LFI Magazine 2/2019 E

2.2019

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ENGLISH EDITION

D 19088 F

Alain Keler Thomas Keydel Ulrich Grill Cédric Viollet

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F E B R UA RY | M A R C H

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L E I C A F OT O G R A F I E I N T E R N AT I O N A L

Holger Sà

Lfi 2. 2019

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Over 23 000 photographers present more that 300 000 pictures at the LFI.Gallery. In this issue: an Ethiopian hairdressing salon, sandals in Portugal, and a hotel lobby in Singapore

The latest member of the M10 family has arrived: the Leica M10-P “Edition Safari”.

At the same time, Leica have launched an olive green variant of the Summicron 50 f/2

Ph oto

94 | M l e n s e s At the beginning of the year, Leica introduced new design variations of the Apo-Summicron-M 50 f/2 Asph, Summilux-M 28 f/1.4 Asph, and Summaron-M 28 f/5.6

114 | Leica Galleries

Cédric Viollet: from the Gallops of Morocco series

9 8 | v i e n n a Au c t i o n The 33rd WestLicht Photographica Auction was also the last: we take a look at past highlights and future auctions in Wetzlar’s Leitz-Park

118 | exhibitions

Alain Keler 6 | L e i c a c l a ss i c

The French photojournalist has been a tireless eye witness reporting for decades from crisis regions around the planet

Cédric Viollet 3 4 | G a l l o ps o f M o r o c c o

Unified design with a touch of adventure: the new M10-P “Edition Safari”

The new Leica galleries in Taipeh and London, as well as a comprehensive overview of the exhibitions at Leica galleries around the world

Endless dunes, wild manes, luxury labels: this unusual fashion spread was produced during a horse race in Morocco

Holger Sà

Erwin Olaf in The Hague; Luigi Ghirri in Paris; Martin Parr in London; Your Mirror, ICP, New York; and Berenice Abbott in Barcelona 120 | books New publications by Joshua Dudley Greer, Laia Abril, Alexa Vachone, Vivian Maier and Annie Leibowitz 1 2 2 | I n t e rv i e w With Thomas Seelig, the new Director of the photographic collection of the Folkwang Museum in Essen, talking about his new role and his intentions

50 | between worlds

Amid the hustle and bustle of models, stylists and dresses: rare and discreet images of the action behind the catwalk

Ulrich Grill 62 | Da r k S h a p e s o f I c e la n d

Dynamic contrasts: the monumental landscapes of Iceland, captured as poetic miniatures in black and white

126 | my picture Endless and timeless: after a long journey through nowhere, Clara Vannucci reached the polar landscape of Spitsbergen 126 | imprint

Thomas Keydel 7 2 | LA d a k h

The Manali-Leh highway in India is dangerous.

Lorry drivers, as much as nomads and herd of goats, take it at their own peril

Cover: Holger Sá – the world of fashion backstage

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Following the appearance in December 2018 of version 3.1 of the LFI app for iOS, now comes version 1.5 for Android devices, offering the possibility to purchase, download and read LFI on Android smartphones. In addition to current issues, the new version of the app continue to offer LFI issues from the years between 1949 and 1979, all M and S magazines, special editions, the LFI Blog and the LFI.Gallery. The app is immediately available for free at Google Play Store.

Speaking of the LFI.Gallery, do you already know our ‘In focus’ segment?

This is where you find temporary categories that are managed by our photo editors, including competitions (Live on Stage) and thematic collections (Leitz-Park, Available Light, etc.).

Pay a visit to our online gallery, be inspired, and submit your own best pictures. When you upload your photos, do not forget to include one or more suitable key words. We look forward to your submissions. lfi-online.de

Contributors

The fact that the French photojournalist always takes new approaches to the ways he looks at his own work, is evident in his Journey to the Roma project. With material that he has brought together on the subject over more than ten years, he has published a graphic novel in collaboration with cartoonist Emmanuel Guibert and designer Frédéric Lemercier.

For his current photo book, Journal d’un photographe, Keler has once again gone through all his archives.

We bring you a selection.

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Cédric Viollet When working on his Gallops of Morocco project, the French photographer Cédric Viollet had to deal with sand storms virtually every day – whether he was inside a tent at the time, or outside. In this picture taken by his stylist, you can see how he is having to do battle with the sand and the wind. He made it a point never to have to change the lens on the camera, to ensure that no sand would get inside the body. Luckily he had packed the universal Summilux-SL 1:1.4/50 Asph lens in his bag.

Th o m as K ey d e l

Inspired by the concept of slow journalism, Thomas Keydel had the rather original idea of travelling on foot along the highway between Manali and Leh, at an altitude of several thousand metres. Heavy snowfall and the extreme cold made the adventurous route impassable and quickly put an end to the photographer’s plan. Even so, he did complete the journey: he travelled this lifeline in the far reaches of northern India on a motorbike twice and once as a passenger in a lorry.

Photos: © Élodie Richesse; © Clemence Cahu; © Esra Klein

Alain Keler

Tomas van Houtryve with the Leica M10-D

leica m10-D Digital body. Analog soul.

Dive deep into the present: By omitting technological distractions such as the display, the Leica M10-D reignites the analog photographic experience. In combination with the Leica FOTOS App, the M10-D will enable you to discover the power hidden in the moment – right here, right now.

Find more inspiration at www.m.leica-camera.comm Download the Leica FOTOS App

Leica Camera AG I Am Leitz-Park 5 I 35578 Wetzlar I GERMANY I www.leica-camera.com

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L e i c A C l a ss i c

Alain Keler He first gained international attention with his black and white Leica photographs – today Alain Keler counts among the most renowned French photojournalists of his generation. He has dedicated the past four decades to reporting on human suffering in the world’s war and crisis zones. We share some excerpts from his body of work, and take a look at his latest book.

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A desire to show the truth, the drive to highlight the ills of the world through unbiased documentation: the work of a photojournalist is rooted in profoundly humanist ideals. Looking at Alain Keler’s oeuvre reveals the enormous energy, perseverance and dedication with which he has pursued his profession for more than four decades, as well as the genuine connection with his subjects that continues to be apparent throughout his entire body of work. Without ever losing sight of the political and social context of a situation, Keler’s primary interest has always been reserved for the people he encountered on his travels and assignments. His images, immersive and emotional, never fail to touch the viewer. Instead of abstract numbers and statistics, Keler lets us look into the eyes of real people and helps us understand their plight. “The many faces he captured on his travels are of individuals with complex background stories, rather than mere archetypes that fit in with the simplistic narrative of the media,” Dominique Versavel, head of the photography department at the Bibliothèque nationale de France, writes in her introduction to Keler’s latest photo book. Published at the end of 2018, Journal d’un photographe is an intimate, multi-layered retrospective in which the photographer reflects both on his agency work and his independent projects.

To create this volume, Keler revisited his contact sheets for a very personal selection of photographs. Along with diary entries, the book also includes pictures he took of his parents towards the end of their lives – culminating in an unusually intimate publication.

With remarkable honesty, Keler questions his role as a photographer. In an equally relatable manner, he addresses his reunion with his family finally after many years of travelling the world. He also establishes connections between images of his ageing parents,

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his photographic explorations of his Jewish roots in Lodz and Israel, and his projects on other ostracised and persecuted minorities in Europe.

“Alain Keler broke away to embark on a long journey,” Versavel continues.

“It was an inner journey that guided him to his own story; a journey of a geographical as well as psychological nature – a diversion that led him all around the world, before returning to his family and himself.”

Early on in Keler’s life, photography came to represent a gateway to the wider world. “When I was a little older I started to travel and became interested in the news. I made newspaper cuttings from articles and photographs. For a year-and-a-half I travelled across Asia, taking pictures.

During this trip I met a young American woman and fell in love with her.

Back in France, I worked as a courier, and saved up until I could buy a ticket to New York in 1971,” he remembers in an interview featured on the Leica Camera Blog. “For several years I took on any kind of work, until I finally got my first assignment for a publishing house: I spent three months travelling around Latin America, taking pictures for language textbooks.”

In the same vein, Leica’s role in Keler’s work also dates back to the very beginning of his career. To start with, he used his first pay-check to buy the book The World of Cartier-Bresson.

This was soon followed by the acquisition of his first Leica: an M3 with a 35mm lens. Ever since then, Leica cameras have remained an integral part of his work – just like his unwavering commitment to black and white photography. He very rarely – and only if specifically requested by a client – shoots in colour or uses SLR cameras with wide-angle or tele lenses. “But even then, I still always had a Leica round my neck,” the photographer admits. “The Leica is a small device that allows me to be discreet, because it is so unobtrusive and can almost hide in my hand. I am practically invisible (…). My photographs revolve around my subjects – I try and remove myself from the equation as →

Page 6 / 7: A meeting of Holocaust survivors.

Jerusalem, Israel, 14 June, 1981 Page 9: Caracas, Venezuela, 1973 Page 10/11: Women’s Visiting Day outside Ayatollah Khomeini’s headquarters.

Teheran, 3 February, 1979 Page 12: The ‘Jungle’. Calais, February 2016 Page 13: Gaza, April 2004 Page 14/15: Evacuation of settlers from the city of Yamit by the Israeli Army. Sinai Peninsula, Egypt, 21 April, 1982 Page 16: Ethiopians leaving the Gondo refugee camp in Korem. Ethopia, August 1985 Page 1 7: Ismaël Ahmed, Rajasthan Guesthouse, Zakaria Street. Calcutta, December 1968 Page 18: Funeral of a policeman who was killed in the resurgence of the conflict with Azerbaijan. Stepanakert, NagornoKarabakh, April 1994 Page 19: Russian Army Headquarters, Grozny, Chechnya, January 1995 Page 20 / 2 1: Israeli tanks in the hills of Beirut, Operation Peace for Galilee.

Lebanon, June 1982 Page 22: Helicopter returning the body of Yasser Arafat. Ramallah, November 2004 Page 23: Funeral of Yasser Arafat. Ramallah, West Bank, November 2004 Page 24 / 2 5: Arrest of a guerrilla. Chajul, Guatemala, 3 March, 1982 Page 26/27: A Sunday near Greenville.

Mississippi, USA, October 1986 Page 28 / 2 9: The Catholic Divis Flats neighbourhood. Belfast, Northern Ireland, July 1988 Page 31: The Catholic Divis Flats neighbourhood. Belfast, Northern Ireland, July 1988 Page 32: A child awaits the Russian Army with a grenade. Grozny, Chechnya, December 1994

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Photos: © Alain Keler; quotes by Dominique Versavel and Brigitte Bègue, translated from the book: Alain Keler, Journal d’un photographe, Les Éditions de Juillet, Chantepi 2018, and www.leica-camera.blog, 24 December 2018

Alain Keler was born in Clermont-Ferrand on 20 September 1945; he began to travel at the age of 17. While living in New York in the early 1970s, he bought his first Leica and started to take on commissions.

In 1975, he returned to Paris, where he joined the French news agencies Sygma and Gamma. In the 1990s, he chose the independence of working as a freelance photographer. 1989: founding member of the Odyssey agency; 2008: joined the photographers’ collective MYOP. Multiple international awards, including the World Press Award (1985), Grand Prix Paris Match du photojournalisme (1986), and the W. Eugene Smith-Foundation Prize (1997).

