Professional Documents
Culture Documents
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© Chris Friel
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© Giulia Berto
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BLACK+WHITE PHOTOGRAPHY ISSUE 211 JANUARY 2018 NEXT MONTH’S ISSUE IS OUT ON 18 JANUARY
50 42
© Tim Daly
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03
B+W
HIGH CONTRAST
An innovative book by Dayanita
Singh has won the Photobook
of the Year prize at Paris Photo.
Dayanita Singh was
interviewed in B+W 200. Her
book, Museum Bhavan, takes the
form of nine individual ‘museums’
in book form and is a miniature
version of her travelling exhibition.
Other winners in the Paris
Photo–Aperture Foundation
Photobook Awards were Mattie
Boom and Hans Rooseboom,
who won photography catalogue
of the Year for New Realities:
Photography in the 19th
Century, which accompanied a
recent major exhibition at the
Rijksmuseum in Amsterdam.
04 aperture.org
Exterior, foyer, cafe, conference
B+W
Hasselblad has introduced
a Rent a Hasselblad service. COMING SOON and academy lounge
Photographers can hire a camera Pictures have been released of a big new exhibitions by Annie Leibovitz, Bill Brandt,
and lens for a photoshoot or hire photography gallery due to open in London. Helmut Newton, Sally Mann and Irving Penn.
one to try the equipment out.
Fotografiska London will occupy 89,000 square As well as showing photography, the new gallery
Forty rental pick-up locations have
been set up around the globe.
feet of space and host up to seven exhibitions that in Whitechapel, London, will offer two restaurants,
hasselblad.com/rental will all be accessible with one entry ticket. a cafe and bar. An academy will run photography
The gallery, which opens in November 2018, courses and space will also be available for product
Get your entries in for the Pink aims to provide a world-class space to show launches, conferences and charity events. The
Lady Food Photographer of the international photography. The original gallery will also expand the Fotografiska for Life
Year. Categories cover a wide Fotografiska opened in Stockholm in 2010 and has initiative, which focuses on world issues and seeks
range of subjects and the deadline become one of the city’s top attractions, holding to help the subjects of the pictures.
for entries is 6 February, 2018.
pinkladyfoodphotographer
oftheyear.com
NEW FLAGSHIP
Panasonic has launched a new flagship compact
system camera boasting the highest picture
quality in the history of the Lumix series.
The Panasonic Lumix G9 is loaded with a
20.3Mp sensor without a low-pass filter. It also
has a High Resolution mode that provides images
at the equivalent of a whopping 80Mp.
Makers say the image stabiliser has been
dramatically improved and the AF speed is now
the fastest in the world, with a time of 0.04sec.
The camera is built with a magnesium alloy full
die-cast front and rear frame. It’s available in
January 2018. Price £1,499 (body only).
A black & white picture by British photographer Darren Moore has won the amateur
category of the Epson International Pano Awards. The awards celebrate the work of
panoramic photographers around the world and attracted more than 5,000 entries.
thepanoawards.com
C
urators Leila Packer and Jennifer
Sliwka have organised the 50
pieces into six separate rooms,
with each room addressing a
different aspect of painting in black & white.
Starting with Sacred Subjects, the display
progresses to Studies in Light and Shadow,
Independent Paintings in Grisaille and
Monochrome Painting and Sculpture, which
all largely look at how black & white was
Head of a Girl, 1867 by Célestin Joseph Blanc © Victoria and Albert Museum either used for preparatory sketches or
with moral or philosophical motives.
O
n show at the National black & white from a different perspective, The exhibition continues (in loose
Gallery is an exhibition expanding both our appreciation and our chronological as well as thematic order)
asking us to see the understanding of the aesthetic. to Black & White Painting in the Age of
history of Western art The first known major exhibition devoted Photography and Film and then ends with
differently. An exciting to the topic, this show presents more than Abstraction, with works by Bridget Riley,
collaboration between 50 pieces by pioneering artists from the last Cy Twombly and Frank Stella.
the leading London gallery and Düsseldorf’s 700 years. Expect to find new connections The penultimate room will inevitably
Museum Kunstpalast, Monochrome: Painting between pictures by Old Masters Jan van be of great interest to photographers.
in Black and White reveals how artists past Eyck and Rembrandt van Rijn when they’re As Gabriele Finaldi, director of the National
and present have cast the colour spectrum set alongside portraits from the Victorian Gallery, says in the catalogue’s introduction:
aside to truly explore the nature of seeing. era by Célestin Joseph Blanc and Louis ‘Since photography’s invention painters
By looking at artists who’ve consciously Daguerre – who is now best known for consciously evoked the effects of the
painted without colour, we can examine inventing the daguerreotype. photographic image in their work
ON SHOW
MONOCHROME: PAINTING
IN BLACK AND WHITE
is on show until 18 February at the
National Gallery; nationalgallery.org.uk
© Chuck Close, courtesy of Pace Gallery
hristoph Jorda’s grandfather once offered to buy him An extreme sports enthusiast, Jorda and friends would go
8
B+W
e’s travelled with NGOs to live with ‘I could write a book in October [2014] and asked them: “Do you
H host families and do community
service, and has documented the
favelas in Rio, children in Zimbabwe,
the fallout from the earthquake in Nepal and,
not least, a deeply moving series on a day in
about my two days with
Mama Maggie. So much
happened’, explains Jorda
think it’s possible to meet Mama Maggie?”
They said no, she’s a holy person, you can’t
just ask her if you can go around with her
to take some pictures. Besides, she lives in a
Muslim country and she’s a Coptic Christian,
the life of a Syrian boy whose face was terribly of his ‘divine’ happenstance.’ and it’s really dangerous to put her out there.
disfigured by war. Jorda’s work is evocative –
capturing both the immense natural beauty and her presence is like the arrival of a deity. flew to Cairo anyway to keep working on
of Earth and its inhabitants, as well as the
monstrous injustices meted out by Earth and
its inhabitants. His reportage of children is
vital, but often makes for devastating viewing.
‘Photographing in nature all the time, with
Dressed in flowing white linens, a headscarf
and giant crucifix suspended around her
neck, she is like the apparition of Mary
herself. Her movements are graceful and
measured, she speaks quietly and clearly, and
I my long-term project in the garbage areas
and one of the journalists called me to say
she had arranged everything with Mama
Maggie’s assistant. She said I could follow
her for one day to capture how a day looks
nothing but sunshine and fresh snow all smiles benevolently as she kneels to wash like in Mama Maggie’s life. She also told me
around you, would be too much – it wouldn’t a child’s feet. A former computer science that for the cover of the book, they would
work for me. But only going to conflict areas teacher at the American University in Cairo, need a photo of Mama Maggie looking
and seeing poor people all the time would she answered God’s call in 1989, dedicating directly into the camera and asked if I could
also be too much – I think it would be too her life to helping the zabaleen – the garbage take it. I said, yeah no problem, easy peasy,
desperate. I need both worlds. The light people – a minority Coptic Christian I can do it. That’s what I thought….
