I forgave myself, left it for others to engage with, and moved on.
But it wouldnt quite let me go. I felt curious. So I decided to do a little spying and see
if other peoples reaction was different to mine. I returned to the plinth and hung
unobtrusively around and watched. Almost everyone walked up to the plinth and read
the invitation. Some picked up the memory stick and then replaced it. Not one person
plugged it into their phone or tablet. Not one.
What do I make of that? I can only assume that we are not so digitalised as we think we
are. When given a simple choice of viewing photographic prints on a wall, or making the
effort to engage with a digital device, we might just take the first option. The photographic
print, it seems, is still holding its own and, I suspect, will do for some time. Lets hope so.
01
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Elizabeth Roberts, Editor

elizabethr@thegmcgroup.com
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Gian Luca Groppi
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Mark Tipping
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Al Vandenberg
Jodie Hulden
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BLACK+WHITE PHOTOGRAPHY ISSUE 192 AUGUST 2016 NEXT MONTHS ISSUE IS OUT ON 4 AUGUST
COVER
NEWS
FEATURES
COMMENT
This month's cover image

is by Jonathan Chritchley
04 NEWSROOM
Whats happening in the

world of black & white
08 FROM OUT OF THE DARK
Gian Luca Groppi finds light

in the darkest of places
20 AMERICAN CONNECTION
06 ON SHOW
22 ON A GOOD DAY
38 A MODERN EYE
28 JUST UNDER
THE SURFACE
64 A FORTNIGHT AT F/8
Our exhibition of the month
16 ON THE SHELF
The best photography books
18 IN THE FRAME
Your guide to photography

exhibitions in the UK
Martin Barnes on the innovative

work of Al Vandenberg
Mark Tipping feels the pull

of the seaside town
Kris Sanford talks memory and

photography with Susan Burnstine
Shoair Mavlian on
photographic duo Birdhead
Tim Clinch celebrates an
inspirational photographer
66 60-SECOND EXPOSURE
Jodie Hulden answers our
quick-fire questions
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David Jordan
Alex Schneideman
72
42
Birdhead
38
Lee Frost
46
John Harper
96
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46 TEN TOP TIPS
37 INSIGHT
60 BUYING SECOND-HAND
70 SMARTSHOTS
52 PHOTO PROJECTS
42 THINKING PHOTOGRAPHY
76 CHECKOUT
72 PORTFOLIO
Lee Frost on becoming

a better photographer
Using line to compose
68 SMART GUIDE TO
PHOTOGRAPHY
Getting away from apps
Vicki Painting on the power

of everyday objects
Alex Schneideman looks at
the question of sharpness
56 OPEN BOOK
Eddie Ephraums on creating

your own photobook
80 WIN A SOLO EXHIBITION
Your pictures could be exhibited

in a top London venue
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Your essential guide to buying

second-hand camera gear
Six of the best insurers for
your photographic equipment
83 BLACK+WHITE LOVES
New kit in the camera shops
Send us your best

smartphone pictures
Prize-winning photographs
86 NEXT MONTH
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96 LAST FRAME
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16/06/2016 12:20
NEWS
NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
HIGH CONTRAST
A free app providing information
for film photographers is now
available. The Kodak Professional
Film app gives guidance on where
to buy Kodak film, what the films
are suitable for, where to get film
processed and more. The app
was first introduced for iPhone
but is now updated and available
for Android and iPad.
play.google.com
Oscar Rejlander; Mary Rejlander

(nee Bull) by Oscar Rejlander
National Portrait Gallery, London
Black & white photographs of

Bristol in the 1960s by Norwegian
artist Bjrn Falch Andersen are
among more than 40 works
acquired by the Arts Council
Collection in 2015-2016.
artscouncilcollection.org
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Panoramic photographers have

the chance to win big prizes in
the 7th Epson International Pano
Awards. The competition offers a
prize pool of more than $60,000,
including cash prizes, Epson
printers and a trip to Antarctica.
thepanoawards.com
The best in contemporary
photojournalism from around the
world is on display in Perpignan
in France this summer. Visa
Pour LImage, the international
festival of photojournalism, runs
from 27 August to 11 September
and features exhibitions, talks,
discussions, awards, portfolio
reviews and evening shows.
visapourlimage.com
Visitors to several National Trust
properties can join a photo walk
and try out Panasonic camera
equipment. Participants can try
cameras and print out the photos
at Dudmaston in Shropshire
(10 July), Waddesdon Manor in
Buckinghamshire (30 to 31 July),
Calke Abbey in Derbyshire (6 to
7 August), Wastwater in Cumbria
(10 to 11 September), Heddon
Valley in Devon (23 to 25
September), Dunham Massey in
Cheshire (1 to 2 October) and
Knole in Kent (22 to 23 October).
panasonic.com
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Unidentified Young Woman, by Oscar Rejlander
John and Minnie Constable looking

into the fire by Oscar Rejlander
SAVED FOR THE NATION

An album of photographs by
an influential early Victorian
photographer has been acquired
by the National Portrait Gallery
The album of pictures by
Oscar Gustav Rejlander is
described as one of the most
significant 19th century British
photographic objects to be found
in recent decades. The album
had lain undiscovered in a family
collection for more than 140 years.
Rejlander is best known for
his work combining multiple
negatives to create pictures such
as The Two Ways of Life. The
album is one of a small set he
put together to showcase his
portrait work. It includes several
self-portraits plus a picture of
the writer Sir Henry Taylor and
the grandson of Poet Laureate
Alfred Lord Tennyson.
Dr Phillip Prodger, head of
photographs at the National
Portrait Gallery, said: The

Rejlander album becomes one
of the jewels in the crown of our
already impressive collection
of 19th century photographs.
It transforms the way we think
about one of Britains great

artists. And it contains some of
the most beautiful and expressive
portraits of the Victorian era.
The album will be on display
at the gallery in October.
NEW MCCULLIN BOOK

Acclaimed photographer
Don McCullin is to publish
a limited edition three-volume
retrospective of his lifes work.
The book, Irreconcilable Truths,
features almost 700 pictures that
McCullin considers to be the ones
that define his career.
The paper chosen by him for the images was Antalis Cocoon
Recycled. To celebrate the collaboration with McCullin, Antalis
have launched a photography competition open to anyone
working in the design or print industries. The competition,
judged by McCullin, offers entrants the chance to win a printed
portfolio of their work and a copy of Irreconcilable Truths.
antaliscarefullycurated.com
16/06/2016 10:56
RARE PHOTO
ALBUMS SOLD
Three rare photographic albums
depicting European experiences
in China in the early 20th
century have been sold at auction.
The albums show pictures of
people, landscapes and historic
sites such as the Summer Palace,
the Great Wall and the Forbidden
City. Chiswicks Auctions in
London sold the albums for
4,320, 4,080 and 3,480.
IN MEMORY
Lillian Bassman, Edwynn Houk Gallery, New York
SPIRIT OF JAPAN
One of the pictures on show at Photo
London By Night, Shining Wool
and Towering Heel, Evelyn Tripp,
New York, by Lillian Bassman.
FAIR A BIG
SUCCESS
Thousands flocked to see top
class photography from around
the world at the second edition
of Photo London.
An estimated 35,000 people
attended the event, which
showed pictures from the dawn
of photography right up to the
present day. Around 3,000 people
attended the talks programme
and almost 50 satellite events
were held across the city.
Co-founder Michael Benson
said: We are, of course, thrilled
by the almost universal praise
for Photo London yet we need to
remember that we are only two
years old. He continued: We
want Photo London to be a jewel
in Londons cultural crown, to
be the best photography fair in
the world, to be an unmissable
destination in the international
art world calendar.
Photo London returns on
18 to 21 May next year.
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Dan Rubin
Seven European photographers have been commissioned by Sony to

explore Japan as part of Sonys 70th anniversary year.
The seven 7 series photographers visited Japan to capture the spirit
of the country and the core values of the company. Among the pictures
is this black & white picture by British photographer Dan Rubin.
Sony will publish the images together with interviews and video
content of the photographers on its website and YouTube channels.
One of Britains most admired

poets has written a sequence of
poems in response to 26 aerial
and panoramic photographs of
the First World War.
Simon Armitage was
commissioned to write the
poems as part of the UKs arts
programme for the First World
War centenary. His work was
based on photographs chosen
from the archives of the Imperial
War Museum of areas associated
with the Battle of the Somme.
A book of the poems and
photographs, called Still, is
published by Enitharmon Press
priced 25.
enitharmon.co.uk
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RARE CAMERA
Rare Leica cameras, prototypes,

lenses and accessories were
offered at the WestLicht Auction
House in Vienna in June.
Highlights included a 1954
Leica M3 (pictured) which was
the fourth camera produced in the
series and was expected to fetch
up to 60,000. Other attractions
included an early Leica 1 with
Elmax lens and a black varnish
Leica IIIf made for the Swedish
army in 1956.
leica-camera.com
Canoeist by Stuart Redler, one of the pictures

on display at the University of Greenwich.
Stuart Redler/tpoty.com
READY TO TRAVEL
Entries are now being taken for the Travel Photographer of the Year.
The competition offers a prize package worth around 30,000
and is open to all. The deadline is 1 October. Winning pictures
from last years awards are at the University of Greenwichs
Stockwell Street building from 22 July to 4 September. Eighty of the
best images from the 13-year history of the competition will also
be exhibited at the St James Cavalier Centre for Creativity in Malta
from 8 September to 8 October.
BOOK WINNER
A book of documentary
photographs has won the 2016
Kraszna-Krausz best photography
book award.
The Erasure Trilogy by Fazal
Sheikh explores the theme of
memory in the Israeli-Palestinian
conflict. The three-volume
collection features numerous
black & white pictures and is
published by Steidl, price 78.
steidl.de
16/06/2016 10:57
NEWS
ON SHOW
Travel back in time this summer to witness mid-century street life in London, Paris and
New York at Ben Uri Gallery and Museum. Highlighting societys beauty and hypocrisy
in equal measure, its sure to inspire all who visit. Anna Bonita Evans finds out more.
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42nd Street, 1960 Neil Libbert.
oreigners see things

that natives dont, says
street photographer
Wolfgang Suschitzky,
who fled Nazi
persecution in Vienna
and moved to London in 1935.
His pictures revealing 1930s
London are on display this
summer at Londons Ben Uri
Gallery and Museum. His work
is shown with Dorothy Bohms
intimate portraits of Paris, taken
during the mid 20th century,
and Neil Libberts lesser-known
but equally important images of
1960s New York. The three
photographers, foreigners in
their chosen cities, occupied
a position out of the metropolis
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Their objectivity and anonymity led to

fascinating bodies of work that continue
to inspire and inform us today.
humdrum of everyday life. Their
objectivity and anonymity led to
fascinating bodies of work that
still inspire and inform us today.
Sensitive to the social
contrasts, peculiarities and
tensions evident on the streets,
these photographers show us
each citys milieu through its
people. Suschitzky depicts
a time of social upheaval and
increased unemployment in
Britain's capital and Bohm
highlights both the beauty
of Paris and its post-war

poverty. Meanwhile Libberts
selection reveals an era where
racial division in America (and
the inequities that went with it)
were at breaking point.
While Suschitzky's and
Bohms photographs are widely
known, Libberts work is less so.
The youngest of the three at 78
years old, Libbert studied as
a photographer and opened his
own studio in 1957. He first
visited New York in the early 60s
while working for the Sunday

Times and New York Times,
where he went, with camera in
hand, from Manhattans affluent
Upper East Side to the ghettos
of Harlem. It was during that
period that he documented the
1964 race riots. Photographing
at close quarters and with an
unbiased point of view, his work
holds the sensibility of a poet
but the curiosity of a reporter.
orking together
with Ben Uris
curator Katy
Barron, Libbert,
Suschitzky and Bohm each
have 20 images on display.
Most of the prints have been
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War in Wax, Oxford Street, 1945 Wolf Suschitzky.
created by the photographers,

or under their direct supervision,
and are on loan to the gallery
from their personal archives.
Collaborating closely with the
three artists and listening to
their accounts behind each
picture was a privilege and
pleasure for Barron. Collectively
they hold 274 years of experience
and are key to photographys
history and legacy.
Highlighting different
societies' handling of identity,
race and immigration themes
that are central to the gallery
since it began in 1915 there
is a lot for the modern viewer to
take from the works on show.
Grand Central Station 1960 Neil Libbert.
Barron says, I hope visitors will

appreciate the similarities and
differences between the cities
then and now. Although many
things have changed in urban
society [since these pictures
were taken], they are still
constant, relevant themes
around working life and the
streets that endure. Celebrating
these seminal photographers and
their artistic responses to these
universal issues, Ben Uri Gallery
and Museums summer
exhibition gives us a space
to reflect on what makes up the
innermost fabric of our everyday
lives: other people and the
society we share with them.
UNSEEN LONDON, PARIS, NEW YORK, 1930S-60S:

PHOTOGRAPHS BY WOLFGANG SUSCHITZKY,
DOROTHY BOHM AND NEIL LIBBERT
is on show to 27 August at Ben Uri Gallery and Museum,
108a Boundary Road NW8; benuri.org
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Villa des Tulipes, 18th arrondissement, near the March aux Puces,
1953 Dorothy Bohm.
09/06/2016 15:16
I N T ER V I E W
All images Gian Luca Groppi
FROM OUT OF THE DARK

His photography is arguably an extension of his self inextricably linked
to his deepest thoughts and feelings. Donatella Montrone interviews Italian
photographer Gian Luca Groppi about finding light in the darkest of places.
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Tribute to Sarah Kane, from the series A Tribute to the Unspoken.
heres a bathtub the plughole is

visible and the porcelain gleams.
Shoelaces are draped over the rim of
the tub four laces are visible on the
left and, on the right, 48 of varying lengths
hang closely together, giving the appearance
of trickling blood. On the end of each lace is
suspended a small tag: four bear the name
of a pharmaceutical drug; 48 contain
messages I Lost My Mother and No
Hope. The viewers eyes soon fix on the
tag that says, Help Me.
The image I describe is Gian Luca
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Groppis Tribute to Sarah Kane the

controversial British playwright often
considered the bad girl of British drama
who committed suicide on 20 February
1999. Her last work, 4:48 Psychosis, is
referenced in the number of shoelaces
depicted in Groppis image. Three days
after Kanes death, Sue Quinn wrote in the
Guardian: Ms Kane, 28, was found dead in
Kings College Hospital After forcing the
toilet door open, a nurse found Ms Kane
hanging from the hook inside the toilet
door. She was hanging by a shoelace.
Tributo allinespresso, (A Tribute to

the Unspoken), is an ongoing series with
a visceral quality, for in it the Italian
photographer pays tribute to Kane and
other artists whose unconventional lives
were often plagued by demons, and whose
untimely deaths inform this particular body
of work. I felt compelled to make a homage
to artists who have enriched me as a man.
I was fascinated by the notion that somehow,
because of their personal despair, they felt
they had nothing more to say no need to
create, or write, or paint, or make music.
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Tribute to Unica Zurn, from the series A Tribute to the Unspoken.
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Tribute to Osamu Dazai, from the series A Tribute to the Unspoken.
16/06/2016 11:07
But by their actions, they deprived the world
of further great works of art and literature.

The overall series is subdivided into
individual entries, each of which begins,
Tribute to. For example, Tribute to Osamu
Dazai is Groppis homage to one of the
foremost fiction writers of 20th century
Japan. Dazai became the literary voice of
Japan after the Second World War with his
dark, often wry, novels. The son of a wealthy
landowner, his life was dissolute: he battled
drug addiction, alcoholism and depression.
On 13 June 1948, after previous attempts
at taking his life, Dazai finally succeeded
in killing himself, drowning with a lover in
the rain-swollen Tamagawa Canal in Tokyo,
writes Mark Shilling in the Japan Times.
In 2 Kimono, I tried not to concentrate
too much on the act of suicide. Instead, I tried
to construct elements that would symbolise

Dazais rejection of the bourgeois society
of his birth, says Groppi. He composed the
image by placing two neatly folded kimonos
one male, one female on a precipice;
beyond it the sea swells and crashes. The
clothes are tidy, orderly, and the cliff is at
their feet, Groppi explains of his symbolic
interpretation. Then theres Tribute to Unica
Zrn, in which he pays his respects to the
German surrealist painter and poet who,
Many of the images in the

series oer an ambiguous
interpretation of the
human condition.
no longer able to endure the torment of

having been sexually abused by her brother,
committed suicide at 54. Theres also a
tribute to Ian Curtis, the former lead singer
of Joy Division, who was found dead in his
home in Macclesfield on 18 May 1980. Hed
hanged himself in his kitchen. A Tribute to
the Unspoken is a heartfelt eulogy its a
beautiful series, not least for the intensity of
Groppis sentiments, expressed in such an
empathetic and unique manner.
utazioni (Mutations), however,

while perhaps equally
considered, is somewhat more
philosophical. Mutazioni
arose from the desire to cross a dark phase
in my life a feeling of abandonment, lack
of identity, restlessness with a more ironic
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Il future della coppia, from the series Mutazioni.
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Imprinting, from the series Mutazioni.
language, he says. The characters he depicts

in each diptych are taken out of their usual
context and reimagined in staged
interpretations that force the viewer to
question conventional notions. Many of the
images in the series offer an ambiguous
interpretation of the human condition the
woman in the woods, blindfolded by a man
using a cluster of her own hair, for example.
Some pose existential questions about the
fragility of love and relationships like the
sombre, Amish-looking couple, sitting
together, their hands clasped, with the
looming spectre of a vehicle directly behind
them. The composition suggests the car
could career forward at any moment, thus
severing their bond, explains Groppi. Other
images in the series question gender identity,
hinting at gender fluidity. All, however, are
inspired by Groppis childhood at once
Overleaf La ragazza in scatola, from the series Mutazioni.
Groppis work is
replete with nuance
and introspection, and
Tribute, in some respects,
feels like a cry for help.
joyful and playful, while simultaneously sad
and desolate, he says. I need to externalise
the things that haunt me.
Groppi was born in 1970 in Piacenza, in
the Emilia-Romagna region of northern Italy.
An identical twin, he says his teen years were
intense and exhausting. Around the age of
15, my father left us, so I gave up my studies
and got a job to help keep the family together.
I worked seven days a week only the rain
saved me, when I could escape to Milano to
buy vinyls and go to gigs. I was enraptured by

Dark and its youth movement [Dark is a
subculture that developed in Europe; a
variant of Goth, its a genre of music
associated with dark, melancholy lyrics].
At 17 I discovered a new world that of
the nocturnal Dark, an alternative culture
that has accompanied me all my life. The
Dark movement this world of apparent
death made me feel alive. As a Dark I was
interested in funereal art, so I bought a
reflex camera so I could make a reportage of
the gravestones in Cimitero Monumentale
di Milano [a cemetery of monuments, noted
for its artistic tombs and statues]. But the
emotion was too intense and got in the way,
so I stopped photographing for 10 years.
Groppi rediscovered photography in
earnest at 27, while watching a friend at work
in a darkroom. He was instantly captivated by
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Tritute to Ian Curtis, from the series A Tribute to the Unspoken.
Mutazioni was a decade in the making a long and considered process

of storyboarding, location-scouting and staging.
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Taglierino, from the series Mutazioni.
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Corrispondenze, from the series Mutazioni.
the process, saying: It was love at first sight.
So I went out and bought my first SLR, a

Canon A1, which I still use today, and became
immersed in self-study, learning everything
I could about photographic technique.
Mutazioni was a decade in the making
a long and considered process of
storyboarding, location-scouting and
staging. Its an exacting body of work, careful
and fraught with meaning, born of Groppis
desire to, as he says earlier, externalise the
things that haunt him. And as is the case
with all deeply connected artists, he
expresses his every emotion through art.
I consider myself more an image-maker
than a photographer, says Groppi. My work
often spans many years of research and

preparation because I have to fit it in around
my day job as a cobbler un calzolaio.
He runs a small shop in La Maddalena in
Genoa, a neighbourhood paved with nooks
and alleyways, and local artisans and eateries
as well as its fair share of delinquency and
prostitutes, he says. Its a neighbourhood
tucked away, rich with the more
unconventional aspects of society. My shop
is very French in style. There are vintage
magazines everywhere, old photographs on
the walls and artwork everywhere people
often mistake it for an antiquarian gallery
before they realise its a shoe repair shop.
Groppis work is replete with nuance and
introspection, and Tribute, in some

respects, feels like a cry for help. Mutazioni,
on the other hand, mirrors his every
observation of the human condition,
presented in a way that takes the viewer
outside the confines of that which is usual.
As a photographer he is, without doubt, an
evocative storyteller, and certainly as
profound and intriguing a person as the
images he so assiduously creates.
Gian Luca Groppis work can be
seen at gianlucagroppi.blogspot.it.
Groppi collaborates with Clelia Belgrado
VisionQuesT Contemporary Gallery
in Genoa, Italy. See visionquest.it.
16/06/2016 11:07
NEWS
ON THE SHELF
LAMENT
THE NEW WEST

Robert Adams
Edited by Joshua Chang
Steidl
Hardback, 28
F
16
B+W
irst published in 1974,