A la i n Ke l e r : Jou r n a l d ’ u n ph oto g ra p h e

Featuring texts by Alain Keler, Brigitte Bègue, Dominique Versavel, 364 pages, 21.5 × 29 cm, French, Les Editions de Juillet A la i n Ke l e r .co m

much as possible, in order to give over the space to those I portray. I mostly work with a 50mm lens, which closely emulates human vision and enables a sober approach to photography, without distorting reality. I have found my optimal distance. The Leica gives me a level of flexibility I cannot achieve with other cameras. I’m never without it,” Keler explains in his interview with journalist Brigitte Bègue, which is featured in his monograph. “Regarding my preference for black and white: it allows me to focus more directly on the essentials. It makes it easier to create order out of the visual chaos, everything settles into an arrangement in my viewfinder. Working in colour feels more scattered. That doesn’t mean that I didn’t take good colour pictures, but they were not as alive. Black and white is better suited to my work as an author.”

Keler’s career took off in earnest in 1975, when he returned to Paris and became a member of the Sygma agency. From then onwards, he spent his time covering war and crisis zones all around the world – reporting on topics such as the failed coup d’etat in Portugal in 1975, the civil war in El Salvador in 1979, the strikes of the Gdansk shipyard workers in Poland in 1980, and the 1982 Lebanon War; he was in Nicaragua in 1986, documented the Northern-Ireland conflict in 1988, travelled to Afghanistan in 1989, and documented the Chechen War in 1994 – the list goes on. Journal d’un photographe chronologically outlines the many dangerous places Keler visited over the years. He narrowly escaped death on several occasions, and was taken hostage multiple times throughout his career. While shooting a reportage in 2002, Keler was with Colombia’s presidential candidate Ingrid Betancourt when she was abducted by FARC rebels.

His work as a photojournalist gave Keler the freedom to experience a great diversity of countries and cultures. The challenges, hardships and dangers this entailed seem even more apparent in retrospect. In 1987, he decided to exchange his position at

the agency with freelance work, allowing him to place more focus on his independent projects. He was especially dedicated to highlighting the situation of Europe’s Roma – visiting camps for the displaced in Kosovo, Serbia, Chechnya and Slovakia, as well as documenting Roma communities in Italy and France.

In her foreword, Versavel ventures a description of the extraordinary power that sets Keler’s images apart: “Above all, he considers his subjects’ commonalities. Beneath the arbitrary circumstances and overt uniqueness of each individual, he sees the precariousness of being a mortal human being – a profound, shared vulnerability. This universal approach classifies him as what we call a ‘humanist photographer’.” In times when journalism is experiencing severe levels of hostility, as is currently the case even in democratic countries, photojournalism can hold great political significance – a point Keler emphasises in his interview on the Leica Blog: “The press has a duty to provide information that may not always be in line with the politics of any given government. This is why journalism is an incredibly important component of any self-respecting democracy based on a system of checks and balances.”

Professional journalism continues to be a very challenging field. However, Keler has faith in the power of individual perspectives: “Both now and in future, I believe that any photographer can stand out by working on projects close to his or her heart, and by placing a strong focus on the content of the images.” His life’s work is a testament to the courage and dedication of those who set out to document the state of the world. At the same time, it also highlights the responsibility inherent in the photojournalist’s task. In the words of Keler: “The photographer is a messenger. Even if his message is ignored, it has merit simply by existing.” Ulrich Rüter

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LeicA SL

CĂŠdric Viollet G a l l o p s o f M o r o cc o

Warm colours and poetic imagery.

Anyone taking a look at this fashion spread would scarcely believe it was shot in adverse conditions during a horse race in the Moroccan desert.

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The protagonists for this series are exclusively horse race participants or workers. The horses in the race are Arab-Berber, a cross between Arab and North African lines

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With the Leica SL, Cédric Viollet captured moments of calm and poetry

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The Kenzo coat (above) and the Versace blouse (bottom left) seen in an unusual setting

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Viollet acquired his feeling for light and shadow as a photographer of skateboarders

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Cédric Viollet Growing up in the French Provence, Viollet came to photography via skateboarding.

Together with Fred Mortagne, he was soon documenting his friends’ tricks and flips, and portraying them with a Leica M6. After spending some time in London – where within a year, he established himself as a fashion photographer – he returned to France, living today in Paris. Cédric Viollet works on both commercial and personal projects.

ced r i cv i o l l e t.co m LFI -O n l i ne .DE/ B log : Portfolio with pictures from the Eastern Exposures Series

Equipment: Leica SL with

Summilux-SL 50mm f/1.4 Asph

Cédric Viollet likes to get close to people. He describes his photographic approach as documentary, an aesthetic that also informs his fashion photography where portraits alternate with landscapes and provocative stills.

For the series produced during the Gallops of Morocco horse race, he did not make use of any models, or assistants, or specific locations. He simply worked with the conditions available to him in the moment.

In fact, the French photographer had been commissioned to document the week-long horse racing event, held for only the second time and covering a distance of 200 kilometres through the Moroccan desert. Because editors of the magazine in question trusted him, he was given the additional assignment of staging parts of current luxury item collections during the breaks in the race and capturing them with his camera.

Due to his beginnings as a skateboard photographer, Viollet knows all about situations where you are completely dependent on yourself, having to deal with adversities like the weather, the police or surly passers-by. This meant that the well-travelled Frenchman was also able to deal with the daily sandstorms, the burning heat and the general chaos to be found all around him. There were other skills he learned from those times that were applied to the current situation.

“As a skateboard photographer,” he says, “you need to be quick and work with whatever outdoor light you have in the moment.” For other details, like predicting the direction of the winds and how to deal with the erratic Moroccan gusts, his many years as a surfer stood him in good stead.

In general, Viollet is not averse to taking risks: the Leica SL he used for the first time for this assignment was the only camera he took with him.

Then, to avoid any sand getting into the equipment while changing lenses, he decided to take just one, a Summilux-SL 50mm f/1.4 Asph. For the selftaught photographer who moved to London after breaking off his studies in art history, fashion photography

is about more than just capturing current collections. He explains, “For each new fashion season, you need to tell a new story. For this purpose, I get my inspiration from other photography genres, such as landscape, reportage or portrait, in other words from real photography.” His first photo book was about Josef Koudelka, who still inspires him today, both as a photographer and as a human being: “I like the way he has set up his life in exile,” Viollet enthuses, “and how he travels the world with just a rucksack and a note book. He was stubborn, decisive and mysterious – these are all attributes I very much appreciate.”

Viollet’s own Leica story began in 2004 when he was given an M6 as a present. After receiving the camera, he spent six months saving up for a 35mm lens. From that point, he photographed everything with the analogue camera.

Later, he added an M7, which is what he has used for most of his personal projects. He considers it important to find the right balance between commercial projects like Gallops of Morocco and his own personal ones. The latter very often take him to remote places like Transnistria for the Eastern Exposures series, or the village of Mokepe in Lesotho. Another thing Viollet likes to focus on is portraying individual people among the masses. This was the subject of the photographer’s recently published first photo book, Ringxiety, where he explores the busy streets of Hong Kong and the people who live there in isolation.

However, Viollet is also keen to preserve his personal signature and to fight for his ideals when working on commercial projects. With this in mind he insisted that the Gallops of Morocco series not be retouched, because it was about ‘real’ people and not models who have been staged within the scene. “I fought hard for this and achieved my aim in the end,” he says with pride. It probably will not be the last time. Denise Klink

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Holger SĂ B e tw e e n Wo r l d s

SĂ used his SL to document the hustle and bustle behind the scenes at a fashion show. A discrete glimpse at the productive chaos somewhere between hectic,high pressure and Haute Couture.

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Above: The backstage area at a Julien Fournié fashion show at the L’Oratoire du Louvre church in Paris. Below: Scenes from one of Julien Fournié’s shows at the Teatr Wielki, in Warsaw. Right: Fournié’s muse, the Romanian model Catrinel Marlon

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Above: Chief seamstress and designer Julien Fournié at a fitting. Below: Close-up of a model at Givenchy. Left: Bag designer Olympia Le-Tan appeared as a model in Julien Fournié’s Hommage to Hitchcock show

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Holger Sà Born in Hanau in 1968, the selftaught photographer grew up in an Italian-German-French family. Sà is his artist’s name.

Following the death of his father, he continued running the family fashion business.

After selling it in the 1980s, he traveled the USA for two years, photographing people at Muscle Beach – among them Arnold Schwarzenegger.

From 2000 to 2015 Sà lived in Rio de Janeiro. He has been the official team photographer for Eintracht Frankfurt football club since 2017. ho lg e r sa .xyz LFI - O n l i n e . DE / B lo g : Slide Show with more imageS by holger Sà

Equipment: Leica SL with Apo-VarioElmarit-SL 1:2.8–4/90–280mm and VarioElmarit-SL 1:2.8–4/24–90mm Asph

From the perspective of the public facing the catwalk everything looks just right: fabric flutters only where planned; feathers, sequins and head gear sit properly; lighting and decor create the perfect framework. Models follow a specific choreography with deliberately passive facial expressions, glancing coolly down at the rows of seats filled with buyers, competitors, influencers and other interested parties. No one can imagine the behind the scenes chaos: the back and forth of the models is the exact opposite of the impression conveyed moments later under the spotlight. Circling them like satellites are hair and makeup artists, stylists, seamstresses, and dressers. In the centre are the designers; choreographing the poses and attitudes of the models. Bubbling with energy, everyone works towards giving the best performance possible. After all, a dazzling presentation will have to convince future buyers.

The last thing this situation needs is the presence of anyone interrupting, blocking or hindering the hectic activity in this tight space, which is Holger Sà’s stomping ground. “That’s where I want to capture intimate moments in beautiful pictures. The backstage area is the most sensitive one, because it’s where everything is cooking, everything is on the line. There are rules that must be respected: no nudes, no interference, everything must be discrete,” the photographer says, describing his doing that demands a special talent: the ability to work in a space so small it barely extends beyond the limits of one’s own body. Next to intuition, verve and the ability to become invisible, caution, consideration and care are of the utmost order.

The backstage theme is a continuing thread in Sà’s work and he has perfected his approach in other settings.

When he lived in Brazil for fifteen years, he photographed backstage at the most renowned samba schools in Rio de Janeiro, where an entire year is spent preparing for Carnival. Once the performance is over, planning begins for the following year: again the meticulous training of the choreographies,

the try-outs for the sophisicated costumes, with all the elaborate headdresses. There too, rehearsals and adjustments take place in unspectacular back rooms, and equally, just before the parade nerves are taught. These samba schools offered Sà optimal preparation for the subsequent fashion circus. Thanks to a stylist, he managed to get access to the Parisian couturier, Julien Fournié, one of the 15 most highly regarded luminaries of the art.

Commissioned by the designer, Sà photographed backstage at Fournié’s fashion shows; the pictures shown here were taken between 2016 and 2018.

