LFI Magazine 5/2018 E

D 19088 F

5. 2018

J U LY

D 7,50 € NL B L 8,70 € I 8,80 € UK 6,90 £

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

Charlie Cordero

Elliott Erwitt Víctor M. Pérez Ekaterina Sevrouk Torok & Pap

An exploration on Trust

By Jess Bonham and Anna Lomax 2 |

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p o rt f o l i o l i g h t b ox

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1 0 2 | L f i . G a ll e r y

8 4 | M 1 0 Zag ato

The LFI Gallery presents over 300 000 pictures by 23 000 photographers. In this issue: freckles and happy moments in and around water

Elegant aluminium casing with fine details: Leica are introducing the first M10 special edition, the ‘Edition Zagato’ – a real object of desire

P h oto

88 | Leica C-Lux After four years, a new camera from Leica’s compact segment: the C-Lux (Typ 1546) – lifestyle at the height of technology 92 | Leica CL Ambitious and practical at the same time: the Leica CL. A report on a journey taken with the latest APS-C camera to come out of Wetzlar

112 | Books

Vera Torok and Robert Pap: from the In the Shadow of the Thaw series

1 1 4 | L e i c a G a ll e r i e s

Elliott Erwitt 6 | Leica classic

9 8 | t h e L e i c a wat c h A question of time: with the presentation of the high-class Leica watches, L 1 and L2, the six-year developmental process has been completed

“Dogs are the friendliest models,” he often jokes.

Honouring the 90th birthday of the legendary, sensitive and humorous Magnum photographer

Charlie Cordero 2 8 | S a n ta C r u z d e l I s l o t e

A Colombian island barely larger than two football fields: getting a sense for life on the most densely populated island in the world

Torok & Pap A futuristic design with elegant lightness – the M10 ‘Edition Zagato’

New publications by Stanley Kubrick, Pamela Littky, Max Pinckers, Jacqueline Hassink, and Per L-B Nilsson

4 2 | I n t h e S h a d o w o f t h e T h aw

The consequences of climate change are clearly evident in Greenland. Black and white pictures that speak for themselves, document a world that is changing

Víctor M. Pérez 5 6 | A n yo n e , a n y t i m e , A n yw h e r e

Of life in the city: in the Spanish photographer’s long-term project, everyday life appears surreal and magically familiar

The Edward Quinn exhibition at the Leica Gallery Salzburg, and an overview of the program of Leica Galleries around the world; including Jason Peterson and Ellen von Unwerth 116 | exhibitions A Beautiful Moment, Amsterdam; W. Eugene Smith, Bologna; Skin Deep, Paris; Alex Prager and Tish Murtha, London; Icons of Style, Los Angeles 1 1 8 | I n t e rv i e w Olfa Feki, curator by passion and founder of the Kerkennah#01 platform, is committed to Tunisian photography 122 | my picture At a certain moment Jesse Marlow was only seeing injuries, bandages and crutches – and decided to take one last picture for his long-term project 1 2 2 | i mp r i n t

Ekaterina Sevrouk 6 8 | l a s t PA r a d i s e

Colourful floral decorations bring stuffed animals back to life. This series is an exuberant homage with a Baroque feel and setting

Cover: Charlie Cordero, from his Santa Cruz del Islote series (2017)

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L FI M a g a z i n e

t h e l at e s t i s s u u A n e w o n l i n e d i s t r i b u t i o n c h a n n e l f o r L FI

Starting immediately, digital versions of LFI, special editions, the LOBA issues, and the M and S magazines, can be acquired through the online distribution site issuu.com. This platform offers new possibilities for online distribution and complements the LFI App, because, for the first time, you can read the digital version of LFI not only on an iPad or tablet, but also on a smartphone or computer. At the moment, the collection includes current English editions of LFI. This will be followed by older issues. The S and M magazines will also be available soon. The prices correspond to those of the LFI App, though at the moment issuu.com does not offer any reductions for LFI subscribers.

You can try out issuu.com with one of three free samples: the LFI magazine 1/2017, the M magazine No. 3 or the S magazine No. 6. Simply sign up or download the issuu App for Android or iOS. Further information available at: issuu.com/leica-fotografie-international

Contributors

“I’ve been around so long, most editors think I’m dead,” Erwitt once said. Now he is turning 90, and LFI is honouring him with a portfolio.

Erwitt’s favourite pictures are mainly the ones that bring him most joy. For this reason, the portfolio includes many pictures of dogs, because “dogs are all over the place. What’s more they’re friendly, don’t ask questions and don’t want prints. They have nothing against your intruding into their private space. And their problems are so human.”

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Charlie Cordero This story was located virtually outside Charlie Cordero’s front door.

While other photojournalists will travel to the ends of the earth, to document people living on the edges of modern civilisation, the Colombian photographer only had to take a three hour boat ride. For the photo project he took on the island of Santa Cruz del Islote, he had to gradually develop intense relationships with the locals – losing his heart to this little spot of paradise, where clocks seem to tick rather differently.

to r o k & Pa p

At one point during their stay in Greenland, Vera Torok and Robert Pap almost lost all their equipment in the depths of the Atlantic Ocean.

“We had a chance to go out fishing with some locals. The boat was really old. In the middle of the fjord it suddenly spun around and stood almost vertical. It was by a hair’s breadth that we didn’t fall into the water with the cameras, lenses, films and memory cards.” Luckily it did not happen so now you can enjoy their Greenland series on page 42.

Photos: © Rene Burri/Magnum Photos/Agentur Focus; © Federico Rios Escobar; © Gravitatephotos

E l l i ot t E rw i t t

LEICA. LEICA. DASDAS WESENTLICHE. WESENTLICHE.

LEICA CL Compact and discrete, it fits in every hand – and finds a place in every heart. cl.leica-camera.com

He is a photography legend, with an unequalled sense of humour.

Whether people or dogs, celebrities or strangers, Elliott Erwitt’s rich body of work tells simple but universal stories, direct and full of humour, sensitive and poignant. In honour of his 90th birthday, we present a selection of his favourite pictures.

L e i c A Cl a s s i C

Elliott Erwitt

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“Making people laugh is one of the highest achievements you can have.

And when you can make someone laugh and cry, alternately, as Chaplin does, now that’s the highest of all possible achievements. I don’t know that I am for it, but I recognize it as the supreme goal.” Elliot Erwitt has frequently talked in depth about his work and his intentions in the numerous books published over the last decades.

His photography books are always opulent and filled with hundreds of images. They tend to have laconic titles such as Photographs, Unseen, Personal Best, Dogs, Kolor, and the particularly heavyweight XXL. These titles express his particular and unpretentious attitude towards his own work. The photographer is a brilliant storyteller, who likes to dig deep when sharing information about his work. If we are to believe the photographer’s approach, it is all very easy, as he says, “You only need the humble ability to bring order into a motif, to compose a picture, or to recognise and reflect a certain mood. From time to time you might produce an image that says something. That’s already enough.

Of course, it also doesn’t hurt when you happen to be in the right place at the right time.” Without a doubt, he has managed that thousands of times.

Erwitt’s perspective of the world is unmistakeable.

His frequently-quoted credo behind his work is, “I am serious about not being serious”. Undoubtedly, Erwitt’s pictures enjoy this profound levity. Time and again, he manages to see the world from an unusual angle.

Even when a touch of humour is at the forefront, you can easily recognise the perfect, aesthetic and formal structure of the motifs. Yet they never appear constructed, but rather as though taken quite casually and by chance. His photographs impact the viewer on an emotional level, while also steering towards a considered and far-reaching world

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view. To capture all this in one instant and bring it together into a picture may well be the secret behind his images. They are witty in the best sense of the word; and this applies not only to the portraits of his human contemporaries, but also, as often as not, their four-legged companions.

And for sure, Erwitt has long been the most talented dog photographer of our times. The fact that he repeatedly manages to catch the attention of his four-legged contemporaries, with a short bark (page 10) or with the legendary bicycle horn that he always carries around, has often been written about. So, he not only seems to have a very special sense for the photogenic side of dogs, but also for those special moments of absurd communication between the animals and their human companions. This is something you can hardly plan for and needs the photographer’s attentive eye and trained senses. The bulldog motif (page 19) is a perfect example of this “visual contrariness every photographer dreams of,” as Erwitt says. He remembers this shot perfectly well and has described it in detail. “I had set out from my studio, just around the corner from the Upper West Side in Manhattan, to take a walk with my friend Hiroji Kubota, and I wasn’t carrying a camera. I saw the scene and asked him if I could borrow his camera. He kindly handed me his Leica, and I shot all the film he had inside.” In the last picture in the roll, all the compositional and conceptual elements are in the right place, and the absurdity of the image is further enhanced by the second dog in the left of the picture, who has the same pose as the surreal master-dog montage. The contact sheet reveals the patience of Erwitt’s methodical approach to a picture, until all the elements are aligned with one another as best as possible.

His brief comment on this: “Many pictures lead to one good one.”

Erwitt must have taken hundreds of thousands of pictures throughout his lifetime. His long career now spans more than seven decades and there are still discoveries and extensions of his work being made. →

Page 7: New York City 1975 Page 8: USA 1962 Page 9: Birmingham 1991 Pages 10/11: Paris 1989 Page 12: East Hampton, New York 1983 Page 13: Prado museum, Madrid 1995 Pages 14/15: At The Misfits film set (John Houston), with Marilyn Monroe, Clark Gable, Montgomery Clift and Eli Wallach, Reno, Nevada 1960 Pages 16/17: Península Valdés, Argentina 2001 Page 18: Macy’s Thanksgiving Day Parade, New York City 1988 Page 19: New York City 2000 Pages 20/21: Colorado 1955 Pages 22/23: Wyoming 1954 Page 25: Brighton 1956 Page 26: Huntville, Alabama 1974

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Photos: © Elliott Erwitt/Magnum Photos /Agentur Focus

E LLIOTT E RWITT was born Elio Romano Ervitz on July 26, 1928 in Paris; childhood in Milan, until the family returned to Paris in 1938; 1939 emigration to New York; moved to Los Angeles in 1941 and discovered photography; studied at the L.A. City College; worked at a photo laboratory during the Second World War. He returned to New York in 1948, where he met Edward Steichen and Robert Capa, and began working as a professional photographer.

Drafted into the army in 1951, he continued to take pictures while stationed in Germany and France.