The New West is a classic
photographic essay by one
of the great photographers
of our time. Played out in
five sequences of pictures,
Adams visually describes
the suburbanisation of the
landscape that lies at the foot of
the Colorado Rocky Mountains.
One has to remember, of
course, how shocking these
images of freeways, housing
estates, caravan parks, road and
shop signs were back in the 70s
now, with hindsight, we see
how they came to be emulated
and revered.
It is much quoted that his
photographs are about what
has been lost and what remains
but he is not one to shout his
message it comes quietly
through his finely wrought
images, beautiful in their own
right, at odds with what they
portray. The restraint of the
message is powerful.
Initially part of the New
Topographics movement,
Adams is now seen as less
detached, more a humanist
witness to mans destruction of
the environment he inhabits.
Elizabeth Roberts
16-17_BOOK_REVIEWS_192 ER/MB.indd 16
ublished to coincide
with an exhibition at the
Bettina von Zwehl
Freud Museum in
Texts by Josh Cohen
London (see listings,
pages 18-19), Lament is a
Art / Books
Hardback, 19.99
fascinating collaboration
between artist Bettina von
Zwehl and psychoanalyst and
academic Josh Cohen.
Working in response to her
residency at the Freud Museum
and her study of the life of
Anna Freud, von Zwehl
produced two series of work,
the first entitled Laments in
which women are portrayed in
near darkness; the other,
entitled The Sessions, in which
50 torn fragments of prints
from the same negative, depict
a young girl.
Alongside this, and written
in response to the work, is Josh Cohens enigmatic short story
entitled The Arrivals. His essay, Invitation to Frequent the Shadows,
is offered as an accompaniment to his reading of Laments.
A complex and intricate weaving of ideas and creative responses
that are held together beautifully within the covers of this unusual
and original book.
Elizabeth Roberts
hese are quite

extraordinary pictures,
and it is no surprise to
learn that Valda Bailey
comes from a background of
painting. Now using digital
photography (multiple
exposure, intentional camera
movement etc) as her tool,
she is producing work that
is both original and
profoundly beautiful.
The natural world is her
subject matter but she
transforms it into something
Valda Bailey
much more than a depiction of
Triplekite
nature. The subtlety of her
Hardback, 18.50
colour palette and the merging
of the objective with the
abstract results in images that draw you into their world. Here are
hints of storytelling, brief glimpses of something just out of view.
Intriguing and beguiling illustrations.
I would like to have seen such work in a high-end production
which Triplekite havent as yet achieved the book does have the
feel of a well produced online publication but in terms of value for
money, and access to a photographer you might not have come
across before, it is excellent.
Elizabeth Roberts
FRAGILE
MUD/SAND
James Osmond
Triplekite
Hardback, 18.50
s James Osmond
admits in his
forward to Mud/
Sand, the subject
matter is not entirely enticing.
His pictures, however, are
more persuasive. Good strong
images of the Bristol channel
coast that defy beauty in
favour of a quiet drama. Salt
marsh, sand and mudflats offer
themselves to Osmonds lens
and he, as observer, recognises
their relentless, if somewhat
disguised, charm.
One of the things that struck
me about this work is how much
sticking to a project, however
unpromising, really pays off.
Osmond writes about his initial
ambivalence to the place and
the difficulties of photographing
in conditions of the mud flats
that are dangerous to walk on
at certain time and tides. He
did, however, persevere, and
produced a complete body of
work, which is admirable.
Using light as his one weapon
against the pronounced
ugliness of the place, he lifts it
out of mundanity and transfuses
it with grace. Its actually very
beautiful, he writes in the
introduction. And yes, seen
through his eyes, it is.
Again, I feel the production of
the book could be improved to
give the images better context.
Elizabeth Roberts
09/06/2016 15:28
50 LANDMARK SOULMAKER:
CAMERAS THAT THE TIMES OF
CHANGED
LEWIS HINE
Nemerov
PHOTOGRAPHY Alexander
Princeton University Press
John Wade
Schiffer
Hardback, 51.99
he latest DSLR or
smartphone might
appear to offer us
everything we need
from a camera, but there is still
something fascinating about
the cameras of the past. The
technical innovations, stylish
designs and the unique pictures
that some of these cameras
produced are an integral part of
the history of photography.
John Wades book celebrates
50 of the most important
cameras from the period 1839
to 1991. Beginning with the
Daguerreotype camera, he
guides the reader through a
world of bellows, brass and
wood, on to box cameras, spy
cameras, instant cameras,
rangefinders, SLRS and the first
digital camera.
Its a large and lavishly
illustrated book, with fabulous
pictures of the cameras as well
as delightful period adverts,
instruction books and camera
bags. There is little on the
famous photographers that
used the cameras or the images
they captured with them. But
the author is excellent on the
technical details of what makes
these cameras special.
Mark Bentley
16-17_BOOK_REVIEWS_192 ER/MB.indd 17
nstrumental in changing the

child labour laws in the United
States, Lewis Hine was a great
believer in documentary
photography as an instrument of
social change. In 1908 he became
the photographer for the National
Child Labor Committee. It wasnt
Hardback, 34.95
an easy task, for employers and
factory police were
uncomfortable about revealing
the extent of the problem. At
times he went under various
guises to gain access.
This book by Alexander
Nemerov, professor in the Arts
and Humanities at Stanford
University, is a fascinating
exploration of Hines work
during the period 1908 to 1917
when he was photographing
child labour. But it goes beyond
a documentation of the time,
place and photographer to an analysis of the work through
contemporary eyes and his own interpretation.
This is a book to engage with on a level that isnt purely factual,
taking you to another view of Hines work.
Elizabeth Roberts
ve always had a bit of a soft

spot for Cindy Sherman Ive
found her work rather fun,
which is probably not the
serious approach of art critics.
However, it was refreshing to
read a conversation in the book
between Sherman and Sofia
Coppola in which she confirms
that her work, while obsessive
and exacting, is also fun.
Working alone, Sherman
creates characters using herself
as model. Wigs she gets from a
supplier but make-up she does
herself and the clothes are mainly
bought from thrift shops and
adapted by her. The notion of
a slick and successful artist with
a troupe of assistants is quickly
dispelled and, to me, makes the
work twice as interesting.
Philipp Kaiser with contributions
There is, of course, another
by Soa Coppola, Joanne Heyler
and perhaps more serious side to
and Cindy Sherman
Shermans work that of social
Prestel
commentator. It is a quiet but
Hardback, 35
insiduous background noise
which comes across through the
work and places it within a photographic
genre with other such as Nan Goldin.
Published to coincide with an exhibition at the Broad in Los Angeles
this summer and autumn, the book traces her work from the early
days of the 1970s to the present. An interesting insight into a highly
individual photographer.
Elizabeth Roberts
CINDY
SHERMAN:
IMITATION
OF LIFE
LOOKING FOR
THE MASTERS
IN RICARDOS
GOLDEN
SHOES
Catherine Balet
with Ricardo Marinez Paz
Dewi Lewis
Hardback, 35
his is a work of sheer

genius funny, clever,
painstakingly accurate
and original. It all began
in July 2013 when Balet
photographed her friend Ricardo
as Picasso in Robert Doisneaus
famous image of the painter.
At the time, they were visiting
Arles for the photo festival and
the idea of recreating iconic
images, using Ricardo as model,
began to grow.
As the project grew, it went
from a light-hearted playfulness
to something more serious as
Balet became aware of the
implications it introduced
regarding photographic history
and the role of photography.
Unbelievably, the duo
completed images that cover 176
years of photography each
being instantly recognisable
renditions of their original. The
sheer work and perfectionism
that went into them is
astonishing but instead of
resulting in something heavy and
laboured, the book is a source of
great delight (Id better explain
that Ricardo wears his golden
shoes throughout, hence the
title). Well worth buying.
Elizabeth Roberts
17
B+W
09/06/2016 15:28
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.
Brought to you
by Leica Camera
LONDON
BEN URI GALLERY
To 27 August
London, Paris, New York,
1930s-1960s
Photographs by Wolf Suschitzky,
Dorothy Bohm and Neil Libbert.
108A Boundary Road,
Off Abbey Road NW8
benuri.org.uk
CHRISTIES
25 July to 2 September
The Ballad of British Folklore
Featuring work by Homer Sykes,
Sara Hannant, Bob France and
Sir Benjamin Stone.
85 Old Brompton Road SW7
museumofbritishfolklore.co.uk
christies.com
CRANE KALMAN GALLERY
18
B+W
21 July to 20 August
Into the Woods by Ellie Davies
Images that explore the complex
relationships between the landscape
and the individual.
178 Brompton Road SW3
cranekalman.com
GUILDHALL ART GALLERY

To 31 July
Unseen City: Photos by Martin Parr
Lord mayors, City dignitaries and the
Queen feature in Parrs playful take on
the unseen City.
Guildhall Yard EC2V
cityoflondon.gov.uk
HORNIMAN MUSEUM
To 18 September
Joy and Pain in the City
Images that reveal the realities of life
in Rio de Janeiros favelas.
100 London Road SE23
horniman.ac.uk
IWM LONDON
To 4 September
Peace Signs
Edward Barbers images that document
the anti-nuclear protest movement in
1980s Britain.
Edmund Clark: War of Terror
Exploring the hidden experiences of
state control.
Lambeth Road SE1
iwm.org.uk
KEW GARDENS
To 4 September
18-19_IN_THE_FRAME_192 ER/MB.indd 18
Moni Sankar Das, Approaching Storm, 2015 / West Bengal, India
courtesy of the photographer and Environmental Photographer of the Year 2016
ENVIRONMENTAL PHOTOGRAPHER OF THE YEAR 2016

To 21 August
A shortlist of 60 exceptional photographs that reflect the environmental and social concerns
that surrounds us today.
ROYAL GEOGRAPHICAL SOCIETY 1 Kensington Gore SW7

Captured at Kew
An outdoor exhibition that draws
on the International Garden
Photographer of the Year
competition.
Richmond, Surrey TW9
key.org
LEICA STORE CITY

15 August to 9 September
Through the Night:
The Passion of Motorsport
Images by Lara Platman from
car races around the world.
18 Royal Exchange EC3V
leicastore-city.co.uk
MAGNUM PRINT ROOM

To 29 July
New Blood
A showcase of the work of six
photographers who have recently
joined the ranks of Magnum Photos
as nominees.
63 Gee Street EC1V
magnumphotos.com
epoty.org
MEDIA SPACE
To 11 September
Fox Talbot:
Dawn of the Photograph
The most significant London exhibition
to explore the life and career of the
father of photography.
Exhibition Road SW3
sciencemuseum.org.uk
MICHAEL HOPPEN GALLERY

To 15 July
End by Eamonn Doyle
The third of a series on Dublin by this
British artist.
To 9 August
The Blink of an Eye
The snapshots of Jacques Henri Lartigue
3 Jubilee Place SW3
michaelhoppengallery.com
NATIONAL PORTRAIT GALLERY

21 July to 23 October
William Eggleston Portraits
The first museum exhibition devoted to the
portraits of the pioneering photographer.
St Martins Place WC2H

npg.org
PHOTOGRAPHERS GALLERY
To 3 July
Double Take:
Drawing and Photography
Exploring how the two mediums have
combined, mirrored and contrasted in
modern practice.
16-18 Ramillies Street W1F
thephotographersgallery.org.uk
PROUD CAMDEN
To 24 July
The Band Photographs 1968-1969
Candid and iconic photographs of an
unassuming group that captured the
attention of a generation.
The Horse Hospital, Stables Market,
Chalk Farm Road NW1
proud.co.uk
PROUD CHELSEA
Woodstock by Baron Wolman
09/06/2016 15:29
A nostalgic look back at the

legendary festival.
161 Kings Road SW3
proudonline.co.uk
SERENA MORTON II
3 June to 23 July
Hunter Barnes: 15 Years
Barnes black & white images of
Americas disappearing sub cultures
and fringe groups.
345 Ladbroke Grove W10
serenamorton.com
TATE BRITAIN
To autumn 2016
Jo Spence
Key works by the influential
British photographer.
To 29 August
Conceptual Art in Britain
An exhibition that explores how artists
and photographers transformed the
nature of art.
To 25 September
Art and Photography from the
Pre-Raphaelites to the Modern Age
A show that brings together
nearly 200 works to reveal their
mutual influences.
Millbank, SW1P
tate.org.uk
to the 1950s.
Bankside SE1
tate.org.uk
TYBURN GALLERY
To 17 September
Mohau Modisakeng: Bophirima
Addressing issues from the legacy
of colonialism and its effect on postindependent South Africa.
26 Barrett Street W1U
tyburngallery.com
UNIVERSITY OF GREENWICH
Travel Photographer of the Year
World class travel images from
around the world.
10 Stockwell Street, Greenwich SE10
tpoty.com
V&A
To 3 July
Paul Strand: Photography and
Film for the 20th Century
The first retrospective in the UK for
over 30 years.
Cromwell Road SW7
vam.ac.uk
NORTH
CHAPEL OF CHRIST
TATE MODERN
THE SERVANT,
COVENTRY CATHEDRAL
10 November to 7 May 2017

The Radical Eye:
Modernist Photography from the
Sir Elton John Collection
An unrivalled selection of classic
modernist images from the 1920s
To 5 September
The English Cathedral
by Peter Marlow
The late Magnum photographer
Peter Marlows photographs of all
42 of the UKs Anglican cathedrals.
Bowie with Keaton Book, New Mexico 1975
Steve Schapiro
HEROES: STEVE SCHAPIRO

To September
A showcase of over 20 photographs of heroes from the worlds
of film, politics, art, sport and music by this renowned
American photographer.
ROYAL GEOGRAPHICAL SOCIETY

49 Dorset Street W1U
atlasgallery.com
The Chapel of Industry, Coventry

Cathedral, 1 Hill Top, Coventry.
coventrycathedral.org.uk
MUSEUMS SHEFFIELD
Bettina von Zwehl
PEOPLES HISTORY MUSEUM
EAST
FRY ART GALLERY
Bettina von Zwehls images that are a result of her residency

at the Freud Museum from 2013 to 2014.
FREUD MUSEUM 20 Maresfield Gardens NW3
18-19_IN_THE_FRAME_192 ER/MB.indd 19
To 10 July
Iceland. An Uneasy Calm
Work by Tim Rudman from the past eight
years that describes his numerous visits
to, and his fascination with, Iceland.
Lacock Abbey, Lacock,
near Chippenham, Wiltshire
nationaltrust.org.uk
To 17 July
freud.org.uk
HORSHAM MUSEUM
AND ART GALLERY
Independent Photographers
South East
A diverse collection of work by
members of this long-established
group of photographers.
9 Causeway, Horsham
SOUTH
FOX TALBOT MUSEUM
INVITATION TO FREQUENT
THE SHADOWS
hastingsartsforum.co.uk
To 4 September
Echoes of the Great War:
Photographs by Peter Cattrell
Evocative images of the remnants of
the Western Front alongside artwork,
letters and maps.
Weston Park, Western Bank, Sheffield
museums-sheffield.org.uk
To 14 August
Grafters
Curated by photographer Ian Beesley
with new poems by Ian McMillan.
Left Bank, Spinningfields, Manchester
phm.org.uk
The Sessions, 2016
36 Marina, St Leonards-on-Sea
HASTINGS ART FORUM

26 July to 7 August
1066 Mono Photographic
Darkroom and digital prints from
the club members.
19
B+W
horshammuseum.org
To 24 July
Ravilious in Black & White
A remarkable documentation of rural life.
Castle Street, Saffron Waldon, Essex
fryartgallery.org
SAINSBURY CENTRE
FOR VISUAL ARTS
To 29 August
Henri Cartier-Bresson: Paris
Work by the world renowned
photographer taken between 1929
and 1985 on the streets of the city.
University of East Anglia, Norwich
scva.ac.uk
YORK STREET GALLERY

4 to 9 August
AG Mono Group
Traditional prints from the Kent group.
22 York Street, Ramsgate, Kent
yorkstreetgallery.co.uk
09/06/2016 15:29
NEWS
OUTSIDE THE FRAME

If you would like an exhibition to be included in our listings, please email Anna Bonita Evans
at anna.evans@thegmcgroup.com at least 10 weeks in advance.
AMERICA
ANNENBERG SPACE
FOR PHOTOGRAPHY
To 21 August
REFUGEE
New work by Lynsey Addario,
Omar Victor Diop, Graciela Iturbide,
Martin Schoeller and Tom Stoddart
depicting the global refugee crisis.
2000 Avenue of the Stars, Los Angeles
annenbergphotospace.org
BENRUBI GALLERY
To 26 August
The Family Acid, Hiroshi Watanabe
Dual exhibition with work by
art collective The Family Acid
and Hiroshi Watanabes series
The Day the Dam Collapses.
521 West 26th Street, New York
benrubigallery.com
BRIAN MARKI FINE ART
20
B+W
Portland: Living with Bridges
B&W prints of Portlands bridges.
2236 NW Broadway, Portland
brianmarki.com
FRANCE
BRUCE SILVERSTEIN
To 25 September
To 17 September
Paul Outerbridge
Major retrospective.
535 West 24th St, New York
brucesilverstein.com
FRAENKEL GALLERY
To 20 August
How I Learned to See:
An (ongoing) education in pictures
Includes work by Nan Goldin, Diane
Arbus and Hiroshi Sugimoto.
49 Geary Street, San Francisco
fraenkelgallery.com
KOHN GALLERY
Floating World
Colour images of ancient gardens
in Japans Buddhist Zen temples.
1227 North Highland Avenue,
Los Angeles kohngallery.com
MANA CONTEMPORARY
To 5 August
Weegees Bowery
Around 39 prints by legendary press
photographer, shown in the International
Centre of Photography gallery.
888 Newark Avenue, New Jersey
manacontemporary.com
Early Morning, West Hartlepool, County Durham, 1963.

Courtesy of the artist and Hamiltons Gallery, London Don McCullin
LES RENCONTRES DARLES

The 2016 edition of this renowned photography festival.
LES RENCONTRES DARLES Various locations, Arles

SAN JUAN ISLANDS
MUSEUM OF ART
To 5 September
Fragile Waters: Ansel Adams,
Ernest H.Brooks II and
Dorothy Kerper Monnelly
Presenting 117 iconic B&W works
by three renowned photographers
and environmentalists.
540 Spring Street, Washington
sjima.org
STEVEN KASHER GALLERY

To 29 July
Andre de Deines:
Marilyn and California Girls
Early pictures of Marilyn Monroe
and Deines series of nudes.
515 West 26th Street, New York
stevenkasher.com
THE WALTHER COLLECTION

To 3 September
Who I am: Rediscovered Portraits
from Apartheid South Africa
Studio portraits taken between
rencontres-arles.com
1972 to 1984 by Singarum

Jeevaruthnam Moodley.
526 West 26th Steet, New York
walthercollection.com
AUSTRALIA
STILLS GALLERY
To 6 August
The Waiting Room
Conceptual exhibition focused on the
theme waiting. Images chosen from the
Artbank archive and private collections.
36 Gosbell Street, New South Wales
stillsgallery.com.au
CANADA
CANADIAN WAR MUSEUM
World Press Photo
The very best in contemporary
journalism from all over the world.
Includes distressing images.
1 Vimy Place, Ottawa
worldpressphoto.org
STEPHEN BULGER GALLERY

To 10 September
Meaning Without Context
Selected works by Vivian Maier.
1026 Queen Street, West Toronto
bulgergallery.com
FRANCE
JEU DE PAUME
To 25 September
Josef Sudek
Around 130 of Sudeks early B&W works.
To 30 October
Sabine Weiss
The French humanist photographers
most arresting work.
1 Place de la Concorde, Paris
jeudepaume.org
FESTIVAL LA GACILLY
To 30 September
This years themes are works relating
to Japan and the Oceans.
Various locations, La Gacilly
2e-bureau.com
VISA POUR LIMAGE
FOUNDATION HENRI
CARTIER-BRESSON
To 31 July
Francesca Woodman:
On Being an Angel
An estimated 100 photographs on show.
2 Impasse Lebouis, Paris
henricartierbresson.org
POLKA GALERIE
To 30 July
Le Tour De France:
Sebastio Salgado
A lesser known B&W series from
the renowned photographer.
12 Rue Saint-Gilles, Paris
polkagalerie.com
PORTRAIT(S): VICHY
PHOTOGRAPHY FESTIVAL
To 4 September
Contemporary portraiture.
Various locations, Vichy
ville-vichy.fr
27 August 11 September
An international festival
of photojournalism.
Various locations, Perpignan
visapourlimage.com
GERMANY
HELMUT NEWTON
FOUNDATION
To 20 November
Alice Springs: The MEP Show,
Helmut Newton: Yellow Press,
Mart Engelen: Portraits
Uniting three photographers with
three very different approaches.
Jebensstrasse 2, Berlin
helmutnewton.com
Hazor, Israel, 1994.
STADTHAUS MUSEUM
To 23 October
On this Earth, A Shadow Falls
Across the Ravaged Land
Stephen Shore courtesy of 303 Gallery, New York.
NETHERLANDS
STEPHEN SHORE / RETROSPECTIVE
To 4 September
Mixture of B&W and colour work by the seminal photographer.
HUIS MARSEILLE MUSEUM VOOR FOTOGRAFIE

401 Keizersgracht, Amsterdam
huismarseille.nl
Nick Brandts moving three-part series.

Mnsterplatz 50, Ulm
stadthaus.ulm.de
ITALY
CORTONA ON THE MOVE

14 July to 2 October
Global works celebrating a journey.
Various locations, Cortona
cortonaonthemove.com
GALLERIA CARLA SOZZANI

To 28 August
Punk in Britain
Includes work by Sheila Rock.
Corso Como, Milan
galleriacarlasozzani.org
JAPAN
TST00 12, 2006 THE TOVRIST.
GERMANY
Thomas Bak
THOMAS BAK:
THE PHOTOGRAPHIC CAPRICCIO
To 16 September
Daguerreotypes inspired by surrealism.