and shadow keep the balance,’ explains the community living in recycling slums on ‘It was four in the morning when the driver
German photographer, who has recently the outskirts of Cairo. ‘I could write a book picked me up. We drove to the church where
become a father. about my two days with Mama Maggie. So Mama Maggie was praying. Everyone was
And so it was in Egypt, when much happened’, explains Jorda of his ‘divine’ sitting on benches but there was one person
photographing the garbage cities, that Jorda happenstance, which led to the eponymous lying on the floor in the back of the church,
learned of Maggie Gobran, affectionately series, completed three years ago. dressed all in white. It was Mama Maggie.
known as Mama Maggie – the founder of the ‘Two German journalists who were writing ‘The ceremony went on for three hours;
charity Stephen’s Children, a beacon of light a book about Mama Maggie found my photos there was a lot of singing and a lot of incense
to the many thousands of children living in about the garbage areas on the internet and creating so much smoke – it almost choked
the darkest of slums in Egypt. Mama Maggie asked if they could use them in their book. me! When it was over, Mama Maggie got up
has been nominated for a Nobel Peace Prize, I said OK. I was planning to fly to Cairo again off the floor and everybody ran over to her.
They kissed her feet and tried to touch her. ‘Everyone was sitting on benches on her. I was like… Maggie, look around.
I always compare it to Michael Jackson – It’s a nice idea, but we don’t have a sunbeam,
but there was one person lying
you know, all those hysterical people, those and it’s dark in here.
groupies. And then she saw me and came up on the floor in the back of the ‘So she said OK, and went to take part in
to me. She said hello and gave me a chocolate. church, dressed all in white. the ceremony. I went outside because the
She speaks very quietly, and the next thing It was Mama Maggie.’ incense was giving me a headache, but I was
she said was, “I am going to pray for you.” kind of bored, so then I went back inside and
So she prayed for another half hour, and full of crucifixes. She can’t move, she can only there it was. There was the picture… she was
I took a picture of her holding candles. move her head. Mama Maggie told me this is standing in a sunbeam, inside the church.
‘After that I said, OK, Mama Maggie, we where she gets her strength. It was so intense and perfect.
need a cover. So, you stand right here and ‘Then she invited me to join her the next day I took about 1500 black & white pictures
look towards the camera and I will take the at the monastery. I knew that was a really big over those two days – all of them with one
picture. But she never looks straight into the honour because I knew I was one of the first body, my Canon. I love black & white – I think
camera. It goes against her religious beliefs. Western photojournalists who got to spend it’s timeless, it’s pure. If it were up to me I
Any time she realised that I wanted to take a the whole day with her, so of course I said yes. would do all my work in black & white,’ he says.
picture of her face, she would hold her hands Her driver picked me up the next day at four in Jorda exhibits his reportage internationally
and look up at the sky. In my mind I kept the morning and we drove to the monastery, and is often invited to give talks at galleries
thinking, “I need to take the cover picture for between Alexandria and Cairo. It was foggy, and workshops. ‘Doing this kind of stuff
the book. I need her to look into the camera.” and the cars in Cairo don’t have any wipers, so is never about making money; it’s actually
‘The next stop was to one of the garbage we had to stop every two metres to clean the where I spend my money. Travelling to
areas and some kindergartens. You just can’t windscreen. There were accidents all the way places like Nepal and Egypt, you have to
believe what goes on when she gets out of and it was misty and slippery. I kept thinking sleep somewhere, you still have to eat.
her car. Totally dressed in white, the people we would never get there alive. The commissions I do enable me to tell
go crazy, they cry, they all want to touch her. these stories, to do something purposeful
She’s like a saint to them. We spent about hen we finally arrived, it was with my photography.’
three hours there with the poor people, and
she talked to the children, she washed their
feet and gave away some presents, and then
we went to have lunch at the kindergarten.
Then we went to see a living saint – a really
W way too late, she was almost
done with praying. She showed
me the monastery and said
it would be very nice if she could have a
picture where she stands in a totally dark
To learn more about Mama Maggie's charitable
foundation, go to Stephen's Children at
stephenschildren.org.
To see more of Christoph Jorda’s work, visit his
old person who was lying in bed, in a room church, with one sunbeam casting a light website at christophjorda.com.
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LONDON
BARBICAN ART GALLERY
India’s scientists and photographers.
Exhibition Road SW7
sciencemuseum.ac.uk
28 February to 27 May
Another Kind of Life: V&A
Photography on the Margins To 22 April
Photographers working with those Into the Woods:
on the fringes of society. Trees in Photography
Barbican Centre An exhibition that draws on works
barbican.org.uk from the RPS collection and the V&A
permanent photographs collection
BRUNEI GALLERY prior to the opening of the new
To 12 January Photography Centre later this year.
Egyptian Sufi Moulids: Cromwell Road, Knightsbridge SW7
Fairgrounds of the Faithful 2RL vam.ac.uk
Tim Coleman’s 30-year photographic
exploration of the ecstatic Sufi-Dervish WHITECHAPEL GALLERY
festivals in Egypt. To 21 January
SOAS, Thornhaugh Street, Thomas Ruff
Russell Square WC1 First major London retrospective
soas.ac.uk/gallery of the renowned German artist.
77-82 Whitechapel High Street E1
D-CONTEMPORARY GALLERY whitechapelgallery.org
To 6 January
Doug Scott: High Exposure
Black & white images by the mountain NORTH
18 photographer that reveal the extreme HUMBER STREET GALLERY
B+W beauty of the world’s highest mountains. Suzy Parker in Dior Hat, Tuileries, Paris, 1950. To 31 December
23 Grafton Street W1S Photograph by Louise Dahl-Wolfe. Hull, Portrait of a City
dcontemporary.com Collection Staley-Wise Galley. Magnum photographers Olivia Arthur
LOUISE DAHL-WOLFE ©1989 Center for Creative Photography,
Arizona Board of Regents. and Martin Parr are commissioned by
LAMB ARTS Hull UK City of Culture to create their
To 13 January To 21 January own unique portrait of the city.
Night Sky Rising Career retrospective of the influential 64 Humber Street, Hull
Kate Bellm’s first solo exhibition that American fashion photographer. humberstreetgallery.co.uk
explores the wild beauty of nature
through a surreal lens. FASHION AND TEXTILE MUSEUM IMPRESSIONS GALLERY
10 Horse Street, Mayfair W1J 83 Bermondsey Street SE1 ftmlondon.org To 30 December
lamb-arts.com No Man’s Land:
Women’s Photography
NATIONAL PORTRAIT GALLERY Instant Stories: A collection of previously unseen images and the First World War
To 8 Februay Wim Wenders’ Polaroids by this renowned photographer who Pictures taken by women who worked
Taylor Wessing Photographic Work by the award-winning filmmaker. came to prominence through the as nurses, ambulance drivers and
Portrait Prize 2018 To 11 February 60s and 70s music scene. official photographers, as well
The celebrated international competition. 4 Saints in 3 Acts: A Snapshot Proud Central, 32 Adam Street as contemporary artists.