The Protestant church, L’Oratoire du Louvre, one of the oldest churches in the city, provided a backdrop for Fournié’s display. The chancel served as the engine room for the spectacle, which took place in the nave. A temporary, dividing wall separated one area from the other. Sà refers to it as the point, “between worlds”: “In front, you’re photographing models on the catwalk; backstage you’re photographing people,” he states. “I love available light photography; I try to include everything on hand in the creative process and bring it into the picture. I’m not a friend of artificial sets. Whatever’s available makes the picture real.”

Sometimes, when there are a couple of seconds amid all the hustle and bustle, Sà moves from documenting to staging. “I like to bring two models together; contrasts are especially good. Catwalk models who also do fashion photo shoots get quickly what I intend.” Backstage is rather like a drug for him, an El Dorado. Recently he captured another hotspot between worlds: since 2017 he is the official team photographer for the German Federal football club, Eintracht Frankfurt. Here too similar conditions to samba schools and fashion shows reign backstage. There is even more money involved – and more testosterone.

“There I’m not the only heterosexual.”

Carla Susanne Erdmann

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LeicA SL

Ulrich Grill Da r k s ha p e s o f Ic e l a n d

The Austrian photographer proves that the nature of Iceland can have real impact even without colour – and he goes a step further: with great love of detail he brings overseen aspects to the forefront, breathing life into landscapes that are in themselves already surreal.

“I’m intrigued by a direct look at the earth’s history and how the earth’s interior meets the outside elements. It has a brutal force that you can’t avoid.”

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Iceland’s contrasts in black and white, from sharp to soft. Clockwise from the top left: Beast, Reynisfjara Beach; Animals, Jökulsárlón Beach; Awestruck, Reynisfjara Beach; Spume, Reynisfjara Beach lFI

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Lost, Reynisfjara Beach: While other nature photographers see the grand picture in Iceland’s apparently endless landscapes, Ulrich Grill relinquishes panoramas completely.

He captures poetic, elemental miniatures in every shade of grey between light and dark

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Clockwise from the top left: Painter 3, Stokksnes Beach; Fear, Vatnajรถkull National Park; Success, Vatnajรถkull National Park; Approach, Stokksnes Beach. Next page: Bare, Landmannalaugar lFI

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U l r i ch g r i l l Born in Steiermark in 1969, Grill had already discovered a passion for photography by the age of ten. After spending the nineties specialising in aviation sports photography, he currently travels the world to focus on new photographic projects. When not commuting between his home in Fuschl am See, Tokyo and Los Angeles, he likes to spend his time with his wife and three children.

www.u l r i chg r i l l .co m LFI -O n l i ne .DE/ B log : Slideshow with Further Pictures from Iceland

Equipment: Leica SL with

Vario-Elmarit-SL 24–90mm f/2.8–4 Asph

It is easy to imagine: azure blue fjords, rolling green hills, a volcano spitting out bright red lava – all very beautiful motifs, but seen rather too frequently.

The landscapes of Iceland have become well known in the world of photography. Like so many others, Ulrich Grill was intrigued by the island and wanted to capture its unique, but stark beauty. In contrast to his fellow photographers however, he decided to take an unconventional approach: in July 2018, he travelled to the island in the north of Europe for his Dark Shapes of Iceland project – one where he completely eliminated the use of colour. “I’ve always been interested in shapes and in shades of grey,” the Austrian photographer explains.

“Keeping my eyes out for small features and with a preference for motifs that you might otherwise miss in passing, I found it exciting to be looking for something quite different.”

Grill’s hopes were quickly fulfilled: the pictures making up his Dark Shapes of Iceland series give equal space to both light and shadow. With painstaking observation, his images pay little heed to the overall landscape, but rather draw the viewer’s attention to fine details by the wayside. Grill was inspired in this by the US American photographer Ansel Adams: “I was fascinated by his ‘detail’ pictures that were possibly less-known than his large landscapes; I always found them full of an amazing suspense.” Faithful instead to landscape miniatures, the photographer creates fleeting worlds of wonder that, if not for his timely presence would have already been transformed by the impact of nature.

Beginning his journey with little more than basic information about the current weather conditions and the immediate surroundings, the photographer travelled around the volcanic island and its draughty plateaus – with no particular destination in mind.

Iceland is, quite simply, covered in motifs, if you just take the time to open your eyes at the right place. Grill too only became aware of certain qualities through carefully studying his surroundings. The common denominator

almost always includes the four elements that are omnipresent and define the character of the island, which is one of the most underpopulated countries in the world, but which has so much more to offer than many other places that might come to mind. “When the elements crash with each other, the force is quite brutal and impossible to avoid,” he declares. Grill’s camera goes into action at every stage of this struggle of extremes; when nature appears both unpredictable and harmonious, when chaos and order coexist.

“Fire, wind and water are elemental forces that have always exercised a great attraction on and held great fascination for human beings. I’m no different in that sense,” Grill says, speaking of his passion.

Playing with the unpredictable also comes with a certain degree of risk: bad weather has more often than not, put an end to many a photographer’s plans. This is particularly true when working far from civilisation.

With just a Leica SL and his 24–90mm zoom in his pack, Grill was however, excellently equipped and able to move flexibly. Because he likes to work with as little gear as possible to allow him to focus all his attention on the motifs, the constantly-changing weather did not cause him muchconcern.

Although the photographer shares his fascination for Iceland with countless others who also feel inspired by the island’s unique landscape, the country, relatively-speaking, does not receive many visitors and tourists tend to congregate around the well-known attractions. Therefore, Grill’s recommendation to anyone seeking to experience another side of the island is to go to the lesser known places, where you can take pictures in solitude.

It is a suggestion to be taken to heart beyond photography. After all, the most fascinating discoveries are often to be found off the beaten track. The only requirement is to slow down and look carefully. Danilo Rössger

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LeicA M

Thomas Keydel

L A DA K H

North India’s Manali-Leh highway extends for a distance of nearly 480 kilometres. At an altitude of several thousand metres, landslides and accidents make the sometimes single lane road one of the most dangerous in the world. Thomas Keydel spent a number of weeks there, living among the lorry drivers, road workers and nomads.

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Lorry drivers waiting till they can continue their journey. The unpredictable weather conditions at this altitude ensure regular interruptions. Above: As daylight fades, lorries cross over Pagland La Pass. At 5328 metres above sea-level it is the highest stretch of the Manali-Leh highway. Left: Buses stand ready to take the arduous trip through the Himalayas. Distances that under European road conditions would be covered in a few hours, can take various days in Ladakh, North India

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Road workers prepare a meal in front of their tents. They are employed as day workers; many of them come from the south of India because wages in Ladakh are better. They widen the narrow road, clear away rubble, and remove slopes to avoid landslides

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What inhabitants of Ladakh consider normal, everyday life, proved to be a real challenge for Thomas Keydel.

“It was frequently very cold, up to minus 21 degrees Celsius. In addition, there were snow storms, frozen passes and constant changes in the weather,” the photographer explains. Below: During the Saga Dawa Festival, citizens of Leh carry scrolls from the city’s monastery and then back again. Above right: Female road workers take a rest close to Leh in a camp made of stone. They give each other warmth against the extreme cold

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During the Saga Dawa Festival, Leh citizens move through the city with incense. Saga Dawa is the most important holiday in Tibetan culture, celebrating the day Buddha is supposed to have been born, to have reached enlightenment, and to have died 80 lFi

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Along the roadside, nomads live a life beyond the cities and villages. They breed goats and yaks, producing Kashmir wool – Pashima for them – made from their fur coats. Below: In the morning, a woman releases goats from their pen at Tso Kar (White Lake). ­Above left: A nomad tent at night. Because there is no electricity supply in the area, the nomads use small solar modules or car batteries to produce light. Middle left: Women from Leh separate bad grain from good.

Below left: One of the women milking a yak. The milk is used to make butter and butter tea

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Manali: Members of two families are cooking up a feast for a wedding. Since Ladakh has opened up to tourism the numbers of visitors to the villages along the highway are gradually increasing

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Remains of a lorry. Some of the wrecks can not be picked up, or are left by the roadside as a warning.

Above: A lorry driver at a road block, waiting till he can continue his journey. Anyone who decides to travel between Leh and Manali is subject to the weather

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The hopelessly overloaded heavy lorries spew exhaust as they slowly climb, tackling the tight hairpin bends. Nothing grows by the side of the road at that altitude in the Indian Himalayas – though the word ‘road’ here describes what is actually more of an unsealed trail that, at times reduces to one lane and is covered with ice and rubble.

There is no alternative however: between May and October, the road is the only way to deliver supplies to the city of Leh close to the Chinese border. Leh is one of the highest, all-year round cities in the world. It is the most important place in the Ladakh region of the state of Jammu and Kashmir.

The Manali-Leh highway is well named: it starts in Manali, a popular tourist destination situated at 2000 metres in altitude; the road then twists and turns its way up to a height of 5000 metres before descending to 3500 metres through the city of Leh. Motorised vehicles require a number of days to cover the distance. During the winter months the highway is closed, and in spring several weeks are necessary before the road is in a drivable condition. Road workers risk their lives widening the narrow road, clearing rubble, and preparing the surface for summer traffic. Lorry drivers take long breaks as their progress is frequently blocked for several hours. Nomads with herds of sheep and goats also travel along the ManaliLeh highway, where there are few villages. Cutting winds and frosty temperatures push people to the limits of their endurance – but those living here have become accustomed to the tough and adverse conditions.

Geopolitically-speaking, Ladakh is of great significance in Chinese and Pakistani territorial claims, as well as the Tibetan fight for independence, which turned the region into a battleground during the second half of the twentieth century, with disastrous impact on the economic stability. It was only when Ladakh opened to tour-

ism in 1974, that the highway, joined by a number of tunnels, was slowly, but surely, built. The Manali-Leh highway has stabilised the infrastructure, as well as the military and economic viability of the region.

It was no small task to capture this history-charged, crisis-shaken region with a comprehensive set of images.

The German photographer, Thomas Keydel, rose to the challenge. After taking pictures in Borneo, Israel and other parts of the Indian subcontinent, Keydel spent more than seven weeks in the Himalayas documenting life along the highway. To complete the project, he drove the whole distance twice on a motorbike and once as a passenger in a lorry.

LFI: At a first glance, the area between Manali and Leh doesn’t appear to be a place that would draw tourists. What appealed to you about travelling through Ladakh?

Thomas Keydel: When I was in the southern part of India a few years ago, I wanted to escape the heat, so I travelled further north. When I reached Manali, the landscape looked like the Alps. The people there told me that beyond the Rho Tang Pass, barely 50 kilometres from Manali, the land looks completely different, so I continued on. Beyond the pass it really was like being on the moon: I was confronted with an expanse and emptiness like nothing I have ever seen before, and I was captivated.

Nearly 480 kilometres of expanse and emptiness sounds like nothing much to see – but there’s plenty happening in your pictures…

Yes, there was something new to discover around every bend in the highway – not just the villagers and nomads along the way, but also the lorry drivers who travel this road in the summer to bring food supplies and merchandise to the inhabitants of Leh, or the road workers who take time every year to repair the road – not forgetting the seemingly endless landscape of beautiful highlands and snow-covered peaks.

