interviews / portfolios / insight
Stephen Shore in conversation
PLUS george dureau william eggleston martin parr & mark power hiroshi sugimoto moises saman fan ho
Welcome
letter from the editor recognising the craft of printing
On this issue’s cover is an image by modern master Stephen Shore, of his wife Ginger Shore at Causeway Inn, Tampa, Florida on 17 November, 1977. Taken from the series ‘Uncommon Places’. Read the interview on page 18.
ost photographers working today no longer, or may never, step foot in a traditional analog darkroom. Historically, the public’s perception of photography has been tied to the picture of someone exercising their craft under a scarlet safelight’s glow, agitating white paper in a tray of liquid. Is that collective image being replaced with one of a person clasping a stylus, illuminated by the light of their Macbook Pro? This month’s debate (page 96) broached the subject of printing with panellists who have seen both sides of the digital revolution. Printing isn’t always recognised as its own craft (and a career path in its own right), and we question whether more of today’s professionals should take the time to inherit the knowledge that’s such an integral part of photography’s history. Reinforcing the point in my mind was Stephen Shore, who we had the pleasure of interviewing this issue. He recalls the experience of developing film in his family bathtub – by inspection, no less, aged 14. It seems to me that all of photography’s
masters had an expansive knowledge of printing. Although many employed printers, the knowledge gained through collaboration informed their photography and saw the creation of some of the world’s most iconic prints. If that knowledge about the craft of printing is lost, it will be a crying shame. And that statement isn’t restricted to photographers. I bought a print without seeing it recently, without a thought, and it wasn’t until a photographer exclaimed that he never would invest without seeing a print in person that I questioned my actions. The AoP used to name the printer of its competition winners. Industry-wide, there appears to be a loss in recognition. This week I visited Sir Elton John’s The Radical Eye exhibition at Tate Modern. It’s hard to believe that this is a personal collection, such is its breadth and volume. I found myself up close to each photograph, examining the physical qualities of the photographs… I’d seen the images online, but the photographs looked so different and somehow more tangibly tied to their past in their physical forms. My interest in printing is piqued, and I hope yours will be too.
Emma-Lily Pendleton Editor emma-lily.pendleton@futurenet.com
buy back issues at www.bitly.com/pp_back. Follow us on instagram @professionalphotographymag, twitter @prophotomag & facebook/prophotomag JANUARY/FEBRUARY 2017 _ PROFESSIONAL PHOTOGRAPHY _ 3
free £30 gift eGgleston book
william eggleston: portraits
The American pioneer’s powerful and enduring body of portraiture is lavishly reproduced in this stunning volume following the National Portrait Gallery’s celebrated exhibition: the perfect addition to any photography enthusiast’s bookshelf.**
subscribe for £30
Print: From £6.74* / Print+Digital: FROM £10* / Digital: FROM £7.25*
www.myfavouritemagazines.co.uk/prosubs16 or call 0344 848 2852 and quote PROPHO
*Quarterly subscription when you pay by direct debit only. £30 for a one year subscription. You can write to us or call us to cancel your subscription within 14 days of purchase. Your subscription is for the minimum term specified and will expire at the end of the current term. Payment is nonrefundable after the 14 day cancellation period unless exceptional circumstances apply. Your statutory rights are not affected. In the event of stocks becoming exhausted, we reserve the right to replace with items of a similar value. For full terms and conditions, please visit bit.ly/magterms. Offer ends 31/2/2016. **Gift is subject to availability. Please allow up to 60 days for the delivery of your gift. In the event of stocks becoming exhausted, we reserve the right to replace with items of a similar value. William Eggleston, Untitled, c. 1973 © Eggleston Artistic Trust. Courtesy David Zwirner, New York/London
contents Issue 15 / Jan-Feb 2017 /
@prophotomag
facebook.com/prophotomag
profiles STEPHEN SHORE 18 Shore discusses the value of banality and his pioneering use of colour NICK TURPIN 34 The street photographer on capturing scenes in steamed-up bus windows TESSA BUNNEY 44 Bunney discusses her series about a female bomb disposal team in Laos Carolina Mizrahi 52 The Brazilian photographer whose work questions gender representation GEORGE DUREAU 128 How the art photographer captured athletes, dwarfs, and amputees
SPECIAL FEATURE REVIEW OF THE YEAR 59 We look back at some of the best work of 2016, and the celebrated photographers we said goodbye to
MY STORY Moises Saman 12 Saman recalls photographing the survivors of an Iraqi air crash in 2014 Vincent Peters 14 Peters on why improvisation was key to a cover shoot with Charlize Theron
4 _ PROFESSIONAL PHOTOGRAPHY _ JANUARY/FEBRUARY 2017
competitions pages 57 & 121
18 reView of 59 the year
BIG INTERVIEW: stephen shore
34
nick turpin: on the night bus
The Business SPECIAL REPORT 90 Is publishing your own photobook a waste of money? round tablE 96 Experts discuss the pros and cons of outsourcing your printing my space 104 Brooklyn photographer Stefan Ruiz shows us around his studio
44
52
tessa bunney: the BOMB SQUAD
rising star: Carolina Mizrahi
96
Round table: is printing a dying craft?
