LFI Magazine 5/2020 E

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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 ENGLISH EDITION

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Sheila Metzner Diane Betties Juan Cristobal Cobo Suzan Pektaş

Joseph Rodríguez

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LFI 5. 2020

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Over 30 000 photographers present more than 700 000 pictures in the LFI Gallery. This issue includes a corona flower, a snap shot in pink, a sunny afternoon, and wafting hair

Huawei have released the latest generation of their flagship smartphone model, whose Quad Camera, developed together with Leica, now offers larger sensors and a higher resolution

P H OTO

88 | LEICA D-LUX 7 Black elegance: initially released at the end of 2018 with a silver top plate and lens body, Leica’s high-end compact camera is now also available with an all-black exterior

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Suzan Pektaş, from her Dreams the Black Sea series

90 | FINE ART PRINT Part two of our series on fine art printing is dedicated to matte, heavy-weight papers, whose smooth surface is renowned for its ability to render delicate colour tones

Sheila Metzner 6 | LEICA CLASSIC

Atmospheric, magical scenarios and complex staging define the timeless oeuvre of the New York photographer. We pay tribute

Joseph Rodríguez 20 | EAST SIDE STORIES

The Leica D-Lux 7 – now also available as an all-black variant

Tough boys with a sense of family: at the end of the nineties, Rodríguez photographed the private sphere of street gangs in Los Angeles

Suzan Pektaş 3 6 | D R E A M S T H E B LAC K S E A

After 25 years, the photographer returned to Bulgaria, the land of her childhood. A journey down memory lane in the Black Sea region

Launched in honour of the centenary of Leica developer Oskar Barnack, the Award bearing his name was christened in 1980. We look back 108 | BOOKS New publications by Luis Cobelo, Paul Almasy, Charlie Koolhaas, François-Marie Banier, Jörg Brüggemann, and Tobias Kruse 1 1 0 | I N T E RV I E W In just a few years, business man Silvio Frota has put together one of the largest photographic collections in Brazil. His mission is to educate 114 | MY PICTURE A picture that was reminiscent of a doll’s house she played with as a child, gave Sayuri Ichida back her self-confidence as a photographer 114 | IMPRINT

Juan Cristobal Cobo 5 4 | C I C LOV Í A

Empty streets open to pedestrians, inline skaters and cyclists: in Bogotá, Ciclovía means Sunday mornings without traffic

Diane Betties 68 | DE MA MÈRE

Betties set the stage for a fashion shoot featuring a young model, in an old apartment in Athens, filled with historic furnishings

COVER: Joseph Rodríguez, picture from his series East Side Stories

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EDITORIAL

NEW CHALLENGES LOOKING FOR THE BEST PORTRAITS

A Smile from Home for You, © Franz Eder

The societal and economic changes that have been taking place over recent weeks have also had an impact on photography. We wanted our LFI.Gallery users to let us know how they have conveyed their experiences and living situations during these challenging times into their pictures. The numerous submissions we received were both overwhelming and touching, and they certainly confirmed that creativity has not dried up in the current circumstances.

Titled From Home, we have collected together the best contributions to produce an on-line photo series – our sincere thanks to all those who sent in their pictures! While recent weeks have been defined by photographs capturing empty streets and squares, our new challenge once again places people at the forefront: please send us your best portrait pictures: this could result in your work being published online in the LFI Blog, or in the Lightbox segment of the printed issue of LFI. However, above all, stay healthy!

JOSEPH RODRÍGUEZ

Because he considers that black and white photography is the best way to convey emotions and activities in their purest form, Rodríguez produced his East Side Stories: Gang Life in East L. A. series without any colour whatsoever. Films from the Weimar Republic tradition had a strong impact on the photographer as a child, and they taught him a lot: “I first became aware of this in 1995 when I went to the International Center of Photography, and Cornell Capa gave me a grant for documentary photography.”

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S UZA N P E K TAŞ Pektaş was born in Bulgaria close to the Black Sea. Some of the most memorable times of her childhood are the summers the whole family would spend in a small hut on the beach. It was the stories her grandpa used to tell about headless horses, the children, the sea, that were particularly mesmerising. Today she lives in Istanbul: “Fortunately, the Black Sea coast offers me a window to breathe whenever I feel I’m drowning in the midst of this megacity filled with estranged people.”

S H E I L A M E TZ N E R

Starting out with her family, artist friends and the familiar setting of her studio in New York City, the photographer has been producing a distinctive body of work since the seventies. As of October, this year, her pictures will be on display as part of the group exhibition America 1970/80s – Hofer, Metzner, Meyerowitz, Newton, at the Helmut Newton Stiftung in Berlin. In this issue, we are presenting a portfolio of her work. This portrait was taken by Helmut Newton in 1988.

Photos: © Lucig Kebranian; Suzan Pektaş; Helmut Newton Estate: Helmut Newton, Sheila Metzner, Monte Carlo 1988

CONTRIBUTORS

Break the rules.

Change their view.

Tell the bitter truth.

Challenge the status.

Stand strong.

Leica Konstanz

Don’t look back.

Stay hungry.

Find the spark.

Risk. Fail. Repeat. Succeed.

LEICA M Whatever it takes - be original. beoriginal.leica-camera.com LEICA. DAS WESENTLICHE.

Magical, atmospheric and perpetually fascinating. Sheila Metzner’s work is characterised by a unique blend of form, colours and elaborate orchestrations. With her inimitable style, Metzner established herself as an extraordinary portrait, fashion and still life photographer – and a confident artist in her own right.

LEICA CLASSIC

Sheila Metzner

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Every image is a meticulously orchestrated study, carefully enhanced by paintings, like Tamara de Lempicka’s, or Art Deco objects. Art Deco, 1984 (top) Joko Passion, 1985 (left); Mahal Mermaid, 1980 (previous page)

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Many of her models were members of her family – an artfully arranged study with her daughter, Bega, 1982

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Whether colour or black and white: Metzner’s images are distinguished by highly stylised orchestrations.

A portrait of Robert Mapplethorpe, 1984 (top), and a jewellery study from 1988: Elaine, Man Ray (right)

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Many of Metzner’s photographs are rooted in her personal life. A nude study from 1996 featuring her daughter, Bega (top). A portrait of the artist Bob Richardson (1970, left), who was one of her earliest supporters

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A portrait of her daughter, Ruby Miami Shirt, 1980 (top). The portrait of her husband, Jeffrey, was captured in his studio in 1986 (left). Model with sculpture by Jean Arp, 1985 (next page)

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Photos: © Sheila Metzner

S H E I L A M E TZ N E R Born in Brooklyn in 1939, Metzner studied Visual Communications at New York’s Pratt Institute; in 1961 she began to work in the advertising industry and was soon appointed as the Doyle Dane Bernbach agency’s first female art director.

1968: marriage to painter and art director Jeffrey Metzner (1941–2008); five children; started her journey as a self-taught photographer.

First exhibitions from 1978 onwards. Fashion and beauty companies began to see the appeal of her velvety-rich colour renditions.

Her images are imbued with an intimate atmosphere reminiscent of private salons, with selected artefacts such as jewellry or paintings complementing the subject’s personality. To print her images, Metzner used the elaborate Fresson process. Numerous honours and publications.

Metzner lives in New York.

SHE I LA ME TZ N E R .CO M EX HI B I T I O N : America 1970s/1980s, Octo-

ber 9, 2020 until May 16, 2021, Helmut Newton Foundation, Jebensstr. 2, 10623 Berlin BO O KS : (selection) FROM LIFE (Rizzoli,

New York 2017); FORM AND FASHION (Arena Editions, Sante Fe 2001); COLOR (Twin Palms Publishers, Altadena 1991); OBJECTS OF DESIRE (Clarkson N. Potter, New York 1986)

The first time Sheila Metzner’s work was introduced to a larger audience was a most grandiose occasion: in 1978, one of her images was included in John Szarkowski’s legendary show, Mirrors and Windows. American Photography since 1960 at the Museum of Modern Art. This would mark the fortuitous start of a remarkable career.

Looking back, the years leading up to this debut can almost be viewed as a period of preparation before finally stepping into the public eye. Metzner was involved in the world of photography long before she decided to embrace the medium herself. As a successful art director at the Doyle Dane Bernbach agency, she collaborated with the era’s most celebrated photographers, including Richard Avedon, Joel Meyerowitz, Irving Penn and Diane Arbus. However, she later revealed: “What they produced was not my vision. Not what I saw in my mind, or drew or explained with words. Their work was theirs. Not mine. At the time I didn’t even have a camera.” It was only after she had left the agency and given birth to her first child that she was free to embark on her own photographic journey – which was characterised by a sense of familiar intimacy and a high degree of formal precision.