Includes some graphic nude images.
GALERIE HILANEH VON KORIES

Belziger Strasse 35, Berlin
galeriehilanehvonkories.de
TAKA ISHII GALLERY

PHOTOGRAPHY / FILM
9 July to 6 August
Neroli
Erika Yoshinos conceptual colour works.
5-17-1 2F Roppongi Minato-ku, Tokyo
takaishiigallery.com
NETHERLANDS
WALBURGISKERK
15 July to 7 August
World Press Photo
Winning images from the 2016
competition. Some are distressing.
Kerkhof 3, Zutphen
worldpressphoto.org
NEW ZEALAND
SMITH & CAUGHEYS
To 24 July
World Press Photo
The best photojournalism from 2016.
253-261 Queen Street.
worldpressphoto.org
SWEDEN
FOTOGRAFISKA
To 28 August
Hurricane Season
Hannah Modighs colour images
depicting Louisiana where hurricanes
and flooding are a constant threat.
To 11 September
Inherit the Dust
Largest exhibition of Nick Brandts
powerful new series.
Stadsgardshamnen 22, Stockholm
fotografiska.eu
SWITZERLAND
ROLLA INFO
To 25 August
Miroslav Tich
Imaginative pictures taken with
cameras made from various objects.
Via Municipio, Bruzella
rolla.info
21
B+W
COMMENT
susanburnstine.com
AMERICAN CONNECTION
Kris Sanford is fascinated by the links between relationships, memory and
photography. She talks to Susan Burnstine about searching for vintage pictures,
reimagining the past and projecting your own ideas on to old pictures.
20
B+W
Polka Dots, 2015.
Necklace, 2015.
20-21_USA_CONNECT_192 ER/MB.indd 20
Flowered Dresses, 2015.
hile attending the

Classic Photographs
Los Angeles fair
last January, gallery
owner Catherine Couturier
introduced me to the work of her
newest artist, Kris Sanford. I was
quickly charmed by the romantic
yet elusive imagery in her series
Through the Lens of Desire, but
when I learned that the intention
of the series was to reimagine
vintage vernacular photographs
to convey intimate moments
between gay or lesbian partners,
I was compelled to learn more.
Sanford explains,
Relationships, real or imagined,
are the centre of my work.
Growing up queer, I searched
for a history that spoke to me
included me. In my family
history there were no couples
that mirrored my own intimate
relationships. That didnt keep
me from imagining such couples.
Sanford has been using
vintage snapshots as source
material in her personal work
for approximately 10 years. The
initial source of inspiration for
working with vintage images
came from a box of snapshots she
inherited from her grandmother
on her mothers side.Several of
the snapshots originated from
parties her grandmother hosted
for friends from work.
There is one photograph of
two women dressed as flappers
dancing with each other.
Another depicts my grandma
dressed as a bride next to
another woman dressed as a
sailor, engaged in what appears
to be a mock wedding, she says.
To my modern eyes, as an out
lesbian, the pictures looked so
queer. So I started experimenting
with that collection in graduate
school, changing the scale by
enlarging them or adding text
or cropping them. I quickly
outgrew the family collection
and began searching for
photographs that were ripe for
09/06/2016 15:31
All im
age
s
K ri
sS
an
fo
r
this kind of reinterpretation.

Occasionally, Sanford returns
to mine her grandmothers
collection of photographs
to inspire her work, but she
primarily collects images from
antique stores or purchases them
from sellers on Ebay now.
Sanford has found different
ways to reinterpret vintage
and vernacular photographs
over the past 10 years, yet all
of her work is inspired by the
act of reinterpreting memory
and shifting context to create
an imagined world. Sanford
explains that the driving force
that carries through all of her
work is the idea of preserving
something ephemeral, such as
a moment or feeling. She says,
Of course, we cant preserve
those things and the photograph
of the moment becomes
something else entirely. Im
playing with what a photograph
can be when divorced of its
context and projecting my own
ideas on to old snapshots.
20-21_USA_CONNECT_192 ER/MB.indd 21
USA
ATLANTA
HIGH MUSEUM OF ART

Until 21 August
Vik Muniz
high.org
BALTIMORE
BALTIMORE MUSEUM OF ART
Boots, 2015.
Im playing with what a photograph can be

when divorced of its context and projecting
my own ideas on to old snapshots.
anford started taking

pictures with a 110 camera
as a child, but it wasnt
until high school that
she began studying formally. In
high school she signed up for
a photography class because it
counted as a science credit and
she confesses she wanted to avoid
taking what she thought would
be a more difficult class. At that
time photography was exclusively
analogue and she fell in love with
the medium and the darkroom.
Sanford currently lives in
Michigan and has been teaching
photography in the department
of Art & Design at Central
Michigan University for nearly
five years. She admits that she
has always loved teaching since
the first community college
course she taught in 2001. There
are many reasons why she feels
teaching is her calling, but she
feels the greatest reward is to
push someone out of their
comfort zone and help them
create something that they didnt
even know was possible before.
At this time, Sanford is
continuing to focus on Through
the Lens of Desire and shes also
preparing to work on her next
project, which will be a series
EXHIBITIONS
Until 11 September
On Paper: Picturing Painting
featuring Rineke Dijkstra,
Andres Serrano, Mickalene Thomas
and the Starn Twins
artbma.org
CINCINATTI
CINCINNATI ART MUSEUM

Until 28 August
30 Americans. Featuring Carrie Mae
Weems, Hank Willis Thomas and more
cincinnatiartmuseum.org
FORT LAUDERDALE
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NSU ART MUSEUM
Until 2 October
Chuck Close: Photographs
nsuartmuseum.org
NEW YORK CITY
MUSEUM OF MODERN ART
Until 5 September
Rachel Harrison: Perth Amboy
moma.org
PROVIDENCE
RISD MUSEUM OF ART
Until 25 September
Jesse Burke: Wild & Precious
risdmuseum.org
SANTA FE
Intertwined, 2015.
of portraits of people in the
LGBTQ community. She will
be re-photographing a group of
subjects she first made portraits
of during 1999 through 2000 so
that she can exhibit photographs
of the same subjects together to
illustrate the physical changes of
each subject over 15 years.
This is a unique opportunity
to document change in this

community through its
individual members, she says.
In some ways the next project
may be a departure from my
recent work, but conceptually
it is connected to my ongoing
interest in relationships, memory
and photography.
krissanford.com
VERVE GALLERY
OF PHOTOGRAPHY
Until 27 August
Kurt Markus: The Fashion Years
vervegallery.com
WASHINGTON DC
ARTHUR SACKLER GALLERY AT
THE SMITHSONIANS MUSEUM
OF ASIAN ART
Until 18 September
Ahmed Mater: Symbolic Cities
asia.si.edu
09/06/2016 15:31
FEATUR E
All images Courtesy of

the Estate of Al Vandenberg
ON A GOOD DAY
In an extract from a new book by Al Vandenberg, Martin Barnes, senior
curator of photographs at the V&A, looks at the innocence and brilliance
of a series of images made on the streets of post-swinging 60s London.
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rom one of Al Vandenbergs

thousands of beautiful street
photographs, a girl looks out at
me with an arresting presence.
Its difficult to tell her age:
perhaps somewhere between
eleven and sixteen years old?
Her slight frown makes her
look more careworn or cautious
than she ought to be. Her weight is on her left
leg, which makes her skinny waist and hip jut
out, helping to cradle a cassette machine in
one hand. In the other, she is clutching some
vinyl singles. The music technology dates
the image, but her attitude is timeless. The
22-27_AL_VANDENBERG_192 ER/MB.indd 22
horizontal lines of the background read as a

kind of musical stave, with the notes upon it
still to be defined. I am touched by the feeling
that she is on the cusp of adulthood, her life
story in front of her. Perhaps, even as I look,
she is rehearsing its soundtrack.
Such wistful tenderness in some of
Vandenbergs images is balanced by others
that radiate both the shy optimism and
the exuberance of youth. Its a great time
being young, with your whole life ahead of
you. Its a time for love, hope, dreaming,
great creativity. Its a time away from
home, breaking free from parents, creating
freedom. You feel you can be anything and
do anything. The future looks very positive.

Every picture in this book is imbued with
a positive, uplifting intention. Behind these
images there is none of the irony, criticism,
conceptualism, self-reference or weighty
literary theory favoured by so much of the
serious art photography of recent times. But
this is no artless art. Vandenberg worked at the
tail end of a compassionate humanist tradition
that it is now difficult to find practiced so
purely and so joyously. He was gifted with
somehow being able to strike a rapport and
feel empathy for his subjects almost instantly.
Though beguilingly simple, even to the extent
of appearing like lucky snapshots when seen
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in isolation, these photographs are the result
of careful study, years of practice and personal

philosophical choices.
Through his lens, it is as if Vandenberg
presents things as they are, rather than as we
might think or desire them to be.
oung people continued to be drawn

to London after the 60s cultural
boom by the lingering magic of the
street names, and also by the new,
raw energy brought by the advent of punk.
Vandenberg combed the city, rejoicing in
the creative combination of youth and place,
melding in a resounding litany of locations.
Technically, what links each image was
Vandenbergs simple and quality-inducing
dictum: One camera, one lens, one film,
one paper. The light is usually that of late
afternoon, a time chosen not just for its
diffuse luminescence but also because
Vandenberg found his sitters to be most
comfortable at this time. His exquisitelycrafted prints are punchy, tending towards
the darker end of the scale. Stylistically his
general rule was equally simple, framing
figures where he found them, immediately
in front of a wall, shop-front or other
sympathetic backdrop. The backgrounds
seem casual, but they artfully add a grace note
to complement the character of the sitters, or
provide some local context that in retrospect
imparts value as an historical document.
Advertisements, posters and products in shop
windows tell of a different time.
Vandenbergs London pictures of the 1970s
and 80s just a small part of his overall output
now hold an additional retro appeal. But this
is not simply brought about by serendipitous
rediscovery or belated institutional acceptance
and contextual repositioning. Like a visual
anthropologist collecting with half an eye on
posterity, Vandenberg had an unconscious
knack of being alert to the nostalgia of the
future. His uncanny and unerring talent was

to be fully aware and comfortably engaged
with his subject at the instant of making the
picture on the leading edge of the present
moment yet also witnessing the present as
if it were already a memory.
ON A GOOD DAY
On a Good Day by Al Vandenberg is

published in hardback by Stanley/Barker
at 35 stanleybarker.co.uk
09/06/2016 15:39
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09/06/2016 15:39
FEATURE
All images Mark Tipping
JUST UNDER THE SURFACE

For Mark Tipping, whats left unseen in his images is far more rewarding than
telling the whole story. He shares the importance of subtlety, finding an unusual
viewpoint and the inexorable pull of the seaside. Anna Bonita Evans reports.
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first came across Mark Tippings work on

Black+White Photographys Twitter feed.
Hed upload an image every few weeks
to our Smartshots competition with no
caption just our handle (@BWPMag)
and the relevant hashtags. His images and
the mystery surrounding them intrigued me.
Waiting with a sense of anticipation for him
to upload new images, when they did appear
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Id call the rest of the Black+White team over

to my screen, so they too could mull over his
unusual depictions. After eight to nine
months of interpreting these visual enigmas,
I felt it was time to discover more.
Mark and I met for lunch at RIBA
(Royal Institute of British Architects)
in Londons West End. Knowing his liking for
architecture his images are often of the
South Banks buildings I hoped it might be

a tempting venue. Our conversation would
take us to a different set of his pictures, one
where the British coast and ambiguity
dominate. Unlike many traditional pictures
of the seaside, Marks pictures have intensity
and an uneasy charm. Beautifully conceived
and composed, each photograph is a playful
(but never childlike) allusion; they invite us
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to travel to where our imagination takes us.
Were often sold the seaside as this

wonderful, colourful, fun place to be, but
out of season it can be quite the opposite:
depressing, ominous and creepy. For this
series I tried to capture ordinary places or
people in normal situations, but in a style
that wouldnt immediately appeal. I wanted
to show subjects in a different light to make
people think a bit more if I can bring out
any sort of intrigue that sparks someones
imagination then Im satisfied.
I like busy images but ones where youre
still drawn to a subject and their story, even
if they arent the obvious focal point. I prefer
pictures that arent forced or show a person
playing to the camera. If someone stands
in front of me wanting their picture taken
Id probably walk away in my images
people are usually in the distance. I produce
pictures that are natural but have a slightly
I have a curious nature so

wonder what people are
doing; if theyre just having
a chat, sharing a secret, or
plotting someones downfall
It fascinates me to think about
what a persons story really is.
uncomfortable atmosphere.
Themes of espionage, censorship, secrecy
and neglect run so clearly through Marks
seaside series. Leaving room for viewers
to piece together the story, its this, his
encouraging of alternative readings, which
makes his images stay in your mind long
after seeing them on screen. I have a curious
nature so wonder what people are doing; if
theyre just having a chat, sharing a secret,
or plotting someones downfallIt truly

fascinates me to think about what a persons
story really is. Photographs have to stir my
emotion for them to work.
I ask him about his intentionally imperfect
style; his pictures are always well composed
but have a gritty, almost unpolished,
aesthetic, giving them a physical quality
despite their two-dimensionality. He says:
In popular culture today theres too much
emphasis on perfection especially when
it comes to photography. A pristine image
thats been perfectly exposed and overly
processed is too precise and clean for me.
Ive been reflecting recently on how the
world is presented and what that means
to me. I want to show people life isnt really
how you see it on particular Instagram
accounts and celebrity-orientated websites,
so I try to give my pictures just that little
bit more edge to them through subtle use
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of particular filters and effects. These
images look as if they have been in

a drawer for years or had coffee spilt over
them. Im telling stories, so rendering
them in this way gives a sense of history.
iving on the south coast, the beach

has always been a source of inspiration
for Mark. A transient place where
debris washes up to shore and
yesterdays footprints fade, its a subject that
complements the type of work Mark creates.
These images were all photographed within
three miles of each other except the
caravan image, that was taken on the
Isle of Wight over a nine-month period.
Devoting almost all of his spare time
to taking pictures, Mark says, I go with
whats local because I know the places well.
Im constantly visualising images in my head,
so I remember scenes that would work

photographically and go back.
Mark doesnt always photograph with
a series in mind. Although hes presently
building up a bank of projects, he let this set
evolve more organically. He isnt without
focus: editing is a key part of the process
and his first choice for publishing work
is Twitter. I like the format of it. I have
a group of friends, some photographers,
In popular culture today theres

too much emphasis on perfection
especially when it comes to
photography. A pristine image
thats been perfectly exposed and
overly processed is too precise
and clean for me.
some not, that I follow what theyre up

to and they follow me. Its more instant
and reactive than other social media
channels and I like the retweet aspect
of it too [where people can share other
peoples tweets on their own account].
You can see an image snowballing in
popularity in a matter of hours, or days,
which is great fun to track.
If I dont take a picture Im happy with
I dont upload it just for the sake of it.
I only put up what I think is really good,
so sometimes it can be a good few weeks
before I post anything new. I dont want
to sound highfalutin but Im not looking for
a large volume of praise when publishing my
work on social media; if I do thats great but
for me its things like this, being featured
in Black+White Photography, thats
important. I use my smartphone to take
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pictures and I like to take, edit and publish
my work in a short space of time. I wouldnt

call it speed photography but by now
I pre-visualise the filters and spend around
10 minutes working on an image in an app.
If I do spend more time, more often than not
the image just doesnt work.
I ask if hes considered taking his pictures
off the backlit screen to print form, to which
he replies: Id really love to make a book.
I used to produce family albums five or six
years ago, but now Id like to do something
more professional. It wouldnt be too big,
perhaps A5 to keep that connection with
the smartphone. If you have a book you
assume theres a story inside to read, which
complements the sense of narrative in
my work. Julian Calverleys #IPHONEONLY
book had a huge impact on me. It was
released just when I started to experiment
with the smartphone (about 18 months ago).

It motivated me by showing whats possible
with this fascinating tool.
It might come as a surprise to some that
these images were taken on a smartphone,
but for Mark (and many others) camera and
kit are irrelevant. As we discuss the question
of smartphone photographys validity, he
stops for a moment to reflect, and shares:
I hope when people see these pictures they
see them for what they are, rather than
what they were taken on. The selfie has
influenced how a lot of people see smartphone
photography, but theres so much more to it.
He continues: I needed something to ignite
my creativity again and my iPhone definitely
did that. It was probably the novelty of it
that interested me at first, but once I saw the
potential and realised it was like any other
piece of photography kit, I got excited.
Follow Mark Tipping on Twitter: @MMTipping
I havent reinvented myself as a smartphone

photographer but Ive used it to bring back
my instincts and ideas that were just under
the surface. You shouldnt need a particular
piece of kit for security; whatever you are
setting out to achieve, whether its using
a DSLR, analogue camera or smartphone,
you can, most of the time, get to the same
end product: a strong set of pictures.
The point of photography is what you end up
with. Im not focused on how you get there.
As our conversation comes to an end,
I thought how Ive caught Mark at an
interesting point in his photographic career:
in the middle of a creative reawakening,
his natural curiosity has opened new doors
for him to enter and explore, with us as the
receivers reaping the benefits. Where
he will go to next, hes not entirely sure,
but he is certain to keep evolving.
See more of his work at evolutionphotos.org
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fototonic.co.uk
INSPIRATIONAL PHOTOGRAPHY
WORKSHOPS & TOURS
JERSEY | GUERNSEY | SARK | FRANCE
Were proud of our reputation for providing expert photography tuition on our
workshops and photo tours. Whether you are just starting out or have been
shooting for years, our aim is to help you streamline your photography to
enable you to achieve the images that you dream of creating. Black + White
photography techniques are no exception and well show you camera
techniques and image editing for monochrome. Well let you into all our
SKRWRJUDSK\VHFUHWVVXFKDVORZOLJKWSKRWRJUDSK\WHFKQLTXHVXVLQJOWHUV
for black + white, multiple exposures, focus stacking and much, much more.
Here in the Channel Islands we have a vast array of beautiful landscapes
and seascapes. Theres no shortage of locations to work with - whatever the
weather. Our gorgeous landscapes are dotted with offshore forts and castles
from many different eras in history as well as intriguing WW2 structures built
during the German occupation of the Channel Islands. We have private
access to historical sites as well as boat trips to idyllic offshore reefs that
cant fail to provide you with images you will cherish. Join us for a
photography workshop you will remember forever.
Born and brought up in Jersey, Andy worked at the
top of the photography business in the UK and has
now returned to his island home to lead photography
workshops and continue with commercial photography.
Knowing the best locations and working with

the tides means that our clients get the best
opportunities for the best photos
Andy Habin
Photography Workshops & Tours in the Channel Islands and beyond

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6/9/16 4:55 PM
INSPIRATION
Follow Vicki Painting

