COOL, CREATIVE AND CONTEMPORARY

NICK HEDGES’ PHOTOGRAPHS

FOR SHELTER, 1968–72

Until 18 January 2015

Free entry
sciencemuseum.org.uk/makelifeworthliving
@MediaSpaceLDN #MakeLifeWorthLiving
South Kensington

Birmingham, January 1969 (detail)

© Nick Hedges/National Media Museum, Bradford Media Space Founding Sponsor

IFC_BW_170.indd 1 06/10/2014 15:31


EDITOR’S LETTER
© Sarah Ketelaars
Elizabeth Roberts, Editor
elizabethr@thegmcgroup.com
facebook.com/blackandwhitephotog
© Luke Finn
LOOKING UP
ON THE STREET
During a walk around Soho,
Luke Finn saw this graphic
composition naturally form in
front of him and his first thought
was to take a picture with what
was to hand: his iPhone. He then
processed the photo using the
Camera+ app.
@Filmick
01_EDS_LETTER/PINBOARD_170 ER/MB.indd 1
e’ve all What projects did I have lined live up to them. So I stopped
W
heard of up? It caused me a sharp intake taking pictures for a whole year.
writer’s of breath and a small pounding And then, when I missed it so
block – it’s of my heart – I had nothing much I couldn’t help myself,
discussed, planned (so uncharacteristic) I started again. But I promised
analysed and that realisation led to bad myself that if ever I found I was
and empathised with, and dreams in which I spent my losing my sense of proportion, or
solutions recommended by time searching endlessly for my comparing my pictures to others
many who have lived through it. camera, only to discover it had – in fact, losing my sense of play
But what about photographer’s been moved, lost, stolen… – I would stop.
block? Does it exist? I had no project, no direction, So my solution to
The answer is, it does exist, no goal. For the first time ever. photographer’s block? – and this
and I think I’ve got it. This might only work for me – is, for
realisation only came to me long time ago, when the time being, to forget projects,
shortly after hanging a small
exhibition in London for
Photomonth in October. A friend
commented that, having done
the exhibition, I was now entirely
A Black+White was first
launched, I would have
world class exhibition
prints on my desk every day of
the week. And I found it daunting
directions and goals and to
simply enjoy taking pictures. Out
of it, things will emerge, I’m sure
of that – but right now, I just
want to have some fun. And who
free to get on with new work. – my own images could never says that can’t be good?
follow us on twitter @BWPMag PINBOARD
© Jean-Baptiste Sénégas
A PHOTOGRAPH WE LOVE
With a penchant for dog photos, we couldn’t resist making Tim Clinch’s
image of Bunny – the puppy he’s recently rescued – our favourite picture
for this issue. You can see more pictures of Bunny on Tim’s Twitter feed.
@clinchpics
© Tim Clinch
01
B+W
COVER IMAGE
This month’s front cover image
is Marie, Torera by French
photographer Jean-Baptiste
Sénégas. Turn to page 80 to see
more of his work in this month’s
60-Second Exposure.
jeanbaptistesenegas.
finegallery.net
MAKING AN
IMPRESSION
With a different image from
his Artisans project printed on
each, Tim Allen has created a
set of stylish business cards that
are sure to get him noticed. His
series won our photo project of
POINT AND SHOOT the month in B+W 165.
Reduced to the essential camera functions, timallenphoto.co.uk
the innovative Leica M Edition 60 camera
doesn’t have a display screen, so previewing
images isn’t an option. Simulating the way
users would photograph with a film camera,
but having the convenience of digital, this
innovative device caught our attention.
leica-storemayfair.co.uk
02/10/2014 15:35
 ISSUE 170 DECEMBER 2014
© Chris Killip © Berris Conolly

8 32
HOW TO
SUBMIT
Photocopies of this form
are acceptable. Please tick
which category you are © Daniel Coburn
submitting pictures to:
22
PHOTO PROJECTS
LAST FRAME
PORTFOLIO
Name

Address
© Jean-Baptiste Sénégas © Zoltan Vancso

80 40

Postcode
Daytime telephone no

Email

02
B+W When burning your CD, create two
folders: one containing high-res Tiffs
or Jpegs (300dpi to about A4), the
other containing low-res Jpegs (72dpi
to about 20cm on the longest side).
Images must be Mac-compatible.
Please write your name and contact
details on the CD or include this in
a text file. Print submissions should be
a maximum of 12x16in and must not
be sent in tubes. We are currently
unable to receive submissions online.

SEND YOUR FEATURES NEWS COMMENT

SUBMISSIONS TO
Black+White Photography,
GMC Publications Ltd, 86 High Street,
Lewes, East Sussex BN7 1XN
8 THE SUBLIME
IN THE EVERYDAY
Powerful and political –
4 NEWSROOM
What’s happening
in the B&W world
22 AMERICAN
CONNECTION
Personal history is at the
photographs by Chris Killip heart of Susan Burnstine’s
GET IN TOUCH
Tel 01273 477374
32 A LOOK BACK 6 ON THE SHELF
The pick of the best books
photographer of the month

facebook.com/blackandwhitephotog
twitter.com/BWPMag
IN TIME
Berris Conolly’s documentary
images of Hackney 18 IN THE FRAME
Your guide to
76 AATFORTNIGHT
F/8
It’s all about the light,
EDITOR photography exhibitions says Tim Clinch
Elizabeth Roberts
elizabethr@thegmcgroup.com 40 THE TIME
OF A CHILD
Zoltan Vancso returns to 20 EXHIBITION
THE MONTH
OF
78 BEHIND
THE SCENES
DEPUTY EDITOR the world of childhood Our recommended show Colin Harding looks on
Mark Bentley
as history repeats itself
markbe@thegmcgroup.com
ASSISTANT EDITOR
Anna Bonita Evans
80 60-SECOND
EXPOSURE
Jean-Baptiste Sénégas
anna.evans@thegmcgroup.com steps into the spotlight

2_3_170_CONTENTS ER/MB.indd 2 08/10/2014 16:02

 NEXT MONTH’S ISSUE IS OUT ON 27 NOVEMBER
© Tim Daly © Vehbi Koca

62 30

© Tim Clinch © Lee Frost

76 56

© Douglas J May

24

03
B+W

TESTS AND YOUR

TECHNIQUE INSPIRATION PRODUCTS BLACK+WHITE

56 GOT WHAT
IT TAKES?
Lee Frost reveals his
30 PHOTO
WINNER
PROJECT
68 CANON
POWERSHOT
G1 X MARK II
The best reader submission
24 PORTFOLIO
Readers’ prize
winning pictures
personal camera kit Powerful compact camera

62 PHOTO PROJECTS 44 COLLECTING

PHOTOGRAPHY
tested and rated
67 SUBSCRIPTION
OFFER
Tim Daly on how to
shoot a garden project
Tracy Hallett on the excitement
of a photographic auction 72 CHECKOUT
The best large
Never miss an issue

70 SMART GUIDE
50 PHOTOBOOK
format printers

BLACK+WHITE
83 IN CONTACT
Your B&W thoughts
TO PHOTOGRAPHY
Develop your camera phone
skills with Tim Clinch
WORKSHOP
Eddie Ephraums avoids
the trap of perfection
85 LOVES
New cool kit in the shops 86 NEXT MONTH
Our plans revealed

54 TALKING PICTURES
Bill Yates’ contemporary
portrait discussed in depth
96 LAST FRAME
Win a fantastic print

2_3_170_CONTENTS ER/MB.indd 3 08/10/2014 16:02

 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com

HIGH CONTRAST
Calumet have launched a new
discount scheme for students.
The 12-month membership scheme
costs £25 and includes a £50 rental
voucher, free sensor clean, free
one-to-one session with a Calumet
expert and free standard delivery.
There is also £25 worth of free gifts
plus discounts on sensor cleaning,
rental, Calumet brand products,
seminars, inkjet paper, film
and chemistry.
calphoto.co.uk/student

Magnum has opened its print archive

for a unique photography exhibition.
Magnum Photos: One Archive, Three
Views features pictures selected
by visual anthropologist Elizabeth
© Michael ‘Nick’ Nichols /
The Last Great Picture by Michael ‘Nick’ Nichols. Wildlife Photographer
of the Year 2014

04
B+W
Edwards, artist Uriel Orlow and
photographer Hannah Starkey.
Around 130 photographs by Eve
WILD ABOUT PICTURES
A black & white picture has won the prestigious Michael Nichols also won the black & white
Arnold, Ian Berry, Rene Burri, David
Wildlife Photographer of the Year. category of the competition. Other finalists in the
Hurn, Elliott Erwitt, Chris Steele-
Perkins and others are on show at The competition is regarded as a showcase black & white category were Juan Jesus Gonzalez
the De La Warr Pavilion in Bexhill for the very best in wildlife photography from Ahumada and Pedro Carrillo from Spain, Jasper
until 4 January. around the world. The winning picture of lions Doest from the Netherlands, Cristiana Damiano
dlwp.com in the Serengeti National Park was taken by from Italy and Gavin Leane from Ireland.
acclaimed National Geographic photographer Winning pictures from the competition, which
Acclaimed photographer Steve
McCurry has been awarded the
Michael ‘Nick’ Nichols. is co-owned by the Natural History Museum
prestigious Centenary Medal by the He photographed them in infrared, which he and BBC Worldwide, are on show at the Natural
Royal Photographic Society. McCurry says ‘cuts through the dust and haze, transforms History Museum in London until 30 August next
has previously been awarded the light and turns the moment into something year. Tickets are available from the website.
the Robert Capa Gold Medal, the primal, biblical almost.’ nhm.ac.uk
National Press Photographers’
Award and four first prize awards
from the World Press Photo contest.
rps.org

Next year’s Format International

Photography Festival will run at
venues across Derby from
13 March to 12 April. Louise
Clements will curate work on
the theme of Evidence.
formatfestival.com

Magnum photographer David

Hurn is to speak at the Quad in
Derby on 4 November. Hurn is one
of the country’s most influential
photographers and teachers and
will be discussing his work in a
talk called A Personal Journey.
Tickets £5.
derbyquad.co.uk
© Dennis Ramos/Epson
The Sunshine Skyway Bridge, St. Petersburg, Florida, by Dennis Ramos. International Pano Awards/
thepanoawards.com
VIEW OF THE BRIDGE
A black & white picture by American photographer Dennis Ramos is the overall winner
of the Epson International Pano Awards. The competition, which celebrates panoramic
pictures, attracted black & white and colour work from photographers in 54 countries.

4-5_NEWS_170 ER/MB.indd 4 02/10/2014 15:38

 NEW GEAR AT PHOTOKINA

The new Leica M-A – an analogue rangefinder with no exposure metering or batteries.
An array of great new cameras,
lenses, bags and accessories was
unveiled at this year’s Photokina
in Cologne.
Among the eye-catching
new kit was the Leica M-A
(£3,100). The analogue
rangefinder camera boasts the
same precision-engineered
components as its digital
cousins, but instead of a sensor
it comes with a roll of Kodak
Tri-X 400 black & white film.
Meanwhile Nikon launched
the Nikon D750, a 24.3Mp
camera with an Expeed 4 image
HAPPY
MEDIUM
Hasselblad have showcased a
processor. Also announced was new H5D-50c Wi-Fi medium
a new 20mm f/1.8 lens and the format camera.
SB-500 Speedlight. The new model, which went
Canon unveiled the EOS on show at Photokina in Cologne,
7D Mk II (a 20.2Mp camera now has Wi-Fi capability so users
that can shoot at 10fps), plus can control the camera and view
the Powershot G7X compact images on an iPad.
camera and several new lenses. Other new features include
live view, an electronic spirit
Samsung launched the
level and a longer shutter
NX1, a high spec compact
speed of 34 minutes.
system camera, while Fujifilm The 50Mp camera costs
presented the X100T premium €21,400 (before tax).
compact camera and Panasonic hasselblad.co.uk
announced the GM5 micro
four-thirds camera.
See also page 85.

Zeiss showed the first of a new family of lenses for E-mount full-frame cameras at Photokina. The Zeiss Loxia 2/35
(€965.55) and Loxia 2/50 (€713.45 – pictured above) allow for precise manual focusing and offer a speed of f/2.
05
B+W

Mamiya Leaf have launched

a new CMOS-based medium
format camera system.
The Leaf Credo 50 has
a 50Mp sensor and a 3.2in
touchscreen display with 1.15Mp
resolution. The ISO range is 100
to 6400 and the camera also
has a new image processor.
The price is €22,995 for the
system or €19,995 for the
digital back.
mamiyaleaf.com

© Emil Gataullin
A picture from the Towards the Horizon
Lomography have launched a
PEACEFUL SOLUTIONS series by Emil Gataullin.
new medium format camera. The
LC-A 120 shoots square pictures
An award-winning black & white picture is to go on show at the Austrian Parliament for on 120 film. It has a built-in
a year. The picture by Russian photographer Emil Gataullin is among the winners of the light meter and a 38mm f/4.5
Alfred Fried Photography Award. Named after the Austrian pacifist and author Alfred Fried, wideangle lens. Price £339.
the award celebrates the photographs that best express the idea that our future can only be lomography.com
by peaceful co-existence.

4-5_NEWS_170 ER/MB.indd 5 02/10/2014 15:38

 NEWS
THE PHOTOGRAPHY
BOOK
Edited by Ian Jeff rey
Phaidon
Hardback, £39.95
9780714867380
Revised
and
expanded
from
the 1997
edition by
its original
editor, Ian
Jeffery,
The Photography Book is bigger
and better and completely
captivating, with 60 new
06 photographers added to
B+W
the collection.
The changes in the
photography world since 1997
are vast and far-reaching and
the new edition incorporates
this while losing nothing of its
historic and iconic nature.
Each of the 550 photographers
is represented by one image and
they are placed in alphabetical
order, making for interesting
juxtapositions of time and style.
And, while there are many
familiar images and names,
there are some that I found
I hardly knew and were worthy
of further research. New
discoveries are a pleasure.
As a reference book,
The Photography Book is
invaluable – it has excellent
cross-referencing for making
connections between
photographers of similar
disposition or interest, it has
glossaries of technical terms
and movements, plus a directory
of contemporary museums and
galleries, making it a fantastic
resource for anyone interested
in photography.
Elizabeth Roberts
6_BOOK_REVIEWS_170 ER/MB.indd 6
ON THE SHELF Endlessly fascinating, the work
of Francesca Woodman has
been the focus of much
attention, numerous exhibitions
and publications in recent years.
Analysis of her imagery has
rarely – and perhaps
understandably – been
separated from the fact of her
suicide at the age of 22.
Sensual, evocative and often
obscure, her work has defied
simplistic readings and offers us
instead a complex and mature
photographic artist whose
knowledge and ability was far
FRANCESCA beyond her years – making new ELLIOT ERWITT:
explorations an intriguing
WOODMAN: possibility. The editors, working REGARDING
WORKS FROM THE with the Sammlung Verbund WOMEN
SAMMLUNG VERBUND collection, bring just this, teNeues
Edited by Gabriele Schor throwing new light on the Hardback, £65
and Elisabeth Bronfen work and opening up 9783832798574
Thames & Hudson alternative understandings.
Hardback, £45 Seen in the context of the Looking at Elliot Erwitt’s
tableaux vivant, Woodman’s photographs is always a pleasure
9783863353513
work is looked at in the light of and Regarding Women matches
the feminist avant-garde of the 1970s. Instead of seeing her imagery up to previous great projects by
as harbinger of her coming death, it is given a more positive, this seminal photographer.
sometimes whimsical connotation. With his witty but not
Elizabeth Roberts unkind eye, Erwitt playfully
explores all that women
symbolise without objectifying
Paddy Summerfield spent 10 or belittling his subjects.
years charting the lives of his With 369 pictures ranging
mother and father as they slowly from the early 1950s to the
declined into old age and, in present day, the book’s large
his mother’s case, Alzheimer’s. format, considered sequencing
The tenderness with which and excellent reproduction
he portrayed their 60-year old give a wonderful survey of the
marriage is neither sentimental Magnum photographer’s artistic
nor naïve. Instead, he reveals a career. Erwitt’s skill in finding
loving and tender relationship graphic scenes and unintended
born of mutual care. social ironies is shown here
Mainly photographed in MOTHER in all its glory.
the spacious garden that they Presenting women as leaders,
both loved and tended, the AND FATHER performers, mothers, workers
two protagonists are rarely Paddy Summerfield and matriarchs through visual
seen close up – most often we Dewi Lewis Publishing puns, Erwitt embraces them all
see them with faces averted or Clothbound, £30 with a humour so wonderful
from a back view – and this, 9781907893612 you’ll find yourself at times
somehow, emphasises the frailty laughing out loud. Showing how
of their ageing bodies and the privacy of their relationship. We feel honing in on one theme and
ourselves to be placed at a respectful distance. exploring all of its facets in-depth
In his afterword, Gerry Badger explains how these images grew can lead to a stunning project,
from simple snapshots into a body of work which is a homage and an Erwitt’s Regarding Women is a
art work. He writes of the images: ‘… without any outward show or charming tribute to women’s
fuss, these are amongst the most deeply moving pictures I have seen.’ strength, intelligence and beauty.
Elizabeth Roberts Anna Bonita Evans
02/10/2014 15:39
007_BW_170.indd 7 06/10/2014 15:32
 FEATURE
All images ©Chris Killip
courtesy of Tate Britain
THE SUBLIME
IN THE EVERYDAY
From small communities at a time of change to factory workers and the streets
of Tyneside – they all provided subject matter for Chris Killip’s powerful imagery,
which has as much resonance today as when it was shot. Lewis Bush reports.

08
B+W

The Sloc from Ballarock Farm, 1970-73. OPPOSITE Man at Glenmaye, 1970-73.

s part of the generation of for the 2012 Deutsche Börse prize have all warm portraits of farmers and their families

A photographers who documented

the dramatic economic change
and social turmoil of the 1980s,
Chris Killip was for many years a major
figure in British photography. His relocation
to the United States in 1994 has perhaps
lessened his profile in this country. However
the recent staging of several significant
retrospective exhibitions, the reissuing of
a number of his books, and his shortlisting
served to bring him to the attention of a new
generation of audiences and photographers.
As if in recognition of this renewed
interest, Tate Britain has acquired 75
photographs from the span of Killip’s
career, and these photographs have been
on show for the past few months. Displayed
first in the gallery were previously unseen
pictures from Killip’s work on his native
Isle of Man, made in the early 1970s. These
record a way of life soon to disappear
with the island’s reinvention of itself as an
offshore finance hub. They also reveal that
Killip’s eye for a piercing portrait was well
honed, even early in his career.
The majority of the acquisition is drawn
from several projects that were published
as In Flagrante, the celebrated 1988 book
on the difficulties facing the working class
in the north-east of England. Many of these 

08-16_Chris_Killip ER/MB.indd 8 08/10/2014 10:12

 09
B+W

08-16_Chris_Killip ER/MB.indd 9 08/10/2014 10:12

 010
10
B+W

ABOVE Playground with three girls, 1974.

LEFT Queen’s Silver Jubilee celebration,
North Shields, Tyneside, 1977.

 photographs are of Tyneside, where the

photographer lived for most of two decades,
and where he co-founded Newcastle’s Side
Gallery in 1977. If Killip’s photographs from
the Isle of Man show a community and
way of life which is anticipating a coming
transformation, those from Tyneside show
one which already finds itself in the eye of the
storm of change, as deindustrialisation takes
hold, and the fabric of a community unravels.

uch was the length of Killip’s

S engagement with the area that we see

people and places re-emerge across
the series, and this sometimes offers
a striking measure of the extent of change.
A particular street in Walsend reappears
from almost exactly the same standpoint in
three different photographs taken over the
space of a decade. In the first it is buried
under pristine snow, in the second it is

08-16_Chris_Killip ER/MB.indd 10 08/10/2014 10:12


scrawled with children’s chalky drawings
and, finally, in the third, it has been
demolished, although the destruction is
such that it looks as if a war might have laid
waste to it. Next to a fire-scorched house,
on a half knocked down wall are written the
words ‘Don’t vote, prepare for revolution’.
Following these pictures of Tyneside there
were smaller selections from Killip’s other
bodies of work including Seacoal, an
astoundingly bleak series on a community
making their living by dredging coal from
the Northumberland coastline. As Killip
08-16_Chris_Killip ER/MB.indd 11
North Shields Housing Estate on 5 May, 1981, the day Bobby Sands’ death was announced.
wrote in the introduction to his book of the
photographs, this place ‘confounded time;
here the Middle Ages and the 20th century
intertwined’ as men, women and children
laboured to dig coal from the stormy seas to
sell for a living. Viewing Seacoal straight
after the photographs from Tyneside, one
feels an overpowering sense of continuity,
as if one is looking at the few survivors of
deindustrialisation struggling to persist in
an almost apocalyptic landscape.
Also on show were a small number of
largely unpublished photographs Killip
011
11
B+W
made in the village of Skinningrove in north
Yorkshire. Again, a marginal community,
wary of outsiders, and one where different
eras and cultures seemed to collide and
inhabit the same space. From a distance
these photographs appear to show timeless
scenes, of men preparing fishing boats, or
someone out walking with his dogs and gun.
On closer inspection though they could only
have been made in a very particular time, as
we notice the young men working on their
boats are wearing punk regalia, and the
backgrounds are scattered with boxy cars. 
08/10/2014 10:12
 012
12
B+W

Simon being taken to sea for the first time since his father drowned, 1983.

08-16_Chris_Killip ER/MB.indd 12 08/10/2014 10:12

 013
13
B+W

Moira hand-picking in the very good fur coat, 1984.

‘…this place “confounded time; here the Middle Ages and the 20th century intertwined”
as men, women and children laboured to dig coal from the stormy seas to sell for a living.’

08-16_Chris_Killip ER/MB.indd 13 08/10/2014 10:12

 014
14
B+W

Brian and unindentified man in the water, 1984.

08-16_Chris_Killip ER/MB.indd 14 08/10/2014 10:12

 015
15
B+W

Rocker hand-picking sea coal, 1984.

