LFI Magazine 1/2020 E

Barbara Klemm

1. 2 0 2 0 Ja n ua ry

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Gabriele Micalizzi

Marzio Emilio Villa

Elen Pavlova

Steve McCurry

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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 E n g l i s h E d i t i o n

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All rights reserved. We reserve the right to make changes and correct errors. WhiteWall Media GmbH, Europaallee 59, 50226 Frechen, Germany Š Photo by Steve McCurry

Steve McCurry | Leica Exhibitions

London | Madrid | Rome | Paris | Shanghai | Tokyo Fuji Crystal DP II | 60 x 90 cm | Photo Print Under Matte Acrylic Glass | Black Aluminum ArtBox

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

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

8 2 | SL2 and video

Over 25 000 photographers present more than half a million pictures in the LFI Gallery.

In this issue: a headstand on a skateboard, and Lady Krishna from Seattle

The Leica SL2 doubles as a movie camera: director and cinematographer Jytte Hill has put its cine capabilities to the test 86 | Typhoon H3

P h oto

Leica and Yuneec enter into a long-term cooperation and present their first, jointly developed drone camera 9 4 | C L Pa ul s m i t h A new outfit for the Leica CL: fashion designer Paul Smith has clad the camera in a characteristic pattern of colourful stripes 96 | Leica fotos 2.0 The new 2.0 version of the Leica Fotos app offers many new functions for smartphones as well as the iPad 100 | Leica World Jean-Jacques Ruchti offers glimpses behind the scene of the Bernina Gran Tourismo classic car race, and accompanies the Leica Racing Team

120 | Books

Barbara Klemm: Havanna, Cuba 1997

New books by Michael Kenna, Seth Lower, David Denil, and Stephen McLaren’s Magnum monograph, Magnum Streetwise 122 | exhibitions

Steve McCurry 6 | Made in China

There are few able to combine travel and street photography as effectively as Steve McCurry. Now he had the chance to try out the Leica SL2 in China

Gabriele Micalizzi 26 | Malamilano

After having worked in many conflict and crisis zones, the Italian now decided to explore the underground world in his home-town of Milan

Elen Pavlova

Outside Fashion, Amsterdam; Wolfgang Tillmans, Brussels; Miles Aldridge Moscow; Ansel Adams, Tucson; Taylor Wessing Prize at London’s National Portrait Gallery 1 2 4 | L e i c a G a ll e r i e s The programme of Leica Galleries around the world, including: Thomas Hoepker in Melbourne, and gallery launches in Düsseldorf and Suzhou 1 2 6 | I n t e rv i e w Dr. Klaus Ceynowa, Director General of the Bavarian State Library, the new home for Stern magazine’s picture archive

3 8 | t h e fa c e o f t h e b o l s h o i

Expressive portraits: the most famous ballet company in the world and its proud dancers – a series in black and white The Leica CL “Edition Paul Smith” is delivered with an Elmarit-TL 1:2.8/18 Asph

Marzio Emilio Villa 50 | La marée de la mémoire

130 | my picture Chad Tobin explains how he captured a portrait of Robert Frank on a quiet, summer’s day 130 | imprint

With a heavy heart, Villa headed for Brazil in search of details about his adoption. The images he captured cannot replace the missing memories

Barbara Klemm 66 | times. pictures. stories

Her pictures have transcended the moment and are seen as a part of history: a homage to Barbara Klemm on the occasion of her 80th birthday

Cover: Steve McCurry travelled to China with the new Leica SL2

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C h eck i n g i t o u t T h e L f i - S L - C h a ll e n g e

Steve McCurry was one of the first to try out the new Leica SL2

After haven written about the introduction of the Leica SL2 in our previous issue of LFI, this issue offers two photographers, who have had the opportunity to put the SL2 to the practical test, a chance to talk about it.

While our cover photographer, Steve McCurry, photographed daily life in China, Gabriele Micalizzi worked with the SL2 under very challenging conditions, accompanying Milan’s policemen during their operations fighting crime. Two completely different approaches that do an impressive job of confirming the camera’s value.

We also want to acknowledge the introduction of the SL2 with an online challenge set up especially for this occasion. As with previous challenges, any registered LFI Gallery member can participate and submit his or her best pictures. Any subject is allowed this time – the only condition is that the pictures must be taken with a Leica SL, or even an SL2. Further information at the lfi.gallery

C o n t r i bu t o r s

Life has taught her everything she knows – this is Barbara Klemm’s humble self-assessment. The completeness of the multi-faceted body of work produced over five decades is unique, and reveals much about her personality. In addition to motifs covering German history, Klemm has also put together an enormous collection of portraits and travel photographs.

We congratulate the Leica photographer on the occasion of her eightieth birthday, and present a selection of her work in her honour.

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Gabriele Micalizzi The Italian photographer has been working on documentary projects in the Middle East ever since the Arab Spring. In doing so he has often risked his life on the very front line.

On February 11 this year he only just managed to survive a terror attack in the south-west of Syria. It was his Leica in fact that was hit by shrapnel.

“If I hadn’t had it in front of my face I wouldn’t be here today to talk about it,” he said in an interview a short time later. “You could say that the camera saved my life.”

E l e n Pav lova

While working on her ballet project, the doors of the Bolshoi Theatre itself were also opened up to Pavlova.

She was invited to explore the hidden world behind the scenes. “It was a magical moment for me,” the photographer remembers. What she experienced there was an atmosphere of hope, hospitality and friendliness.

“When you walk down the long, narrow corridors, or onto the stage, it often feels as though it’s 1776, the year when it all began. It was as though time had stood still.”

Photos: © Marco Casino (top) © Gustav Eckart, © Mofu Nogra, © Valeria Mikk (from left to right)

B a r b a ra K l emm

It‘s YOUR CHOICE The new Leica SL2.

Photography is about choices.

Seeing when others simply watch, slowing down when others rush, persevering when others give up, standing out when others hide.

Photography is about your choices.

Your story, your perspective, your reasons, your camera.

Find more inspiration at SL2.leica-camera.com

Red rope strap is not included in delivery scope.

LeicA SL2

Steve McCurry

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It is hard to imagine the existence of even one travel photographer not inspired by his body of work: Steve McCurry offers the viewer a chance to experience the world. After more than four decades travelling and taking pictures, he has not lost any of his unique imagery – as is underlined by the photos recently taken in China with the new Leica SL2.

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S t eve M c C u r r y Born in 1950 in Philadelphia, Pennsylvania, Steve McCurry first studied Dramatics. He developed an interest in photography while working with a local newspaper. At the end of the seventies he was one of the first people to document the daily life of the Afghan people following the invasion by the Soviet Union. His photography has made him world famous and has earned him numerous awards throughout the years.

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In the beginning there was the picture.

Photographs taken by Henri CartierBresson and Elliot Erwitt were among the first sources of inspiration for the young Steve McCurry that later motivated him to travel the world with a camera. Overwhelmed by the diversity and intensity he encountered around the globe, the American captured countless motifs that are today considered icons of photography. His portrait of Sharbat Gula, Afghan Girl, first drew the world’s attention to his pictures and in subsequent years he went on to receive the Robert Capa Gold Medal, various National Press Photographers Awards and the World Press Photo Award, as well as to do cover stories for numerous international magazines. By the time he reached 35 years of age, his work had qualified him to become a member of Magnum Photos.

Although he has taken pictures in numerous war-torn and conflict situations, McCurry is all about life and the quiet stories originating in every corner of the planet. Over time the quality of his journeys has changed: gone are the days when he had to smuggle his equipment over a border hidden in his clothes in order to take pictures in places were few dared to go. In the 21st century, there is the impression that everything has already been seen, discovered, and photographed. Even so, it is precisely because of the flood of images currently overwhelming us that the impulse to tell even better stories can arise – stories both great and small.

McCurry masters both.

Capturing fragments of daily life is a talent the photographer has continued to perfect. His work combines travel and street photography and he has imbued both genres with a new quality. If you were to ask McCurry what makes a good picture, he would reply that if you want a picture to be remembered, it has to say something.

When the content has priority over everything else, it becomes possible

to give a voice to all those people who would otherwise not be heard – and there are countless numbers of such people all over the world. “In the end, the important thing when taking photographs is to enjoy spending time with other people,” he summarises in an interview. If you deal with your fellow human beings with respect and good humour, the ice quickly melts away – this is a philosophy that has opened many doors, and the hearts of many strangers during McCurry’s long career and that continues to serve him well during his travels today.

His fascination with the ‘story as yet untold’ has been a constant that remains true to this day. For this reason, he was one of the first photographers to whom Leica advanced the new SL2 (see page 74), so that he could take the camera on one of his journeys.

The destination McCurry chose this time was China – a country that he considers very special. “I have spent a large part of the past 40 years travelling in Asia, and have been to China countless times working on a variety of assignments,” he explains. “It’s a wonderful place to take photographs: rich in culture, history, art and traditions. People are friendly and warm, which makes China a very safe country to travel in.” His capacity to play effectively with light, shadow, shapes and colours serves him particularly well in the Middle Kingdom. He makes use of the time-honoured culture and colourful settings to produce photographs that reflect a precise eye for observing daily life, giving the impression the photographer has never been anywhere else.

McCurry’s relationship with Leica began in 2011, when the company selected him as the first ever recipient of the Leica Hall of Fame Award, in honour of his tireless work in reportage photography – regardless of the fact that he was still working with other equipment at the time. The photographer, who has produced and carefully archived hundreds of thousands of Kodachrome images, does not like to commit himself to just one specific system. At the same time, he has

always been open to progress and change, which explains why he had no difficulty in switching from analogue to digital 15 years ago – even though this required a different approach to filing and administering the pictures compared to the analogue era. 2019, McCurry switched from DSLR to Leica’s mirror-less SL camera. Now, after being on the road with the new Leica SL2, the photographer could not be more delighted. “This camera is quite simply, incomparable. Its construction and handling are fantastic – but it is the picture quality that impresses me the most! It’s hard for me to imagine that a better lens exists in the world,” he says with enthusiasm.

The pleasure the photographer derives from the work is reflected in every image of his China series. In the typical, low-key McCurry manner he extracts the essentials from the daily lives of people from the most diverse levels of society. In the process, he is continuously discovering new aspects of cohabitation; and in a world where images are omnipresent this is a fine art. Even considering the sheer masses of pictures that seem to be smothering us, with the right amount of interest in one’s surroundings, a good degree of understanding for people, and a touch of humour, it is still possible to find authentic motifs to place in front of the lens, which is what the photographer has been doing for more than four decades. The poetic and carefree pictures taken in China serve as excellent tools of communication the photographer offers to society at large as a visual aid to international understanding. The on-going success of McCurry’s photos prove that the impulse to discover new things exists within each one of us. And is there any better way to fulfil this impulse than with travel photography?

Danilo Rössger stevemccu rry.com Equipment: Leica SL2 with VarioElmarit-SL 24-90 f/2.8-4 Asph.

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LeicA SL2

Gabriele Micalizzi Malamilano

The Italian photojournalist has travelled the world, documenting wars and conflicts from the very front lines. His most recent project has taken him back to his home-town of Milan – and reveals one of the city’s roughest sides.