@VickiPainting
INSIGHT
As her documentary photography MA project develops, Vicki Painting, winner
of the B+W Photographer of the Year 2015, discovers that personal everyday
objects have the power to take on new significance as part of her narrative.
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iraeth is a Welsh word that has no direct translation

into English. It describes a longing for a place, a kind
of homesickness for a home that you cannot return to,
or that never was (Oxford Dictionary). This lament for
something long disappeared, or the hope that what is
longed for will be found, is a recurring, often unconscious
theme in visual art and many photographers have sought to capture
this yearning for the perceived loss of a place and those attached to it.
As a narrative tool, hiraeth may challenge what others see as real
when fact and fiction inevitably collide, because the stories people tell
about themselves will always contain both of these elements, inviting
different readings of the same story. Memory is unreliable and when
something is missing, the mind will automatically fill in the gaps.
37_INSIGHT_192 ER/MB.indd 37
The photographer, as narrator, has the dual responsibility of producing

the story and interpreting it.
Standing back from my own project about a place I left a long time
ago, and attempting an interpretation of the work produced so far,
I now see it as a form of excavation. Documenting a physical site in
a state of transformation and encountering the impact that this place
has had on the wider community, and on me personally, I have made
an unexpected discovery; what I had originally set out to do has taken
me down a different path, and what began as an expansive project has
become a more intimate and personal piece of work. Focusing now on
details, everyday objects have taken on new relevance and personal
items have become artefacts helping to piece together the past, leading
to new insights and providing fresh momentum for the work.
16/06/2016 11:17
COMMENT
All images Birdhead
A MODERN EYE
An amalgam of the talent of two artists, Birdhead is a photographic duo who set out
to explore their native city of Shanghai, finding ways to portray it in all its diversity.
Shoair Mavlian, assistant curator of photography at Tate Modern, reports.
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he urban metropolis
with its chaotic
and contrasting
landscape has enticed
photographers for
over a century,
resulting in many stimulating
photographic series from cities
all around the world. Some
cities seem to crop up more
often than others New York,
Tokyo and Paris to name a few.
However, projects focusing on
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Like a collective portrait, images of architecture

sit alongside snapshots of friends or chance
encounters with strangers in the street.
Shanghai are rarely seen, hence
I was excited to come across
the work of Birdhead and their
series Welcome to Birdhead
World Again.
Birdhead is the alias
adopted by the contemporary
photographic duo Ji Weiyu
and Song Tao, born in 1980

and 1979 respectively; both
were born, live and work in
Shanghai. After meeting in
high school they both went on
to study at the Shanghai Arts
and Crafts School exploring
different interests; Ji focused
on graphic design and Song

majored in sculpture. They
began working together in 2004
with their first joint project
titled Beginning of the Summer,
a photobook containing 200
self-portraits. With this project
their collaborative partnership
Birdhead was instigated and
they have continued to work
together ever since.
For more than a decade
Birdhead have been taking
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images of Shanghai, repeatedly
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turning their cameras on their

hometown in a way which
shows they are deeply invested
in the city. Working primarily
in black & white, their images
are often gritty and high
contrast, but others are equally
calm and composed, capturing
both the fast-paced atmosphere
one would expect from one of
the most densely populated
cities in the world, while at the
same time showing moments of
solace. This depiction of
Shanghai is not only a
documentation of a city but is
also rooted in their own lives,
offering an insight into how
the duo experience daily life
alongside the millions of other
inhabitants. Like a collective
portrait, images of architecture
sit alongside snapshots of
friends or chance encounters
with strangers in the street.
Interiors sit alongside
landscapes and day sits
alongside night, revealing
the full range of life in the
urban metropolis.
he huge variety of
imagery, and the way in
which they juxtapose the
old and the new
alongside the urban and the
natural, side-by-side, helps
captivate the viewers interest.
Viewing the series en masse
rather than as single images is
an important part of Birdheads
practice and they often show
their work as large-scale
installations. By taking this
approach, Birdhead are
acknowledging that a single
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image only represents a

fragment of a much larger story,
and no individual image is more
important than the next. This
means that instead of favouring
a linear narrative, Birdhead
presents a communal story
where the work depicts a shared
space which also holds many
individual experiences, merely
hinting at what it might feel like
to live in the mega city.
At odds with the modern city
in which they inhabit, Birdhead
take a very traditional approach
to photography, choosing to
shoot only in film and work with
analogue processes. In a
similarly unusual twist, all of
their photographic prints are
unique as they choose to print
each image only once, in an ode
to the tradition of album making
within Chinese literati culture.
They do not have a website and
a single image only represents a fragment

of a much larger story, and no individual
image is more important than the next.
choose not to engage with social
media. However, despite the
slower pace which is associated
with analogue technology,
Birdheads photographic output
is high and they still manage to
produce a vast amount of
images. This persistent
documentation makes reference
to time and the present,
capturing both a city
in a certain moment and the
lives of the two artists.
hile most of their

photographic work
could be described
as documentary or
snapshot in style, Birdhead also
engage with a more conceptual

practice in which they produce
sculptural installations. These
bridge the past and the present
by compiling traditional poetry
from photographs of individual
Chinese characters found
around the city which are either
not in use any more or are
rarely used. The photographs
are then sequenced so that they
constitute a verse from a classic
Chinese poem and presented in
a wooden structure referencing
traditional design, a marriage of
the past and the present that
highlights how, even in a fast
paced and constantly changing
city, the past is always present.
YOU MIGHT
ALSO LIKE
Logo Oluwamuyiwa is a
contemporary photographer
based in Lagos, Nigeria. His
project Monochrome Lagos
(2013) is an ongoing study
dedicated to documenting the
city in black & white, stripping
it of its vibrant and iconic
colour which is perhaps its
most recognisable feature.
The project is disseminated
online as a digital archive,
constantly being added to
by Oluwamuyiwa.
09/06/2016 15:48
INSPIRATION
alexschneideman.net
@schneideman331
alex@asprinting.net
THINKING PHOTOGRAPHY
Are we slaves to sharpness and all that modern technology can offer, asks
Alex Schneideman and is it at the expense of what really matters the
human connection between the photographer and what is being photographed?
harpness, for me, is an

intellectual and artistic
dead end. There is only
one small part of our
retina which is capable of hugely
detailed vision. The fovea is
0.3mm across the size of the
tip of a fine pen. Indeed, half
of all nerve cells in the eye
are directed at the fovea, but
radiating out from this central
pit is the macular which offers
less distinct vision, and then
the retina which allows us to
see in the dark and gives us a
sense of what is around us
but no acuity at all. Our brains
have to sort through this visual
information to make sense of it.
By contrast, a camera is all
fovea. There isnt a gradual
dissemination of acuity, its just

100% sharp from edge to edge.
I am going to argue here that
our addiction to sharpness and
resolution is a distraction from
the most important aspect of
seeing, and that it is sensation,
or the engagement of our
subconscious minds, with what
we see, rather than evenly spread
high acutance vision, which
provides us with the best route
to artistic expression.
What we see is nothing more
than a very clever portrayal of

reality constructed by our brains
from various stimuli. This visual
construction, which relies on
our conscious and subconscious
minds, seems perfect to us but,
in reality, when tested, is nothing
more than a very sophisticated
storytelling mechanism.
Because the brain has
surprisingly little information
to go on, the processes that
make sense of the world,
visually, rely on many parts
Concepts of sharpness and dynamic range

are machine concepts and not to be compared
with our own aquatically evolved, hyper
contextualized and multilayered sense of vision.
of the brain, which we access

when creating or looking at
works of art. In other words, it
is the storytelling part of our
brain which helps us see, helps
us think and helps us derive
meaning from abstraction.
When we look at a
photograph (on screen
or print) what we see is a
mechanical reproduction of a
physical scenario reproduced
according to the capabilities of
mechanical means. This degree
of reproductive perfection did
not exist before photography
was born. The photograph
depicts life but not in human
terms. What we see when
looking at a photograph is a
machines eye view never
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These images, shot at a football match which took place in London on 12th December 2015 on a midwinter afternoon, reflect the sombre
atmosphere of dark, cold evenings when summer is as much a memory as it is a thing of the future.
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16/06/2016 11:26
All images Alex Schneideman
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the vision of a human. In

other words, concepts of
sharpness and dynamic range
are machine concepts and not
to be compared with our own
aquatically evolved, hyper
contextualized and multilayered
sense of vision.
ince photographys
inception, its uses as
a medium of record
and its adoption by the
art world has driven camera
manufacturers to produce ever
better optics and mechanics
so that photographs are easier
to make, and imperfections
increasingly excluded. If
technical brilliance continues
to dominate the direction

the medium takes, then our
humanity will be subsumed
within the increasingly
perfectionist mechanism. It is
true that there are certain fields
of photography which benefit
from an increase in technical
capability; photojournalists
can throw focus from front
to back so that present and
future generations will gain so
much evidential detail from
their images and, optically
inversely, sports photography
can benefit from advanced
onboard computing that places
a fast moving object in pin sharp
focus, removing the subject from
the background so that we can
feel the thrill of frozen action.

But the ever increasing power
of technology can be a hindrance
to substance. As a professional
printer of photography, I often
find myself talking about such
arcane subjects as DPI, colour
gamut and Dmax, for example.
While these and many other
technical considerations are
all relevant subjects to the
technical aspect of best practice
in photography, they can easily
distract us from more important
discussions about the nature of
an image and its relevance to
the story a photographer is
trying to tell.
It is of little importance
that a camera is noise-free
at ISO 6400 if the shots in

question are derivative and
offer us nothing new, nothing
to excite or overwhelm us. And,
in my experience, the more
accomplished the photographer,
the less critical they are of the
technical aspect of their work,
preferring instead to concentrate
on a prints ability to convey
their ideas as powerfully as
possible. Technical excellence
is a given, and mastery of the
medium a must this is no
paean to the shambolic or
unskilled but beyond a certain
point we need to take technical
excellence for granted and spend
our energy on shooting, editing
and selecting the best shots.
16/06/2016 11:26
uch of this
obsession with
sharpness can be
traced back to the
legendary Group f/64. Formed in
1931 in San Francisco this group
of photographers, including
Ansel Adams, Edward Weston
and Imogen Cunningham,
set themselves against Alfred
Stieglitzs antiquated New
York school of pictorialism
and dedicated themselves to:
The qualities of clearness and
definition of the photographic
image. They revelled in new
optics, films and techniques,
and in doing so set a very high
bar for technical competence.
However, our collective
way of seeing has moved on

from those deliberately sharp
images. Though still revered,
the f/64 dogma belongs in the
past. We have mastered the
technical aspect of photography.
Technological advances have
decoupled our cameras from the
restraints of the medium. It is no
longer fettered to the earth by
chains and we need pay no heed
to earthly considerations such
as light intensity and focus. Lets
recognise the greatness of our

forefathers, but we must move
on, leaving their obsession with
clarity and focus behind.
As Henri Cartier-Bresson said
so magnificently: Sharpness is
a bourgeois concept. Perhaps
we can adapt HCBs famous
sentence by saying that
sharpness is a small part of
the whole story we shouldnt
allow it, or its lack, to become
a distraction from the innate
It is of little importance that a camera is

noise-free at ISO 6400 if the shots in question
are derivative and offer us nothing new,
nothing to excite or overwhelm us.
human truth of representation by

photographic means. Sharpness
is a commodity easily sold and
easily achieved but which rarely
adds substance on its own. For a
photograph to stay in our minds
it must reflect what is relevant to
its viewers. It will always be hard
to warm to cold, mechanical
perfection. Photographers, I
believe, must reflect real life for
what it is occasionally sharp
but more often a mess of blurs,
half-truths and fallibilities.
My thanks to Mr Nabeel
Malik MBBS FRCOphth
FRCSEd (Ophth), Consultant
Ophthalmologist, Chelsea &
Westminster Hospital.
44
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16/06/2016 11:26
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045_BW_192.indd 45
6/16/16 12:19 PM
TECHNIQUE
All images Lee Frost
TEN TOP TIPS

to becoming a better photographer. Afraid youve reached your peak?
Wondering if this is as good as it gets? To kick off a new series, Lee Frost
looks at simple ways to improve your photography.
Photography is a continual learning

process. No matter how good you
think you are, and no matter how many
years youve been working behind a
camera, you can always get better.
There will always be new subjects
to shoot, techniques to try and
technology to master.
But thats no bad thing, because if it
were too easy, wed lose interest very
quickly. What makes photography so

inspiring and challenging is that its
actually quite difficult to make great
images. You need to work hard at it,
develop skills that maybe never existed
before, absorb lots of information,
be both technical and creative at the
same time, accept failure and try again.
Thats a tall order for anyone, and it can
take years to progress from producing
half decent photographs to works of art

that people want to hang on their wall.
Its worth the effort, though, because
the sense of satisfaction gained from
taking great photographs is immense,
and once youve got there, the skills
amassed will never leave you a bit
like riding a bike.
Here are 10 easy ways to improve
your photography.
1. SET YOURSELF
A PROJECT
46
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Its easy to run out of ideas when

photography is a weekend pursuit. You
spend all week working, then come
Saturday morning you finally have the
chance to enjoy your hobby but have no
idea where to go or what to shoot! Setting
yourself a project will help to overcome
this problem. It could be anything to
document a specific location (which
could be one you keep going back to or a
different one each week or month), to work
on a theme, to photograph local landmarks,
to shoot a particular sport or regular event.
Establish an end goal, such as producing
a portfolio of images, creating a photobook
or organising an exhibition of the project
work so you know what youre aiming for
and theres a timescale. Then once youve
completed one project, start another one.
It neednt involve travel or even leaving
home either you could decide to produce
black & white still life shots of household
objects, flowers, favourite possessions or
anything else that comes to mind.
Perhaps the most valuable lesson

you will learn is that passion,
enthusiasm and dedication are
more important than technical
skill in the making of a great
photographer.
1 FEZ, MOROCCO
I love to photograph doors they make a great

subject for an ongoing photo project as
you can find them wherever you go.
Canon EOS 5DS with 24-70mm zoom,
1/125sec at f/8, ISO 200
46-51_LEE_FROST_192 ER/MB.indd 46
09/06/2016 15:51
2 SANTORINI, GREECE
Tackling new subjects and techniques

is a great way not only to develop your
seeing eye, but also keep your passion
for photography alive.
Canon EOS 5D MKIII with 70-300mm
zoom, 1/320sec at f/20, ISO 400
2. A CHANGE IS AS GOOD AS A REST

There have been some fascinating articles
in the photo press over the years where
well-known professionals have been
challenged to shoot something completely
different a top landscape photographer
spends the day shooting portraits, while
a portrait specialist has to don wellies and
head for the hills.
The results are always intriguing because
it shows that being good at one subject

doesnt mean youll be good at any other.
If you want to develop all-round skills as
a photographer, however, its important
to break out of your comfort zone and try
new things because doing so will build
your confidence, make you familiar with a
wider range of techniques and equipment,
stretch your imagination, extend your
creative horizons and, perhaps most

important of all, always ensure that you
never run out of ideas or lose inspiration.
If all you can do is shoot landscapes,
youre going to spend a lot of time
twiddling your thumbs when its dull
and rainy outdoors. But such conditions
neednt stop you shooting portraits or
still life or close-ups
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3. STUDY THE WORK OF

GREAT PHOTOGRAPHERS
One of the easiest ways to improve in any subject is by

studying the work of experts in that field, and when it comes
to photography there are many to choose from.
Ansel Adams and Cartier-Bresson are perhaps the two most
influential names in the history of photography, but there are
many more greats still living whose work can be used as a
source of inspiration and learning, and in this age of the internet
its never been easier to access it just tap a name into Google
and away you go. Photographic books are also a great source
of inspiration, especially those where the photographer talks
in depth about specific images so you can understand the
process they went through while creating them.
Another option is to attend a talk or seminar by one of
your favourite photographers so you can meet them and
admire their work. Perhaps the most valuable lesson you will
learn by doing so is that passion, enthusiasm and dedication
are more important than technical skill in the making of a
great photographer.
3 THE MALDIVES, INDIAN OCEAN
If you like the style of a successful photographer, theres nothing wrong

with trying to emulate it in order to improve your own photography.
Canon EOS 5D MKIII with 24-70mm zoom, 1/100sec at f/4, ISO 800
09/06/2016 15:51
4. PRINT YOUR IMAGES
Although there are many, many benefits

to digital photography, there are also pitfalls.
One of them is not printing your images. In
the days of film you had no choice, so most
keen black & white photographers had a
darkroom of some description and printing
was a crucial part of the photographic
process. Today, unfortunately, theres no
actual need to print because you can view
your images on a computer screen or
tablet. However, I feel that black & white
photographs are still best appreciated and
enjoyed in print form. I love to mount and
frame prints and hang them on the wall
for all to see. If you never do this, theres a
tendency to become sloppy in your technique
and also to lose interest because your
work just sits on a hard drive. If you print
your images and allow people to see them
maybe offer prints to family and friends
youll get positive feedback that will inspire
you to produce better work, which in turn will
make you a better photographer. The latest
A3+ printers dont cost a fortune, but print
quality is superb.
4 OXTED, SURREY
Mounting and framing your images and

displaying them in your home is a great
way to show off your work.
48
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5. HIT THE ROAD JACK
Travel not only broadens the mind but

it also provides creative stimulation and
endless inspiration. Exploring new places
and coming away with successful images
is a great challenge, and its amazing
how much your photography will improve
in a short space of time. I speak from
personal experience my travels in
recent years, to Iceland, Cuba, Burma,
Thailand, Bhutan, Namibia and other
countries has definitely made me a better
and much more versatile photographer,
and provided a fantastic collection of
images that inspire me to travel more and
try harder. So why not think to hell with
it and plan the trip of a lifetime? Choose
somewhere youve always wanted to go.
It may take a year or more to save for
it, but as the weeks and months pass,
departure day will get closer and closer
and before you know it youll be on that
plane or ship heading to your destination.
5 BAGAN, MYANMAR
Heading off on a photo trip to somewhere

exotic and exciting is guaranteed to improve
your photography. I recommend Myanmar
(Burma), where this shot was taken
its a truly fascinating country.
Canon EOS 5D MKIII with 17-40mm zoom,
1/13sec at f/5.6, ISO 2500
09/06/2016 15:51
6. TAKE CREATIVE RISKS
The only way to get better at anything

is by pushing yourself and trying harder.
If you dont, youll reach a level and stop.
This is a common problem in photography
where enthusiasts play it too safe and end
up in a creative rut. But in this digital age,
where you dont have to pay for film and
processing, theres nothing to lose if you
push yourself and try new things, other
than a little time. My own photography has
definitely improved in the last eight years

since I switched from film to digital. There
was always a little part of me that held
back in my analogue days, especially in the
darkroom where mistakes could be costly.
But once the financial risk was removed
from the equation I started experimenting
with new techniques and trying things I
would have never tried before just for the hell
of it. They dont always work, but sometimes
they do and another string has been added

to my bow. Along the way Ive also become
much more creative. Im a better portrait
photographer than I was. Im a better
architectural photographer than I was. Im
a better action photographer than I was.
And Im definitely a more prolific black &
white photographer now than at any other
time in the 35 years that have passed since
I picked up my first camera.
49
B+W
6 DYRHOLAEY, ICELAND
Digital technology lends itself to experimentation because

you get instant feedback and can improve a shot on the
spot so never be afraid to take creative risks.
Canon EOS 5DS with 70-300mm zoom, 1/320sec at f/11, ISO 1600
09/06/2016 15:52
7. ATTEND A
PHOTO WORKSHOP
Although photography is generally a solitary

pursuit, you can learn a lot by spending
time with other photographers, sharing
enthusiasm, experience, knowledge and
ideas. Camera clubs provide a useful forum
for this, but photo workshops are even
better because you spend intensive time on
location shooting, not only with like-minded
individuals but also with an expert on hand
to offer help and advice. Ive led well over
150 workshops and photo tours over the
years, and though Id like to think that the
participants learn from me alone, I know for
a fact that they also learn a lot from each
other. The camaraderie I see is amazing.
If you fancy joining a workshop or tour, you
can email me on info@photoadventures.
co.uk, but also check out the classified
section of the mag where youll see whats
on offer from other professionals too.
7 VENICE, ITALY
Photo workshops take place all over the world

these days and provide the ideal opportunity for
you to improve your photography under the
watchful guidance of a pro photographer.
Canon EOS 5DS with 16-35mm zoom, 10-stop ND filter,
90 seconds at f/9, ISO 200
8. TAKE FEWER PHOTOGRAPHS
50
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8 SANTORINI, GREECE
Its tempting to blast away with a digital

camera, but more doesnt mean better so try
to reduce the number of shots you take and
concentrate on quality rather than quantity.
1/400sec at f/16, ISO 200
With no film and processing costs to

consider, its easy for digital photographers
to expose far too many frames of the same
subject or scene and end up with loads of
identical images. The downside of
this machine gun approach is that you

have to download and back up each
image, which uses storage space and
takes time, then go through them all
one by one on your computer to select
the best which takes even more time.

