capa in colour a step too far with tyler shields analogue for pros: is film dead or alive? Leibovitz on women
Issue #05
bailey uncut
the interview
Welcome
letter from the editor does this old question have a new answer? s photography art? It’s a question so old it’s hardly worth revisiting, and yet it’s one I find myself contemplating as this February issue goes to press. “You can be a very good photographer or a painter, but it won’t make you an artist,” David Bailey says on page 16. There’s no distinction between the mediums in his eyes. But it’s not the photographers raising this question; it’s the public’s perception of the medium that’s in doubt. And perhaps some insight into the public’s changing views can be taken from their willingness to part with large, sometimes staggering, figures to own photographs. If Tyler Shields’ interview on page 24 (and his five-figure sums) are anything to go by, the tide’s well and truly turning – paying appreciators are out there, and they’re serious. So serious they’ve created a surge in photographers turning to the art market in search of the prices they’re seeing their peers achieve; including Australian photographer Peter Lik, who sold a print for £4.1 million in 2014. And why not? Photography is undeniably more accessible than other mediums. The broad nature
and its widespread use means people are able to recognise, relate and react to a photograph with more confidence than other mediums. How you achieve such figures, however, is open to debate. Columnist Martin Middlebrook is taking the unusual measure of removing his online presence, to positive effect (read more on page 47). The digital revolt continues with this month’s marketing feature, where we hear about the success of professionals using printed promos in their bid for business (page 92). We also explore the world of large-format printing, and the considerations needed if you’re to benefit from printing gallerywall proportioned prints for these new appreciators to hang on their walls (page 80). Although still in its infancy (in the context of art history), the industry is changing fast and its cultural impact continues, as other mediums arguably wain. Look at the politically-charged ‘Women’ series by Annie Leibovitz on page 32. Technology may have damaged perceptions by making it easier for people to take photographs, but it’s not made them artists. The artists are out there and they continue to make art whatever their tool. Emma-Lily Pendleton Editor emma-lily.pendleton@futurenet.com
Did you miss any of our first four editions? You can buy back issues of these at www.bitly.com/pp_back. You can also download digital versions – see page 58. FEBRUARY 2016 _ PROFESSIONAL PHOTOGRAPHY _ 3
contents Issue 5 / February 2016 /
@prophotomag
ROBERT CAPA 8 A new side to the war photographer is revealed through his colour work DAVID BAILEY 16 The portrait legend shares his strident views about photography today TYLER SHIELDS 24 Young LA’s favourite photographer discusses his propensity to shock Annie Leibovitz 32 Leibovitz revisits her ‘Women’ series with newly added portraits
Christian Tagliavini 42 A portrait photographer who brings to life Jules Verne’s explorers
16
david bailey: UNCUT
8
robert capa: GRIT AND GLAMOUR
rising stars ANJA NIEMI 48 The narrative photographer on being inspired by a 50-year-old suitcase
Personal projects WAIT OF THE WORLD 54 Dylan Collard explains why he took a bench 3,000 miles across California sex, stigma & survival 60 Carol Allen-Storey on shooting the ‘Reluctant Sex Workers’ of Uganda
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the photography show 48 page guide
facebook.com/prophotomag
profiles
Rinzi Ruiz 36 The street photographer talks about how to find the art in everyday life
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to subscribe turn to page 58
The Business SPECIAL REPORT 80 How to get on board with the new trend for large-format printing
42
Christian Tagliavini: PURSUING THE PERILOUS
round table Industry insiders discuss the resurgence in film’s popularity
86
MARKETING How to use printed mailouts to boost your marketing mix
92
my space 98 Advertising photographer Tom Barnes on building a custom desk
24
tyler shields: WHAT WERE YOU THINKING?