In 1953, he became a member of the Magnum Agency, acting as its president various times (1966–1969, 1974, 1980). As of 1970, he made films and worked for television. His fourth marriage is to German film-maker and author Pia Frankenberg. Erwitt lives in New York.

mag nu m photo s.co m Bo o ks : (a selection) ELLIOTT ERWITT’S KOLOR (teNeues, Kempen 2013); DOGS (teNeues 2012); PERSONAL EXPOSURES (W. W. Norton & Company, NYC 1988); UNSEEN (teNeues 2007); PERSONAL BEST (teNeues 2006); SNAPS (Phaidon, London 2001); Personal Exposures (Norton, New York 1988)

The son of Russian Jews, was born ninety years ago in Paris, grew up in Milan, and then emigrated to the USA with his parents in 1939. Elliott Erwitt is the epitome of a world citizen who found his voice in photography, using it not only to understand the world, but to document it from his own unique perspective. He found his way to the medium very early on, and it offered him the largest degree of freedom possible. It was in Hollywood, as a mere 14 year-old, that he discovered photography when he began working at a laboratory after school. He still remembers how he had to print thousands of copies of pictures of film stars.

By the time he was 15, he was standing on his own two feet, earning his own living. His Leica camera, soon complementing his Rolleiflex, served him in good stead in this regard.

At the end of his military service, his career took off at full speed – not least thanks to his acceptance into the Magnum Agency. During the years that followed, he photographed just about everything all over the world: actors, politicians, celebrities, as well as the streets, landscapes and urban settings. In addition to commercial assignments, he always managed to find time to discover his own motifs with children, dogs and couples, appearing as recurring themes. Erwitt frequently browsed through museums, or observed his contemporaries at the beach – the pictures taken at nudist camps offered all kinds of exciting insights.

The nudity experienced and shown here is also closely related to his interest in the behaviour between the sexes: time and again he managed to come up with enlightening little psychological studies (page 13).

Erwitt never mocks people nor makes them look silly, he never discriminates: he observes and accentuates in a tone that is consistently friendly, amused and entertaining.

On the whole, he captures normal, everyday situations that are still surprising. As a result, the banal often appears particularly funny. This does not mean, however, that Erwitt’s work should be underestimated as light-

weight or trivial. Even when the photographer worked on commissioned reportages, documenting political events of the times, it was his subtle touch of humour that differentiated him from most of his colleagues.

The fact that he was a political thinker and dealt with current affairs, is clearly reflected by the numerous, iconic pictures he took during his long career as a Magnum photographer: Richard Nixon with Nikita Khrushchev, John F. Kennedy, Che Guevara and Fidel Castro. In addition, there were the casual snapshots of everyday life that reveal so much about social relationships, above all in U.S. society.

Last but not least, let us not forget his frequently pointed, photographic commentary on the relationships between men and women.

Erwitt stopped accepting professional assignments over twenty years ago, but this does not mean that he retired; on the contrary, this was when the presentation and refurbishment of his body of work – and of his personal work in particular – came into focus. Even so, he never made a distinction as to the context in which photographs were taken, describing himself as both a ‘professional photographer’ and a ‘passionate amateur photographer’. For Erwitt, it is always about “reacting to what you see.

Preferably without prejudice. You can find pictures everywhere. The point is to notice them and then to compose the image. The only thing you need to do is be aware of your surroundings and be concerned about humanity and the human comedy.” As succinct as this statement may sound, it still takes a photographic eye that is able to capture unforgettable moments, with spirit, clarity and charm.

The fact that Elliott seems to have an inexhaustible archive, suggests that we can still joyfully look forward to more wonderful and narrative images over the coming years. Hats off to the occasion of his ninetieth! ulrich rüter

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S a n ta C r uz d e l I s lot e

LeicA Q

Charlie Cordero

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Small, colourful and full of people. Space on the island of Santa Cruz del Islote, off Colombia’s Caribbean coast, is so tight there is no room even for a hospital and there is never enough water. Despite this, locals have their own very unique vibe. Photographer Charlie Cordero visited Santa Cruz to get a sense of the people’s attitude to life.

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Above: Through the generations, local inhabitants have developed their own, colourful style. Very top: Nowhere else on the Santa Cruz del Islote enjoys as much space as this improvised football field lFI

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House on house: up to 1000 people live on the island that is barely larger than two football fields.

Its density of population far surpasses those of cities like Hong Kong and Mumbai lFI

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There is no need to close any door on Santa Cruz del Islote – everyone knows each other. The lack of any police force has no consequence on the community. Conflicts are dealt with immediately and peacefully lFI

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It took some time until Cordero had gained the trust of the islanders.

Little by little constant questions turned into joint laughter

C HA r l i e C o r d e r o Born in Colombia in 1990, the photographer received his Masters in Editorial Photography and Photojournalism in Madrid. His pictures always walk the fine line between descriptive and artistic, and speak of human rights, gender roles, land use, memory, and reconciliation.

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The small island of Santa Cruz del Islote lies 20 kilometres off the Caribbean coast of Colombia. The houses are colourful, inhabitants are friendly, and life on the streets is vibrant. At a first glimpse, this community, with its typical Caribbean flair, does not seem to differ much from other places located at this latitude. However, appearances can be misleading: Santa Cruz del Islote is the most densely populated island in the world.

This tiny spot of land was first discovered approximately 150 years ago, by fishermen from Barú and Cartagena, searching for a place where they could shelter from storms.

Word of the rich fishing soon spread around the region, attracting people to set up camp and build houses on the island. Years passed, fish stocks remained abundant and new generations came and settled, leading to the construction of more houses. This story continues, and today nearly 540 people live permanently on the island, which is barely larger than two football fields. At the week-ends or on holidays, when families get together, numbers can reach 1000. This equals a population density of almost 100 000 people per square kilometre, making Santa Cruz del Islote much more densely populated than Hong Kong or Mumbai. Each member of the 45 families resident on the island, living in close proximity in 100 houses, knows every one of their neighbours.

Over time, the Colombian photographer Charlie Cordero became friends with the locals. Even though he is their compatriot, it was not easy at first for him to win over this closed society. “Shortly after I got there, I was asked who I was and what I was doing,” Cordero remembers. He remained patient, however, and explained his intentions. After all, the only thing he wanted to do was share the unique reality of this form of cohabitation with the outside world. With time, he gained their trust and the exchanges

became increasingly heart-felt. Working with a discreet camera like the Leica Q was the perfect fit because, “in a place where I wanted to avoid being seen as an intruder, having inconspicuous equipment was a decisive factor,” Cordero states. Santa Cruz del Islote is a real feast for photographers because every couple of metres presents you with another colourful house front; and the people occupying them are just as lively. They have developed their own clothing, hairdos and lifestyle, the colours, shapes and joy of which can already been recognised at a distance.

However, behind the colourful façades things are not all sunshine and roses: the limited supplies of water and electricity have represented a difficult problem for some time – a problem inhabitants must still battle with today. Ships from the region transport fresh water to the island in an irregular manner, and when supplies become low locals have to wait for rain to be able to drink and wash themselves. However, every person respects the need to be frugal in their use of water and electricity. This bonds people together and strengthens their solidarity.

More than half the island’s population is made up of children and youths.

There is a school, but simply no room for any other kind of public facilities: the improvised hospital ward barely lives up to its name, and there are no police – though that is unnecessary.

Because everyone knows each other, there is virtually no criminality. Any conflicts that might arise are settled by the community – uncomplicated, without any authorities, and always in the sense of harmonious cohabitation.

The inhabitants appreciate the island’s status as a tropical paradise and have learned to make good use of it. They have more recently come to understand and value tourism as a source of income. In the meantime, a tourism office has even been opened, with a self-proclaimed guide who greets travellers in basic English. The sale of handicrafts and fish specialities, as well as income from an improvised

aquarium where you can swim with nurse sharks, are helping the people cope with their difficult circumstances.

The plan seems to have taken off, as word of the island begins to spread among tourists. While one part of the population comes up with ways to stay above water, another part is driven by longing: since the settlement has access to the internet, adolescents are getting to see what reality looks like elsewhere. The medium has given the younger generation concerns, wishes and desires that their parents and grandparents could never have imagined. The youth have become hungry and it draws them away from the island, out into the world – without forgetting, however, where they originally came from.

While on the island, Cordero came to love its peaceful atmosphere, the crystal-clear water and the life-affirming locals. Even after completing his photo project, he finds it hard to break away from the place, visiting it from time to time. However, he acknowledges one bitter aftertaste: as much of a paradise as the island is, the Columbian state pays it no attention. In fact, it would not take too much of an effort to improve the islanders’ situation, with things such as permanent medical care, or a desalination plant; yet it seems that no one feels responsible towards them. Consequently, and in protest, the inhabitants refuse to participate in any form of politics. As to whether this will lead to any kind of change is questionable. Whatever circumstances may bring however, the collaboration between the islanders will remain – and that is something the rest of the world could really learn something from. DANILO RÖssGER

ch arliecorderoph otog rap hy.com LFI-On lin e.DE : cordero interview with additional images Equipment: Leica Q, Summilux 28mm f/1.7 Asph

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Torok & Pap I n T h e S h a d ow o f T h e t h aw

80 percent of Greenland is covered in ice. Only small numbers of people live along its edges. Climate change has an impact on the world’s largest island – the degree is still unforeseeable. Vera Torok and Robert Pap’s images reveal a world in a state of upheaval.

Occasionally a big cruise ship arrives in Narsaq and visitors invade the town for few hours. The locals are always very curious about the new arrivals and eager to watch them

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T h e town N a rsaq su f fe r s from h igh un employ m e n t. Ma n y r e s id e n ts h ad to leav e to f in d wo r k i n b i g ge r tow n s

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Above: In the town of Qaqortoq, the figures carved in rock faces and boulders are recreations of ancient tribal motifs. Greenlandic art has always been strongly inspired by nature. Top right: A young fisherman prepares the line that will be left out in the sea for the night. Longline fishing has been practised in Greenland for centuries. Left side: In many homes there is no water nor sewage system; so the locals have to get water from the communal pump

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On their National Day, the whole community gathers in the small valley in the middle of Narsaq and has a big picnic: they cook seal, fish, reindeer and musk-ox while singing and playing games together

Kids playing on hut roofs at the hunter’s bay. Who is brave enough to jump?

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For a few days the temperature can reach over 25 degrees; because of the fine quality of the air, even small rises in temperature feel very hot. Youngsters enjoy the refreshingly cold water at a nearby lake

Above: The unwelcome remnants of civilization are also found in Greenland.

However, this landfill is nothing compared to what this town would look like if they start mining the uranium and other rare earth elements that scientists have discovered in the surrounding mountains. Top left: Resident Johanna in an unobserved moment as she shares coffee, cake and family photos with the photographers.