So, from now on, try to discipline
yourself and take no more than two
or three shots. Youll thank yourself
later when it comes to editing.
09/06/2016 15:52
9 HAVANA, CUBA
Dont wait for other people to point out

flaws in your work most will only ever
be complimentary. You need to be self
critical and only accept the best.
1/1000sec at f/4, ISO 400
9. BE YOUR OWN WORST CRITIC

Analysing our images to see how they
could be improved is a crucial part of
photographic development because it
allows us to learn from our mistakes. So get
into the habit of asking yourself what you
could have done differently or better. Is the
composition strong? What about the quality
of light? Is the shot perfectly exposed and
pin sharp? If a shot doesnt make the grade,
bin it better to have a small collection of
stunning images that you add to slowly,

than hundreds of average shots that dilute
the really good stuff.
Good practise in this digital age is also to
re-visit old Jpegs and Raw files to see if you
can do a better job of processing them. Post
processing, like wet printing, is a continual
learning curve the more you do it, the
better you get so you may find that you
can come up with something much better
now, or totally different, than you did five

years ago. In the case of digital technology,
its not just about you getting better either
editing software is also improving all the time
and new applications are being launched
that make a big difference. I cant remember
what life was like before Nik Software Silver
Efex Pro black & white conversion was
certainly much more time-consuming and
far less exciting then than it is today!
51
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10. AIM HIGHER
10 ROAD TO THE SNAEFELLSNES, ICELAND
Photography is an ongoing creative journey that has no end, so never feel like you have reached
your final destination theres always somewhere else to go!
Above all else, if you want to become a

better photographer you must be patient.
Rome wasnt built in a day so dont expect
to become an expert overnight. It can
take years of trial and error, frustration and
disappointment before you reach your
goal, but if you keep trying, learn from
your mistakes and take failure on the chin,
eventually things will start to fall into place
and youll begin to produce the kind of
work you dreamed of.
Remember the first time you tried to
drive a car? Back then you probably never
imagined that you would ever pass your
test, but its surprising how something
that seems so difficult at first quickly
becomes second nature. Its the same
with photography. You may seem a little
shaky right now, but give it time
Oh, and have fun, which, ultimately, is
what this photography lark is all about!
Canon EOS 5D MKIII with 70-300mm zoom, 1/640sec at f/18, ISO 400
09/06/2016 15:52
TECHNIQUE
timdaly.com
PHOTO PROJECT 37:
LINE
If you want to make your images more compelling, why not learn how line can
improve your compositions? Its a chance to think in design terms rather than
just narrative. Tim Daly draws out the possibilities for you.
ine in real life doesnt really exist,

of course, as its something we
only create when making twodimensional pictures. While you cant
pick it up and carry it in your camera
bag, line is one of the cornerstones of
composition in all forms of visual art, be
it painting, sculpture or photography.
If you want to see examples of how
line can be woven into your images,
theres no better example than the
founding father of the decisive moment,
Henri Cartier-Bresson. Trained as an
artist before adopting photography,
Cartier-Bresson recognised how design
elements such as line, composition and
visual weight impacted on his work.
A good way to approach this project
is to think of it as an opportunity to
work with the building blocks of design
that youve never previously considered.
As with all practice, you may not recoup
an instant dividend, but you will store
up good ideas and creative approaches
that you can apply in future shoots. For
this project, think in design terms rather
than just narrative.
52
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SECTION 1: THEME IDEAS
To make things more of a challenge,

shoot your response to the project during
a lunchtime or a free half-day. Look for
a location that youve got easy access
to and approach your chosen theme
thinking about constructing images
rather than storytelling.
1 GESTURAL MARKS
Many abstract expressionist artists in the 1950s

were excited by the prospect of using paint to
record their own physical painterly gestures,
such as Franz Kline and Jackson Pollock.
Following in their footsteps, photographers such
as Ernst Haas and Aaron Siskind were both
drawn to seeking out intricately textured and
graphically complex things in the real world.
For this theme, look out on to the street and
see if you can find graffiti and marks, intentional
or not, as this example shows. Avoid simply
reframing the existing artwork, instead try to
abstract your findings by shooting close-up or
by using unconventional framing. Cropping bits
off and using empty space in the frame can
work too. Above all, turn what you find into
your own work of art.
52-55_TIM_DALY_192 ER/MB.indd 52
16/06/2016 11:36
All images Tim Daly
3 ABSTRACT LINES
2 VISUAL PUZZLE
It is well known that photographs give

up their subjects too quickly, despite
the lengthy time you may have taken to
create the image in the first place. For
this theme, try to slow down the viewers
reaction by deliberately creating a visual
puzzle out of your chosen subject, which
in turn will demand more scrutiny. CartierBresson was a master of such things, often
squashing different surfaces, textures and
planes together so you couldnt tell what

was coming towards you or what was
receding into the distance.
Visit a place that you are very familiar
with and try to strip out all the elements
that would ordinarily identify things to your
audience. Think again about abstracting
your composition into lines and shapes,
as this example shows. Aim to make your
viewer ask the question: What is it?
To fully engage with the potential of line as

a visual device, try creating abstractions of
familiar things in your neighbourhood. Look
closely at surfaces and structures and try to
arrange them in an ambiguous rather than
illustrative composition. Get close, arrange
shapes in your viewfinder and think how their
interrelationships can be best expressed.
This example was shot within a greenhouse
looking outwards. Great compositions can be
made out of the most mundane scenarios, as
photographers Raymond Moore and Harry
Callahan observed, or with next to nothing in
the work of abstract artist Mondrian.
53
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4 GRAPHIC OPPOSITES
Colliding two disparate elements

together in a single composition can
also create a visually interesting end
result. Look for long, man-made lines and
show how they interact with the natural
world or the environment. Visit large-scale
infrastructure projects such as bridges,
harbours, causeways (as this example
shows), cuts, drains and sluices. Try
to capture how these artificial lines
break up and disrupt the otherwise
natural texture of their surroundings.
Large format photographer Richard
Misrach is a master of combing these
different elements together, observing
the gradual encroachment of man on
desert surroundings, and also the reverse
effect when shooting the aftermath of
Hurricane Katrina.
5 FRAMES AND VIEWPOINTS
Theres no better place to design for the

camera than on the beach. Vary your own
shooting position to see how lines can
be moulded in your frame, playing with
both low angle and birds eye viewpoints.
Experiment with both wideangle and
longer telephoto lenses to see how they
apply a different dynamic element to the
rectangle of your viewfinder. Arrange your

subjects in diagonal lines that shoot from
one corner of the picture frame to
its opposite side.
Check out the photographs of Minor
White and see how he conjures up cleverly
designed images using natural elements
such as water, sand dunes and clouds.
16/06/2016 11:36
SECTION 2: LIGHT AS LINE
A different way of exploring line is to take advantage of

atmospheric lighting conditions. Wait for a spectacularly
sunny day and shoot during the early morning
or early evening.
MODELLED BY LINE
Strong directional lighting, especially if its created by sunlight, can

create lines where you think none exist. Raking sidelight, as this
example shows, provides a wonderfully rich atmosphere to the
shot, creating stripes and shadows that help to define the objects
and the underlying textiles.
For a similar treatment, look at still life photographer Olivia
Parkers project Weighing the Planets. Shot inside a makeshift
outdoor studio, Parker makes full use of sunlight to create shapes
and shadows cast by simple objects and paper cut-outs.
54
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AGAINST THE DAY
Contre-jour (against the day) is a simple shooting technique for

creating silhouette shapes and lines against the backdrop of a
bright sky. Shooting like this really emphasises the perimeter line
of your subject a bit like shadow puppets. Using the backdrop
of a bright sky, find and compose an image that is constructed
from multiple lines, as this example shows.
Remember, if you underexpose slightly by using your exposure
compensation dial set on -0.6, youll create much more of a
silhouette. Hungarian photographer Martin Munkcsi made this
technique his own through his fashion works and his images
shot on the beach.
INSPIRATIONAL QUOTE
A photographers eye is perpetually evaluating.
A photographer can bring coincidence of line simply
by moving his head a fraction of a millimetre
Henri Cartier-Bresson
ABSENCE AND PRESENCE
Strong light can also create visually intricate lines that can
contribute as much to your composition as solid objects.
The Bauhaus photographers, influenced by the constructivist
movement in visual art, often included ephemeral or fleeting light
moments in their compositions.
As this example shows, strong directional light can introduce
new lines and shapes into an otherwise mundane garden setting.
For this kind of challenge, see if you can manufacture a linear
composition from the most unpromising of locations.
For inspiration, look at the photographs of Bauhaus
photographer Lszl Moholy-Nagy and see if you can spot where
he has used cast shadows and lines to generate a more structured
and interesting end result.
16/06/2016 11:36
SECTION 3: NATURAL VARIATION

Out in the great open landscape, photographers
have often resorted to graphic line to help create
compelling compositions.
GOING DEEPER
Within the confines of a picture, our eyes instinctively seem

to lock on to and follow strong lines, as this example shows.
As Cartier-Bresson said, even the smallest movement in your
shooting position can alter a lines direction and ultimate impact
on your overall composition.
During the same shoot as the previous example and using the
same three trees as components, Ive created a different end
result. Just by moving my own position Ive created a deeper
three-dimensional space within the frame by showing thick and
thin, near and far, brighter and dimmer.
THE CHAOS OF GROWTH
Winter and early spring are seasons that reveal underlying

structures within the natural world. Try to look for a setting where
you can see thriving growth and see if you can capture it within
a single frame. Such busy compositions can be tricky to frame
and organise, so youll need to put some space between
yourself and your chosen subject.
In this example, Ive found a regularly shaped man-made
structure that creates a contrasting backdrop.
LINE AS A VISUAL DEVICE
While we all appreciate the manual skills and dexterity of artists

and craftspeople, their impressive works of art also employ a
wide range of traditional devices to hook our attention. Simple
visual devices like a vista view draw our eyes from foreground to
background, as we gradually join parallel lines together.
However, lines can also be used in a much more experimental
way to lead the viewers attention across the picture frame like
a game of snakes and ladders, as this example shows. Position
yourself so lines intersect with other shapes in the image and
shoot lots of variations.
55
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FINAL PROJECT
Aim to create a small study of four images, seeing them as

sketchbook work rather than final prints for your portfolio.
For my study, Ive shot the reverse sides of neon advertising
hoardings in New Yorks Long Island.
INSPIRATIONAL PEOPLE
Olivia Parker oliviaparker.com

Laszlo Moholy-Nagy Foundation moholy-nagy.org
16/06/2016 11:36
INSPIR ATION
All images Eddie Ephraums
I
56
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OPEN BOOK:5
In his ongoing series Eddie Ephraums looks at how the design of your
book needs to be well thought through a mock-up and proof copy are
essential steps before the first edition printing. It will be worth the effort.
n last months article we

looked at the importance of
writing a brief when making a
photobook, the idea being to
clarify the nature of the book
we want to produce, its aims
and its audience. Writing a brief
also helps set the parameters for
the design of the book. Perhaps
surprisingly, we are likely to
produce the most successful
design one that helps
communicate what the images
are trying to say when we have
to work within defined, even
heavily constrained, parameters.
The parameters that most
photobook makers come up
against are typically those
imposed by online photobook
publishers. The limited choice
of their book sizes, binding
options, cover materials and
papers tends to elicit complaints
from photographers who believe
this leads to homogenous,
familiar-looking books. It can.
But Ive also seen excellent

online published books. The
reason for their success?
Typically the photographers
have used any inherent
limitations to their advantage,
kept the design concept simple,
and not been tempted to use the
many different page templates
or picture size options that
online publishing software
offers. Images of the same size
or aspect ratio are more likely
to focus the viewers attention
on the pictures, and therefore
the books message, than a
book that screams look at my
random design. For me, theres
nothing more off-putting than
randomly sized or, much worse,
post-rationalised, lackingcamera-confidence, randomly

cropped images.
What is self-evident with less
successful online published
books is that they havent been
proof-printed to check the
design and layout. Font size,
text positioning and picture
layout are notoriously difficult
to judge on screen, especially if
the book is viewed on a largerthan-book-size desktop monitor
or smaller laptop screen. Proof
printing can be as simple as
using a home printer and
photocopy paper anything
that prints book-size sheets, so
the pages can be trimmed and
stuck together. This creates
Proof printing can be as simple as using

a home printer and photocopy paper
anything that prints book-size sheets, so the
pages can be trimmed and stuck together.
a physical connection to the

finished book, but dont expect
to go from screen to finished
book in one go.
After making any adjustments,
the next step is to print an
actual prototype book. Use
this prototype to make further
checks and then, and only then,
print a finished copy. Invite
feedback, specifically asking
people what they like, or dont
like, or would change if it
were their book.
n my experience, there
always comes a point
when photographers want
to progress from online
publishing, having used it
as a useful stepping stone
and learning experience in
their journey towards creating
truly unique books. Take
Andrew Whites book An
Elephant Called Zambezi that
we discussed in the previous
The foreword spread to An Elephant Called Zambezi.

The brief for Andrew Whites book is aimed at raising funds for an elephant orphanage and to generate awareness of Africas
dwindling elephant population. So, the design and layout of the book starts with a sketch by celebrated artist and conservationist
Emily Lamb, granddaughter of David Shepherd CBE. The original sketch will be auctioned as part of a Kickstarter campaign.
56-58_OPEN_BOOK_192 ER/MB.indd 56
16/06/2016 11:41
57
B+W
Three picture spreads from An Elephant Called Zambezi.

Working to the maxim of keep it simple, the pictures in the book are either full bleed, to immerse the viewer in
the African landscape, or they have a consistent 10mm white margin. I work with Indesign, but online publishing
software lets you create simple, elegant and highly effective designs, albeit not quite so easily.
16/06/2016 11:41
58
B+W
A couple of text layouts.

Notice the difference between the text layout of these two spreads. The line-ends of the text in the upper
introduction spread are much more evenly balanced. The surrounding white space also looks neater.
article. This book cant be online
published as the cost for the 100copy first edition wouldnt add
up (online publishers are cost
effective for single copy books).
Also, Andrew wants to create a
book that both feels the part and
looks apart from others. It needs
the choice of materials that a
commercial printer can offer.
My advice to anyone making
books? As well as writing a brief,
develop a critical awareness
of what you like and dont like
about the design of other books.
Study them, handle them, buy
the ones you like (even buy the
ones you dont like), take them
home and question what makes

them work and how you would
improve upon them.
Being a designer is just like
being a photographer, you have
to inhabit the role and this
wont happen at the first press
of the shutter release or click
of the upload to printer button.
Be prepared to fail. If you dont,
you wont succeed.
For more information
about Andrew Whites book
see envisagebooks.co.uk.
Andrews book can also
be found on Kickstarter
at kickstarter.com.
BETTER BY DESIGN
I asked my favourite photobook seller, Neil McIlwraith

of Beyond Words, for his thoughts on book design:
The increase in customers buying photobooks for collecting
(and investment) purposes appears to be going hand in hand with
an increased emphasis on design. Thinking of two recent examples,
Moises Saman as a Magnum member might reasonably have
expected to have Discordia published by a mainstream publishing
house but would, I guess, have found it difficult to persuade them
to incorporate all the design elements in his own product. Eamonn
Doyles End is a riotous conversation between photography and
design which most publishing houses wouldnt contemplate.
I dont know if I am contradicting myself but you have to
weigh this against the success of Mack Books or Gerry Johanssons
self-published works which manage to be very stylish but with
a muted design input.
beyondwords.co.uk
16/06/2016 11:41
Creative space...
Nov: 14-20, 2016
MESSAGE & MEANING: FROM SINGLE PICTURE TO BOOK
EDDIE EPHRAUMS & ANDREW NADOLSKI
Work with two of the UKs most experienced and passionate photo book maker-designers to
develop your ability to convey your photographs in a clear and creative manner. Using images
youve taken on location we will work through the key stages of concept development, editing,
sequencing, design, and typography to create an elegant three-hole sewn book.
Nov: 21-27, 2016
PORTRAIT OF AN TEALLACH: CAPTURE, PRINT AND CURATE AN EXHIBITION
COLIN PRIOR, EDDIE EPHRAUMS & ADRIAN HOLLISTER
Photograph one of Scotlands iconic mountains: process, edit and print portraits of An Teallach,
curating an exhibition held locally on the final day.
Forthcoming workshops 2017
Details on the OSW website
Mar: 6-12, 2017
STILL LIFE & LOCATION PORTRAITURE
JOE CORNISH & EDDIE EPHRAUMS
Nothing matches the

creative buzz and
collective experience
of a small group OSW
residential workshop
Our unique range of outcomebased workshops cover the
practical, creative and aesthetic
considerations of being a
photographer. You will be
inspired, motivated, encouraged
and pleasantly challenged.
The Open Studio Photo
Workshop Centre (pictured
above) overlooks Loch Ewe,
in NW Scotland, looking towards
the Torridon mountains and the
Outer Hebrides. With its own
sea-view cafe, lecture room and
fully equipped imaging studio,
it makes the perfect photo
location workshop centre.
Main photograph courtesy of
Ian Macilwain.
Mar: 13-19, 2017

DEVELOPING PHOTOGRAPHY PROJECT WORSHOP
PAUL WAKEFIELD, JOE CORNISH & EDDIE EPHRAUMS
Further details of these and our other workshops can be found on our website:
www.openstudioworkshops.com info@openstudioworkshops.com
059_BW_192.indd 59
6/20/16 10:11 AM
F E AT U R E
BUYING SECOND-HAND
Anyone with an eye for a bargain should check out the market for pre-owned camera
equipment right now. Sales of film-based models are on the rise, while pro-spec
digital models can be found for half the original price. Tracy Hallett reports.
he market for pre-owned photographic equipment

is remarkably strong. Students are rediscovering
the joys of film, causing a surge in sales of
analogue equipment, while the under 25s in
general are embracing all things vintage including
records, clothes, hair and furniture. Whats more,
the slow-photography movement (which encourages us
to focus on the act of taking pictures rather than the end
result) has boosted sales of both 35mm and medium format
equipment. When youre limited to 12 or 24 frames, you
have little choice but to slow down and make your choices
more deliberate and mindful. Finally, those with an eye
for a bargain are snapping up professional DSLR bodies.
These cameras depreciate massively when they are first
superseded, but once this initial drop has occurred the
price tends to stabilise, which means you can buy a pro-
spec body at roughly half the original price, and then sell it
on later without being significantly out of pocket.
And its not just the great savings that attract people
to pre-owned equipment many photographers want to
be reunited with their lost loves: an Olympus OM-10 that
accompanied them on family holidays, for example, or a
Nikon FM2 they lent to their son, but never had returned.
Investing in pre-owned kit also allows you to try something
new without the financial risk if you want to experiment
with medium format photography, for example, you
can pick up cameras by the likes of Mamiya, Rolleiflex,
Hasselblad and Bronica for a fraction of the original price.
These models might be 30+ years old, but the images
they produce compare very favourably with many modern
DSLRs you may need to put in a little extra effort, but the
quality is certainly there.
Aperture UK
London Camera Exchange
60
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Aperture UK specialises in classic mechanical cameras,

but also stocks a selection of current digital cameras.
All of the stock is pre-owned.
The market for pre-owned cameras is strong at London

Camera Exchange. Film-based models such as the
Hasselblad 500C are particularly popular.
CHECKING EQUIPMENT
The best way to purchase pre-owned
equipment is through a reputable retailer
(see p63). It might cost you more than buying
through an online auction site, but with good
reason. Retailers employ experts to check
over equipment that comes through their
doors. Weve been using the same engineer
for more than 40 years, explains Alex Falk,
founder of Mr Cad. Checking and producing
a condition report for each item takes time,
but being open and honest about what you
are selling is the only way to engender trust,
and encourage repeat custom.
The tests carried out depend on
the type of camera, but all bodies are
carefully checked for cosmetic damage.
60-63_BUYING_2NDHAND ER/MB.indd 60
Ffords Photographic
If the exterior is dented, rusty or heavily

scratched then it suggests that the camera
may not have been taken care of in other
ways such as storage, service and cleaning,
explains Rob of the Vintage & Classic
Camera Company. I also give the camera
a good sniff. If it smells musty then it may
have internal corrosion or fungus in the
lens or viewfinder. Fungus is a serious
problem for old film cameras. It enters
the lens through the air when you zoom
or focus and appears as blobs or web-like
patterns etched into the glass. Affected
areas must be dealt with swiftly to prevent
the organism from spreading. Sadly we see
a lot of equipment afflicted by fungus, says
Cameras sold by Ffords Photographic

are thoroughly tested before being
made available to the public.
09/06/2016 15:55
MPB
High-end professional equipment (particularly Leica cameras) hold their value and sell well for MPB.
WHICH CAMERAS HOLD THEIR VALUE?
When it comes to retaining value, Leica film cameras

(particularly the M series models) lead the way. Buying a
pre-owned Leica is a sound investment, explains Elaine of
Red Dot Cameras. Mark Krukowski of JK Cameras agrees.
Leica M cameras have a reputation for exceptional optical
performance, first-class build quality, reliability and
longevity. The second-hand values remain strong, and
although relatively high compared to other brands, they
still represent good value compared to buying new.
Medium format and 35mm cameras are also proving
popular, with some increasing in value in recent years.
Rolleiflex cameras sell so well that they could easily be
Dale Hawkins of CameraWorld. Its one of

the perils of keeping old cameras in storage
for many years. Fungus can render an item
worthless, because it makes it beyond
economic repair.
The testing procedure for analogue and
digital equipment is pretty similar and covers
cosmetics, operation and performance. Each
camera is checked for physical defects, and
then tests are performed on focusing and
metering systems, shutter mechanisms,
viewing screens and self-timers, among other
features. Products are visually inspected,
internally and externally, first, says Pippa
Moyle of MPB. The item is then run through
a stringent set of tests and cleaned, labelled
61
B+W
deemed as a returning investment without ever firing the

shutter, enthuses Rob of the Vintage & Classic Camera
Company. In addition, 35mm cameras such as the Nikon
FM2n and FM3A are regularly in demand.
Digital cameras fair less well than their analogue
relatives, but once the initial price drop has occurred,
prices stabilise a little. Essentially, if its high-end
equipment in excellent condition then it will be valuable
for a long time, says Pippa Moyle of MPB. Our Canon
EOS 5D MkIIs and 24-105mm lenses are very popular with
customers, for example, and they have held their value for
a long time now.
and placed safely in the stockroom for the

next owner. Testers pay particular attention
to the state of any lenses offered for sale too.
I always start with the lens as this is the
eye of the camera and potentially where the
most value resides, says Rob. I check for
haze, fungus, chips or scratches, and then
make sure that the aperture diaphragm is
functioning correctly. In most cases the runthrough concludes with a series of test shots,
analysed for colour accuracy, sharpness etc.
Right Condition checks begin with a physical

examination of the exterior, before moving
on to operation and performance.
The Vintage & Classic Camera Company
09/06/2016 15:55
ADVICE FROM THE EXPERTS
Mr Cad
With so much pre-owned equipment on

the market, deciding how much to pay,
and who to trust with your money, can be
tricky. Before you part with any cash do
what you can to check out the reputation of
the retailer. Read online reviews and look at
comments posted on social media, but dont
automatically discount a shop based on one
negative review look at how the retailer
dealt with the complaint and whether or not
the issue was resolved to the satisfaction
of both parties. Check the length of any
guarantee or approval period: some retailers
offer warranties of 12 months with a 14-day
approval period, while others just offer
you statutory rights (a 14-day no quibble
returns policy and a six-month guarantee is
pretty decent). Buy from a dealer who has
experience and knowledge of the product,
advises Mark Krukowski of JK Cameras.
If anything should go wrong they may
have a specialist technician who can repair
it properly.
Mr Cad stocks everything from Holgas to large format equipment,
with plenty of collectable products in between.
62
B+W
I once bought a Rolleiex

6000 series 120 SLR. It was
presented to me swathed WHAT IS THE MOST UNUSUAL ITEM YOU HAVE SOLD?
in an enormous pair of
A Nikkor 6mm f/2.8 fisheye lens, which offered
Ive sold many unusual items, but I once bought
a 220 angle of view and sold for 100,000.
a Rolleiflex 6000 series 120 SLR. Its quite a
gentlemans underpants! The lens debuted at Photokina in 1970 and
large camera and was presented to me swathed
Rob, the Vintage & Classic Camera Company
Once youve found a reputable retailer

selling the goods youre after, take a look at
the condition rating next to the product.
Gradings often range from Mint (where the
product is still boxed and shows no signs
of wear) to Heavily Used (where the item
shows significant signs of usage, but remains
fully functional). Ask yourself if you are
willing to pay more for a pristine example,
or happy to live with a few scratches and
marks. When it comes to lenses, condition is
paramount, says Rob, But some people get
so hung up on finding one without a single
mark or scratch that they become questers
rather than photographers. Dont make that
mistake. On the other hand if youre tempted
to buy a cheap piece of kit thats damaged,
be aware of the hidden costs. Do not buy
something faulty assuming that it can be
fixed, says Will from Aperture UK. What
looks like a small job can easily escalate into
a mammoth overspend. Its no secret that
pre-owned goods sell fast, but take your time
and shop around if the item you are after
gets snapped up, contact the retailer and ask
them to call you if a similar product (in a
similar condition) comes their way again.
Do your research, be patient and you could
soon be bagging a bargain.
was the most extreme lens to cover the 24mm

x 36mm image area. It had a huge glass dome,
which dwarfed the camera.
Gray Levett, Grays of Westminster
Grays of Westminster
in an enormous pair of gentlemans underpants!