Every night something new for the Milan police to deal with – Gabriele Micalizzi covers their operations with the Leica SL2

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Armed with just a torch and the Leica SL2, Micalizzi immersed himself in the shadow world of his home-town, documenting the work of the police force as it battles against every conceivable type of criminality. In the process he has to behave as discretely as possible, so as not to hinder the police’s work. The Leica SL2’s speed made his work considerably easier

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Defined by cultural influences such as movies and comics, the photographer manages to create intense, story-telling imagery, which could easily appear to be stills from a blockbuster movie. Even so, his pictures are always close to reality

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A city of millions, Milan is more than just fashion, football and design, but also looks back over a long history of organised crime. Using a distinct imagery, with contrast-rich black and white, the photographer not only manages to capture what daily life brings to the law enforcement, but also often captures surprising reactions from the opposition

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Police work is not a piece of cake: Milan’s underworld is well organised and has a direct impact on the daily life of its citizens, from the suburbs to the city. Such a relaxed snapshot as this is rare among the photos of Micalizzi’s project, which is still going on

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Even in Micalizzi’s quieter pictures, the calm seems to be deceptive. In 2016, his work afforded him first place in the first season of the Master of Photography casting show

Gabriele Micalizzi After studying Visual Arts, Micalizzi began his photographic career as part of the NewPress Agency in Milan. The photojournalist from Milan has been documenting Italy in all its socio-political facets, since 2008. In 2011 he began working on documentary coverage of the Middle East.

His work has appeared in numerous international publications such as the New York Times Magazine, Newsweek, and Stern.

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Gabriele Micalizzi goes to places where things are painful. Having worked primarily in crisis, war and conflict situations, the Italian photojournalist knows what it feels like to report from the front lines, even during the moments of highest risk.

For his current project, Malamilano, he decided to explore the dark side of his home-town, Milan. With this purpose in mind, he spent two months following units of the police force with a Leica SL2, covering their battles against criminality.

LFI: Mr Micalizzi, how did the idea for Malamilano come about?

Gabriele Micalizzi: Initially I wanted to look at terrorism. As a European metropolis, Milan is a potential target for terrorists, and organised crime in the city has continued to develop over the decades. This is the reason why I wanted to explore what the city is doing against criminality and against terror attacks.

It is interesting that you chose your home-town for this purpose.

What do you find so interesting about Milan’s dark side?

In general, I’ve always been fascinated by the dark side of people, and I myself grew up under difficult circumstances. I think this is one of the main reasons why I focus so often on crisis and conflict situations.

Your pictures are often very direct.

What are you aiming to provoke in the viewer?

My first aim is to convey facts in a manner that is as close to reality as possible. Of course, my photographic point of view is defined by the cultural experiences that I have collected over the years – whether in the form of comic books or cinema movies.

Over time, this collection of impressions increasingly gave my work a storytelling style, with at times very personal and close-up perspectives.

I don’t try to impress the viewer with my pictures by overloading them with significance. Above all, I want to concentrate myself on the essentials.

What photographic approach have you developed in your work?

Because I’ve been working in conflict zones for so long, I’ve developed techniques that enable me to photograph without being ‘visible’ to my surroundings. Consequently, depending on the situation, I use different approaches, so as to go by as unnoticed as possible. For example, at times I might slip into people’s houses to take photographs there. To remain professional and to also not hinder the police’s work in any way, I never try to draw attention to myself – not even on the occasions where I was given permission to go into the houses.

How did the people you photographed react, and what kind of impression was left behind?

They often reacted gruffly, but they also often just want to talk to someone; and sometimes they also let me take a picture. In some situations a dialogue arises, but in others however, there can be arguments. Sometimes the people also leave me with a feeling of sadness, and I even feel helpless, because I can’t change their terrible conditions. But sometimes I can do something good for them – even if it’s just with a glass of water.

Were there situations that you couldn’t or didn’t want to capture?

There were a few. Violence against women for example, is a very delicate issue, where in some cases I first had to wait for the results of the police investigations, which obviously have priority. There were also situations where I didn’t want to use my position to my advantage, because I didn’t want to destroy people’s dignity.

At what point in your life did you first start to take photographs?

I began to use photography as a medium, when I was still fairly young – at the time I spray-painted graffiti

and I wanted to document my work.

A similar thing happened later with tattoos. Then, when I was in high school and I discovered the darkroom, and books by great reporters such as Don McCullin, I knew that photography was exactly the right thing for me.

How did you get into the world of Leica cameras?

I always dreamt about holding a Leica in my hands, but I never imagined that this dream might come true. In the beginning I used cameras that tried to imitate the performance of Leica equipment. The big change happened in 2016, when I came in first in a photography casting show. With the prize money, I bought the Leica cameras that I had used during the show; and as of that moment I was able at last to take pictures in demanding situations, which I would never have been able to do otherwise.

What are the biggest differences between the Leica SL2 and your previous model?

While working with the SL2, I realised that it handles much more ergonomically. This served me particularly well, because I have lost a phalanx of one of my fingers and can’t use it. Also, because I mainly photograph at night and with the help of a flash and of torches, I was impressed by its incredible speed and the amazing dynamic range it has in poor lighting situations.

Are there places you’d like to visit in the near future?

I would like to document the revolutions in South America and the protests in Hong Kong.

Interview: Danilo Rössger

gabrielem icalizzi.com LFI-On lin e.DE /B log: One Photo — One Story Equipment: Leica SL2 with ApoSummicron-SL 35 f/2 Asph

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LeicA SL

Elen Pavlova T h e Fa ce o f t h e B o l s h o i

Dancers enchant us with their ethereal grace – but behind each pose are years of gruelling training. Perhaps nowhere more so than at Moscow’s Bolshoi Ballet, as these proud portraits convey.

Above and right page: Ana Turazashvili, Bolshoi Ballet soloist

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Above: Evgenia Obraztsova, prima ballerina; left page: Alexander Volchkov, principal dancer

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Above: Ana Turazashvili, soloist; right page: Stanislava Postnova, corps de ballet

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Above: Jacopo Tissi, leading soloist; left page: Ekaterina Shipulina, prima ballerina

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Above: David Motta Soares, first soloist; right page: Eleonora Sevenard, soloist

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Mirrored walls, wooden barres, parquet floors – and one day, perhaps, limelight and applause: classical ballet is the epitome of discipline and grace, built on decades of stringent perseverance and punishing routines. Ever since the art form first arrived in Russia in the eighteenth century, national ballet schools have been dedicated to the uncompromising education of new talent. Government-run facilities are found in even the most remote regions, ensuring that no potential ballerina remains undiscovered.

At the top of this nation-wide pyramid of excellence, whose foundations are broader than anywhere else in the world, are the soloists of the Bolshoi Ballet, located at the Bolshoi Theatre in Moscow – the largest and probably most famous dance theatre in the world. Russian photographer Elen Pavlova dedicated a series to those who belong to the Bolshoi with every fibre of their being: the dancers who spend ten-hour days at the theatre, six or even seven days a week. “I had heard so much about the ensemble,” Pavlova says about the origins of the project. “But at some point it dawned on me that I didn’t know anything about the 230 individuals that make up this cohesive entity – they were a mystery to me.”

Her next step was to determine how to individualise this vast, almost clan-like group of artists: how should she decide which members of this figurative family to single out and photograph? For Pavlova, this was one of the project’s most pivotal questions – after all, her main prerogative was to try and capture “the true face of the Bolshoi Ballet”. In the end, the photographer decided that she would entrust the selection process to the protagonists themselves. She started out by contacting one dancer. Once they had completed their first portrait session, Pavlova asked her model to suggest who she should photograph next – which dancer, in her eyes,

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was the brightest star at the Bolshoi.

She then put the same question to her next sitter, and so forth. “This way,” she explains, “my story became their story.” Thanks to her ingenious approach, the project turned into a collective effort. Equally remarkable is the fact that Pavlova chose to realise her series in the form of portraits.

Time and again, ambitious photographers have applied the full breadth of their artistic skill and technical possibilities to capturing dancers in motion. And yet, what they record are merely fleeting elements of a choreography. Their images speak, above all, of an insatiable longing to convey more than can be expressed within a single frame. Pavlova’s aesthetic is rooted in a different approach: “I wanted to convey the power of Russian ballet purely in the form of faces, and show the personalities that embody its story.”

As for the concept of beauty, Pavlova’s views are not limited by ideals. “For me, beauty is borne out of the moment in which I truly see another person’s soul. When this happens, everything I feel gets channelled into the image I’m creating, in the hope of capturing that precise moment.”

Pavlova’s images – shot in pareddown black and white – are intense and multi-layered. They depict proud dancers, but most of all, they present unique individuals. In the photographer’s opinion, images can be experienced on many different levels. Her aim, therefore, is to facilitate an emotional connection between the audience and her subjects, and to in-spire viewers in a way that stays with them over time. The decision to work in black and white arose from a wish to create images that are both simple and profound. “Working with only two colours and shades of grey can enable a powerful graphic language that cuts straight to the core meaning of an image – essentially turning a portrait into a symbol.”

Her powerful, eloquent images can indeed be viewed as emblems of the individual within the collective – as well as a homage to those who live their lives in pursuit of ever higher levels of perfection. Katrin Ullmann

E l e n Pav l ova studied Graphic Design and Photography at Moscow University, before attending the Academy of Photography. She continued her training at Photoplay (focusing on fashion photography), and finally studied documentary photography at the Rodchenko Art School of Photography and Multimedia.

For two years she worked as an assistant for Anthony Suau, who she cites as her greatest influence. The artist currently studies Psychology. elen pavlova.com Equipment: Leica SL and SL2 with VarioElmarit-SL 24–90 f/2.8–4 Asph

ANGELOPELLE.COM

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Marzio Emilio Villa La marĂŠe de la MĂŠmoire

What materials are memories made of? How is it possible to capture them in an image? Mario Emilio Villa followed the trail of his adoption, and in the process found answers to these questions. At the same time, he was able to recapture his own story picture by picture.

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The lack of people in the pictures of Curitiba, a city of millions in Brazil where he was born, conveys a painful impression.

There is nothing in the city to hold on to, the eye bounces off every surface. It all seems pointless, just like the attempt to bring memories of the past to life

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Curitiba, capital of the State of Paranå in southern Brazil, looks like a stage set without actors – no protagonists that could bring it to life. A visual metaphor for the memories that Villa does not have

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Above: Villa’s Italian mother; left page: his brother with his newborn son. The people in Villa’s portraits appear strangely lost in reverie – very close, yet somehow far away. The lighting appears to be inspired by the Flemish School

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The photographer only knew the church in Brazil where he was christened thanks to pictures by his father. Now he visited the place himself and met the priest who was involved in his adoption more than thirty years ago

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Villa’s parents and their new partners become protagonists in the story. The Brazilian priest (top right), who was directly involved in the adoption, also steps in front of the lens

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In addition to Brazil, Villa took photographs in Italy as well as Paris, his adopted home; however these pictures also lack people who could give meaning to what is going on in these places. Right page, clockwise from the top: the primary school in northern Italy disappears into the mist; two empty chairs stand at the restaurant table where the photographer met his mother after returning from Brazil; the mother’s garden is inhabited only by clay birds

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“All happy families are alike; each unhappy family is unhappy in its own way.” This quote from Tolstoy’s Anna Karenina could be the motto applied to Villa’s family pictures

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Marzio Emilio Villa Born in Brazil in 1987, Villa was adopted when he was three months old and grew up in Italy. After studying art in Milan, he moved to Paris when he was 23 years old.