08-16_Chris_Killip ER/MB.indd 15 08/10/2014 10:12

 Placing a tyre on to the overhead track, 1989-90.
016
16
B+W
he final set of photographs are

T the result of a commission Killip
undertook at the Pirrelli tyre
factory in Burton-on-Trent in
1989, and which were recently published
as Pirelli Work. These photographs seem
more consciously composed than his
early photographs, the factory workers
isolated by flash lighting against dark,
cavernous industrial spaces. Despite being
a commercial commission it’s hard not
to read an underlying criticism into the
photographs, a comment on the isolation
and depersonalisation of what Killip calls
the ‘enforced ritual’ of modern labour.
His subjects often look distant and drawn
and, caught in their black boxes, there
is little sense of them as part of a larger
enterprise or community.
The appeal of Killip’s photography would
seem to be twofold. Clearly, his pictures are
simply and consistently beautiful, each one
08-16_Chris_Killip ER/MB.indd 16
Car tyre builder, 1989-90.
an embodiment of his stated aim to show ‘the
sublime in the everyday’. There is a quality to
each photograph’s timing and composition
which is never flashy or showy, but just
quietly brilliant. Adding to this, Killip’s eye
for detail and use of a large format camera
both reveal so much in a scene that an
extended viewing of each photograph is
‘If Killip’s photographs
from the Isle of Man show
a community and way of
life which is anticipating a
coming transformation, those
from Tyneside show one which
already finds itself in the eye
of the storm of change.’
almost always a rewarding experience.
Secondly, and perhaps more critically, it
is the historical and political resonance of
Killip’s work that makes it so compelling.
This significance must in part explain the
renewed interest in his photography at this
moment in time, as the United Kingdom
is again struggling to haul itself out of an
economic mire, and is doing so at no small
cost to communities and individuals up
and down the country.
In the introduction to In Flagrante Killip
wrote that ‘the objective history of England
doesn’t amount to much if you don’t believe
in it … I don’t, and I don’t believe anyone in
these photographs does either as they face
the reality of deindustrialisation in a system
which regards their lives as disposable.’
Killip’s photographs offer a clear alternative
to that history, a reminder of the many lives
that are, even a quarter of a century later,
still considered entirely expendable.
08/10/2014 10:12
 Proud winner of the TIPA award

“Best Photo Lab Worldwide”

awarded by the editors of 28 leading photography magazines

Lambda & LightJet prints on

Fuji and Kodak paper,
pigment & canvas prints
Mountings on aluminium
and under acrylic
More than 3,000 framing
options
Custom sizes

*Pictured: “House of Savreda” by Werner Pawlok, from LUMAS.CO.UK

Over 220,000 satisfied
customers
The lab of choice for
12,000 pros and 300
galleries
5-year guarantee

Winner of more than 50

awards from the photo press

your
photo under
acrylic
£ 10.95
10x15cm

gallery quality for your photos WhiteWall.co.uk

017_BW_170.indd 17 06/10/2014 15:40

 NEWS
IN 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 Brought to you
in advance. International listings are on the app edition of the magazine. by Leica Camera

© Edwin Smith, RIBA Library Photographs Collection

LONDON PHOTOGRAPHERS’ GALLERY

To 18 January
Edward Steichen & Viviane Sassen
AUTOGRAPH ABP Two photographers who have made
To 24 November a significant contribution to
Black Chronicles II fashion photography.
Previously unseen portraits of black 16-18 Ramillies Street, W1F
people in 19th and early 20th thephotographersgallery.org.uk
century Britain.
Rivington Place, EC2 QUEEN’S GALLERY
autograph-abp.co.uk 7 November to 22 February
Cairo to Constantinople:
BARBICAN Early Photographs of the
To 11 January Middle East
Constructing Worlds: Photographer Francis Bedford
Photography and Architecture accompanied the future King Edward VII
in the Modern Age in a fascinating tour in 1862.
More than 250 pictures by Central Markets, West Smithfield, City of London, 1953. Buckingham Palace
Berenice Abbott, Walker Evans, royalcollection.org.uk
Andreas Gursky and others. ORDINARY BEAUTY:
Silk Street, EC2Y SAATCHI GALLERY
barbican.org
THE PHOTOGRAPHY OF EDWIN SMITH 11 October to 9 November
To 6 December Davide Monteleone: Spasibo
BEETLES+HUXLEY Major retrospective featuring 100 B&W pictures by the acclaimed Pictures of Chechnya by the
To 8 November architectural photographer. winner of the Cargmignac Gestion
18 Sebastiao Salgado Photojournalism award.
B+W Pictures from many of the projects RIBA Portland Place, W1B architecture.com King’s Road, SW3
by this superb photographer. saatchigallery.com
3-5 Swallow Street, W1B
beetlesandhuxley.com Pictures by the celebrated Horst P Horst. MICHAEL HOPPEN GALLERY SCIENCE MUSEUM
13 Carlos Place, W1K To 31 December To 2 November
CAMILLA GRIMALDI hamiltonsgallery.com Sohei Nishino Open for Business
To 14 November Beautifully crafted dioramas of Berlin, Nine Magnum photographers explore
Russian Criminal Tattoo Police Files LITTLE BLACK GALLERY New Delhi, Jerusalem and Tokyo. contemporary British industry.
Pictures suggesting the characters To 29 November 3 Jubilee Place, SW3 Exhibition Road, SW7
and stories of Russian prisoners. The Best of Alistair Taylor-Young michaelhoppengallery.com sciencemuseum.org.uk
Old Burlington Street, W1S Showcase of one of the gallery’s
camillagrimaldi.com most popular photographers. NATIONAL PORTRAIT SPRUETH MAGERS LONDON
13A Park Walk, SW10 GALLERY To 15 November
GARDEN MUSEUM thelittleblackgallery.com To 16 November Andro Wekua
To 5 January The World of Rupert Potter: Work exploring mystery and intrigue.
Modern War Gardens: Paradise Lost LUMAS LONDON – Photographs of Beatrix, Grafton Street, W1S
Photojournalist Lalage Snow records NOTTING HILL Millais and friends spruethmagers.com
hidden gardens in Kabul, Gaza To 2 November Family portraits by Beatrix Potter’s father.
and Ukraine. Transatlantic To 21 June 2015 TIWANI CONTEMPORARY
Lambeth Palace Road, SE1 City streets and skylines by Peter Funch, Snowdon: A Life in View To 1 November
gardenmuseum.org.uk Sandra Rauch and others. Portraits of stars ranging from Rotimi Fani-Kayode
Westbourne Grove, W2 Laurence Olivier to David Bowie. Retrospective of one of the most
GREENWICH GALLERY lumas.co.uk 13 November to 22 February significant names in black British
To 14 November Taylor Wessing Portrait Prize and African photography.
On Our Streets MEDIA SPACE Celebrating the best in contemporary Little Portland Street, W1W
Celebrating a season of street To 9 November portrait photography. tiwani.co.uk
photography, seven photographers Joan Fontcuberta: St Martin’s Place, WC2H
will each display images exploring Stranger than Fiction npg.org.uk V&A MUSEUM
the theme during their own Exhibition by the winner of the 2013 To 4 January
two-week show. Hasselblad Award in Photography. PHOTOFUSION Horst: Photographer of Style
Peyton Place, SE10 To 18 January 7 November to 5 December Definitive retrospective of master
thegreenwichgallery.com Make Life Worth Living How Great Thou Art photographer Horst P Horst, whose
Hard-hitting photographs by Nick Hedges Pictures celebrating 50 years of pictures ranged from fashion and
HAMILTONS for housing charity Shelter. African-Caribbean funerals in London. theatre to nude studies and travel.
To 29 November Exhibition Road, SW7 17A Electric Lane, SW9 Cromwell Road, SW7
Vintage Horst sciencemuseum.org.uk photofushion.org vam.ac.uk

18-19_IN_THE_FRAME_170 ER/MB.indd 18 02/10/2014 15:42

 © David Higgs milesfromhere.co.uk

EAST IMPRESSIONS GALLERY

BOAT HOUSE GALLERY
5 November to 22 February
Images of East Anglia
B&W prints of the surrounding area
by the members of the Suffolk
Monochrome Group.
Bridge Cottage, Flatford, Suffolk
suffolkmonochromegroup.co.uk
IWM DUXFORD
To 31 December
D-Day – The Last of the Liberators
Robin Savage’s portraits of some
of the last surviving British
Normandy veterans.
Duxford, Cambridge
iwm.org.uk
To 6 December
Hunters
David Chancellor documents the
game hunting industry.
Centenary Square, Bradford
impressions-gallery.com
INTERNATIONAL
SLAVERY MUSEUM
To 7 June, 2015
Brutal Exposure: The Congo
These pictures from the early 1900s
are possibly the first photo campaign
for human rights. Includes some
distressing images.
Albert Dock, Liverpool
liverpoolmuseums.org.uk
MUSEUM OF LIVERPOOL
To 7 December

MIDLANDS April Ashley: Portrait of a Lady

Portraits of former Vogue model which
follow her transition from male to female.
WEALD
8 November to 31 March
HERBERT ART GALLERY Pier Head, Liverpool David Higgs’ platinum prints from his five-year project
& MUSEUM liverpoolmuseums.org.uk on the Sussex Weald.
To 11 January
People of India: NEW ART EXCHANGE ASHDOWN GALLERY
Photographs by Jason Scott Tilley To 11 January Ashdown Forest Centre, Wych Cross, East Sussex milesfromhere.co.uk
Striking street pictures by the JD Okhai Ojeikere:
Coventry photographer. Hairstyles and Headdresses
Jordan Well, Coventry
theherbert.org
One of the great African photographers
of the 20th century.
Gregory Boulevard, Nottingham
SOUTH Early photographs and equipment.
Lacock, Wiltshire
nationaltrust.org.uk
19
NORTH nae.org.uk

PAPERBOAT GALLERY
BRIGHTON PHOTO
BIENNIAL 2014
To 2 November
NATURE IN ART
To 16 November
B+W

GRAVES GALLERY 7 November to 19 December Return of UK’s largest photo festival British Wildlife
To 29 November David Jones: Human Presence in Various venues Photography Awards
Picture the Poet an Empty Space bpb.org.uk Prize-winning pictures
Portraits of our leading poets, on tour B&W portraits and nudes. Wellsworth Hall, Twigworth,
from the National Portrait Gallery. 5 Whitby Road, Ellesmere Port, MK GALLERY Gloucester
Surrey Street, Sheffield Cheshire To 23 November bwpawards.co.uk
museums-sheffield.org.uk paperboatgallery.org.uk An-My Lê
First major UK show by this photographer
SCOTLAND
© Bharat Patel
who explores the culture of conflict.
Midsummer Boulevard, Milton Keynes
mkgallery.org STILLS
8 November to 25 January
STORY MUSEUM Shot at Dawn
To 2 November Chloe Dewe Mathews’ poignant images.
26 Characters 23 Cockburn Street, Edinburgh
Portraits of children’s authors by stills.org
Cambridge Jones.
Pembroke Street, Oxford
storymuseum.org.uk WALES
WEST ABERYSTWYTH ARTS CENTRE
To 8 November
RPS International Print Exhibition
FALMOUTH ART GALLERY The best 100 pictures.
To 6 December Penglais Campus, Aberystwyth
Mir Woman Artists in Cornwall theeyefestival.co.uk
NOMADS OF INDIA Martin Howse’s B&W portraits of artists
living and working in Cornwall. MOSTYN
To 15 December The Moor, Falmouth To 2 November
Bharat Patel’s pictures record the passing of a traditional way of life. falmouthartgallery.com Divine Violence
Adam Broomberg and Oliver Chanrin’s
THE LINK GALLERY FOX TALBOT MUSEUM collage-based project.
John Radcliffe Hospital, Headington, Oxford bharatpatelphotography.co.uk To 4 January 12 Vaughan Street, Llandudno
Capturing the Light mostyn.org

18-19_IN_THE_FRAME_170 ER/MB.indd 19 08/10/2014 10:23

 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.

AUSTRALIA
More than 200 spectacular B&W
pictures by the renowned photographer,
taken from his epic eight-year project. AUSTRALIAN CENTRE
1133 Avenue, 43rd Street, New York FOR PHOTOGRAPHY
icp.org 8 November to 18 January
Anne Ferran
ROBERT MANN GALLERY Photographic, textile, video and text
To 6 December works by the Australian artist.
Ansel Adams: Classic Images 257 Oxford Street, Paddington
Landscape photographer’s seminal acp.org.au
images as well as lesser-known work

CANADA
and a selection of vintage prints.
525 West 26th Street, New York
robertmann.com NATIONAL GALLERY
OF CANADA
WALTHER COLLECTION To 1 March
To 17 January Taking It All In: The Photographic
Samuel Fosso Panorama and Canadian Cities
Wall Street, New York, 1915 Self-portraits exploring ideas Historical panoramic photographs used

AMERICA
© Estate of Paul Strand
of African identity. to promote Canadian towns and cities.
526 West 26th Street, New York 380 Sussex Drive, Ottawa
PAUL STRAND: walthercollection.com gallery.ca
MASTER OF MODERN PHOTOGRAPHY
WESTON GALLERY STEPHEN BULGAR GALLERY
18 To 4 January To 16 November To 22 November
B+W
Major retrospective exploring the evolution Michael Kenna: France Larry Towell: Afghanistan
of American photographer’s work. New pictures of France by the Selection of Magnum photographer’s
influential landscape photographer. most arresting documentary work.
PHILADELPHIA MUSEUM OF ART 6th Avenue, Carmel-by-the-Sea 1026 Queen Street, West Toronto
2600 Benjamin Franklin Parkway, Philadelphia philamuseum.org westongallery.com bulgergallery.com

AMERICA Exploring the transition from

film to digital photography.
CENTER FOR FINE ART 900 East Avenue, Rochester
PHOTOGRAPHY eastmanhouse.org
To 22 November
Bear Kirkpatrick: Portraits THE GETTY
Selection of photomontages inspired To 14 December
by classical portrait paintings. In Focus: Tokyo
400 North College Avenue, Fort Collins Works by Mikiko Hara, Daido Moriyama,
c4fap.org Shigeichi Nagano and Masato Seto.
1200 Getty Center Drive, Los Angeles
EDWYNN HOUK GALLERY getty.edu
To 20 December
Abelardo Morell: HASTED KRAEUTLER
Some Recent Pictures To 3 January Life in War

CAMBODIA
© Majid Saeedi/
American photographer’s most recent Portraits Getty Images
projects, including his intriguing Major retrospective of Martin
camera obscura pictures. Schoeller’s most celebrated works. ANGKOR PHOTO
745 Fifth Avenue, New York 537 West 24th Street, New York
houkgallery.com hastedkraeutler.com 29 November to 6 December
Longest running photography event in south-east Asia,
GEORGE EASTMAN HOUSE INTERNATIONAL CENTER featuring exhibitions, outdoor projections and workshops.
To 4 January OF PHOTOGRAPHY
Robert Burley: To 11 January VARIOUS LOCATIONS Siem Reap angkor-photo.com
The Disappearance of Darkness Sabastião Salgado: Genesis
FRANCE
NO WODKA
To 29 November
PALAIS D’IÉNA Sonia Szostak: Longboards,
4 November to 4 December Tattoos and a Journey to Mars
The Manhattan Darkroom Portraits, fashion and nudes by
Around 200 works by Henri Dauman emerging Polish photographer.
Leo Rubinfien
Vintage prints from photographer’s
series A Map of the East 1980-87.
5-17-1 2F Roppongi Minato-ku, Tokyo
takaishiigallery.com

MOROCCO
that depict his interest in America. Pappelallee 10, 10437 Berlin
9 Place d’Iéna, 75016, Paris soniaszostak.com
daumanpictures.com MARRAKECH MUSEUM

HOLLAND
FOR PHOTOGRAPHY
FONDATION HENRI AND VISUAL ARTS
CARTIER-BRESSON HUIS MARSEILLE, MUSEUM To 31 December
To 21 December FOR PHOTOGRAPHY A Selection from the
William Eggleston: To 7 December Permanent Collection
From Black and White to Colour The Marseillaise: Celebrating the first anniversary of the
Pictures by the acclaimed photographer. Fifteen Years of Collecting gallery with pictures from the collection.
Jardin des Tuileries
2 Impasse Lebois, 75014 Paris Photos by Valerie Belin, Jacqueline Badii Palace, Marrakech
by André Kertész
henricartierbresson.org © Artcurial Hassink and many others from the mmpva.org
Huis Marseille collection.
FRANCE
NORWAY
JEU DE PAUME Keizersgracht 401, Amsterdam
To 8 February ANDRÉ KERTÉSZ huismarseille.nl
Garry Winogrand NOBEL PEACE CENTRE
Retrospective of the master 12 to 14 November NEDERLANDS FOTOMUSEUM To 25 November
of street photography. Major exhibition and sale To 31 December 2016 Combating Chemical Weapons
1 Place de la Concorde, Paris of works by the influential The Darkroom: Extraordinary Paolo Pellegrin’s award-winning
jeudepaume.org Hungarian Photographer. Stories from the History reportage B&W images.
of Dutch Photography Brynjulf Bulls Plass 1, Oslo
MAISON EUROPÉENNE ARTCURIAL Exhibition brings more than 185 years nobelpeacecenter.org
DE LA PHOTOGRAPHIE 7 Rond-Point des Champs-Elysees, of Dutch photography to life.

SPAIN
To 30 November Paris artcurial.com Willhelminakade 332, Rotterdam
Tim Parchikov: Suspense nederlandsfotomuseum.nl
Colour work by Russian photographer. FUNDACIÓN MAPFRE
5/7 Rue De Fourcy, Paris Augustrasse 11-13, Berlin RIJKSMUSEUM To 23 November
19
B+W
mep-fr.org camerawork.de To 11 January Stephen Shore: Retrospective
Modern Times in the 20th Century Around 250 pictures on show.
PARIS PHOTO FOTOGRAFIE FORUM Pictures by influential 20th century Salle Barbara de Braganza 13, Madrid
13 to 16 November FRANKFURT photographers, including Brassaï. exposicionesmapfrearte.com
International photography fair To 30 November Museumstraat 1, Amsterdam

SWEDEN
hosting 160 galleries. Potretti: Contemporary rijksmuseum.nl
Grand Palais, Paris Finnish Photography

ICELAND
parisphoto.com Introducing seven contemporary FOTOGRAFISKA
Finnish photographic artists. To 23 November
LE PETIT CHOISEUL Braubachstrasse 30-32, Frankfurt REYKJAVÍK MUSEUM Light Warriors
To 28 November fffrankfurt.org OF PHOTOGRAPHY Major retrospective of Joyce
Ted Kinsey: Under Glass To 11 January Tenneson’s most enigmatic portraits.
British photographer’s 40 B&W images GALERIE HILANEH Girl Culture Stagsgårdshamnen 22, Stockholm
of historic glass passages in Paris. VON KORIES Lauren Greenfiield’s portraits exploring fotografiska.eu
23 rue Saint Augustin, 75002, Paris To 28 November female identity and pop culture.
petitchoiseul.fr I am a Lucky Man Tryggvagata 15, Reykjavík
Austrian-born photographer Wolf ljosmyndasafnreykjavikur.is SWITZERLAND
GERMANY
Suschitzky’s B&W documentary EDWYNN HOUK GALLERY

ITALY
images, including his 1930s series To 10 January
ALFRED EHRHARDT STIFTUNG on Charing Cross Road. Robert Polidori
To 21 December Belziger Strasse 25, Berlin GALLERIA CARLA SOZZANI Colour architectural images.
Michael Wesely galeriehilanehvonkories.de To 11 January Stockerstrasse 33, Zurich
Extended exposure photographs Bohnchang Koo houkgallery.com
focusing on details of nature. HELIOS PRIVATKLIN Evocative B&W still life works.
Auguststrasse 75, Berlin To 28 January Corso Como 10 – 20154 Milan FOTOMUSEUM WINTERHUR
alfred-ehrhardt-stiftung.de Egypt: In the Mirror galleriacarlasozzani.org To 30 November
of Timelessness Blow Up

CWC GALLERY
To 29 November
Bonkers: A Fortnight in London
Bettina Rheims’ revealing portraits of
female celebrities living in London.
JAPAN
French photographer Loïc Bréard’s Stills from the cult film Blow-Up,
monochrome documentary travel plus images by David Bailey, Richard
photos of Egypt. TAKA ISHII GALLERY Hamilton and Terence Donovan.
Holstenstrasse 2, 22767, Hamburg PHOTOGRAPHY/FILM Gruzenstrasse 44+45, Zurich
helios-kliniken.de To 6 December fotomuseum.ch
 NEWS EXHIBITION OF THE MONTH
The first photography-led exhibition at Tate St Ives, The Modern Lens:
International Photography and the Tate Collection, shows how the fine art world’s
interest in the medium is on the rise. By looking at artists’ interest
in abstractionism, the exhibition shows how photography was embraced in
new ways. Anna Bonita Evans talks to co-curator Sara Matson.
© ADAGP, Paris and DACS, London 2014
ANNA BONITA EVANS:
How many photographs will
there be in the exhibition?
SARA MATSON:
There are more than 130 works
in the show. Most of them are
photographs, but the exhibition
also includes film, painting,
ceramics, sculpture and
archival material.

ABE: Are all the images from the

Tate collection and have they all
been exhibited before?
SM: The photographs
are predominantly recent
acquisitions, mostly brought
into the collection in the last five
years. There are also around
30 private loans. While several
of the works have been shown
20 before at different Tate sites, the
B+W
Tate's expanding collection of
photography has not been shown
together to this extent before.

ABE: What percentage of

the exhibition is black &
white photography?
SM: The majority of the
photographs are black &
white. About 10 of the Harry
Callahan images show his colour
photography in the 1950s, while
other works – including paintings,
drawings, sculpture and ceramics
– are interspersed to open up wider
dialogues between the development Fernand Léger, Pierre Jeanneret, Charlotte Perriand: Les Objets à Réaction Poetique 1931-6.
of modernist languages in
photography and other media. that our exploration of important new technologies and techniques Tate St Ives but have been keen
modernist photographers in the and raised the potential of to develop a survey show which
ABE: What was it like to Tate collection fell into loose photographic practice. It underpins brought a different perspective
curate an exhibition with geographical groupings. This the approach of a number of artists on modernism to St Ives. The
such diverse content? enabled us to present these across the show from Europe, the growing collection of photography
SM: It was difficult at first, international exponents of Americas and Japan. in the Tate collection provided
because as with any collection you modernism from a more local a rich resource to do this, plus
have to work with the material perspective. The impact of the ABE: What made you decide to its focus on international
you have. However, with the Bauhaus [a German art school put this exhibition on? abstraction could resonate with
context of St Ives in mind and that operated from 1919 to 1933] SM: We have had a number more familiar ideas of modernism
how it was a key element of is at the heart of the show. It of small solo exhibitions of and its legacies that we regularly
modern British art, we found promoted experimentation with contemporary photography at present in the galleries here.

THE MODERN LENS: INTERNATIONAL PHOTOGRAPHY AND THE TATE COLLECTION

Runs until 10 May at Tate St Ives, Porthmeor Beach, Cornwall, TR26 1TG; tate.org.uk

20-21_EOTM_170 ER/ABE/MB.indd 20 08/10/2014 11:04

 © Estate of György Kepes © Estate of György Kepes

György Kepes, Leaf and Prism 1938. György Kepes, Hand on Black Ground circa 1939-40.

© Fabiana de Barros © Estate of Claude Cahun 21

B+W

Geraldo de Barros, Granada, Spain. Claude Cahun, I Extend My Arms 1931 or 1932.

20-21_EOTM_170 ER/ABE/MB.indd 21 08/10/2014 11:04

 COMMENT
CONNECTION
susanburnstine.com
aniel Coburn recently
D released an impressive
first monograph entitled
The Heredity Estate
(Kehrer Verlag, 2014). The book
is a fascinating assemblage of
intensely personal images melded
with found vernacular, which
collectively challenges the
constructs of the traditional family
album as a visual representation
of the American Dream.
Coburn, from Lawrence,
Kansas, landed his first book deal
right after graduating with an
MFA (Master of Fine Arts) from
the University of New Mexico in
2013 and then secured the
position of assistant professor of
Photo Media at the University of
22 Kansas. But what may appear like
B+W
an overnight success to outside
viewers is far from the reality.
Coburn’s professional journey
began when he graduated with an program at the University of New
Associates Degree in graphic
design in his early twenties and
landed a job with a major
publishing house. Seven years
later, he became burnt out by his
job so he picked up a camera to
document nature and wildlife on
Fare for the Ferryman
22-23_USA_CONNECT_170 ER/MB.indd 22
AMERICAN
Daniel Coburn’s intensely personal work The Heredity Estate mixes
dark, visceral images with others that appear light and playful. ‘I enjoy
the psychological dialogue that occurs,’ he tells Susan Burnstine.
Asphyxiation
hikes around the countryside and
fell in love with taking pictures.
Soon after, he entered the MFA
Mexico and began creating
images for what would later
become The Heredity Estate.
During his late teens, Coburn
learned about his family’s
complex history, which
involved domestic violence,
suicide and substance abuse.
After these stories of his
family’s past surfaced it caused
him to look inward and suffer
a deep loss of faith. ‘I was an
unruly and rebellious teenager
and my parents were
controlling and protective,’ he
says. ‘This psychologically
violent relationship came from
both sides.’
Suspension
uring his early
D twenties, Coburn
regularly attended
worship services with
a local congregation and says he
found himself immersed in
faith. ‘Ultimately,’ he says,
‘I was able to step back and take
an objective look at the doctrine
of the church. I found my
personal opinions and views
were in direct opposition to
their teachings.’
Coburn is now an agnostic,
but creating The Heredity Estate
allowed him to explore the
intricate concepts of spirituality
and religion as they relate to
family and the domestic
environment. Rather than
approaching this challenging
subject matter in a conventional,
documentary manner, the
images created are often based in
metaphor and symbol.
He says, ‘I use these images to
tell my own version of the story.
These are my perceptions of
family members, and they are
based on events, memories and
fantasies I collected on my
journey to adulthood. You may
08/10/2014 11:08

Lover’s Embrace
‘I use these images to tell my own version of the story.’
notice that there are images in
this series that are not
representations of an actual
family member. The people in
these photographs become icons,
symbols, or metaphors for a
series of psychological states:
lust, psychosis, reverie,
contentment, reflection etc. The
landscape images also inform
the portraits. These are a people
Figuration
22-23_USA_CONNECT_170 ER/MB.indd 23
that are shaped by the
psychological and geographical
landscape they inhabit.’
A notable attribute of Coburn’s
work is that he uniquely mixes
dark, visceral images with others
that appear light and playful.
‘I enjoy the psychological dialogue
that occurs between images that
are terrifying, surreal and
sometimes whimsical,’ he says.
All pictures © Daniel Coburn
EXHIBITIONS
USA
CHICAGO
ART INSTITUTE OF CHICAGO
Until 4 January
Sarah Charlesworth: Stills
artic.edu
MUSEUM OF CONTEMPORARY
ART CHICAGO
Until 8 March
Anne Collier
mcachicago.org
DENVER
THE GETTY
Until 22 March
Josef Koudeleka:
Nationality Doubtful
getty.edu
LOS ANGELES
AMON CARTER MUSEUM
Until 25 January
Meet me at the Trinity: Photographs 23
by Terry Evans B+W
‘Some of the strength in this
cartermuseum.org
project lies in the fact that
some of these images seem MILWAUKEE
disconnected. I like that tension.
HAGGERTY MUSEUM OF ART
At times, I use those whimsical Until 23 December
images as a respite, a break Nadav Kander:
from the intensity of the dark Yangtze – The Long River
family narrative.’ marquette.edu/haggerty
Another fascinating
characteristic of this work is that NEW YORK CITY
it initiates a dialogue about the INTERNATIONAL CENTER
successes and failures of FOR PHOTOGRAPHY
photography as Coburn is Until 11 January
Sebastião Salgado: Genesis
interested in the syntax of the
icp.org
image. ‘For instance,’ he says,
‘how does a snapshot image PITTSBURGH
function when paired with a CARNEGIE MUSEUM OF ART
well-lit, deliberately composed Until 16 February
photograph? How can a pristine Storyteller: The Photographs of
landscape image inform a very Duane Michals
crude portrait? I use these cmoa.org
relationships to build a
conversation between images PORTLAND
and create a complex cadence in BLUE SKY GALLERY
the sequencing of images.’ Until 31 December
Francine Fleischer: Swim
Next month a travelling
blueskygallery.org
exhibition of The Heredity Estate
will launch at the Mulvane Art STANFORD
Museum in Topeka, Kansas, on CANTOR ARTS CENTER
9 January and will continue Until 5 January
until 14 March, 2015. Robert Frank In America
danielcoburn.com museum.stanford.edu
08/10/2014 11:08
 YOUR B+W
PORTFOLIO
We want to see the very best monochrome work on the pages
of Black+White – submit your images and if they are published
you win £50-£100 worth of goods of your choice from
THE IMAGING WAREHOUSE. Turn to page 2 for full details.
All images © Douglas J May

24
B+W

DOUGLAS
J MAY
£100 DOUGLAS’ KIT
Not available at the
time of going to press.