Rob, the Vintage & Classic Camera
Company
Probably a 400/560/800mm Leica APOTelyt-R its a monster modular lens system
for Leica R-system cameras.
Will, Aperture UK
A Canon 1200mm lens its incredibly rare
and was originally listed for 99,000.
Pippa Moyle, MPB
We have sold numerous oddities, but the
most memorable was a Leica M6 designed to
commemorate the Danish royal wedding,
and limited to 200.
Adam Walsh, London Camera Exchange
Ive seen and handled many rare and
interesting cameras, but one of my favourites
has to be a Compass camera outfit a very,
very compact film camera with all of the
attachments (and some B&W negatives),
which was made like a beautiful Swiss
mechanical watch.
Steve Byford, Ffords Photographic Ltd
A Leica 250 GG.
Elaine, Red Dot Cameras
09/06/2016 15:55
The Vintage & Classic Camera Company
According to Rob
from the Vintage
& Classic Camera
Company there has
been an analogue
renaissance
within the current
consumer market.
63
WHERE TO BUY PRE-OWNED EQUIPMENT
B+W
APERTURE UK
apertureuk.com, 0207 436 1015
JK CAMERAS
jkcameras.co.uk, 0207 100 7165
PARK CAMERAS
parkcameras.com, 01444 237070
CAMERAWORLD
cameraworld.co.uk, 0207 636 5005
LONDON CAMERA EXCHANGE

lcegroup.co.uk, tel 0207 379 0200
RED DOT CAMERAS

reddotcameras.co.uk, 0207 4908 444
FFORDS PHOTOGRAPHIC
ffordes.com, 01463 783 850
MPB
mpb.com, 0330 808 3271
VINTAGE & CLASSIC CAMERA COMPANY

vintageclassiccamera.com, 07803 127613
GRAYS OF WESTMINSTER
graysofwestminster.co.uk, 0207 828 4925
MR CAD
mrcad.co.uk, 0208 6848 282
WEX PHOTOGRAPHIC
wexphotographic.com, 01603 486413
Red Dot Cameras
Dedicated to Leica lovers, Red Dot Cameras offer a wide

range of pre-owned equipment alongside all of the latest
Leica releases, manuals and books.
Grays of Westminster
Dealing exclusively in Nikon products, Grays of Westminster

stock pre-owned and new equipment, including mint condition
film and digital SLRs.
09/06/2016 15:56
COMMENT
timclinchphotography.com
T
64
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A FORTNIGHT AT F/8
It all began in the food markets of Paris where Tim Clinch spent one
glorious teenage summer and ended when he discovered that someone
out there was shooting with daylight and making food look delicious
his month I want

to tell you about
someone who has
been a huge influence
on me professionally
and who has
changed, forever, how we think
about things photographically.
His identity (he is a man) will
probably surprise you, and to
tell this story I will have to take
you back into the mists of time,
so bear with me
I can remember to this day
the first real food photograph
I ever took. It was in the mid
70s, I had recently left art school
and I was in the early days of
my first assisting job.
My life had been changed by
food when I was 13 years old. My
parents had sent me to stay with
a family in Paris for the summer
holidays and, among other things
(most notably my first fumbled
kiss), food had played a big part
64-65_FORTNIGHT_192 ER/MB.indd 64
of my trip. I was hopelessly

seduced by the street market in
the Rue Mouffetard in the 5th
Arrondissement near to where the
family I was lodging with lived. Id
never experienced anything like
it. I would get up early and wander
all morning among the stalls with
my camera. I happily whiled away
hours, drinking everything in.
The smell of Gauloises and coffee,
the (then incomprehensible)
banter as the stalls were laid out,
the beautiful rows of vegetables,
the glistening fish, the amazing
looking Poulets de Bresse
still with their heads and legs
attachedI was in heaven.
You have to realise that food
was not fashionable back in the
70s. The explosion of interest and
the profusion of cookery books
had not yet happened. Very few
people could name any chefs, the
idea of programmes about food
being on the telly or the radio was
ludicrous, and the photography

in what cookery books there
were was simply appalling.
There was a food
photographer in the building
I was working in in Kensington.
Occasionally I was sent
downstairs to borrow something
that we didnt have in our
studio. Petes studio was a
strange placethere was always
something odd going on. Raw
chickens being painted with
car oil to make them look like
they were cooked and cigarette
smoke being puffed over them
with turkey basters so that they
appeared as if they had just
come out of the oven. On one
occasion I recall that they were
shooting ice cream, which was
made of dyed instant mashed
potato so that it wouldnt melt
under the hot studio lighting.
Weirdand quite frankly, not
something to aspire to.
o, my picture. I had
somehow found a
Camembert cheese
in London. A proper
Camembert, in its little wooden
box wrapped in paper. There
was a label with a magnificent
heraldic red lion on the box lid.
I had unwrapped the cheese, cut
a slice and smeared it on to a
chunk of bread and put it next to
the box. It was summer. I had a
red and white checked tablecloth
on the table next to my kitchen
window and there was dappled
sunlight everywhere. In my over
excited state I shot a whole roll
of Kodachrome, a ludicrous
extravagance for a skint assistant.
I loved my picture. It was
perfect. I still have one dusty,
scratched frame of it that I
keep safe. I proudly took it in
to the studio to show the two
photographers I was working for.
I popped it on to the lightbox
09/06/2016 15:58
All images Tim Clinch
WHAT TIM
DID THIS
MONTH
As this article is
about a well known food
photographer, Ive been
trying to find some food
photography that would work
in B&W to illustrate it and,
as usual, failing. Ive come
to the conclusion that food
photography simply doesnt
work in monochrome (or at
least, mine doesnt). If any
of you out there have any
examples that you think do
work, Id love to see them!
This months photographer
is, fairly obviously, David
Loftus. As a successful,
working, commercial
photographer, he is possibly
an easy target for all the
art bores out there.
Personally, hes just the sort
of photographer whose work
attracts me. A pro at the top
of his game. Take a look at
his website, it may surprise
you davidloftus.com
65
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The pictures. See what

I mean? Raw ingredients
or anything in a glass are
no problem in B&W. Cooked
food? Couldnt find
anything at all
and handed them a loupe so

that they could see it better and
awaited the praise that would
surely come my way
Its not bloody sharp, was the
first comment, rapidly followed
by: Why did you shoot it with
the lens wide opentheres no
depth of field.
They kept on coming The
cheese looks all messy and oozy,
why didnt you clean it up? The
last two comments were the final
nail in the coffin: It looks too
natural, you should have lit it,
rapidly followed by: Its an OK
snap, but no-ones going to give
you any work with stuff like that.
Years passed. Years in which I
earned my living as a reasonably
successful photographer. Years
64-65_FORTNIGHT_192 ER/MB.indd 65
in which I used flash and studio

lighting every day. Years in which
I played the game. My beautiful,
simple picture of the Camembert
stayed in its little yellow box,
unseen by anyone apart from me.
Then, one day, sometime in
the mid 90s, I bought a magazine
about gardens.
There were some pictures in it
that immediately caught my eye.
Something about them reminded
me of my cheese picture. They
were shot in a way that seemed
natural. Unencumbered by the
dreaded technique. They were
beautiful, simple and stunning.
I showed them to some
photographer friends of mine. To
say that they were sniffy about
them is the understatement of
the decade. He doesnt know

what hes doingwas the gist of
it, implying that there was luck
involved. Apparently he had
never been an assistant and had
somehow, according to the great
and good, failed to learn his
trade or pay his dues.
I started to search out more
of this guys work. Among other
things he was shooting food.
No-one was shooting food! And
certainly not like him. It looked
like he was using (whisper it)
daylight! I loved his pictures. I
knew, instinctively that he was
right, and have loved his work
ever since.
Ultimately, and to my mind,
absolutely correctly, he had the
last laugh and is now a hugely
successful photographer. He is
David Loftus. You will know
him as the man who shoots all of
Jamie Olivers books. But there is
so much more to him than that.
Like all the best photographers
he is not a specialist travel,
portraits, still life all shot with
his distinctive style.
So, thank you Mr Loftus. You
changed things for me. Not only
by taking beautiful pictures,
but also by getting your work
published, by persuading clients
that the way you do things
looks good, and allowing me the
freedom I always longed for but
didnt have the courage of my
convictions to follow through.
I would not be shooting the way
I do today were it not for you.
09/06/2016 15:58
F E AT U R E
All images Jodie Hulden
60-SECOND EXPOSURE
Artist Jodie Hulden is fascinated by the Japanese concept of wabi sabi
and prefers to shoot intimate landscapes rather than grand vistas. She talks
to Tracy Hallett about car accidents, dusty furniture and following your heart.
I took up photography because

Despite a degree in art, I never
found a medium to convey my
true passions until I discovered
photography. My introduction
came via my father who had a
darkroom where he developed
pictures of car accidents he
took during the course of his
work as a claims adjuster.
Watching these pictures come
to life was fascinating.
Tell us about your favourite
photographic themes.
I consider myself a landscape
photographer because I love
nature and wilderness, but
my landscapes are intimate
rather than grand vistas. I also

love photographing objects
that are disintegrating: wilting
flowers, decrepit buildings,
dusty furniture. The Japanese
concept of wabi sabi [embracing
transience and imperfection] is
important to me.
Name one item that every
photographer should own.
I rarely take a serious picture
without a tripod. I know
photography can be freeing
and spontaneous without one,
but using a tripod slows me
down and allows me to be more
deliberate and thoughtful about
my picture making.
Whats the biggest risk you have

taken as a photographer?
Several years ago I was set an
assignment to pick a location
and shoot it every day for three
months. If I missed a day I had to
start over again. It forced me to
set aside some of the things that
had hampered me in the past:
shyness, embarrassment, fear of
failure and a lack of confidence.
When I completed the project
I could say with true conviction
that I was a photographer.
Do you have a photographic habit
that you wish you could shake?
I struggle to get out of bed before
dawn. Ive done it many times,
and I know how exhilarated I feel

once Im out there taking
pictures, but I would like to be
a more consistent early riser.
Who has been the greatest
influence on your photography?
Many photographers including
Alfred Stieglitz, Ansel Adams,
Edward Weston and Minor
White have influenced me, but
the most inspirational of all has
to be George DeWolfe. I once
completed a mentorship with
George and he helped me to
develop the contemplative side
of my photography.
Tell us about a photographic
66
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Rocks and Old Oak.
66-67_SIXTY_SECONDS_192 ER/MB.indd 66
Seeing Silence.
16/06/2016 11:44
67
B+W
Heavens Gate.
opportunity you have missed.
A few years ago I took a tour of
southern Italy, which included
a stay in Naples. The city is
full of wonderful architecture,
bustling streets and interesting
people. Our guide told us not to
tempt thieves by using expensive
equipment and to shoot with
mobile phones or point-and-shoot
compacts instead. I followed
the advice and missed many
opportunities as a result.
What has been your most
embarrassing moment as
a photographer?
During a trip to Yosemite I joined
several photographers shooting
the Tunnel View at sunset. I use
a right-angle L bracket and as
I turned my camera from a
horizontal position to a vertical
one I discovered that it wasnt
attached properly when it fell to
the ground. The camera was OK,
but the lens wasnt. My fellow
photographers were quick to
66-67_SIXTY_SECONDS_192 ER/MB.indd 67
Morning Fog.
sympathise, but I was pretty
embarrassed by the incident.
Tell us your favourite
photographic quote.
To gain your own voice, you have
to forget about having it heard
American poet Allen Ginsberg.
What, in your opinion, is
the greatest photographic
discovery of all time?
The 35mm SLR enabled huge
numbers of people, including
myself, to take up photography and
for that it should be celebrated.
What would you say to
your younger self?
Make art a priority in your life:
go to museums, exhibitions
and galleries. Read poetry and
notice how it deepens your art.
Pay special attention to art that
makes your heart stop and your
mind go still.
Which characteristics do you
need to become a photographer?

To be a good photographer you
need to think and feel deeply
about life, because you cant
be creative without a profound
reverence for living.
Tell us one thing that most
people dont know about you.
Before I earned my art degree
I studied Asian philosophy
and Chinese for three years.
What is your dream project?
I would love to be an artist-inresidence at one of the national
parks in America. It would be
great to spend a serious amount
of time alone, reflecting on the
landscape, before devoting myself

to photographing it.
What single thing would
improve your photography?
I tend to let the busyness of life
get in the way of making pictures,
so it would help if I set time aside
each week to shooting, processing
and printing.
If you hadnt become a
photographer, what would
you be doing right now?
When I took up photography
in the 1970s I was a teacher.
I still made art, so I guess I would
have been an artist, just in a
different medium.
PROFILE
California-based Jodie Hulden earned a degree in art at San Diego State

University, working primarily in textiles and producing artist books. She
turned her attention to black & white photography in the 1970s, switching
from film to digital in 2001. Jodie has won numerous awards for her work
and has exhibited prints throughout San Diego and California.
To see more of Jodies work visit jodiehulden.com.
16/06/2016 11:44
TECHNIQUE
timclinchphotography.com
THE SMART GUIDE

TO PHOTOGRAPHY
This month Tim Clinch takes a new slant on things and, instead of
recommending a brand new app, he suggests that you stick to the one
you know and love. Its good advice from someone whos tried them all
t was the three emails that came into my

inbox this morning which made me
realise that things are changing. They
were all emails from companies that
made apps for mobile photography,
announcing that they were closing down.
Any regular readers of this column will
know that Ive been struggling to find new
apps to recommend for quite a while. Not
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68-69_SMART_GUIDE_192 ER/MB.indd 68
because there arent any there are still a

depressing amount being announced every
week but because we dont need them.
So when the phone call from the editor
came, suggesting that we change the
direction of this column slightly, I was
delighted. I am passionate about mobile
photography. It is fantastically enjoyable,
great fun, and I can genuinely say that
nothing has pushed my creative

boundaries more in years.
The thing about it is, even though
we call it mobile photography or
iphoneography or whateverit is just
photography. The basic rules and
guidelines are exactly the same as pretty
much any other form of photography. The
phrase common sense, much used by my
dear old mum, is not much in vogue these
days, but thats pretty well what you need
rather than a bunch of shiny new apps.
I recently went on a three-week trip
through Spain and Portugal and, just to
see if it could be done, shot the whole trip
only using my iPhone. It worked, and the
results are great (I have just had some A3
prints made and theyre beautiful) but also,
having what is basically a point & shoot
camera with a medium wideangle lens
with me the whole time has affected the
way I shoot. No zoom. No telephoto
What I find is that it makes me work
harder and I think more. I have to use
what I always say is the most important
piece of kit that any photographer possess
(my legs) a whole lot more. Yes, I miss a few
shots, but I get a whole lot more than I
normally would as well. It gives me more
confidence. If I find that a shot isnt working
I move on, confident that my iPhone will
always be in my pocket and that I will see
something that will work just around the
next corner.
There is a man I urge you to check out
(Google him and look for him on YouTube).
His name is Jack Hollingsworth. He is a
professional photographer from Houston,
Texas, and has become something of an
iPhone guru. His philosophy pretty much
sums up how I feel about things. He says:
I am a professional photographer by
commerce and an amateur photographer
by passion. He also comments: Life is
complicated. Mobile photography
shouldnt be.
I take pictures with my phone every day.
LOTS of pictures. Ive cleared all the apps
that I downloaded for review purposes
and now have just two Snapseed and
Hipstamatic. Thats it, and of these two
I use Snapseed around 85% of the time.
Its a processing app and you need one.
I repeat, you need ONE. There are lots to
16/06/2016 11:45
All images Tim Clinch
69
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choose from, but get one and learn how

to use it and what it can do.
Next step is to shoot. Shoot lots. Shoot
often. Shoot things you love. Shoot things
you dont feel comfortable with. If you love
landscapes, shoot some still life. If you love
still life, shoot some portraits. Get out of
that comfort zone.
Then do something with your pictures.
Explore the world of social media. Get
some prints done, make stories and
slideshows, show us your work. Ill be
dealing in depth with all this in the coming
months and (wags finger firmly) I expect to
see some results!
And to sign off, I think I owe you all an
apology. When I started this column, in an
attempt to tell you all about how great I
think mobile photography is, and in order
to show you what you could do with all
these apps that I was reviewing, I seem to
remember using an app (which shall
remain nameless) that had a little button
called Add Birds. Once activated, a series
of different birds appeared, as if by magic,
in the sky on your picture.
Good grief! What was I thinking?
68-69_SMART_GUIDE_192 ER/MB.indd 69
THE PICTURES
This month the pictures were all taken in the sadly neglected, but hauntingly
beautiful, Preobrazhenski Monastery near my home in central Bulgaria. They
(hopefully) illustrate what Ive been trying to say in the main text. Although they
were all taken on my phone and developed in Snapseed, they are not mobile
photographs, they are simply photographs. And I rather like them
09/06/2016 16:00
INSPIRATION
SMARTSHOTS
The one
on camera you always have with you is on your phone, and we want to see the
picture
pictures you take when the moment is right and you cant resist a shot. We have three
Class 10 EVO 32GB MicroSD cards to give away each month. With a grade 1
transfe speed of up to 48Mbs, each MicroSD card also comes with an SD adapter
transfer
meanin its compatible with both your smartphone and digital camera.
meaning
MARTIN BRUNTNELL
70
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WINNER
ANN RICHMOND
70-71_SMARTSHOTS_192 ER/MB.indd 70
MARK TIPPING
16/06/2016 11:46
WINNER
ADRIAN SHAW
WINNER
SIBILLA FANCIULLI
71
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SEND IN YOUR PICTURES

By post on a CD to Black+White Photography, GMC Publications Ltd,
86 High St, Lewes BN7 1XN; by email to anna.evans@thegmcgroup.
com; by Twitter at twitter.com/BWPMag. Please send hi-res images
if you are submitting via Twitter we will contact you for hi-res.
70-71_SMARTSHOTS_192 ER/MB.indd 71
BRIAN LLOYD DUCKETT
www.samsung.com/
memorycard
09/06/2016 16:00
YOUR B+W
PORTFOLIO
We want to see the very best monochrome work on the pages of

Black+ White submit your images and if they are published you win
50-100 worth of FOTOSPEED inkjet papers. Turn to page 84 for full details.
72
B+W
All images David Jordan
72-75_PORTFOLIO_192 ER/MB.indd 72
16/06/2016 11:48
73
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These pictures were taken in an old plastic tunnel greenhouse.