Influenced by his own story, Villa deals mainly with subjects such as identity, social structures and discrimination. Villa has been a member of the Hans Lucas Agency since February 2017. He lives and works in Paris.

ma rz i o em i l i ov i l la .co m LFI -O nl i n e .D E / B log : One Photo — One Story Equipment: Leica S006 with Summarit-

S 35 f/2.5 Asph, Leica M240 with Elmarit-M 28 f/2.8 Asph and Summicron-M 50 f/2

Muted colours, with a light touch of sepia – for many decades this is what photographs of shared family memories looked like. But what if those memories and the pictures connected to them are not real? What if the people that might have made up a particular family, never actually knew each other – as in the case of the photographer, Marzio Emilio Villa?

Villa was three months old when he was adopted from Brazil by his Italian parents. He never knew his biological parents. He never tried to know who they were. Even so, it would seem as though he wanted to use photography to give form to this empty hole in his past, and so to create his own story.

“For adopted children like myself and my brother, it is extremely important to establish family memories. The first part of your life, which you can only know about based on whatever your parents tell you, is simply non-existent.

For me it’s a riddle, that I’ll never be able to solve,” Villa says.

He was already in his early thirties by the time he finally returned to the place where he and his brother were born: Curitiba, a Brazilian city with a population of millions. Villa found it was a place where people looked like him, and spoke to him in Portuguese – a language that he did not master.

Though to some degree Villa had gone in search of home, he soon realised that he would not find it there. Even so, he went looking for clues, both for himself and for his brother, who had been adopted a couple of years later when he was already five years old. “My parents had kept a box full of souvenirs, clothes and photos of my brother’s. In this box I also found a diary with addresses, that I needed for my project. Thirty-two years would pass before I had the courage to open it,” the photographer explains.

So Villa visited the place he had come from: the area around the orphanage where he spent a month waiting to be adopted (page 54/55), the apartment blocks in Curitiba, where he might have grown up (page 53, above), the path to the orphanage his brother came

from (page 53, bottom right). Sparse areas, where the lack of people is in almost painful evidence: there are no children playing around on the streets, no passers-by. It is as though this city of millions has died out. There is nothing to hold on to, the eye bounces off every surface. It all seems pointless, just like the attempt to bring memories of the past to life.

In addition to Brazil, Villa took photographs in Italy as well as Paris; however the pictures are also devoid of people who might give meaning to whatever is happening in the various locations. The primary school in northern Italy disappears into the mist (page 63, above), the mother’s garden is inhabited only by clay birds (page 63, below), and two empty chairs stand at the restaurant table where the photographer met his mother after returning from Brazil. It is as though the lives of the protagonists have gone missing.

“I often feel like an observer in my own life. That’s exactly why I started photographing my family,” Villa remembers on the occasion of the opening of his exhibition in Paris.

In his portraits, Villa tries to draw closer, both inwardly and outwardly, to the people in his extended family.

These are not typical family portraits: each picture seems to express a complex relationship. As though something unmentionable has happened.

Eyes turned away, eyes closed, the people appearing shameful, despondent. For the portraits, the photographer was inspired by paintings – especially the Flemish masters. “I am much more oriented towards painting and sculpture than towards photography,” the former art student explains.

“For me it’s about creating something that reaches beyond reality.” A central image of the series is the portrait of his brother with his newborn son.

It summarises the essence of the story, and builds a bridge between the past and the future with seemingly little effort. Denise Klink

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L e i c A Cl a s s i c

Barbara Klemm TI M E S . P I C TUR E S .

S TORI E S .

She is Germany’s chronicler of contemporary history par excellence. Leaving the context of daily news behind, her photographs have become a many-layered, visual account of history. We celebrate the Leica photographer on the occasion of her eightieth birthday.

A moment of German history condensed into one picture: the fall of the Berlin Wall photographed November 10, 1989 at the Brandenburg Gate

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The reality of the division: a German Democratic Republic (DDR) border forti­ fication, East Berlin, 1971 (left). Up close to Michail Gorbachov, the white hope of the convergence of systems, photographed on the 40th anniversary of the DDR, East Berlin 1989

Artists protest, East Berlin, November 4, 1989: it was the largest, non-state controlled protest so far in the history of the DDR, and reached its peak at the Alexanderplatz where speeches demanding general civil liberties were given

Visual instruction revealing the reality of the division: there were numerous viewing platforms in West Berlin, offering a glimpse over the wall and into the eastern part of the city. This picture was taken at Berlin-Kreuzberg in 1977

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With this picture, Barbara Klemm managed to capture a composition reminiscent of a historic painting. Intransigently, police confront demonstrators at the west runway in Frankfurt in 1981.

Three years later the expansion of the airport went into operation

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In 1973, at the SPD party conference in Dortmund, Herbert Wehner, Willy Brandt and Helmut Schmidt still appeared together on the podium; but it’s easy to feel the alienation that would later arise between the party’s three primary members

For the first time in the history of the Federal Republic of Germany, on October 1, 1982, a vote of no confidence brought about a change of government and of Chancellor. Helmut Schmidt congratulates his successor, Helmut Kohl, at the Federal Parliament in Bonn

The transformation of Joschka Fischer: provocative, Hessian Prime minister Holger Börner swears Fischer – wearing plimsolls – in as the first green minister, Wiesbaden, 1985 (right), and statesupportive, in a three-piece suit, as Minister of Foreign Affairs and Vice Chancellor, Bonn 1998 (left)

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This motif of a bus stop in Scorteni was taken during her trip to the former Soviet Republic of Moldova in 1991.

It is a picture with symbolic impact, revealing quite effectively the state of uncertainty during the country’s changing situation

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Time and again, the photographer captures street scenes that reveal her sense for composition and layout.

Within the narrow frame of this photograph, the contrasts of Apartheid in South Africa are all the more evident, Johannesburg 1978

A large stage for the small detail: the photographer is a precise observer. Advertising and daily life combine in this picture to create a charming and humorous photographic discovery, Milan 2004

Thanks to a clear graphic composition, the social contrasts between rich and poor are all the more evident, in this street scene in New York, 1992. A grand architectural gesture: the Walt Disney Concert Hall designed by Frank Gehry, Los Angeles 2004 (right)

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Artistic summit meeting at Frankfurt’s Städel Museum: Andy Warhol, 1981, in front of Johann Heinrich Wilhelm Tischbein’s painting Goethe in der Campagna from 1786 (left). Writer Peter Handke in his house in Kronberg on the occasion of the bestowal of the Büchner Prize, 1973 (right)

Time and again, the photographer visited visual artists at their ateliers or exhibition places. Her portraits of artists thrive on the tension between space, work, and artistic personality.

Anselm Kiefer, Paris 2011

With its Beuys block, the Hessian State Museum in Darmstadt possesses Joseph Beuys’s largest, authentic work complex.

The photographer portrayed the artist while the space in the museum was being set up, Darmstadt 1970

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situation into a single image. It is not just a question of reducing complex issues, but also about conveying the mood and specific atmosphere in each location. The viewer inevitably feels like an eye-witness, involved enough to understand the situation, yet removed enough to form an independent opinion. The people portrayed in Klemm’s photographs are never performing; on the contrary, their actions appear naturally human.

Christoph Stölzl appropriately appraised her in the exhibition catalogue, Unsere Jahre (Our Years): “The more you immerse yourself in the pictures, the more you realise to what extent Barbara Klemm has painted a picture of a whole epoch. Connecting each moment, illuminating every facet, seeming to follow chance situations during major state events, yet in truth tenaciously and discretely keeping a specific goal in sight: to tell the story of her times as the story of our times, as a collaboration of people.”

In addition to political and social themes, are countless travel images.

Klemm journeyed all over the world.

She captured street photographs, lively excerpts of daily life, in the most diverse regions. Here too, she comes very close to people, revealing the realities of their lives. And we should not forget the many portraits of personalities from the world of politics and culture: she repeatedly achieved insightful moments of photographic dialogue and intense human revelation as she drew celebrities and politicians out from behind their ‘business’ masks.

Humble, calm, quiet: this is the way people describe her photos. Yet looking back, it is clear that it is her own personal way of seeing the world, and her perception of the decisive moment that defines her inimitable and unique style. Her images are like stages of everyday life, forcing the viewer to slow down. It is hardly surprising then that her photographs, in this era of fast stimulus saturation, gain all the more value. Congratulations, venerated Barbara Klemm. We look forward to discovering further treasures in your archives. Ulrich Rüter

b a r b a r a K l emm born on December 27, 1939, in Munster, Klemm grew up in a family of artists: her father, Fritz Klemm, was a Professor at the Art Academy in Karlsruhe, who introduced her to photography. In 1958 she completed a photo internship at Julia Bauer’s portrait atelier in Karlsruhe.

In 1959 she began work in the photo laboratory of the FAZ newspaper; first photos as a freelancer were published; from 1970 to 2005, full-time editorial photographer for politics and features.

Numerous publications and exhibitions. Number of awards (incl.): Dr. Erich Salomon Photography Award, the Hessian Culture Award, and the city of Frankfurt on the Main’s Max Beckmann Award; Leica Hall of Fame 2012. Barbara Klemm lives in Frankfurt on the Main.

LFI-On lin e.com/B log: One PicturE — One Story Exh ibition : Barbara Klemm, Osten, Bilder aus Osteuropa und der DDR, (Images from Eastern Europe and the former East Germany), Leonhardi Museum Dresden, until March 2020 B ooks: (English or bilingual) Zeiten Bilder (Schirmer/Mosel, Munich

2019); Photographs 1968–2013 (Nimbus, Wädenswil 2013); Light and Dark.

Photographs from Germany (Verlag für moderne Kunst, Nuremberg, 2010)

Photos: © Barbara Klemm

During a speech given in her honour, the poet Durs Grünbein referred to Barbara Klemm’s unique talent, describing her as a ‘fisher’ of images who draws motifs out of the river of time, motifs that outlast the moment. Certainly her talent is but one factor: luck, tenacity, discretion, perfection also come together in the photographer’s oeuvre. As a precise observer, she has the ability – not least thanks to her restraint and friendliness – to find the decisive position from which to take the perfect picture. In the case of political events, she seems to have a sixth sense for discerning the point from which to get the best overview. This often results in motifs her colleagues miss, that convey a specific moment in the most accurate way possible.

Her work often comes with physical demands where agility was of great importance, which was best achieved with a small pack: Leicas in her handbag, no flash, no bag of equipment straining her shoulders.

Without a doubt, her photographs have determined the visual appearance of the Frankfurter Allgemeine Zeitung (FAZ) newspaper. In particular, Bilder und Zeiten (Pictures and Times), the Saturday supplement, was largely defined by her photographs.