24-28 PORTFOLIO_170 ER/.indd 24 08/10/2014 11:17

 25
B+W

‘These triptychs are called Queuing for Brahms, which is part of a wider series called
The Promenaders. It looks at young people, with a taste for classical music, queuing
outside the Albert Hall, during the Proms season, for a £5 ticket to stand and listen to
the finest symphony orchestras. On the evening these shots were taken the Budapest
Festival Orchestra played the third and fourth symphonies of Brahms.’

24-28 PORTFOLIO_170 ER/.indd 25 08/10/2014 11:17

 GLEN WILLIAMS
£50 GLEN’S KIT
Nikon Coolpix P7700
iPad

26
B+W

24-28 PORTFOLIO_170 ER/.indd 26 08/10/2014 11:17

 All images © Glen Williams

27
B+W

24-28 PORTFOLIO_170 ER/.indd 27 08/10/2014 11:17

 ROBERT CORRAN
£50 ROBERT’S KIT
Canon EOS 500D
50-200mm lens

28
B+W

© Robert Corran

THE IMAGING WAREHOUSE

www.theimagingwarehouse.com
The Imaging Warehouse is the home of Nova Darkroom,
www.permajet.com
Nova Digital and PermaJet. We provide a comprehensive
range of digital and traditional photographic materials,
film, paper, chemicals and inkjet media to all levels of
photography, schools and colleges all under one roof.
www.novadarkroom.com
Visit our showroom at
The Imaging Warehouse, 1A Black Hill Industrial Estate,
Warwick Road, Stratford Upon Avon CV37 0PT.
Tel: 01789 739200 www.novadigital.co.uk

24-28 PORTFOLIO_170 ER/.indd 28 08/10/2014 11:17

 Sharpen up your presentation
E N G I N E E R E D F O R T O T A L C U T P R E C I S I O N

Rotatrim have been manufacturing the finest rotary trimmers for the photographic profession since 1966. Using only the finest quality materials and
precision engineered components, each trimmer is hand assembled by skilled technicians to exact tolerances, to construct a precise, exceptionally
reliable, ultra durable trimmer. Backed up by our 5 year guarantee and Lifetime Service Warranty, each machine goes through a process of stringent
quality checks at manufacture and assembly to ensure you receive what you have come to expect... the world’s finest rotary cutting equipment.
To choose the trimmer that’s right for you, visit our on-line shop at www.rotatrim.com or give our sales team a call on 01234 224545.

MODELS SHOWN (L to R): MASTERCUT MCA2; PROFESSIONAL M24; TECHNICAL T650. PRICES START AT £91.49 + VAT.

Rotatrim Limited | 8 Caxton Park | Caxton Road | Elms Trading Estate | Bedford MK41 0TY | United Kingdom | T: +44 (0)1234 224545 | F: +44 (0)1234 224550 | E: uksales@rotatrim.co.uk | www.rotatrim.com

029_BW_170.indd 29 06/10/2014 15:43

 INSPIRATION

PHOTO PROJECT WINNER

Vehbi Koca is this month’s winner for his insightful documentary of a small
Alevi community, who fled Turkey after the military coup in 1980, and who
are now based in London. Vehbi wins a £100 voucher from Hahnemühle.
All images © Vehbi Koca

30
B+W

‘Photographing these people in my own city of London has made me realise that to live
peacefully and happily in a society, one has to respect all types of religion and cultures
and to teach our children the importance of tolerance in a multicultural society.’

30-31_PHOTO_PROJECT_WINNER_170 ER/MB.indd 30 08/10/2014 11:38

 TURN TO PAGE 62 TO FIND OUT ABOUT THIS MONTH'S PROJECT

31
B+W

30-31_PHOTO_PROJECT_WINNER_170 ER/MB.indd 31 08/10/2014 11:38

 32
B+W

32-38_HACKNEY ER/MB.indd 32 08/10/2014 11:43

 FEATURE

All images ©Berris Conolly

A LOOK
BACK IN
TIME
For Berris Conolly, his local
borough of Hackney provided
the material for a meticulous
personal documentary. Now,
25 years later, the images
take on a new significance
as historical witness and
33
motivator for new work. B+W

Steve Pill reports.

ike a good bottle of wine, great

L
photographs only improve with
age. As time passes and subjects or
locations change, certain images can
accrue an extra patina of intrigue.
One such set of images is Berris
Conolly’s Hackney Photographs. A sweet
and rather personal document of the
photographer’s immediate locale, they contain
nothing of the multiculturalism or hipster
clichés that have become a feature of the East
London borough in the intervening years.
To a modern-day Hackney native, Conolly’s
depictions of scruffy street urchins, deserted
parks and overgrown scrubland must look as
alien as the Victorian era, but they actually
only date back to the mid-1980s.
A successful commercial photographer
at the time, Berris had taken the pictures as
he was searching for a personal project to
sink his teeth into. ‘There was no conscious
ambition beyond making a record of how
the Hackney landscape looked at that time,
with a simple thought that the images
might be of some interest in years to
come,’ he explains today. 
Ridley Road

32-38_HACKNEY ER/MB.indd 33 08/10/2014 11:43

 34
B+W
Linscott Road
 While his aims were loosely defined,
his approach was incredibly methodical.
Armed with an A-Z, he trawled the streets
by car and bike, stopping to take photos
and ticking off each square of the map as
he went. ‘The idea was simply to ensure I’d
looked down every street,’ he explains. ‘After
looking at the contacts I returned to some
locations a few times, either because the
light was unfavourable, the season changed
or I had missed something.’
The photographer’s patient approach paid
off. Almost all the images were taken on a
tripod-mounted Pentax 6x7 with a 55mm
lens and 80 ISO film. ‘The tripod allowed
me time to gaze through the viewfinder,
move the viewpoint slightly, wait for the
32-38_HACKNEY ER/MB.indd 34
light to change, a cloud to move, or people
to depart,’ he says.
In fact, it was the locals who proved to
be the biggest obstacle when it came to
photographing the area. ‘Perhaps because
of the tripod, people assumed I worked for
a local paper or the council. In busy places
such as Ridley Road [market], some traders’
aggressive concern was: “Are you from the
rock & roll?” – rhyming slang for the dole.’
In most cases, however, Berris believes
the curiosity of passers-by only served to
enhance the final pictures. ‘People often
asked to be in the photo, perhaps just to have
their momentary passing presence recorded.
This led to some spontaneous images
I couldn’t otherwise have taken.’
onolly’s interest in photography
C began at an early age. Born in
Dublin in 1948, his mother gave
him a Halina 120 box camera
when he was 11 and he began to make
contact prints in the family kitchen at night.
He left school at 17 and briefly attended a
foundation course at a local college before
landing a job in a commercial art studio on
London’s Oxford Street. ‘Next door was an
associated photo company churning out
small PR prints for local advertising
agencies, and I would sneak in after work
to make a few prints,’ he recalls.
From here, he became an assistant on
Queen magazine to the legendary
photographer and author John Hedgecoe. 
08/10/2014 11:43
 Haggerston Park dogs
35
B+W

Waterworks Lane

32-38_HACKNEY ER/MB.indd 35 08/10/2014 11:43

 36
B+W
Mentmore Terrace
 ‘I was barely competent, but soon realised this
was a much quicker way to learn photography
compared to three years at college.’
A decade in an advertising studio followed,
doing mainly product shots of watches, hi-fi
equipment or food, as Berris refined his skills
behind the camera. Sufficiently emboldened,
he started showing his own photos in group
exhibitions but decided if he was to take it
further he needed to find himself a theme
and so that was when he began to explore the
area around his Stoke Newington home.
The series came to a natural end in 1988,
when the Untitled Gallery (now Site Gallery)
commissioned Berris to photograph
post-industrial Sheffield. However, within
32-38_HACKNEY ER/MB.indd 36
six years of leaving London, he had set up a
landscape gardening company and given up
on photography almost altogether, shooting
just a handful of 120 films during the
subsequent decade.
It took the purchase of his first digital
camera in 2004 to rekindle his interest in
photography and, five years later, he
revisited his old selenium-toned prints and
self-published them as Hackney Photographs
1985-1987 in a small edition of 200. An
added twist came the following year, when
photographer Alex Pink discovered the book
by chance in an East London shop. ‘I was
immediately struck by the pictures,’ recalls
Pink. ‘They were technically brilliant and
aesthetically beautiful with a real sense of
empathy towards the landscape.’
Pink contacted Conolly and, with his
blessing, set about revisiting both the
locations in the book and several
unpublished images too. The young
photographer shot in colour on a Canon
5D and a Leica M9, mimicking the original
viewpoints where possible.
erris was impressed by the results.
B ‘What’s remarkable is some places
are almost unrecognisable, while
others have changed very little, such
as the painted cricket stumps still visible
on a wall in Linscott Road,’ he says.
08/10/2014 11:43
 Curtain Road
37
B+W

Hackney Downship

32-38_HACKNEY ER/MB.indd 37 08/10/2014 11:43

 38
B+W
Hackney Stadium
 Looking back, Berris admits that with
his own time again, he might have taken
straightforward, Victorian-style street views
to provide a more comprehensive record
of how the area looked during that period.
Even without these additions, the range is
impressive, as we get glimpses of unchanged
vistas alongside other sights that have been
lost forever – including Hackney Stadium,
which was later demolished and is now the
site of the 2012 Olympic Media Centre.
As such, the portfolio feels remarkably
thorough and democratic. ‘John Berger
reminds us that a documentary photograph
cannot be composed in the same way as
a painting or constructed image,’ says the
66-year-old, by way of explanation. ‘All we
can do is select a viewpoint.’
32-38_HACKNEY ER/MB.indd 38
In 2011, Pink and Conolly held a small
exhibition at Hackney’s Chats Palace during
the Photomonth East London photography
festival and a joint book is being planned for
2015. The opening of that exhibition is the
only time that the elder photographer has
returned to Hackney since his move north.
The Irishman is proud of his East London
photographs and pleased that they are now
finding a wider audience thanks to Dewi
Lewis publishing an expanded, hardback
edition of the book, but his focus is now
firmly on creating new images. His current
project is a series of three-frame digital HACKNEY PHOTOGRAPHS
panoramas of views all within a mile radius Hackney Photographs is published
of his Sheffield home. ‘One doesn’t have to in hardback by Dewi Lewis at £30,
travel far,’ he notes, sagely. ‘There’s always ISBN 9781907893568.
material in the backyard.’ Visit dewilewis.com
08/10/2014 11:43
 The Societies’ Photographic &RQYHQWLRQ ² -DQXDU\ 
Convention and Trade Show 7UDGH 6KRZ ² -DQXDU\ 
Venue: Hilton London Metropole
Europe’s Largest All-welcome Photographic Convention

If you are an aspiring professional this

Convention and Trade Show is a must!
The Societies’ members and non-members are welcome.

FREE Photographic Trade Show *

See all the latest cameras and other photographic gear. The three day Trade
Show spanning the Friday to Sunday is a gathering of the who’s who in the
photographic industry, with major manufacturers eager to show you the latest
in technology and design.

What’s On Masterclasses
Free to enter trade show* Don’t miss out on the chance to
Business School start off the year with inspiration
Location Seminars from some of the world’s best
4 days of Masterclasses photographers.
Superclasses
4XDOLÀFDWLRQ$VVHVVPHQWV
250 hours of Masterclasses have been
20[µ3ULQW&RPS-XGJLQJ
FRQÀUPHGIRUWKH&RQYHQWLRQ
)LOPPDNHU-XGJLQJ
$OEXP-XGJLQJ
Awards Dinner Tickets: Day Pass from £50
Welcome Party 'D\)XOO3DVVIURP…

Register for your free trade show tickets today!* www.swpp.co.uk/convention/

,)5(*,67(5('%()25('(&(0%(5

High Street Radio and Photographic

JOIN US ON CROYDON PHOTO CENTRE

FACEBOOK
Leica Classic Cameras, Lenses & Accessories
Other classic equipment including
Canon Hasselblad Nikon Olympus Pentax etc

www.croydonphotocentre.co.uk

Tel 020 8688 9015

Over 55 years in business & a lifetime of knowledge

Like our Facebook page and get real-time updates

on all the latest news and beautiful photo
collections, plus exhibitions not to be missed!
294 High Street, Croydon, Surrey, CR0 1NG
blackandwhitephotog
Opening Times 10.30am - 5.00pm Closed all day Sun, Mon & Wed

039_BW_170.indd 39 08/10/2014 10:47

 FEATURE THE TIME OF A CHILD
For photographer Zoltan Vancso, childhood is not just the
beginning of adult life but a time that has its own wisdom.
Through his images of children he takes us back to that world
All images © Zoltan Vancso
of innocence and illumination. Elizabeth Roberts reports.

40
B+W

Budapest 2010 BELOW Velencefürdó 2011

t’s not often, when talking about a

I
photography book, that I would mention
Jean-Jacques Rousseau – the 18th century
philosopher and writer – but Zoltan
Vancso has turned to Rousseau for the
title of his book on childhood, The Sleep
of Reason. Rousseau’s take on childhood
was that it was a time of great wisdom and
freedom and we should not be too quick to
educate or socialise children – we should
not disturb what he termed their ‘sleep of
reason’ – their ability to live in the moment.
Vancso’s set of images illustrates this well –
here children appear quite separate from the
adult world, complete and perfect, absorbed
in their own activities.
There is something unmistakably East
European about these images, although many
of them were shot as far afield as Australia,
India or Norway – there is a quality that
defines them, an intensity of perception.

40-43_SLEEP_OF_REASON ER/MB.indd 40 02/10/2014 15:47

 Csákvár 2010
41
B+W

Pacsatüttós 2010

40-43_SLEEP_OF_REASON ER/MB.indd 41 02/10/2014 15:47

 Budapest 2007
42
B+W

Transylvania 1997 Esztergom 2008

 It’s as though the photographer has shed
his adultness and entered into childhood
with his subjects. He writes: ‘There is a
remarkable phenomenon in children’s life
– adults call it ‘flow’ – that is well known
to photographers and artists. It is when
you are absolutely free from the outside
world and deeply sunk in the activity you
are doing. Children live in this state and
could well teach adults to do it.’
Vancso was born in Budapest in 1972
and has worked as a press photographer.
He describes himself as having two
distinct photographic personalities – one
attempting to be specific and meaningful,
re-creating reality; the other aspires to the
SLEEP OF
‘improbability of reality’ and his belief that REASON
a photograph can convey this. Coming Sleep of Reason
from such a photographic heritage of is published by
20th century Hungarian photographers Artphoto Galéria
– Brassaï, Capa, Kertész, Moholy-Nagy, as part of their
Munkácsi – it is little surprising that Close Up series,
Vancso has taken up their influence and available from
turned it into his own. artphoto.hu

40-43_SLEEP_OF_REASON ER/MB.indd 42 02/10/2014 15:47

 Rome 1999
43
B+W

Gallyatetö 1997

40-43_SLEEP_OF_REASON ER/MB.indd 43 02/10/2014 15:48

 FEATURE COLLECTING PHOTOGRAPHY:
BUYING AT AUCTION
In the second part of her series on collecting, Tracy Hallett points out that
you don’t have to be super rich to secure a print at auction – success is simply
down to research, nerves of steel and reading between the lines.
© Image courtesy of Bonhams, bonhams.com

44
B+W

In April 2014, this warm-toned gelatin silver print (entitled At the Time of the Louisville Flood, Kentucky, 1947) by Margaret Bourke-White
fetched $161,000 at Bonhams. The image was originally taken for Life magazine in 1937.

hotographic prints can be purchased may well become a collector’s item, but if estimate) based on recent auction results and

P from galleries, photo fairs, dealers,

artists and even car boot sales, but
none of these can compare with the
feverish excitement felt in a packed
saleroom. Buying at auction is risky
you would rather save your money for the
saleroom, you can find exactly the same
information online. Each lot will be illustrated
and accompanied by basic details such as
the artist’s name, the title of the piece, its
comparable prices (see below). The numbers
can be quite vague (£400-£800, for example)

AUCTION HOUSES


– once the hammer (or gavel) falls you
are committed – but the thrill of securing
a bargain is seductive.
Most major auction houses produce
catalogues describing items about to go
under the hammer. These glossy brochures
cost around £30, and are available four to
six weeks before a sale (you can usually
subscribe online). If an auction is particularly
noteworthy the accompanying catalogue
dimensions, and the date it was created. But
equally important is the item’s provenance (its
history of ownership) and news of any major
exhibitions and publications it has appeared
in. Ultimately, this will help you to decide
how much a print is worth.
The estimate, of course, is another good
indicator of an item’s value. Each lot is
examined by an expert at the auction house
who arrives at two figures (a low and a high
Bonhams
Since its establishment in 1793,
Bonhams has achieved world record
prices for paintings, jewellery and Asian
art. The company holds 400 auctions
a year, across more than 60 specialist
departments, and has major salerooms
in London, New York, San Francisco,
Hong Kong and Los Angeles.

44-49_ON_COLLECTING ER/MB.indd 44 08/10/2014 11:54

 © Image courtesy of Phillips, phillips.com

45
B+W

In November Phillips will be auctioning items from the collection of the Art Institute of Chicago. Highlights include
a photogravure of The Steerage, circa 1907 by Alfred Stieglitz with an estimate of £9,000-12,000.

44-49_ON_COLLECTING ER/MB.indd 45 08/10/2014 11:54

 © Image courtesy of Phillips, phillips.com
Taken in 1948, but described as ‘printed later’, this gelatin silver print
from Harry Callahan (entitled Chicago, 1948) will be auctioned by
Phillips in November, and has an estimate of £4,000-5,000.
46
B+W
 so it’s best to use them as just a guide. Once
you’ve seen the estimate you can guess the
reserve (the price the auctioneer needs
to reach before he’s able to sell the piece)
because by law it must not exceed the lower
of these two figures.
Aside from the basics, the listing may
feature a number of symbols and phrases,
which you’d do well to familiarise yourself
with. Some indicate how much VAT is payable
on an item, while others relate to the origin
of a piece. Terms such as ‘from the workshop
of Ansel Adams’ might suggest a print made
by a student of Adams, rather than the man
himself. When you make a bid you’re entering
into a binding contract with the auction
house, so be sure to look out for terms such as
‘attributed to’, ‘in the style of’ and ‘follower of’
– all of which will have a significant bearing
AUCTION HOUSES
Christie’s
Founded in 1766, Christie’s holds
around 450 auctions every year and
specialises in fine and decorative arts,
jewellery, wine, and photographs. Prices
range from $200 to over $100 million.
The auction house has 12 salerooms
around the world, including sites in
London, Hong Kong and New York.
44-49_ON_COLLECTING ER/MB.indd 46
© Image courtesy of Sotheby’s France/ArtDigital Studio
Containing almost 300 lots, the auction of Man Ray objects at Sotheby’s
Paris will be the last opportunity to acquire works by Man Ray directly
from the studio of the artist. This vintage silver print (entitled Magnolia
Flower, 1926) has an estimate of €30,000-50,000.
on the value. Don’t rely on the auction house;
do your own homework.
Once you’ve identified an item of interest
AUCTION HOUSES
in the catalogue, you can request a condition Phillips
report – a document prepared by the auction With previous clients including
house to provide in-depth information about Marie Antoinette and Napoleon
the physical condition of a piece. The report Bonaparte it’s no wonder that Phillips
is prepared by specialists in their field, but auction house has an international
what they consider ‘acceptable wear’ you may following. The business focuses on
not, so it’s no substitute for seeing, and in contemporary art, design, jewellery,
many cases handling, the print yourself. photography and editions, and is the
Almost every auction house will hold a only auction house ever to hold a sale
viewing day or presale exhibition. This is your inside Buckingham Palace.
chance to inspect an item and scrutinise it for
any faults and deficiencies. When you buy at you feel an item slipping away from you, it’s
auction you buy ‘as is’ or ‘as seen’ which means tempting to raise the paddle one more time
you are accepting any existing imperfections in the hope of knocking out the competition.
– so make sure that you know exactly what Such behaviour can be costly, as auctioneers
these are. It’s also worth remembering that often increase the bidding by 10% each time. If
excessive handling can damage a print, so your first bid was £500, once your competitor
unframed work may not be in the same has chipped in, your next bid will need to be
condition at the end of a viewing as it was at £600 or greater (the auctioneer rounds the
the beginning. If possible, have another look figure up or down). In a matter of seconds you
at the lot on the day of the auction. could be hundreds of pounds worse off.
Presale viewings provide great To bid in person you need to register with
opportunities for meeting members of staff the auction house using some form of official
and asking any burning questions you may identification (such as a passport). Many
have – experts usually enjoy sharing their salerooms also require bank details at least 48
knowledge, especially with like-minded hours before the sale starts. Once you’ve been
people, so don’t be afraid to approach them. accepted, you will be provided with an ID,
Attending the auction can be exciting, but which you will need to present on the day of
it can also lead to serious overspending. When the auction. Having arrived at the saleroom 
08/10/2014 11:54
 © Image courtesy of Sotheby’s France/ArtDigital Studio

47
B+W

In November Sotheby’s Paris will hold a major auction of Man Ray photographs, paintings, drawings, objects, films and jewellery owned
by the artist’s estate. This vintage silver print (entitled Lee Miller with Sponge Necklace) has an estimate of €40,000-60,000.

44-49_ON_COLLECTING ER/MB.indd 47 08/10/2014 11:54

  you will be handed a paddle with a unique
number. When you wish to bid you simply
raise the paddle within view of the
auctioneer. If the hammer falls in your
favour you are obliged to go through with
the transaction.
To avoid getting carried away, you can
place a written, or absentee, bid, and keep
your distance. All you need to do then is
decide on your maximum bid, and allow
the auction house staff to do the hard work
(to submit a written bid you need to fill in
the relevant form at least 24 hours before the
sale begins). Alternatively, you can bid online
or over the telephone (again you’ll need to
48
B+W
In October 2014, a gelatine silver print (entitled Woman and Her Son, NYC, 1965) by Diane Arbus went under the hammer at Bonhams
with an estimate of $6,000-8,000. The print was made by Neil Selkirk, and signed, titled and dated by Arbus’ daughter Doon.
© Image courtesy of Bonhams, bonhams.com
44-49_ON_COLLECTING ER/MB.indd 48
give at least 24 hours notice). These methods
allow you to take part in auctions anywhere
in the world, but if you choose to do so you
need to be aware of any ‘hidden’ costs (see
below) as well as the rules governing the
import and export of artworks.
Occasionally an item fails to meet the
reserve agreed between the seller and the
auctioneer. In this instance it is described as
‘bought in’, and ownership remains with the
vendor. The auctioneer will draw attention
to such lots by saying ‘pass’ or ‘unsold’, and
move along quickly. If this happens to a print
you’re interested in it’s worth approaching
a member of staff at the end of the sale and
offering to pay the reserve price. If the owner
agrees, the piece is yours.
AUCTION HOUSES
Sotheby’s
When Samuel Baker auctioned a
selection of books from the library of Sir
John Stanley in March 1744, Sotheby’s
was born. Now the company sells work
from 70 different categories including
fine and decorative art, jewellery and
photography. It conducts 250 auctions
a year, with sites in 40 locations.
08/10/2014 11:54

One of the highlights of the November sale at Phillips auction house is this signed gelatin silver print
(entitled Aspens, Northern New Mexico, 1958) by Ansel Adams, with an estimate of £15,000-20,000.
When you’re deciding how much to bid,
you need to look for comparable prices. You
can find previous auction results using online
databases such as artnet.com, artprice.com and
gordonsart.com. For a modest payment (£15-
£20 for a one-day pass) you can access millions
of records from thousands of auction houses
around the world. If you envisage spending
£1,000 or more it’s worth seeking the opinion
of an independent valuer too – these specialists
will assess your potential purchase for a small
fee. Once you’ve obtained a rough figure, you
might like to order an analysis report, which
will help you to gauge the health of the market
for your chosen artist (see artnet.com).
With the price you’re prepared to pay in
mind, you need to factor in some extra costs.
Auction houses (with few exceptions) add
7.5-25% to the hammer price (a charge known
as Buyer’s Premium) plus VAT. Some artworks
are also protected by a resale right known as
droit de suite (right to follow). This entitles the
artist, or his/her heirs, to receive a percentage
of the sale price (usually 4%) each time the
work is sold within the European Union. Droit
de suite does not apply to items of €1,000
44-49_ON_COLLECTING ER/MB.indd 49
or less, but where it does stand, the buyer is
responsible for footing the bill.
If you plan to take part in an auction
outside of your home country don’t forget to
include the cost of shipping and insurance
in your final calculations. If your bid is
In the next part of this series we look at how to store and preserve your photography collection.
FURTHER INFORMATION
artnet (artnet.com)
Objective information and insights into
art prices. Features a database with
thousands of results from
international auction houses.
Artprice (artprice.com)
Comprehensive art market information
gleaned from more than 30 million
auction results.
Bonhams (bonhams.com)
Sales of 20th century photographs
held in New York twice a year.
Christie’s (christies.com)
Photographic sales held in Paris
© Image courtesy of Phillips, phillips.com
49
B+W
successful, and logistics allow it, you can
collect your item in person, but be sure to act
promptly as some houses charge for storage
(others may give you a few weeks grace). Once
you’ve taken these extra costs into account,
you can raise your paddle with confidence.
(November and July) and New York
(April and September).
Gordonsart (gordonsart.com)
Well established art price database with
more than 5.2 million records to search.
Phillips (phillips.com)
Photographic sales held in London
(May and November) and New York
(April and October).
Sotheby’s (sothebys.com)
Photographic sales held in London (May),
New York (April and October) and Paris
(November). Special sales are held at
other times of the year as appropriate.
08/10/2014 11:54
 INSPIRATION PHOTOBOOK WORKSHOP
In his quest to find 112 ways to make a photobook, Eddie Ephraums
3/112 discovers that it takes practice to avoid the trap of perfection, and
All pictures © Eddie Ephraums
finds that functionality can help give a book its meaning.

s I think about making the third

A 112 Ways book, I ask myself if

there is a theme running through
my photography – a seam I can
mine – that will provide the material for all
112 books and beyond? One week I’m
running a workshop in Venice, and during a
short break I notice a photographer and her
dog walking to Rialto bridge (book one).
Another week I’m back at my studio,
observing the wisteria growing outside
(book two). What next?
As a photographer friend pointed out,
I use a camera both like a notebook and as
a journal, to explore ideas and to make
observations on life. Sometimes, like at
Rialto, the idea is plain to see, then the
pictures and the book almost make
themselves. Other times, like the wisteria,
50 I know what I’m observing, but pressing the
B+W
shutter release is only a halfway stage to
creating a book that ‘clicks’. The idea might
only manifest itself post-capture, in the
editing or at the design stage, like a writer
reflecting on his notebooks to find the story.
Thinking about this, I see the focus of my
photography, and the 112 Ways books, is a
daily practice of awareness, to be present and
engaged with life. The camera is a constant
reminder to notice things and to gather
potential material for my books. The books
themselves are my take on life. On the one
hand they ground me (making photobooks is
my meditation), on the other hand they are
about opening myself up to new and
unexpected ways of seeing (books as artistic
challenges), that expand my view of the
world. So, how does this relate to book three?