1 March to 20 May of the American Avant-Garde WC2N 6BP proud.co.uk Centenary Square, Bradford
Victorian Giants: Photography from the groundbreaking impressions-gallery.com
The Birth of Art Photography American modernist opera first RESOURCE FOR LONDON
Images by Lewis Carroll, Julia Margaret staged in 1934. To mid January LADY LEVER ART GALLERY
Cameron, Oscar Rejlander and 11 January to 17 February A Gang of Four To 15 April
Clementina Hawarden. Drained Work by Fred Adams, wpnewington, Model Image: Fashion and
St Martin’s Place WC2H 0HE Work by Paul Hart from his new book Becky Frances and Joe O’Malley. Photos from the 1950s
npg.org.uk of the same name alongside work 356 Holloway Road N7 Exploration through photographs of the
from his previous publications, resourceforlondon.org life of top model June Duncan.
PHOTOGRAPHERS’ GALLERY Truncated and Farmed. Port Sunlight Village, Wirral
To 7 January 16-18 Ramillies Street W1F SCIENCE MUSEUM liverpoolmuseums.org.uk/
Near the Wind: Pentti Sammallahti tpg.org.uk To 31 March ladylever
and Kristoffer Albrecht Illuminating India:
A new commission by the two acclaimed PROUD GALLERIES Photography 1857-2017 WHITWORTH ART GALLERY
photographers which portrays the remote To 28 January Ambitious and unprecedented survey of To 1 January
Scottish islands in winter. London Rock: the development of the medium in India. Sooni Taraporevala: Home in the
To 11 February The Unseen Archive by Alec Byrne One of two major exhibitions celebrating City, Bombay 1976 – Mumbai 2016
MIDLANDS
BANBURY MUSEUM
Southampton southampton.gov.uk
SOUTH
CRANE KALMAN BRIGHTON
writers and politicians. Call 01865 274
100 for opening times.
Linton Road, Oxford
To 20 January
The Fab Four at the height of their fame.
SCOTLAND
SCOTTISH NATIONAL
PORTRAIT GALLERY
To 15 April
When We Were Young:
Photographs of Childhood from
the National Galleries of Scotland
Exhibition that delves into the rich
collection of the National Galleries
of Scotland to explore how the
lives of children have fascinated
photographers from the early days
Les Mées, 2016 of the medium to the present.
© Andreas Gursky courtesy
Sprüth Magers
1 Queen Street, Edinburgh
ANDREAS GURSKY nationalgalleries.org
25 January to 22 April
The first major UK retrospective of the work of acclaimed German photographer.
Send your international
HAYWARD GALLERY exhibition details to
Southbank Centre, Belvedere Road SE1 southbankcentre.co.uk anna.evans@thegmcgroup.com
AMERICA
APERTURE GALLERY
151 Third Street, San Francisco
sfmoma.org
SPAIN
NETHERLANDS FUNDACIÓN MAPFRE
FOAM MUSEUM 25 January to 20 May
To 10 January Ed van der Elsken
Mirroring Life Major retrospective of work by Dutch
André Kertész’ seminal work. photographer Ed van der Elsken (1925
19 January to 28 March to 1990). Includes images from Paris,
Back to the Future Amsterdam, Hong Kong and Tokyo.
A display that looks at what the Bárbara de Braganza exhibition hall,
photographic medium was, what it is, Madrid fundacionmapfre.org
Kanazawa Hakkei, Yokohama #8, 1975-76 and what it is likely to be in
SWEDEN
© Ishiuchi Miyako
JAPAN
the near future.
CLICK HERE Keizersgracht 609, Amsterdam
foam.org FOTOGRAFISKA
RETROSPECTIVE: GRAIN AND IMAGE To 21 January
HUIS MARSEILLE MUSEUM Hygiene – A Circle of Life
To 4 March VOOR FOTOGRAFIE Ida Borg’s pictures exploring the
Ishiuchi Miyako’s most thought-provoking work; includes her To 4 March importance of hygiene.
radical interpretation of Hiroshima after the bomb Jerusalem Stone Stadsgardshamnen 22, Stockholm
and her interest in alienation. Ad van Denderen’s portrait of daily life fotografiska.eu
in Israel and the Palestinian territories.
YOKOHAMA MUSEUM OF MODERN ART To 4 March Send your exhibition to
3-4-1, Minatomirai, Kanagawa yokohama.art.museum Setting the Stage: anna.evans@thegmcgroup.com
Pyongyang, North Korea, Part 2
A
Los Angeles for
30 years and
working in the
entertainment
industry for much
of that time, glossy, flawless,
overly-produced celebrity images
rarely catch my eye. But when
I first saw Victoria Will’s tintype
celebrity images from Sundance
I was mesmerised.
Will began her career as a
staff photographer at the New
York Post, then took the leap into
the freelance world where she
worked for the Associated Press,
New York Times, Vogue and
many other notable newspapers
and publications. She had
been photographing portraits
of celebrities at Sundance for
three years but was approaching Anne Hathaway Sam Shepard
20 burnout. ‘It became more
B+W
challenging to keep it visually
interesting both for me as a
photographer and also for the
subjects, so I was always trying to
come up with something that felt
new and refreshing,’ she says.
Her creative spark was
reignited when she attended the
Photoville festival in New York
City and happened upon the
Penumbra Foundation’s booth
where photographer Lisa Elmaleh
made a tintype portrait of her.
‘I was completely captivated by
the process,’ she says. ‘Watching
her standing in front of the
camera, then disappear into the
darkroom, then re-appear, wash
and fix the plate. I knew if I was
that excited by the process and
seeing the final product then a
group of actors and directors at
Sundance would probably also Mark Ruffalo Maggie Gyllenhaal
enjoy it. It was a gamble I was
willing to make.’ little room for second chance, much they returned for a second and the conditions in the
Will taught herself the tintype attempting it at the Sundance sitting. Her goal was to complete building were hot and dry, a lot of
process by reading countless Festival was even more stressful 10 portraits that first year but she artifacts appeared on the tintypes
books, asking a number of since the actors typically had only made between 40 to 50 tintypes due to preparation and handling.
photographers for guidance and a few minutes allotted for each and was thrilled by the success. Many tintype purists consider
by watching videos of people PR shoot. Will had time to shoot She admits she did not know these artifacts are mistakes but
make tintype plates on You Tube. just one plate per subject, but a the chemistry well in the first Will declares: ‘To me, it’s what
As the tintype process leaves few actors enjoyed the process so year. As the chemistry is finicky makes them so beautiful.’