Working for the FAZ required working in black and white, but Klemm did not see this as a shortcoming: “Black and white is enough colour”, she has often been quoted to have said.

Her journalistic imagery is primarily documentary yet, for a long time now, Klemm’s pictures have been lauded as great art. She, however, is significantly more restrained: “When an image is captured and condensed to the point where it makes a statement, then maybe I would speak of art.” Considering her talent for combining documentary and art, the word ‘maybe’ certainly does not apply to Klemm. It is precisely in her pictures of public gatherings or political events, where she manages to condense the essence of the

f/ s top – Le i c a s l 2 – t y p h o o n 3 – Le i c a f o t o s App –

S A M E P E RFOR M AN C E but wit h a STRI K ING N E W D E S I G N : TH E L E I C A C L specia l E DITION d es i g n e d

by PAUL S M ITH

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… A n d ac t i o n !

Leica sl2

The Leica SL2 is not only an excellent still photo camera, but also supports video capture better than any Leica before it. During a field test, the camera’s cine capabilities even lived up to the exacting standards of a professional cinematographer.

If any camera manufacturer is known for its primary dedication to still photography, it must be Leica. Of course, most digital cameras made in Wetzlar do include a video function (with the notable exception of the M10, whose core clientele had voiced a preference for a more purist approach). With the SL2, however, Leica’s developers have created an exceptional recording tool that is almost on par with a fully fledged cine camera.

Our initial introduction of the new camera was limited to a cursory overview of the SL2’s extensive video functions, which is hardly sufficient given the extraordinary level of its capabilities. So we decided to entrust the SL2 to Jytte Hill, a professional cinematographer with several feature films and documen82 |

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taries under her belt – knowing that she could conduct a more intricate evaluation than our predominantly photography-focused editorial team.

T he S L2 in m ovie m o de .

With the majority of digital cameras, the video function is simply an ancillary option.

The SL2, however, was

clearly designed to be in an altogether different league.

To begin with, the camera offers two entirely separate operating modes for recording stills and videos. Switching back and forth between them is quick and easy thanks to two status menus; most importantly, however, this means that the parameters for each shooting

mode are set independently from each other. If, for example, the photographer adjusts the AF mode or ISO value in photo mode, the parameters in video mode remain unaltered, and vice versa. This is a highly practical solution, not least because the effect of certain settings can be quite different in either shooting mode.

The status menu also shows which mode you are currently working in: white text on a black background indicates photo mode, while the items of the video menu are depicted in black-onwhite. All important parameters – from exposure mode to I SO, all the way to file format – can be accessed in the respective status menu with a simple tap.

This convenient and intuitive operation also impressed the cinematog- →

The status menus are among the Leica SL2’s most practical features. A tap on the screen is all it takes to switch between photo and video mode. The menu’s background colour indicates which mode is currently active

In video mode, all settings can be controlled with a tap on the screen – making it easy to check and adjust parameters such as audio levels or ISO

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rapher, who was undeterred by the lack of an instruction manual: “Digital cameras are often very complex to navigate, but I immediately managed to find my way round the SL2.” The camera’s connection ports also impressed our film-industry professional: concealed beneath a waterproof rubber cap are two standard 3.5mm audio in and out sockets for microphones and headphones. The HDMI connector for external monitors and recorders comes in standard size instead of a lower-capacity micro format. In contrast to its predecessor, the SL2 can therefore be paired with external equipment without the need for separate adapters.

A question of format.

The SL2 offers a vast choice of resolutions, aspect ratios and frame rates. Photographers who simply want to shoot the occasional video clip might even find the range of options a little overwhelming. Moving images can be stored in two different file formats: the MP4 format delivers ready-to-use footage that can be edited by applying various presets; this makes post-processing very straightforward, so that MP4 is probably the best choice for amateurs.

Advanced cinematographers will most likely opt for Apple’s QuickTime MOV format: MOV files contain considerably more information – rather like DNGs in still photography.

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If you have selected a resolution of either 4K (3840 x 2160 pixels) or Cine4K (4096 x 2160 pixels), footage recorded onto the SD card at a standard frame rate of up to 30 fps will be rendered at a bit rate of up to 400 Mbps, 10-bit colour depth, and a chroma subsampling ratio of 4:2:2. Only higher refresh rates of 50 and 60 fps will result in a reduced data rate and colour compression. In that case, capturing a 10-bit video would require the addition of an external recorder via the HDMI port.

TheLeica SL2 also features a 5K mode with an even higher resolution – as well as a full-HD mode, whose ‘lower’ resolution facilitates a frame rate of 180 fps. For the selection of

different aspect ratios, as well as the so-called ‘safe margins’ that are an inherent part of film recordings, various lines and bright frames can be brought up in the viewfinder.

In Hill’s professional opinion, the Leica SL2 leaves nothing to be desired.

“The camera offers every format that I need, and more. What I find especially appealing is that almost all formats can be recorded onto the SD card, so there’s no need for external hard drives.” When shooting in L-log with greater colour depth, the slightly lacklustre appearance of the viewfinder image can be linearised with a standard Lookup Table (LUT) – however, it is standard practice

for cinematographers to finalise the actual look of the recording in post-processing.

Professional quality.

Of course, the SL2 is still primarily a photo camera – not least due to the fact that ‘real’ cine cameras can be propped up on your shoulder during filming, which is more comfortable for long periods of hand-held shooting. However, in a professional setting the SL2 can be mounted on a shoulder rig, and – depending on the selected lens – connected to a focus pulling device operated by a camera assistant.

One of the SL2’s core strengths is its broad compatibility with almost every full-frame lens by Leica

and third-party manufacturers, as well as a variety of cine lenses. In Hill’s eyes, however, the Vario-Elmarit-SL 24–90 f/2.8–4 Asph she used in her test deserves a special mention. “The autofocus was extremely reliable and fast – it actually tops the performance of many professional cine cameras.

There are times when it’s just very convenient to have perfect focus at the push of a button.”

The SL2 is the first photo camera to offer a cine mode in addition to its standard video function. When cine mode is activated, the SL2 essentially imitates a traditional film camera: the exposure must be adjusted manually, the shutter speed is set in the form of degrees

“ The autofocus of t he n e w Leic a s l 2 is ext r eme ly reliable and fast – it ac t ua l ly tops t he pe r for mance of many professional cine c a meras. ”

on the virtual rotary disk shutter, the aperture is marked in T-stops (indicating the actual amount of light passing through the lens), while the sensitivity of the sensor is measured in the form of ASA instead of ISO. This enables cinematographers to work with the SL2 in parallel to dedicated cine cameras, using the same settings on both cameras without the need for any elaborate conversions. This further underlines the SL2’s ability to serve not just as a high-performance photo camera, but also as a professional cinematographic tool – making it the most universal, and perhaps even the most proficient Leica currently on the market. holger sparr

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t h e f ly i n g t r i p o d Drone Photography

Leica Camera AG and leading drone manufacturers Yuneec have announced a long-term technology partnership – and introduced their first joint product, which was developed over a period of more than a year: the Typhoon H3.

The dream of recording images from a bird’s eye view is as old as photography itself – and to this day, unusual perspectives continue to be a driving force within the medium. For early pioneers, the quest for new vantage points involved elaborate endeavours, such as climbing mountains and tall buildings with largeformat cameras in tow. At the turn of the twentieth century, a new idea took hold: to capture images from great heights by attaching miniature cameras to homing pigeons. This practice remained fairly popular for decades, though it was not always reliable: very often, a bird would go missing, along with its precious cargo of film material. But the perspectives and information to be gained were so extraordinary that inventors never 86 |

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ceased to search for alternative solutions. The lack of in-flight camera control due to mechanical limitations was among their greatest challenges: focus, framing and even basic parameters such as aperture and shutter speed could not be adjusted in a sufficiently flexible manner. It was only decades later that the advent of digitisation finally released aerial photography from its analogue constraints.

Now Leica have set their sights on pursuing this ageold dream – and have found the perfect partner for the task. While the venture represents Leica’s first foray into drone technology, it marks the second time the company has embraced an area of photography that goes beyond traditional applications. Prior to this, the successful collaboration

with Huawei has already seen Leica apply their optical expertise to the field of smartphone photography.

The search for the perfect aerial technology partner led Leica to Yuneec International. The aviation company is an industry leader with 20 years’ experience in the field of airborne electronics and aerial product safety. Leica have always been discerning in their choice of collaborators, so it stands to reason that this partnership is, once again, based on shared values such as premium-quality construction and exceptional levels of performance.

T y ph o o n H 3. For more than a year, the engineering departments of Leica and Yuneec collaborated in developing their first joint project. But it was only in Sep-

tember 2019 that the two companies announced their long-term partnership, and introduced the result of their efforts to the public: the Typhoon H3 hexacopter with the specially developed ION L1 Pro camera (Elmarit-D 23 f/2.8 Asph).

The Typhoon H3 is based on Yuneec’s awardwinning Typhoon H series.

This platform was chosen by the partners with the aim of creating a robust, powerful tool for high-precision aerial photography – ideal for photographers and videographers, as well as architects, photojournalists or any kind of visual artist. The Typhoon H3 is a so-called hexacopter – in other words, a drone equipped with six rotors.

This type of drone design is considered particularly high-performing, →

Reliable, powerful and safe: a hexacopter from Yuneec’s award-winning H series serves as the airborne carrier for the new ION L1 Pro camera, “co-engineered with Leica”

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Leica photographer York Hovest has been working with drones from the H series for a number of years. He was instantly impressed by the quality and brilliance of the images delivered by the specially developed ION L1 Pro camera

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Photos: Š York Hovest

With a flight altitude of up to 500 metres, the Typhoon H3 facilitates extraordinary perspectives.

The take-off point can be located up to 5000 metres above sea level

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Never before has it been so easy for photographers to advance into the field of aerial photography. Over the past few years, drones have evolved into precise as well as affordable tools

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stable and safe. In contrast to the previous model in the H series, the Typhoon H3 has been fitted with a new battery system, which has the capacity to support the new camera and enables a flight time of 25 minutes on a single charge. The aircraft also offers a number of added safety features, such as a redundant control signal, a Return Home & Failsafe function, and a configurable Geo Fence option. In Germany, regulations currently stipulate that only drones weighing less than 2000 grams can be flown without a remote pilot’s license. With a weight of 1985 grams, the Typhoon H3 is still conveniently within this limit.

The Typhoon H3 is pi-loted via the ST16S prolevel remote control system, whose integrated, 7-inch touchscreen shows real-time footage of what the cam92 |

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era sees throughout the flight. Adding another remote allows for the separate control of camera and drone in Team mode, so that the photographer is free to focus entirely on composing the image. For those who wish to fly solo whilst still fully concentrating on recording images or video, the H3 offers four intelligent flight modes: Curve Cable Cam (whereby both the flight route and the camera position can be programmed in advance), as well as Orbit, Follow Me, and Journey (whereby the drone orbits, follows or points the camera at the pilot for the perfect aerial selfie).