Her most influential mentor at this stage was Aaron Rose, who guided her through the history of photography, introducing her to late 19th century pictorialism as well as the work of Julia Margaret Cameron, Georgia O’Keefe and Man Ray. As Metzner’s family grew, so did her confidence in her own artistic merit: “After about nine years and many visits to museums, and the few galleries of photography that existed at the time, I left the Guggenheim one day, and said to myself, ‘that’s enough, you’ve seen enough’.” She decided to present a series of 22 images to MoMA curator John Szarkowski – and went on to become part of his exhibition.

This was an enormous relief, not least because it clearly validated her chosen path: “I was a photographer!” Her first solo exhibition at the Daniel Wolf Gallery in New York soon followed.

Metzner also became increasingly interested in working with colour – a courageous step, considering that black and white was considered the definitive choice for fine-art photography at the time. And yet, Metzner’s second exhibition already revolved around her use of colours, which would become an unmistakeable characteristic of her work. With her propensity for rich tones rendered in soft focus, along with a compelling interplay of interiors and intimate portraits, Metzner soon achieved renown in artistic and commercial circles alike. She went on to become a photographer for Vogue, collaborating with fashion houses such as Valentino, Fendi and Ralph Lauren. Inspired by decorative artefacts and unusual pieces of furniture, Metzner orchestrated every scene down to the smallest detail: “Nothing in my work developed spontaneously. I always had a plan,” she once explained in the course of an interview. To curate her backdrops, she went in search of exquisite items – from pieces of jewellery to sculptures and paintings. “These were objects that I desired or wished to study but couldn’t afford to buy,” she continued. “In that way, they became mine. Each of these constructions has a story that I could tell. Every person, place, or thing, has meaning in the story that is my life, or my life, that became this story, this myth. They also include love, feeling. Emotion. Nothing negative. Never.”

Metzner’s constant companion was her Leica M4, a gift from her artist husband, Jeffrey Metzner. “I choose the camera to fulfil my needs, my vision.

Never the other way round. I was taught that a camera is a tool.” The extraordinary precision with which Metzner developed her work is still palpable today. Her images have lost none of their fascination, her elegant style has become timeless – or perhaps it always was? ULRICH RÜTER

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Joseph RodrĂ­guez EAST SIDE STORIES

Drug dealing, violence and drive-by shootings: the fact that daily life behind the gangster scene in Boyle Heights, Los Angeles, causes much less of a sensation than might be expected and is even familiar, was documented by Rodriguez at the beginning of the 90s.

First generation Evergreen members, Boyle Heights, Los Angeles 1993

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Below: Steve takes his grandchildren to swim at the pool, to get them out of the gang infested neighbourhood they see everyday. Right page from above: Steve Blount, a ‘veterano’ of the first Evergreen generation, standing with his daughter Stephanie. Steve is holding the urn of the ashes of his wife Chris, and Stephanie holding a photograph of her mother; the Blount family baby shower in Griffith Park; Steve with his grandson Nicholas at a birthday party in East Los Angeles

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Below: Mikey holds a photo of his father, who is in prison. Left page from above: Franky, Gyro, and Spanky get cleaned up in preparation to go job hunting, while Spanky plays with a toy gun with his nephews; three unemployed youths in the Estrada Courts housing projects, East Los Angeles; Porky and Pony of the Mariana Maravilla gang, Pony holding the semi automatic rifle was killed by a rival gang soon after this photo was taken

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Several families of Evergreen members have gathered for a picnic, Los Angeles 2013

Insane Juvenile Queens: “We are not a gang; we like to hang out and dance.� Los Angeles 1992

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Below: Mark, an Evergreen member, showing the gang sign while holding his daughter, 2012. Right page from above: Evergreen gang members hanging out, 2012; members of the Olvera family, Blount family, and friends pose for a group portrait. This memorial day party was a sort of family reunion – some guests travelled from as far as Chicago to be there, 2016; Albert Olvera gets emotional looking at photographs that were taken of his life in the 1990s. His son Mark throws up the Evergreen gang sign, 2016

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Below: Evergreen gang members at a birthday party, looking at Lowrider magazines, Boyle Heights, Los Angeles 1993.

Left Page from above: Evergreen gang members, Boyle Heights, Los Angeles 1993; Evergreen gang members marking their territory at night at Evergreen Park, Boyle Heights, Los Angeles 1993; Evergreen gang members playing dice at a birthday party, Boyle Heights, Los Angeles 1993

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Javier in his dead uncle’s car. Boyle Heights, Los Angeles 1993

JOSEPH RODRÍGUEZ Joseph Rodríguez is a documentary photographer born and raised in Brooklyn, New York.

He studied Photography at the ICP and the School of Visual Arts in NYC. Today he teaches at New York University, and has also taught at universities in Mexico and Europe. Rodríguez won an Alicia Patterson Journalism Fellowship in 1993, photographing gang families in East Los Angeles.

His work is exhibited internationally.

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Los Angeles, California is the hotbed of vice in puritanical America – in part because of the glitzy world of Hollywood. Above all, however, it is the capital of crime. This is where crime reigns, where complete neighbourhoods are terrorised by violent gangs: it is all about drugs, money, power and respect. At the beginning of the 90s, Joseph Rodriguez photographed the daily life of the Evergreen gang that dominated the Latin American Boyle Heights district. We spoke with him about ostracism, survival strategies and how photography rescued him.

LFI: You predominantly photograph people – for what reason?

Joseph Rodríguez: Because I am a humanist: it was the way I was raised as a Catholic, taught to be caring of others and sensitive to the struggling masses of the world. I also studied the Social Documentary tradition here in the USA. In an interview I was once called a social worker with a camera.

Here is the challenge with this documentary tradition: document the issue with hope of producing change. Like New York’s Photo League and The Farm Security Administration.

What was your interest in producing a series about L.A. gangs?

My interest with street gangs in California began in the early 1990s. My aim was to get close to the core of violence in America – not just physical violence, but the quiet violence of families falling apart, of unemployment, of our failed educational system, the violence of segregation and isolation.

How did it come about that you focussed on the Evergreen gang?

After photographing several gangs in Los Angeles, I discovered a gang in Boyle Heights called Evergreen. After gaining their trust, the members of Evergreen allowed me into their world with my camera. For three years, I documented the lives of Scooby, Little

Igor, Chivo and many other Evergreen members. What I found was not just a story filled with drugs, crime and violence. It was also a story of the struggle to survive and have a better life.

How did they react to you as a photographer?

I was met with a lot of mistrust at the beginning: every day they said, “he must be a cop”. But most of them did not mind, as they were proud to show their gang affiliation. It only became dangerous when a contract was placed on my life in one gang neighbourhood; but when my book East Side Stories: Gang Life in East L.A. appeared in 1998, things calmed down.

Photographing the Evergreen gang doesn’t sound like an ‘easy’ subject at all – what made you stick to it?

It was similar to my own story. My work comes from a profoundly personal and also a political place. I have a searing memory of returning home from my elementary school to find my stepfather nodding off with a needle in his arm. A memory that I would relive in my own body, becoming a user myself.

That’s a heavy life story. How did you manage to get out of the addiction?

What saved me was the camera – its ability to gaze upon, to focus, to investigate, to reclaim, to resist, to re-envision.

I see my photographs as reflections of these experiences: generations of violence, adolescents in prison, and the families of the incarcerated.

Why did you produce the series in black and white?

Because I come from a black and white tradition; and also all the photojournalists at the time where photographing in colour. Because for me black and white can also convey a remarkable purity of emotion or action; and because I grew up with the 1930s black and white cinema of the Weimar tradition of Hollywood films, which I loved. I went to the cinema a lot as a kid, and learned so much, although I did not act on this inspiration until I went to the International Center

of Photography in 1985, where I was given a scholarship for the Photojournalism Documentary program.

Did you ever go back to the Boyle Heights neighbourhood?

In 2012, twenty years after I first photographed Evergreen, I returned to reconnect with some of my original protagonists. Some members had succumbed to the gangster’s path and were dead or incarcerated. Others had extricated themselves from that life, finding redemption through work and family.

What did you take along with you after these encounters?

Through these recent interviews, I discovered something I was unaware of during my original work with Evergreen: not only were the members connected through the gang, they were also connected through a complex web of blood ties stretching back generations. In many cases, they weren’t just homeboys, they were fathers, mothers, uncles, aunts, brothers, sisters and cousins. This wasn’t a story about gangs, this was a story about family.

The publication of the series as a book brought you great public attention at the time.