Book number three of the 112 Ways project is

housed in a semi-transparent sleeve, through
which can be made out the shape of a teapot
and the ‘100 teapots‘ title. In addition to
protecting the book, the sleeve is intended to
intrigue the viewer and to introduce them to the
idea that the book has to be physically handled to
reveal its contents. Traditionally bound, spread-
based books often take this physical process
of engagement with the viewer somewhat for
granted (typically for commercial reasons).
Is this a missed opportunity?

50-52_PHOTOBOOK_WORKSHOP_170 ER/MB.indd 50 02/10/2014 15:49


FIVE KEY QUESTIONS
1 How will your book physically function: spreads, foldout pages, concertina?
2 How does this functionality support the meaning and purpose of the book?
3 Does the functionality of the book engage or possibly confuse the viewer?
4 Does the book have the right balance between visual form and physical function?
5 How do we know we’ve got the right balance between the two?
’m reminded of a potter friend of my wife who
I makes wonderful teacups. Frustrated that she
couldn’t get her teapots right, she set herself
the challenge to make 100 of them. The
exercise became less about trying to create
perfection and more about getting into a state of
flow. Maybe we need 100, or 112, or infinite
ways of doing our ‘thing’, to go beyond trying to
get it right, to find that success lies in practice,
not in perfection. For book three, I’ve used
images of those teapots and, like the pots, the
book is a work-in-progress. Making it has given
me ideas of how I can improve its functionality
(see the picture captions).
Of course, part of wanting to get things right,
to be picture or pot-perfect, comes from our
innate fear of getting things wrong. However, self
expression has moved on from primal concerns
of survival. Making photobooks is about finding
our place in the world, making this relevant and
50-52_PHOTOBOOK_WORKSHOP_170 ER/MB.indd 51
The opening spread of book
number three sets the scene,
revealing a full-frame image
(on the right) of the ‘100
teapots’ collection to date, set
out on a table. On the left side,
half of a double-page image of
a pot is visible. Lifting up the
right-hand, top-hinged, image
reveals the rest of the left-
hand pot, with the number 1 on
it. This interplay of full-frame
descriptive image on the right,
and half-visible-half-seen
image on the left, continues
throughout the book.
51
B+W
interesting to others; turning daily observations
and ideas on life into something expressive that
can be shared, like the first paintings on a cave
wall (the cave is a precursor to the photobook,
providing a protective housing for the images
inside!). And like those paintings, the success
of a book is in the eye of the beholder and,
like a teapot, something to be held.
Here the rest of the book can be seen in running
order. Each pair of images on a spread are
connected. For example, in the second spread,
part of the potter’s shed is visible on the left,
with some of its contents visible in the right-hand
image. Lifting the right-hand image reveals the
rest of the underlying picture, giving us a view in
through the shed window. The rest of the pages
take us through the pot-making process, ending
with close-up images of the pots, back on the
table where the book started.
02/10/2014 15:49
 The fore-edges of the first and last pages were
glued to the cover. The rest of the book was bound
by gluing all the other fore-edges together with
a Herma glue roller. The creased hinging was
created using a rotary cutter perforating wheel.
Although I’m happy with this book, I see it as work
in progress. Next time, instead of hinging the
right-hand pages from the top, I will fold them out
from the right. However, this means inkjet printing
them on the reverse side of the same sheet as the
underlying image, with inherent alignment issues.

FUNDAMENTALS
After making just three of the 112 books,
I’ve become more conscious than ever
of how function affects the meaning
of a photobook. Perhaps this is due to
the unusual, challenging, 3:1 format, or
the limited number of pages of the 112
Ways books (are they normal functioning
photobooks?). Or maybe it’s because I’ve
handmade each one, and had to think about
how they physically work, that has quite
literally got me in touch with the importance
of functionality. One reason online published
books may seem ubiquitous is because they
tend to be printed and bound to function the
same way.
52 TIP
B+W
A photobook must have integrity to
succeed. Its physical form and function
(how it performs) is meant to support
and/or emphasise the visual content and
meaning of the book. If a book fails, we may
mistakenly think it is down to the pictures,
or the picture editing, when there may be
less obvious, but equally important factors
at work. For me, a book has to look and feel
the part. Which are the books that you own
that work – function – best? Why?

Every portrait photographer has their favourite

model, while I have my favourite hand model. Here
my ever-patient wife Maxine looks adoringly(?) at
her hubby after we’ve photographed book three.
Photographing each of the books is a great way
to reflect on them, how they work, and where
there is room for improvement (i.e. how I can
learn to be more patient with my hand model!).

EDDIE EPHRAUMS
To see more of Eddie’s work and
services visit envisagebooks.co.uk

50-52_PHOTOBOOK_WORKSHOP_170 ER/MB.indd 52 02/10/2014 15:50

 View from the hotel, looking on to the Grand Canal.
Photographs:
g p Kate Somervell

Venice photo retreat

Small group location workshop | January 12-17 2015
Central Venice. 2 minutes from Accademia bridge

Join me, EDDIE EPHRAUMS, and my OSW partner ADRIAN

HOLLISTER on a unique photo workshop retreat. Slow down,
get into a mindful frame of mind, and discover your view of La
Serenissima through a printed portfolio of your images.

I O WO
UD
Full details on our website: R
www.openstudioworkshops.com
OPEN ST

KS
HOPS

Contact us: info@openstudioworkshops.com OS W

–
–

VEN CE
I

053_BW_170.indd 53 08/10/2014 09:32

 INSPIRATION
thomaspeckphotography.com
thomaspeck.wordpress.com
TALKING PICTURES
Capturing not just a moment in time but a moment in a generation,
Bill Yates’ portrait of a young man is compelling in its honesty and its
ambiguity. Thomas Peck talks through its qualities and its hidden messages.

54
B+W

hat is a portrait for? On he holds himself describes the confidence, cowboy’s gun. The gunslinger imagery is

W
one level every portrait even cockiness, of teen youth. The pose furthered by the arms and hands, casually
is a snapshot of an radiates teen masculinity: new found ready to draw. The overall pose is relaxed
individual, a sixtieth independence, emerging adulthood, the and yet slightly antagonistic towards the
of a second extracted awareness of the beauty of the self and the camera and viewer. The eyes challenge, his
from the everyday. On desire to project that beauty, to advertise it stance is provocative, an echo of a
another level, a portrait is a window on a to others. multitude of Wild West heroes.
life stage. It goes beyond the The most striking element
individual to capture a truth of the young man of course is
about human life. Bill Yates’s ‘The most striking element of the the fact that he has stripped
photograph of a young man at off his shirt to display his
the Sweetheart Roller Skating young man of course is the fact that naked torso. This catapults
Rink does just that: it shows a the viewer into a full
moment in time and a timeless he has stripped off his shirt to display confrontation with the young
age in the life of all young men.
What do we see? A black
his naked torso. This catapults the man’s burgeoning sexuality.
The chain and cross on his
& white square image of a viewer into a full confrontation with chest is a neat counterpoint.
teenager. Full frontal flash Worn for religious reasons?
has been used and picks out the young man’s burgeoning sexuality.’ Possible, but unlikely. More
the subject separating him probable is that it simply
from the dark indistinguishable draws attention to his physical
background. The image has a snapshot or me the image goes even beauty. Again, the bursting confidence and

quality. The lighting is not posed. It feels
much more like a grabbed moment.
What does the viewer feel? Although the
image does not seem like it has been posed,
the boy/man is clearly adopting a hugely
important pose. Everything about the way
F
further – this is a very American
teenager. The bottle of schnapps
shows he is adult enough to
drink, but look how it is jammed
into the top of his jeans held by
his belt. For all the world it looks like a
self absorption of youth.
What a super image! Bill Yates has
created a compelling and dynamic portrait,
capturing both a moment in an individual’s
life and categorising a life stage common
to every man.

54-55_TALKING_PICTURES_170 ER/MB.indd 54 08/10/2014 12:09

 55
B+W

Sweetheart Roller Skating Rink, 1972-1973 by Bill Yates

54-55_TALKING_PICTURES_170 ER/MB.indd 55 08/10/2014 12:09

 TECHNIQUE
GOT WHAT IT TAKES?
Putting together the perfect camera kit for creative photography is
no mean feat – and can include some expensive mistakes. Lee Frost
All pictures © Lee Frost
outlines the contents of his backpack to get you on the right track.
re you happy with your if (a) it’s to be purchased in the first fairly certain those items will help me

A
photography outfit? Does
it tick all your creative
boxes or leave you
lacking? With so much
gear to choose from, and
more being launched all the time, it’s
tempting to just keep buying. Some
photographers do – they own so much
kit that they can’t remember what
they’ve got. ‘All the gear, no idea,’ as
the saying goes. But for me, an item of
equipment has to justify its existence
place and (b) I’m going to keep it.
I’ve made mistakes in the past
– bought lenses that never left the
house and ended up being sold at a
hefty loss. But, finally, six years after
investing in my first digital SLR, I feel
comfortable with my kit and can’t
think of anything I don’t have that
would make a big difference if I did.
Sure, there are additional items I’d like
to have – a couple of Canon tilt/shift
lenses for starters – but unless I’m
produce better images, I struggle to
justify them, especially when the price
tag is in four figures!
So, for now at least, I feel like
I have the perfect kit for creative
photography. It allows me to shoot
all the subjects I’m interested in and
travel anywhere in the world safe
in the knowledge that I haven’t left
something crucial behind.
Want to take a peep inside my
backpack? Then read on.

CAMERAS
My camera of choice for the last couple of
years has been the full frame Canon EOS 5D
MKIII. It’s the best digital camera I’ve ever
owned, not just in terms of image quality (the
22.2Mp sensor is awesome) but features and
56 performance too. I love the vast ISO range –
B+W
all the way up to 102400 – it happily shoots
at ISO 3200 or 6400 when low light gives
me no option, knowing the results will be
fantastic. The autofocusing is also brilliant,
and though I don’t use AF all the time, when
I need it I know it will get the job done.
As back-up I have a Canon EOS 5D
MKII which was my main camera prior to
the launch of the 5D MKIII. It’s still a great
camera in its own right and I’ll happily use it
side by side with the 5D MKIII when I need
to work with two bodies. It’ll be interesting
to see what Canon come up with as
replacement for the 5D MKIII – I’ll certainly be
putting it on my shopping list, selling the MKII
and using the MKIII as my back-up body.
I also have a Canon 5D MKI which has
been modified for infrared photography by
Advance Camera Services in Norfolk. I had
an EOS 20D converted prior to this one, but
decided to go full frame so I can use
all my lenses without a crop factor.
Usually I carry the 5D MKIII and infrared
bodies, or if there’s no chance of infrared
shots I carry the 5D MKIII and 5D MKII. It’s
rare that I carry all three, but my backpack
is big enough to accommodate them all.

AKHA WOMAN, SHAN STATE, MYANMAR

For handheld photography in low light
a 50mm prime lens is hard to beat.
Canon EOS 5D MKIII with EF 50mm f/1.8 II lens,
ISO 800, 1/30sec at f/4

56-61_LEE_FROST 170 ER/MB.indd 56 02/10/2014 15:51


LENSES
Three zooms form my core lens kit, though
they have all changed over the last four
months. For five years I used three Canon
EF zooms – 17-40mm f/4, 24-70mm f/2.8
and 70-200mm f/4 IS. All were/are great
performers, but Canon have upped their
game of late and produced some new
zooms with improved image quality so one
by one my old three have been replaced.
The first change was to swap the
24-70mm f/2.8 to the latest 24-70mm f/4 IS.
I’ve lost a stop of speed, but I rarely, if ever,
used the lens wide open. More importantly,
the f/2.8 model weighed almost 1Kg and
had no image stabilisation, whereas the new
f/4 is smaller, lighter and has 4-stop image
stabilisation, as well as cutting edge optics.
Next, I decided to switch from the
awesome 70-200mm f/4 IS (it’s so sharp!)
to the 70-300mm f/4-5.6 IS. The latter
is heavier and chunkier but it gives me
another 100mm of focal length that I often
find I need, the optical quality is higher and
the image stabilisation is better.
Finally, back in the summer I succumbed
to Canon’s new 16-35mm f/4 IS. The
17-40mm f/4 is a fantastic lens for the
money and I’ve taken thousands of
great shots with mine in all situations
56-61_LEE_FROST 170 ER/MB.indd 57
ALNMOUTH, NORTHUMBERLAND The Zeiss 21mm is probably the sharpest wideangle lens there is!
57
B+W
Canon EOS 1DS MKIII with Zeiss 21mm f/2.8 lens, ISO 100, 1/8sec at f/11
and conditions. However, it lacks image
stabilisation and I do more handheld
photography on my travels these days so
I need IS, plus the 16-35mm boasts the
latest optics and is noticeably sharper than
the 17-40mm.
Together these three zooms give me
a focal length range from 16mm ultra-wide
to 300mm telephoto, which covers at least
95% of my needs. When I want to travel fairly
light, they’re all I carry. When I can squeeze
another lens or two in, or have special
requirements, then one or more
of the following are added:
Canon 50mm f/1.8 standard
You can pay £1,200 for a 50mm f/1.2
prime, about £260 for a 50mm f/1.8,
or £80 for a 50mm f/1.8. I took the
cheap option! This lens is plasticy
and as light as a feather, but it’s
amazingly sharp and the f/1.8 max
aperture is a lifesaver in low light.
I don’t carry it all the time – usually
just when I’m travelling overseas – but HAVANA, CUBA
it’s a great little lens for any kind of low A fisheye lens is handy in tight spaces
light photography and depth of field at and for its wacky distortion.
f/1.8 is very shallow so it’s also ideal for Canon EOS 5D MKIII Sigma 15mm lens,
differential focusing. ISO 800, 1/160sec at f/3.5
02/10/2014 15:51
 CITS OF ARTS AND SCIENCES, VALENCIA, SPAIN The Samyang 14mm is a superb ultra-wide lens with an affordable price tag.
58 Canon EOS 5D MKIII with Samyang 14mm f/2.8 lens, ISO100, 1/40sec at f/11
B+W

 Zeiss 21mm f/2.8 Distagon prime
When I know I’ll be shooting a lot of
landscapes I make sure this lens is in my
backpack. It’s the sharpest lens I own,
a real luxury piece of kit, and I love it!
The focal length on a full frame DSLR is
ideal for landscapes – and architecture too.
For most travel trips I tend to leave it behind
as it’s quite big and heavy and manual focus
only, so it lacks the versatility of a zoom.
But when image quality is the most
important consideration it’s at the front of
the queue. There’s no other lens quite like it.
so I can try something different – it’s great
for cityscapes day and night, buildings,
monuments and interiors. The distortion
is obvious and extreme but that’s what
fisheye lenses do!
Lensbaby Composer
Instead of a ‘proper’ lens I sometimes
use a Lensbaby to create images
where only a small ‘sweet spot’ is
sharp while everything else blurs away.
Like a fisheye lens, the Lensbaby should
only be used occasionally otherwise the
effect starts to become predictable, but
for portraits and still life shots it can
produce great results.

Samyang 14mm f/2.8 wideangle

I fancied a wider wideangle lens than 16mm
and read good things about the Samyang
14mm f/1.8. It costs around £300, which
is £1,500 less than the Canon 14mm f/2.8
but, for the money, is superb. It’s very,
very sharp from f/5.6 down and though it’s
manual focus only, and you get no aperture
readout on the camera’s LCD, it’s a brilliant
lens for landscapes, architecture and astro
photography if you can put up with its
quirks, which I can.

Sigma 16mm full frame fisheye

My wackiest lens and the one I use least of
all, but on the right subject it works really GULLFOSS, ICELAND An ND filter is ideal for shots of moving water.
well. I tend to pack it when I’m travelling Canon EOS 5D MKIII with 24-70mm f/2.8L USM lens, ISO 50, 0.6sec at f/22

56-61_LEE_FROST 170 ER/MB.indd 58 02/10/2014 15:52

 Pinhole bodycap
Another alternative to a lens is my Pinhole
Solutions pinhole bodycap that I can use to
turn my DSLR into a digital pinhole camera!
The images are soft, as all pinhole images
are, but it’s great fun to use on landscapes
and architecture if you want to come up
with something a little different.

FILTERS
Many digital photographers don’t bother
with filters any more, but I’m still a firm
believer in getting my images as close to
finished in-camera as I can, plus some
filters are used for creative effect that
can’t be done digitally.
My main filter system is from Lee Filters.
I carry two filter holders, each set up to
take two slot-in filters and one with a
105mm threaded ring on the front for a
polariser. I also carry 67mm, 77mm and
82mm wideangle adaptor rings. In terms
of filters, there are three main categories:

ND grads – I carry 0.45, 0.6 and 0.9

ND hard grads plus 0.6 and 0.9 ND soft
grads. I mainly use the hard grads, but the
soft grads are useful when the horizon line
is broken.

ND filters – 0.6 and 0.9 NDs increase

the exposure by 2 and 3 stops respectively
and are used for shots of moving water
mostly. Lee Little Stopper and Big Stopper
ND filters increase the exposure by 6 stops
and 10 stops (approx) and are used to
record motion in a scene – turning clouds
to streaks of tone and smoothing out the
sea, for example. I also carry Hitech Pro
stop IR ND 6, 8 and 10 stops that fit the
Lee Filter holders. They’re made from resin
BLYTH BEACH, NORTHUMBERLAND
59
B+W
Use a 10-stop ND filter to record the passing of time and create beautiful fine art images.
Canon EOS 5D MKIII with 24-70mm f/4L IS USM lens, ISO 100, 350secs at f/20, Hitech Prostop 10
so less likely to break than the Big and Little
Stoppers (which are glass and expensive!).
Polarisers – though mainly intended
for colour photography, polarisers are
handy for images that will end up as black 

BEADNELL, NORTHUMBERLAND
A polarising filter helps you make the most
of a dramatic sky, even in mono.
ISLE OF LEWIS, OUTER HEBRIDES When contrast is high a 0.9ND grad is usually required for the sky. Canon EOS 5D MKIII with 17-40mm f/4L USM lens,
Canon EOS 5D MKII with 70-200mm f/4L IS USM lens, ISO 400, 1/320sec at f/11, 0.9ND hard grad ISO 400, 1/160sec at f/8

56-61_LEE_FROST 170 ER/MB.indd 59 02/10/2014 15:52

 HAVANA, CUBA No matter how low the
light is, a tripod ensures sharp images.
Canon EOS 5D MKIII with 70-200mm f/4L IS
USM lens, ISO 400, 1.6secs at f/11

60
B+W
 & white as you can emphasise the sky and
eliminate both reflections and glare. For the
Lee Filters holder I use a Heliopan 105mm
slimline circular polariser and for direct
attachment to the lens I have a 77mm
Hoya Revo Super Pro 1 polariser.
I don’t bother with clear protective filters
on my lenses as they reduce image quality
and increase the risk of vignetting unless
I remove them when shooting. Instead,
I handle my lenses with care so they
don’t get damaged.
between landscape and portrait formats
much quicker and is also handy when
shooting stitched panoramas. The 5D
MKII and 5D infrared have flat plates
(cheaper and not as bulky) as I use
them less frequently.
I also have levelling bases fitted to both
tripods, which make it quick and easy to
level the tripod head on the legs when
shooting panoramas and architecture. On
the Gitzo tripod I have a Gitzo GS3121LVL
base and on the Manfrotto I have an
Acratech Levelling base.
ACCESSORIES
I don’t carry many gadgets and gizmos,
but there are a few that I consider essential.

TRIPODS
I have two tripods. For landscape work
I use my Gitzo GT3542LS, which is heavy
duty, solid as a rock and extends easily to
eye level. For travel I use a Manfrotto MT190
CXPRO3 which is smaller and lighter but
still more than capable of keeping my EOS
5DMKIII and 70-300mm zoom rock steady.
Both are fitted with Really Right Stuff
ballheads – the Gitzo with a BH-55 full-size
ballhead and the Manfrotto with a BH-40
Mid-sized ballhead.
Both heads have the same top clamp
so the quick release plates on my DSLR
bodies fit both of them. On the 5D MKIII
I have a Really Right Stuff L-plate, which
allows me to mount the camera on the
tripod heads in portrait format without BAGAN, MYANMAR Use a telezoom to compress perspective and fill the frame with interest.
adjusting the head. This makes switching Canon EOS 5D MKIII with 70-200mm f/4L IS USM lens, ISO 100, 1/20sec at f/11

56-61_LEE_FROST 170 ER/MB.indd 60 02/10/2014 15:52


STOKKSNES, ICELAND If you’re into shooting landscapes then you simply
cannot survive without a wideangle zoom!
Canon EOS 5D MKIII with 17-40mm f/4L USM lens, ISO 100, 1/100sec at f/11
Lens hoods – I always carry the clip-
on lens hoods for my three zooms so that
if I’m shooting without filters I can use the
hoods to reduce the risk of flare, or
getting rain on the lens.
Remote releases – I usually buy
cheap ones off eBay and carry three or
four as I’m always losing them or dropping
them in water!
Antistatic brushes – to clean filters
and lens elements, stored in a plastic case
to keep the bristles clean.
Micro-fibre cloths – kept in poly
bags so they’re clean and don’t pick
up abrasives that could scratch optical
VINALES, CUBA An infrared camera or filter allows you to create surreal images.
Canon EOS 5D infrared with 17-40mm f/4L USM lens, ISO 200, 1/125sec at f/11
56-61_LEE_FROST 170 ER/MB.indd 61
surfaces, plus a couple of bigger cloths
to dry off cameras and lenses if I get
caught in the rain.
Stiff brush – a kid’s paintbrush that
I bought years ago for £1, used to remove
dust, dirt and sand from camera bodies
and lens barrels.
Bin liners – I have one or two in the
side mesh pockets of my backpacks so
I can lay the pack on them if I’m shooting
on a beach or wet ground.
Waterproof cover – just cheap
Op/Tech Rainsleeves (£5.95 for a pair)
to keep the camera and lens dry when
shooting in rain.
Spare batteries – the EOS 5D MKII
and MKIII take the same battery. I have
five altogether, plus two batteries for the
5D MK1 infrared.
Torch – I have a tiny Fenix E15 torch
which measures just 6cm and takes a
single CR123 battery but delivers up to
170 lumens. Handy when I’m outdoors
in darkness or in dark interiors.
BACKPACKS
I’ve had numerous backpacks over the
years, from a range of manufacturers, and
all have served me well. These days I use
one of three models, depending on where
I’m going and what I’m shooting.
If I need to travel light I take a Tamrac
Adventure 9, which only cost about £60
(it’s not made any more) but has given me
years of great service. The bottom section
is padded for cameras and lenses while
the top section is intended for clothing,
food and accessories. There’s also a
laptop pocket at the back. It’s great for air
travel and handy when you’re wandering
the streets all day.
Next up is a Think Tank Street Walker
Hard Drive, which is relatively compact
but will carry my full kit – three DSLR
bodies, seven lenses, filters, batteries,
accessories and laptop. It’s the best travel
backpack I’ve had as it’s well within hand
61
B+W
luggage size limits but perfect when
I need to take everything on a trip.
For hardcore landscape work I use
an F-Stop Loka backpack with a Large
Pro ICU and smaller padded case for my
filters and accessories. It will again take
all my kit with ease but the design is more
like a traditional rucksack so it’s more
comfortable when carrying gear and more
robust to deal with the elements.
I don’t have a favourite – each pack
serves a purpose.
CONTACTS
acratech.net
advancedcameraservices.co.uk
canon.co.uk
fenixtorch.co.uk
fstopgear.com
gitzo.co.uk
formatt-hitech.com
leefilters.com
lensbaby.com
manfrotto.co.uk
pinholesolutions.co.uk
samyang.co.uk
sigma-imaging-uk.com
tamrac.co.uk
thinktankphoto.com
zeiss.co.uk
B+W
02/10/2014 15:52
 All pictures © Tim Daly

TECHNIQUE PHOTO PROJECT 15:

THE GARDEN
Whether you’re a dedicated plantsman or never touched a spade in your life, gardens
can provide endless photographic inspiration. Tim Daly looks at different approaches
to shooting, from capturing the symmetry of the formal to the wildness of the unkempt.
he garden has been a favourite subject for recorded the garden, seeing it not just as a collection of

T photographers for years and nowadays we visit

outdoor spaces more than ever before. For many,
the garden is a place to grow individual, specimen
or prizewinning plants – but for others it’s seen as an
outdoor room that is designed to reflect the owner’s
unique personality.
Some of the very best photographic projects have
perfect specimens, but as a richly textured inhabited space,
replete with all the signs, symbols and traces of its owner.
For this project we are going to explore five different ways
of responding to a garden, each of which will challenge
you to produce your own individual take. There’s no special
equipment required to shoot this kind of assignment, but a
lightweight tripod and wideangle zoom lens will both help.