What does daily life for the nomads in the settlements along the way look like? How do they live?

Nomads don’t live in fixed settlements but rather in yurt-style tents.

They breed goats, sheep and yaks; they produce milk and butter, furs and Kashmir wool. Nomads sell their products in Leh or barter for things they can’t produce themselves.

Two or three times a year they move to new pastures and areas more protected from the wind.

You spent some time with the nomads. How does their daily life differ from ours in the industrialized countries of the west?

A typical day begins at 5 in the morning. It’s still very cold at that hour, so the fire in the yurt needs to be re-lit.

After drinking some tea, they head out to the animals that spent the night in pens built of stone to protect them against predators. The animals are milked and then led out to the meadows to graze. This work is done by the men who spend the whole day guiding their herds from one meadow to another. Because of the meagre vegetation, the areas covered are enormous. The women, on the other hand, take care of the home and the children.

Some of them spin wool and crochet clothes – mostly for their own use.

At the end of the highway, Leh lies isolated in the western part of the Himalayas. What impression did you get from the city and its inhabitants?

The inhabitants are made up of Indian and Tibetan ethnic groups, where Hindus, Buddhists and Muslims live together in close proximity. The city of Leh is in a state of transformation: on the one hand, Indian people bring in western cultural goods, while Ladakhis hold on to their traditions.

In addition, Leh is becoming increasingly touristy and is slowly losing its old charm. But it can still be found in the old city centre. →

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What role does Tibetan culture play in Leh and Ladakh?

Many children and families come to Leh as refugees fleeing from occupied Tibet, so Tibetan culture is much in evidence. Despite the strong growth the city is experiencing, many inhabitants still live in tune with their animals and with the seasons. The locals have a deep faith and celebrate centuries-old rites and customs – and yet, I experienced them as being open to new influences.

How did those you portrayed react when you told them about your intentions? Were there any difficulties in communication?

The first time I visited the nomads at Tso Kar (White Lake), there was a lot of incredulity and I had to answer many questions. I explained that I wanted to take photographs and that they would be part of my story. I think they understood what I was getting at – but it was unclear to them why I would want all the stress involved.

What’s more, only one of the nomads spoke a bit of English, and had to translate for all those present, who accosted me with all kinds of questions. It was different with the lorry drivers, because they spoke very good English, which made communication easier. Even so, I was dependent on the locals for help with the language.

In many cases, however, a glance or a gesture was enough.

What photographic challenges did you have to rise to on the journey?

There were no photographic hurdles.

I had kept my equipment small: I was only carrying a Leica M240, a 35mm lens, a tripod and lots of batteries in my pack. The hurdles arose more as a result of my physical condition and my stamina. It was often as cold as minus 21 degrees Celsius. On top of that there were snow storms, frozen passes and constant changes in the weather.

In addition, I had two small acci-

dents with the motorbike, and once I was unable to go any further because the road was frozen over.

Was there anything you were simply unable to photograph?

Ladakh is very large and there’s a lot to see. In fact, you could spend years there taking pictures! Some intentions fail at the level of administrative rulings; for example, I wanted to photograph the tunnel at Roh Tang Pass, but I didn’t get the necessary permission to do so. The same applied for any of the military installations in the area. There are a considerable number of them because the crisis region of Ladakh is of great strategic significance for both China and India.

In some of your pictures it looks as though time has stood still…

The truth is that things are at anything but a standstill. The whole region is in a serious state of transformation: tunnels are being built, roads are being sealed, there’s an airport in Leh, and the town is growing at high speed. The market in Leh has been rebuilt and an increasing number of western-style businesses are opening. But the city’s traditional neighbourhoods gradually disappear. In fact, it is only the extreme weather conditions that put a brake on even faster development.

Has the project motivated you to look at similar subjects or to travel to similar places?

Absolutely. I was particularly touched by the lives of the nomads. I was able to experience their lifestyle; how it is being changed by the new climate, and by the pressure to make a profit. Less snow in winter means less water in summer. The coveted Kashmir wool is produced by the nomads, but this means herds are getting bigger and bigger and grazing over increasingly large areas. These then turn into deserts because not much can grow. That brought me to my new story, which will report on desertification worldwide. One part will deal in-depth with the lives of the nomads from Ladakh.

Interview: Danilo Rössger

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Th o m a s K e y d e l The photographer’s pictures reflect his experiences when travelling in India, Borneo, Israel and the United States.

In fact, it was travelling that led Keydel to photography, and he studied photojournalism in Hanover from 2011 to 2017. To date, his pictures have been published in magazines such as Der Spiegel, Vino and Go. Keydel works as a free-lance photographer in Frankfurt am Main.

Th omas key de l.com LFI-On lin e .DE /Blog: Audiovisual impressions from Ladakh

Equipment: Leica M240

with Summicron-M 35mm f/2

f/ s top – L e i ca M 1 0 - p Sa fa r i – M - l e n s e s – L e i ca auc t i o n –

Th e M 1 0 - P “ E d i t i o n Safari”: Especially resilie n t b o dy, S tat e - o f th e-a rt t e chn o lo gy, a n d a cohesive design

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t h e sa fa r i lo o k M 1 0 - P & S u m m i c r o n 5 0 f/ 2 “ S a fa r i ”

The original concept of Leica’s olive-finish M models was conceived some fifty years ago, initially with military institutions in mind. Now Leica have chosen the term ‘Safari’, with its more appealing connotations, to describe their latest M10-P variant and matching 50mm Summicron.

Whenever a new model of the Leica M is introduced to the market, it tends to mark the start of a gradually expanding family. One such example is the Leica M10, which was first launched in January 2017; in August 2018, a ‘professional’ version of the camera – the M10-P – was added to the catalogue (LFI 7/2018, p.

86); just two months later, this was followed by the display-less M10-D (LFI 8/2018, p. 78). The course of these expansions does not adhere to any discernible pattern – for example, there is no way of predicting whether there will ever be an M10 Monochrom, or if the next Monochrom model will instead be based on a future incarnation of the M. We can only look to the present, which currently revolves around the latest 90 |

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member of the M10 family: the M10-P “Edition Safari”.

Traditionally, Leica’s olive green models have always occupied a special status in the company’s product catalogue: they tend to be released neither in special editions that are strictly limited (such as the Leica M10 ‘Edition Zagato’), nor as standard serial models with a more or less openended production run.

M o du la r fl exi bi li t y.

In his volume Leica Chronicle, Leica expert Erwin Puts writes: “The Leica M body has a very modular design: transport lever, rewind mechanism, top cover, bottom cover, rangefinder magnification and selection of frame lines, body covering can be changed and mixed at will. It is not surprising that the regular camera

bodies have been offered with a bewildering range of options, the black chrome and silver chrome versions included. Black paint and titanium versions are also common, where the titanium is not pointing to the material, but to a titanium layer that is attached to the standard metal parts.

Leitz and later Leica has always been keen on using special events and special serial numbers to commemorate significant anniversaries and jubilees with out-of-the-box cameras in limited batches.”

Lon g h eri tag e. Cameras with an olive green finish have a long tradition in the history of Leitz and Leica.

The first Leica models to be treated with this colour were produced for military institutions in the late

1950s, and bore the simple suffix ‘Olive’: the M3 Olive (believed to have been produced from 1957 to 1968), the M1 Olive (1960) and the M4 Olive (1970). The term ‘Safari’ seems to have been introduced in 1977 with the release of the R3 Safari, accompanied by Safari R lenses in a corresponding finish. The first-ever Safari M was a M6 TTL variant launched in 2000. In 2008, it was followed by the first digital Safari model – an M8.2 manufactured in an edition of 500; Leica’s most recent Safari camera, up until now, was the Leica M-P (Typ 240) produced in 2015 in a run of 1500 units. t h e M 1 0 - P “E d i ti on Sa fa ri ” . Leica’s olive-fin-

ish camera models quickly established a reputation for being particularly →

The M10-P “Edition Safari” and the Summicron-M 50 f/2 “Safari” are sold separately, rather than in the form of a set. Leica are planning to manufacture 1500 units of the camera, and 500 units of the lens. The exceptionally hard-wearing, baked-on enamel paint creates a robust and unified exterior

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hard-wearing and resilient in extreme conditions. This continues to be true for the Leica M10-P “Edition Safari”: the particularly tough, Berluran bakedenamel finish protects the camera from the elements, is scratch and fingerprint resistant, as well as resistant to abrasion, chemical sub-

The technical specifications of the Summicron 50 f/2 are identical to its serially produced counterpart. The engravings are white, with the exception of the red-inlaid feet scale and focal length engraving

“America’s Premier Leica Specialist”

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stances and UV-light. Aside from its exterior finish and trim, however, the camera is identical to the serial model – this also applies to the omission of the eyecatching, red Leica dot. In the same vein, both camera models share the exact same technical and optical specifications. These include

the extremely quiet shutter as well as the touchscreen display, which provides several additional features: for one, the position of the focus magnifier in Live View mode can be set anywhere in the composition with the touch of a finger – perfect for fine-tuning the selective focus beyond the center of the frame, especially during tripod shots. The touchscreen also allows for the spot metering circle to be placed wherever required with a simple tap, if this is the metering mode that has been selected. This is particularly convenient not only when working with a tripod, but anytime you are shooting a scene with a high dynamic range – allowing the photographer to deter-

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mine the correct exposure on the basis of a specific spot, rather than the average brightness levels of the entire image. t he Su mmi c ron - M 5 0 f2 “Sa fa r i ” . The Safari-

finish M10-P is accompanied by the matching Summicron-M 50 f/2 “Safari”, whose lens body features the same resilient enamel paint as the camera. However, all technical and optical specifications remain the same as those of its regular-production counterpart.

The digits on the lens barrel have been inlaid in white, with the exception of the focal length engraving and the feet scale, both of which are engraved in red. While the camera is set to be

Th e M 1 0 - P “E di t i on Sa fa r i ” a n d the SummicronM 5 0 f/2 “Sa fa r i ” com b i n e a n exc e p t i o n a l ly robust exterior w i t h a u n i f i ed, a e st h et i ca l ly pleasing design.

produced in a run of 1500, Leica are planning to release just 500 units of the Safari lens. This will undoubtedly turn Leica’s very first Safarifinish lens into a coveted collector’s item – even more so when considering that its potential customer base also includes anyone who already has a previous Safaristylecamera with M bayonet mount. In addition to their collector’s appeal, both the M10-P “Edition Safari” and the Summicron-M 50 f/2 “Safari” – which will be sold separately, rather than as a set – will also interest any photographer looking for an outstanding working tool whose tough exterior comes in the form of a harmonious, beautifully balanced design. bernd luxa

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Va r i at i o n s O n A Th e m e M lenses

Three M lenses were added to Leica’s product portfolio at the start of 2019. Rather than technological innovations, they are exterior design variants and special-edition models of existing, even iconic, M lenses.