She lives alone in her house and does not speak a word of English, but was very hospitable. Right: When the street turns into a playground. The community organises games and activities for the kids during summer break

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T h e m e lt i n g o f t he polar ice allows acce s s to m inera l r e s o u rc e s, th e promotion of w h ich w ill c h a n g e l i fe i n G r e en lan d d ramatically

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In Greenland suicide is a significant, national issue. Several reasons are cited, including alcoholism, depression, poverty and hopelessness

V e r a T o r o k & R o b e r t Pa p Vera Torok and her partner Robert Pap founded their collective Gravitatephotos in 2012. They are particularly interested in the relationship of man to his environment. Together they work on several long-term projects, such as Accidentally on Purpose, with which they were among the finalists of the 2017 Leica Oskar Barnack Award, and the series In the Shadow of the Thaw.

They live and work in London.

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After having carried out projects in Iceland, photographers Vera Torok and Robert Pap, who are both fascinated by the raw wilderness of the northern reaches, decided to photograph a series in Greenland. They started out by working as volunteers on a reindeer station surrounded by fjords, icebergs and countless small islands; however, they soon came to realise that this meant that they had virtually no contact with the local population. It was only when they set up camp in Narsaq, one of the larger communities in the southern part of the island, and gradually earned themselves the trust of the indigenous people there, that their project started to take shape, and the story began to unfold all by itself.

LFI: You were a finalist for the 2017 Leica Oscar Barnack Award with your series Accidentally on Purpose.

What inspires you to work on longterm projects such as the series In the Shadow of the Thaw that can take several months, even years to finish?

Vera Torok: Our inspiration came from the story we discovered in Greenland. We found it a meaningful story that is impossible to photograph in a week. It takes time to finish. If you dig deeper and deeper, speak with more and more people, and live with them, they will open up for you. Only then you’ll get close enough to start photographing their life. After a while you will feel their future becomes as important to you as to them.

Tell me about your stay in Greenland.

I heard it was quite adventurous…

Vera Torok: We arrived to Greenland with a different purpose from Iceland where we photographed our other project. We had a chance to volunteer in a reindeer station for a short time; but this place was an hour’s boat ride away to the closest settlement where around 30 people lived. So, unfortunately, we had no chance to meet locals on the station and decided to leave

it to go back to the civilisation. One day we almost gave up, thinking we couldn’t get any closer to the people without the help of a fixer. However, then the story found us.

What exactly is the story you wanted to tell with the series?

Robert Pap: Global climate change not only has an economic impact but an enormous impact on culture and lifestyle. The loss of habitat and overfishing have already greatly affected life in many towns, causing unemployment and drastic changes in traditional ways; like in Narsaq where the population has dropped as young people move elsewhere to find a source of income. Those who remain are facing an unstable future and many social problems. We wanted to experience the transition in everyday life with our own eyes, and to document it.

Please, tell us about the problems this country faces that you yourselves observed.

Vera Torok: Alcoholism, unemployment and poverty are big issues that you can observe in Greenland; and, if you talk with the people, you will hear about more that is not visible at first sight. Life is not easy there. But, despite the negative circumstances, the Greenlandic people are so warmhearted and welcoming, with a remarkable history and culture, which is closely connected to nature. Because of climate change that is affecting this region drastically, they have to make compromises, adapt to the changes wisely and build them into the future of their culture.

Did you have a political message in mind while shooting for the project?

Vera Torok: We just wanted to document their life as it is now, without any political message; but you can not ignore that the world is thirsty for all those mineral riches what have been hidden till now, that will bring companies from across the globe competing over mining rights, and which will probably change the landscape of their homeland forever.

When did you decide to take all the pictures in black and white? Did you have an aesthetic concept in mind before shooting?

Robert Pap: We love black and white.

It gives a different depth to the images so we knew from the beginning we wanted to shoot in black and white. For us it is similar to peeling the skin off a red apple: you peel off the colours of the picture and you get one step closer to the subject. Of course, we like colours as well, but it depends on what we feel fits better for each project.

You work as a creative couple. How exactly does the division of labour work? Are there ever any conflicts?

Robert Pap: Yes, we are a couple, and we know this is not a usual setup. The main thing is the project and the story as a whole for us; so we do not compete with each other. Photography is a passion for both of us. It is the aim of our lives and creates an even stronger connection between us. In the field we both photograph at the same time, and in the same place. We are two merged element with two cameras, four eyes, one heart, one picture.

You shot the series with a Leica M6 and M9. How did you decide which camera to take?

Vera Torok: We decided to shoot digital and film together, because we wanted to be prepared in case if we didn’t have a chance to charge. The M6 works without batteries, but, so as not to take hundreds rolls of film in our backpack, we took an M9 as well and used it when the situation required it; like when we had to shoot a lot, or the lighting situation was poor, or we needed faster shutter speed. interview: Denise klink

gravitateph otos.com LFI-On lin e.DE /Blog: Slideshow with further pictures Equipment: Leica M6 and M9 with Summicron

35mm f/2 and Elmarit 28mm f/2.8 Asph

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Víctor M. Pérez A n yo n e , A n y t i me , Anywhere

Víctor M. Pérez’s work talks about living in the big metropolises of the world.

The viewer’s attention is directed to special moments of everyday life: familiar places seen with new eyes, where individuals become projection surfaces.

“I shoot to be present, and I always seek emotions and subjectivity.”

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“When shooting, I never judge what subconsciously interests me and calls my attention.

I will always go where it leads me and take the images I am drawn to.�

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“For me, form, as a combination of light, composition, and colour, is a critical part of how I understand photography.�

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“I purposefully seek frames with a form that evokes primal and subjective feelings and archetypes; those ones where the colour of the light creates a special mood that resonates deep down, at least to me.�

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“I prefer large depths of fields and sharpness; hence I tend to use medium and small apertures.�

“It is very important to me that every single image is strong and stands on its own; and that it seems part of a larger story, raising questions about not just the moment, but the before and after.�

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Víctor M. Pérez Born in Madrid in 1972, Pérez holds an MBA and is a management consultant. As such he travels around the world all the time, always equipped with a Leica. Technically, Pérez is self-taught, but has attended many photography and editing workshops with master photographers all over the world.

These include the Eddie Adams’s XXX Edition workshop on documentary and photojournalism, in Jeffersonville, New York.

Víctor M. Pérez is also greatly inspired by painting, architecture, design, and cinema.

www.v i c to r m pe r ez p h oto.co m LFI -O nl i n e .D E / B log : inTERVIEW with Víctor M. Pérez Equipment: Leica Q, Summilux 28mm f/1.7 Asph

A sunlit intersection in a big city; pedestrians walking in the shadows; children in a fountain pool dancing happily around in the rainbow-dappled, cascading drops of water; a visitor to an aquarium closely observes the medusa-like creature swimming in a tank – anyone, anytime, anywhere.

And that is the title given to this photographic series. The scenes Víctor M. Pérez has captured in cities around the world with his Leica Q, are at the same time both familiar and surreal.

The people in the pictures are often difficult to recognise, photographed in profile or from behind, or barely visible in the dark. There is no direct eye contact between the protagonists and the camera, or rather the photographer behind the camera.

It is impossible to say exactly where the pictures were taken – and that is Pérez’s intention. “No one, no time, and no place is relevant. The important thing is our collective presence in the world,” the photographer explains of the ideological approach underpinning this series.

According to his own definition, this is his first serious work per se; and the first to achieve international consideration. Anyone, Anytime, Anywhere was produced over four years: in twenty different countries and on four continents, but these details should be left aside. Looking for specific evidence is deliberately onerous, until futility gives rise to universality. That is why the series is also not a protocol of Pérez’s intense travels, nor a bi-product of the business trips he takes for his work as a management consultant.

To a much larger degree, the motifs document a personal inward journey, discovering his calling step by step along the way. He came to photography early on: already taking pictures when just a youngster, and in more recent years regularly taking part in workshops. “I discovered that I am a photographer exactly four years ago now, the first time I took to the street with a professional photographer, Maciej Dakowicz. I knew right there and then that I am a photographer.

It still took me a couple of years to understand that it is a fundamental part of who I am. As such, it is a part of my life and always will be; it is not a choice, but a realisation.” Consequently, and despite his work as a management consultant, Pérez does not see photography as a hobby.

He wants to engage with it in a professional manner: “Although I enjoy myself very much when I’m taking pictures, I take it very seriously.

I study and shoot a lot, and try to find ways to put a value to my work.”

Thanks to the workshops he attended, Pérez discovered what practising his passion was all about, as he explains: “My thing is to be present in the street with everyone else; close but encompassing many things, thus the choice of 28mm. I shoot with a 28mm focal length. Focal length, in my opinion, is a subjective and not a technical choice, which is driven by your purpose and intention as a photographer.” Strong colours and the contrast-rich interplay of light and shadow define his images, as well as the converging lines and axes of façades, figures and places – as though planned well in advance.

“Light not only has a colour of its own; depending on the time of year and day or its source, everything is interesting and beautiful of itself,” he says. “But what really attracts me is what light does to the colours and mood in a scene. The way the perfectly ordinary becomes extraordinary, surreal and emotionally charged.”

Anyone, Anytime, Anywhere circles around emotions and moods: Pérez is celebrating his participation in life.

“I photograph therefore I am,” he says, freely drawing from Descartes. Pérez photographs common places in a special way; he has been collecting them and will continue to do so, on his openended, inward journey. That is certainly not a bad subject for a photographer.

Carla Susanne Erdmann

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LeicA S

Ekaterina Sevrouk L a s t Pa r a d i s e

Wild animals as religious iconography inspired

by Baroque art of the Middle Ages.

A Berlin photographer stages the last rites for museum exhibits: an explosion of colour for the viewer, but a loss for the world.

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In Thomas Mann’s novel The Magic Mountain, a scene is described wherein a young Hans Castorp buries his grandfather and finds himself admiring the in-state condition of the corpse, the pomp of flowers and palm fronds, the cross in the deceased man’s hands.

A celebratory and religious act that, as Mann writes, also underlines another matter: the need to beautify death, or to even forget it completely.

In Ekaterina Sevrouk’s series Last Paradise, the Berlin-based photographer has staged that desired oblivion.

A glorious ensemble made up of stuffed animals in front of colourful backdrops, framed in oceans of flowers: a brilliant firework of aesthetics, charm and grace that is reminiscent of fashion creations by renown designers like Missoni, Yves Saint Laurent, Dior. A shroud for the last paradise.

“For me, an animal is a metaphor for something that people find beautiful,” Sevrouk says. “And making beautiful pictures is the most important thing to me.” Flamingo, mink, gnu, tiger, African boar, zebra, puma, cockatoo: Sevrouk combed through natural history museums to find her protagonists, visiting Salzburg, Vienna and Dublin, where she realised her ideas over a period of two years. Like an interior designer, she spent days at the various museums putting her décors together in a studio-like setting: pieces of material served as her canvases, while her models were animals that had passed through the hands of taxidermists.