regulars subscriptioN OFFERS KARIN Andreasson calendar GALLERIST’S VIEW expos & festivals ASK THE CURATOR Bookshelf BOOK OF THE MONTH next month pro kit the long view THE TRUTH lottie Davies
4 11 78 81 82 84 86 88 103 111 124 144 146
JANUARY/FEBRUARY 2017 _ PROFESSIONAL PHOTOGRAPHY _ 5
Contributors Issue 15 / Jan-Feb 2017 /
@prophotomag
facebook.com/prophotomag
This month’s featured pros
Just some of the photographers, industry experts and writers that feature in this issue.
stephen shore
Vincent PeterS
Lottie Davies
The subject of our big interview this issue, photographer Stephen Shore discusses the value of banality and his pioneering use of colour.
The fashion, beauty and celebrity photographer explains how a cover shoot with Charlize Theron didn’t go as planned, but in a good way.
Procrastination and the need to pay the bills are the enemies of creativity and free time, says Lottie, so what’s a freelancer to do?
nick turpin
tessa bunney
CAROLINA MIZRAHi
The street photographer discusses his beautiful images of commuters behind steamed-up bus windows, and how they reveal people’s true personalities.
The UK photographer shares her experiences in Laos, Cambodia, where she documented the activities of an all-female bomb disposal team.
The Brazilian photographer reveals how she’s drawing on her background in fashion to challenge the norms of gender representation.
STEFAN RUIZ
karin Andreasson
Benedict Redgrove
The award-winning Brooklyn-based photographer shows us around his browstone, home to both his studio and his quirky collections.
Our columnist, Guardian picture editor Karin Andreasson, reveals the different factors she took into account when judging a photography competition.
The commercial, editorial and fine art photographer shares his views about whether photographers should print their own work.
ben brain
Richard Freestone
Derek denson
The editor of Digital Camera magazine reviews five of the latest photography books, including his issue pick, William Eggleston: Portraits.
The photographer and platinum printer takes part in our round table debate about whether more photographers should print their own work.
The US wedding photographer tells us why he first invested in a new mirrorless system, and never looked back from the Olympus OM-D E-M1
Mark Foxwell
Jamie Macdonald
Michael Rammell
The creative director of Genesis shares his experience in our debate about whether photograhers should print their own work.
The landscape and wildlife photographer explains why he loves his Olympus OM-D E-M1 and tells us whether he’s planning to upgrade.
The Surrey-based wedding photographer explains what he likes most about his Olympus OM-D E-M1 and how he uses it in his work.
carlos lopes
page 18
page 14
page 34
page 44
page 104
page 11
page 88
Editor Emma-Lily Pendleton emma-lily.pendleton@futurenet.com Art editor Michelle McLaren michelle.mclaren@futurenet.com Operations editor Tom May Head of testing Rod Lawton Lab manager Ben Andrews
Editorial contributors
Andrew Cottle, Rosie Webber, Lauren Scott, Karin Andreasson, Kathrine Anker,
Future is an award-winning international media group and leading digital business. We reach more than 49 million international consumers a month, and create world-class content and advertising for passionate consumers online, on tablet and smartphone, and in print.
page 124
page 124
Paul Anson, Tessa Bunney, Derek Denson, Natalie Denton, Simon Derviller, Matthew Faulkner, Mark Foxwell, Richard Freestone, Daniel Castro Garcia, Philip Gefter, Hinde Haest, Rachel Hamilton, Matt Henry, Tyler Hicks, Kovi Konowiecki, Chris Littlewood, Daisy McCorgray, Jamie McDonald, Michael Mack, Carolina Mizrahi, Martin Parr, Vincent Peters, Mark Power, Michel Rammell, Claudio Rasano, Benedict Redgrove, Matthew Richards, Warren Richardson, Stefan Ruiz, Moises Saman, Thomas Saxby, Stephen Shore, Martin Steininger, Joni Sternbach, Hiroshi Sugimoto, Nick Turpin, Keith Wilson
Advertising
Advertising manager Sasha McGregor sasha.mcgregor@futurenet.com Account director Matt Bailey matt.bailey@futurenet.com Account manager Claire Harris claire.harris@futurenet.com
Circulation
Trade marketing manager Michelle Brock +44 (0)20 7429 4000 Production coordinator Vivienne Calvert
Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR). www.futureplc.com
LICENSING
page 124
Head of international licensing Matt Ellis matt.ellis@futurenet.com +44 (0)1225 442244
Subscriptions & back issues
Management
Order line & enquiries: +44 (0)1604 251045 Online enquiries: www.myfavouritemagazines.co.uk Email: prophoto@myfavouritemagazines.co.uk
Group art director Rodney Dive
Printed in the UK by William Gibbons on behalf of Future.