This subject matter was very attractive to the mainstream media; it was the kind of story that leads the local evening news. I was adamant that this book be more than just images without context. I fought hard to include written stories that explained the history of Los Angeles and the complexities of its gang culture. I wanted to give a voice to the lives I was depicting, and guide young readers from such communities to reimagine their futures.

INTERVIEW: KATRIN ULLMANN JOS E PH RODRIGU EZPH OTOG RAP HY.COM LF I-ON LIN E .DE /B LOG: ONE PICTURE — ONE STORY EQUIPMENT: Leica M2 and M6 with 21, 28 und 50mm lenses

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Suzan Pektaş

D R E AM S T H E B L AC K S E A After 25 years, Pektaş returned to the land of her childhood, where she fused her memories, her grandpa’s stories and the reality she found there, producing a dream-like journey through the Black Sea region.

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Like time travel: with friends and family members, PektaĹ&#x; searched for memories of the past, poetic sequences, allegorically strung together. She photographed her daughter in the garden of her own childhood (above), and an old friend with whom she was able to seamlessly stitch together common memories (top right)

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The boys on the Georgian coast (above) remind Pektaş of her own cousins. Using an umbrella, her daughter stages a scene from one of her mother’s dreams (top left). The headless horse (previous page) was a mythical creature that often played a part in the stories told by the photographer’s grandfather

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Known for its numerous little ports, fishing in the Black Sea region was always important for survival. As a child, PektaĹ&#x; travelled regularly with her grandfather to small fishing villages, where he visited his actor colleagues

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From a mother and daughter on a closed-off beach in Georgia (previous page) to a woman in a red dress floating in the water: everything is connected by the Black Sea, its myths and the constant changes

S U Z A N P E K TA Ş The photographer with Bulgarian roots developed a passion for visual forms of expression during high school. Pektaş has been further exploring these different forms at the intersection between visual arts and documentation since 2015. The photographer’s current projects focus on the identity of the individual in relationship to his or her environment, dealing mostly with women, urban transformation and immigration.

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Twenty-five years since her family turned its back on Bulgaria, Suzan Pektaş decided to return to the land of her childhood. Searching for the magic she remembered from summers by the sea, she longed to add her own voice to her grandfather’s stories. Starting as a simple idea, it soon developed into a series about the Black Sea coast, and the people who live there.

LFI: How did the series Dreams the Black Sea come about?

Suzan Pektaş: The idea of shooting a series came about when I decided to visit the land of my birth, with my family. It quickly developed into a series about the Black Sea coast and its people. I had the feeling that, compared to the Mediterranean, the Black Sea has been largely overlooked. I felt very connected to the place, and was able to capture its hidden faces, delving into the region’s multiple cultural layers, with a touch of personal mysticism and spirituality.

I travelled along the southern coast from Bulgaria to Georgia. The images became a fusion between my memories and the present day. The scenes and people I framed, often served as a reflection of my faded dreams and fantasies about a forgotten land – a land that hosts a multitude of different views and life styles, a land that is threatened by untamed development and the consequent increase in ecological problems. Yet, the sea is the pot where the people of the Black Sea basin are blended together. If I had to choose a thematic colour, it would have to be blue – the colour of desire, of solitude, and of unspoken harmony.

Did the Bulgaria you found match the homeland of your memories?

I found Bulgaria very lonely, with abandoned, worn down buildings, deserted rural homes and farms, and mostly elderly people strolling in the streets and parks that were once crowded with a young and active population.

After Bulgaria joined the EU, most young people moved to western EU countries in search of a better life. The rich, among those who stayed, moved to new apartment blocks, as if to distance themselves from the past. The gap between social classes runs parallel to a gap between what people remember of their communist past. It is clear that the region is undergoing a demographic and cultural transformation.

It was hard for me to find the places of my childhood. The whole coastline was now crowded with high-rise buildings serving tourists. There was little left of the woods stretching down to the sea, that I remember from my childhood.

I had to dig deep to find remnants of my Bulgaria, of my past.

You also included pictures of family members and friends in the series.

What motivated you to do so?

The headless white horses and steady blue-grey waves from my grandpa’s stories, have provoked recurring images in my memories, triggering an almost spiritual heaviness. We moved to Turkey when I was thirteen and I did not see him again. Shortly after he passed away, these images started to haunt me again, and I slowly became obsessed with the Black Sea. When I finally visited my country of birth after so many years, I wanted to recreate my personal history, resurrect my memories through an elaborate act of remembering, imagining and recreating. Including my family, my friends, and even childhood friends whom I had not seen for years, turned out to be a unique experience for all of us. It was an exchange of memories, of a spirit that we missed, and of our hearts. A family photograph is said to be a starter for myths. It captures a fraction of a second of activity and then opens up narratives that last for generations. Including family and friends in the narrative, and making them leading characters in the series, is the most natural way of building on a myth passed from generation to generation.

I view my journey as a documentation about life along the coast, and about the mysticism that had existed in my grandpa’s stories. However, in contrast to the traditional approach, I followed the contemporary, documentary practice, which is no longer a mimetic or naturalistic reproduction of reality, but a manufactured process, a catalyst for a different reality instead of being its representation. It is a reality that blends my subjective view into my photography, directly or as a metaphor. As part of the creative process, I invited my subjects to work with me while exploring and developing various ideas.

I briefed them about the overall mood and let them interpret it. I call this planned spontaneity, rather than staged spontaneity. I am not really interested in directing my subjects in a didactic way. We explored different ways of expression together to craft the narrative. I enjoyed finding small stories in their interpretations rather than going with preconceived ideas.

Will you return to the Black Sea or is the series complete?

This is an ongoing project. I want to visit Russia and Abkhazia. I had plans for 2020 but had to postpone them due to the current situation. I’m also planning to go back to Bulgaria, specifically to meet with my grandpa’s friends from the theatre, and hear his story from their perspective. Next, I would like to focus more on the ongoing urbanization of the whole Black Sea basin, and I also want to compile a book including the Black Sea photographs together with my family photographs from the 1980s. These are some of the projects I have in mind about the region.

INTERVIEW: DENISE KLINK

SUZAN PE KTAS.COM L F I - O N L I N E . D E / B LO G : SLIDESHOW WITH FURTHER PICTURES EQUIPMENT: Leica M-P 240 with Summilux-M 50 f/1.4 Asph and Summicron-M 35 f/2 Asph

What special meaning do the staged and un-staged photographs in this series have for you?

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Juan Cristóbal Cobo C I C L OV Í A

A city without bumperto-bumper traffic – what a dream! Since the seventies, the Colombian capital, Bogotá, has been a forerunner in questions of reduced traffic, once a week transforming its highways into promenades.

Juan Cristóbal Cobo has recorded the spectacle.

“Ciclovía means access. Access to places where you can practice sports; to places where you can let go and enjoy life.”

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The event requires a different approach to street photography. “I had to adapt to the rhythm of the cyclists, and consider the speed and geometry of the wheels. And then there was the technical aspect, where I often worked with hyper-focal focussing and high shutter speeds.�

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Over the years, CiclovĂ­a has become an ever-larger event, that the citizens of BogotĂĄ no longer want to miss. Where the streets are normally clogged with traffic, once a week they can ride bicycles, skate, jog or simply stroll. They love it

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There is also something for all the senses beyond all the action. “You find every possible type of snack, improvised bicycle workshops, entertainers and many people who come up with all kinds of crazy ideas with which to earn a living,� Cobo says with enthusiasm

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JUA N C R I STÓBAL COBO Born in Colombia, the photographer moved to New York as a teenager. He first worked as a cinematographer and commercial director, but a passion for photography finally took over. As an autodidact, he allows his years of knowledge of movie-making to imbue his photographic work, combining his understanding of lighting and composition with an appreciation for stories of human interaction.

JUA NC R I STO BA LCOB O.CO M LF I -O NL I N E .D E / B LOG : SLIDESHOW WITH FURTHER IMAGES EQUIPMENT: Leica Q, Summilux 28 f/1.7 Asph

In the minds of many people, Bogotá is anything but progressive. Like most capitals in Middle and South America, the megacity struggles with the prejudicial idea that defines it as loud, overcrowded and dangerous. There is, however, an event that takes place week after week, and does an impressive job of contradicting this perception. Sundays and alternate holidays, citizens are invited to put aside their motorised vehicles and stroll freely down the normally congested and polluted roads: 120 kilometres of city streets take part in this tradition known as Ciclovía – Spanish for bicycle path. From seven am until two pm, streets are recaptured and taken over by the locals. Up to 1.5 million people take part in this spectacle: alone, in pairs, or in large groups; on bicycles, inline skates or on foot.

“It all began in 1976 as a civil initiative launched by a group of cycling enthusiasts,” the photographer explains.