The flowers she either picked herself or bought. There were times when the photographer took up to three hours just for one arrangement – in other words, her work reflects a true love of the smallest detail.

Behind the beauty of Sevrouk’s images however, lies hidden a sad thought: backdrop and effect; life and death; environment and pollution; nature and extermination. At a second glance, her photographs are a criti-

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cism of destruction; the extinction of endangered animal species; the way we deal with our surroundings. Already two years ago in the first part of Last Paradise, the photographer placed materials that are hard to recycle in picturesque landscapes, looking to draw attention to this global, environmental problem. She sees the new, second part of her project as a homage to religious art. “The first thing that went through my mind for this series was images from the Baroque era,” she says. “Bizarre, morbid and pretentious. Peter Paul Rubens and Frans Snyders. Saints of the Catholic Church with crowns of flowers, both victims and gods at the same time. They differ from my animals however, because they were willing martyrs, as opposed to unwilling victims.”

Sevrouk located many of her stuffed animal subjects in the storage vaults of museums. Some are souvenirs from distant countries or hunting trophies from the 19th century: smuggled treasures, confiscated gifts, dead zoo animals. She photographs with a Leica S, a tripod, continuous lighting and automatic release. Calm. Calm.

Calm. The dead no longer move. Even so, there are times when her pictures seem to reveal that a breath of life still remains: a jungle leopard, for example, appears to be looking directly into the viewer’s eyes. The freshness of the flowers and the powerful colours seem to rescue them and revive them back into existence.

“The Leica S was the perfect tool for my work,” Sevrouk confirms.

“Fixed focal distance, luxury lens, sharpness. There were no unpleasant surprises.” The photographer did only a minimal amount of post-processing with Photoshop, primarily on the backgrounds. Bilious green, luminous red, bright yellow: colours that in the animal kingdom warn of danger. In the past, animals were stronger than people, they were the survivors, Sevrouk believes. Today, however, we stand before their graves.

She has dressed them up as a symbol for death – a death that we prefer not to acknowledge. katja hübner

E k at e r i n a Sev r o u k A child of art, Ekaterina Sevrouk was born in Moscow in 1975. Time and again, her love of painting is reflected in her photography. She studied at the Neuen Schule für Fotografie Berlin, and in 2017 her Fremd bin ich eingezogen (As a stranger I arrived) series was a finalist for the Leica Oscar Barnack Award. The new pictures from her Last Paradise project are on display at the Leica Gallery in Salzburg up until July 7. s evrou k.my portfolio.com LFI-On lin e.DE /Blog: One Photo — one story Equipment: Leica S006 with Summarit-S 70mm f/2.5 CS

f/ s top – M 1 0 Z a g at o – Le i c a c - l u x – Le i c a C L – Le i c a Wat c h e s –

T h e n e w Le i c a M 1 0 S p ec i a l E d i t i o n Zag ato : I ta l i a n c h i c a n d a st r i k i n g me ta l b o dy f o r T h e c l as s i c Le i c a

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Sec o n d S i g h t L e i c a M 1 0 Sp e c i a l e d i t i o n

After adding the Ultravid 8x32 ‘Edition Zagato’ binoculars to their sports-optics product range, Leica joined forces with the Italian automotive atelier again: the Leica M10 ‘Edition Zagato’ was introduced at the recent opening celebrations of Leitz Park III.

When Ugo Zagato founded the company Carrozzeria Zagato in 1919, the intention was to apply lightweight construction techniques from the field of aeronautics to the automobile sector. What initially started out as a repair and construction workshop for aircraft and cars, gradually evolved into a company whose list of clients includes not just Italian luxury car brands such as Alfa Romeo, Bugatti, Ferrari and Maserati, but also international manufacturers such as Aston Martin, Jaguar, Rolls Royce, Nissan, Toyota and Mercedes-Benz.

Through the decades, the Milan-based firm became synonymous with some of the world’s most iconic automobile designs, including top-end prototypes and limited series. At the Mille Miglia race of 1938 alone, 84 |

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36 of the participating cars had bodies designed by Zagato. The company’s continuing success, particularly after World War II, was not least due to the accomplishments of its lead designer Ercole Spada, who first worked for Zagato in the 1960s, and again in the 1990s.

After the death of Ugo Zagato in 1968, his sons Elio and Gianni took over the company; today, it is in the hands of Elio’s son, Andrea, and his wife, Marella Rivolta-Zagato.

Leica a n d Zagato.

Despite the fact that they occupy such different fields, there are a number of significant parallels between Leica and Zagato. Both companies are distinguished by a long history and tradition, along with a consistent dedication to combining

high-end craftsmanship and cutting-edge technology with top-level designs. Each in their own way, they have managed to establish themselves as iconic brands, maintained their autonomy, and stayed in business as medium-sized companies for a remarkable amount of time. So in some ways, it seems surprising that their first collaboration happened as late as 2015; on the other hand, the connection between optical instruments and custom-built car bodies is not exactly obvious at first glance. Eventually, it was the topic of design that brought the two premium brands together: in 2015, Zagato created a special edition of Leica’s Ultravid binocular model. Originally designed

by Achim Heine, who recently also conceived the exterior of the new Leica

watches (see page 98), the Leica Ultravid 8x32 was re-interpreted as the ‘Edition Zagato’ – characterised by a decidedly futuristicstyle design. The outer shell is made of aluminium, Zagato’s customary material of choice. This would not be unusual in itself – however, rather than being covered by a leather trim or paint finish, the bare metal surface has become the main element of the binoculars’ distinctive appearance: in an elaborate process, hundreds of fine grooves have been milled into the aluminium, creating a uniquely tactile exterior. This is →

The Summilux lens included in the M10 ‘Edition Zagato’ set is the first ever 35mm Leica lens to feature a permanently attached lens hood

The top plate, base plate and body of the Leica M10 ‘Edition Zagato’ are made of aluminium – as a result, the camera weighs around 70 grams less than the serial model. Once again, the outer shell features Zagato’s characteristic grooves

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pulled out and locked in place with one movement. For improved handling, a semicircular elevation has been added on the right-hand side of the camera body to serve as a hand grip. “The decision to build a full aluminium body whilst integrating a grip function in the metal posed an enormous challenge for both teams,” Andrea Zagato explains.

“Week after week, our regular exchanges with the designers and engineers of the Leica team, enabled us to develop a shared culture and an understanding of what makes an M camera unique – taking into account not only its performance, but also the particular approach to photography it inspires.”

D i st i nc t i v e st y le .

contrasted by the red-anodised rings (bearing the inscription ‘Zagato’) that surround the front lenses.

Th e M10 ‘Edit ion Zagato ’ . When asked about the significance of photography for his company, Andrea Zagato explains: “Photography is an essential part of our work. In fact, one of our most important endeavours of the past twenty years has been to rebuild our Historical Photographic Archive, most of which was destroyed during World War II. It now encompasses more than 15 000 photographs of more than 400 automobile models. This has enabled us to reproduce historical models under our so-called ‘Sanction Lost Programme’: using photometric technology, we are able to recreate every detail of a car on the basis

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of just one black and white photograph.”

In time for the inauguration of Leitz Park III, the company has embarked on its first-ever camera design.

The result is the Leica M10 ‘Edition Zagato’ – a variation on the current Leica M. Both the camera and the Summilux-M 35mm f/1.4 Asph included in the set are distinguished by Zagato’s customary, lightweight style of construction, and feature the same grooved aluminium surface introduced in the Ultravid three years ago. The camera’s top plate, base plate and outer shell are made entirely from aluminium – making this special-edition M around 70 grams lighter than the serial model. The accompanying Summilux is Leica’s first 35mm lens to feature an integrated hood – it can be

A few units of the Ultravid 8x32 ‘Edition Zagato’, released in 2015 as a limited edition of 1000 units, are still available – the striking binoculars also feature the typical ‘Zagato look’ of grooved aluminium and red details

Regarding the development of the camera’s design, Zagato explains: “As is characteristic for our company, we were striving for an extreme definition of the notion of essentiality. Based on the serial version of the Leica M10 – which is already entirely free of ornamentation – we developed a concept that culminated in an object defined solely by its content and material. We immediately decided that, instead of searching for a particular exterior style, we would focus on the power and relevance of the functions that contributed to the Leica M achieving such an iconic status. This is a philosophy we also apply to our automotive projects. But due to the nature of this assignment, the actual process was slightly different: with car projects, we design from a macro to a micro scale;

with the Leica M 10, it was the other way around – every aspect of its functions gradually defined and composed the overall geometry.”

The M10 ‘Edition Zagato’ comes with a red, fullgrain leather carrier strap, embossed with the ‘Zagato’ lettering. As a first for any Leica M, the camera features strap lugs, also designed in the characteristic Zagato/Ultravid style.

However, the technical specifications of both camera and lens are identical to their serially produced counterparts. Each camera is marked with an aluminium emblem that is only revealed upon removing the base plate, containing both the standard and special-edition serial numbers.

As for the production run: only 250 units of the Leica M10 ‘Edition Zagato’ will be manufactured. At the time of writing, prospective owners of this rarity still have the chance to complement their camera with a matching pair of binoculars: according to Leica, a few units of the Ultravid 8x32 ‘Edition Zagato’ (produced in a limited run of 1000) are still available.

T he E u rop e Co lle c t-

“ T he dec is ion to build a full alum in iu m b ody l e d to a n u n com p rom is in g luxu ry p rodu c t t hat c l ea r ly ec hoe s t h e q ua l i t i e s o f t he U lt rav id e dit ion zagato. ”

ibl e s. The launch of the Leica M10 ‘Edition Zagato’ coincides with the publication of Europe Collectibles – the second volume in the stunning Collectibles trilogy of photo books created by Leica and Zagato. Volume I, titled USA Collectibles,

was released three years ago in conjunction with the Leica Ultravid 8x32 ‘Edition Zagato’. The book features photographs of 33 collectible cars designed

by Zagato, captured in different landscapes throughout the United States. Europe Collectibles now offers equally evocative images of classic cars in some of Europe’s most spectacular city squares, historically called agoras.

The third and final volume will, according to our sources, be photographed against the backdrop of Asian cultures and traditions.

This only leaves us with one last question: which specialedition Leica model will be launched alongside it? denise klink

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g e n e rat i o n n e x t Leica C-Lux (Typ 1546)

After four years, Leica have released a new compact camera. In some ways, the C is already an established member of the Lux family: from 2006 to 2009, three C-Lux cameras were featured in Leica’s catalogue. The new C-Lux is, however, in an entirely different league.