EXHIBITIONS
USA
AKRON
Akron Art Museum
Until 11 March
Micro/Macro: Views of Earth by
Marilyn Bridges and Jeannette Klute
akronartmuseum.org
CHICAGO
Catherine Edelman Gallery
Until 24 February
Elizabeth Ernst:
Shady Grove Nursing Home
edelmangallery.com
HOUSTON
Catherine Couturier Gallery
Until 17 February
Maggie Taylor
catherinecouturier.com
LOS ANGELES
Annenberg Space for Photography
Until 4 March
21
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Cuba Is. Featuring Adrian Fenandez,
Elliott Erwitt, Hermes Mallea,
Leysis Quesada Vera, Luis Gispert
and Michael Christopher Brown.
annenbergphotospace.org
PORTLAND
Elijah Wood Blue Sky Gallery
Until 31 January
Robert Frank:
‘I was completely
W
ill was pregnant reception. The book organically
Books and Films 1947-2018
the second year she came to life after she agreed to
created tintypes at captivated by work with the creative team of
blueskygallery.org
© Furniture by Vibieffe
WhiteWall.co.uk
S
photographing the farm and its
ublished more than
ON MONDAY workers. The resulting pictures through photography is
W
hen Michael James on a different persona is tricky. When you’re reality TV series RuPaul’s Drag Race (2009
O’Brien returned to the photographing people in drag they put on an to present) that it was truly acknowledged.
city of his birth he saw entire layer, so I had to try and get through This late coming acceptance of drag has
a bubbling subculture at that to take a compelling portrait. It was a lot given Girlfriend a second wave of popularity,
odds with conventional of work. Drag queens are very strong people with a major exhibition shown at LOOK/15,
society, which only and very forthright, but in another way they Liverpool’s international photography festival.
spilt over when the sun went down. The are also very fragile and uncertain. I’ve often As recognition started to grow O’Brien had
nightclubs of 1980s New York embraced been criticised for not being more immersive to reconnect with Girlfriend, as after the book
the burgeoning drag queen scene and every in this project. Nan Goldin’s The Other Side was released he quickly fell out of love with it:
night of the week their stages were filled with is an interpretation of a similar scene – ‘For a while I couldn’t look at the project.
entertainers who subverted the status quo and a piece of work I love – but it’s totally I wasn’t sure what direction to take the
through music, costume and performance. opposite to what I do. Girlfriend had project in and my life had changed so much.
Recognising the movement and community to be more objective but still show full I really had had enough and needed to do
was largely undocumented, O’Brien began understanding and empathy.’ something different, so I stopped for a while.’
to create a photographic archive of this Rather than creating an intimate Putting the camera to one side O’Brien
coterie of the avant-garde. documentation of his subjects’ lives, turned to writing poetry, something he’d
Girlfriend is a collection of these O’Brien places drag queens centre stage, done since he was a teenager. With Frank
24 monochrome portraits. Originally conceived giving this shunned community full O’Hara and Allen Ginsberg as continual
B+W
as a book and published in 2000 by Random exposure. Loaded with poise, glamour, sources of inspiration, O’Brien’s poetry is
House, the series has evolved into a project humour, beauty and weirdness, these far more immediate than his photographs
O’Brien revisits intermittently. A mixture of portraits champion the unique art form. – a refreshing change from the complex
portraiture and reportage, here you see the From butch queens to pageant queens, shoots for Girlfriend. He also worked with
series’ earliest photographs – all taken in comedy queens to androgyny queens, American artist Matthew Barney for a decade
early 90s New York. While O’Brien’s subjects O’Brien has photographed the many forms and opened a restaurant in New York’s East
are the embodiment of the era’s ‘now’ his style of drag. ‘These pictures aren’t of transgender Village. His main focus was charity work and
follows tropes of an earlier period, possibly or transsexual people, or even of female he became heavily involved with Susanne
stemming from his time with Walker Evans, impersonation, drag is different. At the time Bartsch’s fundraisers to help fight Aids.
who taught O’Brien during his Master of drag was all about an attitude: it was making ‘When I came back to photography
Fine Arts degree at Yale University. ‘The most a statement about sexuality and gender that I wanted to redefine portraiture for myself,
important lesson I learned from Walker,’ says had come out of terrible repression.’ to create work without any frills,’ says
O’Brien, ‘was the ability to be both present O’Brien. ‘At the same time I was concerned
and invisible when you’re creating a portrait.’ ‘Drag queens are very strong about the generation directly after Aids
Influences of other defining photographers people and very forthright, but and how the devastating disease that had
are clear, with echoes of Irving Penn and shaken the LGBT community of the 80s and
Richard Avedon in each frame. August in another way they are also 90s had affected them.’ Based on a group of
Sander’s powerful Face of Our Time was very fragile and uncertain.’ paintings in Madrid’s Museo Nacional del
a key inspiration, as well as the work Prado, O’Brien created Portrait of a Young
of Nadar, Diane Arbus and O’Brien’s ross-dressing has long been part Man, a straightforward set of colour images
contemporary Peter Hujar. With
a background in fashion photography
(he regularly worked for GQ, Vogue and the
New York Times), O’Brien was well trained
in getting the most out of his sitters while
C of our popular entertainment
(the pantomime dame harks
back to the 16th century when
Shakespeare also widely explored gender
role reversal in his plays), yet drag has largely
of young men dressed in black. O’Brien now
enjoys his time as a lecturer of photography
at the Savannah College of Art and Design in
Atlanta, Georgia. While his pictures of drag
queens now hold additional retro appeal,
still keeping them at ease. stayed on the periphery. Although they’ll always serve as a progressive, powerful
As he talks about the joys of working with Paris is Burning (a 90s documentary statement that recognises the group of people
such theatrical people, he reveals how the chronicling the New York drag scene in the who gave their era warmth, vitality and the
project wasn’t without its challenges: 80s) is a cult classic, it seems it wasn’t until shake-up it needed.
‘To take a portrait of somebody putting the unprecedented success of the American michaeljamesobrien.com
Lady Bunny
Sister dimension
La Homma
Miss Guy
Ebony Jet
Constance
ON THE ROAD
Chris Friel sees the
world differently and
translates his outlook
through an experimental
photographic practice.
Using intentional camera
movement in a unique
way, Friel is known as one
of the most innovative
image-makers today.
He shares with us Road,
an ongoing project all
shot from the windows 33
of moving vehicles during B+W
his travels to 150 countries
– including Ukraine, India,
Syria and South America.
cfriel.com
All images ©Chris Friel
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2018
CENTENARY
To celebrate 100 years since
Irving Penn was born,
the Grand Palais in Paris
looks back at the great
American photographer’s
70-year career, with more
than 235 photographic prints
on show. Here we celebrate
some of his finest pictures.
45
B+W
ssuming that 1830 give or take a few years. has a future too. If this is the in a unique time because there
A
the Astronomer And now, some 190 years later, case, then where can we place are so many of us around who
Royal, Martin we have moved from the realm ourselves, right now, in the grew up in a time before digital.