86
round table: why film hasn’t died
regulars
54
dylan collard: WAIT OF THE WORLD
martin middlebrook subscription offers news calendar expos & festivals Bookshelf read this... pro kit the long view next month lottie Davies
47 58 66 72 74 76 77 101 108 113 114
FEBRUARY 2016 _ PROFESSIONAL PHOTOGRAPHY _ 5
Contributors Issue 5 /February 2016 /
@prophotomag
facebook.com/prophotomag
This month’s featured pros
Just some of the photographers, industry experts and writers that feature in our fifth issue…
david bailey
Tyler shields
Lottie Davies
The photography hero covers ‘art’ and ‘photography’, and how they are one and the same. And his view on the future of copyright.
Shields has been shocking the world with his controversial images. He’s not showing signs of slowing down, but has he turned a corner?
In her fifth column, Davies kicks back against the photobooks craze. It may be nice to have one, she argues, but that doesn’t make it right.
annie leibovitz
christian tagliavini
CArol allen-storey
Leibovitz revisits her enduring ‘Women’ series with newly added portraits that reflect the changes in the roles of women today.
Tagliavini tells the story behind his elaborately staged portraits that bring the explorers of Jules Verne’s classic sci-fi novels to life.
A former VC for Chanel, Allen-Storey shares the product of her new life direction: documenting the women of Uganda, forced into sex work.
Rinzi Ruiz
Martin Middlebrook
anja niemi
The LA-based street photographer talks about the extraordinary that can be found among the ordinary... if you look in the right places.
Middlebrook shares his personal experience of Facebook. Now withdrawing from it, he shares the surprisingly positive effects it’s had.
Driving into the desert with a second-hand suitcase, Niemi plays out the fictional stories inspired by the luggage’s contents.
dylan collard
tom barnes
sage justice
The award-winning advertising photographer explains what inspired him to take a bench 3,000 miles across California.
The advertising (former music) photographer shows us his personallydesigned desk and charging station, and his essential sound set-up.
The US wedding photographer explains why he switched from Canon to Nikon, and gives his appraisal of the Nikon D4s.
neil hibbs
jd white
Tay kay chin
Ilford’s Hibbs discusses the life that’s left in photographic film with his fellow panellists in this month’s round table discussion.
The still life, portrait and fashion photographer explains the thinking and effects of his first printed postcard marketing campaign.
The photojournalist chooses a favourite title from his bookshelf, Minamata. It’s been a guiding light for him as a documentary photographer.
page 24
© Annie Leibovitz
page 32
page 42
page 36
Designer Rosie Webber rosie.webber@futurenet.com Operations editor Tom May Head of testing Angela Nicholson angela.nicholson@futurenet.com
page 111
page 95
Editorial contributors
Art editor Michelle McLaren michelle.mclaren@futurenet.com
page 48
page 98
page 86
Editor Emma-Lily Pendleton emma-lily.pendleton@futurenet.com
page 60
page 47
page 54
Editorial
page 114
© Anja niemi
© david bailey
page 16
Kevin Mullins, Tom Barnes, Kathrine Anker, Ben Brain , Michele Martinelli, Lottie Davies, Martin Middlebrook, Steve Fairclough, Matt Golowczynski, Ali Jennings, Matthew Richards, Neil Hibbs, Gabriel Da Costa, Maria Mann, Rachel Rebibo, Cynthia Young, Rod Lawton, Silviu Gheorghe, Robert Capa, David Bailey, Tyler Shields, Annie Leibovitz, Rinzi Ruiz, Christian Tagliavini, Anja Niemi, Dylan Collard, Tay Kay Chin, Carol Allen-Storey, David Slater, Clive Booth, JD White, Tom Barnes, Sage Justice, Sami Lievonen
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Profile _ Robert _ Capa
A life of grit and glamour He’s known as a war photographer and monochrome master. But a new exhibition shows a whole new side to Robert Capa by unearthing his 15 years of colour work, featuring fashion, travel and famous faces
Robert Capa redefined combat photojournalism with a perspective that challenged the norm. He caught the human side of war: the moments and emotions experienced by the soldiers and civilians caught up in the five conflicts he documented. The image that made him famous depicts a falling Republican militiaman hit by a fascist’s bullet in the Spanish Civil War, and the motion-blurred battlefield scenes of D-Day cement his position as a war photography legend and monochrome master. But these popular perceptions of the man and his work are being challenged by a new exhibition at Jeu de Paume, Paris. ‘Capa in Color’ reveals unseen photographs filled with colour, including light-hearted travel, celebrity and high fashion shots.