Group editor-in-chief Chris George Head of content & marketing: Photography, creative & design Matthew Pierce Marketing director Sascha Kimmel
Distributed in the U.K by Marketforce (UK), 2nd Floor, 5 Churchill Place, Canary Wharf, London, E14 5HU
Creative director: Magazines Aaron Asadi
Chief executive Zillah Byng-Thorne Non-executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand Tel +44 (0)20 7042 4000 (London) Tel +44 (0)1225 442244 (Bath)
All contents copyright © 2016 Future Publishing Limited or published under licence. All rights reserved. No part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
6 _ PROFESSIONAL PHOTOGRAPHY _ JANUARY/FEBRUARY 2017
page 52
page 96
page 96
page 96
Editorial
page 146
We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council).
karin Andreasson OPINION
Are photo contests judged fairly? Judging a photography competition isn’t just about choosing the best pictures; there are many other factors to consider
here was a recent news story on artificial intelligence replacing judges in courts of law. Yes, advanced software can apparently now digest complex evidence and determine right from wrong as well as a human can. This got me thinking about two photography competitions I was recently involved in judging, and whether a computer could have done the job for me instead. Both contests were for emerging artists and the prizes included residencies. So my choices weren’t just about the quality of work: I had to weigh up the submission with how much the artist would benefit from winning and whether they’d do something interesting with the residency. I went into these judging days buoyed with the confidence that comes from spending every day making decisions about images. Working in picture editing for more than 10 years, I’ve reached the stage where I recognise a good photograph without thinking about it. I’m often perplexed when people can’t see that one image is better than another. It seems so obvious to me that explaining why is almost condescending, but I have to be able to articulate the reason for my preference. The ability to articulate ideas is just as important for photographers, whether it’s pitching ideas or entering competitions, which often require a statement. The statement can be really important, but it has to be honest, well thought-through and clearly written. On several occasions I’ve had to re-read a statement more than once, because it didn’t make sense. Alternatively, statements can read like they’re straight out of an art-theory textbook. But I don’t need pretentious text to believe in a piece of work. In fact, for me that can have the opposite effect; an intriguing set of images can start looking like a lucky accident if the statement is a real stinker. All I want is to get to know the photographer and their work a bit better. That means I need some background information
and a simple explanation of ideas and process. You might think that the written component is an unnecessary distraction; that the images should speak for themselves. And of course, that is how it works for the big yearly competitions in photojournalism, wildlife and portrait photography. But when it comes to more involved projects, then such information is really useful. One of the best statements I’ve seen came in the form of a video. This isn’t always an option, but it was the sentiment that made it stand out. It was straightforward, unrehearsed, funny and charming. I knew the photographer made great work and her one-minute film persuaded me she’d be right for the residency. As well as the statement, judges will also read your CV carefully, so it’s worth spending time on that too. It’s not that you want your CV to lie, but you do have to be clever about how you present yourself and your career history. On two occasions I knew the artists’ work already and although I was trying to be completely neutral, to be honest it worked both for and against them. A fellow judge mentioned that one contender had been shortlisted several times for another award, but never won it; you couldn’t help but think that surely they were due a break. There’s an ever-present tension between knowing too much and not enough. In short, despite my confidence in making decisions about pictures, there were many other factors out there ready to trip me up, make me question my judgement, and make the competition harder on the entrant. A cold-hearted computer program might have been just what I needed to see past the potential pitfalls, but I don’t think any kind of artificial intelligence can replace the experience of looking at art and discussing its merits with others. Thankfully, you’re not alone as a judge, and it was in the final stage that questions were ironed out through the age-old process of debate. This stage proved invaluable in one of the competitions, where several of us rejected an artist early on but they were shortlisted by another judge. In the end, that was the artist whose work I admired the most.
I’m perplexed when people can’t see that one image is better than another.
JANUARY/FEBRUARY 2017 _ PROFESSIONAL PHOTOGRAPHY _ 11
Story _ Behind _ Moises _ Saman
story Behind
survivors
“The inside that helicopter all shared the same – an almost inexplicable feeling of being
experience alive.”
Moises Saman The drama inside the helicopter unfolded in front of my eyes, silently and in slow motion, and the last thing on my mind was to photograph it. About two hours before taking this photograph, an eternity in my mind, we had survived an helicopter crash in Mount Sinjar, Iraq that killed four passengers, including one of the two pilots. We were now aboard a second helicopter, an even older-looking replica of the one that had just gone down, being flown across Isis territory to the safety of Kurdistan. In the past, especially when working in areas of conflict, I had adhered to a false sense of distance from my subject, one that allowed for the pursuit of a sort of superficial creativity over genuine empathy. I was just trying too hard. I don’t particularly remember the moment I took this photograph, I suppose I took it almost unconsciously. We, the survivors inside that helicopter, all shared the same experience – an almost inexplicable feeling of being alive. This Moises Saman image was on sale for US$100 as part of the ‘Conditions of the Heart: On Empathy and Connection in Photography’ October Magnum square print sale. Sign up to the Magnum newsletter at Magnumphotos.com for news of the next sale. 12 _ PROFESSIONAL PHOTOGRAPHY _ JANUARY/FEBRUARY 2017