IOn L1 p ro. Developing cameras for drones inevitably involves numerous size and weight-related restrictions. Having said that, Leica are familiar with the construction of small cameras

Thanks to its integrated 3-axis gimbal, the jointly developed ION L1 Pro camera enables unrestricted 360-degree panorama shots

through their collaboration with Huawei. In the context of the partnership with Yuneec, Leica’s expertise in the field of optics has manifested itself in terms of hardware and software alike. The camera is equipped with a 1-inch sensor, which delivers a resolution of 20 MPs and facilitates 4K video recording at 60 fps. Given that flare and ghosting are particularly common in aerial photography, the developers omitted a UV filter as it is a known contributor to these types of aberration. Instead, the ION L1 features a welldesigned lens shade which provides substantial protection against direct sunlight and reduces lens flare –

resulting in exceedingly high-contrast images. In fact, minimising the risk of ghosting and flare was one of the greatest challenges Leica’s engineers had to address – and, fortunately, were able to successfully resolve.

However, it is in the camera’s software that Leica's signature is most recognisable. Particularly with regard to automatic white balance, noise reduction, colour rendition, sharpness and contrast, the camera delivers an entirely new level of image quality, so that the resulting photographs are distinguished by an inherently authentic look. In the same vein, texture and detail rendition have also been significantly improved. In addition to JPGs, the camera also records DNG files, which have been optimised for the correction of imaging defects such as chromatic aberration, vignetting and distortion.

In order to ensure that the camera also appeals to professional photographers and videographers, a specific Adobe-Raw profile has been implemented for a comfortable workflow in Lightroom and Photoshop.

It is safe to say that Yuneec and Leica have done themselves proud with the result of their first joint venture. And yet, the ION L1 Pro marks just the beginning of their collaboration. We certainly look forward to seeing what other innovations this exciting technology partnership will yield in the years to come.

David Rojkowski

mono chrome photo graphy

H o lo g ra p h y L F I — 5 0 y e a r s ag o

As we know, laser light consists of in-phase (coherent) waves, which can be beamed to obtain extremely high radiation intensities. With the laser beam it is possible to produce three-dimensional pictures entirely without the aid of optical systems by means of a method known as holography. This, however, does not yield a negative or positive of a conventional kind; but as soon as light strikes on an holographic “negative”, it brings it to life: a three-dimensional picture will face the viewer, who sees it as if through a window. Nor is this all: if he changes his angle of view, he will be able to look at the hologram from the side as during natural vision, or look past it in order to see what is behind it. (…)

Robert Lavayssière ©

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As far as we can foresee at the moment, the expensive equipment required will for a long time to come prevent holography from displacing, and even effectively competing with classical photography. This does not preclude that it might gain a certain measure of importance, e. g. in microscopy, particularly if it became possible to produce laser beams of very short wave length, e.g. in the X-ray region; this would yield three-dimensional pictures of the smallest dimensions with the aid of holography, and eliminate the depth-of-field problems, which are particlarly irritating in microscopy.

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06/11/2019 15:45

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C l ass i c W i t h a T w i s t L EICA C L “ EDITION PA U L S M ITH ”

Paul Smith once again collaborates with Leica: following the X2 “Edition Paul Smith” of 2012, the British fashion designer has clad the Leica CL in a new exterior that echoes his well-known fondness for colourful stripes.

There are few areas of design Sir Paul Smith has not been involved with during his almost five-decade-long career. In addition to establishing his worldwide fashion brand, he has applied his skills to everything from furniture and motorbikes to water bottles, snowboards, a Land Rover model and cycling wear. In 2012, he expanded his scope to yet another field, by conceptualising a specialedition model of the Leica X2 (LFI 7/2012, page 72) – having previously designed camera bags for Leica’s compacts exclusively for the British market.

In fact Smith also happens to be a passionate photographer, who has even embraced the challenge of shooting an advertising campaign for one of his collections. His men’s clothing 94 |

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designs, which he describes as “classic with a twist”, form the foundation of Smith’s world-wide renown.

However, over time his global fashion label has also expanded into women’s wear, shoes and accessories.

His designs are characterised by bold colours, floral prints and, in particular, a pattern of multi-coloured stripes that has become the signature look of the Paul Smith brand.

This prevailing penchant for coloured stripes was already echoed in the special-edition Leica X2.

Now the designer, who received a knighthood in the year 2000, has applied his skills to the Leica CL “Edition Paul Smith” – creating a striking exterior that sets the camera apart from the serially produced, black or silver variants.

colourful Design. On the top plate, which is finished in a distinctive cobalt blue, a stylised eye has been engraved onto the camera’s EyeRes® high-resolution viewfinder. A second engraving can be found above the touchscreen: a playful invitation to the photographer, comprised of the words “look and see”. The space below the display has been adorned with the signature of the designer. Three horizontal bands of colour complete the leather trim of the Leica CL “Edition Paul Smith”, while the light-grey finish of the base plate perfectly rounds off the design.

All technical specifications of the special-edition camera are identical to those of the serial CL models. Within this context, we are prompted to look back at the Leica X2 – which

truly highlights just how much Leica’s APS-C cameras have evolved in the past seven years: while the X range was equipped with a fixed-mounted lens, the CL and its sister model, the TL, now offer full access to an ever-growing portfolio of system lenses, as well as (via the M adaptor L) compatibility with the legendary lenses of the M system.

Thanks to their L bayonet mount, the CL and TL also inherently support lenses from the SL system – though most photographers will probably find this combination too unwieldy to be deemed practical.

The Leica CL “Edition Paul Smith” includes an Elmarit-TL 18 f/2.8 Asph and a neon carrier strap; the special-edition set is limited to 900 units worldwide. bernd luxa

The Leica CL “Edition Paul Smith� combines the technical specifications of the serial model with an eye-catching exterior. The intense blue of the top plate is complemented by a tri-band of colours at the lower end of the trim

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Up wa r d ly M o b i l e leica Fotos 2.0

The new 2.0 version of Leica Fotos is enhanced with an array of new features – including remote video operation, seamless integration of Adobe Lightroom into the mobile workflow, and a dedicated iPad version of the app.

These days, no digital camera is complete without a mobile app. The smartphone has become the portal that connects the camera to the world, by enabling photographers to send and share images online as well as to remotely control their camera.

Leica have also embraced this trend – initially by providing a native app for each of their digital cameras, before finally releasing the universal Leica Fotos app in 2018. In line with the typical, one-year product life cycle for mobile systems and apps, Leica are now introducing a second, upgraded version with new features such as a personal Leica Account, as well as improved download stability and speed.

In addition, users who opt for a paid app subscription of Leica Fotos will be able to export raw files and 96 |

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videos, transfer data to Adobe Lightroom on Apple devices, and benefit from the app’s brand-new iPad version. two va riation s.

Leica Fotos 2.0 is available for Android, iOS and iPadOS, and is compatible with all digital Leica cameras equipped with either Bluetooth or WLAN capability.

The app has two fundamental functions: for one, it displays all images stored on the memory card, and facilitates the wireless transfer of files onto a smartphone or tablet; secondly, it serves as a remote control for the camera, enabling photographers to manage all main camera parameters from their mobile device. Leica Fotos 2.0 handles these tasks with noticeably greater reliability and speed than the previous version; in

T he a pp has become s ig n if ic a n t ly fa s t e r – t ra n s f e r r in g eve n t h e e n o r m ous f il es of the SL2 onto the i Pa d i n a r e l at i ve ve ly s h o rt space of t ime.

our test, even the sizeable image files of the Leica SL2 were transferred onto an iPad in a relatively short space of time.

In terms of remote camera operation, the app offers only the most essential parameters: exposure metering method, white balance, file format and resolution. The live view transmission is very fluid, and the focus point can be selected with a tap on the display, before the camera shutter is released with another simple tap gesture.

The fee-based, professional version of the app significantly expands the scope of available features.

For example, it allows users to remotely start and stop video recording (though the app does not, as yet, support the transfer of video files to mobile devices). →

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5 (3) In detail view, files can be moved from the app’s pro version straight into Lightroom.

(4) Smartphone and camera have to be paired before the app can be used for the first time. (5) Leica Fotos also serves as a remote control, complete with live view image

(1) Pictures stored on the connected camera are displayed against a black backdrop; the background of images that have been transferred to the smartphone, is white. (2) The images in the gallery can be viewed for closer inspection and moved into the phone’s image library

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Paying users of Leica Fotos are also able to transfer not just JPEGs, but also raw files to their smartphone or iPad. Even with the enormous, 80megabyte DNGs of the Leica SL2, this is a relatively swift process, provided you are not trying to move dozens of images in one go. The ability to wirelessly transfer raw files onto the smartphone or iPad is certainly much more convenient than the alternative, which is to export images using an external SD card reader.

Photographers who take out a subscription for the app’s pro version can also use Leica Fotos on the Apple iPad, whose larger screen size offers numerous advantages

L i g h t ro o m i nt e g rat i o n. An even more prac-

tical feature exclusive to the app’s pro version is the ability to move files into the Adobe Lightroom app on the same mobile device.

This way, photographers are able to edit pictures straight away, as well as convert raw files into different formats and send or share images online – even when they are still out in the field. Those who wonder whether a tiny smartphone display might make this a futile endeavour can rest assured: modern phone displays tend to offer very high resolutions as well as excellent colour fidelity.

Once the photographs have been exported from the camera to the gallery of the Leica Fotos app, one or more images can be moved into the Lightroom app with a single tap. The mobile Lightroom app provides almost the same range of features as the desktop version. Images can be edited on the smart

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phone, and then transferred to the desktop version via Adobe’s Cloud for further processing.

A subscription to the pro edition of Leica Fotos also includes the app’s dedicated iPad version, which encompasses all of the features mentioned above. A tablet is not necessarily an item most photographers have with them by default, but it does offer the advantage of a much larger display for the efficient remote operation of the camera and organisation of images. Working in Lightroom on the iPad is almost on par with editing your images on a desktop computer – in some cases with the added advantage of an especially high-resolution screen. It is also possible

to have several apps open on the iPad at the same time, and simply drag & drop files from one to the other.

Leica Fotos is a valuable addition to any camera, but when it comes to the Leica SL2, it is almost a necessity.

When designing the SL2, Leica consciously decided to omit the internal GPS module – partly in order to save space and because it would have been difficult to accommodate the GPS antennae in the metal camera body; the main reason, however, was that the internal module always takes a while to calculate the correct geographical position – with the result that the first few photos of a series are often allocated to the wrong location. A smartphone, on

the other hand, always knows where it is – and these days, almost everyone carries their phone with them at all times; so it really does seem a lot more practical to utilise the connection between camera and app for location mapping purposes.

In Leica Fotos 2.0, the GPS function is only active during remote camera operation, but an update in early 2020 will make it available anytime the camera is coupled with a smartphone.

Seeing as we were still working with initial beta versions of the app, we have not yet been able to test this feature; the same applies to the personal Leica Account, which will enable users to connect with a global online community.

A wo rt h w h i le i n ve stm e nt. Some customers might take issue with the fact that the app’s extended features, such as the seamless integration of Lightroom, is only available as part of a subscription plan (particularly as Lightroom itself is already subject to a fee).