SECTION 1: THEME IDEAS

Access to national gardens can be prohibitively expensive if you plan to return over a period of time, so instead
choose a place that you’ve got easy access to and devise your own personal response to one of these themes.

62
B+W

1 THE GRAND SETTING
Many of the grandest houses in the UK and Europe have
spectacular gardens shaped and sculpted from their natural
surroundings. Grand garden design projects offer you the chance
to seek out hidden gems or bring to light those gardens that are
not yet on the tourist trail.
An inspirational example can be found in Deborah Turbeville’s
fantastic book, Newport Remembered, mixing views of gardens,
interiors and archive images of a crumbling French-style chateau.
Seek out an evocative place, then try to capture its unique
atmosphere by shooting details, textures and wider views, as
this example shows. Think beyond the visual – does the garden
symbolise a forgotten way of life, or an era long gone?
2 A PAINTER’S PARADISE
The garden has proved inspirational for painters too, perhaps none
more famous than Claude Monet’s garden at Giverny in northern
France. Many of the most photographed gardens, such as those
designed by Gertrude Jekyll or less well known parts of the
National Garden Scheme are well worth a visit despite the
difficulty of shooting among crowds.
Photographer Stephen Shore’s book The Gardens at Giverny
shows how a photographer can create a very personalised
response to a hugely popular location. My example was taken in
Giverny too, despite there being thousands of other visitors in the
park at the same time.
When faced with crowds, keep your gear to a minimum and work
quickly when the moment arises. There’s no need to re-do Monet’s
famous painting through the lens, follow your own instincts instead.

62-65_TIM_DALY_170 ER/MB.indd 62 08/10/2014 12:25

 3 A GARDEN JOURNAL
Gardens, perhaps more than anything else, evidence the passing
of seasons throughout the year and change emphasis continually.
If you are inspired by the thought of a longer-term project then
pick a nearby location and create a photographic journal. Start at
the beginning of the year and record emerging flowers, colours
and shapes on a weekly basis.
For inspiration, look at artist Derek Jarman’s Sketchbooks, a
wonderful mixture of photographs, drawings and reflective writings
about his life as an artist and gardener. Put your journal together
using inkjet prints and stick into a ready-made journal, as this
example shows, or use one of the inkjet album kits. A completed
garden journal can also make a very special gift too.

4 THE WILD GARDEN 5 AN UNKEMPT SPACE

The growing popularity of wildflower planting has provided
photographers with an alternative series of locations, including
meadows, plantations and wildflower collections across the UK.
Shooting a wild space will provide you with a fantastic visual challenge,
in many ways the opposite of recording a manicured, formal garden.
Check out the work of photographer Howard Sooley, perhaps best
known for his photographs of Derek Jarman’s garden in Dungeness.
One of the very best at capturing the atmosphere of a place, his work
shows fleeting moments and ephemeral lighting with an understated
technique. In this example (above right), I’ve tried to capture the wild
growth by lying down in the grass and experimenting with focus.
If you aren’t switched on by the idea of documenting formal
garden schemes, an alternative is to seek out an unkempt or
overgrown space instead. Photographer Paul Strand’s book
The Garden at Orgeval and Robert Adams’ book Skogen depict
63
B+W
quiet, observational images of a simple garden and forest.
There’s no requirement to be a plant expert with this
approach, instead think of your subjects as compositional
elements in a landscape. In this example (below), I’ve avoided
rare and ephemeral specimens by shooting pernicious weeds
instead. Wrestle with the lines and shapes of your subject until
you create something a bit more unexpected.

62-65_TIM_DALY_170 ER/MB.indd 63 08/10/2014 12:25

 SECTION 2: SHOOTING TECHNIQUES
Tried and tested picture formulas may sound like a cliché, but good technique will result in unique
photographic records of your chosen garden.

CAPTURING SYMMETRY FRAMING CLOSE FOCUSING

Formal gardens are a great place to play
around with symmetrical compositions and
vista views. However, encountering such
a space on a grand scale can be tricky if
you haven’t got a high vantage point. Keep
64 a look out for a higher than ground level
B+W
shooting position, such as this example
which was shot 20 or so feet up on a
terrace. You can enhance the distance by
shooting with a wideangle lens, typically
the 15mm end of a mini-zoom on DX
format, or 28mm on FX format systems.
Be pedantic about placing yourself exactly
in the middle of the vista, or the symmetry
will be lopsided in your image.
SECTION 3: EDITING YOUR WORK IN LIGHTROOM
With all that green dominating your image files, it’s essential to have a couple
of key editing techniques to fall back on.
Don’t restrict yourself to shooting plant
life, but include garden features too, as
they will add a much needed texture and
sense of scale to your work. Try shooting
from under the canopy of a tree or a
climbing rose and use the surrounding
or overhanging foliage to frame your
subject and emphasise a garden’s pictorial
qualities, as this example shows. This is a
great technique to counteract distracting
background elements like telegraph poles,
TV aerials or even a dull grey sky.
ON BLOOMS
To capture the delicacy of a flower, close
focusing technique is the key, preferably with
a macro lens, extension tubes or close-up
filters. Shooting up close needs a steady grip,
so a stable but portable tripod is essential
for shooting on location and a cable release
to avoid camera shake. Lightweight tripods
are ideal for roving photographers who don’t
want to be weighed down by a rucksack full
of equipment.
In addition to your camera kit, a low-tech
reflector will make your job a lot easier. To
prevent slight swaying caused by wind that
will render a close focused subject blurred,
carry an A3 piece of white card slotted into a
split garden cane. This works as a combined
reflector and mini wind-break and can be
stuck into the soil when needed.
For shooting single blooms, fill your
viewfinder with one centrally placed example
and change your aperture to its widest setting
(such as f/2.8) to blur out the background.
Look for a complementary or negative colour
background as this will help to place even
more emphasis on your subject.

INSPIRATIONAL QUOTE
‘I am an amateur and intend to
remain one my whole life long.
ENHANCING 3D SPACE I attribute to photography the task
Often, location lighting is never enough to separate out all the different elements within of recording the real nature of
your shot, especially when it comes to those crucial in describing depth. Use Lightroom’s things, their interior, their life. The
Adjustment Brush with Auto Mask switched on to select surrounding areas behind your
photographer’s art is a continuous
chosen objects, coupled with a 0.5 decrease in Exposure and increase in Contrast. This
effectively makes similar coloured shapes stand out against each other by creating a slightly discovery which requires patience
darker background, as shown. Keep your brush soft-edged by using a Feather value of 100. and time.’ André Kertész

62-65_TIM_DALY_170 ER/MB.indd 64 13/10/2014 11:01

 LOW
CONTRAST
There’s no rule
to prevent you
experimenting with
image contrast, as
this low contrast
example shows. To
drain your image of
shadows, black and
dark greys, simply
open the image in the
Develop module and
push both Shadows
and Blacks to +100.
This flatter, lower
contrast style is great
as a textural filler in a
photobook, perhaps
as a chapter opener.

65
B+W

PROJECT OUTCOME
Aim to create a collection of 20 images from your
chosen garden, arranged in a book, journal or
slideshow. This example shot in Portugal was
printed on cotton inkjet paper.

LOCATION IDEAS
Gertrude Jekyll gardens lutyenstrust.org.uk
National Gardens Scheme ngs.org.uk
Scotland’s gardens scotlandsgardens.org

PHOTOGRAPHERS TO LOOK AT
Howard Sooley howardsooley.com
Clive Nichols clivenichols.com

SEND US YOUR PICTURES

If you have been inspired by this photo project, then we
want to see your pictures. You could win £100 voucher
ENHANCING GREENS AND YELLOWS from Hahnemühle.
If your images contain plenty of different greens, then Lightroom’s Send them to: Photo Projects, Black+White Photography,
Black and White conversion tool may initially provide you with a GMC Publications Ltd, 86 High Street, Lewes, East Sussex
very lifeless conversion. The key to restoring those delicate BN7 1XN. Full submission details on page 2.
variations of green is to experiment with the Green and Yellow
sliders in the Black and White Mix panel, as shown.
Default B&W conversions tend to darken yellows, so a good
starting point is to increase the Yellow slider by +30, followed by
decreasing the Green by -10. This will create more separation in the
green areas of your image, making it look more lively.
timdaly.com

62-65_TIM_DALY_170 ER/MB.indd 65 08/10/2014 12:25

 THE PART EXCHANGE SPECIALISTS ROLLEI JACOBS NEW FLASH SYNC
BLACK & WHITE
SLIM UV CABLES
A NEW WAY TO BUY M/C FILTERS ELINCHROME £16
RPX 25 ASA 36 EXP 62mm -£10 2 FOR £30
RPX 100 ASA 36 EXP
RPX 400 ASA 36 EXP 67mm -£12 BOWENS £15
2 FOR £26
SUPERPAN 200ASA 36EXP
72mm -£14
ORTHO 25 ASA 36 EXP MULTIBLITZ £15
77mm -£16
CHRISTMAS GIFTS
RETRO 80 S ASA 36 EXP 2 FOR £26
RETRO 400 S ASA 36EXP
82mm -£16
ANY FILM £5 17FT TALL
ANY 2 FILMS £9.60 PROXAR FILTERS HEAVY DUTY
ANY 8 FILMS £38.40 48, 49, 52 OR 55MM LIGHTING STANDS
35mm CAMERA·S Olympus OM10 Body £55 ROLLEI 127mm B&W
sahi Pentax H2 + 55mm f2 Lens
Olympus OM10 Quartz Date 4
100asa NEG FILM ANY 10 £47.50 CLOSE UP +1, +2 & +3 NOW HALF PRICE
ROLLEI
+ 50mm f1.8 Lens £100
Case - Shutter Fault £50 £9 PER ROLL - FRESH STOCK EACH SET £18
sahi Pentax SP500 + 50mm f2 £49
Olympus OM10 Quartz Date Body£79
Olympus OM101 PF + 50mm f2 AF
£99
sahi Pentax Spotamtic SP500 35mm AF
NEW FIDELITY
Zuiko Lens + Manual Adapter £99
55mm f2 Lens + Case £85 RPX 25 ASA 120 9FT PAPER
sahi Pentax Spotmatic F
Olympus OM101 PF Body £25
CAMERA·S RPX 100 ASA 120 BACKGROUNDROLLS
55mm f1.8 SMC Lens £125
Olympus OM101PF + 35-70mm f3.5-f4.5
AF Zuiko Zoom Lens £99 Canon (APS)EOS 1X Body £89 D/DARK SLIDES
sahi Pentax Spotmatic SP RPX 400 ASA 120 DISCONTINUED
5X4 2 FOR £80
Olympus OM101PF + 50mm f1.8 AF Canon (APS)EOS 1X+EF 22-55mm£149
SUPERPAN 200ASA120
55mm f1.8 Super Takumar Lens £79 Zuiko Lens £99 Canon AF EOS 1 Body £179 COLOURS
sahi Pentax Spotmatic SP F ORTHO 25 ASA 120
5X4 USED MINT
Olympus OM101PF + 50mm f2 AF Zuiko Canon AF EOS 1 with BPE1 £359
55mm f1.8 SMC Takumar Lens £99 Lens + Manual Adapter £99 Canon AF EOS 1 + Power Booster £229
RETRO 80 S ASA 120
3 FOR £70
4 FOR £60
anon A1 + 35-70mm FD lens £129 Canon AF EOS 10 Body £99/£119
anon A1 + 50mm f1.8 FD lens £119
Olympus OM101PF
+ Sigma 28-70mm £99 Canon AF EOS 100 Body £55 RETRO 400 S ASA 120 £58 EACH
anon AE1 with 50mm f1.8 Lens £99 Olympus OM1N Body - Faulty Meter£49 Canon AF EOS 100 Body £69 ANY FILM £5 £19 EACH
anon F1 N Body - As Seen Olympus OM1N + 50mm f1.8 Z £139 Canon AF EOS 1000 FN Body £49 BACKGROUND
ANY 3 FILMS £14.70
No Prism £100 Olympus OM1N Chrome Body £99 Canon AF EOS 1000F Body £55
LIGHT STANDS
anon FT QL + 50mm f1.8 FL £189 Olympus OM2 Black + 50mm f1.8 £79 Canon AF EOS 1000QD Body £65 ANY 9 FILMS £43.20 MULTIFINDER
anon RM Body £99 Olympus OM2 SP with 50mm f1.8 £129 Canon AF EOS 1N Body + BPE1 £289
HELIOS PRO LINE
anon T50 + 50mm f1.8 FD £75 Canon AF EOS 1N body + BPE1 £499 ANY 10 £47.50
anon T50 + 35-70mm f3.5-4.5 FD£99
Olympus OM2 Spot Program FROM 35cm TO 70cm
Canon AF EOS 30 Body £69/99 FOR DIGITAL
LITH ATO 2.1
+ 50mm f1.8 + Winder £155
anon T50 Body £49 Olympus OM20 + 28-50mm B+H £110 Canon AF EOS 300 Body £39/£59
+ RANGEFINDER
£20 EACH
anon T70 + 50mm f1.8 Canon FD£89 Canon AF EOS 3000V Body £45
anon T70 Body £69
Olympus OM20 + 50mm f1.8 Lens£99
Olympus OM20 + 50mm f1.8 Lens£115 Canon AF EOS 30V Body £99 5X4 BOX OF 10 £15 CAMERA·S TWO FOR £38
anon T90 + 50mm f1.8 CFD fit £129
ontax 137MD Quartz + 50mm f1.9
Olympus OM20 + 50mm f1.8 Lens Canon AF EOS 500 Body
Canon AF EOS 500 + BP18 Grip £79
£59
10X8 PK OF 10 £40 35mm, 85mm + 135mm CHROMAGREEN
+ Winder 2 £119
ashica lens
ontax 139 Quartz Body
£129
£99
Olympus OM20 Body
Olympus OM2N Black Body
£59
£99/£119
Canon AF EOS 500N Body
Canon AF EOS 600 Body
£49
£55/£89
ROLLEI ORTHO 25 £29.99 WITH CASE SCREEN
5X4 BOX 25 £31.95 9FT X 8FT
ontax 167 MT Body
ontax 167 MT Body
£159
£129
Olympus OM2N Black Body
+ 50mm f1.8 Lens £149
Canon AF EOS 650 body
Canon AF EOS 750 Body
£69
£49
5X7 BOX 10 £33
HOLGA
ontax AX Body - Sold As Seen £100 Canon AF EOS RT Body £99 SALE PRICE £32
CAMERA
Olympus OM2N Chrome
ontax RTS + Yashica 35-105mm + 50mm f1.8 Lens £155 Minolta AF 5000 + 35-80mm f4-5.6 10X8 BOX 10 £45
8/f4.8 Lens £149 Minolta AF Zoom Lens £99 FLASH BROLLIES
ROLLEI INFRARED
Olympus OM2N MD
dixa Mat Reflex Model S-L Body £95
dixamat Flex + 50mm f2.8 Lens £89
+ 50mm f1.8 Zuiko Lens
Olympus OM2N MD Black
£139/£155 Minolta AF 500Si+35-80mm f3.5 f4.5£69
Minolta AF 500Si + Infravision 28-70mm SALE ALL TYPES
baflex VX 1000 + 50mm f2 + 50mm f1.8 Zuiko Lens £99 f3.5 f4.5 Lens £89 35mm 36 EXP £5 ALL SIZES
ancolour Lens £359 Olympus OM2N MD Black Body + Minolta AF 505Si + 35-80mm Zoom£59 5x4 box of 25 £36.95 120N NO FLASH £28 CLEARENCE
xakta IIA Body - USSR-Occupied £299 Minolta AF 7000
FUJICHROME
50mm f1.8 Zuiko Lens + Shoe 4 £139
xakta Varex IIb + 50mm f2.8 Tessar Olympus OM2N MD Chrome Body + + 28-70mm f4.5 Tokina AF Lens £99 120FN + FLASH £36 £10 EACH
Prism £259 50mm f1.8 Zuiko Lens £139 Minolta AF 7000 + 35-70mm f4 AF £119 120GN NO FLASH £32
xakta Varex VX1000 4 Olympus OM30 + 50mm f1.8 Lens £99 Minolta AF 7000 + 35-70mm f4 AF Lens RDP III - OUTDATED STATE YOUR REQUIREMENTS
50mm f2.8 CZ Tessar Lens £199 Olympus OM30 Body £59 + 2800 AF £139 120GFN + FLASH £40
xakta Varex VX500 with WLF £199 Olympus OM40 P + 50mm f1.8 £79 Minolta AF 7000 + 35-70mm f4 3 £99 PROVIA 100F 120PC PIN HOLE £32 LAMPS
ujica AX 3 + 55mm f2.2 Fujinon X £79 Olympus OM40 Program Body £49/69 Minolta AF 7000 + 35-70mm f4 Lens +
5X4 - BOXES OF 20 RARE & UNUSUAL
ujica AX5 + 50mm f1.9 Fujinon X Lens Pentax K2 + 50mm f2 Lens £139 Databack £129 120WPC PIN HOLE £54
Winder X £99 Pentax LX Body + 50mm f1.7 £199 Minolta AF 7000 + 35-80mm AF £109 LIST £92 NOW £60 CANNOT BE FOUND
ujica ST605 + 55mm f2.2 Lens £79 120 3DPC £77
RXP PROVIA 400X
Pentax LX Body with FA1 Finder Minolta AF 7000 Body £89 ANYWHERE ELSE
ujica STX1 + 55mm f2.2 Fujinon X£79 - AS SEEN £199 Minolta AF 7000 Body + Sigma 35-
EMAIL US YOUR WANTS
onica Auto Reflex T
52mm f1.8 AR Lens £99
Pentax ME Chrome Body £39 70mm f3.5-4.5 Zoom lens £99
120MM FRESH IMPOSSIBLE
Pentax ME Super + 50mm f1.7 £75 Minolta AF 7000 + 35-80mm f4-f5.6 £50
onica FP 1 + 50mm f1.8 + Winder£79 Pentax ME Super + 50mm f1.7 £89 Minolta AF 700Si +28-80mm f4 f5.6£149 EACH ROLL £6.99 POLAROID DOUBLE SKIN
onica FS1 + 40mm f1.8 £99
B&W
Minolta AF 9000 +35-70mm f3.5/4.5£259
ica M2 Body Converted to take Leica
Pentax ME Super Body + 35-70mm
Vivitar Lens £99 Minolta AF 9000 Body + 50mm f1.7 + 10 ROLLS FOR £60 SOFTBOXES
inder M4 *938650 RARE
ica M6 Chrome Body
£3000
£699
Pentax MG Chrome Body £55 Program Back 90 + MD90 Drive £399 RVP VELVIA 50 LBDR45 18X18 £109
Minolta AF Dynax 3000i Body £49 LBDR47 40X70X36cm £129
OR COLOUR
Pentax MX
ica MD2 Body with M4.2 Drive £399 + Miranda 35-70mm f3.5/f4.8 £99 Minolta AF Dynax 300Si + Minolta AF 120MM OUTDATED LBDM66 60X60X50cm £159
ica MDA Body *1285415 £399 35-70mm f3.5 f4.5 lens £99 LBUR4511 45X110X42cm£199
ica R3 + Leica R3 Winder £299
Pentax P30 + 28-70mm Sigma
Pentax S1 55mm f2.2 Auto
£110
£49 Minolta AF Dynax 300si + Sigma 35- EACH ROLL £6 LB0120 120CM Octobox £199
ica R3 Electronic Body £199 Praktica B100 + 50mm f1.8 Lens £55 70mm f3.5-4.5 AF Lens £89 10 ROLLS FOR £45 IMAGE, SX70 OR LBD912 90X120X43 £199
ica R3 MOT Body £199 Praktica B100 + 50mm f1.8 Lens £69 Minolta AF Dynax 3Xi body £59
35MM OUTDATED TYPE 600 LBD1010 100X100X42cm£209
ica R3 MOT + R3 Winder £199 Minolta AF Dynax 5 LBD66 60X60X28 £119

£17
Praktica B200 + 50mm f1.8 £65
ica R4 Body - *1581897 £239 Praktica BCA + 50m f1.8 £69 + 28-80mm f3.5 f5.6 Lens £99
EACH ROLL £6 LBOR60 60X36cm £189
ningrad Motorised + 50mm f2 £259
nolta X300 + 50mm f1.7 Lens £119
Praktica BMS + 50mm f1.8
Praktica BX20 + 50mm f1.8 Lens +
£69 Minolta AF Dynax 5 + 28-80mm £69
Minolta AF Dynax 500Si + 28-80mm 10 ROLLS FOR £55
EACH LBDR39 30X90X32
LBUR715 710X150X34
£109
£229
nolta X300 + BD24 Flashgun £79 f3.5/f5.6 Sigma Lens £99
ANY 2 FOR £33 SOFTBOXES TO FIT BOWENS,

KODAK 10X8
gma 35-70mm f2.8/f4 Lens £119 Praktica BX20 Body Only £30 Minolta AF Dynax 500Si Super ELINCHROME, BALCAR,
nolta X700 + 28-70mm f3.8/f4.8 £129 Praktica BX20 Body Only With Box £69 + 35-70mm Minolta Zoom lens £115 BRONCOLOUR OR MULTIBLITZ
nolta X700 + 35-70mm f3.5
nolta X700 with Tamron 35-70mm
ns and Motordrive 1
£139

£199
Praktica IV F + 50mm f2.8 Domiplan£49
Praktica PL Nova 1B + 35mm f2.8 £45
Minolta AF Dynax 500si
F 35-70mm f3.5-4.5 £110 COLOUR NEG POLAROID PROFOTO IS £49 EXTRA
COMPLETE IN CASES
Minolta AF Dynax 500Si +
EKTAR 100 11/2014
Praktica Super TL + 50mm f1.8 £39
nolta XE1 + 35-70mm f3.5 MD £189
randa Sensomat RE + 50mm f2.8£79
Praktica Super TL + 50mm f2.8
Ricoh XRX + 35-70mm Lens
£49
£99
Sigma 28-80mm f3.5-5.6 Lens
Minolta AF Dynax 7 Body
£99
£169
BOXES OF 10 £182
10X8 B&W DELTA 18%
kon EM Body £49 Ricoh XRX + 35-70mm Zoom Lens £89 Minolta AF Dynax 7000i + 35 - 105mm
10 SHEET PACKS GREY CARD
kon EM Body+MDE Motordrive £59 Russian Zenit 122K f3.5/f4.5 Lens £119 PORTRA 160 08/2014