At the beginning of this year, Leica introduced three new variants of existing M lenses. Though very different from each other, they are all re-interpretations of remarkable Leica lenses. The most straightforward adaptation is the Summilux-M 28 f/1.4 Asph, which has been given a silver exterior, having previously only been available in the customary black finish. The exact reverse is true for the Summaron-M 28 f/5.6. Up until now, the reedition of this vintage lens (originally made for threadmount Leicas) was only available in silver – now Leica have also added a blacklacquered model to their product range. The greatest transformation, however, was applied to the optically near-perfect Apo-Summicron-M 50 f/2 Asph in94 |

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troduced in 2012, whose modern exterior has been re-designed to resemble a classic vintage look.

Su mmi lux- M 28 f/1 .4 asp h. The Summilux-M 28

f/1.4 is a modern lens distinguished by an exceedingly high light sensitivity for its focal length – which opens up the possibility of working with shallow depths of field in the areas of wide-angle and reportage photography.

Introduced in 2015, it lives up to the strictest quality standards without displaying any discernible weaknesses. Given that its 28mm focal length corresponds to the angle of view applied in most smartphone cameras, this high-end model also serves as a reminder of the imaging results that can be achieved if sharpness and blur are created naturally –

in other words, by physical optics. As is customary, Leica initially launched a black version of the lens, which will remain in the product catalogue alongside the new, silver-anodised variant with engravings in black and red.

Summaron-M 28 f/5.6.

The black Summaron-M 28 f/5.6, whose silver version has been on the market since 2016, is in a league of its own. This re-edition of a classic lens for threadmount Leicas (now equipped with an M bayonet mount) features the same optical design as its historical ancestor – leading to a uniquely characterful style of rendition. The visible vignetting spanning approximately two-and-a-half stops – a trait that would be unthinkable by today’s optical

engineering standards – along with the slight blooming on high-contrast edges, result in a unique look usually associated with analogue pictures of the past.

This is achieved through the absence of aspherical surfaces and a simple construction, whereby six elements in four groups are arranged symmetrically around the iris.

Perhaps even more remarkable, however, are its extremely small dimensions: never has the term ‘pancake lens’ been more appropriate than in the case of the genuinely pocketsized Summaron, which almost seems to disappear when mounted to a camera body. Given that it has, so far, only been available in a silver version, owners of black cameras have been slightly missing out on →

The Summilux-M 28 f/1.4 is now also available in silver. Its technical specifications remain unchanged – combining the classic focal length for wide-angle and reportage photography with high speed and the creative possibilities of a shallow depth of field

With its intermittent knurling and finger indents, the special-edition ApoSummicron-M 50 f/2 Asph could almost be mistaken for a historical lens from the 1950s. Beneath the vintagestyle exterior, however, lies possibly the most perfect M-lens of all time

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the potential discretion offered by this classic reportage lens. With the new, blackfinish model, Leica are providing a perhaps more inconspicuous option for those working with a black camera body. The matteblack lacquer is the same paint used for the Leica Q-P (LFI 8/2018, p. 74); designed to be especially resilient, it makes the black Summaron even more robust than its silver-finish counterpart.

Apo-Su m m i cron 5 0 f/2 Asp h . This variant is based A silver version of the diminutive Summaron-M 28 f/5.6 has been on the market for some time – now it will be complemented by an even more discreet, black-finish variant.

Strong vignetting and blooming on contrast edges imbue the images with an appealing vintage character

on a particularly special model in the M’s lens portfolio: the Apo-Summicron-M 50 f/2 Asph arose from the desire to achieve flawless lens performance without the application of extreme light sensitivities and superlative spec-sheet parameters.

The outcome is more than impressive: the Apo-Summicron delivers a level of image quality that comes closer to perfection than any other Leica lens; optical weaknesses are simply non-existent. Essentially, the ApoSummicron-M is a modern classic whose place in Leica history is without doubt already assured. Now it is

complemented by a special edition variant, which resembles the sold-out anniversary edition designed for the Historical Society of America (LHSA). However, instead of being aimed at an exclusive clientèle, this variant is available to everyone.

The most noticeable feature of the new, black chrome version is the intermittent knurling on the focus ring – a design trait often found on Leica lenses of the 1950s and 60s. The result is a perfect combination of state-of-theart optical calculations and a striking, remarkably genuine-looking retro design – paying tribute to an era when the success of the M system was significantly shaped by the ability of standard lenses to emulate the perspective of the human eye. While the classic knurling on the focus ring may initially seem a little bulky, it turns out to be very beneficial in ensuring a good grip. As well as being a pure joy to use, the Apo-Summicron-M will undoubtedly appeal to collectors – although we feel that all three of Leica’s new M len-ses are far too good to be confined to the display case. holger sparr

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Th e ‘ P e r s i l E f f e c t ’ LFI — 50 years ago

Da r k r o o m s e c r e t s : H ow to tone down brilliant white s in yo u r p h oto g ra p h s

Shading and burning-in is the second important thing in enlarging. As in conjuring, it calls for a certain dexterity, but this can readily be acquired with practice. Shading and burning-in give strength and relief to the picture, by emphasizing important features and suppressing the unimportant. How much shading or burning-in to give is a matter of experience. It must not, however, be apparent from the finished print that these controls have been used.

An enlargement should appear satisfyingly complete, with concentrated interest. If, for example white, or light toned features ‘run out’ of the picture they will be very distracting where ever this may occur.

I always have the feeling that there is something outside the picture which I ought to be seeing. Consequently, I always darken the edges of the print somewhat by burning-in, especially in the sky, at water surfaces, or with light closing. One more practical problem where burning-in may be required: in portraits of men where the sitter is wearing a white shirt. As the result of the use of modern detergents the white collar comes out so dense in the negative, that in the enlargement it remains glaring white. This is very distracting in the print. I overcome this by burning-in, using a card with a whole in it, until the ‘Persil-white’ becomes somewhat subdued.

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Going once, going twice 3 3 r d W e st L i c h t P h oto g ra p h i c a Au c t i o n

On 24 November 2018, the 33rd WestLicht Photographica Auction was held in Vienna. At the opening, Matthias Harsch, CEO of Leica Camera AG, and Alexander Sedlak, Managing Director of Leica Camera Austria, announced that the next auction – scheduled for June 2019 – will take place at the Leitz Park premises in Wetzlar, under the new name of ‘Leitz Photographica Auction’. The event will continue to be organised by the same, highly experienced team.

A total of 555 rarities from the world of photography were offered at this last auction: cameras, prototypes, obscure inventions and lenses by manufacturers such as Leica, Zeiss, Voigtländer, Nikon, Eastman Kodak, and many more. Once again, Leica products 98 |

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Alexander Sedlak, Managing Director of Leica Camera Austria, and Leica’s CEO, Matthias Harsch, announced that the WestLicht Photographica Auction is to be renamed Leitz Photographica Auction (see interview starting on page 100)

ranked among the most high-achieving lots: seven of the ten most expensive items sold were cameras and lenses made by Leica.

The highest bid of the day was attained by one of Leica's rarest cameras: a black-paint Leica MP, produced in a run of just 141 units – most of which were bought by professional photographers. The auctioned model (serial no. MP-47) was delivered to French photojournalist Gérard Bois in New York in 1957, and stayed in his possession for over 50 years. Now the camera, complete with an equally rare, black-lacquered Summicron-M 50mm f/2 (#1468967), was auctioned for 156 000 euros (all prices incl. premium).

Other highlights included a rare, very early Anastigmat export version of the Leica

IA from 1925 (serial no.

207) whose hammer price of 120 000 euros far exceeded its presale estimate of 60 000 to 80 000 euros; furthermore, a black-paint Leica M2 from 1965 with a Summilux-M 35mm f/1.4 sold for 72 000 euros; it had originally belonged to the American photojournalist Sean Flynn (son of Hollywood legend Errol Flynn), who went missing in Cambodia in 1970. Another remarkable item was a blackpaint Leica M9-P from 2012 with a Summilux-M 35mm f/1.4 previously owned by Magnum photographer Ian Berry, who personally attended the auction. The camera, which is engraved with the photographer’s name, went to a new owner for 18 000 euros.

Among the most expensive lenses was a →

Portrait: Michael Lebek

The 33rd WestLicht Photographica Auction recently took place in Vienna – where it was also announced to be the last. However, this is not so much an ending as a transition: in June 2019, it will relaunch in Wetzlar as the Leitz Photographica Auction.

Highlight of the 33rd WestLicht Camera Auction: an Anastigmat export version of the Leica IA from 1925 with the serial no. 207

This Leica IIID (serial no. 360002) is one of just 427 units ever produced of this wartime model (1940 to 1945); it sold for 31 200 euros

The formerly black-lacquered MP of the French photojournalist Gérard Bois went to a new owner for 156 000 euros

The M2 of war reporter Sean Flynn, son of Hollywood legend Errol Flynn, who went missing in Cambodia in 1970

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The world’s most expensive cameras: in May 2012, camera no. 116 of the famous Leica 0 series was auctioned at WestLicht for 2.14 million euros (top); in March 2018, camera no. 122 sold for 2.4 million

with the engraving ‘LeitzEigentum’ (Leitz property), which changed hands for 1800 euros, or a pre-serialproduction Summaron 3.5cm f/3.5 (#1107353), which was acquired by a new owner for 720 euros.

red-anodised Apo-Summicron-M 50mm f/2 produced in 2017 in a limited edition of 100, which sold for 33 600 euros; a firstgeneration Noctilux 50mm f/1.2 from the year 1967 also surpassed its presale estimate of 14 000 to 16 000 euros, reaching a final sales price of 19 200 euros. As always, the WestLicht Photographica Auction also offered attractive options for smaller budgets, such as an M3 from 1955 (#748896)

LFI: Mr. Sedlak, what is your assessment of the 33rd WestLicht Photographica Auction? Which results did you find most surprising?

Alexander Sedlak: The auction once again yielded top results for historical Leicas, yet again proving the lasting value of the brand. There was a great surprise right at the start of the auction, when the bidding for an export version of the Leica I Anastigmat rose from

A rt i s a n & A rt i s t Easy Slider

The length of the Easy Slider c a n b e e a s i ly a d j u s t e d w i t h o n e f i n g e r a n d o p t i m a l ly f i x e d f o r s p o rt y a c t i v i t i e s .

SN O W E DITI O N b y Le i c a S t o r e Nürnberg

T h e d e s i g n w o r k s pa rt i c u larly well for silver cameras w i t h b l a c k l e at h e r , monochrome cameras and, of course, white special editions, such as the Leica M8 w h i t e o r t h e L e i c a Q S n o w.

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30 000 to 120 000 euros.

It is always very exciting when the demand for a specific item is so great that bidding climbs up to several times the reserve price.

What were your expectations at the outset of the auction?

We knew that, this time, we did not have a camera with world-record potential in the catalogue. But we were, of course, once again expecting very good results. The excellent sales quota of 88 percent alone is a great affirmation of our customers’ faith in what we do. This was also the first auction to involve the Marketing and Communication department of Leica Camera AG, which was very beneficial.

What are the reasons behind Leica taking over the auction from now on?