Full of out of control plants and abandoned gardening equipment,
they were rich in subtle tonality, texture and detail.
DAVID JORDAN
100
DAVIDS KIT
Ricoh GXR Mount A12

Voigtlnder, Zeiss and Pentax M lenses
16/06/2016 11:48
All images Christine Fitzgerald
50
CHRISTINE FITZGERALD
CHRISTINES KIT
Cambo 8x10 camera

Schneider-Kreuznach Xenar 210mm lens
74
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Above Melospiza melodia
Above right Leuconotopicus borealis Below right Canis Lupus
The earth is a tough planet. Everything is in a state of flux it has

always been that way. Mass extinctions have occurred before. They
are not new. The current ongoing event is different. Unlike previous
ones, humans have accelerated the rate of evolution of
life on earth. These images, from a series called Threatened,
combine the past with the present. The future is unwritten.
16/06/2016 11:48
75
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Rangifer tarandus caribou
16/06/2016 11:48
TESTS AND
PRODUCTS
CHECKOUT
Whether you shoot for a living or as a hobby, it is crucial to protect
your expensive gear against theft, damage or loss. Daniel Calder
examines six specialist insurers to see what they offer.
PROTECT YOUR BUBBLE

Best forinsuring phones, tablets, laptops and camera kit
P
GLOVER & HOWE
76
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Best forphotographers in search of a no-claims bonus
Glover & Howe

have been insuring
amateur, semi-pro
and professional
photographers for more than
40 years. The Amateur policy
insures against equipment theft,
damage and loss, as well as
generously including worldwide
cover for any number of trips
lasting less than 60 days.
The Semi-Pro and
Professional policy offers the
chance to pick and choose
additional cover such as Public
Liability, Employers Liability
and Professional Indemnity.
Travel wise, the Pro policy
has three progressively more
expensive options to choose
from: UK + 20 days worldwide,
Europe + 20 days worldwide or
worldwide unrestricted.
The online quotation process
is slightly more involved than
most, requiring you to list any
item, with serial number, worth
more than 300 for Amateur or
600 for Pro. Premium prices
for 6,000 of equipment are
competitive but the policy
excess is on the heavy side at
10% of the claim starting at 50
and rising to 150 for Amateur
and 250 for Professional.
However, if you earn some
money from photography but
dont need liability or indemnity
insurance you can pay as little
as 110.81 on the same amount
of equipment. Glover & Howe
also offer a no-claims bonus
up to a 15% discount for loyal,
trouble-free customers.
INFORMATION
rotect Your Bubble

provides insurance for
a specific number of
gadgets (from phones
and tablets to cameras and
lenses) instead of the overall
value of your equipment.
Generally speaking, if you have
a small amount of expensive kit
youll be getting the best value
from this policy.
There is one major drawback
though, and that is for any
item to be insured it must be
purchased new and be less than
three years old. Still, worldwide
cover is included as standard
and all items are covered for
theft, damage and mechanical
breakdown. Professionals will
need to look elsewhere though,
or take out a separate policy if

Public Liability or Professional
Indemnity is required.
The Gadget policy is best for
three items or less, which offers
a 10% discount for two gadgets
and 15% discount for three.
As a guide, the Canon EOS 5D
Mk III + 25-105mm lens will cost
14.99/month (179.88/year).
However, theres better value
to be found by taking out the
Household policy, which covers
four gadgets at 12.99/month
(155.88/year). Each additional
gadget up to 10 costs an extra
3/month. Loss cover is an
additional 1-1.50/month, but
the excess is very low, starting
at 25 for camera gear and
rising to 75 for laptops.
INFORMATION
Amateur guide price 150.85/year
Guide price 155.88/year (Household gadget insurance)
Includes 6,000 of equipment, UK + 60 days worldwide cover,

with in-vehicle cover, 10% (min. 50, max. 150) excess
Includes Four items of equipment, worldwide cover,

with in-vehicle cover, no loss cover, 25-75 excess
Professional guide price 231.82/year
Five items guide price 191.88/year
Includes As above, UK + 20 days worldwide cover,

Personal Liability and Professional Indemnity,
10% (min. 50, max. 250) excess
Contact protectyourbubble.com
Contact gloverhowe.co.uk / 0845 602 3866
76-79_CHECKOUT_192 ER/MB.indd 76
09/06/2016 16:03
INFOCUS
Best forprofessionals with less than 5,000 of equipment
I
AADUKI MULTIMEDIA
Best forsemi-pros with no need of liability or indemnity insurance
aduki multimedia
insurance enables
your equipment to be
covered in a matter of
minutes thanks to a simple and
efficient online form. Very little
information is required and only
items over 1,000 need to be
listed with the insurer. You start
by inputting how much photo/
video/lighting equipment you
have to insure and then how
much of that equipment needs
to be covered away from the
premises. This is important,
as you can save substantial
amounts on the premium by
leaving unnecessary kit at home.
You can also add computers
and laptops at this point.
If you earn any money at
nfocus photography
insurance is geared
towards the professional
photographer. There are
two ready-made policies to
choose from: Basic (199/
year) and Standard (299/year).
Both policies offer Professional
Indemnity, Public Liability cover
and worldwide travel cover. If
youre a pro who owns less
than 5,000 of kit then the
Basic option is terrific value,
but if you own over 5,000 of
gear then the Standard policy
premium is less attractive,
unless you want to insure
your business contents and
computers as well.
Infocus also provides Crisis
Containment for both policies
(access to a PR firm if things

go spectacularly wrong), and
the ability to add commercial
legal expenses and personal
accident insurance to the policy.
There is an option to create
your own policy online, which
uses a lengthy step-by-step set
of questions to provide a quote
for amateurs and professionals
alike. This allows you to tailor
the policy to your requirements
by selecting the cover you
need. Unfortunately, its slightly
confusing and provides little
information on what youre
actually being covered for.
This is strange, because the
rest of the site is well designed
with some handy short videos
explaining the jargon.
all from photography you will

need to take out a Professional
policy. The Amateur policy costs
157.83/year to cover 6,000 of
equipment, with a generous 60
days worldwide travel included.
Public Liability, Employers
Liability and Professional
Indemnity can all be selected
individually on the Professional
policy, but each one raises the
premium significantly.
However, if you dont need
any liability or indemnity
insurance then insuring 6,000
of equipment is cheaper than
the Amateur cover, coming in at
a remarkable 82.27/year. The
only drawback is the fairly high
excess of 150 with an additional
50 for claims outside the UK.
INFORMATION
77
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INFORMATION

with in-vehicle cover, 150 excess
Includes 6,000 of equipment, worldwide cover, with in-vehicle

cover, crisis containment, 200 excess
Includes As above, Personal Liability and

Professional Indemnity
Includes As above, with turnover of less than 50,000,

Personal Liability and Professional Indemnity
Contact aaduki.com / 01837 658 880
Contact infocusinsurance.co.uk / 0161 925 5051
JARGON BUSTER
Professional indemnity (PI)
Otherwise known as professional liability
insurance, this protects you against claims
of negligence, misrepresentation and failure
to produce work of a professional standard.
Public liability (PL)

Otherwise known as personal liability
insurance, this protects you against damage
caused to persons or property
as a result of your own negligence.
Employers liability (EL)

This protects you against legal liability
for injury, illness or disease suffered by
an employee in the course of their work
for you.
09/06/2016 16:03
MAMIYA M645
THE PART EXCHANGE SPECIALISTS

ALL TRADE INS WELCOMED
LARGE FORMAT
0 1/4" Wollensak Apochromatic Raptar

ens - Number B33928
69
0" f8 Gotar Large Lens
149
0.16 inch f9 T/Hobson Copying
79
09mm f6.5 Dallmeyer Wide
59
10mm f5.6 Super Symmar XL
799
25mm f4 Ross of London Wide Angle
Xpress on MPP Panel
79
25mm f6.3 Ensar Anastigmat
59
3 (325mm) f10 Wray Process
99
4 Inch / 356mm Lens + Mount
89
00mm f10 Wray APO LustrarLens 229
6.5 Inch f9.25 W A BrownProcess 149
65mm f9 Weitwinkel Aristostigmat Covers 5x4 + 5x7
125
7 Inch - 430mm f6.8 Ross of London
elecentric Lens
169
84mm f4.5 Wray Lustrar
189
03mm f7.7 Kodak Ektar Lens - Mount
70 - Epsilon Shutter
99
0mm f3.2 Mikrometer Bellows
259
50mm f5.6 Rodenstock Imagon Lens with
X Discs
495
" Inch (76.2mm) Dallmeyer
30
80mm (15 Inch) f5.6 Wollensak Graflex
ele Optar Lens
399
" f16 Aldis Anastigmat Lens
89
00mm f10 Wray Process
229
25mm f6.8 Ross Telecentric Lens 369
2mm f2 Leitz Summar Lens
for Macro Work
399
1/2 " (137mm) f6.5 Dallmeyer Wide
Angle Anastigmat Lens
69
inch (125mm) f4.5 Aldis Butcher
Anastigmat Non Coated Lens
49
1/2" f6.5 Dallmeyer Anastigmat
59
5mm f8 Sch Repro Claron
119
1/2 Inch f6.5 Watson + Sons Holostigmat
ens with Mount
89
2mm f5.6 Sch Super Angulon XL 899
1/2 inch f4.5 Ilex Paragon Anastigmat
eries 8 on Ilex No 4 Shutter
169
(200mm) f4.5 Dallmeyer Serac
109
1/2" f9 T/Hobson Cooke Apotal
89
Dallmeyer f.3" Lens -covers 5x4
30
2mm f5.6 Super Angulon XL
899
5mm f4.5 Grandagon N
1100
5mm f4.5 Tominon Lens With Polaroid
elf Cocking Shutter
169
5mm f5.6 Sch Super Angulon
399
5mm f8 Sch Super Angulon
299
9mm f6.3 Wray Anastigmat
99
499
0mm f6.8 Angulon Lens - DB Mounted Covers 5x4
139
499
0mm f8 Sch Super Angulon Lens on
inar DB Panel
199
0mm f8 Sch Super Angulon
399
00mm f2.8 Pullin Pulnar With Copal
ress I Shutter
119
00mm f4 Sinar Digital HR
1200
00mm f5.6 Sch Symmar S
199
20mm f5.6 Sch APO Symmar
399
20mm f8 Sch Super Angulon + Prontor
rofessional 01 Shutter
529
35mm 5.6 EL Nikkor+MP4Shutter 199
35mm f10 Boyer APO Saphir
89
35mm f5.6 EL Nikkor on Shutter
299
35mm f5.6 Fuji Fujinon W
299
35mm f5.6 SchSymmar + Shutter 129
50mm f4.5 Carl Zeiss Tessar
150
50mm f5.6 R/stock Sironar N
299
50mm f5.6 Symmar Linhof
229
299
199
50mm f5.6 Sch APO Symmar
249
50mm f5.6 Schneider Symmar Dual
ength Lens
199
50mm f9 Helioprint -No Shutter
49
50mm f9 Konica GRII Covers5x7" 109
50mm f9 Repromaster
109
50mm f9 R/stock Apo Ronar
259
80mm f5.6 Schneider Symmar
299
80mm f12.5 Rare Schneider Wide Angle
Daaykar Lens
189
80mm f4.5 CZ Jena Tessar
89
279
80mm f4.5 Mamiya Sekor
n Linhof 6x9cm Panel
219
80mm f4.5Rodenstock Rotelar
299
80mm f5.5 Linhof Tele Arton
239
80mm f5.6 RodenstockSironar
199
199
269
80mm f5.6 Schneider Symmar S
ens on DB Mount
169
80mm f5.6 Schneider Symmar S
with Prontor Pro Shutter
399
80mm f5.6 Sch Tele Arton
229
199
10mm f5.6 APO Sironar Lens
799
499
249
10mm f5.6 Sironar N Lens With Compur
Shutter- LinhofTested
199
10mm f5.6 Sch Symmar electric
199
229
399
199
10mm f5.6 Schneider Symmar, Electronic
hutter
219
10mm f6.3 Osaka Commercial Lens Covers 5x4
220
Claron Lens
149
210mm f8 Staeble Ultragon

169
210mm f9 Agfa Super Intergon
59
210mm f9 Konica HexanonGRII 199
210mm f9 Schneider G Claron
129
210mm f9 Schneider Kreuznach Repro
240mm f5.6 Rodenstock
Sironar N Electronic
399
240mm f5.5 SchTele Arton
299
240mm f5.6 Nikon Nikkor W
599
240mm f5.6 R/stock Caltar II N
399
419
599
499
249
399
499
240mm f9 Graphic Kowa Lens
169
240mm f9 Nikon APO Lens
199
240mm f9 APO Ronar Copying
79
240mm f9 Rodenstock APO Ronar 149
270mm f11Schneider G Claron
299
270mm f5.5 Sch Tele Xenar
339
499
399
300mm f5.6 Schneider
399
299
300mm f5.6 Schneider Symmar Lens in
Compound Shutter
249
399
499
300mm f5.6 Schneider Symmar S Lens in
Copal 3 Shutter
399
300mm f5.6 Schneider Symmar S +
Compur 3 Shutter - Linhof T
469
449
300mm f9 Cooke Apotal Process 169
300mm f9 Nikon APO Nikkor
299
300mm f9 R/stock APO Ronar
299
325mm f10 Wray Lustra Process 99
360mm f5.5 Sch Tele Xenar
249
360mm f8 Nikon ED Nikkor
899
360mm f9 Apo Nikkor Barrel
299
480mm f9 Apo Nikkor Barrel
399
HASSELBLAD
CZ135mm f5.6 SPlanar Bellows 349

CZ 150mm f2.8 Sonnar F 2000
400
120mm f4 CF CZ MacroPlaner
899
120mm f4 CF CZ MacroPlaner
799
120mm f5.6 S Planar CZ Lens
399
135mm f5.6 CZ S C *T coated
550
140-280mm f5.6 Varigon CF Schneider
Zoom lens
2299
140-280mm f5.6 Varigon F 2000 1699
150mm f2.8 Kiev lens 2000 fit
500
150mm f4 C T* Lens
289
150mm f4 CZ Sonar C *T
449
150mm f4 CZ Sonnar C T*
389
150mm f4 Sonar CF Lens
899
150mm f4 Sonnar C Chrome
349
150mm f4 Sonnar CF Black
699
250mm f4 T* Tele Tessar 2000FC 599
250mm f5.6 *T Sonnar C
429
250mm f5.6 CZ C Sonnar
299
250mm f5.6 CZ CF Sonnar
1099
250mm f5.6 Sonnar CF
799
350mm f5.6 Tele Tessar C
999
40mm f4 Distagon CF T*Lens
1499
500mm f8 Tele Tessar Lens
1100
50mm f2.8 Distagon F-2000FC
749
50mm f4 CZ Distagon Black~AsSeen199
50mm f4 CZ Distagon C F
699
50mm f4 CZ Distagon C T*
499
50mm f4 Carl Zeiss Distagon
199
50mm f4 CZ Distagon T*
249
65mm f3.5 2000 Series fitLens
399
90mm f4 lens for X-Pan
679
500 C Body With Screen
130
500 EL Chrome Body
199
500 EL Converted to 500 ELM
239
500 EL/M Chrome Body
229
500 ELM Body, Batt + Charger
249
Hasselblad 553 ELX +WLF
499
Hasselblad Flex Body
with Accessories and Case
1899
SWC + Superwide 38mm f4.5 Biogon +
A12 + Viewfinder
1499
MAMIYA RB
127mm f3.8 Sekor C Lens

199
140mm f4.5 Sekor C + Ext Tube 2499
150mm f3.5 Sekor KL + Hood
399
150mm f4 Sekor SFC + 2 Discs 279
150mm f4 Sekor SFC + 3 Discs 389
99/129
199
180mm f4.5 Sekor KL L-A Pro SD 539
250mm f4.5 C Lens
179/199
360mm f6.3 Mamiya Sekor
449
360mm f6.3 Sekor C lens
475
500mm f8 Sekor C Lens with Solid Ali
Case, Bracket and Lenshood
1100
50mm f4.5 Sekor C Pro S Lens
259
65mm f4.5 Sekor C Pro S Lens
249
RB 67 + 90mm f3.8, WLF
+ 6x4.5 Back + WLF
279
Mamiya RB 67 Body
69
RB 67 Body - No Focussing Screen89
RB 67 Pro S Body + Focussing Screen +
Revolving Adapter
189
RB 67 Pro SD Body & WLF
499
RB 67 Pro SD Body & WLF
249
RB 67 Pro SD Body + 127mm f3.5 KL,
WLF & 6x7cms Back
699
RB 67 Pro SD Body + 90mm f3.5KL, WLF
& 6x7cms Motorised back
869
BRONICA ETR
65mm f4 RF Zenzanon Lens

199
105mm f3.5 Zenzanon E
255
150mm f3.5 Zenzanon E Lens
269
150mm f3.5 Zenzanon E MKI
129
150mm f3.5 Zenzanon Lens
169
150mm f3.5 Zenzanon MC Lens 155
200mm f4.5 Zenzanon MC lens
299
ETR 2x Teleconverter E
199
50mm f2.8 Zenzanon E MC Lens 199
50mm f2.8 Zenzanon PE Lens
255
75mm f2.8 MKI ETRS Lens
75
Bronica ETR Body - No Wind On Lever or
Screen
79
ETRC + 75mm f2.8 EII Lens, Plain Prism
E + Fixed 6x4.5 Film Back
219
Bronica ETRC Body
99
Bronica ETRS + 75mm f2.8 PE Lens,
WLF, 6X4 Back & Speedgrip E
449
Bronica ETRS + 75mm f2.8, Plain Prism
Finder E, Motordrive E + Back
299
ETRS 150mm f3.5 PE Zenzanon 239
Bronica ETRS Body + WLF
159
Bronica ETRS Body with Focussing
Screen and Wind On Lever
139
Bronica ETRSi + 75mm f2.8 EII Lens, Grid
Screen, Plain Prism E, 6x4.5 Film Back +
Speedgrip E
425
Bronica ETRSi + 75mm f2.8 EII, 6x4.5
Back and Rotary Finder
479
Bronica ETRSi + 75mm f2.8 PE Lens +
Plain Prism - NO Back
299
Prism Finder E - NO Back
299
Prism Finder E - NO Back
299
Bronica ETRSi + 75mm f2.8 PE Lens, AE
III Prism + NEW 6x4.5 Back
550
Bronica ETRSi + 75mm f2.8 PE Lens,
Plain Prism + Polaroid Back
359
ETRSi 150mm f3.5 PE Zenzanon 219
ETRSi 75mm f2.8 Zenzanon
129
ETRSi Body + WLF
199
MAMIYA RZ
RZ 127mm f3.8 Lens

199
RZ 140mm f4.5 M L A Macro M Floating
Element Lens
349
Mamiya RZ 140mm f4.5 M L A Floating
System Lens + Auto Extension Tubes No
1 + No 2
599
140mm f4.5 Sekor Z Macro
399
150mm f3.5 Sekor Z Lens
199
180mm f4.5 Sekor WN Z Lens299
180mm f4.5 SW Sekor Z Lens359
210mm f4.5 APO Sekor Z
399
250mm f4.5 Sekor Z Lens
450
250mm f4.5 Z Lens
419
350mm f5.6 Sekor Z APO
999
360mm f6 Sekor Z Lens
499
360mm f6 Sekor Z Lens
1099
37mm f4.5 W Sekor Lens
550
RZ 50mm f4.5 ULD - M Floating Element
Lens
499
RZ 67 Body with WLF
299
RZ 90mm f3.5 Sekor Z Lens
169
Mamiya RZ67 MK I + 90mm f3.5 Lens,
WLF + 6x7 Back
595
RZ67 MK I Body + 127mm f3.8 Lens, WLF
+ 6x7 Back
550
RZ67 MK I Body +WLF + 6x7 Back399
RZ67 Pro II + 110mm f2.8, WLF and 6x7
Back
1099
Mamiya RZ67 Pro II + 110mm f2.8, WLF
and 6x7 Back
899
PENTAX 67
200mm f4 SMC Takumar Lens

329
135mm f4 SMC Macro Lens
249
150mm f2.8 + case
199
165mm f2.8 SMC
349
165mm f4 Leaf Shutter + case
569
35mm f4.5 SMC FISHEYE Lens
399
500mm f5.6 SMC Lens
1649
75mm f4.5 Lens inc Case
499
75mm f4.5 SMC Takumar Lens
399
800mm f6.7 EDIF SMC M Lens
4999
Pentax 67 Body + 105mm f2.4 Lens +
Plain Prism
599
67 Body + Plain Prism
+ Polaroid Back
399
Pentax 67 fit 300mm f4 MKI
299
Pentax 67 fit 75mm f4.5
399
67 MK I + 75mm f4.5+ Prism
738
BRONICA SQ
105mm f3.5 Zenzanon S Lens