£105
kon EM body +Motordrive MDE£99 Minolta AF Dynax 7000i + Sigma
5X4 SIZE £7.99
+ 35-70mm f3.5/f4,5 Ricoh Lens £69
kon F2 Black Body £99 Seagull DF300 + 50mm f1.8 Lens - 28-70mm f3.5-f4.5 AF Mini Zoom £99 BOXES OF 10 £195
kon F2 Body with Polaroid Back £399
kon F2 Photomic Body £999
Similar to an X300 £89 Minolta AF Dynax 7000i + Sigma
35-70mm f3.5-4.5 AF Lens £139
PORTRA 400 03/2015 10X8 SIZE £12.99
Sigma SA300 + 70-300mm f4/f5.6
kon F2 Photomic Pin Register Body Sigma Zoom Lens £175 MinoltaDynax 7Xi +35-80mm f4/5.6£199 BOXES OF 10 £216
th MD2 + MB1
kon F3 + Databack MF14
£799 Voightlander 500LK + case
- AS SEEN £29
Minolta AF Dynax SP Xi + 28-80mm£79
Minolta AF Maxxum 400Si IMAGO DIRECT C3000 + £165 PENTACON
MD4 Motordrive
kon F3 Body + Plain Prism
£599
£199
Voightlander Bessamatic + 45mm f2.8 + + 28-80mm f4-f5.6
Minolta AF Maxxum 400si
£109
POSITIVE 250 Thermal Photo Prints HARD LEATHER
135mm f4 Lenses + Case £149 with Ribbons for Digital
kon F3 Body with MD4 Drive £269
kon F3 HP Black Body + MD4
Voightlander Vitessa N + 50mm f3.5 + Sigma 28-70mm f2.8/f4 Lens
Minolta AF Maxxum 5 + 35-80mm £69
£79 B & W WITH Mini Portrait Thermal
LENS CASES
Skopar Lens cc1951 £119
otordrive £299 Voightlander Vito B (speeds slow) Minolta AF Maxxum 5Xi Body £79 A MELINEX BASE Photo Printers M2 70mm x 115mm
kon F3 HP Body + DE3 Prism £279 -AS SEEN £29 Minolta AF Maxxum HTSi ISO 4 Silver Gelatin M3 70mm x 165mm
kon F3 HP Body + DE3 Prism £249
kon F3 HP Body - Boxed £289
Voightlander Vito BL - Meter U/S
- AS SEEN £39
+ 35-80mm f3.5-4.5 AF lens
Minolta AF Vectis S1
£79
High Glossy Paper 3 BOXES £475 M4 85mm x 105mm
Non Fade, Untearable,
FOMAPAN
kon F3 HP + Pin Register Back£449 Voightlander Vitomatic R + 28-56mm Lens + lenshood £59
kon F301 Body £50 + 50mm f2.8 Lantanar + Case £59 Pentax AF MZ-5 with Sigma 28mm- Accurate Exposure is the M5 95mm x 80mm
kon F301 Body £69
kon FE Black + 50mm f1.8 AIS £115
Voigtlander 110 EL with flash £40 70mm & 70mm-210mm lenses £79
assumption for a perfect image SHEET FILM M6 95mm x 165mm
Yashica 108 Multi-Program + 35-70mm Pentax AF SF1N Qtz Date
Made by Ilford Switzerland M7 95mm x 220mm
BOXES OF 50
kon FE Black Body - Tatty £79 f3.5-4.5 Yashica Zoom £99 + 28-80mm f3.5 f4.5 Lens £119
kon FE2 Black Body - Tatty £89 Yashica Dental Eye Camera Pentax AF SF7 Body £79 Created by Imago, Berlin M8 105mm x 110mm
kon FG20 Chrome Body £99 + 100mm f4 Lens £199 Pentax AF SF7 + 35-70mm SMF AF £79
5X4 25 SHEETS £22 100ASA
kon FM2N Chrome Body £299 Yashica Dental Eye II +100mm f4£199 Pentax AF SF7 + Sigma M10 125mm x 215mm
kon Nikkormat F2 Photomic Body with Yashica FR1 with 50mm f1.7 Lens£89 28mm-80mm f3.5-f5.6 Lens £99 5X4 £27 Each £50 For 2
D3 + MB2 Motordrive £199 Zenit 3M + 50mm f3.5 + case £89 Pentax AF SFXN + 28-80mm AF £115 2 PACKS £40 5X7 £47 Each £92 For 2 M11 125mm x 255mm
kon Nikkormat FT + 50mm f2 £119 Zenith 4 SLR - Copy of German Pentax AF SFXN + 28-80mm AF £159 5X7 25 SHEETS £30 10X8 £99 Each £190 For 2 M12 125mm x 335mm
ympus AZ300 with Case £49 Ambiflex £199 Pentax AF Z50P Body £59
ympus OM 4+35-70mm f3.5/f4.5£279 Sigma AF 70-300mm f4/f5.6 Lens £79 2 PACKS £56 200ASA INSIDE
ympus OM10 + 28-70mm f3.5/f4.5 ILFORD FP4 135-24 Sigma AF SA300 Body 10X8 25 SHEETS £59
kina Lens £99 B&W FILM DATED 05/15 + 70-300mm f4/f5.6 Lens £178
5X4 £30 Each £50 For 2 MEASUREMENTS
11X14 10 SHEETS £49 5X7 £50 Each £95 For 2
ympus OM10 Body
Battery Checker U/S £30 30 ROLLS £30
Yashica 200 AF
+ 35-70mm f3.3/f4.5 Lens £259 10X8 £118 Each £220 For 2
ANY 4 FOR £22

12 UPPER TACHBROOK STREET, LONDON. SW1V 1SH

Tel: 020 8684 8282 Email: sales@mrcad.co.uk Web: mrcad.co.uk Twitter: @mrcaduk

066_BW_170.indd 66 13/10/2014 11:35

 SUBSCRIBE
AND SAVE UP TO 30%
SUBSCRIBER BENEFITS

Never miss an issue

Free delivery direct to your door
Save up to 30%
Only £3.15 an issue instead of £4.50
when paying by Direct Debit

WHAT YOU GET EVERY MONTH

Some of the finest contemporary

b&w imagery from all over the world
Interviews and features from the
most renowned names in b&w
In-depth techniques, product news,
reviews and recommendations

3 EASY WAYS 1 CALL 2 VISIT 3 POST

+44 ( 0 ) 1273 488005 www.thegmcgroup.com FREEPOST RTHA -TGLU -CTSK,
TO SUBSCRIBE PLEASE QUOTE ORDER CODE A4523
GMC Publications Ltd,
166 High Street, Lewes, BN7 1XU
(please affix a stamp if posting from overseas)
✁
I would like to subscribe to Black+White Photography magazine
Subscriber details Payment methods (please tick and fill in your chosen option)

Title Initial Surname

I enclose a cheque made payable to GMC Publications Ltd, or Please debit my credit/debit card
Address
Card No.

Start date Expires Security code

Postcode Country

Signature
Date
Telephone Email

Direct Debit Instructions to your bank or building society

Subscription options (please tick the appropriate price)
Originator’s identification number 6 5 9 9 5 7
Name of account holder
Reference number (office use only)
Pay by cheque/card 12 issues SAVE 10% 24 issues SAVE 20% Bank or Building Society
account no.
UK £48.60 £86.40
Instruction to your bank or building society:
Europe £60.75 £108.00 Bank or Building Society
sort code Please pay GMC Publications Ltd Direct Debits from the account detailed
in this instruction subject to the safeguards assured by the Direct Debit
Rest of World £68.04 £120.96 guarantee. I understand that this Instruction may remain with
Name and full postal address of your bank or building society GMC Publications Ltd and, if so, details will be passed
electronically to my Bank/Building Society.
Pay by Direct Debit (UK only) SAVE 30%
Name Banks and building societies may not accept direct debits for some types of accounts.
UK only £18.90 every 6 issues £37.80 every 12 issues

The Direct Debit Guarantee: This guarantee is offered by all Banks and Building Societies that take part in the Direct Address
A4523

Debit Scheme. The efficiency and security of the Scheme is monitored and protected by your own Bank or Building Society.
Please see your receipt for details. Guild of Master Craftsman Publications will ensure that you are kept up to date on other
products which will be of interest to you. If you would prefer not to be informed of future offers, please tick this box Postcode Signature Date
Offer expires 31/01/2015. Plus free gift with some issues; sorry not available overseas.

14-324 BW Subs ad Single Page 2.indd 67 08/10/2014 10:54

 CLICK HERE
FOR EXTRA
APP IMAGES

TESTS AND
PRODUCTS

All pictures © Tracy Hallett

T
he G1 X Mark II has a
brick-like body that won’t
appeal to everyone. It
weighs 558g, making
it a little too heavy for single- £749
handed operation, and you’d
be hard pushed to find a pocket
big enough to accommodate
its bulk, but the build quality
is excellent and the balance
between the lens and body

CANON POWERSHOT
is spot on.
Starting at the back,
the thumbrest feels a little

G1 X MARK II
crowded, with movie and
shortcut buttons to the right,
controls for manual focus and
AF frame selection below, and
68
a mobile device connection Thanks to the size of its sensor, the G1 X Mark II has the potential to create
button above. It’s easy to press
B+W
these buttons by accident, images rich in detail and low in noise. But to measure up against its DSLR
which can be annoying. On cousins it also needs to handle well. Tracy Hallett puts it to the test.
the plus side, the control dial
has a ridged edge, making it top plate – a technique that will frustrating user experience. on an enthusiast camera
easy to rotate, while the inner be familiar to anyone who owns To the right of the zoom such as this. However, the
section can be pushed in a compact camera. Sadly its lever, the mode dial assumes G1 X Mark II also offers a few
four directions: up, down, left tendency to jump backwards its usual position, with all of the unusual options: Creative Shot,
or right, providing access to and forwards too far with auto, semi-auto and manual which instructs the camera to
exposure compensation, ISO, each push makes for a slightly modes you’d expect to find crop the image and apply six
macro and flash settings.
Naturally, the LCD monitor
occupies most of the back,
with a 3in screen that can
be tilted 180 degrees up and
45 degrees down, but not
rotated to the side. Despite
its generous size, the limited
movement of the screen is
an issue – especially when
the camera is attached to a
tripod. In addition, the screen
can be hard to see in bright
light, which makes all of the
touchscreen elements harder
to use.
Turning to the front, the
24-120mm (35mm equivalent)
lens is a handsome addition, Even in bright sunlight, exposures With a minimum focusing distance of With 31 AF points across the frame,
with dual control rings were accurate and displayed 5cm, the G1 Mark II is great for close- focusing on off-centre subjects
surrounding the barrel (more good contrast. up abstracts such as this tree bark. is easy in good light.
on these later). You can zoom Canon Powershot G1 Mark II with 24-120mm Canon Powershot G1 Mark II with 24-120mm Canon Powershot G1 Mark II with 24-120mm
in and out using a lever on the lens, ISO 125, 1/60sec at f/16, tripod lens, ISO 250, 1/40sec at f/16, tripod lens, ISO 100, 1/100sec at f/16, tripod
 LIKES
Maximum aperture of lens
Minimum focusing distance
Customisable dual control rings
Image quality
special effects; and Hybrid
Auto, which enables the user
to create a movie by shooting
stills. Now you know what
these modes do, you can just
ignore them.
aving discussed the
H
exterior, it’s time to
look inside. The
G1 X Mark II features
a 1.5in CMOS sensor
measuring just 20% less than
the APS-C versions used in
many mid-range DSLRs. As a
result, noise control, light
It’s tricky to make fine adjustments
using the zoom lever, but most of the
time you can take a step forwards (or
backwards) to refine the composition.
Canon Powershot G1 Mark II with 24-120mm
lens, ISO 200, 1/30sec at f/11, tripod
68-69_Canon_Powershot_G1 ER/MB.indd 69
DISLIKES TECHNICAL SPECIFICATIONS
Bit bulky for a compact Sensor 1.5-type (18.7 x 14mm) CMOS
LCD screen not fully articulated Lens 24-120mm (35mm equivalent) f/2-3.9 with optical IS
Buttons too close to thumbrest AF system/points AiAF (31-point, Face Detection or Touch AF with Object and
Hard to use with one hand Face Select and Track), 1-point AF (any position is available, or fixed centre)
Shutter speeds 60-1/4000sec
sensitivity and fine detail Maximum frame rate 5.2fps
should, in theory, rival that of ISO range 100-12800
many higher-spec models. The LCD monitor 3in tilt type, 1.04M dots, approx 100% coverage, touchscreen
Video recording Full HD (1920 x 1080) 30fps
headline news, however, is the
Card format SD, SDHC, SDXC
camera’s ability to shoot
File types Raw, Jpeg, Raw+Jpeg, MP4 (movie)
multi-aspect ratios: the sensor
uses the full width of the lens
Connectivity Hi-Speed USB, HDMI Micro Connector, Wi-Fi with NFC 69
Power Li-ion NB-12L battery B+W
image circle to produce either
Size (WxHxD) 116.3 x 74 x 66.2mm
12.8Mp images at 3:2 or Weight 558g
13.1Mp images at 4:3. Contact canon.co.uk
The lens itself deserves
second billing, with a wide
aperture throughout the zoom
range (f/2-3.9), a minimum
focusing distance of 5cm and
a 5x optical zoom. The dual
control rings are handy, with
the first in charge of exposure
parameters and the second
responsible for focus (both of
them can be customised). The
rings are easy to use, once
you get the hang of them, but
they force you to operate the
camera with both hands, which
isn’t always practical.
With 31 AF points across
the frame, the focusing VERDICT
system on the G1 X Mark II Canon has worked hard to address the problems that
is a vast improvement over plagued the G1 X, but there are still improvements to be
its predecessor. But in reality made. At £749 a compact needs to be almost perfect, and
it still struggles to lock on in the G1 X Mark II falls some way short of this ideal.
low light. With such a large
sensor, the camera controls RATINGS
noise well, but at ISO 6400 fine HANDLING 70%
detail begins to suffer. On the
whole, though, image quality
is excellent, with accurate
PERFORMANCE
SPECIFICATION
80%
90% 77.5%
VALUE FOR MONEY 70% OVERALL
exposures and good contrast.
08/10/2014 12:38
 TECHNIQUE
timclinchphotography.com
70
B+W
ere’s a question: how
H can you improve
and develop as a
photographer in one
simple, enjoyable step without
even having to leave the comfort
of your armchair? Easy. Take
some time to look at and read
about other people’s work. To my
mind we don’t do nearly enough
of this. It’s important in all areas
of photography, but especially so
in the rapidly developing field of
mobile photography. There are
a lot of very interesting people
writing about the explosion in
this field and many of them are
worth a bit of your time.
Perhaps your first port of call
should be Jack Hollingsworth
(jackhollingsworth.com). Based
in Austin, Texas, Jack is a travel
and portrait photographer who
70-71_SMART_GUIDE_170 ER/MB.indd 70
THE SMART GUIDE
TO PHOTOGRAPHY
From the stars of the smartphone photography world to reviews,
interviews and techniques, you can learn all you need from the internet.
Tim Clinch identifies his top favourite sites for you to dip into.
runs a great blog, is a fount of Times – Google it – it is a really listen. Whatever you may think
knowledge about how to manage
your stock photography, is a great
and informative follow on Twitter
(@photojack), with over 30,000
followers but, more importantly,
interesting, well-written and
informative ‘newspaper’ and
Jack’s good humour and
enthusiasm for the subject really
shine through.
of it, there are a lot of interesting
photographers Tweeting,
especially smartphone
photographers. You don’t
have to Tweet yourself, but
with regard to this column, Secondly, Twitter. Stop by not following a few of the
he started up iPhoneography groaning at the back there and photographers in Eyefi’s list
of the 30 most influential
photographers on social media
TOP TIP
Big fan as I am of using the camera in my phone, don’t forget
( eyefi.com/company/blog/sip)
you’ll be missing out on some
that you don’t HAVE to make your mobile photography look very interesting stuff indeed.
like ‘mobile photography’. While there are a myriad of apps You won’t like all of them,
for every conceivable treatment, and a thousand clever and some of them are VERY
ways to manipulate your work, never forget that a straight annoying, but you’ll never want
conversion to B&W is always an option. And no one need for something to talk about.
ever know. All of this month’s pictures are examples. There
is nothing in any of them to suggest that they were not shot onourable mentions
on a ‘normal’ camera. All were shot on the native camera in
my iPhone, exported and simply processed using Snapseed.
The only thing they all have in common is that none of them
would have existed had I not been carrying my phone.
H should go to Ben Lowy,
(benlowy.com) and
Rick Rocamora. Ben
is an amazing documentary
08/10/2014 14:26

photographer who has
pioneered the use of mobile
photography and was the first
photographer to have an image,
shot using an iPhone, grace the
cover of Time magazine.
Rick is another great
photojournalist. Google him to
find out more.
Dutch photographer and
mobile pioneer Robert-Paul
70-71_SMART_GUIDE_170 ER/MB.indd 71
Jansen is also worth a look.
See his haunting landscapes at
byjansen.com.
Last but not least is The App
Whisperer (theappwhisperer.com).
This really excellent site is devoted
to all things mobile. Always
entertaining and informative,
packed with reviews, interviews
and all sorts of information, this
site is a must and has already
All images © Tim Clinch
71
B+W
THREE APPS
Double exposures…love ’em or hate ’em there are a lot of new apps
around at the moment for this. Personally, I’m not too sure, but then
again, I’m quite old which may explain things…
HIPSTAMATIC MULTI-EXPOSURE
(hipstamatic.com). Love Hipstamatic (although sadly still Apple only),
their new multi-exposure Hipstapak looks like it might even tempt
cynical old me into having a go. Available from your Hipsta account.
DUBBLE
(dubble.me). A crazy app, at present Apple only, which is either gimmicky
or fascinating depending on your point of view. You upload a picture
which is then paired randomly with a picture uploaded by someone
else. The suspense is a bit like the time spent waiting for a Polaroid to
develop. Personally, I find it gimmicky but it’s free at the moment so why
not give it a go?
DIANA PHOTO
(dianaphotoapp.com). This one is for Apple and Android and bills itself
as the fastest double exposure app out there.
built up a huge following. to see things go this way.
One word of warning. Sadly, A person is not in the wrong
I am beginning to see some of just because they happen not
the same divisive and defensive to share your particular passion.
arguments creeping into the And conversely, if they DO
world of mobile photography share your passion, they are not
as exist in the world of film necessarily always right.
photography. I would hate Play nicely now children!
08/10/2014 14:26
 TESTS AND
PRODUCTS
72
EPSON STYLUS PHOTO R3000
A3+ PRINTER
B+W
he Epson Stylus Photo
T R3000 provides an
affordable way to print
exhibition quality A3+
pictures at home. It’s also
sturdily built and doesn’t take
up too much desk space.
The printer accepts paper
and board up to 1.3mm thick
through its front-loading
tray and paper rolls via the
detachable supports on the
back of the device. Roll paper
allows prints to be made up
to 44in long, however the 2in
core of the rolls ensures the
finished pictures are tightly
curled. The Photo R3000 is
relatively cheap, but this is
somewhat undermined by the
LIKES
Compact footprint
Superb build quality
Useful colour LCD screen
Front loading paper tray
DISLIKES
Tightly curled prints when
using the paper roll
Switching between blacks
wastes ink
72_74_CHECKOUT_170 ER/MB.indd 72
CHECKOUT
It’s now possible to create exhibition quality prints at home with the
range of large-format printers on the market, says Daniel Calder.
Just clear the desk, invest in some ink and get ready to roll.
low-volume ink cartridges it
takes. At around 85p/ml, the
ink is much more expensive
than the other printers on test,
although this is offset by using
nine cartridges instead of 12.
Another consideration is the
need to switch between Photo
Black ink for glossy papers and
Matte Black ink for matt fine art
papers. Each time you switch,
a very small amount of ink is
wasted. More positively, the
cartridges are fixed, making the
machine very quiet in action.
TECH SPECS
Print resolution 5760x1440dpi
Connectivity USB, Ethernet, Wi-Fi
Dimensions (WxDxH)
616 x 369 x 228mm
Weight 15.05kg
Guide price £549
Cartridges Epson T157
Guide price £22
Volume 25.9ml
Colours 9 (Photo Black, Matte Black,
Light Black, Light Light Black, Cyan,
Light Cyan, Vivid Magenta, Vivid Light
Magenta, Yellow)
Contact epson.co.uk
CANON PRO-1
A3+ PRINTER
he Pro-1 is Canon’s
T flagship A3+ printer
– rivalling the Epson
R3000. It is huge in
comparison to the Epson
model and weighs nearly twice
as much. The minimal design
sports only three buttons on
the exterior and no LCD. It
features two paper feeds at
the back of the machine, one
for bulk loading and one for
manual feeding single sheets
of fine art paper up to 0.6mm
thick. The automatic feed tray
allows the printing of up to
26in long pictures, while the
manual feed allows a larger
than A3 (14x23in) print. It also
prints on CDs and DVDs. The
Pro-1 uses 12 ink cartridges,
five of which are monochrome,
LIKES
Relatively large volume cartridges
Solid build quality
Chroma Optimizer for glossy prints
CD/DVD printing
DISLIKES
Huge, heavy machine
Fixed 35mm margins on some
art papers
including three different greys
to help achieve smooth tonal
gradations. There’s also a
Chroma Optimizer cartridge to
give a smooth, consistent finish
on glossy paper. The cartridges
are a similar price to the Epson
R3000 equivalents, but they
contain a greater volume of
ink (costing around 64p/ml).
However, the printer itself is
more expensive and there are
three more cartridges to
replace over time.
‘There’s also a Chroma
Optimizer cartridge
to give a smooth,
consistent finish on
glossy paper.’
TECH SPECS
Print resolution 4800x2400dpi
Connectivity USB, Ethernet
Dimensions (WxDxH)
695 x 462 x 239mm
Weight 27.7kg
Guide price £620
Cartridges Canon PGI-29
Guide price £23
Volume 36ml
Colours 12 (Photo Black, Matte Black,
Dark Grey, Grey, Light Grey, Cyan,
Photo Cyan, Magenta, Photo Magenta,
Yellow, Red, Chroma Optimizer)
Contact canon.co.uk
02/10/2014 15:57

EPSON STYLUS PHOTO PRO 3880
A2+ PRINTER
etailing for under
R £1,000, the Epson
Stylus Photo Pro 3880
offers an affordable
introduction to professional-
quality A2 printing. In fact,
it can print beyond A2 size,
producing pictures up to
17x37in without the use of
paper rolls. Despite printing
such large pictures it is only
slightly wider, when closed,
than the relatively compact
Epson R3000. That said,
actually using the device
requires plenty of room thanks
to the giant print tray that
extends to receive the finished
pictures. There are three ways
to load paper: the main bulk
feeder and a single-sheet
feeder for fine art paper are
located on top, while thicker
paper (up to 1.5mm and
16x20in) can go through the
manual feeder found on the
front. Like the printer itself, the
LIKES
Good value A2+ printing
Relatively compact when closed
Large (17x37in) prints
DISLIKES
No paper roll support
Requires plenty of space
for printing
Switching between
blacks wastes ink
72_74_CHECKOUT_170 ER/MB.indd 73
80ml ink cartridges provide
good value for money, costing
about 56p/ml. As it’s an Epson
product there are only nine
cartridges, and the machine
switches between Photo Black
and Matte Black depending on
the paper surface. This takes
time and wastes 4.6ml of ink
when switching from Matte
to Photo.
‘Retailing for under
£1,000, the Epson
Stylus Photo Pro 3880
offers an affordable
introduction to
professional-quality
A2 printing.’
TECH SPECS
Print resolution 2880x1440dpi
Connectivity USB, Ethernet
Dimensions (WxDxH)
684 x 376 x 257mm
Weight 19kg
Guide price £934
Cartridges Epson T580
Guide price £45
Volume 80ml
Colours 9 (Photo Black, Matte Black,
Light Black, Light Light Black, Cyan,
Light Cyan, Vivid Magenta, Vivid Light
Magenta, Yellow)
Contact epson.co.uk
CANON IMAGEPROGRAF IPF5100
A2+ PRINTER
esigned for heavy consistent printing every time.
D workloads, the
robustly built Canon
Imageprograf iPF5100
will suit photographers who
produce a lot of prints regularly.
It also has 12 cartridges split
over two print heads to speed
up the process. The 130ml
cartridges are great value,
working out at around 45p/ml.
It’s big enough to require two You can even check exactly
people to move it and unless how much ink is used each
you have a large desk, it will time through the Print Job Log,
benefit from being placed which displays the details of
on the ST-11 stand (available the last 24 pages printed.
separately for around £300).
As well as taking cut sheets
up to 17x63in, the printer has ‘Designed for
a manual feed slot on the front heavy workloads,
for thicker paper up to 1.5mm.
Paper rolls are also accepted,
the robustly built
with a 2in or 3in core, which Canon Imageprograf
allows borderless printing up to
iPF5100 will suit
an astonishing 18m in length.
A built-in cutter can be used to photographers who
trim the finished pictures. The
Canon iPF5100 uses automatic
produce a lot of
colour calibration to ensure prints regularly.’
73
B+W
LIKES TECH SPECS
Employs two print heads for Print resolution 2400x1200dpi
faster results Connectivity USB, Ethernet
Automatic colour calibration Dimensions (WxDxH)
Built-in paper cutter 999 x 810 x 344mm
Great value ink Weight 49kg
Guide price £1,800
DISLIKES
Cartridges Canon PFI-101 and 103
Narrow, monochrome LCD
Guide price £58
Requires a lot of space
Volume 130ml
Colours 12 (Photo Black, Matte
Black, Pale Grey, Grey, Green, Cyan,
Pale Cyan, Magenta, Pale Magenta,
Yellow, Red, Blue)
Contact canon.co.uk
02/10/2014 15:57

EPSON STYLUS PRO 7890
A1 PRINTER
he Epson Stylus Pro
T
7890 is so big you’ll
74 need a room dedicated
B+W
to it, and four people to
lift it off the delivery pallet and
on to its stand. Once there
though, you can happily print
out A1 sized pictures to gallery
standard. It accepts cut sheets
up to 24x36in in size and up to
1.5mm thick. An easy to insert
paper roll can also be used, on
a 2in or 3in core. The top of the
machine features a 2.5in LCD
and navigational buttons, so
you can check the remaining
levels of ink and paper, as
well as setting the machine to
print. As the printer is aimed at
professional use, there are three
sizes of ink cartridges: 150ml,
350ml and 700ml. Even the
smallest size represents great
value at around 42p/ml, but
LIKES
Great value ink
Huge 700ml cartridges available
Colour LCD control panel
Built-in rotary knife for trimming
DISLIKES
Gigantic size and weight
Switching between blacks
wastes ink
72_74_CHECKOUT_170 ER/MB.indd 74
if you buy larger volumes the
price can go down to as little
as 34p/ml. Unfortunately the
Epson method of automatically
switching between Photo Black
and Matte Black for different
paper surfaces wastes a small
amount of ink.
‘The Epson Stylus
Pro 7890 is so big
you’ll need a room
dedicated to it, and
four people to lift it
off the delivery pallet
and on to its stand.’
TECH SPECS
Print resolution 2880x1440dpi
Connectivity USB, Ethernet
Dimensions (WxDxH)
1356 x 667 x 1218mm
Weight 84.5kg
Guide price £2,550
Cartridges Epson T59, 63 or 64
Guide price £63
Volume 150ml
Colours 9 (Photo Black, Matte Black,
Light Black, Light Light Black, Cyan,
Light Cyan, Vivid Magenta, Vivid Light
Magenta, Yellow)
Contact epson.co.uk
HP DESIGNJET Z3200PS
A1 PRINTER
he HP Designjet
T Z3200ps is the most
expensive printer on
test but the extra cash
buys a stand, media basket,
80Gb hard drive and built-in
spectrophotometer. The stand
is essential as it enables you
to wheel the huge device
into position for printing. The
foldaway media basket is
handy as it catches printed
materials without touching the
floor. The hard drive stores
job information, making it a
real boon for reprinting as
you can use the LCD instead
of a computer. Finally, the
spectrophotometer makes it
easy to set-up accurate paper
profiles. The printer accepts
cut paper and paper rolls with
2in or 3in cores, but both forms
of paper are somewhat fiddly
to load. Paper up to 0.8mm
thick and 24x66in in size can
be used. Unusually, there are
LIKES
Prints huge (24x66in) pictures
Built-in spectrophotometer
Internal hard drive
Stand and print-catcher included
DISLIKES
Fiddly paper feeding
No high volume cartridges
six replaceable printer heads,
which print two inks each. One
of these, a Gloss Enhancer,
provides a nice even, lustre
finish to glossy prints. The
ink is excellent value at
approximately 44p/ml, but
strangely there aren’t any high
volume cartridges available.
‘The HP Designjet
Z3200ps is the most
expensive printer on
test but the extra cash
buys a stand, media
basket, 80Gb hard
drive and built-in
spectrophotometer.’
TECH SPECS
Print resolution 2400 x 1200dpi
Connectivity USB, Ethernet
Dimensions (WxDxH)
1262 x 690 x 1047mm
Weight 65kg
Guide price £3,600
Cartridges HP 70
Guide price £57
Volume 130ml
Colours 12 (Photo Black, Matte Black,
Light Grey, Grey, Green, Light Cyan,
Magenta, Light Magenta, Yellow, Red,
Blue, Gloss Enhancer)
Contact store.hp.com
02/10/2014 15:57