When Leica Camera AG purchased shares of the Peter Coeln GmbH back in 2014, it was a first step towards providing their customers with a global, manufacturer-run auction platform. Since last year, the Peter Coeln company is owned 100 percent

by Leica Camera AG. Over the years, the vintage camera specialists in Vienna have built up a very profound level of expertise and an excellent reputation with regard to collectible and historical optics and photography equipment.

Going forward, Leica Camera AG intend to develop this extensive know-how even further.

lensless photography for leica M

for all cameras with leica-M mount

subjektiv pancake

Th e i n n ovat i v e, r evolu t i on a ry spirit of the Leica has r e m a i n e d unparalleled to t h i s day. Man y Leica images have b ecom e pa rt of our collective m em ory.

Can the name-change from ‘WestLicht’ to ‘Leitz’ Photographica Auction, and the relocation from Vienna to Wetzlar, both be seen as part of this strategy?

Yes, indeed; the use of this tradition-steeped and well-established name is designed to further expand the international reach of our auction. As a globally active and interconnected company, Leica Camera AG offers a great deal of potential in terms of presenting rarities and collector’s items to even wider audiences, in exciting auctions all around the world. Leitz-Park, with its on-site museum and Leitz Park Hotel, is the perfect backdrop for an auction of historical cameras. →

MEISTER CAMERA Le ica Stor e S Hamburg-be r Lin-mÜncHe n

The ColleCTor ITem of The day at meister-camera.com

Each day exclusively at meister-camera.com we offer one special collectors item covering LEICA-cameras and lenses, historical accessories, documents and curiosities. leICa STore hamBUrG / meISTer Camera

www.monochrom.com

Eppendorfer Landstraße 64, 20249 Hamburg, Germany, Phone +49 - (0)40 - 467 777-55 hamburg@meister-camera.com, meister-camera.com

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a good relationship with other auction houses – after all, we share the same passion for Leica cameras!

What is it that makes a camera auction such a special event?

There is always something exciting about attending an auction – you might end up with an amazing bargain, or the bidding might reach record highs. The entire experience can be thrilling and full of surprises. What is unique to this type of auction, however, is the enormous passion and enthusiasm of the bidders and collectors.

From the top: Summicron 2/35mm from 1959 (hammer price 22 800 euros/presale estimate 12 000 to 14 000 euros), Noctilux 1.2/50mm from 1967 (19 200/14 000 to 16 000), Summilux-M from 1988 (15 600/ 12 000 to 14 000), prototype of the Summicron 2/5cm from 1953 (10 200/3000 to 3500)

At the same time, we are not excluding the possibility of holding additional auctions in Vienna or other major cities.

With regard to the Leitz Photographica Auction, Leica will be able to draw on the extensive knowhow the team has built up over the years. How do 102 |

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you see your relationship with other auction houses, many of whom have close ties to Leica?

The fact that there are other dedicated camera auctions around the world simply motivates us to keep evolving, and to continuously improve the service we provide for our clients. We will always be keen to maintain

Why is it that so many collectors are especially drawn to Leica products?

It is the ‘Leica mythos’.

These cameras embody an innovative, revolutionary spirit that has remained unparalleled to this day.

The most legendary photographers have worked with Leicas to create their images – many of which have become icons of photography, and an inherent part of our collective memory.

Vintage Leicas emanate a sense of individuality, exclusivity and enduring value. More often than not, the most spectacular auction results tend to be achieved by Leicas.

What are the hallmarks of a well-executed auction?

A good auction relies on several factors. In essence, it requires the right configuration and range of items – a mixture of outstanding rarities that have the potential to yield some fierce bidding and spectacular outcomes, along with less expensive

lots to ensure that there is something of interest for customers across the board. The professional knowledge of the experts and, consequently, the customers’ faith in their competence, play a central role. Respectability and discretion are also paramount, given that many consignors and collectors wish to remain anonymous. And last but not least, it takes a skilled auctioneer with the ability to create excitement and maintain a good pace.

Can you give us a brief insight into the auctioneering process – how do you obtain the items that go up for sale?

Our team is constantly searching for high-end camera rarities. These can range from attic finds and chance discoveries all the way to major collections of renowned owners. Collectors are aware of the world-record prices and overall successes achieved in our previous auctions, so they often approach us with remarkable pieces.

Camera auctions must be a very specialised field – how do you know the regular consignors and bidders?

Mostly through years of client contact; you tend to see each other at special events and markets, some of which can have an almost familial atmosphere. Of course, we also engage in active customer acquisition in order to make new contacts and garner interest from collectors in our auction. text And interview: david rojkowski & inas fayed

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Leica Camera AG I Am Leitz-Park 5 I 35578 Wetzlar I GERMANY I www.leica-camera.com

b e s t o f LFI . G a l l e r y

C o o l Du d e “I was on the way to my Leica dealership in Montreal, when this scene opened up before me: the young man looked like he was posing for a professional photo shoot, but there was no camera team in sight. So I pressed the trigger, while he simply stood there and hardly moved.�

Arturo Pianzola Leica M10 with Summicron-V 35mm f/2

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Under the hood “This photo is included in my new book, which I travelled through tropical regions to complete, capturing the intimacy found in hairdressing salons. During a trip to Ethiopia, one of the local drivers took me to a remote district of Addis Ababa, where I found a most fascinating salon.”

Laurent Muschel Leica M240 with Summilux-M 35mm f/1.4 Asph

U lt r a Mu s i c F e s t i va l “Every year, the Ultra Music Festival draws tens of thousands of visitors to Miami, Florida. I walked around the festival complex with my Leica CL looking for interesting motifs. Because of the expressions on the faces of these two ladies, this picture ended up being one of my favourites.”

Charles Gandji Leica CL with Vario Elmar-T 18-56mm f/3.5-5.6

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Wearing Pu r p l e “These shoes caught my attention one time when I found myself in an overcrowded train station in Estorilon at the Portuguese Riviera. I got into conversation with the wearer and joked that I would also really like those shoes – as a result of which the lady agreed to being photographed.”

Reza Hosseini Leica M9-P with Summilux-M 50mm f/1.4

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Fa s h i o n without Glamour “I took this picture during the Milan Fashion Week. It is part of my Fashion in Street reportage project, which aims to take the focus away from typical glamour shots. What I am trying to reveal is the hidden 90 percent of the iceberg we know of as the ‘fashion industry’.”

Giuseppe Pons Leica M10 with Summicron-M 28mm f/2 Asph

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Wa l k i n g S i l h o uE t t e

R e c yc l e d Fa s h i o n

“I took this picture in the lobby of a hotel in Singapore, and I took it following the principles of street photography: while keeping an eye on the beautiful, geometric background, I waited for the perfect moment to come along.”

“This photo has sentimental value for me, because it is one of the last pictures I took in Los Angeles before moving to Japan. The ‘clothing’ in the picture is actually packing material of the kind used when shipping items made of glass.”

Vadim Krisyan Leica M Monochrom with Summilux-M 35mm f/1.4

John Lou Miles Leica SL with Vario-ElmaritSL 24-90mm f/2.8-4 Asph

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Back in the 30s “This picture was taken in Sydney during a commercial photo shoot.

The dress this woman was wearing caught my attention. It looked liked it was from the thirties or forties, and it suited the setting of this old train station perfectly.�

Haoming Wang Leica M Monochrom with Noctilux-M 50mm f/0.95 Asph

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p h oto – b o o k s – E x h i b i t i o n s – f e s t i va l s – Awa r d s –

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The first Leica Gallery in Taiwan opened its doors on 25 January, 2019.

A traditional house has been converted into the ‘House of Leica’, creating a venue for the gallery, a sales area, a multipurpose space, a customer care center and a VIP room.

The first exhibition to be hosted there since the grand opening is dedicated to the French Magnum photographer Patrick Zachmann, who has been traveling the world for over 40 years equipped with a number of different Leicas, working on longterm projects portraying religious, ethnic

and social groups. This has included ten years dealing with his Jewish identity, over 30 years with the Chinese people, and currently with refugees. The Taipei exhibition is mostly made up of pictures from China, Hong Kong and Taiwan, which have been taken from a number of phases: on the one hand, classic filmset portraits resulting from an assignment in 1982; on the other hand, the Tiananmen Square protests in 1989, and contemporary China from the Chinese Nights colour series. Zachmann has also given intensive attention to the Chinese diaspora in different parts

of the world. In 1995 he published the book W. or the Eye of a Long Nose, a humorous title referencing his own perspective, that is now also being used for the exhibition.

For the future, the gallery plans to host three to four exhibitions a year.

In addition, there will be monthly events with international and regional photographers, as well as Leica Akademie workshops.

25 January 2019— 31 March 2019, Leica Gallery Taipei, Songren Road, 28, 110 Taipei City, Taiwan

Pat r i ck Z Ach m a n n : t h e e y e o f a l o n g n o s e

Photos: © Patrick Zachmann/Magnum Photos

L e i c a G A l l e r y Ta i p e i

Works from Patrick Zachmann’s 30-year interaction with China are on display at the Leica Gallery Taipei. These include pieces from his So long, China, Chinese Nights and W. or the Eye of a Long Nose series about the Chinese diaspora all over the world

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Beginning 1 March 2019, the new Leica Gallery London is hosting a group exhibition of illustrious British photographers, who have had a defining influence on fashion photography from the sixties to the eighties among other things. The fact that their work also evolved during this period is evident in the exhibited pictures taken

by Terence Donovan, Brian Duffy, Terry O’Neil and John Swannell. From the monochrome, rather graphic beginnings to the glamorous and colourful staged works, the images reflect the London zeitgeist of that era.

The photographers presented in True Glamour/True Grit changed the look of magazine and newspaper covers forever, giving them an element of fearlessness. Some of them, such as Brian Duffy and Terence Donovan, became successful later on in advertising. Together, these photographers make up an important group of artists who have joined the annals of British history – opening up the way to what were probably the most creative decades in fashion photography, and producing pictures that have lost none of their appeal even today.

The Leica Gallery on Duke Street, is putting its emphasis on the presentation and sales of works by new talent, as well as timeless icons of Leica photography. In this manner, it is taking over an important function. The next exhibition is already planned: during Photo London in May, rare works and vintage prints from the sixties

by Leica legend Ralph Gibson, who turned 80 this year, will be on display and available for purchase.