How time flies! In 2006, when Leica introduced their first C-Lux compact camera model, the iPhone was not yet on the market; and even in 2007 – the release year of both the iPhone and the C-Lux 2 – nobody could have imagined that the smartphone would one day seriously encroach on the market position of the compact camera. And yet, within just one decade, the physical limitations of smartphone cameras have been addressed with remarkable success – not through elimination, but rather by circumventing them with increasingly sophisticated software and other ingenious tricks.

Consequently, many smartphone owners feel that there is little need for a separate camera – compact or otherwise. Leica play no small part in this develop88 |

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ment, considering that the high-performance cameras in Huawei’s flagship smartphone range are the result of a collaboration between the Chinese manufacturer and Leica. The two companies’ most recent joint endeavour was the Huawei P20 Pro, featuring a triple camera by Leica: following its launch in March this year, it reached top scores in DxO Mark’s mobile photo tests, beating its competitors by a very long margin. compac t VS. P hon e .

Other than dropping compact cameras from their product catalogue altogether, manufacturers of traditional – that is to say, stand-alone – cameras have only one option: to equip their compacts with a level of technology that sets their performance

apart from that of current smartphones. Leica already implemented this back in 2014, when they released the V-Lux (Typ 114) with a 1-inch sensor and the DLux (Typ 109) with a fourthirds sensor. Four years on, Leica clearly continue to view 1-inch and fourthirds as sufficient sensor sizes for staying ahead of smartphone photography: the C-Lux (Typ 1546), which was launched at the opening of Leitz Park III on 15 June, features a 1-inch sensor – meaning, the smaller of the two formats currently offered in Leica’s compact segment (with the exception of the Q, of course). The sensor of the new C-Lux offers an effective resolution of 20.1 megapixels, and a maximum ISO of 12 500, with the option of doubling

this value via the ‘ISO expansion’ function.

As an aside: this means that there is now only one camera left in Leica’s portfolio whose sensor has not been designed with an aspect ratio of 3:2: the Leica D-Lux (4:3) – although, of course, the D-Lux is still capable of recording in the classic Leica format with no loss of quality.

Another aspect that can give a compact camera a considerable advantage over smartphones is its lens.

In this case, it is the Leica DC Vario-Elmar 8.8–132mm f/3.3–6.4 Asph, whose fullframe-equivalent range of 24 to 360 mm really can be utilised down to the last millimetre, thanks to optical 5-axis image stabilisation.

The C-Lux we were sent for testing still featured a very early firmware version,

which is why we have not included illustrative pictures in this initial introduction of the camera.

F u nc t i o na li t y. It is

astounding just how many elements make up a modern compact camera aside from sensor and lens. Even just looking at the sheer number of controls makes this quite apparent. If you count every dial, button and switch, the C-Lux features a total of fifteen control elements – not including the touchscreen display – which is twice the amount you will find on the M10. You could say that, out of all of them, only the on/off switch is actually indispensable – all other settings could theoretically be adjusted via the touchscreen. However, the display menus are not only numerous, but can also be fairly long, so that the decision to make the camera’s elementary functions and settings immediately accessible does make sense. This includes the settings ring on the lens and the thumb wheel on the top-plate, both of which can – depending on what shooting mode you are working in – either be configured with the function of your choice (such as ISO), or enable you to quickly and easily change certain settings. →

Leica’s new compact camera, the C-Lux (Typ 1546) – pictured here in Midnight Blue. The focal length range of the camera’s zoom lens, the Leica DC VarioElmar 8.8–132mm f/3.3–6.4 Asph, covers the full-frame equivalent of 24 to 360 mm

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Top plate and front: configurable settings ring on the lens, mode dial, shutter release, focal length selection, video button and thumb wheel

Rear: electronic viewfinder with diopter adjustment, lever to raise the flash, menu and function keys

A feature that is not strictly necessary but extremely practical for those with lessthan-perfect sight, is the diopter adjustment wheel (-4 bis +3), located next to the 0.21-inch, 2.33-millionpixel EVF. Far more essential are the manual focal length adjustment ring surrounding the shutter release button and of course, the mode selection dial. The latter allows you to choose from snapshot, panorama and program mode, aperture and shutter priority, manual mode, shooting with saved settings, and video (up to 4K). It also features a creative mode – with effects such as Low or High Key lighting, various monochrome options, soft focus, star filter, and much more.

Lastly, there are several scene modes, offering presets geared towards subject-emphasising portraits, silky skin rendition, hard or soft backlight, various after-dark shooting situations and specific subjects (i.e., flowers, food, etc.).

Creative and scene mode are probably not everyone’s cup of tea, not least as there is quite a lot you have to remember if you are to use them

in an instant; however, you can quite simply disregard them, given that the C-Lux (Typ 1546) offers an array of other photographic possibilities that are in no way affected by these modes.

Regarding connectivity, the C-Lux offers a USB and HDMI port; in addition, installing the Leica Image Shuttle software enables you use your smartphone as a C-Lux remote control. su mma ry. Based on their technical specifications, the three compacts that are available in Leica’s current catalogue occupy fairly similar positions. Apart from their focal length ranges (D-Lux 24–75mm, V-Lux 25–400mm, C-Lux 24– 360mm) the main difference between them is simply their appearance: the D-Lux embodies the classic Leica style of design, while the V-Lux is reminiscent of a DSLR. As for the ‘elite lifestyle’ look: now that the Leica C has been discontinued, the new C-Lux – which comes in a choice of Light Gold or Midnight Blue – is the perfect camera to fill this niche in Leica’s product catalogue. bernd luxa

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T o d ay i t s e e m s a r c h a i c – b u t f o r a p h o t o j u r y i n t h e 1 9 6 0 s , i t wa s i n d i s p e n s a bl e : t h e s l i d e p r o j e c t o r

If you organize slide shows of your own you will have an idea of the number of slides with which you can tax your audience without boring them. Depending on the subject and the type of commentary this is 150, at the most, 200 slides for a show occupying a whole evening. The judges had to cope with many times this number every day. In order to prevent any fatigue and preclude faulty judgement as a result they left the dark projection room at times to recuperate, and even did a few physical jerks and breathing exercises. In addition fragrant coffee was brewed in the Leitz canteen. Naturally, the intervals where too short for Chris Boere’s long Dutch cigars; we installed him on one side of the projectors, because he occasionally blew darkening clouds of smoke into the projection beam when the discussion became to heated.

The Leitz projection technique was ideal for easing the strain of this mammoth competion: two Pradovit projectors were coupled by means of a control unit so that a continuous sequence of slides without any dark interval became possible. Leitz’s new control units, whose possibilities will perhaps be demonstrated on the Photokina 1968 with 4 or even 6 projectors, transports the next slide from the second magazine into the slide gate while the first slide is still being projected.

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to u r d e s o l e i l O n t h e r oa d w i t h t h e C L

The Leica CL proves its merit as a sophisticated yet manageable travel camera: a field report on how Leica’s latest APS-C model performed as a main camera in a variety of shooting situations.

When preparing for a recent trip to Israel, I was faced with an essential question: which camera equipment was I going to take? As well as delivering outstanding image quality, it should be as light-weight and flexible as possible. Given that I am neither a seasoned rangefinder photographer, nor wished to limit myself to the fixed focal length of the otherwise excellent Q, I found myself narrowing down my options to either the SL or the CL. In the end, weight was the deciding factor: even complete with battery and two lenses, the CL turned out to weigh roughly the same as the SL’s camera body on its own. The lenses I added to my kit bag were the Summicron-TL 23mm and the Vario-Elmar-TL 18–56 mm. Usually, I am not especially keen on working with zoom lenses, but the ElmarTL with its fairly moderate range of around 28 to 85 mm (full-frame equivalent) seemed a sensible choice – and I was not disappointed.

But first things first.

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up the Leica CL, I was reminded of the first Leica I ever worked with: a modified Leica II from the 1930s – a reporter’s camera that really did fit in your pocket, even with a mounted lens.

So the CL brought back fond memories and felt instantly appealing – though initially, the lack of a thumb rest or indent made me miss the firm grip I am used to from working with heavier models. However, it was not long before I found that the camera sat nicely in my hand in a secure manner. The two

lenses I had brought with me corresponded perfectly with the camera’s exterior form, and both combinations looked very much like a homogeneous unit. As always, switching lenses on the L-Mount was quick and easy; the same cannot be said for removing and attaching the lens hood, for which I would have liked to see a more practical solution. The configuration and layout of the menu and controls were quick to grasp, and I felt some degree of familiarity from other Leicas. What I found a little disorientating, however, was the fact that the two top-plate dials are assigned different functions depending on the selected mode: even after several days of practice, I was still occasionally thrown off guard when I had to adjust multiple settings in quick succession.

In contrast to some previous reviewers, who criticised the omission of physical interfaces such as a USB port, HDMI output or audio jack, I did not experience this as much of a problem – not least as I adopt a different workflow for this type of travel photography, and simply import the images from the memory card to the computer at the end of the day.

VIEWFINDER AND ELECTRONICS. In mirrorless cameras, the viewfinder is one of the most determining features – and →

Leica’s Summicron-TL 23mm f/2 is distinguished by a fast, precise autofocus, and delivers an unobtrusive, soft bokeh at open aperture

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Photo: David Rojkowski

All pictures on this double-page were taken with the Leica VarioElmar-TL 18–56mm f/3.5–5.6 Asph, which proved to be a flexible and reliable zoom lens with a vast range of applications

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Photos: David Rojkowski

With a focal length range of around 28 to 85 mm (full-frame equivalent) the universal zoom lens is suited to almost any shooting situation

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In combination with its native lenses, the CL can easily be attached to lightweight tripods.

This long exposure was shot at open aperture, ISO 1600 and a shutter speed of 12 seconds

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in this particular case, the CL’s electronic viewfinder is something of a highlight.

Though I am mostly used to the superb EVF of the SL, ‘downgrading’ to the CL presented no significant drawbacks. With its 2.36 MP resolution, the viewfinder of the CL allows you to compose images and focus manually with precision and ease. Even in the night-time shot on the left (a situation that tends to be beyond the capabilities of the autofocus), I still managed to get the tree in focus, thanks to the viewfinder’s integrated magnifying function.

Usually, however, I was absolutely able to rely on the super-fast autofocus of the Leica CL – with just a few exceptions due to time

pressure, which were always easily remedied in the next frame. In situations where there really is no room for error, it is advisable to use spot metering; other than that, multi-field metering should prove to be perfectly sufficient. While facial recognition and touch autofocus are two functions I did not explore in great depth, the electronic shutter was a feature I found extremely useful. Of course, there are technical limitations to a silent shutter, but it did enable me to take pictures in situations when photographing would normally have been impossible.