Rees, and a few of brown bottles containing development of photography I can recall going to one of the
other notable poisonous substances to the and how will we be written first demonstrations of
thinkers and bland world of flat, shiny about by future historians? What Photoshop in the early 1990s
scientists aren’t right, then machines designed for chatting will photography look like and when it was still just a tool for
human civilisation is set to last that also happen to have small what will shape it as it develops? manipulating film-originated
a bit longer. And, as Mark Twain lenses in them. But for now, let’s examine the images (having been scanned on
said, history doesn’t repeat itself Evidence that human beings unique time in the development the ‘system’ as it was known).
but it often rhymes, we can be have always shown signs of an of photography that we inhabit. Let’s make another assumption
reasonably sure that we have a innate drive to record the world I wonder, of all the people who – when did the digital era start?
few more centuries to go. around them would make it take pictures today, what For me, it started in about 2004,
Let’s agree that what we call safe to assume that, if we have proportion of us have ever taken so let us say for the sake of
photography started in about a future, then photography a picture on film? We are living historical accuracy the digital era
‘As the inherent value of the photograph has changed, so has the viewer, and this change
in relationship between consumer and medium accounts, in a substantial way,
for how photography has grown as an art form and a technology.’
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Film
Digital
47
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Digital
Digital
started in 2000. That’s only 17 of science to another, from one represents the beginning of the era of photography was about the
years ago – roughly 11 per cent way of thinking about medium whereas the advent of recording of experience for
of the time that photography has photography to another. digital technology heralded the almost exclusively personal
existed. And how far and fast inevitable mastering of consumption. As technology
has technology developed since o make my argument photography by machines for the advanced, the medium was taken
then? This means that you and I
live in a really special time in the
development of photography.
Future historians will call this an
age of transition from one kind
T work, I have to make
several more assumptions.
A new one I’m going to
posit is that the purely chemical
based era of photography
purpose for which machines
were invented – rapid and wide
dissemination and consumption.
We can describe this transition
in another way; the silver halide
from the private into the public
domain as mechanisation made
distribution more possible. In
this way a photograph has gone
from being a private document to
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Film
Film
50
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You never know where you’ll find interesting shadows. I spotted these when
I stopped at a small roadside cafe while driving over the Atlas Mountains.
Coffee had to wait a few more minutes until I’d taken some shots!
Canon EOS 5D MKIII with 24-70mm zoom lens, 1/320sec at f/8, ISO 200
. SHADOW PATTERNS
Avenues of trees, telegraph poles, pylons and other
repeated features in the landscape are ideal for
creating shadow patterns. If you look down an
avenue of trees or row of columns, for example,
each element will have its own shadow, effectively
creating a pattern in light and shade. If the sun is
high those shadows will be short and dense, but
when the sun is low the shadows will be cast
across the ground. The pattern effect will be
emphasised if you shoot with a telezoom, so
perspective is compressed and the shadows
appear much closer together, while excluding the
sky and other unnecessary elements will result
in ordered, eye-catching compositions.
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Shadows add depth and mood to portraits. For this shot I simply asked my
subject to face an open door while standing in a shady interior, so his face
was flooded with reflected light from outside.
Canon EOS 5D MKIII with 70-300mm zoom lens, 1/200sec at f/5.6, ISO 1600
. FULLY EXPOSED
Getting the exposure right when shooting shadows is fairly easy
thanks to the accuracy of modern metering, but you may need
to give your camera a helping hand from time to time. I normally
use aperture priority (Av) mode with Canon’s evaluative metering
and take a straight shot with no exposure compensation applied.
More often than not this produces an acceptable image. The only
time your camera may struggle is when the shadow areas take up
most of the image and cause overexposure – though providing the
highlights haven’t blown, and you’re shooting in Raw, overexposure
of a digital image is fine as it records more tonal information and
52 you simply correct the exposure during Raw processing.
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. ABSTRACT SHADOWS
Abstract images are all about shapes, textures, patterns
and tones. What you’re shooting is unimportant – it’s
how you shoot it that counts, and the best abstracts are
those where you’re not quite sure what you’re looking
at because all points of reference have been excluded.
Shadows can play a part, adding a sense of intrigue as
well as creating fascinating shapes in light and shade.
They also add contrast – usually where there are
shadows you will also find highlights and these
extremes help to give your images impact.
. TUNNEL VISION
Passages, walkways and tunnels are great
for shady shots because they create layers of
54 tone that carry your eye through the scene.
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The further you go, the less light there is
and the shadier it gets. The effect can be
mysterious and disturbing, bringing back
those childhood fears of bad things lurking
in dark places! Contrast can be very high so
you may find that highlights blow out and the
darker shadows block-up. It doesn’t matter
if they do – you don’t have to be scared of
black & white any more than you need to fear
that dark. However, if contrast is too high,
you can easily overcome it using HDR.
More and more cameras now have
an integral HDR mode where you can
automatically fire off three images at different
exposures then the camera blends them
for you. I use this feature of my Canon EOS
5DS quite frequently and it works really well.
The other option is to shoot a bracketed
sequence of images from, say, -2 to +2 stops
in full stop increments, then merge them in
Adobe Camera Raw (the Raw processor in
Photoshop and Lightroom) or using specialist
software such as HDR Efex Pro.
I took this shot while exploring the village of Imerovigli on Santorini late one afternoon. I immediately noticed these raking shadows
and knew there was an interesting shot to be taken – but it only came to life when I converted the Raw file to black & white.
Canon EOS 5DS with 24-70mm zoom lens, 1/50sec at f/8, ISO 200
TECHNIQUE
PROJECTS
SURFACE DISTRESS
Want to make your pictures stand out from the crowd? If you like the
IN VISUAL
idea of manipulating the look and feel of your work, explore these
STYLE 6
vintage and distressed styles with Tim Daly.
2 PEEL-APART FILM
Peel-apart instant print film like Polaroid Type 55 is a special material
to work with, but at a high cost, requiring specific equipment which
is no longer in production (although it is available on internet auction
sites for astronomical sums).
An alternative to shooting with real film is to scan an existing
peel-apart edge and layer this on to your work, as this example
shows. If you don’t have access to an original, you can find high
1 resolution scans of this kind of film edge to buy from an image library
such as iStockphoto.
1 GLASS PLATE NEGATIVES Once layered within your image, explore split toning effects to
Despite being up to 150 years old, glass plate negatives are still create a vintage feel. Look at the photographs of Simon Larbalestier
relatively easy to source in car boot sales, ephemera fairs and for inspiring examples of both digital and film edges.
online auction sites. Look out for broken, scratched and damaged
surfaces, especially if they have cracked and peeling emulsion
present. Glass plates have the advantage over film, as they are INSPIRATIONAL QUOTE
simple to scan using a flatbed device. ‘I destroy the image after I’ve made it, obliterate
This example was bought from a boot sale and had a fantastic
surface texture, roughed up and split in parts. When combined with
it a little so you never have it completely there.’
an existing digital image, it was layered and edited to reveal the – Deborah Turbeville
underlying details. See section 3 for further details on the technique.
4 DISTRESSED FILM
Robert Capa’s shoot of the Omaha Beach landing
arguably gained a greater cult status because of the
background story concerning his damaged negatives.