1 March 2019 — 26 April 2019, Leica Gallery London, 64-66 Duke Street W1K 6JD, London

True Glamour / True Grit

Clockwise from the left: Brian Duffy, Paulene Stone Colour Gels #3, Town Magazine 1963; John Swannell, Barbara 9, British Vogue 1970; Brian Duffy, White Coat, Elle 1975; Brian Duffy, Girls with Alphasud Car, Henley On Thames 1974; Brian Duffy, Guinness Factory, Dublin 1962

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Photos: © John Swannell; © Brian Duffy

L e i c a GA l l e ry Lo n d o n

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Arenberg Castle

Nu r e m b e r g

Josef Pausch: Sichtbares und Unsichtbares

Michael Fackelmann: Don’t Stop the Dance

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Porto

Thomas Hoepker: Wanderlust

Robert Nil Reed: Code of Silence

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AUT | 5020 Salzburg, Arenbergstr. 10 17 November 2018 — May 2019

THA | 10330 Bangkok, 2nd Floor Gaysorn Village, 999 Ploenchit Road 12 December 2018 — 25 March 2019

POR | 4000-427 Porto, Rua d. Sá da Bandeira, 48/52 12 January — 30 March 2019 P r agu e

Stella Johnson: ZOI

Kata Sedlak

Sa l z b u r g

Holger Sà: Eintracht Frankfurt – Eine neue Ära

Emanuele Scorcelletti: Das Glück der Erde …

i s ta n b u l

Bruno Barbey

TUR | 34381 Şişli/İstanbul, Bomontiada – Merkez, A Birahane Sk. No:1 6 March — 15 May 2019 Kyoto

Herbie Yamaguchi: Atlas of the Time

JPN | Kyoto, 570–120 Gionmachi Minamigawa, Higashiyama-ku 23 February — 23 May 2019 Los Angeles

Michael Muller: An Odyssey

USA | West Hollywood, CA 90048, 8783 Bever­ly Boulevard 28 February — 8 April 2019 ME l b o u r n e

Manfred Baumann: The Collection

AUS | Melbourne, VIC 3000, Level 1 St Collins Lane, 260 Collins Street 7 February — 1 May 2019 Milan

Current exhibition unknown at time of publication

ITA | 20121 Milan, Via Mengoni 4 NR W

Lars Beusker: Maasai Land

GER | 59302 Oelde-Stromberg, Mies-van-der-Rohe-Weg 1 6 October 2018 — 30 March 2019

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TCH | 110 00 Prague 1, Školská 28 8 March — 21 April 2019

Frankfurt

GER | 60311 Frankfurt am Main, Großer Hirschgraben 15 7 February — 16 March 2019

PAGES · 9,90

GER | 90403 Nuremberg, O. Wörthstr. 8 16 March — 27 April 2019

Boston USA | Boston, MA 02116, 74 Arlington St. 7 March — 21 April 2019

PHOTOGRAPHERS

AUT | 5020 Salzburg, Gaisbergstr. 12 1 February — 6 April 2019 S ã o Pau l o

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Current exhibition unknown at time of publication BRA | 01240–000 São Paulo, Rua Maranhão, 600 Higienópolis

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Thomas Hoepker: Wanderlust

SIN | Singapur, Raffles Hotel Arcade, #01-20/21, 328 North Bridge Road,188719 7 December 2018 — 5 March 2019

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Leslie Kee: Bookish

JPN | Tokyo, 6-4-1 Ginza, Chuo-ku 7 February — 14 May 2019

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Sonia Szóstak: Fortune Teller Told Me

POL | 00–496 Warsaw, Mysia 3 16 February — 31 March 2019 Wetzlar

Leica Oscar Barnack Award 2018 – Winners and Finalists

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GER | 35578 Wetzlar, Am Leitz-Park 5 27 February — 5 May 2019 Vienna

Peter Hetzmannseder: Donaukanal

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Lars Borges: Imperial County

PHOTOGRAPHY BY

Enrique Badulescu Joachim Baldauf Brix & Maas Bil Brown Arved Colvin-Smith Anna Daki Rui Faria Christian Geisselmann Esther Haase Marie Hochhaus Benjamin Kaufmann James Meakin Monica Menez Hector Perez Elizaveta Porodina René & Radka Christian Rinke Tristan Rösler Takahito Sasaki SPECIAL

AUT | 1010 Vienna, Walfischgasse 1 24 January — 26 March 2019 Zingst

CUTTING-EDGE

GUEST

Ellen von Unwerth

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GER | 18374 Zingst, Am Bahnhof 1 16 February — 30 April 2019

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LFI-ONLINE.COM/SHOP

F u n d a c i ó n MA P FRE , Barcelona

In 1918 Abbott moved to Greenwich Village, a bohemian district made up of avantgarde artists. New York came to life in front of her lens. The Portraits of Modernity exhibition speaks of the beauty and upheaval of a city – and of the idea of modernity itself.

E rw i n O l a f

19 February — 19 May 2019 Photo: Berenice Abbott: A Bouncing Ball in Diminishing Arcs, 1958–1961

G e m e e n t e m u s e u m , T h e H ag u e

His photographs resemble scenarios from David Lynch movies. The ambiance he creates, often reminiscent of the sixties, give the impression everything is about appearances. A perfect backdrop of light, colour, wallpaper, clothing and attitude. Behind the precise, uncomplicated accoutrements things are cooking. “What I want to show most of all is a perfect world with a crack in it. I want to make the picture seductive enough to draw people into the narrative, and then deal the blow.”

This is how Dutch photographer, Erwin Olaf, once explained his work. Consequently, each of his pictures is the beginning of a story the viewer can expand upon: a turbulent love story, a horror scenario, a spy thriller.

On the occasion of his sixtieth birthday this year, the Gemeentemuseum in The Hague is dedicating a retrospective to Olaf. On display is a triptych – a conglomerate of his three series Berlin (2012), Shanghai (2017) and Palm Springs (2018). All three focus on the transformation of cities. What does a change of power mean for democracy? What happens to the individual in a mega-metropolis? How is America dealing with climate change? The photographer finds inspiration for his pictures in current political debates and societal issues: religious abuse, discrimination, teenage pregnancies, polarisation. Olaf often depicts the unspoken, the overlooked. With his razor sharp and aesthetic style, he initially tries to shroud the content and confuse the viewer. However, his pictures never lose any of their dramatic or emotional impact.

16 Feb. — 12 May 2019; Photo: Erwin Olaf: Hope, The Hallway 2005

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Lu i g i G h i r r i J e u d e Pa u m e , Pa r i s

The licensed land surveyor began taking photos in the seventies: the streets of his hometown of Modena, changes to the landscape and the lives of the people there. The exhibition The Map and the Territory presents his perspective on simple things and on life in the provinces, to the world beyond Italy.

12 February — 2 June 2019 Photo: Luigi Ghirri: Salzburg 1977

Yo u r M i r r o r IC P, N e w Yo r k

What do I look like in front of the camera? The exhibition Your Mirror – Portraits from the ICP Collection explores this question, bringing together studio portraits, snapshots and documentary photographs.

“We live in a hyper-photographic culture, where we are creating (…) images of ourselves and others at a rapid pace,” says Erin Barnett, ICP’s Director of Exhibitions and Collections. “With Your Mirror, which explores the historic context of portraiture,

we aim to gain understanding of the ways in which people made (…) decisions about how they were presented for the camera and to society.”

8 Feb. — 28 April 2019; Photo: Sheng Qi, Memories (Me), 2000; Marc Riboud, Anti-Vietnam war demonstration, Washington, October 21, 1967

Photos: © Erwin Olaf, courtesy Hamiltons Gallery, London/Edwynn Houk Gallery, New York; Berenice Abbott Collection, MIT Museum, donated by Ronald and Carol Kurtz; © Getty Images/Berenice Abbott, private collection, courtesy Matthew Marks Gallery; © Succession Luigi Ghirri; © Shen Qi/International Center of Photography, purchased with funds provided by Anne and Joel Ehrenkranz, 2004 (7.2004); © Marc Riboud/Magnum Photos, International Center of Photoagraphy (11.1975); © Martin Parr/Magnum Photos

BERENI C E A BBOTT

Ma rt i n Pa r r N at i o n a l P o r t r a i t G a l l e r y, L o n d o n

Referring to his exhibition at the National Portrait Gallery in London, Martin Parr says, “I am very excited to have the opportunity to show my work at such a prestigious gallery.

One of the main themes will be British identity and given that March 2019 is when we’re supposedly leaving the European Union, the timing couldn’t be better.” Great Britain during Brexit – this subject is the focus of a section of the show. On display are some of Parr’s latest works documenting the social climate following the EU referendum. Only Human speaks of people and their quirks, uncovers rituals, customs and ceremonies of British life, and explores the national identity today. Parr parades so-called Britishness in front of our eyes – in colourful images and with his typically dry observations. Whether tennis, races or outings to the beach – daily life in the country remains eccentric. For the first time a selection of portraits will be presented, including shots of Vivienne Westwood, Paul Smith and Pelé. Another highlight is the many pictures of Parr himself: for more than thirty years, he has been captured all over the world.

7 March — 27 May 2019; Photos: Martin Parr: The Perry Family, London, England, 2012 (above); Durban July races, South Africa 2005; Vivienne Westwood, London, England 2012; Magdalene Ball, Cambridge, England 2015; Harbhajan Singh, Willenhall Market, Walsall, the Black Country, England 2011 (from the left)

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J OS H UA D U DLEY G REER

A quest in thirty journeys: From May 2011 to October 2017, the American photographer Joshua Dudley Greer (born 1980) explored one of the hallmarks of United State’s culture – the road trip. The resulting images, captured almost arbitrarily along the way, form an evocative narrative of his experiences. Most of us associate American landscapes with the archetypes we know from history, literature and, particularly, film: vast expanses, exuding a sense of freedom and adventure. In the light of this, Greer’s images are somewhat sobering.

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Instead of presenting us with magnificent scenes of sunsets and endless blue skies, the photographer focuses on ordinary, often run-down places such as urban thoroughfares, bleak fringe areas or deserted lanes in the middle of nowhere.

The very few people depicted in his photographs give an impression of being stranded, rather than in transit – for example, the family he photographed in Barstow, California (top).

And yet, Greer’s images hold an irresistible fascination. The United States are interconnected by a network of

almost four million miles of road.

Like no other type of infrastructure, this promise of free movement and exploration has shaped both America’s self-image, and the physical spaces that lie in between its major cities.

Perhaps going on the road is the only way to truly understand America: this project, which was made possible by a Kickstarter campaign, certainly offers a surprisingly diverse kaleidoscope of impressions.

144 pages, 62 pictures, English, 34 × 27 cm, Kehrer Publishing

Photos: Joshua Dudley Greer

somewhere along the line

A l e xa Vach o n Rise

La i a A b r i l

Photos: © Laia Abril; © Alexa Vachon; © Vivian Maier: John Maloof und Howard Greenberg/courtesy Schirmer/Mosel; © Annie Leibovitz

On abortion

It is far from an easy subject, but the Spanish artist and photographer Laia Abril (born 1986) has broached it in a manner that is both sensitive and illuminating: working closely with the book’s designer, Ramon Pez, she has compiled images, objects and texts from a variety of sources, to convey the devastating human cost of women being denied access to legal, safe abortions. For centuries, people have used crude and extremely dangerous methods to terminate unwanted pregnancies. Today, abortion can be a safe medical procedure – however, millions of women around the world lack access to this resource, be it for financial, cultural or religious reasons. Every year, 47 000 women die as a result of botched abortions using archaic, unsafe methods. The series, which forms part of Abril’s long-term project, A History of Misogyny, raises many ethical and moral questions, and highlights the social triggers, stigmas and taboos that still surround this topic. Presented for the first time in the form of an exhibition at the Rencontres in Arles in 2016, On Abortion (And the Repercussions of Denying Access) has been honoured with the Prix de la Photo Madame Figaro, as well as the Fotopress Grant. Photographer Rob Hornstra considers the book a “splendid cohesion between text, ephemera, photography and design”. The volume now counts among the most celebrated releases of recent times, with nominations for the Kassel PhotoBook Festival and the Photo España Best Book Award.