However, it is worth bearing in mind that the free version of Leica Fotos 2.0 still offers at least as many features as its predecessor – and that the pro version can be tested free of charge before committing to the small subscription fee. Our editors were certainly impressed with the new app, and the range of possibilities it opens up to photographers – any time, any place. holger sparr

“America’s Premier Leica Specialist”

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S c u d e r i a Le i c a Leica World

At the Bernina Gran Turismo event this year Leica Camera was more than just a partner: it also introduced its own racing team headed by Dr. Andreas Kaufmann. The Swiss photographer Jean-Jacques Ruchti followed the race.

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The Swiss photographer, and trained car mechanic, JeanJacques Ruchti’s perspectives were just as audacious as the racing drivers’ manoeuvres

Photos: Jean-Jacques Ruchti

One of this year’s highlights: former Formula 1 driver Hans-Joachim ‘Strietzel’ Stuck drove the Austro Daimler ADM-R his father, Hans, drove in 1929 to win the first Bernina Race

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The Leica Racing Team. From left to right: Dr. Andreas Kaufmann, Fabrizio D’Aloisio, Klaus Hauer and Jérôme Auzanneau

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Two friends of classic cars: Kurt Engelhorn (right) and Dr. Andreas Kaufmann (left and above at the start of the race)

Sports and racing cars from the times before and after the Second World War, and up to the early eighties, are allowed to take part in the Bernina Gran Turismo

Photos: Jean-Jacques Ruchti

A Swiss race with international participants: a 5.6 kilometre racecourse, over fifty curves, a 448 metre altitude difference, six races, two days

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Kurt Engelhorn was the initiator of the Bernina Gran Turismo revival.

The race has been taking place now every year since 2015. He drove a D-type Jaguar from 1956

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AFT E R 8 5 Y E AR S RUNNIN G IDL E , TH E B E RNINA G RAN TURI S M O WA S B ROU G HT BACK TO LIFE AND ON C E AGAIN EN J OYS C ULT STATUS A M ON G C LAS S I C C AR EV ENTS.

Less than one-hundred years ago, driving motor vehicles on certain streets in the Swiss canton of Graubünden was forbidden. The prohibition lasted 25 years; only doctors and ambulance drivers were permitted to drive a car. Then, upon realising this kept tourists away, a majority of eligible male voters in the canton ended the prohibition with a referendum on June 21, 1925. The decision was to prove worthwhile.

Three years later, the Second Winter Olympics was held in St. Moritz, followed by the First International St. Moritz Automobile Week.

Drawing numerous car enthusiasts, the scale of Automobile Week far surpassed other such activities in Switzerland. The event highlight was the hill-climb race up and over the Bernina Pass: a length of 16 kilometres and an altitude difference of 1216 metres, the route featured an incline of over 7 percent. At the time the road was unsealed, presenting both drivers and cars with a considerable challenge.

One of the favourites,

the French driver Louis Chiron, was confronted with this during the first race as he missed a curve and collided against a wall just a few minutes into the course.

The German driver, Hans Stuck, the ‘King of the Mountains’ won that race in an Austro Daimler, with a time of 14 minutes and 58 seconds. A year later, the Frenchman got his revenge in a Bugatti T47.

That was to be the last race at the Bernina Pass, until eighty-five years later: in 2015, a group of motor sports enthusiasts brought to life a modern version of the Bernina Pass race – the Bernina Gran Turismo. The road events are somewhat different today, of course: the cars are considered classics, the road is tarmacked, the course is considerably shorter. There are now six races, and the award ceremony is held in Poschiavo at the Piazza Comunale. However, the background noise, the breathtaking landscapes and the feel of the races have remained the same. The winding road continues to present all kinds of dangers, and the authentic character of the race is unchanged.

One of the highlights of this year’s Bernina Gran Turismo that took place from September 20–22, was the participation of former Formula 1 driver, HansJoachim Stuck, driving the same 1928 Austro Daimler that his father →

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In the future, as part of the St. Moritz Automobile Week, there will be a kilometre race at Samedan Airport every year

Hans had driven to win the Bernina Race ninety years earlier. Stuck achieved a time of 5 minutes and 15 seconds with the 91 yearold car. Ronnie Kessel was about two minutes faster in the 1976 Ensign, a Formula 1 meteor belonging to the Swiss world vice-champion in 1974, Clay Regazzoni, who was one of Stuck’s former teammates.

Leica was represented as a partner at this year’s event. On the one hand, during the racing weekend, there was a look-out point at the Bernina Pass, with Leica binoculars for interested viewers, and a Leica bus with cameras that, following an explanation by specialists, could be borrowed during the event.

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In addition, the Leica Akademie together with Swiss photographer, Jean-Jacques Ruchti, offered a course in the fundamentals of motorsports photography. Participants were given the opportunity to try their luck as racing photographers right in the centre of the action; next to the race track, at the drivers’ camp, and with cars in the studio.

The most exciting performance however, came from Leica Camera AG’s Chairman of the Board, Dr. Andreas Kaufmann, who took part in the mountain race with the Leica Racing Team. They were driving four Alfa Romeos, two of which were designed by Zagato, the long-established Italian company that

recently designed a special edition Leica M10 (LFI 5/18, page 84). Included were an Alfa Romeo 2600 Sprint Zagato (driver: Klaus Hauer), an Alfa Romeo Giulietta Sprint Zagato Coda Tronca (driver: Jérôme Auzanneau), an Alfa Romeo Giulia TI Super (driver: Dr. Andreas Kaufmann) and an Alfa Romeo 1900 CSS (driver: Fabrizio D’Aloisio, co-driver: Ted Gushue).

On assignment for the Bernina Gran Tourismo, Ruchti photographed the Leica Racing Team, the Austro Daimler driven by Stuck, and all the amazing classic cars. For the shots of the Austro Daimler, Ruchti used a technique that he developed and refined for Formula 1 racing where

A M AXI M U M OF e i g h t y C LAS S I C C AR S C AN TA K E PART IN TH E B E RNINA G RAN TOURISMO. THE PAS S I S C LO S E D T E M P ORARILY FOR THE INDIVIDUAL RAC E S.

the photographer is clamped into a car boot with climbing tackle, and doubly secured to the vehicle.

For this purpose, the back seat is removed, the boot lid dismantled and a wooden pallet fastened in it. The camera car in this case was a Dodge Charger SRT Hellcat. For the onekilometre race on Samedan Airport’s runway, the camera was positioned at a height of 3.5 metres. Ruchti triggered the camera – a Leica S007 with 35mm lens – on a computer using Leica’s Shuttle software. All in all an audacious undertaking – in that regard little has changed for racing sports and racing-sports photography over the last ninety years. David Rojkowski

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CAPTU R E THE EXTREME T h e wo r l d ’s f i r s t ex t re m e -wea t h e r p h o to g r a p h e r ’s j a c ke t

D e ve l o p e d w i t h re n ow n e d ex p e d i t i o n p h o to g r a p h e r M a r t i n H a r t l e y

In association with Leica

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bes t o f LFI . G a l l e r y

Ra i n b ow Pa n o r a m a “The Rainbow Panorama

by Danish-Icelandic artist Olafur Eliasson, leads visitors all the way through the whole colour spectrum. The installation was created in 2011 on the rooftop of the new building for the ARoS Museum of Modern Art in Aarhus, Denmark, which was completed in 2003.”

Harry Ho Leica M10 with Summilux-M 35 f/1:1.4 Asph

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l ig h t box

Ups i De D ow n “When everything in the world is upside down, then standing on your head makes it right!”

This was the advice the photographer gave his son when he was going through a difficult time.

The result was a photo series that ensured that father and son had to do many real headstands.

Roman Tripler Leica M9-P with SummicronM 35 f/2 Asph

Yo u n g P r o t es t “I took this photo in Katowice, Poland, during a youth climate protest.

There were over a thousand young people on the streets. I was looking for a special motif, when I noticed the girls with the fascinating eyes, that stood out all the more because of the mask she was wearing.”

Andrzej Grygiel Leica Q2, Summilux 28 f/1.7 Asph

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AR o u n d a n d AR o u n d “This picture was taken during Munich’s Oktoberfest. At night the carousels are virtually the only light source. In this case, everything came together, the lighting mood, the garish colours, the steam of the rides, and this woman with a hat. My only thought was, Jackpot! and I hit the trigger.”

Felix Albrecht Leica Q2, Summilux 28 f/1.7 Asph

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L a dy K r i s h n a i n S e at t l e

F o r m F o l lows function

“This picture was taken at Capitol Hill, one of the most hip districts in Seattle. The lady in the photo is one of the greats in the local art, fashion and meditation scenes and also a good friend of mine. So I asked her to pose in front of the painted doorway, because it matched her snazzy outfit so well.”

“The structure we see in this picture is the façade of a living place for students in Amsterdam. The thing that interests me about architecture is how a building’s exterior reflects its function. For me this façade has a futuristic, repetitive and closed feeling about it.”

Orlin Nedkov Leica X2, Elmarit 24 f/2.8 Asph

Paul Struijk Leica M10 with Super-ElmarM 18 f/3.8 Asph

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WI t h a little help “The Torii (Gate) in front of the Itsukushima Shrine is one of the most frequently photographed landmarks in Japan. After I’d already taken a few pictures, this school class came by. As a result, I was able to capture an image that probably doesn’t come about very often.”

Hagen Wolf Leica Q, Summilux 28 f/1.7 Asph

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City of Lights “I took this picture in Busan quite simply in a passing moment.

In the foreground you can see a friend of mine, with whom I had travelled to South Korea for the first time. And now I'm in LFI for the first time – which is something I can hardly believe!”

Li Keith Leica Q, Summilux 28 f/1.7 Asph

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Photo: René Burri, Henri Cartier-Bresson with his Leica in Havana, Cuba 1963; © René Burri/Magnum Photos

p h o to – b o o ks – e x h i b i t i o n s – f es t i va l s – Awa r d s –

Seth Lowe r U NITS

M ag n u m S t r ee t w i se

Photos: © Martin Parr/Magnum Photos; © Seth Lower, 2019; © Michael Kenna, 2019; © David Denil, 2019

E d i t e d by S t e p h e n M c L a r e n

Left leg straight to balance, right leg slightly bent: Henri Cartier-Bresson must have assumed this position thousands of times – standing in an urban street, poised to capture the ‘decisive moment’. René Burri, in turn, eternalised this characteristic stance when he photographed his legendary Magnum colleague in Havana. For Magnum Streetwise, editor Stephen McLaren delved deep into the archives of the agency Magnum Photos to compile his vision of a definitive street photography collection.

The result is a rich treasure trove of iconic images, and hidden gems, of a genre that has been embedded in the heart of Magnum since the agency was founded in 1947. Fast, dynamic, often humorous, but also politically and socially invested: street photography fundamentally embodies the concept of capturing an entire story in a fraction of a second. In this new volume, works by more than sixty Magnum members are presented in a vibrant blend of theme, location and photographer-based chapters. As well as tracing the history of street photography – from the pioneering achievements of Magnum’s founding generation to contemporary approaches – Magnum Streetwise also highlights New York, London, Paris and Tokyo as core centres of the genre. Many of the depicted scenes have long transcended their era-specific context – however, they continue to serve as timelessly iconic representatives of one of photography’s most exciting genres.