Born in Colombia, Juan Cristóbal Cobo was already fascinated by the possibilities of Ciclovía back when it began.

Initially drawing thousands, within a short period of time it turned into a major, city-supported programme. It is hardly surprising then, that every week offers new, outstanding opportunities to set up intriguing motifs in front of the lens. For Cobo it started out as a professional assignment; but later culminated in a marathon stretching over 22 consecutive Sundays, during which he covered hundreds of kilometres on foot. Whenever the anonymous string of traffic was transformed into a colourful parade of people, Cobo was right there in the thick of things, ready to capture just what the capital looks like when it reveals its friendlier face. “It took a fair amount of determination to spend around half a year of Sundays getting up before seven and then spending the whole day walking about twenty kilometres,” the photographer remembers.

The reward for all his effort is reflected in his pictures, which clearly reveal the love of life felt by the citizens of Bogotá. It is street photography in its purest form, with the street transformed into a stage and living

environment where protagonists play an integral part for the entirety of a morning. It is like you can feel the city taking its deep collective breath, when it recognises that the urge to move and the need to decelerate can, in fact, be ideal companions.

From his beginnings in the film industry, for the last ten years Cobo has become rooted in photography, finding particular delight in portraying his fellow human beings. “I’m very curious about people, from the strangers I pass by on the streets without exchanging a word, to the ones I can engage and maybe spend some time with while making a portrait,” he explains. When diverse characters, lighting and locations blend to create a grand whole, then Cobo is truly in his element. With its philosophy of harmony, the Ciclovía is just what he needs to nurture that preference. Indeed, he does not even need colour to illustrate the colourful things on the streets of this disreputable city. Furthermore, the diversity of cyclists, walkers, and skaters is only part of the whole event, where the streets are lined with all kinds of delights aimed to tickle the senses: retail booths, snack stands, and improvised workshops, as well as music, art and entertainment provide a vibrant programme. Bringing together people from all walks of life, Ciclovía is a happening that is bound to attract any photographer.

“For me, the Ciclovía is the most democratic event to take place in the city, where, for a number of hours, basically every citizen can enjoy the same privileges,” is Cobo’s succinct conclusion. The example set by Bogotá is also followed beyond the country’s borders: all the way from Mexico City to Santiago de Chile, further Latin American capitals have adopted this weekly, automobile-free time. It can only be hoped that even more cities will follow suit. Harassed nature would surely be just as grateful as the stressed civilians.

Could there possibly be a lovelier winwin situation? DANILO RÖSSGER

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LEICA SL

Diane Betties DE MA MĂˆRE

The photographer went to Athens in search of lesser-known settings.

A stroke of luck landed her the jackpot: an old building with nostalgic charm, where her newcomer model could enjoy complete freedom.

“I want to create a certain mood in my pictures, and it is precisely natural light that has a quality that can captivate the viewer. Natural light is dynamic and is rarely boring, and that’s why I love working with it so much.” Diane Betties

“I have a scrapbook for personal projects and editorials. In it I’ve collected everything that captures my attention, and is somehow interesting or inspiring. This includes textures, colours, architecture, light, compositions, tones of pictures, film scenes – quite simply, anything I like.” Diane Betties

Atelier-type windows, aesthetic oil paintings on the walls, stylised furnishings from more than a century ago and, right in the middle of it all, enveloped in natural light and exclusive designer clothing, is a model with a fresh new face, an expressive personality and a flair for original poses. At first glance, the viewer is able to see that Diane Betties’s aim is that her work be as far away as possible from a fashion spread normally produced in a studio. Asked how she sees herself and her work, she explains, “I like to see naturalness in photography. As a photographer it’s important to have a particular position. Many chase after trends; they simply snap pictures and don’t even know why they’re doing it. The cause is probably to do with the throwaway mentality caused by digital photography; and platforms such as Instagram, that scream for the continuous creation of content, and further encourage this approach. Photography has become a thing of the masses. Pictures are taken very quickly and deleted just as quickly, so they end up losing all meaning. People consume hundreds of images every day; for me the real challenge then is to take a photo that really catches on, a picture that has an impact and lingers in a person’s mind – even if it’s just for a few seconds.”

Betties likes to be inspired by unusual landscapes and special places for her fashion spreads; and it is often a painting that gives rise to a new idea.

“I love the abstraction in Gerhard Richter’s photos and paintings, as well as work by Klimt, Schiele, Freud, and portraits by Laura Knight.” Betties’s preference is for locations where both aspects are present. When considering an urban setting that was not one of the ones most frequented for fashion shoots, her choice took her to the Greek capital. “Athens has inspired me for quite some time. I have many Greek friends who have gone back to the city. It is often said that Athens

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has the kind of spirit that Berlin had in the nineties: ‘poor but foxy’, full of young, creative people. I wanted to experience this mood of transformation and energy for myself, and when I got there it really did feel like I’d landed in something of a time capsule.”

While searching for accommodation, Betties discovered a charming apartment located in an old building.

It quickly became obvious that she had found a real jewel: the apartment belonged to one of the landlord’s great grandparents and was still owned by the family today. The consistent décor with tasteful lamps, heavy curtains and numerous oil paintings had remained unchanged over the decades.

The typically large windows allowed in beautiful swathes of sunlight to the interior. Together with her exceptional talent for composition, light is one of the most important elements in Betties’s work.

Thanks to the atmosphere in the apartment and the paintings on the walls, Betties immediately saw an association with the colour palette preferred by Rembrandt Harmenszoon van Rijn (1606–1669), one of the most renowned representatives of Dutch Baroque painting. Blacks, burgundies, browns and gold tones, as well as white, dominate the settings – which are each also highlighted by the rich, Mediterranean light. The title, De ma mère, came from a framed, embroidery sampler also hanging in the apartment.

As already mentioned, it was primarily the pictures that inspired the photographer, which also related to the way she worked with the model. In some instances, Betties encouraged Madi, a fresh new face from Ace Models, in her poses, as in the case where she seems to capture the movement of waves as depicted in one of the paintings.

Choosing the right model is of decisive importance to the photographer. “The interaction between the photographer and the model is key, and the chemistry was there from the word go. Beauty is only one small part of a larger whole – after all, perfection is not always exciting,” the photographer says with a laugh. CARLA SUSANNE ERDMANN

DIANE BETTIES Betties grew up in East Germany in the eighties. She is bi-lingual – English and German. A self-taught photographer, she assisted James Meakin, Bjarne Jonasson and Roger Eaton in London.

She was also involved in tour productions for various musicians: Moby, Frank Ocean, Christina Perri and A$AP Rocky. Her series have been published in Vogue, Elle, GQ, Harper’s Bazaar and 032c, among others.

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EN GARDE! H U AW E I P 4 0 P R O

The collaboration between Leica and Huawei has yielded a new model of the P series, which once more positions itself at the cutting edge of smartphone photography.

Amidst the coronavirus pandemic, Huawei CEO Richard Yu held a solitary presentation to introduce the new generation of Huawei’s P series: the P40, P40 Pro and P40 Pro Plus (of which the latter will be available this autumn). Of course, industry experts and customers alike are wondering how the company will deal with America’s trade embargo and the loss of Google software, and which solutions will be put in place with regard to future products.

A great challenge indeed – whose analysis we shall, however, leave to the experts in this particular field.

Our focus, as our readers would expect, is the highend smartphone’s latest camera – the Leica VarioSummilux-H 18–125 f/ 1.8–3.4 Asph and its supporting software.

A LO O K U NDE R T H E BO NNE T. The web reviews

Equipped with the Leica Vario-Summilux-H 18–125 f/1.8–3.4 Asph camera, the Huawei P40 Pro represents yet another step up from its predecessor model

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certainly look more than favourable: in many of the practical tests, both the front camera and the primary Ultra Vision Quad Camera

by Leica scored the highest marks ever granted. It is worth noting that the P40 and P40 Pro, which are available as of now, offer no groundbreaking departures from the innovative quad camera of their predecessor, the P30 Pro. However, they have been optimised at software level, as well as significantly upgraded in terms of hardware quality.

The perhaps most significant improvement over the previous model is the introduction of larger sensors, and the resulting increase in the cameras’ resolutions. The P40 Pro’s pri-

mary camera – the Ultra Vision Wide 23 f/1.9 – features a 1/1.28-inch sensor with a resolution of 50 MP. The Ultra Wide Cine 18 f/ 1.8 is equipped with a 1/1.54inch sensor, thereby doubling its resolution from 20 to 40 MP, while the periscope zoom camera (125 f/3.4) now has a 1/3.56-inch sensor with a 12-MP resolution.