DISCOVER
MEMBERSHIP BENEFITS
#1 Regional & Chapter Meetings
Participate in meetings and events
close to home
#2 Enjoy Our Monthly Journal
The Society’s Journal is packed
with news, reviews, diary of events
and some of the best photography
around
#3 Achieve a Society Distinction
Proudly display the coveted
letters after your name and
gain recognition from other
organisations and employers
#4 Exhibit Your Work
Take the opportunity to exhibit
your work in international
touring exhibitions and online
competitions
Find out more at www.rps.org
† Up to £25
075_BW_170.indd 75
SPECIAL OFFER
B+W DEC14
20% OFF
RPS MEMBERSHIP
Only applies to new members when paying by Direct Debit
MEMBERSHIP SUBSCRIPTION RATES (tick as appropriate)
Standard £114 Now £91.20
Family £165 Now £132
Overseas under 65s £102 Now £81.60
65 and over (enclose proof of age) £84 Now £67.20
25 and under (enclose proof of age) £53 Now £42.40
Student (enclose proof of status) £53 Now £42.40
PHILIP VOLKERS ARPS Halcyon Daze
Disabled (enclose proof of status) £53 Now £42.40
APPLICATION FOR MEMBERSHIP
Please complete this form and return to:
THE RPS, Fenton House, 122 Wells Road, Bath, BA2 3AH.
Mr/Dr/Mrs/Miss/Ms First name(s):
Surname:
Address:
Postcode:
Email Address:
Tel: Date of Birth:
Which do you consider yourself?
Professional Amateur Semi professional
Are you happy to receive emails from The Society? Yes No
If you are a student, is your course either Full time Part time
PLEASE TREAT AS GIFT AID DONATIONS
ALL QUALIFYING GIFTS OF MONEY MADE
Today in the past 4 years in the future.
Please tick all boxes you wish to apply.
I confirm I have paid or will pay an amount of Income Tax and/or Capital Gains Tax for each tax
#5 Join a Special Interest Group year (6 April to 5 April) that is at least equal to the amount of tax that all the charities or Community
Amateur Sports Clubs (CASCs) that I donate to will reclaim on my gifts for that tax year. I understand
Belong to any of our 14 Special
that other taxes such as VAT and Council Tax do not qualify. I understand the charity will reclaim 25p
of tax on every £1 that I give on or after 6 April 2008.
Interest Groups INSTRUCTION TO YOUR BANK OR
BUILDING SOCIETY TO PAY BY DIRECT DEBIT
Name and full postal address of your bank or building society
#6 Promote Your Portfolio
To: The Manager
Your images can be viewed by an
Bank/building society
international audience when you
Address
Postcode:
upload your work to our website
Name(s) of account holder(s)
Bank/building society account number
#7
Branch sort code
Exclusive use of our Society coat
Service user number 9 4 0 4 6 7
of arms on your website use only)
#8 Discounts on Society Activities instruction to your bank or building society.
I would like to pay by direct debit (tick as appropriate) Annually Monthly
25% discount on selected
INSTRUCTION TO YOUR BANK OR BUILDING SOCIETY
workshops †, savings on Society Please pay The Royal Photographic Society of Great Britain Direct Debits from the account detailed
in this Instruction subject to the safeguards assured by the Direct Debit Guarantee. I understand that
events and competitions, this Instruction may remain with The Royal Photographic Society of Great Britain and, if so, details
will be passed electronically to my bank/building society.
discounts on photography
products from our Corporate Signature(s) Date
Patrons and associated
Banks and building societies may not accept Direct Debit Instructions for some types of account.
companies This Guarantee should be detached and retained by the payer.
THE DIRECT DEBIT GUARANTEE
U This Guarantee is offered by all banks and building societies that accept instructions to pay Direct Debits
U If there are any changes to the amount, date or frequency of your Direct Debit The Royal Photographic
Society of Great Britain will notify you ten working days in advance of your account being debited or as
otherwise agreed. If you request The Royal Photographic Society of Great Britain to collect a payment,
If an error is made in the payment of your Direct Debit, by The Royal Photographic Society of Great
Britain or your bank or building society, you are entitled to a full and immediate refund of the amount
paid from your bank or building society – If you receive a refund you are not entitled to, you must pay it
back when The Royal Photographic Society of Great Britain asks you to
U You can cancel a Direct Debit at any time by simply contacting your bank or building society.
06/10/2014 15:51
 COMMENT A FORTNIGHT AT F/8
On a hotel shoot in Miami, Tim Clinch indulges himself in the
magical light of dawn, shooting down on the beach before
most people are awake and the traffic has started rumbling –
timclinchphotography.com
and he still gets back in time for a hearty breakfast…

76
B+W

have been musing a lot lately on One of my best friends is a car

I
the constants (or lack thereof)
in the life of the freelance
photographer and have come
to the conclusion that, oddly
disparate bunch that we are,
there is one really important
thing, one great love, that we all
share that has, without a shadow
of doubt, been a constant for me
throughout my career.
It is so glaringly obvious and so
important that maybe I take it for
granted. It is a constant in my life,
and something I could not possibly
live without. It is the morning.
More specifically, dawn. More
specifically still, it is the dawn
light. Let’s face it, photography
is all about the light. And when
shooting anywhere on location,
the best light is always at dawn.
photographer who is, incidentally,
as I write, on his yacht sailing
along the northern coast of
Turkey, which should tell you
all you need to know about the
difference between us humble
editorial Johnnies and those
employed in the mighty world of
advertising. Anyway, I digress. On
one of his location shoots, being
in the right place at the right time
is what it’s all about. There’s no
point in turning up just as the sun
is coming over the horizon only
to find that, by the time you’ve
poured a coffee from the thermos,
arranged a few things, moved the
car around, given it a good polish
and got your models in place, the
light, which was magical as it
peeped over the horizon, is now

76-77_FORTNIGHT_170 ER/MB.indd 76 08/10/2014 14:33


harsh and horrid. No. Planning
is what’s required. The location
will first have been scouted and
approved. Then it will have been
visited at dawn to make sure
that the sun hits exactly where
you want it to. Then, and only
then, can the shoot take place.
I have been with my friend on
shoots when the actual business
of taking the picture is all over
in three minutes. Done and
dusted before breakfast is even
thought about.
hat light though – ooh.
T Even after all these years
as a photographer it still
races my motor. Those
wonderful, precious, magical
moments when the world seems
to stand still, the sunlight has
76-77_FORTNIGHT_170 ER/MB.indd 77
an almost liquid quality to it
and the colours everywhere are
simply perfect.
On my recent trip to Miami, the
hotel I was shooting was one block
from the beach. I was only there
for five days but I made damn sure
that every morning I was up and
out there for the dawn. It didn’t
disappoint. Across Collins Avenue,
down on to the boardwalk and on
to the beach, camera in hand.
By 6am it’s already hot. The
beach is largely deserted except
for a few joggers, a couple of
people doing yoga and David,
the hunky deck-chair guy from
the adjacent Palms Hotel, who’s
already setting out his loungers.
Seagulls flock noisily around
the padlocked lifeguard stations
and ice cream stalls. Cormorants
All images © Tim Clinch
and the occasional pelican dive
lazily for fish.
By 8.30, lost in thought, happy
and with a hatful of great pictures,
I wander back to the hotel to find
the spell broken. Collins Avenue
hums with traffic, construction
workers chat over coffees and
people stand in line at bus stops.
What was all mine for that brief
moment I now have to share.
And don’t go thinking that this
only works by the sea or in the
countryside. There is nothing
to beat the sights and sounds
of a great city waking up. The
street cleaners going about their
business; the occasional gaggle
of revellers making their slightly
bleary way home. The sunlight
hitting the tops of the buildings
that will, in a couple of hours, be
WHAT TIM
DID THIS
MONTH
I’ve got a puppy! We had
three little girls dumped on our
doorstep. Found homes for two
of them but fell hopelessly in love
with the third. She’s called Bunny,
is a right handful and if the sainted
editor doesn’t put my beautiful
picture of her on the Pinboard this
month I will be mightily miffed!
This month’s photographer
for your perusal is Zack Arias
(zackarias.com) – a very cool
portrait/street photographer who,
apart from giving me serious
beard envy, has just started a very
interesting blog (dedpxl.com).
Interesting tech advice, excellent
videos and all round good stuff.
Amazed to find that on the hotel
shoot I talk about in the main text,
my client, entirely unprompted 77
by me, chose nearly all the B+W
pictures I took on my new(ish)
Fuji X-Pro1 over the ones shot on
the big Canon. Not sure what this
proves (if anything?) but it’s an
interesting development!
The pictures this month are all
from the aforementioned walk on
an early morning Miami beach.
They are the cool dude David,
his loungers and a laid-back
boardwalk cat.
Always amazed to realise that
no matter where I go in Europe
and whatever language is spoken,
it’s never as foreign and different
as the States!
thronging with tourists and folk
on their way to work…
I’m not saying you have to
behave like a car photographer
and do all that planning but,
every now and again, set the
alarm clock and get out there and
enjoy the dawn. I guarantee you
won’t be disappointed.
And the best thing about it?
Well, after you’ve been out for
a few hours and taken some
pictures you’re pleased with, and
are done and dusted before eight
o’clock…those bacon and eggs
taste FANTASTIC!
08/10/2014 14:33
 COMMENT
All pictures © Royal Photographic Society
Collection at the National Media Museum
s any good historian will
BEHIND THE SCENES AT THE
NATIONAL MEDIA MUSEUM
While preparing for a big photography exhibition at the
Science Museum’s Media Space in London, Colin Harding
discovers that links between the RPS and the Science Museum
go back to the formative days of photography.
walk from the Science Museum. exhibition opened at the year, the South Kensington

A tell you, history has a

habit of repeating itself.
Consequently, when
researching the historical links
between the Science Museum and
the Royal Photographic Society,
I wasn’t at all surprised to
discover that Drawn by Light,
which opens at Media Space in
December, won’t be the first RPS
exhibition the Science Museum
has hosted.
In 1939 the RPS moved into
‘new and gorgeous’ premises
at 16 Prince’s Gate, South
Kensington, just a few minutes’
That year, the RPS planned to
hold its 84th annual exhibition
at the Museum. Adolf Hitler,
however, had other plans.
On 29 August, 1939, the Times
announced that ‘the Science
Museum is closed until further
notice’. The Photographic
Journal expressed the hope
that ‘when peace is restored…
an opportunity will be afforded
of staging the exhibition in the
Science Museum.’
Seven years later, in 1946,
this hope was finally realised
when the society’s 91st annual
Museum. Coincidentally, the
gallery in which it was shown
is the same gallery that is now
home to Media Space.
However, 1946 wasn’t the first
time the museum had been the
venue for the society’s annual
exhibition. For the previous
occasion you need to turn back
the clock nearly 100 years to
photography’s formative decades.
On Monday, 15 February, 1858,
the first photographic exhibition
to be held in any British museum
opened at the South Kensington
Museum. Opened the previous
Museum was funded by the
profits of the Great Exhibition of
1851. In the early 20th century,
it was split into two separate
museums – the Victoria and
Albert Museum and the Science
Museum. The venue chosen
by the nascent photographic
society (it was founded in 1853)
for their fifth annual exhibition
was a gallery ‘especially suited
for the purposes of such an
exhibition’ above the museum’s
refreshment rooms – the very
first museum café.
Before opening to the public,

78
B+W

The Hall of Columns, Karnac, by Francis Frith. Julius Caesar from a bust at the British Museum, 1857, by Roger Fenton.

78-79_BEHIND_THE_SCENES_170 ER/MB.indd 78 08/10/2014 14:45

 Don Quixote in his Study by William Lake Price.
the exhibition was honoured by
a visit from Queen Victoria and
Prince Albert, who were given a
private tour and ‘expressed their
gratification at the great advance
which had been made since the
last exhibition.’
eviews of the exhibition
R were favourable. The
Observer, for example,
exclaimed: ‘The collection
is...the best that has been hitherto
exhibited, being absolutely, as well
as relatively, excellent.’
View on the Llugwy, 1857, by Roger Fenton.
78-79_BEHIND_THE_SCENES_170 ER/MB.indd 79
The most famous photograph
in the 1858 show is undoubtedly
Oscar Rejlander’s allegorical
combination print, The Two Ways
of Life. Careful examination of
the exhibition catalogue, however,
reveals that the exhibition also
included other photographs
that are now part of the RPS
collection. Several of these are
mentioned in the review of the
exhibition that appeared in
the Liverpool and Manchester
Photographic Journal. ‘Roger
Fenton exhibited 32 ‘gems,
Portrait of David Livingstone, 1857, by Maull and Polyblank.
executed with his usual skill,
consisting of statuary in the
British Museum, architectural
subjects, and views in Wales.’
Francis Frith showed some of
his ‘extensive series of Egyptian
views of the highest interest, both
as regards the subjects and the
execution.’ William Lake Price
– ‘the first photographer who
made an attempt to introduce the
ideal into our art’ – exhibited his
tableau Don Quixote in his Study,
and Maull and Polyblank showed
several of their celebrity portraits
– including David Livingstone,
who was shortly to set off on an
expedition up the Zambezi.
Despite favourable reviews,
visitor figures were disappointing.
South Kensington was still
regarded as ‘off the beaten track’
and despite advertisements for
the exhibition stressing that
‘Brompton and Putney omnibuses
pass every five minutes,’ relatively
few people were prepared to make
the journey. The Journal of the
Photographic Society complained:
‘We must say that a more out-
of-the-way place could not well
have been chosen. It would be
a very curious calculation to
know how many of the few who
visited...went there for the sake of
the photographs themselves...as
79
B+W
distinguished from those visitors
who made a “day out” of it and
“did” the Kensington Museum
at the same time.’ The exhibition
made a loss of £50.
Despite this somewhat
disappointing start to their
relationship, however, the seeds
of mutual co-operation between
the photographic society and the
South Kensington Museum had
been sown. This partnership was
to strengthen and grow. Today,
more than 150 years later, it is
stronger than ever.
THE NATIONAL
MEDIA MUSEUM
The National Media Museum
is home to over 3.5 million
items of historical significance.
It looks after the National
Photography, National
Cinematography, National
Television and National
New Media collections.
National Media Museum,
Bradford, West Yorkshire
0844 856 3797
nationalmediamuseum.org.uk
08/10/2014 14:45
 FEATURE
All images © Jean-Baptiste Sénégas
I took up photography because…
I was interested in the DIY and
chemistry side of things: working
in a lab and making my own
pictures etc. I also have a passion
for beautiful cameras such as
those produced by Mamiya
and Hasselblad.
Tell us about your favourite
photographic themes.
I love connecting with people via
portrait photography, but I also
love shooting still lifes because,
with the right set-up, you can
show how fragile nature can be.
80
B+W
Maud and Butterflies
80-81_SIXTYSECONDS_170 ER/MB.indd 80
60-SECOND EXPOSURE
According to Jean-Baptiste Sénégas every photographer
needs a corkscrew, a hunter’s instinct, and an assistant who
shares similarities with a comic book character.
Edited by Tracy Hallett
Name one item that every
photographer should own.
Nothing beats a corkscrew when
you’re trying to get to know
someone! Joking aside, a fearless
assistant (although not an item)
is invaluable. I favour someone
like the Disciple in the Leonard
comics [a Belgian series based
around an inventor and his
assistant, Basile].
What’s the biggest risk you have
taken as a photographer?
Working in my studio every day
is pretty risky: I’m often dealing
with explosives, wiring, hacked
flashes etc. Sometimes it feels as
though my studio could ignite at
any moment – I’m just kidding
of course.
Do you have a photographic habit
that you wish you could shake?
I’m always getting involved
in crazy projects! While I was
working on my ‘ fishing’ project
I used two vans: one as a photo
studio and the other as a bar.
I met so many special people,
including a parrot trainer, a
shark hunter and a real-life
siren. Each character led to
another crazy project.
Who has been the greatest
influence on your photography?
I am inspired by anyone who
creates a real atmosphere in their
work, artists such Patrick Swirc
and Pentti Sammallahti.
Tell us about a photographic
opportunity you have missed.
I failed to get the portrait
I envisaged of Peter Anthony
Allard [director of Studio
Harcourt Paris]. Collodion
can be very unforgiving.
What has been your most
embarrassing moment as
a photographer?
I forgot to take my Compact
Flash card on a shoot once.
I don’t use digital cameras any
more; I prefer traditional 4x5
and 11x14, loaded with my own
film. I cut the glass and develop
the plates myself.
Tell us your favourite quote.
‘Photography is like hunting, it’s
the instinct of the hunt without
the desire to kill. It’s the hunt of
angels…One stalks, aims, shoots
and – click! Rather than killing
someone, you make them eternal’
– Chris Marker (French writer,
photographer and filmmaker).
What, in your opinion, is the
greatest photographic
discovery of all time?
I don’t think any one invention
should be considered ‘the
greatest’. Over the years there
have been so many significant
inventions and techniques – it’s
just a case of picking the best
one for each project.
What would you say to your
younger self?
Follow your desires.
08/10/2014 14:57
 ‘Photography is like hunting, it’s the instinct of the hunt without the desire to kill. It’s the hunt of angels…
One stalks, aims, shoots and – click! Rather than killing someone, you make them eternal.’
Which characteristics do you
think you need to become
a photographer?
Obviously you need to be
creative, but most of all
you need to be a bon-vivant
[a person who enjoys going
to parties and meeting
new people].
Tell us one thing that most
people don’t know about you.
I can dance the Casatchok to
any kind of music.
What is your dream project?
I have to ask for a lot of grants
to complete my projects, but I
would love to be self-sufficient.
If I could achieve this, any
project would be a dream.
What single thing would
improve your photography?
I would love to completely
immerse myself in a project, but
I am afraid of two things: losing
my family, and sinking into
madness. When you are totally
focused on something you tend
to cut yourself off from the rest
80-81_SIXTYSECONDS_170 ER/MB.indd 81
81
B+W
of the world. This disconnection
can cause problems.
If you hadn’t become a
photographer, what would
you be doing right now?
Playing the piano – in my
dreams I would love to have
been a musician.
TOP LEFT Bouquet #12
TOP RIGHT Maud #2
LEFT The Mackerel
PROFILE
French photographer Jean-
Baptiste Sénégas divides
his time between working in
a rescue centre for marine
turtles and setting up elaborate
photographic tableaux. His
passion for traditional darkroom
processes has led to images
seemingly suspended in time,
with subjects ranging from
bullfighters to dying flowers and
the beaches of the Camargue.
To see more of
Jean-Baptiste’s work visit
jeanbaptistesenegas.
finegallery.net
08/10/2014 14:57
 SAVE
30%

PERFECT FOR CHRISTMAS

GIVE A SUBSCRIPTION... OR TREAT YOURSELF!
✁
YES! I would like to subscribe / give a subscription for 12 issues Ordered by
Title Initial Surname

UK: £37.80 instead of £54.00 Address

Europe: £47.25 instead of £67.50

Postcode Country

Rest of World: £52.92 instead of £75.60 Telephone Email

Payment methods (please tick and fill in chosen option) Gift recipient (if different)

I enclose a cheque made payable to GMC Publications Ltd, or Please debit my credit/debit card Title Initial Surname

Address
Card No.

Start date Expires Security code

Postcode Country
A4550

Date Telephone Email

Signature

Guild of Master Craftsman Publications will ensure that you are kept up to date on other products which will Offer expires 31/01/2015. Plus free gift with some issues.
be of interest to you. If you would prefer to not to be informed of future offers, please tick this box Sorry, no Direct Debit available.
Please quote
order code
POST: FREEPOST RTHA -TGLU -CTSK, GMC Publications Ltd, 166 High Street, Lewes, BN7 1XU A4550
TEL: +44 (0)1273 488005 FAX: +44 (0)1273 402866 WEB: www.thegmcgroup.com
Please affix a stamp if sending from outside the UK.

14-359 OP xmas subs.indd 82 08/10/2014 10:42

 YOUR B+W
We reserve the right to edit
readers’ letters for reasons
of clarity and space.
PHOTOSPEAK
Dear Elizabeth
A few years ago I was in a major
photo gallery when a party of
students arrived. As they
rushed around I noticed that
they spent very little time
looking at the photos but were
busy with notebooks carefully
copying out the blurb
underneath – the stuff about
what the photographer was
‘trying to say’. They had to learn
the photospeak. It amuses me
that for all the claims made
about visual communication
it often relies on words to do
any communicating.
And so I am allergic to
photospeak and I am grateful
that your magazine avoids it as
much as it can.
And yet I gained something
from the text in a book of Brett
Weston’s photos. It was the
comment about him being a
naive photographer, in contrast
with his father as a sentimental
or romantic photographer.
I began to understand that,
applied to a picture, naive
means not suggesting an
emotional backstory, indeed
any emotional reference. You
don’t have to imagine what the
artists is ‘trying to say’. Of
course, not all of Brett
Weston’s photos fall into this
category. And not all of Edward
Weston’s are romantic. Let me
try out an idea – that photos
often fall within a triangle of
three categories –naive,
romantic and classical. A lot
of great architectural
photography, concerned with
form and order, simplicity,
regularity and repetition, might
On paper to Black+White Photography, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN
On Facebook at facebook.com/blackandwhitephotog On email at elizabethr@thegmcgroup.com
83_IN_CONTACT_170 ER/MB.indd 83
IN CONTACT
We want to hear your views, ideas and opinions so
write to us on paper, Facebook or email – and don’t
forget to send us a picture. We have some Class
10 EVO 16MB SD cards to give away each
month. With a Grade 1 transfer speed of up to
48Mb/s, this is ideal for DSLRs and full HD camcorders.
© David Brancher
83
B+W
WINNER
be in the classical category. close to the romantic. And Brett woodland and sand dunes are
Ansel Adams, overwhelmed by Weston can be in several parts romantic, but his capture of
his American landscapes, is of the triangle. His photos of broken glass and ice crystals
could be described as naive.
Now where does this leave
BLACK & WHITE FOR REAL WINNER
photographers like Cartier-
Dear Elizabeth
Bresson and Vivian Maier?
In his article To Boldly Go in B+W Photography issue 168,
Their work is naive in the sense
Lee Frost writes ‘Black & white photographs don’t represent
that the people they capture
reality...’ But they do.
are simply there by chance,
We think of the eye as having three colour receptors or
and their positioning is
cones, sensitive to red, green or blue. It’s more accurate to say
inherently satisfying as a
that they are sensitive to wavelengths in the visible spectrum
composition in a fragment of
that we perceive as red, green or blue. Recent studies in the
neuro-physiology of colour vision have shown that the colours time – but also romantic where
we see are actually a bit of brain trickery; the brain converts they are loaded with human
wavelengths into ‘colours’, presumably to make it easier for us interest with a backstory or
to distinguish things such as poisonous berries etc. a forward story or both.
The colour of an object depends on the ‘colour’ (the Of course, this analysis leaves
wavelengths) of the source light, and the degree of its reflection out documentary photographs
and absorption. So, if colour is just a bit of brain trickery, it with no claim to art. Does the
follows that objects are not naturally coloured, they are just analysis work with creative
shades of grey. Black and white photographs are the reality! photographs in general? Or is
Robert Campbell this merely photospeak?
David Brancher
GET IN CONTACT
02/10/2014 16:02
 T H E U K ’ S L A R G E S T S T O C K I S T O F L E E F I L T E R S

NEW - the ONLandscape Lee Filters Kits. 

Uniquely packaged & protected & supplied with a

detailed insightful guide for the use & choice of these
filters by JOE CORNISH & TIM PARKIN. Offering a
substantial saving on the RRP. Exclusively available
at the LinhofStudio.