384 pages, more than 300 monochrome and colour illustrations, 24.2 × 19 cm, English, Thames & Hudson

Absurd scenes and still lifes of ordinary items, often shown in multiples or sets: in his third book, the American photographer (born 1981) applies his keen observations to the entities and correlations found in our daily lives. Devoid of any text, the images – spanning from 1994 to 2017 – are a wonderful reflection on things easily overlooked.

116 pages, 81 colour illustrations, 23 × 18 cm, English, Mack Books

DAV ID D E NIL L ET U S NOT FA L L AS L EEP WHI L E WA L K ING

In this remarkable volume, the Belgian photographer (born 1979) conveys the psychological impact of the conflicts in Ukraine. Instead of using traditional documentary methods, Denil chose to orchestrate specific scenes in order to express the trauma

Michael Kenna B eyo n d A r c h i t e c t u r e

The renowned British photographer (born 1953) expands our understanding of architectural photography from visual documentation to masterful compositions of space and form. His monochrome images are imbued with formal tension – regardless of whether they depict architectural structures, objects, details or surface patterns.

384 p, 300 black and white illustrations, 29 × 23.5 cm, English, Prestel

of the local population. Brightly lit and characterised by theatrical poses, the resulting images allude to artworks from the world of painting and cinematography. Now the multiaward-winning series has been turned into an elaborate photo book: augmented with additional material, such as newspaper clippings and biographies, this is an emotionally complex publication.

512 p, numerous colour illustrations, 22.5 × 20 cm, English, Dewi Lewis

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Wolfgang Tillmans WIE L S , B r u s s e l s

Feb 1 — May 2020, Photo: Wolfgang Tillmans, Philharmonie Bloch I, 2017

O u t s i d e Fa s h i o n H U IS M ARSEI L L E , Am s t e r d a m

Once they wore long beach dresses and posed in studios, the décor was paltry and artificial, the pictures black and white. With time the backdrops not only changed – to outdoors and colour – but also the attitude of the women and the clothes they were showing off. Haute couture and mini-skirts, sporty and sun-bathing: the story of fashion photography is also the story of the emancipation of women. Fashion photographer Walter E. Lautenbacher once said, “Fashion photography should reflect the influence of the zeitgeist, of the contemporary fashion sense. It shouldn’t simply copy trivial reality, but rather interpret new trends.” In line with this quote, Outside Fashion – Fashion Photography from the Studio to Exotic Lands (1900–1969) offers insight into this photographic genre which is always one step ahead, like an fusion of the present and the future. The Palais Galliera Musée de la Mode de la Ville de Paris has put 150 photographs from its collection at the disposal of the Huis Marseille. On display are works from 70 years of fashion photography, including by Jean Moral, Henry Clarke, Henri Manuel and Willy Maywald. The pictures taken for fashion houses such as Dior or Hermès present the medium in the type of light that has made it famous: artistic and provocative.

Dec 7, 2019 — March 8, 2020, Photo: Henry Clarke, Oscar dress from the Renta Boutique. Jaisamand Palace, Udaipur, India 1967

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M i l es A l d r i d ge L um i e r e , M o s c o w

He is known under the appellation King of Colour. For the first time, the work of British photographer Miles Aldridge has travelled to Russia. The Lumiere Gallery is showing 40 of his pictures, where beautiful women appear in dreamlike settings. The perfection of the detail and the fluorescent colours, underline the spotlessness, while also questioning the façade of fashion.

November 20, 2019 — February 23, 2020, Photo: Miles Aldridge, I Only Want You To Love Me #1, 2011

A n se l A da ms C e n t e r f o r C r e at i v e P h o t o g r a p h y, t u c s o n

Photography is music. This is a comparison from Ansel Adams (1902–1984), the chronicler of the American West.

He was able to find a composer’s score in the photographic negative and follow it up with a musical performance in the print. The Performing the Print exhibition makes reference to this comparison and, based on sixty pictures, explores Adam’s decision to produce pictures where he varied the size, brightness and

contrast. A number of prints produced from the same negative appear side by side in the display.

Jan 11 — May 10, 2020, Photos: Ansel Adams, Moon and Half Dome, Yosemite National Park, California 1960; Spanish-American Youth, Chama Valley, New Mexico, ca. 1937

Photos: © Henry Clarke/Galliera/Roger-Viollet; © Wolfgang Tillmans; © Miles Aldridge/courtesy of Christophe Guye Galerie; © The Ansel Adams Publishing Rights Trust; © Sirli Raitma

Wolfgang Tillmans says his intention is to take pictures “that talk about what it feels like to be alive today”. Consequently, the exhibition, Today Is The First Day, with some of the artist’s new and nevershown-before works, offers insight into the world we live in now. It is the first time the German is presented in a solo exhibition in Belgium.

TAYLOR W E S S IN G P HOTO G RA P HI C P ORTRAIT P RIZ E 2 0 1 9 N at i o n a l P o r t r a i t G a ll e r y, L o n d o n

Whether children, parents, friends or strangers; whether young or old, humorous or wistful – once a year the focus of attention in the British capital is on people, bringing together photographic portraits by numerous international artists. The Taylor Wessing Photographic Portrait Prize is one of the most esteemed awards for this genre. Since its inception in 1993, it has become a platform for contemporary, modern photography – for professionals as well as amateurs. “The Taylor Wessing Photographic Portrait Prize 2019 exhibition brings together a wide selection of works that exemplify leading approaches to the genre of photographic portraiture,” the National Portrait Gallery Director, Dr. Nicholas Cullinan, explains. 3700 pieces by more than 1600 photographers from 70 countries were submitted this year. From among them, the jury selected 55 portraits by 31 artists to be put on display, including the three winners from the USA, England, and Ireland respectively. This year, the number of family pictures and photos of loved ones was particularly striking, as was reflected in the very personal and touching series of his mother, presented by the American first prize winner Pat Martin.

Nov 7, 2019 — Feb 16, 2020, Photo: Sirli Raitma, Eha, from the series Eha: Portraits of my mother, 2019

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J oac h i m Ba ldau f L e i c a GAll e r y D ü s s e l d o r f

It is the first Leica Gallery in continental China: September 2019 saw the opening of the Leica Gallery Suzhou, picturesquely located at Moonlight Dock on the banks of Lake Jinji, to the west of Shanghai.

The gallery has a length of 55 metres of wall space; in addition to classic exhibitions, the venue will also host talks on the subject of art and photography.

The first exhibition on display was Sidewalk/Arena, with pictures by Jeff Mermelstein, who has made a name for himself as one of the leading photojournalists and photographers in the field of street photography.

The programme continues with further pictures taken on the streets: from November 23, to December 28, 2019, it is presenting works by Magnum photographer Matt Stuart – another example of humorous street imagery. From December 30, 2019, to January 30, 2020, things get more classic: 180 Years Original Exhibition of Photography Invention is the title planned for the exhibition that aims to take the viewer on a journey into the past, with works by Robert Doisneau, Eugène Atget, Henri Cartier-Bresson, Robert Capa, Marc Riboud and William Klein, among others.

From February 15 to March 15, 2020, the gallery will host an exhibition of works by Nobuyoshi Araki.

Araki is one of the most important artists in Japan, who has become famous particularly for his nude photography, and for his provocative bondage pictures.

The first exhibitions at the new gallery cover a very broad spectrum – from street photography, to wellknown Leica classics, and on to contemporary nudes: it will be an exciting experience for the large range of visitors bound to visit the lake-front venue in times to come. The gallery’s curator is Jessica Wei. Photo: Henri Cartier-Bresson, Hyères, France 1932

Photo: Joachim Baldauf, from the exhibition Gehirnstürme

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1 8 0 Ye a r s o f P h o t o g r a p h y I n ve n t i o n L e i c a GAll e r y Su z h o u

Photos: © Joachim Baldauf; © Henri Cartier-Bresson

The Leica Store and Leica Gallery in Düsseldorf celebrated their official opening on November 21, 2019.

The site is located in the Kö-Galerie on Königsallee, the famous, luxury shopping street. The gallery’s head curator, photographer Samuele Martino, aims to create a venue where photography can become experiential. The programme opens with Gehirnstürme, an exhibition of pictures by Joachim Baldauf, one of the most influential fashion and portrait photographers. His images reflect everything our cultural circle has to offer as far as aesthetics, beauty, character and humour are concerned.

Concentrating on people, fashion, objects, spaces and colours, Baldauf’s photographs have been published in countless national and international magazines and campaigns. Gehirnstürme will remain on display at the new venue in Düsseldorf up until February 29, 2020.

Le i c a G a l l e r i es Salzburg

Franziska Stünkel: Coexist AUT | 5020 Salzburg, Gaisbergstr. 12 October 18, 2019 — February 15, 2020 S ão Pau l o

Group show: Brasilidades BRA | 01240–000 São Paulo, Rua Maranhão, 600 Higienópolis December 2019 — February 2020 Singapore

Steve McCurry: China Thomas Hoepker, New York 1983 (left); Saul Leiter: Jay, Kyoto ca. 1957

A r e n be r g C a s t l e

London

Paolo Burlando: American Icons

Pierre Gonnord: Nature Tales

AUT | 5020 Salzburg, Arenbergstr. 10 November 17, 2019 — March 7, 2020

GBR | London, 64–66 Duke Street W1K 6JD December 12, 2019 — January 19, 2020

B a n gk o k

L o s A n ge l es

Chutchawarn Janthachotibutr: Was, Is, Will, Be THA | 10330 Bangkok, 2nd Floor, Gaysorn Village, 999 Ploenchit Road November 29, 2019 — February 10, 2020 Boston

Deborah Anderson USA | Boston, MA 02116, 74 Arlington St. November 7, 2019 — January 12, 2020 C o n s t a n ce

Ursula Böhmer: Die Kuh – eine Feldforschung

Photos: @ Thomas Hoepker/Magnum Photos, @ Saul Leiter Foundation

GER | 78462 Konstanz, Gerichtsgasse 10 November 29, 2019 — February 15, 2020

Lynn Johnson & Patricia Lanza: The Van Gogh Effect USA | West Hollywood, CA 90048, 8783 Beverly Boulevard December 5, 2019 — January 13, 2020 Madrid

Steve McCurry: China ESP | 28006 Madrid, Calle de José Ortega y Gasset 34, November 7, 2019 — January 17, 2020 MElbourne

Thomas Hoepker: Pictures that Last

D ü sse l d o r f

AUS | Melbourne, VIC 3000, Level 1 St Collins Lane, 260 Collins Street December 13, 2019 — February 28, 2020

Joachim Baldauf: Gehirnstürme

Milan

GER | KÖ Galerie, Königsallee 60, 40212 Düsseldorf November 22, 2019 — February 29, 2020 Frankfurt