Larger sensors have the capacity to record more data, resulting in higherquality images with superior dynamic range. To process the collected information, the smartphone utilises AI technology. This is where Huawei’s XD Fusion Engine and pixel-binning come into play – a method whereby the data of four pixels is combined into one optimised element. The 50-MP sensor therefore delivers images with a resolution of 12.5 MP. While the leading-edge sensor (which features an RYYB filter instead of the customary RGB Bayer mosaic) was also used in the primary camera of the P30, it can now be found in both the main and the zoom camera of the P40 Pro. In RYYB sensors, the green colour channels are replaced by yellow ones. This allows higher-frequency waves of light to fall onto the sensor, enabling the sensor to absorb more light and, consequently, generate brighter images in low-light situations even without activating night mode.

The zoom function has remained unchanged, comprising a loss-free 5x optical zoom, 10x hybrid zoom and 50x digital magnification.

However, in conjunction with the optical image stabilisation, higher →

Photo: Peter Langer

27 mm, f/1.9, 1/35 s, ISO 640, EV -1.3; page 86: 27 mm, f/1.9, 1/16666 s, ISO 50

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Photos: Peter Langer

Above: 47 mm, f/3.2, 1/6329 s, ISO 50, EV -1.1; left page: 27 mm, f/1.9, 1/16666 s, ISO 500

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Above: 27 mm, f/1.9, 1/215 s, ISO 50, EV -1.7; right page: 44 mm, f/1.9, 1/100 s, ISO 160

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Photos: Peter Langer

resolution and RYYB filter, the camera is able to deliver higher-quality images. The optical zoom only applies from a 5x magnification upwards – a limitation that will be lifted in the upcoming P40 Pro Plus, which features a second zoom camera whose optical zoom engages at 3x magnification and up.

I N PRAC T I C E . Its technical details clearly place the Huawei P40 Pro at the cutting edge of smartphone photography. But how does the camera perform in a practical, and perhaps even professional context? After a trial run by our editorial team, we handed our test model over to Peter Langer, a Berlin-based fashion and still life photographer

whose work has been featured in publications such as Vogue, Zeit Magazin and M le Magazine du Monde. Like many photographers, Langer tends to work with Apple devices – in fact, this marked the first time he ever picked up a Huawei smartphone. Yet he immediately deemed both the handling and operation to be very comfortable, and found his way around the system in no time at all.

“I tried out pretty much every option the camera has to offer, but in the end I always came back to the standard setting. That’s how a smartphone camera really proves its merit. If I were to choose the settings myself, I might as well work with a dedicated camera.

the peninsula hong kong

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Smartphone photography has to be a speedy process.”

And it certainly is – not least thanks to the new Octa PD autofocus.

To create his series, Langer orchestrated floral still lifes before capturing them with each camera featured on the P40 Pro. He was astonished at the quality and texture of close-ups recorded with both the primary and the wide angle camera. He was also impressed by the automatic white balance, which has been improved over the P30.

“I worked with an array of different lighting situations – mixed light, dusk, daylight, artificial light, combined as well as individually. The camera performed well in all of them.”

Of course, he also investigated the smartphone’s hardware and software, both of which have been optimised for low-light situations. He found that the night mode was not quite to his liking, describing it as “too artificial, too calculated – just not my cup of tea.” Images captured in standard mode, on the other hand, definitely met with the photographer’s approval. “You can detect some noise from ISO 1000 upwards, but it has a pleasantly grainy aesthetic – not unlike a film effect – that actually looks rather appealing.”

Inevitably, images will look especially favourable on the smartphone’s native display. But how do they fare when transposed to other forms of pres-

“S M A RT P HON E PHOTOGRAPHY INEV ITA B LY HAS ITS LIMITS IN TERMS OF S EN S OR S IZ E A N D OPT IC S. BU T T HE IM AG E QUA L IT Y OF T HIS C A M ERA IS C ERTA IN LY ASTOU N DIN G . ”

entation? “Absolutely superb!” is Langer’s verdict.

“It’s clear that this is the pinnacle of what is possible in the field of smartphone photography – just consider the physical dimensions of the sensor and optical components. I’d definitely give this camera 10 out of 10. It’s quite astonishing what it is able to achieve.”

Would he be tempted to apply this smartphone in his own creative pursuits?

“I could easily imagine using it as an assistant camera for spontaneous shots.

This is a compact, supermanageable device that you can keep with you at all times – it’s perfect for fast, high-quality shooting on the road and on location.”

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PA I N T I T B L AC K LEICA D-LUX 7

Leica have released a new colour variant of the D-Lux 7: the black exterior has a transformative effect, imbuing the high-end compact camera with a more discreet and contemporary appearance.

For the past several years, Leica’s D-Lux series has been the go-to option for photographers in search of a highperformance, pocket-sized compact camera. It is true that the Leica Q2 with its full-frame sensor might represent a more ambitious choice, but the camera is also significantly larger, heavier and more expensive.

Then there is the Leica C-Lux, which offers the advantage of a greater zoom range – however, its lower light sensitivity and smaller sensor make it less suitable for advanced compositions involving a creative use of blur. The D-Lux may not be geared towards achieving top-end specs in terms of focal length, sensor size or resolution – but this might well be the prerequisite for a camera that is more mobile than a fully fledged kit, yet 88 |

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delivers images whose quality is a far cry from the software-optimised results produced by modern smartphone cameras.

The benefits of this particular concept are evident when looking at the current D-Lux 7. Indeed, the only possible point of contention has been its exterior design – which is, of course, a purely subjective matter. Up until now, the camera has been available exclusively in a silver finish that covers the top plate as well as the entire lens body. Some might argue that this has made the DLux 7 look older than you would expect from a camera released in late 2018: there is an old-school elegance to its design that references early Leicas. At the same time, the silver D-Lux 7 is a camera that undoubtedly draws the eye, despite its compact size.

DI SC R E E T LO O K. The new

design variant, which retails at the same price as its silver counterpart, has an entirely different effect: its sophisticated interior is concealed beneath a much more understated, black-paint body.

The only eye-catching element is the red dot, though this can easily be taped over if required.

While the proportions of both cameras are the same, the all-black model’s lens appears less accentuated than that of the dual-tone variant. The diameter of the fast DC Vario-Summilux 10.9– 34 f/1.7–2.8 Asph (equivalent to 24–75 mm in full-frame format) almost matches the height of the diminutive camera body. On the new variant, however, the lens looks less prominent, especially when viewed from the front – creating a definite advan-

tage in shooting situations that require a lower profile.

The choice between the two variants remains a question of personal taste.

In either case, you will acquire a camera that has little in common with the compacts of the past. With its four-thirds sensor, the D-Lux 7 offers a recording format frequently applied in system cameras. In the same vein, the compositional possibilities provided by the high lens speed bring to mind the capabilities of much larger cameras – as do the aperture ring and shutter speed dial when working in manual mode.

Of course, the silver variant is distinguished by the exact same features; but there is no doubt that classic black is a flattering look on this appealing camera.

HOLGER SPARR

While all technical specifications remain entirely unchanged, the all-black D-Lux 7 (available as of now) appears more discreet than its dual-tone counterpart, which combines a black trim with a silver lens body and top plate

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S M O OT H H E AVY-W E I G H T S F I N E A RT P R I N T I N G I N P RAC T I C E

Matte papers are extraordinary – both in terms of their unique rendition of colours, and their physical composition: matte-finish fine art papers are comprised of nothing but a cellulose or cotton carrier material and an ink receiving layer. Like all fine art papers, they are free from lignin and acids to ensure archival quality. In this article, we focus exclusively on smooth paper types with little to no surface structure.

O UR SE L E C T ION. Smooth papers with a weight of more than 295 gsm are the most popular category of matte photo paper. This is based on three reasons.

Firstly, a moderate or almost non-existent surface structure has the least effect on the appearance of the final image – whereas with tex-

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tured fine art papers, the surface grain becomes an integral part of the photograph. Secondly, their weight gives them a substantial, high-end feel that makes them a pleasure to handle. The third reason is their exquisite rendering of colours. While glossy surfaces accentuate contrasts, matte papers present extremely subtle tonal gradations: you can lose yourself in the earthy tones of a landscape shot, or bask in the warm hues of a midsummer night’s sky. However, matte papers are less capable of rendering deep and vibrant colours – something you should bear in mind when choosing the images to be printed.

The Hahnemühle Photo Rag was one of the first fine art papers on the market, and has become

synonymous with fine art photo paper. For our comparison, we chose the company’s Photo Rag Bright White variant, whose surface tone is achieved by adding a minimal amount of optical brighteners. It is particularly well suited to rendering stark contrasts such as black and white images, as well as stronger, more pronounced colour tones. With a weight of 310 gsm, the Photo Rag Bright White feels very substantial. As the name implies, it has a cotton rag base – as do all the papers we tested for this article. The uneven felt structure subtly emphasises the printed image. A similar surface texture is offered by the Epson Fine Art Cotton Smooth Natural or the Moab Entrada Rag Bright.