INVENTING CAPA Capa was born Endre Friedmann, in Hungary in 1913. Then in the spring of 1936, he and his partner and agent Gerda Pohorylle (later Taro) invented the glamorous and successful American photographer Robert Capa. Life as Robert Capa began well, and sales increased under the guise of this new persona. He spoke in charmingly broken English and had a nonchalance that is well documented in 8 _ PROFESSIONAL PHOTOGRAPHY _ FEBRUARY 2016
A skier sunbathing in front of the Matterhorn – Zermatt, Switzerland, 1950
Alec _ Soth _ Profile
10 _ PROFESSIONAL PHOTOGRAPHY _ FEBRUARY 2016
Robert _ Capa _ Profile
written accounts, which are scattered with amusing anecdotes that temper the seriousness of the scenes he depicts. Dark haired, of short stature and frequently pictured with a cigarette dangling from his mouth, Capa is described as swift in movement – he swept from battle to battle, unscathed. Historically, the reports of his social life and light disposition have stood at odds with the tragedies he’s famous for documenting, and experiencing (he’s said never to have recovered from the loss of his partner and fellow photojournalist, Gerda, in the Spanish Civil War). The images now circulating the world in ‘Capa in Color’ go some way towards redressing this image.
hidden colour The International Center for Photography estimates that it holds more than 4,200 colour images by Capa, shot over 14 years, with the vast majority unseen. He used colour and black-and-white film on assignments for US magazines through nearly the entirety of his career – from 1938 up to the early 50s. “Robert Capa first shot colour in 1938 in China, but we only have a record of four images published in Life,” says ‘Capa in Color’ curator, Cynthia Young. “He next used colour in 1941 on a trip across the Atlantic, on route to London to do a story on the Blitz. These colour images, and those made in 1942 in the UK and in North Africa in 1943, were published in Saturday Evening Post, Illustrated and Colliers.” Carrying black-and-white and colour film, often shooting the same subject in both mediums, Capa gave magazine editors choice. His willingness to shirk the early stigma that colour photography carried is perhaps how he managed to stay current in the fastchanging world of photojournalism. It wasn’t an easy pitch, however, explains Young: “During the war years, it was difficult to get the colour published. It was both more expensive for the magazines to print and had a longer processing time
of at least three weeks, which did not lend itself to spot news.” He stopped using colour film in mid-1943 and he doesn’t appear to have picked it up again until 1947, for his trip to the Soviet Union with John Steinbeck. His fight to stay current was reflected in his choice of subject matter too: it was a departure from the trauma of human conflict. He was catering for the postwar audience, who were interested in being entertained and transported to new places. “Often he carried both a 35mm camera and a medium-format Rollei camera. There is not so much distinction between what he shot in colour, but he was clearly aware of the effects of colour on an image. Certain stories are clearly more successful in colour than black and white and visa versa,” says Young. An example of a story best suited to colour comes in the form of the fashionable ski resorts of the Swiss, Austrian and French Alps, and the stylish French resorts of Biarritz and Deauville he shot in the 1950s for the burgeoning travel market. “Skiing was one of Capa’s favourite pastimes and he vacationed annually in the Klosters, Switzerland,” says Young. “Colour provided the additional elements of glitter and humour that black and white often missed.” With Capa’s heroic status, it seems remarkable that these images have remained hitherto unpublished.
[Far left] Woman at an ice bar, Zürs, Austria, 1949-1950 [Left] Capucine, the French model and actress, on a balcony in Rome, August 1951 [Above] Pablo Picasso playing in the water with his son Claude, near Vallauris, France, in 1948
Colour provided the additional elements of glitter and humour that black and white often missed. FEBRUARY 2016 _ PROFESSIONAL PHOTOGRAPHY _ 11
Profile _ Robert _ Capa
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