The ONLandscape Lee Filters

100 Kit - £259.00 incl VAT
Lee Filters 0.6 ND Grad VERY HARD
Lee Filters 0.9 ND Grad MID WAY
Lee Filters 1.2 ND Grad HARD
~fitted Case and Tutorial

The ONLandscape Lee Filters

SEV5N Kit - £289.00 incl VAT
Lee Filters Sev5n Filter Holder
and adapter ring (specify size) In our world
Lee Filters Sev5n ND Grad 0.6 SOFT everyone is a professional.
Lee Filters Sev5n ND Grad 0.6 HARD
Lee Filters Sev5n ND Pro Glass 0.9
~fitted Case and Tutorial

NEW Bergger 400 ASA NEW Product Launch - Linhof 3D Tripod Head range
Black & White Film 35mm the LSL Screenshade. now includes Dovetail fitting

Linhof | Alpa | Silvestri | Rodenstock | Schneider | Hensel | Lee Filters | Bergger Fine Art | Lotus View | BW Outdoor Cases

T 01702 716116 E info@linhofstudio.com www.linhofstudio.com @LinhofStudio

013_OPHO_177.indd
084_BW_170.indd 84 13 20/02/2014
06/10/2014 09:58
15:52
 TESTS AND
PRODUCTS
PHOTOKINA
SPECIAL!

B+W HD PENTAX DA645

LOVES
28-45MM LENS
SAMSUNG NX1 Ultra wideangle zoom lens for the Pentax
Powerful compact system camera boasting 645Z and other Pentax medium format
28Mp sensor and continuous shooting at cameras. Weather-resistant construction
New gear announced at 15fps. Makers promise high resolution and quick-shift focus system for instant
and low power consumption. switching to manual focus.
Photokina in Cologne £1,299 samsung.com £3,399.99 ricoh-imaging.co.uk

PANASONIC LUMIX
DMC-GM5
Micro four-thirds camera that takes
interchangeable lenses. Includes Wi-Fi
connectivity, 22 filter options, high speed
shooting at 5fps and a 16Mp sensor.
£769 (with 12-32mm lens)
panasonic.com
OLYMPUS M.ZUIKO DIGITAL
ED 40-150MM LENS
Light and compact lens offering minimum
focusing distance of 70cm at all focal
lengths. Sports dust, splash and freeze proof
protection and near silent focusing.
£1,299.99 olympus.co.uk
85
B+W
NIKON D750
Full-frame camera with newly designed
FX-fomat 24.3Mp sensor, an ISO range
of 100 to 12800 and an Expeed 4 image
processor. Shoots at up to 6.5fps and has
a 3.2in tilt screen that can rotate up to 90
degrees or down to 75 degrees.
£1,799.99 nikon.co.uk

CANON EOS 7D MARK II
Features new 20.2Mp sensor, new
viewfinder and new 65-point cross-type
AF system. Also boasts continuous
shooting at 10fps, dual Digic 6 processors
and an ISO range of 100 to 16000.
£1,599.99 canon.co.uk
EPSON PERFECTION
V850 PRO
Professional level film and flatbed scanner,
scanning film at 6400dpi and photographs
at 4800dpi. Can also remove dust, hairs,
scratches, fingerprints and creases from
films, slides and photos.
£729 epson.eu
LEICA X
This stylish new Leica compact comes
loaded with a 16.5Mp APS-C format CMOS
sensor and Leica Summilux 23mm f/1.7
prime lens. It’s ideal for reportage and offers
manual controls plus full HD video. The
camera is available in black or silver and the
package also includes Adobe Lightroom.
£1,550 leica-camera.co.uk

85_B+W_LOVES_170 ER/MB.indd 85 02/10/2014 16:03

 BLACK+ WHITE Don McCullin Shell Shocked US Marine, The Battle of Hue 1968 © Don McCullin

PHOTOGRAPHY
EDITORIAL
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com
Assistant Editor Anna Bonita Evans
email: anna.evans@thegmcgroup.com
Designer Toby Haigh
ADVERTISING
Advertising Sales
Raphael Pottinger
tel: 01273 402825
email: raphael.pottinger@
thegmcgroup.com
PUBLISHING
Publisher Jonathan Grogan
MARKETING
Marketing Executive Anne Guillot
tel: 01273 402 871
PRODUCTION
Production Manager Jim Bulley
Origination and ad design GMC Repro
Printer
Headley Brothers Ltd
Distribution
Seymour Distribution Ltd
SUBSCRIPTIONS
Subscriptions Helen Christie
tel: 01273 488005 fax: 01273 402866
email: helenc@thegmcgroup.com
SUBSCRIPTION RATES
86 (includes postage and packing)
12 issues - Save 10%:
B+W £48.60 (UK) £60.75 (Europe)
£68.04 (Rest of world)
24 issues - Save 20%:
£86.40 (UK) £108.00 (Europe)
£120.96 (Rest of world)
DD - Save 30%:
£18.90 ever 6 issues (UK only)
£37.80 every 12 issues (UK only)
Cheques should be made
payable to GMC Publications Ltd
Current subscribers will automatically
receive a renewal notice (excludes
direct debit subscribers)
POST YOUR ORDER TO
The Subscription Department
GMC Publications Ltd, NEXT MONTH
166 High Street, Lewes,
East Sussex, BN7 1XU, UK
Tel +44(0) 1273 488005,
Fax: +44(0) 1273 402866
THIS AUTUMN SEES THE OPENING OF
or visit www.thegmcgroup.com
BLACK+ WHITE PHOTOGRAPHY
( ISSN 1473-2467) IS PUBLISHED EVERY
A LANDMARK SHOW AT TATE MODERN:
FOUR WEEKS BY GMC PUBLICATIONS LTD
Black+White Photography will consider articles
for publication, which should be sent to the
CONFLICT, TIME, PHOTOGRAPHY.
editor together with a stamped self-addressed
return envelope. GMC Publications cannot accept
liability for the loss or damage of unsolicited
material, however caused. Views and comments
expressed by individuals in the magazine do not
ASSISTANT CURATOR, SHOAIR MAVLIAN,
necessarily represent those of the publishers and
no legal responsibility can be accepted for the
results of the use by readers of information or
advice of whatever kind given in this publication,
TALKS TO BLACK+WHITE.
either in editorial or advertisements. No part of
this publication may be reproduced, stored in a
retrieval system or transmitted in any form or by
any means without the prior permission of GMC
Publications Ltd. With regret, promotional offers
and competitions, unless otherwise stated, are not
available outside the UK and Eire.
B+W ISSUE 171 ON SALE 27 NOVEMBER
© Guild of Master Craftsman Publications Ltd. 2014

86-87_NEXT MONTH_170 ER/MB.indd 86 08/10/2014 15:20

 BL ACK+WHITE PHOTOGRAPHY COOL, CREATIVE AND CONTEMPORARY

© Lara Platman

87
B+W

LARA PLATMAN’S EXHILARATING

DOCUMENTARY OF A 24-HOUR
MOTOR RACE IN GERMANY

+ THE ART OF THE STILL LIFE PHOTOGRAPH

+ THE PANASONIC GH4 PUT TO THE B+W TESTT
+ 20 PHOTO RESOLUTIONS FOR THE NEW YEAR
+ FIND YOUR SENSE OF PLACE WITH LEE FROST

facebook.com/blackandwhitephotog follow us on twitter @BWPMag

86-87_NEXT MONTH_170 ER/MB.indd 87 13/10/2014 11:17

 B+W CLASSIFIEDS To advertise on these pages please call Raphael on 01273 402825
or email raphael.pottinger@thegmcgroup.com

HOLIDAYS, COURSES AND TUITION

Dedicated to the monochrome photographer

iStockphoto.com/Olena Druzhynina

SAVE UP TO 40% TODAY.

Download the digital edition of Black+White Photography.
Get the first issue from just £1.99 or subscribe from £14.99 for 6 issues.
Available to download on your digital device or available online at
www.pocketmags.com Download from
Windows Store

88 B+W CLASSIFIED DECEMBER 2014

BW_170.indd 88 10/10/2014 14:10

 To advertise on these pages please call Raphael on 01273 402825
or email raphael.pottinger@thegmcgroup.com B+W CLASSIFIEDS
HOLIDAYS, COURSES AND TUITION

Dedicated to the monochrome photographer

www.luxdarkroom.co.uk
VWXGLR()LUVW)ORRU7RUUHQVVWUHHW/RQGRQ(&914
OX[GDUNURRP#JPDLOFRP

Workshops WXLWLRQ H[WUDV

1RYHPEHU 3ULYDWH7XLWLRQ
B&W Darkroom If you would like to arrange
with Constanza Isaza private tuition in any alternative
process, please email or call us.
1RYHPEHU*
Toning B&W prints 3ULYDWH*URXS
with Mike Crawford workshops
We can arrange group
1RYHPEHU workshops in any process
Intro to Alternative Processes for groups from 3-7 people
Lux is a new darkroom in central
(depending on process).
London offering courses and private
)HEUXDU\
tuition in analogue and alternative
B&W Darkroom *LIWYRXFKHUV
photographic processes.
Gift vouchers of £50 upwards
We run a wide range of exciting and 0DUFK are now available, and can
creative workshops, including B&W Intro to Alternative Processes be used towards any of our
film photography, cyanotype, salt workshops.
printing, photopolymer gravure and follow us:
digital negative-making for alternative WZLWWHUFRP/X['DUNURRPţIDFHERRNFRPOX[GDUNURRP
processes. To book your place, contact luxdarkroom@gmail.com

DECEMBER 2014 B+W CLASSIFIED 89

BW_170.indd 89 07/10/2014 14:18

 B+W CLASSIFIEDS
27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
To advertise on these pages 44
please call Raphael on 01273 402825
Museum Street London WC1A 1LY
or email raphael.pottinger@thegmcgroup.com Tel: 020 7242 8681
www.apertureuk.com
SPECIALISTS AND EQUIPMENT
Pre-owned Leica Medium / Large & Other Format
Leica M Monochrom Black (boxed) under 2200 Actuations Exc+ £4290 Hasselblad PCP-80 Projector with 150mm f3.5 lens (Boxed) Mint £990
Leica M Black (Complete; boxed) Mint £3990 Fujica 65mm f8 Fujinon-SW + Viewfinder Exc £590
Leica M9 Black (Complete; boxed) under 5000 Actuations Exc+++ £2290 Mamiya 150mm f4.5G + hood for Mamiya 6 Exc++ £260
Leica M7 0.58 Black #2850xxx Exc++ £1250 Mamiya 7 II + 65mm f4L Mint- £1390
Leica M6 0.72 TTL Titanium #2754xxx Mint- £1590 Mamiya 43mm f4.5L + hood & V/finder Mint- £790
Leica M6 Classic Titanium #2331xxx Mint £1190 Mamiya 50mm f4.5L + hood + V/finder Mint £790
Leica M6 0.72 TTL Black #2757xxx Mint- £990 Mamiya 150mm f4.5L + hood (boxed) Mint £370
Leica M6 Chrome (Panda) #1774xxx Exc+ £890 Mamiya 210mm f8L As New £390
Leica M6 Chrome #2422xxx Mint- £950 Mamiya Polarising Filter ZE-702 Mint- £70
Leica M4 Black Chrome 50 years Anniversary Edition 298L Exc+ £1850 Mamiya 80mm f2.8 AF LS + hood for ( 645 AF-D designed by Schneider) As new £1190
Leica M4 MOT Black Paint + New York Motor Exc £3490 Tele-Rollei with meter; bright screen, Slight coating mark on edge of glass Exc+ £1090
Leica M4 Chrome #1184xxx Serviced by us recently Exc+ £650
Dedicated to the monochrome photographer

Schneider 180mm f5.6 Apo-Symmar L with V/finder for SW617 (boxed) Mint £1890
Leica M4-P Black #1532xxx Exc++ £650 Schneider 250mm f5.6 Tele-Xenar with V/finder for SW617 (boxed) Mint £1890
Leica M1 Chrome #980xxx Serviced by us Exc £390 Linhof Master Technika with Rodenstock 150mm f5.6 Sironar-N Mint- £2490
Ebony SW-23 with Horseman 6x9 RFH Mint- £1490
Leica 21mm f1.4 Summilux-M ASPH + hood 6 bit #4079xxx (boxed) Mint £3490 Schneider 72mm f5.6 Super-Angulon XL (Copal 0) Exc++ £650
Leica 21mm f2.8 Elmarit-M #3576660 Exc+ £950 Schneider 90mm f5.6 Super-Angulon XL (Copal 0) on Linhof board Exc+++ £690
Leica 21mm f3.4 Super-Angulon + hood #2672xxx (boxed) Exc++ £990 Rodenstock 90mm f6.8 Grandagon-N Latest (Copal 0) (boxed) As New £490
Leica 24mm f1.4 Summilux-M ASPH + hood 6 bit #4088xxx (boxed) Mint £3450 Rodenstock 100mm f5.6 Sironar (Copal 0) on Linhof size board Mint- £220
Leica 24mm f2.8 Elmarit-M ASPH #3755xxx (boxed) Exc++ £1490 Schneider 135mm f5.6 Symmar-S (Compur 1) Linhof Selected Mint £290
Leica 35mm f1.4 Summilux-M ASPH 6-bit coded + hood #3811xxx Exc+++ £2250 Schneider 180mm f5.6 Symmar-S (Copal 1) on Toyo Board Mint- £270
Leica 35mm f2 Summicron 3rd Version #2484xxx Nr Mint £1050 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Leica 35mm f2 Summicron + hood 3rd Version (Complete; boxed) Mint £1190 Schneider 210mm f5.6 Apo-Symmar-L Linhof Select (Copal 1) (boxed) Mint £690
Leica 50mm f1.4 Summilux-M ASPH 6 bit #4102xxx Mint £2090 Schneider 210mm f5.6 Symmar-S (Compur 1) Linhof Selected Mint £320
Leica 50mm f2 Summicron-M Silver Built in hood #3954xxx (boxed) Exc+++ £1050 Schneider 240mm f5.5 Tele-Arton Exc £170
Leica 50mm f2.5 Summarit-M + hood 6 bit #4040xxx Mint £790 Rodenstock 240mm f5.6 Sironar-N MC (Copal 3) on Toyo style board Mint £390
Leica 50mm f2.8 Elmar-M Black + hood #3898xxx Exc++ £470
Leica 90mm f2.8 Tele-Elmarit #2147xxx Exc+++ £430 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
Leica 90mm f4 Macro-Elmar-M with hood; Complete Kit (boxed) Exc++ £1990 black and white film, please refer to our website for prices.
Leica 90mm f2 APO-Summicron-M ASPH 6-bit coded #3856xxx (boxed) Exc+++ £1890 We also accept mail order at the following address, and will return your photographs within 4-5 working
Leica 135mm f3.4 Apo-Telyt-M #3911xxx Mint- £1850 days. Send your film(s) packed securely to the P.O Box below and make sure to include your name; address
and contact details for return postage.
An order form is availible to download from our website on the Film Developing Page.
Leica R8 Black #2298xxx (boxed) Mint £350 Postage for Process and Print
1 - 2 rolls.............................................£3
Please send your order to:
Leica 28-90mm f2.8-4.5 Vario-Elmar ASPH ROM #3989xxx (boxed) As New £3390 Aperture Photographic
3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
11 rolls or more................................Free
Leica 50mm f2 Summicron-R 3 Cam #2865xxx Mint- £420 PO Box 7045 Process only
London 1 - 10 rolls...........................................£3
Leica 60mm f2.8 Macro-Elmarit-R 3rd Cam #3655xxx Mint £550 W1A 1PB
10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 90mm f2.8 Elmarit-R 3 Cam #3346xxx Mint- £420 We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club)
Leica 135mm f2.8 Elmarit-R 2 Cam #2530xxx Mint- £170 Please send us your order with your payment details or phone us for further details.

Angenieux 35-70mm f2.5-3.3 R Mount Exc++ £490 Processing Prices (C41 Only) 24~48 hours
35mm develop only £5.00
35mm develop + print £10.00
Leica 55mm Polarising filter Mint £80
35mm develop + print + CD £12.00
Leica 21-24-28mm Viewfinder Mint- £270 £8.00
35mm develop + CD
Leica 24mm Bright Line Viewfinder Black Exc £190 Extra set of prints (order within 7 days) £4.00
Leica 35mm Metal Bright Line Viewfinder Chrome Exc+++ £270 Film scan to CD or digital media £7.00
Voigtlander 90mm Metal Viewfinder Black Mint- £90 120 develop only £6.00
Leica Televid 77 with 32x Eyepiece Exc+++ £750 120 develop + print £12.00
Leica Motor M Mint- £190 120 develop + print + CD £15.00
120 develop + CD £9.00
£350 Extra set of prints (order within 7 days) £5.00
Voigtlander 50mm f1.5 S Nokton + hood (Nikon/Contax RF mount) Mint-
Film scan to CD or digital media £7.00
Voigtlander Bessa-R3A Mint- £350
We also process Black and White Film! Please check our website
Voigtlander Bessa-R (boxed) Exc++ £150 or phone us for prices and turn around time

For Leica and Early Nikon (Nikon F2, Nikon F & Rangefinder) & Large Format Please contact Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For Canon
90 BAutofocus, Nikon (Post
+W CLASSIFIED F2), Hasselblad
DECEMBER 2014 and other cameras Please contact Aperture Museum Street Tel: 020 7242 8681 Email: info@apertureuk.com

BW_170.indd 90 06/10/2014 16:06

 To advertise on these pages please call Raphael on 01273 402825
27 Rathbone Place London W1T 1JE
or email
Tel: 020 7436raphael.pottinger@thegmcgroup.com
1015 B+W CLASSIFIEDS 44 Museum Street London WC1A 1LY
Tel: 020 7242 8681
www.apertureuk.com
SPECIALISTS AND EQUIPMENT

Leica 35mm f1.4 Summilux with Specs (M3 type; steel filter rim) #1730xxx , Exc++, £2290

Dedicated to the monochrome photographer

Leica 21mm f3.4 Super-Angulon + hood #2672xxx (boxed), Exc++, £990

Leica M7 0.85 Japan Edition #2886xxx (boxed), Mint, £1490

Nikon 500mm f4 P AIS ED + hood, pouch & flight case including TC-14B Tele Converter, Mint-, £1550 Nikon F5, Exc++, £350

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment cannot be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture is now offering an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
P l e a s e c o n t a c t e i t h e r o f o u r b r a n c h e s f o r f u r t h e r i n DECEMBER
f o r m a t i o2014
n B+W CLASSIFIED 91

BW_170.indd 91 06/10/2014 16:06

 B+W CLASSIFIEDS
27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
To advertise on these pages 44
please call Raphael on 01273 402825
Museum Street London WC1A 1LY
or email raphael.pottinger@thegmcgroup.com Tel: 020 7242 8681
www.apertureuk.com
Aperture Camera Repairs
We offer our in-house repair service for film cameras and lenses at our Rathbone Place store, specialising in repairs to all mechanical cameras, in
particular the classic marques that we carry, Leica, Hasselblad, Rollei and Nikon. We can also repair faults with modern camera systems, auto
focus lenses and also compact cameras depending on availability of parts.

Our aim is to provide excellent service with a rapid turnaround, usually within a week. All of our repair work carries a guarantee of six months.

A basic estimate of the repair cost can be given over the phone but for a more comprehensive quote please bring in your equipment for examina-
tion at our store on Rathbone Place.
Dedicated to the monochrome photographer

Have you ever wished your favourite lens would fit your Leica M mount camera?

We have the expertise and tools to create what you have always dreamed of!

Leica IIIf shutter curtain replacement Shutter repair to Hasselblad SWC The MAN

Below are typical prices for a few of the services provided by Aperture:
Full service of Leica rangefinder camera: from £120 + VAT
Servicing involves the adjusting of shutter speeds and rangefinder alignment to factory standards and also the lubrication of all the essential moving parts. All aspects of the camera will be inspected during this service.

New shutter curtain replacement on Leica Screw Mount bodys: £180+ VAT
Supply and fitting of factory standard replacement shutter curtains, a shutter speed check will also be carried out during this service.

Rangefinder adjustment: from £60 + VAT

Calibration of horizontal & vertical image planes of any rangefinder camera.

Full service of Hasselblad & Rolleiflex: from £120 + VAT

Servicing of most Hasselblad & Rolleiflex mechanical cameras includes renewal of all moving parts to the best possible working order.

Hasselblad film back light seal replacement: £40 + VAT

Replace light seals on Hasselblad film back to stop light leaks.
92 B+W CLASSIFIED DECEMBER 2014

BW_170.indd 92 06/10/2014 16:06

 To advertise on these pages please call Raphael on 01273 402825
or email raphael.pottinger@thegmcgroup.com B+W CLASSIFIEDS
OUTDOOR PHOTOGRAPHY
BLACK & WHITE SPECIAL

Dedicated to the monochrome photographer

ON SALE NOW! DECEMBER 2014 B+W CLASSIFIED 93

BW_170.indd 93 10/10/2014 16:09

 B+W CLASSIFIEDS To advertise on these pages please call Raphael on 01273 402825
or email raphael.pottinger@thegmcgroup.com

SPECIALISTS AND EQUIPMENT

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

Do you want your business used photographic equipment
Having trouble finding what you want? We’ve got nearly everything under one
to reach a committed and roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.

enthusiastic photographic Got a question about photography? We can answer it.

Starting a college course? Want to set up a darkroom?

community?
Baffled by digital? We can help.

The Real Camera Company. Run by enthusiasts.

Photographic retailing like it used to be.
Then contact Raphael now on 01273 402825 Sevendale House, 7 Dale Street
or email raphael.pottinger@thegmcgroup.com (Entrance on Lever Street), Manchester M1 1JA

B+W CLASSIFIEDS
Tel/Fax: 0161 907 3236
www.realcamera.co.uk
Dedicated to the monochrome photographer

BLACK & WHITE FILM

Processing by experienced Professional (30+yrs)
35mm, 645, 6x6, 6x7, 6x9, 126, 127, 5x4 formats catered for
Dev & Contact £8.00 36ex 6x4 £13.00 36ex 7x5 £19.00 QUOTE AND BUY ONLINE 24 HOURS A DAY
35mm/120 Develop & Scan £12. 1st Class post included
INSURANCE FOR
Michael White, Gosbrook, Wragholme Road, EQUIPMENT, LIABILITY AND
Aaduki
Multimedia
Grainthorpe, LOUTH, Lincs., LN11 7JD PROFESSIONAL IDEMNITY
@NikAaduki
01472 388810 07944 083368 01837 658880
www.blackandwhitepics.co.uk www.aaduki.com

GET THE APP & DON’T MISS OUT!

Your favourite books
are now available on the

App from just £5.99

19 SP
3 E
GU PA CIA
ID GE L O
E O EX F

Digital Black &

NLY PA FER
N
£9 DE
.99 D
LEICA M9 CANON REBEL
White Photography THE EXPANDED GUIDE
SL1/EOS 100D
DAVID TAYLOR THE EXPANDED GUIDE

David Taylor
David Taylor
THE EXPANDED GUIDE > TECHNIQUES

Night & Low NIKON D5300 Close-up &

Light Photography THE EXPANDED GUIDE
Macro Photography
DAVID TAYLOR TRACY HALLETT

Jon Sparks
THE EXPANDED GUIDE > TECHNIQUES THE EXPANDED GUIDE > TECHNIQUES

WWW.POCKETMAGS.COM

Download from
Windows Store

94 B+W CLASSIFIED DECEMBER 2014

BW_170.indd 94 08/10/2014 12:05

 To advertise on these pages please call Raphael on 01273 402825
or email raphael.pottinger@thegmcgroup.com B+W CLASSIFIEDS
«clikpic» Websites for photographers

Try the new Clikpic for only £40 pa includes

ecommerce

Clikpic has recently got even better! We have

introduced a wide range of stunning new
templates, with many of our amazing
features automatically included. And our new
admin system makes it even easier to use -

Dedicated to the monochrome photographer

all you have to do is upload your images and
change the default text. Sign up for a free 14
day trial and see for yourself!

The new Clikpic

• A stunning range of new templates

• New easy-to-use admin system
• New blog styles with more options
• New simple way of uploading and linking
to your social media
• Stylish slideshows and carousels to
showcase your images throughout your site
• And much more besides! Compatible with mobile phones and tablets

“I recommend Clikpic to any “Building the website was

photographer thinking of uncomplicated and completely
building a website.” hassle-free.”
Amateur Photographer magazine Digital Photo magazine
Group Test Aug 2010

Visit www.clikpic.com for a FREE 14 day trial

DECEMBER 2014 B+W CLASSIFIED 95

BW_170.indd 95 06/10/2014 16:08

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

96
B+W

This month’s lucky winner is Pat Wood who wins a 20x24in print which will be dry mounted on to aluminium, giving the image
a wonderfully metallic feel. Pat can choose from a range of four digital C-type and seven fine art inkjet papers for printing.

NEXT MONTH
You can win a print dry mounted on to Acrylic Reverse – a highly innovate dry mount that
sandwiches your print between two sheets of Perspex for the ultimate high-end finish.

HOW TO ENTER
Send your hi-res image on a CD to: Find out more at
B+W Photography, Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk

96_LAST_FRAME_170 ER/MB.indd 96 08/10/2014 15:24

 An Aladdin’s Cave of Second-hand Nikon

“The attention to service for which

Grays of Westminster is noted -
unobtrusive but meticulous and
delivered with warmth and style
- is delightfully personal and
very British. It is a real Aladdin’s
cave.” – Pixel magazine

IBC_BW_170.indd 1 06/10/2014 15:54

 Introducing the
new Samsung NX1
SMART CAMERA with
UHD 4K video.

·
· Hybrid AF with 205 phase detection, 209 contrast detection and 153 cross-type sensor points
· Fast and precise continuous shooting up to 15fps at full resolution
· Capture fast-moving action with exquisite clarity at 1/8000 sec. shutter speed
· Breathtaking 4K UHD video recording in HEVC (H.265) format
· Lifelike and realistic EVF that comes on in 0.005 seconds
· Highly durable dust and splash proof magnesium alloy body

OBC_BW_170.indd 1 23/09/2014 16:38