They are slightly more lightweight (300 gsm), and are

available in bright white and warm white variants.

Our next two choices are the Ilford Textured Cotton Rag and the Innova Art Fabriano Printmaking Rag. Both are produced without optical brighteners, resulting in a warm white surface. What differentiates them – not just from each other, but also from every other paper in our test – is their respective surface structure. Out of the two, the Photo Rag exhibits a noticeably stronger texture that is clearly visible when examining the unprinted sheet. However, it is not so pronounced as to distract the eye from the printed scene. With a base weight of 310 gsm, these two paper types are as substantial as they are characterful.

Our final four contenders are positioned →

Photos: Thomas Bergbold

In the second instalment of our fine art paper series, we take a look at heavyweight, matte papers whose smooth surface makes them delicate for printing colour tones. We explore which subjects they are most suited to, and what you should consider to ensure optimal results.

Even smooth papers exhibit individual characteristics. This image of Moraine Lake was printed on the HahnemĂźhle Photo Rag Bright White. Left: The very different textures of the Tecco, Ilford and Innova (right), which offers the most pronounced surface structure

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Novices should start out with a universal paper type, such as the bright white, moderately textured Permajet Omega Rag or the Canon, Hahnemühle, Moab and Tecco variants

in the near-untextured category of fine art papers.

The Permajet Omega Velvet Rag is distinguished by a very appealing, neutral white tone, created with the use of optical brighteners.

When it is being handled, it feels lighter and more pliable than its base weight of 310 gsm would suggest. The same can be said about the Canon FA-SM1 (also 310 gsm), which features a more subtle surface structure and slightly warmer tone.

The most light-weight fine art paper in our selection is the natural white Tecco PFR295. Its almost homogeneous structure imbues it with a wonderfully supple feel; at the same time, its base weight of 295 gsm makes it very tactile and comfortable to handle.

Our heaviest choice is the Sihl Smooth Matt Cotton Paper: at 320 gsm, it sits in your hand almost like a board. The surface is characterised by a warm white tone and almost entirely smooth structure.

PR I NT I NG . Ahead of starting the printing process, it is important to download the correct colour profiles

for your specific printer.

These are readily available on paper manufacturers’ websites – particularly for contemporary models such as the Canon imagePrograf Pro-1000 or the Epson Surecolor SC-P800. Matte fine art papers have a tendency to curl during printing, but generally flatten out within twenty-four hours – which is also the time it usually takes for inkjet prints to fully cure and dry. For this reason it is advisable to wait a day before any further handling or framing.

It is also worth noting that matte-paper prints will change much more during the drying process than the baryte papers described in our last issue.

RESULTS AND RECOMMENDAT I O NS. One drawback of matte fine art papers is their limited ability to render a deep black, as they usually present more muted colours. A soft proof – a digital simulation of how a print will look on a specific paper – should therefore always be part of the preparation process. Also, if high-contrast monochrome images are to be printed

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on matte-finish paper, the shadow areas must be precisely adjusted to ensure successful results. We chose to include the greyscale step chart in our prints to illustrate how well each paper type separates dark colours.

Out of our contenders, the Hahnemühle Photo Rag Bright White and the Ilford GPTC performed best in this particular regard, whereas the opposite was true for the Epson, Innova and Moab variants. This means that the latter three will only produce perfect black and white results if the shadow areas have been meticulously balanced. As for the rendition of highlight areas, on the other hand, all of the papers delivered equally excellent results.

However, it is colour photographs that truly bring out the best in matte fine art papers. The subtle tonal gradations of sand, or a sky at sunset, are imbued with a mesmerising softness.

In this regard, none of the papers we tested left anything to be desired. Any potential issues would be due to inferior coating or an inaccurate printer profile – neither of which are to be expected from the manufacturers we chose.

The only differences in our printing results were based on the individual character of each paper: the bright white surface of the Hahnemühle, for example, yielded stronger colours, while the warm white variants by Epson

and Sihl inevitably produced warmer tones. In any case, the colour of the paper had less influence on the final print compared with baryte papers. Another distinguishing factor is the structure of each paper.

When printing a homogeneous colour plane such as a blue sky, the Innova Art’s texture can already look disruptive, while the Tecco is as smooth as silk. These differences offer great scope for creativity: a conscious choice can help emphasise the core message of your image, and serve as an additional dimension of visual expression.

Those looking for a universal surface will do well with the Canon, Hahnemühle, Moab, Permajet and Tecco

variants. In this line-up, the Hahnemühle has the strongest texture but still comes across as very natural and pleasant. The two warm white variants

by Epson and Sihl are best suited as a creative tool, as they have the most noticeable influence on the final image. The same is true for the Ilford and Innova Art, due to their more pronounced structure. Our recommendation: obtain a test set of all paper types and see how they perform in conjunction with your work.

THOMAS BERGBOLD WORKSHOP A Leica Akademie workshop led by our author offers deeper insight into the world of fine art printing and premium paper types. The event is currently scheduled for November 2020.

“America’s Premier Leica Specialist”

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B E S T O F L F I . G A L L E RY

HAKEA L AU R I N A “On my street there’s a hakea laurina, an unpretentious tree – until it blossoms. Because of its characteristic flower it’s also called a pin-cushion hakea. This year I noticed how similar the flower looks to the coronavirus, which is why I’ve given this picture the title Coronaflower.”

Brian Hart Leica M10 with TeleElmarit 90 f/2.8

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L IG H T BOX

A LEAP IN PINK “During these days we chose to do a fashion shoot with red and pink dresses, out in the middle of a field of rape.

We had already finished taking the pictures when the model, Hannah, leapt up in the air. I hit the release and that was it!

The perfect way to finish up the photo shoot.”

Daniel Schrick Leica S2 with Summarit-S 35 f/2.5 Asph

LIGHT AND S H A D OW “I’m an amateur photographer, and I met Alina through a street photography group. As she had lost her job due to the coronavirus, I offered to pay her to pose for a nude photo shoot. My apartment isn’t exactly what you’d call a photo studio; but I was confident in my trained architect’s eye.”

Nguyen Tran Huy Vu Leica M9 with Summicron-M 50 f/2

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P L AY I N G I N THE GARDEN “During the stay-at-home order, I looked around my property in search of motifs. I noticed a shadow on the hedge, so I called my two children and we developed this scene. The need to look for new inspiration within the context of a limited situation, can at times lead to unexpected results.�

David Patris Leica M240 with Elmar-M 24 f/3.8 Asph

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SUNNY AFTERNOON

ALGAE W I N D OW

“Brussels during the first week of lockdown: my girlfriend was working on book-binding. I took advantage of the wonderful lighting to take some photographs, and when she heard the typical noise of the camera, she turned around and gifted me with this lovely composition.”

“During the Symbiotic Seeing exhibition in Zurich, there was a serious amount of people traffic in front of this installation by the DanishIcelandic artist Ólafur Elíasson. It really took a lot of patience for me to capture this picture in the way I had imagined it.”

Christopher de Bethune Leica M6 with Summicron-C 40 f/2

Philipp Weinmann Leica Q2, Summilux 28 f/1.7 Asph

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P O S T- I T F O R YO U “I was magically drawn to the colourful hearts on these post-its all over this café in Hanoi. Visitors from around the world were asked to write a message to their loved ones. My eye fell on these two young women who were so completely absorbed in writing down their greetings and wishes.”

Song Leong Yong Leica M10-P with ElmaritM 28 f/2.8 Asph

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WA F T I N G HAIR “Chidima Unaeze is an Italian technoDjane who became my model for this personal black and white project of mine.

My idea for this picture was to capture a certain amount of motion blur – it was one of the very first photographs I took with my brand new Leica SL2.”

Sascha Athos Proietti Leica SL2 with Noctilux-M 50 f/0.95 Asph

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P H O TO – B O O K S – E X H I B I T I O N S – F E S T I VA L S – AWA R D S –

In 2013 the award went to Evgenia Arbugaeva for her series about the small, north Siberian town of Tiksi

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Do you remember the magical pictures taken by Evgenia Arbugaeva in Siberia?

How about the curious Field Trip series

by Martin Kollar? The thing these two photographers have in common is that they have both been recipients of the Leica Oskar Barnack Award. In 2013, the prize went to the Russian photographer who convinced the jury with her Tiksi series about the north Siberian city of the same name. The following year the Slovak photographer won the award for a series that was photographed in Israel.