Although the lab assistant who mistakenly over-dried
the film until the emulsion literally slipped off the base 5
must have been mortified at the time, his actions
created a much reduced set of eleven images that 5 SIMPLE COMPOSITIONS
have since caught the public imagination. Images for surface distress editing are best if they have a simple central composition
Deliberate methods of distressing film such as with plenty of defocused details in the surrounding areas. Most of the effects we
reticulation, chemical burn and emulsion peel are all will experiment with add density to the image, so it’s essential that you prepare your
relatively difficult to achieve nowadays, but similar images in Lightroom to look light and with low contrast.
effects can be had using specialist plug-in applications Numerous effects overlaid one on top of another will start to destroy sharpness
such as this example created with Analog Efex Pro. and overcook the look. Keep it simple, bright and effective. This example has a
Check out artist Sarah Moon for more examples texture pattern overlay that doesn’t interfere with the underlying image.
of deliberate processing errors. Look at the work of Tom Baril for inspiring examples of minimal composition.
4
3
4 FINAL OUTCOME
3 LAYER AND BLEND For my project, I’ve played around with water stains and Polaroid
Open the two files in Photoshop, then copy edge effects using both Analog Efex and a scanned-in texture.
and paste the texture file into your image,
creating a separate layer. Use your Transform
tool to shape the texture so it matches the RESOURCES
Polaroid Type 55 edges. Visit iStockphoto and use the search term
dimensions of your image file. Next, click on
‘polaroid edge’. Prices start from about £9.
the texture layer and choose Multiply from the
Layer Blends menu, as shown. This makes Analog Efex Pro. Available free from Google, as part of the Nik Collection.
the white elements invisible in your layer INSPIRATIONAL ARTISTS
and creates an instant blend. If the texture Simon Larbalestier
obscures your main subject, use the Eraser Deborah Turbeville
tool to rub it away, or make a mask to create Sarah Moon
a hole in the layer, as my example shows.
F
or many years I’ve
co-run residential
workshops up on the
north-west coast of
Scotland. I love the
familiarity of the
place, so much so that it feels
like home. Yet, with each return
visit my appreciation of the
area grows, as I see it in its
never-ending guises.
Rather than dulling my
senses, revisiting this and
other places close to my
actual home in London
enhances my awareness,
tuning me into the myriad
photographic opportunities
that each presents. Also, as a
workshop leader, I spend a lot
of time looking and noticing,
60 hoping to point out things to
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participants, more than I
spend time making images.
So, when I do get the chance
to take photographs, it is for
short, intense periods, when
being in the moment is what
really counts.
In this series about working
within limitations, I have
found a limitation on shooting
time, preceded by looking,
thinking, discussing, dreaming
and tuning-in time, is a very
powerful creative tool. Take the
example of a recent workshop.
Towards the end of the week
I had an hour off and decided
to make some photographs
while the participants were
enjoying a creative writing
session, developing their skills
with B+W Photography editor
Elizabeth Roberts.
As the workshop was based at
the National Trust for Scotland’s
world-renowned Inverewe
PHOTOGRAPH LOCALLY – A MUSEUM PERHAPS Garden, I set myself the brief of
The National Trust for Scotland’s Inverewe Garden was established by Osgood Mackenzie back in 1862. photographing the ground floor
The estate house is now a small museum. It made the perfect subject for a one-hour photo session, to museum of the recently restored
make a postcard-size foldout book. I shot the images with an inexpensive little Panasonic G3 camera 1930s estate house where the
and a 20mm f/1.8 pancake lens. I love the simple, compact nature of the camera and its fully group was staying.
articulated screen, which is great for exploring places and trying out visual ideas. I gave myself the added
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challenge of producing a set AIM TO PRODUCE SOMETHING – LIKE A SMALL BOOK same week and they never
of nine sequenced and post- It’s hard to describe the satisfaction of completing something real, that ever fail to deliver. They are
processed images, to make can be physically handled rather than just viewed on screen. And unlike always amazed at what they
a postcard-size book – all in ordinary books, a postcard foldout book like this can be displayed on a have achieved, but then they
the same day. I also set myself shelf or mantlepiece, or shared with others as a gift, as postcards begin to wonder how they did
the challenge of printing normally are. Printing on a nice paper like Fotospeed Smooth Cotton it! Perhaps the most important
these images as a nine-panel 300gsm helps to enhance the experience. Avoid papers that obviously limitation we can apply to our
Lightroom contact sheet, from feel single-sided. They can feel strange to hold. photography is to limit the
which the foldout book would opportunity for self-doubt.
be made after dinner, when n our world of creative to amaze me what we can A workshop environment is
any sensible person would be
thinking of their bed. Who says
there aren’t enough hours in the
day? (Me, usually!) Or that being
sensible is the right approach?
I photography, there is no
place for ifs or buts, or the
other reasons we give
ourselves to hesitate and to not
achieve. In fact, it never ceases
achieve if we only get out of
our own way. Give a group of
workshop participants an
exhibition to shoot, as well as
to print, curate and hang in the
one way to provide this.
One thing we are likely to
learn on a workshop, or when we
simply get on with things, is that
we are far more capable than we
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realise or than we wish to realise. KEEP THINGS SIMPLE – A BOOK CAN BE MADE FROM A SINGLE SHEET and trip ourselves up.
Maybe we need to put structures This nine-panel Lightroom A3 contact sheet was printed with an extra When I asked editor
– especially limitations – in 15mm right margin for gluing the three strips of three images together. Elizabeth Roberts during the
place, to enable us to experience (The three strips are only partially cut here for presentation purposes). workshop what she thought
our true potential. I used an inexpensive manual paper creaser (search ‘paper creaser’ I should write about for this
Consider the limitation of on the web) to help make the folds. Alternatively, run a hobbyist’s article, she said ‘simplicity’.
keeping things simple, choosing perforator wheel vertically between each of the images to create folds I rather hoped she might offer
readily accessible subjects like and to enable each of the postcard-sized images to be torn out. more. One word doesn’t fill
a local museum, rather than three pages of a magazine or
looking to photograph more limitation of making a foldout things, or give ourselves too make a nine-panel foldout book
‘exciting’ new places farther book from a single A3 sheet? much time to over-think, that – and yet somehow it has.
afield. Or how about the It’s when we over-complicate we begin to doubt ourselves I wonder how that happened?
‘We are far more capable than we realise or than we wish to realise.’
TECHNIQUE
THE
BIG
PICTURE
The SIGMA SD Quattro
is a truly versatile camera
that can deliver exceptional
black & white pictures.
But it also offers multiple
aspect ratios as well.
Chris Routledge explains.
or the past two Cumbria and northern England. government’s Flood Information differently, not only because the
F
years I have been I have heard passing tourists Service says flooding is possible. scene itself changes, but also
64 photographing a compare this stretch of the I began by documenting the because you see it differently
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short section of the Rothay in summer to a Cotswold strange effects of the flood: over time. While working on my
river Rothay in the stream. But on 5 December, fences tightly woven with grass Rothay project I’ve used both
Lake District, 2015, the Rothay transformed and leaves, large stones flung film and digital cameras to
roughly between the eastern into a raging giant 50m wide, across sheep pasture and turf document the changing
end of Rydal Water, and the carrying branches and debris rolled up like a carpet by the landscape, to capture the
historic Ambleside stepping from miles upstream, smashing force of the current. Since then strangeness and unfamiliarity of
stones. The project began in bridges and sweeping away it has been the Rothay’s quieter the aftermath of the flood, and
the aftermath of Storm many of the stepping stones moods that have held my the slow return to normality.