349
150mm f3.5 S Lens
229
150mm f3.5 S Zenzanon Lens
329
150mm f4 Zenzanon PS + Case 369
200mm f4.5 S Lens
249
200mm f4.5 Zenzanon PS
519
50mm f3.5 Zenzanon PS LENS
499
299
379
135mm f4 PS Zenzanon Lens
299
Bronica SQ AM Body Only
215
Bronica SQ B + 80mm f2.8 PS Lens, 45
Degree Prism + 6x6 Back
459
Bronica SQ Body
(no Screen or Wl Finder)
119
M645 + 70mm f2.8 Leaf Shutter , Plain

Prism + 6x4.5 Back
449
145mm f4 Sekor SF Lens
549
150mm f2.8 A Lens
299
150mm f3.5 Leaf Shutter Lens
549
169
150mm f3.5N Lens
199
200mm f4 Sekor C Lens
189
210mm f4 Sekor C lens
185
210mm f4 Sekor N C + Hood
199
259
50mm f4 Sekor C Shift Lens
399
55-110mm f4.5 Zoom lens
359
55mm f2.8 Sekor N Lens
169
FUJI
100mm f4 GXM EBC Lens

349
125mm f5.6 EBC Lens + Case
499
135mm f5.6 GX Lens + Case
399
180mm f5.6 GX Lens + Case
339
Fuji GX680 IIIS with 100mm 6x8cms back
+ waist level finder
999
GX680 MKI body with WLF
399 ,
Fuji GX680 MKI +WLF, 120 Back, 6x8cms
125mm f5.6 GX+charger 749
OLYMPUS
Pen EE S Half Frame Camera

59
Pen EE-3 Half Frame Camera + Case89
Pen F FT + 38mm f1.8 S - Half Frame
Camera
199
Pen F + 50-90mm f3.5 Zoom Lens - Half
Frame Camera
319
Pen F Body - Half Frame Camera 129
Pen S Half Frame Camera
49
100-200mm f5 Zuiko
55
100mm f2.8 E Zuiko Auto T
149
100mm f3.5 E Zuiko Auto T
Pen F Lens
139
100-200mm f5 Lens
49
135mm f2.8 Zuiko Lens
169
119
135mm f3.5 Auto T Zuiko
40
135mm f3.5 E Zuiko Lens
39
+ Macro 65-116 Zoom Tube
489
135mm f3.5 Zuiko for OM FTL
99
200mm f4 Zuiko Lens
79/115
200mm f5 T F Zuiko
69
24mm - 48mm f4 Zuiko Lens
89
28-48mm f4 Zuiko Mini Zoom
99
28mm f2.8 Zuiko Auto W
49
28mm f2.8 Zuiko + Hood & Case
89
59
28mm lens for IS1000 IS/L
79
2X - A Converter - with Case
99
35-70mm f3.5/4.5 S Zuiko
139
35-70mm f3.5/4.5 S Zuiko
79
Olympus 35-70mm f3.6 Zuiko
119
50mm f3.5 Zuiko MacroLens
169
65-200mm f4 Lens
69
75-150mm f4 Zuiko Lens
55
75-150mm f4 Zuiko + Case
75
80mm f4 Lens with Macro Close Up Filter
+ Auto Ext Tube
469
PENTAX PK
Pentax 200mm f4 SMC PKM

49
28-105mm f4-f5.6 SMC FA Autofocus
Power Zoom Lens
99
28-50mm f3.5/f4.5 SMC PKM
79
28-80mm f3.5-4.5 SMC PKA
59
2X L Converter With Case
169
300mm f4 SMC PK - Rare
279
35mm f2.8 PKM Fit Lens
79
40-80mm f2.8/f4 SMC PKM
69
50mm f1.7 SMC PKM Lens
49
50mm f2 SMC PKM Lens
30
70-150mm f4 SMC PKM
49
70-210mm f4 SMC PKA
59/89
75-150mm f4 PKM Lens
59
80-200mm f4.5 SMC PKM
59
80-200mm f.5 SMC PKM
89
CANON
A1 + Tamron 28-80mm f3.5/f4.2

99
A1 + Vivitar 28-70mm f3.5/f4.8
119
FT QL + 50mm f1.8 FL Lens
189
Canon RM Body
99
Canon T50 Body
49
T70 + 50mm f1.8 Canon FD + Case99
Canon 100-200mm f5.6 FD
49
Canon 100-200mm f5.6 FD
59
Canon 100-300mm f5.6
179
Canon 100mm f4 Macro FD Lens +
Extension Tube FD50
169
Canon 135mm f2 FD Lens
479
135mm f2.5 FD Breechlock
149
135mm f2.8 FD Lens
99
135mm f3.5 FD Lens
49
135mm f3.5 FD - Boxed
129
Canon 135mm f3.5 FD Lens - Leica M39
Rangefinder
169
135mm f3.5 FL Lens
45
200mm f2.8 FD Lens
129
200mm f4 Breechlock Lens
59
200mm f4 CFD Lens
49/89
28mm f2.8 FD Wide Lens
49
2x Teleconverter Type A
49
300mm f4 FD Lens
179
Canon 300mm f5.6 FD lens
129
35-105mm f3.5 FD Lens
129
35-105mm f3.5 FD Lens
+ BW 72B LensHood
159
35-105mm f3.5/4.5 FD Lens
79
35-70mm f3.5 f4.5 AF for T80
30
35-70mm f3.5-f4.5 FD
40/55
35mm f3.5 Lens - Breechlock
55
50mm f1.8 SSC Breechlock
99
50mm f3.5 Macro + Tube FD25
119
70-150mm f4.5 CFD Lens
45
70-210mm f4 CFD Lens
49/89
75-200mm f4.5 AC for T80
39
80-200mm f4 Breechlock
149
80-200mm f4 SSC Lens
139
80-200mm f4 Zoom FD
169
85mm f1.8 FD Lens
179
Auto Extension Tube Set
79
Extender 2X - A Converter
89
NIKON
EL Black Body
89
EM Body
35
F + 50mm f1.4 Nikkor S Lens + Case 359
F Photomic T Body - Chrome
199
F2 Body with Polaroid Back
399
F2 Chrome Body + 50mm f1.8 AI
329
F2 Chrome Body With Plain Prism 199
F2 Photomic + 50mm f1.4 SC + Case399
F2 Photomic Body + DP1 Head
279
Nikon F2 Photomic Pin Register Body with
MD2 + MB1
799
F2AS Photomic Body - Meter U/S 279
F2S Photomic + 50mm f2 Nikkor H 349
F3 + Databack MF14 + MD4 Drive 599
F3 Body + Plain Prism
199
F3 Body with MD4 Drive
269
F3 HP + MD4 Motor Drive
599
F3 HP Black Body + MD4 Motordrive299
F3 HP Body
359
F3 HP Body and Pin Register Back 449
F3 HP High Eyepoint Body
359
Nikon F3 P (Press Body) + MD4 Drive299
F301 Body
49/69
F3P HP Body + MD 4 MotorDrive
299
F4 Body
219
F4S Body + MB21 Grip
279
FG Chrome Body + Tamron
28-70mm f3.5/f4.5 Lens
149
FM Black body
99
FM with 50mm f2 AI Lens
149
FM2 Black Body
119
FM2 Chrome Body
289
FM2 Chrome Body + 50mm f1.8 AIS 269
FTN Nikkormat + 50mm f2 Nikkor AI 169
FTN Photomic Body - Chrome
239
Nikon 105mm f2.5 FCoupled
139
Nikon 120mm f4 Medical Nikkor
+ AC Adapter
1299
Nikon 120mm f4 Medical Nikkor Lens
+ LD2 Battery
1299
135mm 2.8 Nikkor Q F
79
135mm f2.8 Nikkor QC F
129
135mm f3.5 Nikkor AI Lens
139
135mm f3.5 Nikkor F coupled
99
135mm f3.5 Nippon Kogaku Q AI
49
135mm f3.5 Non AI Lens
169
180mm f2.8 AI Nikkor Lens
199
180mm f2.8 Nikkor ED / AIS
549
200mm f4 Nikon Nikkor O F
59
24mm f2.8 Nikkor AI lens
(chipped element)
129
(marked element)
159
28-85mm f3.3/f4.5 Nikon AIS
199
28mm f2.8 Nikkor AI Lens
159
28mm f3.5 AI Lens
139
300mm f4.5 AIS Lens Boxed
399
300mm f4.5 F Coupled Lens
369
229
300mm f4.5 Nikkor P Auto
159
35-105mm f3.5/f4.5 AIS Lens
89/109
35-135mm f3.5/f4.5 AISLens
179
35-200mm f3.5/f4.5 AISLens
155
35-70mm f3.5 Nikkor A1S
169
35mm f2.8 PC Nikkor Shift
279
35mm f2.8 PC Nikkor Shift
299
400mm f3.5 Nikkor AI ED
2000
400mm f5.6 ED AI Lens
279
400mm f5.6 ED AIS Lens
1699
50-135mm f3.5 Nikon AIS
239
Nikon 500mm f8 Nikkor Reflex with
5xFilters & Case
359
500mm f8 Reflex Nikkor
189
55mm f2.8 Micro Nikkor AIS
299
55mm f3.5 Micro Nikkor AI
129
55mm f3.5 Micro Nikkor AI Fit Lens
with PK13 Ring
199
55mm f3.5 Micro Nikkor F Coupled 79
55mm f3.5 PC Micro AI
129
600mm f5.6 Nikkor ED with Filter,
Spare Filter Holder
1299
70-150mm f3.5 Series E
79
70-210mm f4 AIS Series E
149
80-200mm f4 Nikkor A1S
199
80-200mm f4 Nikkor AIS-Tatty
69
80-200mm f4.5 Nikkor AI
99
80-200mm f4.5 F Coupled
89
800mm f8 Nikkor ED AIS
2000
Nikon 8mm f2.8 F Coupled Fisheye
Manual Lens
1999
Nikon TC200 2X Converter A1
69
Nikon TC201 2x A1S
169
Nikon TC301 2x Converter
199
MINOLTA
SRT 101 + 55mm f1.7 MC Rokkor 109

X300 + 35-70mm f3.5 Lens
99
X300 + 50mm f2 Rokkor Lens
79
X500 + 50mm f1.7 + Motordrive 1 159
X700 + 35-70mm f3.5 Minolta lens 139
X700 with Tamron 35-70mm Lens and
Motordrive 1
199
X9 + 35-70mm f3.5/f4.8 Lens
99
XGM + 50mm f1.7 Lens
99
28-85mm f3.5/f4.5
79
100mm f2.5 Rokkor MC
149
135mm f2.8 MC Rokkor SRT
59
135mm f2.8 MD Rokkor
69
135mm f2.8 Rokkor Celtic
55
135mm f3.5 Rokkor QD SRT
40
200mm f4 MD Rokkor Lens
69
200mm f4.5 Rokkor SRT
40
Minolta 28-70mm f3.5/f4.8
59
Minolta 28mm f2.8 Lens
60
28mm f2.8 MC SRT Coupled
55
28mm f2.8 MD Rokkor Lens
69
5-70mm f3.5 MD fit inc hood
99
50mm f1.4 MC Rokkor PG
99
50mm f1.7 SRT or X300 Fit
48
75-200mm f4.5 lens + Case
69
Minolta 50mm f3.5 Macro lens
with 1-1 MD Tube - Rare
199
PRAKTICA PB
B100 + 50mm f1.8 Lens

B200 + 50mm f1.8 Practicar Lens
Pentacon 135mm f2.8 PB Fit
Pentacon 135mm f3.5 PB fit
Pentacon 50mm f1.8 PB
55-200mm f4-5.6 Zoom
70-210mm f4-f5.6 PB fit
80-200mm f4.5 f5.6 Compact
Praktica 135mm f2.8 MC CZ
Praktica 2X Converter
Praktica 55-200mm f4-f5.6
55
65
20
39
25
49
50
29
40
30
45
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078_BW_192.indd 78
6/10/16 10:59 AM
EVERSURE
Best foramateur photographers who want a low premium
versure offer amateur

photographers the
cheapest 6,000 cover
on test and throw in
a couple of added extras as
well. Professionals who need
Public Liability and Professional
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replacement equipment following
a claim and personal accident
cover. Another bonus lies in
the possibility of saving a small
amount of money by selecting
a UK-only policy if youre not
planning on photographing
abroad in the next year.
Getting a quote online
couldnt be simpler. You just
input the total equipment value;
choose the geographical limit

(options of 30, 60 or 90-day
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As mentioned, prices are less
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lead to a heavy penalty if you
own expensive kit.
PHOTOGUARD
Best forpros wanting a low excess and some extra cover
lthough the premium

for insuring 6,000 of
equipment is on the
high side, Photoguard
policies benefit from a very low
excess of 50. The company
also operates a loyalty scheme
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79
pretty flexible with numerous

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of UK cover with 20 days
worldwide, EU cover with 30
days worldwide or unrestricted
worldwide cover. Public
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INFORMATION

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Contact photoguard.co.uk / 0333 004 6555

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Contact eversure.com / 01483 347333
09/06/2016 16:03
80
B+W
COMPETITION
WIN A SOLO EXHIBITION

Have you ever dreamed of having your own exhibition in a top London venue but been put off by the
prohibitive costs, or had difficulty getting your work recognised by gallerists? Now is your chance to win a
solo exhibition at the prestigious gallery at theprintspace in east London,
put together with expert assistance from theprintspace staff to create a
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All you have to do is upload a monochrome body of work (10-20 images)
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80-81_TPS_COMP_192 ER/2/MB.indd 80
16/06/2016 11:54
81
B+W
theprintspace, open Monday to Friday 9am to 7pm, 74 Kingsland Road, London E2 8DL,
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80-81_TPS_COMP_192 ER/2/MB.indd 81
16/06/2016 11:52
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6/15/16 9:57 AM
TESTS AND
PRODUCTS
BW
LOVES
PRODUCT OF THE MONTH
Cool photography gear

in the shops and online
JUPITER 3+ ART LENS
Based on the 1940s Russian lens, this Lomography Art Lens is made in the same
Zenit factory in Russia as the original. Constructed from chrome-plated solid
brass, it features a 50mm focal length and f/1.5 maximum aperture.
499 shop.lomography.com
3 LEGGED
THING TRIPODS
Thre new tripods are now

Three
available in 3 Legged Things
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(Albert, Winston and Leo) are
name
named after great explorers
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av
available individually or
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From 250
3leggedthing.com
THINK TANK SUN SHADE
Perfect for viewing pictures in bright

conditions. Space for 17in laptop or monitor,
with side and back openings for cables.
72
thinktankphoto.com
PANASONIC
LUMIX DMC-GX80
Cool interchangeable lens camera offering

image stabilisation, 4K video and a new
monochrome mode.
509 (body only)
panasonic.com
83_B+W_LOVES_192 ER/MB.indd 83
83
B+W
ROGUE 32IN
COLLAPSIBLE REFLECTOR
Portable reflector that collapses to a third of

its 32in size. The white side incorporates a
neutral, natural white fabric. The silver side is
effective for shaping bright ambient light.
29.95
xpdistribution.com
4V CAMERA STRAPS
New range of stylish leather camera straps

to fit cameras from compacts to high-end
DSLRs. Made from the best Italian leather.
From 72.50 4vdesign.it
NEST HIKER
PHOTO BACKPACKS
The Hiker 60 and 80 backpacks are designed

to carry a CSC or DSLR plus lenses and a
tablet. Available in black or camouflage.
From 69.99
nest-style.com
09/06/2016 16:05
HOW TO GET PUBLISHED IN

BLACK+WHITE PHOTOGRAPHY
Visit our website
84
B+W
YOU CAN NOW SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk
BL ACK+ WHITE PHOTOGR APHY COOL , CREATIVE AND CONTEMPOR ARY
84-85_HOW_TO_192 ER/MB.indd 84
16/06/2016 11:55
LAST FRAME
Do you have a single image that youd like

printed big and hung on your wall? Send
the file to us and you could win just that.
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To advertise on these pages please call RebeccaCamera

on 01273
402823
Museum
44 Museum Street London WC1A 1LY
Pre-owned Leica
Medium / Large & Other Format
27 Rathbone Place London W1T 1JE

Tel: 020 7436 1015
www.apertureuk.com
Nr Mint
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Exc+
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Leica 18mm f3.8 Super-Elmar-M ASPH + hood 6 bit #4088xxx ~hood wear
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Leica 21mm f2.8 Elmarit-M ASPH + hood 6-bit #4068xxx
Leica 24mm f2.8 Elmarit-M ASPH + hood & V/finder #3809xxx
Leica 28mm f2 Summicron-M ASPH + hood 6-bit #3922xxx (boxed)
Leica 28mm f2.8 Elmarit-M ASPH + hood 6-bit #4043xxx (boxed)
Leica 35mm f1.4 Summilux with Specs Version 1 (M3 type; steel filter rim) #1730xxx
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Leica 35mm f2 Summicron + hood & Serie VII UV filter (version III) #2461xxx
Leica 35mm f2 Summicron-M ASPH Silver + hood 6 bit (boxed)
Leica 50mm f0.95 Noctilux-M ASPH Chrome #4310xxx (boxed)
Leica 50mm f1.4 Summilux Chrome #1758xxx
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Leica 50mm f2.4 Summarit-M + hood 6-bit #4318xxx (Complete; boxed)
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Leica 75mm f2 APO-Summicron-M ASPH #4071xxx (boxed)
Leica 90mm f2 APO-Summicron-M ASPH #3932xxx
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1450
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Voigtlander 21mm f4 Color-Skokpar + hood Silver (L39)
Voigtlander 25mm f4 Snapshot-Skopar + hood Silver (L39) with M-Adapter
Voigtlander 28mm f1.9 Ultron + hood Silver (L39) with M-Adapter
Voigtlander 35mm f1.2 Ultron VM II (boxed)
Voigtlander 50mm f1.1 Nokton VM + hood
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240
200
220
290
590
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Leitz 21mm plastic Viewfinder Black
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Leica SF-24D (boxed)
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Leica M6 0.58 TTL Silver #2595xxx
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Leica M4-P Chrome (boxed) ~ 70th Anniversary 1913-1983
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Leica M2 Leitz Eigentum
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Konica Hexar RF with 50mm f2 M-Hexanon ~ All black
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We offer an on-site processing and printing service at Aperture Rathbone Place.

Our C41 colour film processing service for 135 and 120 film with 24 hour turnaround. We also process
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1 - 2 rolls.............................................3
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11 rolls or more................................Free
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21rolls or more................................Free
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PO Box 7045
London
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All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place
For all Hasselblad
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92 B+W CLASSIFIED
AUGUST
2016
BW_192.indd 92
Tel: 020 7242 8681
Tel: 020 7436 1015

Tel: 020 7242 8681
Email: 27@apertureuk.com
www.cameramuseum.uk
6/9/16 4:57 PM
To advertise on these
pages please call Rebecca on 01273 402823
27 Rathbone Place London W1T 1JE
or email
Tel: 020
7436 rebecca.anson@thegmcgroup.com
1015
B+W CLASSIFIEDS
www.apertureuk.com
Camera Museum
44 Museum Street London WC1A 1LY
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COOL, CREATIVE AND CONTEMPORARY

Wolfgang Suschitzky, Dorothy Bohm, Neil Libbert

Editor Elizabeth Roberts

Advertising Sales Rebecca Anson

Publisher Jonathan Grogan

Marketing Executive Anne Guillot

Production Manager Jim Bulley

Subscriptions Helen Christie

(includes postage and packing )

POST YOUR ORDER TO

arlier this year I went, as I always do, to a

Elizabeth Roberts, Editor

The Subscription Department

Black+ White Photography (ISSN 1473-2467) is published

Gian Luca Groppi

This month's cover image

Whats happening in the

08 FROM OUT OF THE DARK

Gian Luca Groppi finds light

Our exhibition of the month

The best photography books

Your guide to photography

Martin Barnes on the innovative

Mark Tipping feels the pull

Kris Sanford talks memory and

FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 84 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK

TESTS & PRODUCTS

46 TEN TOP TIPS

Lee Frost on becoming

Getting away from apps

Vicki Painting on the power

Eddie Ephraums on creating

80 WIN A SOLO EXHIBITION

Your pictures could be exhibited

Your essential guide to buying

Send us your best

Have B+W delivered to your door

Win an image printed and framed

Oscar Rejlander; Mary Rejlander

Black & white photographs of

Panoramic photographers have

Unidentified Young Woman, by Oscar Rejlander

John and Minnie Constable looking

National Portrait Gallery, London

National Portrait Gallery, London

SAVED FOR THE NATION

Portrait Gallery, said: The

about one of Britains great

NEW MCCULLIN BOOK

Lillian Bassman, Edwynn Houk Gallery, New York

Seven European photographers have been commissioned by Sony to

One of Britains most admired

Rare Leica cameras, prototypes,

Canoeist by Stuart Redler, one of the pictures

42nd Street, 1960 Neil Libbert.

oreigners see things

Their objectivity and anonymity led to

of Paris and its post-war

while working for the Sunday

War in Wax, Oxford Street, 1945 Wolf Suschitzky.

created by the photographers,

Grand Central Station 1960 Neil Libbert.

Barron says, I hope visitors will