Looking back over the forty-year history of the competition, we see that win-

ners of the Leica Oskar Barnack Award (LOBA) have delved into an exciting diversity of stories produced with differing styles of imagery.

This commemorative year of 2020, offers the perfect opportunity for retrospection, and, as part of the preparations for the jubilee, the LOBA website is being continuously updated and overhauled. All former winners can be found there, with pictures, texts and interviews. In addition to the important socio-political aspects and photographic themes covered, the award-winning series from the past four decades

represent as a whole a vivid archive of the history of photojournalism.

In 1979, when Ernst Leitz Wetzlar GmbH decided to launch a competition in honour of the centenary of Oskar Barnack, the inventor and pioneer of 35mm photography, the world of international photojournalism looked very different. At the time, big photo magazines still existed and the possibilities of being published were enormous. First granted in 1980, the LOBA was initially presented together with the Dutch World Press Photo Foundation award, which had been honouring the best →

L E I C A O S K A R B A R N AC K AWA R D R E D I S C OV E R I N G 4 0 Y E A R S O F LO B A

Classics and new discoveries: a selection showing the diversity of LOBA winners over the past four decades. Clockwise: Fabio Ponzio (Italy, 1998); Martin Kollar (Slovakia, 2014); Gianni Berengo Gardin (Italy, 1995); Peter Granser (Germany, 2004)

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photojournalism from across the world since 1955. As explained in the application criteria, the important and guiding principle for the LOBA jury was that a photo series needed to express “the relationship of humanity to its environment […] whereby a humanitarian character should be at the forefront”. These principles guide the competition to this day.

The first winner of the award was the Dutch photojournalist Floris Bergkamp, who received 10 000 Dutch guilders in prize money. In the following years, not only has the number of applicants increased steadily, but also the reputa-

tion of LOBA. In 1995, the competition became independent and the award ceremony was moved from Amsterdam to Arles, within the framework of the renowned Rencontres de la Photographie. In that summer of 1995, the Italian Gianni Berengo Gardin received the award at the Théâtre Antique in Arles.

In subsequent years, the LOBA’s prestige – and the prize monies – grew further, and in 2009, a LOBA Newcomer Award was added. The forty-year jubilee in 2020 presents an opportunity to further enhance LOBA’s reputation by means of a new selection process: sixty-

five international photography experts from thirty countries have taken on the role of nominators and have already submitted their recommendations.

The LOBA jury will publish a short-list from among these submissions; and the winners will be announced in September. Until then, we will continue to inform you about the progress of the competition. There is no doubt it will be as exciting as ever to learn who is in the race this year. ULRICH RÜTER All winners, more information and articles: www.leica-oskar-barnack-award.com

“ LO B A I S A N I M P O RTA N T P L AT F O R M F O R P H OTO G RA P H E R S TO P R E S E N T T H E I R WO R K I N TO DAY ’S WO R L D O F P H OTO G RA P H Y! ” D R . A N D R E AS KAU F M A N N

Capturing an image of humanity and its relationship to the environment is one of the most important constants of the award-winning series. Clockwise: Bertrand Meunier (France, 2001); Julio Bittencourt (Brazil, 2007); Andrea Hoyer (USA, 2003); Neil McGahee (USA, 1983)

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Boston · Los Angeles · Bangkok Singapore · Taipei · São Paulo Tokyo · Kyoto · Melbourne · Porto Suzhou · Milan · Madrid · London Vienna · Salzburg · Frankfurt Constance · Stuttgart · Wetzlar Düsseldorf · Nuremberg · Zingst Prague · Warsaw

LEICA GALLERIES WORLDWIDE We are delighted to hear that many Leica Galleries have started reopening. As of LFI 6/2020, we will once again be presenting the calendar of exhibitions for Leica Galleries around the world.

If you would like to pay a virtual visit to the galleries, we encourage you to take a gallery tour on the Leica website. Certain galleries are also inviting viewers to participate in online activities; you can find out more about this at the gallery websites. leica-camera.com

JÖRG BRÜGGEMANN TO B I AS K R U S E FRIENDSHIP

144 pages, 99 images, 13.5 × 20.3 cm, English/German, Kerber

PAU L A L M A SY PA R I S

A fender bender on the Avenue de l’Opera – captured from a low perspective, so that the Opéra Garnier becomes a splendid backdrop to the calamity. The Hungarian photographer (1906–2003), who moved to Paris in 1945 and became a French citizen a decade later, recorded thousands of everyday scenes in his adopted home city. His reportages took him all over the world, but Paris always remained his favourite domain. His approach was rooted in spontaneity: “It was always chance that decided everything.”

Armed with his Leica and a Rollei camera, he went on to become one of the great chroniclers of Paris – documenting the city’s post-war art and culture scene, its nightlife, cafés, boulevards, along with the advent of modernist architecture. This new monograph features some of the photographer’s most remarkable images, taken from his archive of around 120 000 works.

The selection spans from the late 1940s to the 1970s, with a particular focus on the 1950s – a time when Paris reclaimed its reputation as a vibrant metropolis.

A fascinating journey back in time that offers many new revelations, even for those with a profound knowledge of the iconic city on the Seine.

144 p., 117 images, 19.5 × 24 cm, English/French/German, teNeues

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F RA N Ç O I S MARIE BANIER DREAMERS

In 2007, the French photographer (born 1947) captured a series of surreptitious portraits, showing Moroccan construction workers enjoying a brief respite from hard labour and the searing heat.

There is an almost soporific quality to these poetic, quiet scenes, which have now been published for the first time.

64 pages, 32 images, 23.7 × 33 cm, English, Steidl

C H A R L I E KO O L H AA S CITY LUST

In this thought-provoking publication, the Dutch artist, writer and photographer (born 1977) presents her impressions of five culturally very different cities in which she has lived and worked: London, Guangzhou, Lagos, Dubai, and Houston. The result is a dizzying succession of intense snapshots that illustrate the unique mentality of each metropolis – an individualism that exists despite and, at times, because of globalisation. In addition

to imagery, the artist – who holds a degree in sociology and is the daughter of star architect Rem Koolhaas – also uses insightful writing to convey her perspective of the places she portrays.

412 p, 354 images, 20.5 × 30 cm, English, Scheidegger & Spiess

Photos: © Paul Almasy/akg-images; © 2020 Jörg Brüggemann, Tobias Kruse; © 2020 François-Marie Banier; © 2020 Charlie Koolhaas; © Luis Cobelo

An artists’ book full of surprises: inspired by their own friendship, the two Ostkreuz photographers (born 1979) embarked on a visual exploration of interpersonal relationships. The project, which began during a joint trip to Malaysia, illustrates the beauty of friendship in its many facets.

LU I S C O B E LO CHAS CHAS

Immerse yourself in the magical reality of Parque Chas, a much-fabled neighbourhood at the heart of Buenos Aires.

Taxi drivers are confounded by the labyrinth of its streets, which are arranged in concentric circles reminiscent of a spiderweb. It has long been said that strange things happen in Parque Chas, things that defy the rules of physics, time and common logic. It is a place for magicians, dreamers, artists, visionaries – and, therefore, the perfect destination for Luis Cobelo (born 1970). “Everything you ever lost in life exists in Parque Chas.” With this sentence Cobelo’s fascination with the district began thirty years ago, when he chanced upon a comic about a writer who witnesses a series of mysterious events whilst being trapped in Parque Chas.

Three decades on, the photographer travelled to Buenos Aires in order to explore the real-life Parque Chas district with his camera. His playful, near-hallucinatory impressions culminate in a mesmeric picture book of makeshift symbols, totems made from cast-off household items, and encounters with unusual characters. A selection of discovered photographs and documents complement the artist’s own work – creating a spellbinding portrait of an enigmatic world – with the means of photography.

112 pages, around 120 images, 23 × 32 cm, Spanish, self-published: www.chaschasluiscobelo.com

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Gustavo Lacerda (born 1970): Patricia from his series Albinos (2009-2014)

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“O U R M A I N M I S S I O N I S E D U C AT I O N .”

I N T E RV I E W

In just a few years, the business man Silvio Frota has put together one of the largest photography collections in Brazil. We spoke with him about strategies in collecting and his educational mission.

Photos: © Gustavo Lacerda, © Evandro Teixeira, © Elza Lima; all courtesy of MFF Collection

LFI: What was your first photograph

or series of photographs?

SILVIO FROTA: I started as a painting collector back in the 1980s. Then, when I was in Houston in 2009, I had the chance to visit a Steve McCurry exhibition where I bought two pictures: one of them was the Afghan Girl. When I got back to the hotel I started thinking, because I’d never been interested in photography before. A month later I went to NYC, visiting photo galleries and exhibitions. From then on, I became an enthusiastic buyer. Today the collection has around 3000 photos.