Desmond, an Atlantic storm themselves. It peaked at a attention. Over the course of After almost two years I am
that delivered unprecedented record 3.71m, a whopping 2m a long project it is necessary to now beginning to edit my
rainfall to the mountains of above the level at which the UK look at the same scene images into a coherent
collection, but when I had the ‘Actually being able to compose the frame Hasselblad X-Pan film camera
opportunity to visit the Rothay and close to the modern
with Sigma’s SD Quattro H and in the aspect ratio you want, while on widescreen cinema and classic
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18-35mm f/1.8 lens, I wondered Cinemascope formats. Being
whether an unfamiliar camera location, is very liberating.’ able to look through the
might help me find a new viewfinder and see the
perspective on familiar territory. In theory, this should give a square viewfinder of my widescreen sweep of river I was
In particular, I wanted to explore similar look, regardless of the Yashica, because of the way hoping to capture, or framing
whether it might complement significant differences in sensor it forces you to look at a scene a candid portrait with acres
my medium format film images. size. Of course, changing light, in a particular way. of moody dead space, is a
The answer rather surprised me. different characteristics of film Because the Sigma is a wonderful thing. And because of
and digital imaging, and lenses mirrorless camera, something the high resolution of the Foveon
n an early morning experiment made 40 years apart, make similar is achievable in its sensor, even a cropped image
I
find an awful lot to admire at the Photographers’ Gallery and see the exhibition to know be suitable for an exhibition. It
about modern photography. in London. Apparently the what it would look like. could be a retrospective, or a
There are some wonderful pictures are very nice, if rather I am talking about what selection of images commissioned
people working in the predictable. They are beautifully photography has become, of the by a particular magazine (such as
medium at the moment who framed and artfully presented. point of photography. It used Beaton’s work for Vogue or Bert
give me great joy and lift my But after several interesting and to be that photography had a Hardy’s stories for Picture Post),
spirits. Some are fascinating and insightful conversations, I was purpose – as photojournalism, or the wonderful Family of Man
inspiring photographers. left with a feeling of numbness – portraiture, advertising and so on. exhibition curated by Edward
Many of my friends have of having missed the bus, missed After a suitable period of time the Steichen and shown at MoMA
been to see the exhibition of the point, feeling left out. It was body of work the photographer in New York in 1955 and seen by
Polaroids by Wim Wenders a feeling that I didn’t need to go had built up was considered to more than nine million people.
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WHAT TIM
DID THIS
MONTH
To bring things more up to am no Luddite and I am no anything along these lines. gunpowder magazine in 1654.
date, it could be the remarkable
and sensitive work of Sebastião
Salgado. But the point is that
photography was something
before it was exhibited. It had
I philistine. I am in no way stuck
in the past, and I appreciate
the importance of pushing
boundaries, but ask yourselves
about what you would choose if
Personally, I would take either
Migrant Mother by Dorothea
Lange, or a tiny painting of a
goldfinch done in 1654 by Carel
Fabritius. It is only about 20 x
Look at the case of Vivian
Maier, arguably the street
photographer. She was a woman
with an unbelievable eye and
vision, someone whose work has
been commissioned. you were to take one piece of art 30cm and is utterly exquisite. It changed photography and the
Nowadays the art world to your grave with you. Would it exemplifies exactly what I mean way we look at things. When her
reserves a special kind of scorn be a photograph? A painting? by craft. It’s beautifully painted work was discovered, it was a
for the working photographer, A sculpture? My guess is that it by a true master and perfect in lifetime’s work. There were
preferring to heap praise on would be one of these rather every way. It is one of only six thousands of negatives. The
those conceptual photographers than a 4m long plexiglas print of paintings left after Fabritius was images we now see are a fraction
who admittedly use photography a riverbank in the fog, or an blown to smithereens at the age of what she shot. These days,
to produce their artwork but unmade bed in a glass box, or of 32 at the explosion of the Delft unfortunately, street photography
for me cannot in any way be projects are ten a penny and
considered photographers. In ‘There are two men inside the artist, the poet and often they are the photographer’s
many ways it feels like the end first forays. Not all of us can have
of craft. Positive soul that I am, I the craftsman. One is born a poet. One becomes Vivian Maier’s eye, but we can
have to admit that it saddens me. a craftsman.’ – Émile Zola (1840-1902). take time learning our craft.
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What was the concept behind your graduating from the International Center of programme, I decided to stay for another year,
Fragments series? Photography (ICP) in New York. The project which then turned into three. My partner John’s
Fragments is a long-term black & white is created with analogue film cameras and work kept him between London and Dublin
project in which I explore how it feels to Ilford HP5 Plus 400 film. I wanted to slow and I wanted to explore what New York’s
be together and apart as lovers: the long down and take the time to look at, reflect photography scene had to offer, and we both
waits, the special moments, the anxiety of on and reveal what closeness in a long- felt it was an important step for my career.
an imminent separation. It covers three distance relationship means to me.
cities in four countries, including my adopted Being apart must have been difficult.
home in New York and the north-east of How did you come to be apart for so long? Did you find solace in photography?
Italy, where I grew up. In 2012 I moved from London to New York It was not easy but photography did help me
I started Fragments in 2013, soon after to study at the ICP. After I completed the cope with the emotional repercussions and
PROFILE
Giulia Berto was born in Friuli, Italy,
in 1982. She completed a master’s degree
in the evolution of animal and human
behaviour at the University of Turin, before
graduating from New York’s International
Center of Photography in 2013. Her
Fragments series has been exhibited in
London, Tokyo and Edinburgh’s Retina
Scottish International Photography
Festival, where she won Best in Show at
the annual Shutter Hub Open Exhibition.
bertogiulia.com
A
amount of apps I use in my sepia. Next, there is what they call Plate so shallow.
mobile photography has Grain, which is basically the amount of dust It is a very simple to use app, but one
shrunk so far that I now only and scratches you want to appear on your that it is very easy to over-do, so go gently.
have two on my phone. My image. I normally turn this down to almost With the right image, however, it can look
processing app of choice is zero. Next to it there is a choice of what lovely. The pictures I have chosen do not,
the mighty and wonderful Snapseed, which they call Frame. I always turn off the to my mind, look gimmicky, or look like
does 99% of what I need any processing raggedy edge, which simulates the wet they are trying to imitate something they
app to do without any gimmicks, but the plate look, and use the simpler version. are not, they merely look slightly more
other app I find myself using may surprise interesting and atmospheric.
you. It’s Hipstamatic’s TinType. ‘If you want to make your sitter
Yes, I can hear all the arguments now
look like an inmate in a Victorian INSTAGRAMMER OF THE MONTH
– about why mobile photography has to This month I recommend Marina Sersale
have a faux vintage look about it, about lunatic asylum – be my guest. (@eauditalie). Her site is a brilliant feed
how gimmicky it can be and how it It can be quite scary! and a constant source of inspiration.
undervalues the work of the real craftsmen. Marina’s beautiful and mainly black &
All that can be put aside if one likes the ext there is a button called white images evoke a sense of calm
results – and in some cases I do.