Emanuele Scorcelletti: Creazioni visibili GER | 60311 Frankfurt am Main, Großer Hirschgraben 15 November 22, 2019 — February 1, 2020 Is t a n b u l

Not known at time of publication

Jacob Aue Sobol ITA | 20121 Milan, Via Mengoni 4 January 9 — February 25, 2020 N u r embe r g

SIN | Singapore, Raffles Hotel Arcade, #01-20/21, 328 North Bridge Rd., 188719 November 10, 2019 — January 13, 2020 Stuttgart

Herlinde Koelbl: Mein Blick GER | Calwer Straße 41, 70173 Stuttgart October 30, 2019 — January 31, 2020 Suzhou

180 Years Original Exhibition of Photography Invention CHN | Suzhou, Moonlight Dock, Guanfeng St. 1, Suzhou Industrial Park, Jiangsu December 30, 2019 — January 30, 2020 T a i pe h

Not known at time of publication TWN | Taiwan, No. 3, Ln. 6, Qingtian St., Da’an Dist., Taipei City 106 To kyo

Saul Leiter: Lanesville, 1958

JPN | Tokyo, 6-4-1 Ginza, Chuo-ku December 6, 2019 — March, 2020 w a r sAW

Feminine heroism in the art of extraordinary artist Janina Kochanowska, Collective Lodz Kaliska POL | 00–496 Warsaw, Mysia 3 November 22, 2019 — January 17, 2020 We t z l a r

Walter Vogel: Leica Hall of Fame 2019

Hardo Reimann: “Mitrata” – Help for Children in Nepal

GER | 35578 Wetzlar, Am Leitz-Park 5 November 14, 2019 — January 27, 2020

GER | 90403 Nürnberg, Obere Wörthstr. 8 October 26, 2019 — January 18, 2020

Vienna

Prague

AUT | 1010 Vienna, Walfischgasse 1 December 6, 2019 — March 28, 2020

Milota Havrankova

TUR | 34381 Şişli/İstanbul, Bomontiada – Merkez, A Birahane Sk. No:1

TCH | 110 00 Prague 1, Školská 28 January 10 — March 15, 2020

Kyoto

Porto

Saul Leiter: Nude

Nicolas Pinto: Alma

JPN | Kyoto, 570–120 Gionmachi Minamigawa, Higashiyama-ku December 7, 2019 — March, 2020

POR | 4000-427 Porto, Rua d. Sá da Bandeira, 48/52 November 16, 2019 — January 7, 2020

Jürgen Schadeberg: Leica Hall of Fame

Z i n gs t

Götz Schleser: Politische Porträts GER | 18374 Zingst, Am Bahnhof 1 October 1, 2019 — February 2, 2020

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“ Re ac t i vat i n g t h e a r c h i ve i n t h e d i g i ta l r e a l m .� i n t e rv i e w

In 2019, the photographic archive of Stern magazine was relocated to the Bavarian State Library. Its Director General, Dr. Klaus Ceynowa, speaks about the role of libraries as memory institutions and their responsibilities.

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Photos: © Robert Lebeck for Stern, © Bavarian State Library/Stern-photo archive/Cornelius Meffert

LFI: The photographic archive of

Gruner+Jahr’s Stern magazine was moved from Hamburg to the Bavarian State Library (BSB) in Munich in August 2019 – a treasure trove of immeasurable value.

Klaus Ceynowa: We were fully aware that this archive can, without any exaggeration, be described as the visual memory of both the German Federal Republic and, on a broader scale, of world-political history in the second half of the twentieth century. It also spans the golden era of photojournalism – a cohesive and unique period. For a memory institution such as the Bavarian State Library, this ensemble aspect makes the archive particularly appealing – a ‘must-have’, if you will. After all, our core purpose is to safeguard, curate and provide access to records of cultural heritage ‘for an indefinite period of time’ – in essence, for eternity.

LFI: How can we picture the cargo of

the eight lorries that transported the Stern archive to Munich, and what are your personal highlights?

Ceynowa: For one, there are around 2200 lever arch folders of negatives, measuring 181 linear metres. Then you have 2320 standard-sized archival storage boxes containing slides and prints.

The archive includes works by photographers such as Hanns-Jörg Anders, Rolf Gillhausen, Fred Ihrt, Perry Kretz, Cornelius Meffert, Mihaly Moldvay, Harald Schmitt, Peter Thomann and Jay Ullal. My personal highlights are the photo reportages on war and crisis zones around the globe, as well as portraits of personalities from the world of German and international politics.

LFI: How did the relocation of the archive come about?

Ceynowa: There was no competition from other institutions. Stern’s analogue photo archive was first brought to the Bavarian State Library’s attention

Top: Cornelius Meffert’s reportage about a family of South-Tyrolean farmers, created in January 1978, was recognised with multiple awards. Left: In April 1981, Robert Lebeck photographed Romy Schneider in Quiberon.

The series was commissioned to accompany a Stern interview by Michael Jürgs

during a conference of public archival institutions in 2017, where it was mentioned in the context of a research project on visual memory. We then reached out to the Bertelsmann Media Corporation, who put us in touch with a contact person at Gruner+Jahr.

Our offer was not based on money, but purely on our infrastructure.

LFI: What distinguishes the BSB from other instituions in this regard?

Ceynowa: With more than 10.6 million books, 58 000 digital and print magazines, and 136 000 hand-written →

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Top (clockwise from the left): Loki and Helmut Schmidt, playing chess while travelling on the election campaign train (Jürgen Gebhardt, 1980); herdsman in the Gobi Desert (Harald Schmitt, 1995); German football player Paul Breitner in his study after winning the FIFA World Cup (Peter Thomann, 1974)

documents, the BSB is one of the leading knowledge centres and memory institutions in the world. It also holds one of the largest digital databases of all German libraries, comprising 2.5 million digitised works. We are in possession of the most comprehensive digitisation system in the country, which also includes 3D scanning equipment. Supported by the German Research Society, we have been digitising content since 1997. We have also been collaborating with Google since 2007. In other words, we are well-versed in the field of managing digital mass data.

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Top: Lee Radziwill and Jackie Kennedy at Robert Francis Kennedy’s funeral mass, held at St. Patrick’s Cathedral in New York City (Robert Lebeck, 1968). Left: Jan Ulrich wearing the Yellow Jersey at the Tour de France (Harald Schmitt, 1997)

Photos: © Bavarian State Library/Stern-photo archive/Jürgen Gebhardt, © Bavarian State Library/Stern-photo archive/Harald Schmitt (2), © Bavarian State Library/Stern-photo archive/Peter Thomann, © Robert Lebeck for Stern

“ I t s e n semb l e c h a r ac t e r a s a c o h es i ve r ec o r d o f a u n i q u e e ra m a kes t h e a rc h i ve a m u st- h ave . ”

LFI: What was the main reason for moving the archive to Munich?

Ceynowa: For Gruner+Jahr, as well as the BSB, the primary aim was not to find a new storage facility but, if you will, to reactivate the archive in the digital realm. At this point, our users have access to some 2.5 million digitised books and photographs. The library has been building up its collection for the past 460 years, and our goal is quite simple: to make the largest possible portion of this collection available online, in order to ensure world-wide access and visibility.

LFI: What conditions did Gruner+

Jahr put forward in connection with the donation of the archive?

Ceynowa: The only explicit request, which is also clearly stipulated in the pledge agreement, was that the BSB is to “store the donation in the appropriate manner, maintain it with the same care as its other holdings and collections, and safeguard it in the same secure conditions as its other holdings and collections”. Everything else, especially the categorisation and digitisation process, is subject to financing – as a public institution, we could not approach it any other way.

LFI: To what extent will the 15 million images of the Stern archive reposition the main focus points of the Bavarian State Library’s digital archive?

Ceynowa: Incorporating the Stern archive will turn the BSB’s image collection into the largest historical photography collection owned by a public institution. The challenges associated with digitising, categorising and providing access to the Stern photo archive are enormous, and are certainly a very long-term undertaking. In some ways we are looking at a paradigm shift, from the written word to imagery.

LFI: How has the BSB dealt with the issue of licensing?

Ceynowa: When we received the archive, we were fully aware that large parts of the ownership and usage rights are unresolved. In particular, hardly any of the contracts between the publish-

ing house and the photographers have been preserved – but we have not been deterred. In collaboration with a group of Stern photographers, we have put together an agreement with the aim of ensuring a genuine win-win outcome, for example by stipulating that all future revenue is to be shared 50/50.

Numerous staff photographers, many of whom have been with the magazine for decades, have already signed this, which allows the BSB to digitise and promote their photographs. This means that we have clarified the future user rights for around 60% of the Stern photo archive.

And we are still in talks with a number of other Stern photographers.

carbon tripods and ball heads from

noW redUced, but only

as long as supplies last

LFI: How will you approach the museum aspect of the Stern archive?

Will there be any public exhibitions?

Ceynowa: The BSB already fulfills a museum function with regard to its holdings of manuscripts and incunabula – one of the largest collections of its kind in the world. However, public presentations are secondary to our main priority, which is to provide access to materials for scientific research purposes. Consequently, we hold ‘only’ one major exhibition per year. In 2020, for example, we will showcase works from the BSB photographic archive.

This won’t, as yet, include works from the Stern archive, because the selection was curated a long time in advance.

But we will more than make up for it in 2023, when we intend to mark the 75th anniversary of Stern magazine with an exhibition comprised exclusively of photographs from the Stern archive.

Interview: Carla Susanne Erdmann

Dr. Klaus Ceynowa Born 1959 in Pader-

born, Germany, Ceynowa studied Philosophy, German Philology and History at the University of Münster, graduating with a thesis on Pragmatic Philosophy. Ceynowa has been the Director General of the Bavarian State Library in Munich since 2015.

Ex h ib it ion : München. Schau her! –

The Image Archive of the Bavarian State Library; March 6 to June 21, 2020; www.bsb-muenchen.de

orde r now: lfi-online.com/shop

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

C h a d To b i n my picture

A quiet afternoon by the ocean with one of the world’s most influential artists, yields lessons in both photography and life for the photographer.

72nd year | Issue 1. 2020

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

Robert Frank, Mabou, Nova Scotia 2015

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

I visited Robert Frank repeatedly at his summer home in Mabou, on Cape Breton Island in the Canadian province of Nova Scotia, over the past ten years. Each year I did a portrait of him and returned the next year with the print. It became a routine that I had to approach with caution sometimes, as he was not always in the mood to be photographed.

Frank, who passed away on September 9, 2019, spent a lot of his time sitting outside, looking out over the Atlantic Ocean. When I appeared he would ask me to sit with him and let my gaze wander over the sea. He often didn’t want to talk about photography, but every once in a while, he would ask about my current photo projects. That afternoon Frank told to me to always take a chance, risk it anyway, when taking a photo. He then looked directly at me and I framed the picture.

Chad Tobin: Born in Canada in 1976, Tobin has been a dedicated street photographer for the last 15 years, focusing his time and passion on long-term projects. His photographs are found in magazines and exhibitions throughout Canada.

L F I 2 / 2 0 2 0 w i ll A p p e a r o n F e b r u a r y 2 6 , 2 0 2 0

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