I was slightly less impressed with the battery life: on several occasions, the camera ran out of charge

before I had reached the maximum of 220 exposures indicated by the manufacturers for normal use; at the same time, however, some CL photographers have reported results that exceed the maximum of 220 exposures. Though we were not able to gather any further information from Leica in time for this article, we hope that the battery performance will be stabilised in the course of the next firmware update.

Speaking of stabilising: while I mostly used the camera for stills, the CL also offers a 4K video function – which is best used with a tripod or gimbal, as neither the camera nor its lenses are equipped with image stabilisation. This seems

rather unfortunate, as it renders the CL’s video function unsuitable for many areas of application.

I M AGE Q UA L ITY. And now

for the culmination of your efforts: the pleasure of looking back over your images in the comfort of your home.

Despite the minor shortcomings I have mentioned, this field test has shown the CL to be an accomplished and reliable companion. The image quality is on par with what you would expect from a Leica camera; the colours are vibrant without being oversaturated, with a moderate contrast rendition and broad dynamic range. Image noise starts to in-crease from ISO 6400, but can be reduced in post-processing.

Fortunately, the camera’s built-in noise suppression is not too heavy-handed. The small APS-C lenses are lightweight and manage­able, and while they may not feel as substantial as M lenses, their natural colour rendition and fast autofocus are nothing short of impressive. The lenses I used were equally suited to street photography and landscape scenes, not forgetting afterdark shots with a tripod.

Even high-speed continuous shooting at a dynamic dance performance posed no problem. Essentially, the CL is a lightweight, intuitive system camera that will give you stunning results, and is an excellent choice for street and travel photography. david rojkowski

Call us at 312-642-2255 to inquire, or e-mail at info@tamarkinauctions.com

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t h e b e g i n i n g o f t i me L e i c a Wat c h e s l1 & l 2

Shortly before the opening of Leitz Park III, Leica revealed a closely guarded secret: the company – usually associated with optics as well as precision mechanics – has joined the ranks of premium watch-makers.

For most Leica fans, there was never any doubt that the opening of Leitz Park III on 15 June would be accompanied by the introduction of some very special products. While nobody knew any specific details, the eventual announcement of the new C-Lux (page 88) and the Leica M10 ‘Edition Zagato’ (page 84) came as a welcome, but not entirely unexpected surprise. However, nobody anticipated the news that from now on, Leica are not only manufacturers of high-end cameras, lenses and sports optics, but also of beautifully designed, premium watches.

In the run-up to the inauguration of Leitz Park III, Leica’s Chairman of the Board and majority shareholder, Dr. Andreas Kaufmann, presented the new Leica watches – L1 and 98 |

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L2 – to members of the international trade press at two industry events. Within this context, he shed some light on the origins of this exciting expansion of Leica’s product portfolio: in the 1996 licensing agreement, which grants the company the trademark rights for 99 years, ‘watches’ are featured as the second item on the list of products Leica are permitted to manufacture.

Naturally, he also referred to Leica’s long tradition in fine mechanics – an area that shares a lot of common ground with the field of watch-making. the con cept. Andreas

Kaufmann also revealed that the general idea for a Leica watch has been in the works for quite some time: in 2012 Leica approached companies such as Han-

hart and Chronoswiss to explore the possibility of modifying their existing watch movements for Leica’s purposes. However, these early talks yielded no tangible results. Eventually, Leica decided to develop the entire movement themselves – and this time, finding a suitable partner proved much more successful.

“The creative team behind the Leica watch includes product designer Achim Heine, who I greatly appreciate. In 1999, he initiated Leica’s new design language and corporate identity and remained one of Leica’s chief designers until 2008. He was already involved in designing watches. Then there is Reinhard Meis, an engineer for A. Lange & Söhne, who was already retired at the time; and of course the

Lehmann Präzision company from the Black Forest region,” Andreas Kaufmann recounts. t h e de si g n. Tradition-

ally, the Leica brand has been associated with accomplished photography and sports optics. Watches are in an entirely different product category – and yet, it was important that the new additions were clearly identifiable as members of the Leica family. Designer Achim Heine viewed this as the project’s most essential challenge. His approach was to examine the concept of time within the →

Product designer Achim Heine created a mood board of characteristic design elements to integrate into the Leica watches, the L1 and L2 (below, left to right)

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Top: Production of the Leica watch at the Lehmann Präzision factory in the Black Forest region. Below: Rear view of the L2 - the watch movement comprises over 240 manually assembled parts

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context of photography.

“The exposure time is vital for any successful image.

Then there is the self-timer mechanism in classic Leica models that resembles a small clockwork; its runtime may only be 10 seconds, as opposed to a day or a week, but the principle of using mechanics for the purpose of measuring time is still the same.” Achim Heine immersed himself in the history of Leica camera designs, seeking out specific details he wanted to integrate in the Leica watch in some adapted form. These include the L1 and L2’s power reserve indicator, whose aperture-like blades gradually ‘close’ to show the status of the running time – whereby the indicator slowly turns from white to black. The idea was inspired by the Leicameter, the attachable exposure meter for the M3. Another example is the font used for the numbers and letters on the watch, which is based on the style of the ‘Leica’ engraving on the top plate of the M6.

At the same time, however, the designer sought to keep a clear distinction between the watch design and Leica’s cameras – which is why he decided against an overt display of the red Leica dot. Instead, he created a subtle reference on the patented push-piece crown – one of the technical highlights of the Leica watch: conventionally, watch crowns are pulled out in order to set the time. On the Leica watch, by contrast, the crown has to be pushed down – rather like the shutter release of a camera.

Instantly, the watch stops, the second hand jumps

to zero, and the small status indicator on the dial turns from white to red. As you press the crown again, the watch starts up and the status indicator changes back to white. This push-piece crown is where the designer introduced his citation of the classic red dot – in the form of a small, inlaid ruby. t h e p ro du c t i on . Lehmann Präzision primarily specialises in the construction of machinery for the watch and optics industry.

Leica, for instance, use Lehmann machines for the high-precision centering of aspheric lens elements.

In addition, the company’s managing director, Markus Lehmann, also runs a small watch factory – making him the perfect partner for the elaborate process of developing a brandnew watch movement. For example, it was Markus Lehmann’s task to test whether it was technically feasible to implement the suggested functions put forward by Leica. “In terms of mechanics, the challenge was not only in the construction, but also in the production of specific parts that had never existed in this form before,” Markus Lehmann explains. “One example is the patented push-piece crown with a separate position indicator on the dial – which, in turn, is coupled with the zero position of the second hand. All parts of the movement have been designed by our own team, and are largely produced inhouse. We also carry out the surface treatment, assembly and calibration of the movement. It is a great advantage to be able to manufacture

most of the components of the Leica watch in-house, including the casing, watch hands and dials.” the watche s. While the

majority of components for the Leica watch are indeed made at Markus Lehmann’s factory in Germany’s Black Forest region, the process is concluded at the Ernst Leitz Werkstätten (workshops) – a new subsidiary of Leica Camera AG, located on the premises of Leitz Park III. So it is here, in Wetzlar, that the Leica watches receive their final touches.

Aside from one additional function in the L2, the first two representatives of Leica’s range of watches are virtually identical. Both are hand-wound, with a power

reserve of 60 hours. The dial shows the hour, minute, small second, as well as a small date window, crown position indicator, and the power reserve indicator with gradually closing blades.

Both the front glass and transparent back are made of double-sided, antireflective sapphire glass; in addition, the front glass has been moulded and treated with a scratch-resistant coating. In addition to the patented push-piece crown, both models feature a separate push-button for changing the date.

The L2 can also be set to an additional time zone – the GMT values are displayed along the outer rim of the dial. The day/night indicator for the second time zone

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“ The development of the Leica watch spanned a n u m b e r of years – developin g a watc h movement from scratch is an extremely involved process.”

also be found on the dial, and is adjusted via the dedicated GMT crown, located at the four o’clock position.

The introduction of these two Leica watches marks the end of a six-year development process – at least for the time being. Looking back, Andreas Kaufmann concludes: “All in all, it was a long, demanding process, but I believe that we and our future watch customers will be pleased with the final results: watches made in Wetzlar. For me, it also feels as though things have come full circle, because after Ernst Leitz finished his apprenticeship in Pforzheim, he actually worked in the Swiss watch industry, before coming to Wetzlar in 1864.” bernd luxa

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

S u n d ay Afternoon “This picture was taken during a car race in Paris. The people in the picture had reached the finishing line and enjoyed a picnic, before lying down in the grass.

In the picture, I want to show how friends can share a few lovely moments on a sunny Sunday afternoon.�

Michael Erimo Leica M240 with Summicron-M 28mm f/2 Asph

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l ig h t box

C HILDR E N AT TH E P o o l “One sunny afternoon, I inflated a swimming pool for my children in the garden. I really wanted to capture this joyful moment, which is why I had brought out my camera. Seeing how my two children are growing up and having fun really makes me a happy father.”

Bas de Graaf Leica M8 with Elmarit-M 28mm f/2.8 Asph

PLAYGROUND “This playground is located in Shek Kip Mei district. Hong Kong is an extremely fast-growing city, where many things are changing. This playground from the seventies will also disappear sooner or later, so I shot this picture to a have a reminder of the place.”

Jan Hau Leica TL2 with Summicron-M 35mm f/2 Asph

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Homo ludens “This picture was taken during a workshop I ran on the island of Cuba. The games being played by these children in the street show me that they are always discovering and experiencing new things.

Just like in a dance, poetry and aesthetics can be seen in the midst of a chaotic game.�

Felix Lupa Leica M9 with Elmarit-M 28mm f/2.8

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TH E V E IL “Word of the Bir Hakeim Bridge in Paris has spread among tourists, because it offers a wonderful view of the Eiffel Tower. Newly-weds in particular, also appreciate the spot – as do the photographers who immortalise love at this iconic location.”

Michael Erimo Leica M Monochrom with Summilux-M 35mm f/1.4 Asph

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J oy f u l E m b r a ce

Fa s h i o n at t h e vat i c a n

“On that particular day, this fountain at the Parque des Nações, Lisbon, was perfectly lit up for photographing silhouettes. I saw the youngster jump into the air. It looked as though he was joyfully embracing the cascading water.”

“It was February and I had taken a threeday trip to Rome.

We met this woman, while we were taking a walk through the streets of the Vatican City. I hit the release, while my colleague was having a conversation with her.”