LFI: The Paula and Silvio Frota Collec-

tion is considered to be one of the

most important in the country, with the whole range of subjects related to photographic art: from photorealism, portraits, and historical photos, to photojournalism, landscapes and visual chronicles; with Brazilian and foreign authors, shown in the Museu da Fotografia de Fortaleza (MFF or the Museum of Photography of Fortaleza). How did you manage to build up your collection?

FROTA: In fact, I started out buying historical photos and photojournalism, because I noticed that visitors to museums were more interested in current world issues. I thought that the best way to attract the public would be to give them subjects they were interested in, and because these photos attracted more interest. The collection has a very large nucleus of international photos, mainly the most iconic and important ones.

LFI: How did you transform your

private collection into a collaboration with the MFF? The museum is located in the former headquarters of an English school and has 2000 square metres of space. It opened on March 10, 2017.

Above: Elza Lima (born 1952): Rio das Lavandeiras, Altamira, Pará, 1991; left: Evandro Teixeira (born 1935): Passeata dos 100 mil, June 1968, Rio de Janeiro from his Ditadura series

FROTA: The museum started because I didn’t think it was fair to have an important collection without public access. Then we started thinking about a space that ended up becoming a museum.

LFI: What drives you to continue

collecting photography?

It is simply the pleasure of seeing the pictures that I like and that have some meaning for the museum and my audience. →

FROTA:

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Above left: Thomaz Farkas (1924–2011), Praia de Copacabana, Rio de Janeiro 1947; above right: William Klein (born 1928): Smoke & Veil, Vogue 1958; below: Malick Sidibé (1935–2016), Toute la famille en moto, 1962, from his book Mali Twist

Above: Tiago Santana (born 1966), from his book O Chão de Graciliano, Quebrangulo, Alagoas, Brazil 2002; left: José Medeiros (1921–1990) documented the religious rituals of the iaôs (daughters of the saint) in 1951

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Photos: © Thomas Farkas, © William Klein, © Malick Sidibé, © Tiago Santana, © José Medeiros, all courtesy of MFF Collection

“ M U S E U M S C O U L D D O M O R E I N O R D E R TO S E RV E T H E N E E D I E S T P E O P L E . ”

LFI: What would you say are the highlights of the collection?

FROTA: Dorothea Lange, Man Ray, Henri Cartier-Bresson, Cyndy Sherman, Steve McCurry, Edward Steichen, Hiroshi Sugimoto, Araki, Richard Avedon, Sebastião Salgado, Otto Stupakoff, Margaret Bourke-White and many other photographers. The collection is very diverse; we have everything from the historical to the contemporary scene.

LFI: What about native Brazilian photographers? Are there also indigenous photographers present in the Museum of Photography of Fortaleza?

FROTA: Many Brazilian photographers have documented indigenous people.

Among them we can highlight Claudia Andujar, who has done a very important job, mainly denouncing the invasion of the ‘Garimpeiros’ in Yanomami lands, which was of primary importance for the demarcation of Yanomami territory. We have many other great photographers connected to indigenous causes, such as Maureen Bisilliat, Nair Benedicto, Rogério Assis, just to name some of them.

LFI: What is the photography tradi-

tion in Brazil all about?

It was practically born as a result of the enthusiasm of the Emperor Dom Pedro II, who was passionate about photography. The Brazilian photography scene today is quite productive and diverse. For sure, the big name in Brazil is the contemporary photographer Sebastião Salgado. Then there are others who are part of the history of the medium in Brazil – such as Hildegard Rosenthal, Claudia Andujar in the reportage genre, Sérgio Valle Duarte in the artistic genre, and the ethnological documentaries of Pierre Verger.

Brazil has such a collection of great photographers – both modern and contemporary and with very current imagery – that it would be unfair to mention just a few.

Photo: © Man Ray courtesy of MFF Collection

FROTA:

LFI: Please let us know about the ex-

hibition program at the MFF. Our temporary exhibitions change every three months; the permanent collection changes every two years. The exhibitions are punctuated by educational work and by lectures involving the themes presented in the exhibitions – whether national or international. Our focus is always on education, as we live in a region with a great shortage of education and with many economical problems. Our lectures involve the photographer who is exhibiting, whether national or international, as well as people who are involved with the theme on display.

FROTA:

LFI: You are making photography Fashion photograpy by Man Ray, 1935. The artist (born Emmanuel Rudnitzky, 1890–1976), spent most of his career in Paris where he has contributed to Harper’s Bazaar and Vogue

LFI: Could you imagine photography being part of a school curriculum?

FROTA: The Brazilian people are very connected to photography; especially today when everyone is taking pictures with their cell phones, and everyone wants to improve their knowledge. The curriculum is already on offer in several schools in Fortaleza, where we serve 21 000 children.

LFI: What is your perception of your-

self as a collector and as the director of a photography museum? What are the goals you want to achieve?

FROTA: In reality the museum is just an anchor, because our main mission is education. In 2018, for instance we worked with 98 000 children – always with needy children. The museum is not static: we create collaborations with schools, associations, NGOs, and so on. Today the museum has 26 educators. We work with people from 1 to 90 years of age; we work with the blind, and with autistic and special needs children. We also do work inside correctional facilities, prisons for minors, and many other institutions.

We also do workshops every day.

truly very accessible.

I believe that our strong point is the educational work where we offer an important service for so many children. The MFF also has an itinerant museum, where exhibitions of pieces from the collection travel to territories which do not have access to culture; and we also do workshops on how to read with images. The museum also does work within hospitals, even ones located in other Brazilians states, where we send teams to work in hospital emergencies.

FROTA:

LFI: What would you like to see for the photography scene worldwide?

FROTA: I wish museums could do more in order to serve the neediest people.

The evolution of photography is gigantic, because access to social networks has become more democratic, and today we are all photographers.

INTERVIEW: Carla Susanne Erdmann

S ILVIO F ROTA was born in Fortaleza, Brazil,

in 1953, and first worked in the Civil Engineering and Public Works Industry. He began collecting in 2009. Today it includes about 3000 pieces of work. He is on the Board of a number of institutions, and is President of the Paula and Silvio Frota Institute.

EXH IB ITION S : Bob Wolfenson:

Retrospective; more upcoming events at www.museudafotografia.com.br

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LEICA FOTOGRAFIE I N T E R N AT I O N A L

SAYU R I I C H I DA MY PICTURE

A doll’s house, childhood memories, and the impulse for a new series followed an inspiring stroll through a small town.

72nd year | Issue 5.2020

LFI PHOTOGR A PHIE GMBH Burchardstraße 14, 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 L AYOUT Thorsten Kirchhoff TR A NSL ATION, SUB-EDITING Robin Appleton, Hope Caton, Anna Sauper, Osanna Vaughn CONTRIBUTORS TO THIS ISSUE Thomas Bergbold, Carla Susanne Erdmann, Ulrich Rüter, Holger Sparr, Katrin Ullmann M A NAGEMENT BOA RD Steffen Keil

From the series Déjà Vu, up-state New York, 2016

MEDIA SA LES A ND M A RKETING Samira Holtorf Phone: +49 / 40 / 2 26 21 12 72 Fax: +49 / 40 / 2 26 21 12 70 E-Mail: holtorf@lfi-online.de Valid ad-rate card No. 48, 1 January 2020 REPRODUCTION: Alphabeta, Hamburg PRINTER: Optimal Media GmbH, Röbel/Müritz PA PER: Igepa Profimatt

In early 2016, I went on a day trip to a small town in up-state New York.

I had my camera with me, but by then I had distanced myself a little from photography; I was working as a photo-retoucher and I only occasionally did personal work. While walking through the town, I saw a house that strongly resembled a childhood doll’s house I once played with.

It evoked in me an overwhelming sense of déjà vu, and I instinctively took a picture of it. When I later saw the developed photo, my sense of déjà vu was further reinforced. That experience inspired me to shoot a house series for which I later won the 2016 Japan Photo Award.

The picture helped me rediscover myself as a photographer. While it is a photo of ‘just’ a house, it prompted me to silence my inner critic and to work without second guessing myself or my subjects.

Born in Fukuoka, Japan, in 1985, Sayuri Ichida studied at the Visual Arts College in Tokyo. In 2009 she moved to London, and in 2012 to New York. Her work has been exhibited internationally and has received a number of awards.

L F I 6/ 2 0 2 0 W I L L A P P E A R O N AU G U ST 1 0 , 2 0 2 0

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DISTRIBUTION LFI (USPS no 0017912) is published 8 times per annum.

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