196 pages, 114 colour and duotone pictures, English, 24.5 × 18.8 cm, Dewi Lewis Publishing

Champions without Borders is a football team for women refugees in Berlin – many of whom come from countries where being a woman playing football would be a dangerous violation of cultural taboos.

For two years the Canadian photographer, who now lives in Berlin, documented the lives of the team members both on and off the playing field.

272 p., colour and b/w, Engl./German, 17.5 × 23.5 cm, self-published

V i v i a n Ma i e r THE COLOR WORK

Following the chance discovery of her sensational body of work, the American street photographer (1926–2009) was posthumously celebrated, particularly for her black and white images of Chicago and New York. Now her colour work – shot predominantly with a Leica – is honoured in this book, featuring an introduction by Joel Meyerowitz.

240 pages, 153 colour pictures, Engl., 26.9 × 32.3 cm, Harper Design

A n n i e L e i b ov i tz T h e E a r ly Y e a r s , 1 9 7 0 – 1 9 8 3

Annie Leibovitz (born 1949) is one of the most famous American photographers of our time. Her captivating portraits of musicians, actors, athletes and politicians have become an inherent part of our collective consciousness.

In fact, according to the website Artnet, some of her images are “so iconic that many of us may have forgotten who shot them”. This new book goes back to the beginning of Leibovitz’s career, when she first discovered photography

while studying at the San Francisco Art Institute. In no time at all, she was shooting for Rolling Stone magazine – making this volume both a vivid account of her artistic evolution, and a record of an extraordinary era.

180 pages, English/German/French, 21.6 × 27 cm, Taschen

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“ Ev e ry E ra has i t s o p p o rt u n i t i e s .” i n t e rv i e w

Photos: © Nachlass Germaine Krull, Museum Folkwang Essen; © Marge Monko

In June 2018, Thomas Seelig was appointed Head of the Photographic Collection at the Folkwang Museum in Essen.

He spoke to LFI about his new role, his intentions for the future, and his perspective on the medium of photography.

The Photographic Collection was established in 1978 as an autonomous division of the Folkwang Museum. Today, it comprises some 65 000 works and ranks among Germany’s most important photography collections. Thomas Seelig recently took over as head of the photography department – succeeding Florian Ebner, who has moved to the Centre Pompidou in Paris. Seelig previously held multiple positions at the Winterthur Museum of Photography.

LFI: What are the main differences between the Winterthur Museum of Photography, and the Photography Collection at the Folkwang Museum?

THomas Seelig: One of the greatest differences is the close connection between photography and other artforms at the Folkwang Museum, whereas the Winterthur Museum is exclusively dedicated to photography.

Both institutions have their own founding history that continues to shape their respective collections,

and perhaps also their exhibition programmes. The Folkwang Museum carries on the vision of Otto Steinert, who in the early 1960s compiled a relatively broad showcase of original prints for what was then known as the Folkwang Academy. After his death in 1978, these images became the foundation for the Photographic Collection, which was successfully maintained and developed by Ute Eskildsen and, subsequently, Florian Ebner.

Every era has its opportunities, and I look forward to developing the collection on that basis.

LFI: Which elements of the collection are of particular interest to you?

Seelig: I am currently exploring the comprehensive archives and estates that make up the majority of our holdings – including, for example, the works of Germaine Krull and Aenne Biermann. My aim is to trace back the collection’s evolution from its more contemporary additions to older works, in order to study and internalise its history. Right now I am dealing with works we added recently, following the exhibition The Rebellious Image.

We were finally able to acquire →

Top: Marge Monko, WoW (Women of the World), 2018 (video, 3-D animation, 16:32 min). In her work, the Estonian artist addresses the relationship between art and design. Left: Portrait of Jean Cocteau (1929) by Germaine Krull, whose estate is in the care of the Folkwang Museum

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in a 30 square metres space, to our Reference Library, where original prints can be viewed for research purposes, all the way to major exhibitions in the Great Hall, spanning an area of almost 2000 square metres.

LFI: Does the Collection receive back-

ing from specific organisations?

Seelig: Yes, it does. The Friends of the Photographic Collection, for example, celebrates its 20th anniversary this year. There are also a number of affiliated foundations which, over the years, have supported us in realising acquisitions, grants and prizes.

LFI: What are your personal preferences

prints by photographers based in this region who, some thirty years ago, had been represented in exhibitions such as Reste des Authentischen, and whose work has had a lasting influence on me. I think it is remarkable how institutions such as the Folkwang Museum, the Folkwang University of Arts, the Ruhr Museum, as well as the ‘Alfred von Krupp von Bohlen und Halbach’ Foundation, have maintained a diverse and dynamic culture of photography in Essen throughout the past decades.

What are your plans in terms of balancing historical and contemporary approaches?

Seelig: The main focal points of our collection – the 1920s/30s, the 1950s, and the present day – put us in an ideal position to juxtapose historical and contemporary approaches. They are not in competition with one another – instead, we seek to place them in exciting stylistic dialogues. To achieve this, we utilise a variety of different methods of presentation. These range from small, experimental arrangements such as our 6 ½ Weeks format LFI:

Below: Marge Monko, Ten Past Ten 5, 2015, from the current exhibition Diamonds Against Stones. Top: Display at the showcase Project Iceworm, 2018, by Anastasia Mityukova, presented at the Folkwang Museum as part of the venue’s 6 ½ Weeks exhibition series

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LFI: Looking back, was there any specific event or experience that first sparked your interest in photography?

Seelig: I initially wanted to become a photojournalist, but soon came to realise that the chances of getting published were looking increasingly slim.

An internship at Aperture magazine in New York City pointed me towards my current path, in that I was introduced to a vast array of different artists, practices and approaches. Some of these encounters were coincidental – for example, one night I went out with my colleagues to see a talk on Postmodern Photography at the Armory.

When Dr. Stanley Burns began his lecture, it transpired that he was, in fact, an expert on Postmortem Photography.

This experience happened by accident, but doubtlessly contributed to my

Photos: © Marge Monko; © ECAL/Anastasia Mityukova

“ i t Is o ur task to consi der t he ev er- chan g i n g forms of vi sua l expre s s i on . ”

in photography? Which photographers and eras do you especially appreciate?

Seelig: As a student in the early 1990s, I dedicated myself intensely to the Pictures Generation movement that was taking place at the time. Its reflective approach to the medium of photography, the underlying rhetoric of the images, and the context in which they were created, has had a lasting impact on me. It has not only influenced many of my exhibition projects, but also continues to inform my perspective on historical and contemporary approaches, their differences and commonalities.

ongoing curiosity about a broad spectrum of visual forms of expression.

LFI: What would you consider an ideal approach to showcasing photography?

Seelig: I believe museums should make photography accessible to the public through different types of presentation. Original prints from the 19th, 20th and 21st century can be displayed in a classic exhibition format, or might equally be introduced to smaller groups of participants under the guidance of photographers, experts and researchers. In both scenarios, the primary aim is to allow for a direct relationship with the material. These encounters facilitate an immediate, sometimes almost tactile experience of the exhibits which digital displays cannot convey to quite the same degree. Having said that, the digitisation of our collections also has the potential to open up new and innovative showcasing possibilities.

Peak design everyday sling The camera bag for minimalists, with more than enough room for all kinds of system cameras, accessories and notebook.

LFI: What is your view of these new forms of presentation?

Seelig: Both in our exhibitions and with regard to our collection, it is our task to consider the ever-changing forms of visual expression favoured by photographers. As a result of digitisation, photographic works are no longer limited to one specific type of manifestation. Instead, they can be showcased – and collected – in various different forms. I see this development not as an obstacle, but as a positive challenge. In fact, our expertise may well mean that we are especially well-equipped to utilise these new possibilities as a ‘best practice’ model in the future.

Interview: ulrich rüter

Th o m as s EE l i g (b. 1964 in Cologne) is the Head of the Photographic Collection at the Folkwang Museum, Essen. In his previous position at the Winterthur Museum of Photography, Switzerland, he worked as a curator from 2003 to 2018, co-director from 2013 to 2016, and director ad interim from 2016 to 2017.

Ex h i b i t i o n: Marge Monko: Diamonds

Against Stones, 22 February to 5 May 2019; www.museum-folkwang.de

o r d e r now:

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Leica Fotografie I n t e r n at i o n a l

C l a ra Va n n ucc i my picture

After a long trip through the middle of nowhere, Vannucci reached the abandoned mining settlement of Pyramiden on Spitsbergen, where time seemed to have stood still.

71st year | Issue 2 . 2019

LFI PHOTOGR A PHIE GMBH Springeltwiete 4, 20095 Hamburg, Germany Phone: +49 / 40 / 2 26 21 12 80 Fax: +49 / 40 / 2 26 21 12 70 ISSN: 0937-3977 www.lfi-online.com, mail@lfi-online.com Editor-in-Chief Inas Fayed A rt Direction Brigitte Schaller EDITORIA L OFFICE Michael J. Hußmann, Denise Klink, Bernd Luxa, Danilo Rößger, David Rojkowski picture desk Carol Körting layout Thorsten Kirchhoff Translation, Sub-Editing Robin Appleton, Hope Caton, Anna Sauper, Osanna Vaughn CONTRIBUTORS to this issue Carla Susanne Erdmann, Katja Hübner, Ulrich Rüter, Holger Sparr, Katrin Ullmann M anagement Board Steffen Keil

Pyramiden, Spitsbergen, 2017

Media SA LES A nd M arketing Kirstin Ahrndt-Buchholz, Samira Holtorf Phone: +49 / 40 / 2 26 21 12 72 Fax: +49 / 40 / 2 26 21 12 70 E-Mail: buchholz@lfi-online.de holtorf@lfi-online.de Valid ad-rate card No. 47, 1 January 2019 REPRODUcTION: Alphabeta, Hamburg Printer: Optimal Media GmbH, Röbel/Müritz PA PER: Igepa Profimatt

I arrived in Pyramiden after a long trip by boat in the the middle of nowhere.

When I first jumped on the ground, it was soon evident that it wasn’t ground but ice under my feet. The ghost town of Pyramiden is home to just six residents who work at the only soviet-era hotel, reopened for tourists a few years ago.

The hotel was recently honoured with the visit of a special guest: a polar bear entered the building by breaking a window and subsequently played with the vodka bottles at the bar. The stunning, pristine polar landscape that surrounds it is just as fascinating as the abandoned mining town’s architecture.

Visiting Pyramiden feels like travelling back in time. Soviet culture, architecture and politics permeate the town, from the block-style housing to the bust of Lenin in Pyramiden’s main square — the world’s northernmost statue of the communist revolutionary, gazing down, his head covered in snow.

Clara Vanucci, born in Italy in 1985, studied architecture before dedicating herself to photography. In addition to working as a photographer for international publications, she teaches photography at the high-security prison in Milan.

LFI 3 / 2 0 1 9 w i l l a pp e a r o n 1 0 Ap r i l 2 0 1 9

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