Howard Yang Leica M262 with Elmar-M 24mm f/3.8 Asph

Martin Krystýnek Leica Q, Summilux 28mm f/1.7 Asph

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F r ec k l e s “This is one of my favourite pictures.

It comes from my current series titled Faces, where I want to underline the natural beauty of women. The series celebrates women as human beings, goddesses, mothers, sisters, daughters and personalities.”

Martin Krystýnek Leica Q, Summilux 28mm f/1.7 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 –

Traces of a catastrophe? Max Pinckers Margins of Excess takes a critical look at media imagery

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Pa me l a L i t t ky Am e r i c a n Fa i r

Photos: © Max Pinckers; © Pamela Littky; © Per L-B Nilsson; © Stanley Kubrick/SK Film Archives/Museum of the City of New York; © Jacqueline Hassink

Max Pinckers M a r g i n s o f E xc e s s

Welcome to the post-truth era: what is fiction, what is fact? In his latest photo book, the Belgian photographer (born 1988) takes us on a roller-coaster ride through the world of tabloid media. In his usually self-published books, the multiaward-winning photographer presents new approaches to documentary photography, that challenge his audience to critically examine the visual language of popular media. This time, he focuses on the narratives of six Americans whose liberal interpretations of their own life stories led to them being branded as frauds and imposters in the US press. We encounter the author of a fictitious memoir, recounting a love story in a concentration camp; a man who compulsively high-jacks trains by impersonating transit employees; a private detective who appears to be a real-life superhero; the man behind an elaborate TV hoax; a white woman who “feels black”; and the person claiming to be the “hooded man” in the iconic picture taken in Abu Ghraib prison. As well as conducting personal interviews with each protagonist, Pinckers augmented the press articles with his own, staged photographs.

The chapters are interspersed with unrelated images that pander to our prevailing fascination with conspiracy theories. The result is an accomplished commentary on the complexity of the reality we live in, and the way it is presented in the media.

320 pages, 19.2 × 24.6 cm, self-published edition of 1500 copies

Over the course of one summer, the Los Angeles based photographer visited fifteen U.S. states to capture the seemingly unchanged atmosphere of rural country fairs.

Her idyllic images are a wistful reflection on the decline of social communities, and highlight the increasing disparity between life in America’s heartlands and the urban realities of the 21st century.

160 pages, 104 images, 24 × 30 cm, Kehrer Publishing

STANL E Y KUBRI C K THROUGH A DIFFERENT L ENS

Before becoming one of the most important film directors, Kubrick (1928–1999) spent five years working as a staff photographer for America’s Look magazine. Reminiscent of Film Noir movie stills, these early images already reveal his amazing feeling for composition, atmosphere and suspense.

328 p., around 300 images, German/ Engl./French, 26.7 × 33 cm, Taschen

Pe r L- B N i l s s o n C h i cag o — I r e la n d

This book combines two street photography series: from 1981–1984, the Swedish photographer (b. 1946) captured the rhythm of city life in Chicago with a variety of lenses and perspectives – while his earlier images of Ireland are characterised by a gentler and more personal approach.

112 p., 68 black-and-white images, Swedish/English, 29.5 × 21.5 cm, Art and Theory Publishing

JACQUELINE HASSINK Unwired

For the first part of this volume, the Dutch photographer (b. 1966) visited some of the world’s last internet-free ‘white spots’; this is juxtaposed with a second series, portraying people immersed in their smartphones in big cities around the globe.

In either scenario, connection is essentially impossible.

318 pages, 131 colour images, 22.6 × 34.5 cm, Hatje Cantz

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E d wa r d Q u i n n L e i c a GAll e r y S a lzb u r g

“As you can see we prefer the bikini swimsuit and the type of figure that fills it well…” This was a request the National Enquirer sent to Edward Quinn in the mid-1960s. Since the 1950s, the self-taught photographer (1920–1997) had been providing magazines with alluring pictures of life on the Côte d’Azur, where artists, race-car drivers, jazz musicians, stars and starlets, politicians, business magnates and nobility flocked every summer to party and relax. Quinn moved among the glitz and glamour with astuteness and charm, at a time when ‘paparazzo’ was still free of negative connotations.

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In fact, Pablo Picasso went on to become one of his closest friends.

Equipped with his Leica, Quinn captured the rich and famous with an unparalleled understanding of how the enigma of celebrity should be portrayed. His images were never designed to embarrass: after all, photographer and subject shared a common aim – to gain media attention – which made their relationship one of mutual benefit and trust. Quinn also knew how to fulfil the desires of his audience: many of his pictures – a still unknown Brigitte Bardot, a thoughtful Grace Kelly in a hotel lobby, Jane Fonda and

Alain Delon in his Ferrari – seemed to reveal glimpses into his protagonists’ private lives. Riviera Cocktail allows us to explore Quinn’s work outside of their original magazine context, and look back at an era whose rules of conduct and photography have long since ceased to apply.

Photos: Edward Quinn, Princess Grace arriving at the Night Club of the Casino, Monte Carlo 1956; Jayne Mansfield and the dance of reporters, Cannes Film Festival 1958 9 August — 20 October 2018, Leica Galerie Salzburg, Gaisbergstr. 12, 5020 Salzburg, leica-galerie-salzburg.com

S MAGAZINE ISSUE 9 20

Le i c a G a l l e r i e s Arenberg Castle

N u r em b e r g

Wilfried Hedenborg

Ulrich Mack: Kennedy in Berlin

AUT | 5020 Salzburg, Arenbergstr. 10 10 June — November 2018

GER | 90403 Nürnberg, Obere Wörthstr. 8 29 June — 6 October 2018

Ba n g ko k

Porto

Virunan Chiddaycha: Sweet Home

Rui Pires

THA | 10330 Bangkok, 2nd Floor Gaysorn Village, 999 Ploenchit Road 27 June — 7 August 2018

POR | 4000-427 Porto, Rua d. Sá da Bandeira, 48/52 21 July — 22 September 2018

Boston

Prague

Susan S. Bank: Piercing the Darkness

Alex Webb: Selections

USA | Boston, MA 02116, 74 Arlington St. 12 July — 9 September 2018

TCH | 110 00 Prag 1, Školská 28

Frankfurt

Salzburg

LOBA Finalists + photographs from the collection

Edward Quinn: Riviera Cocktail

GER | 60311 Frankfurt am Main, Großer Hirschgraben 15 9 June — 25 August 2018 i s ta n b u l

S ão Pau l o

Jim Marshall: Jazz Festival

TUR | 34381 Şişli/İstanbul, Bomontiada – Merkez, A Birahane Sk. No:1 5 June — 30 August 2018

Singapore

JPN | Kyoto, 570–120 Gionmachi Minamigawa, Higashiyama-ku 30 June — 4 October 2018 Los Angeles

SIN | Singapur, The Fullerton Hotel, 1 Fullerton Square, #01–07 31 May — 31 August 2018

NIGO® in Unknown Metropoliz JPN | Tokio, 6-4-1 Ginza, Chuo-ku 7 July — 30 September 2018

USA | West Hollywood, CA 90048, 8783 Bever­l y Boulevard 28 June — 6 August 2018

POL | 00–496 Warschau, Mysia 3 8 June — 21 July 2018

ITA | 20121 Mailand, Via Mengoni 4 29 June — 23 July 2018 NRW

Szymon Brodziak: What You See Is Who You Are GER | 59302 Oelde-Stromberg, Mies-van-der-Rohe-Weg 1 7 July — 8 September 2018

O K B O O

To kYo

w a r s AW

Víctor M. Pérez: Anyone, Anytime, Anywhere

O

Geoff Ang & Yik Keat Lee: Two

Bil Brown: From Protest to Performance; Jim Marshall: Peace; Mynxii White: Revolt

Milan

€

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AUT | 5020 Salzburg, Gaisbergstr. 12 10 August — 13 October 2018

BRA | 01240–000 São Paulo, Rua Maranhão, 600 Higienópolis 19 June — 10 August 2018

Ihei Kimura: Master of candid photography

PAGES · 9,90

21 June — 26 August 2018

Werner Bischof: A Selection From 1935–1953

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PHOTOGRAPHERS

Bogdan Konopka: Leçons de Ténèbres

We t z l a r

Bruce Davidson: Leica Hall of Fame GER | 35578 Wetzlar, Am Leitz-Park 5 15 June — 9 September 2018 Vienna

Nadja Gusenbauer: Verschwunden 1999. Sperrzone Tschernobyl

K · 2 0

Gideon Mendel: Drowning World

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 Wien, Walfischgasse 1 18 May — 4 September 2018 Zingst

CUTTING-EDGE

GUEST

Ellen von Unwerth

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GER | 18374 Zingst, Am Bahnhof 1 27 May — 11 September 2018

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W. E u g e n e Sm i t h In the 1950s, Smith arrived in Pittsburgh to cover the industrial boom in America’s City of Steel. Instead of six weeks, the project carried on for three years. Smith’s fascination yielded 20 000 negatives and 2000 master prints – a selection of which is now presented in the first Italian exhibition dedicated to this monumental body of work.

6 April 2018 — 21 January 2019 Photo: Eugene Smith, Steelworker

A l e x P rag e r T i s h M u rt h a The Photographers’ G a ll e r y, L o n d o n

A b e au t i f u l M o me n t H u i s M a r s e i ll e , Am s t e r d a m

How do you define a beautiful moment? In this exhibition, seven Japanese photographers share their perceptions of the world: some focus on its serene tranquillity, others on its unbridled energy; some experience it with pleasure, others with unease. What all the works have in common is a profound sense of beauty, and the aesthetic influence of wabi sabi – a Japanese philosophy that has evolved into an art form. In part, it refers to the ability to find perfection in the simplest things, and appreciate the beauty created by the patina of time.

Often, this manifests itself in depictions of nature.

Yet despite their commonalities, the artists each have their own approach; some choose silent contemplation, others wild imagination. Rinko Kawauchi, for example, focuses on details that usually go unnoticed, while Yuki Onodera uses visual manipulation to turn everyday scenes into ambiguous works of art.

A Beautiful Moment marks the 20th anniversary of the Huis Marseille, and celebrates its collection of Japanese photography: Nayoa Hatakeyama, Syoin Kajii, Toshiko Okonoue, Yuki Onodera, Chino Otsuka, Nao Tsuda and Rinko Kawauchi – the exhibition illustrates the differences between Asian and Western art in a truly beautiful manner.

9 June — 2 September 2018 Photo: Rinko Kawauchi, Utatane 103, 2001

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S k i n Dee p E s t h e r W o e r d e h o f f, Pa r i s

A person’s skin can be perceived as an expressive medium: entirely unique in colour, texture and appearance, it might be marked by scars, or become a canvas for piercings or tattoos. In this group exhibition, photographers Andreas Fux, Pedro Slim and Karlheinz Weinberger focus on the male body, in images that convey both vulnerability and strength.