The TinType app can look pretty terrible,
especially if used for what it was created
for – which is to take portraits mimicking
the style of wet plate photography.
N Eye Strength which, as I don’t
like this app for portraits, I don’t
use. If you want to – and if you
want to make your sitter look like an inmate
in a Victorian lunatic asylum – be my guest.
and quiet. She has a great eye.
She is part of a very interesting group
who also have a fascinating Instagram
feed, namely @hikari.creative who started
as a group of photographers who used
However, if used on other genres, it It can be quite scary! Instagram to move beyond traditional
70 can be surprisingly successful. And last, but by no means least, there photojournalism and blend fine art and
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On opening the app there are four tools is a depth of field slider. This is very heavily documentary traditions. Fascinating
at the bottom of your image. On the left centre-weighted and, again, I usually take stuff and well worth following.
THE PICTURES
The pictures shown here are not at all what the app was intended for, but are all processed using the method
explained in the text. Once processed, I usually re-import them to Snapseed and convert them straight to
black & white as sometimes TinType can add a very small but noticeable colour cast.
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© MARK STEVENS
www.samsung.com/memorycard
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People are the most interesting subject to photograph yet also the camera but on either side of it.’ Meeting and getting to know
one of the most difficult when it comes to capturing some essence the Lippy Ladies was a much bigger part of the project than the
of their personality. So, with that challenge in mind, I decided taking of the photographs; building that rapport with them has
to create a photographic essay. I ride a motorbike and, in spite been vital to the success of the project. Each of the Lippy Ladies
of the common stereotypes held by the public, I know how varied has a fascinating story. These are strong independent women
individual bikers are. I put out a request on the web to the – pilots, engineers, bike racers, ex-HGV drivers, with varied
motorcycle community and received an email from the Chair backgrounds but all with one thing in common, a love of speed
of the Lippy Ladies, a female-only motorcycle club based in the and motorcycles. Without exception they ride powerful bikes,
north of England. As soon as I met them, I knew I’d found my some regularly attend track days where they push their machines
subject. Over the next 12 months I photographed as many to the limit, others tour extensively around Europe and one has
Lippy Ladies as I could, and over the time I got to know them, ridden solo through Vietnam. These women are quietly leading
I also incorporated some South Yorkshire Lady Bikers as the two extraordinary lives, but with this project I hope to make them
clubs overlap territory and members. What I learned as I went more visible and celebrate them as role models to other
along was, as Edward Steichen said, ‘A portrait is not made in women – and also men – of all ages.
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85
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Do you have a single image that you’d like We are looking for contemporary black & white pictures that
printed big and hung on your wall? Send tell a story about the world as you see it. Send us a well-edited
the file to us and you could win just that. set of between 10 and 15 pictures.
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ONLINE COMMUNITY
FOLLOW US ON FACEBOOK
facebook.com/blackandwhitephotog
FOLLOW US ON TWITTER
@BWPMag
FOLLOW US ON INSTAGRAM
Shoot with your smartphone and send in your pictures – you could be one of three
@bwphotomag
lucky winners each month who wins a Samsung Class 10 EVO 32GB MicroSD card.
Upload your pictures to our website, via Twitter by tagging us @BWPMag and using FOR ALL CONTACT DETAILS
the hashtag #smartshots, or email them to anna.evans@thegmcgroup.com. blackandwhitephotographymag.co.uk
If you are successful we will request high-res files.
Create
your
vision
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*Discount is valid until 14/03/2018 and applies to standard adult entry tickets only.
Pro photographers may apply for free trade passes subject to validation criteria.
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© Gina Glover
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© Niki Boon
Leica 75mm f2.5 Summarit-M 6 bit + hood #4048xxx (boxed) Mint £730 Please send your order to:
Postage for Process and Print
1 - 2 rolls.............................................£3
£690 Aperture 3 - 5 rolls.............................................£6
Leica 75mm f2.5 Summarit-M 6 bit #4144xxx Mint 6 - 10 rolls...........................................£9
PO Box 7045 11 rolls or more................................Free
Zeiss 85mm f4 Tele-Tessar ZM T* Silver Exc+ £320 London Process only
1 - 10 rolls...........................................£3
Leica 15mm f3.5 Super-Elmar-R 3 Cam with lens cover & pouch Mint £1590 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 35mm f1.4 Summilux-R ROM (boxed) Mint- £2990 Processing Prices (C41 Colour Negative Film)
Leica 60mm f2.8 Macro-Elmarit-R 3 Cam User £270 35mm develop only £6.00
Leica 180mm f2.8 Elmarit-R 3 Cam User £230 35mm develop + print £12.00
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Exc++ £2590 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica 35-70mm f3.5 Vario-Elmar-R 3 Cam User £250
Leica 35-70mm f4 Vario-Elmar-R ROM (boxed) Mint- £590 120 develop only £7.00
£100 120 develop + print £15.00
Leica 50mm Metal Viewfinder Exc+++ 120 develop + print + scan £17.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Mint- £100 120 develop + scan £11.00
Leica 13.5cm Metal Viewfinder Chrome Exc+ £80
Extra set of prints (order within 7 days) £5.00
Negative scan to CD or digital media (Per roll) £8.00
Voigtlander 12mm f4.5 Super Wide-Heliar (L39) + V/finder & M Mount Adapter Mint- £370
Voigtlander 15mm f4.5 Super Wide-Heliar (L39) Exc++ £250 Xpan develop + scan £18
Xpan develop + scan + print (5” x 13.5”) £24
Voigtlander 35mm f2.5 Color-Skopar Silver (L39) Mint £250
We also process Black and White Film!
Voigtlander 90mm f3.5 Apo-Lanthar + hood (L39) Mint £250
Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries
92 B+W CLASSIFIED JANUARY please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY
2018 Tel: 020 7242 8681 www.cameramuseum.uk
Leica 28-35-50mm f4 Tri-Elmar-M ASPH + hood (49mm filter) boxed Exc £2190
Cartier Tank MC Chronograph with White Dial, Black Strap (Boxed and guarantee Card) £4290
Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
P l e a s e c o n t a c t u s o n 0 2 0 7 4 3 6 1 0 1 5 o r 2 7 @ a p e r t u r e JANUARY
u k . c o m 2018 B+W CLASSIFIED 93
B+W APP
Buy or sell at Manchester’s largest selection of
B+W
BLACK+ WHITE
PHOTOGRAPHY
bwphotomag
DOWNLOAD THE MAGAZINE
FROM ONLY £2.77
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VISIT WWW.POCKETMAGS.COM COOL, CREATIVE AND CONTEMPORARY
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This month’s winner is Robert Bolton who wins a 20x24in print dry-mounted on to Foamex,
an exceptional quality and highly rigid foamboard. Robert can choose from a range
of four digital C-type and seven fine art inkjet papers for printing.
HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to: B+W Photography, Find out more at
Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
© Johnny Mobasher