7 June — 14 July 2018 Photo: Karlheinz Weinberger, No. 620600318, circa 1967

Streets, beaches, theatres and airport lounges: American photographer Alex Prager uses public spaces as the backdrop for her cinematically staged images. Silver Lake Drive comprises more than 40 photographs, in which the artist places people in relation to each other to create emotionally multi-layered narratives.

In parallel to this exhibition, the gallery presents the showcase Works 1976–1991,

dedicated to the sensitive documentary photography of Tish Murtha. Having grown up in a disadvantaged environment, she felt it was her duty to highlight the realities of social inequality in Britain.

15 June — 14 October 2018 Photos: Alex Prager, Anaheim, 2017; Tish Murtha, Elswick Kids, 1978

Photos: © Rinko Kawauchi, Han Nefkens H+F Collection/Huis Marseille, courtesy Rosegallery; © W. Eugene Smith; © Karlheinz Weinberger; © Alex Prager Studio and Lehmann Maupin, New York and Hong Kong, courtesy Alex Prager Studio, Lehmann Maupin, New York and Hong Kong; © Ella Murtha, all rights reserved, courtesy of Ella Murtha and The Photographers’ Gallery

M a s t, B o l o g n a

Ic o n s o f S t y l e T h e J . Pa u l G e t t y M u s e u m , Los Angele s

Be it corsets, mini skirts or cropped hairstyles – the fashion trends of any period offer illuminating insights into the social, political and economic developments of that time. Despite being created to entice the consumer, fashion pictures are not just advertisements, but also artworks that convey the spirit of their time. “Once overlooked by collectors and museums because of its commercial origins, fashion photography is now recognised as having produced some of the most creative work of the twentieth century, transcending its illustrative function to yield images of great artistic quality and sophistication,” explains Timothy Potts, director of the J. Paul Getty Museum. Icons of Style: A Century of Fashion Photography, 1911–2011 encompasses more than 160 images by over 80 photographers – including great masters such as Richard Avedon, Lillian Bassman, Guy Bourdin, Erwin Blumenfeld, Peter Lindbergh and Irving Penn. The show opens with a key moment in the genre’s history: in 1911, French publisher Lucien Vogel asked Edward Steichen to create the first artistically stylised fashion photographs.

26 June — 21 Oct. 2018 Photos: Richard Burbridge, Alana Zimmer for Italian Vogue, 2007; Glen Luchford, Kate Moss, negative 199, print 2017; Deborah Turbeville, Bath House, negative 1975; Herb Ritts Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood 1989

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“ S h i n e a l i g h t o n N o rt h A f r i c a n c r e at i v i t y.� i n t e rv i e w

From a small island, Olfa Feki, architect and founder of the Kerkennah#01 Festival, wants to give international exposure to Tunisian photography and video productions. A look at the scene in an as yet undiscovered land.

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LFI: Please tell us about the back-

ground to the Kerkennah#01 Festival.

What is your mission?

Olfa FekI: Kerkennah#01 was conceived of as a platform that can be a residence, a workshop, a festival, and whatever the scene wants it to be. The platform aims to create a new network, to connect people in the field from around the world; to create multiple opportunities, diffusion and visibility, and to shine a light on North African creativity.

Why do you think it was necessary to start this project?

FekI: Even though the revolution in 2010/2011 brought a lot of international attention to the medium as a way to diffuse information, which helped in a way, Tunisia still doesn’t have many galleries or art centres. So it’s still a bit difficult to catch the attention of international experts. This plat-

form is necessary, since the aim is to help create projects outside the timeframe of the festival. There have been no cultural media or platforms before; moreover, the legal status of ‘artist’ does not exist.

What about the cliché that it’s harder for women to push things forward, particularly in Arab countries?

FekI: It’s not harder for women: I think it all depends on your attitude. We now find more and more women in the Tunisian art scene.

LFI:

LFI:

Photos: © Pierrot Men

Left and above: two pieces by Madagascan photographer Pierrot Chan Hong Men, also known as Pierrot Men. Taken from the On Betweenness exhibition curated by Missla Libsekal, which deals with the exploration of interpersonal relationships

Tell us something about the history of photography in Tunisia.

FekI: Many photographers have marked history in Tunisia, but we can’t really talk about a movement. The scene is not very big yet, but consists of great talent – professionals but also savvy amateurs. When it comes to the market, as far as I’m concerned, we have a long way to go before actually affirming its worthy place as a valuable art-form. From colonial documenLFI:

tary and ethnographic photography, which aimed to offer an exotic image of the country, to photography since the independence consisting of news images – in terms of social, political, and cultural issues –, and then to state assignments to document Tunisia’s heritage and landscapes. During the dictatorship, we witnessed censorship and auto-censorship. Photography was more about creating post card prototypes, so it’s a bit difficult to find documentary photography of that period. And those who’ve succeeded were mostly part of the diaspora. →

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Who are the most important protagonists of Tunisian photography – in former times and today?

FekI: Photographer and Orient enthusiast, Rudolf Franz Lehnert, originally from Bohemia, coined the image of Tunisia with his postcards; Albert Samama-Chikly, Jacques Pérez, Victor Sebag, were the country’s great photographers. Today they are followed

by Jellel Gastelli, Hela Ammar, Zied Ben Romdhane, and others. They have marked history, and the contemporary history of photography in Tunisia.

Through their work we can easily follow the evolution of photography, the visions and methods employed over the years. These photographers are now in the collections of several institutions, such as the British Museum, the Arab World Institute, the Centre Georges-Pompidou, and more.

LFI:

“ I wis h to burst t h e various s oc ia l a nd art ist ic bub b l e s. ”

Above: Federica Landi, Palms, from the Spectrum series; below: Bruno Hadjih, 01, from the Occupy the Desert group exhibition curated by Jeanne Mercier

Above: Zied Ben Romdhane portrayed people with pigmentation loss, from the Children of the Moon 1 series, 2018; very top: Augustin Le Gall documented Le stambali, a religious ritual in Tunisia, La dernière danse#1, 2018, from the Bou Sadiya project

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What are the special highlights of the Kerkennah#01 festival? You are presenting both photography and video productions.

FekI: Besides the exhibitions, we have, for example, an educational program in collaboration with the Goethe-Institut. We are also organizing a series of panel discussions, which is not very common here. In addition, we have put together a mediation program for art schools in Tunisia, to train art students in cultural mediation, a training module that does not exist in Tunisia, but is very much needed. In order to attract a larger audience, some of whom might not be curious about culture, we have put together a musical and movie program, as a means to attract them to art and culture.

LFI:

LFI: What would you say distinguishes photography from visual art and video?

FekI: When it comes to photography, I’m more of a traditionalist. I was taught traditional documentary and photojournalism. If I say photography, then the picture needs to be 100% original with no retouches. It needs to reflect a real scene. The line is drawn when the picture becomes emotional, when it reflects personal thoughts and when it includes retouches, compo-

sitions, an other digital medium, or becomes an installation. The aesthetic approach tends to blur the lines between journalist work and artwork.

What new perspectives for Tunisian photographers might there be as a result of your festival?

FekI: I really hope this festival can open up new opportunities for local artists, to give them the place they always deserved; but, more importantly, to take the authority away from the State, as it actually has no idea what it means to be an artist; and to give the responsibility to independent professionals, who can really make the difference without having political, financial or decision-making limitations. Art should be acknowledged as it is, as the artist defines it, not as the State wants it to be. The decision needs to be in the hands of cultural activists.

LFI:

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What do you wish for the photography scene in Tunisia?

FekI: I really wish that one day I can be as proud when I present myself as a curator as when I present myself as an architect. This is the sad situation of social ranking in Tunisia.

I wish that the marginalization of artists and of the arts will stop someday.

I wish that one day an artist or cultural professional can live from his or her work without having to do another job on the side. I wish to be able to work in my homeland, and that the market opens up to new opportunities. I wish to have more photography spaces, schools, and, mostly, a museum. I wish to burst the various social and artistic bubbles, in order to have an open, sharing and connected scene.

Photos: © Augustin Le Gall, © Bruno Hadjih, © Zied Ben Romdhane, © Federica Landi

LFI:

Interview: Carla Susanne Erdmann

O l fa Feki Born in Tunis in 1990. From 2008

through 2014, she studied Architecture at Tunis University. She co-founded the Shutter Party platform and La Maison de l’Image, a center for photography in Tunis. She has been a cultural consultant with international institutions and foundations, and has produced gallery exhibitions in Paris, Cairo and Morocco.

Ker ke nna h# 01 : June 21 to 27, 2018, Kerkennah Island, Tunisia; www.kerkennah-01.com

o rd e r n ow:

l f i- onl ine.com/Sh o p

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

J e s s e M a r low my picture

For two and a half years, the Australian was somewhat addicted to photographing wounded people. It was this motif that finally brought closure.

70th year | Issue 5.2018

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, Frank P. Lohstöter (V.i.S.d.P.) A rt Direction Brigitte Schaller EDITORIA L OFFICE Michael J. Hußmann, Denise Klink, Bernd Luxa, Edyta Pokrywka, 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, Katrin Ullmann M anagement Board Steffen Keil, Frank P. Lohstöter

Wounded # 26, 2005

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. 46, 1 January 2018 REPRODUcTION: Alphabeta, Hamburg Printer: Optimal Media GmbH, Röbel/Müritz PA PER: Igepa Profimatt

After hurting my arm and being unable to shoot for a few weeks, I began noticing others out there in similar situations. It’s like when you buy a new car and then keep seeing the same model everywhere. I began photographing people going about their daily routines despite visible injuries.

Everywhere I went I saw bandages and crutches. My series aims to show that, despite suffering from injuries, people in general get on with things. For two and half years that was all I photographed; and the series grew into a book called Wounded. I could spot an injured person in a crowd 200 metres away.

It was an interesting project, but it needed an end, as it had become addictive and narrowed my vision. This was the final frame I took; and for me it sums up the serendipitous nature of candid street photography. The second after I took this photo, I knew the project was finished.

Jesse Marlow was born in Melbourne in 1978. He is a member of the iN-PUBLIC street photography collective. The book Wounded was published by Sling Shot Press in 2005. Marlow also runs workshops for the Leica Academy in Australia.

L FI 6 / 2 0 1 8 w i ll a pp e a r o n 1 0 A u g u s t 2 0 1 8

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Photo shot on Leica SL from the series “Parkour Motion”, © Ben Franke

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