Photography Magazine by Lalmalsawma Zote

COOL, CREATIVE AND CONTEMPORARY

ISSUE 246 £4.99

BLACK + WHITE PHOTOGRAPHY EDITORIAL Mark Bentley email: markbe@thegmcgroup.com Scott Teagle email: scottt@thegmcgroup.com Designer Toby Haigh

ADVERTISING email: gmcadvertising@thegmcgroup.com

PUBLISHING Publisher Jonathan Grogan

MARKETING Marketing Executive Anne Guillot email: anneg@thegmcgroup.com tel: 01273 402871

PRODUCTION Production Manager Jim Bulley Printer Buxton Press Ltd Distribution Seymour Distribution Ltd

THE RING OF TRUTH ne of the great black & white pictures of the last 40 years is Tank Man. The photograph shows a protestor standing in front of a column of tanks during the pro-democracy protests in Tiananmen Square in China in 1989. The moment was captured by several photojournalists and became a powerful image of an individual standing up to authority. Lucy Kirkwood’s play Chimerica imagines a fictional photojournalist who took the picture. The story is set decades later and follows what happens when the American photojournalist receives a clue that the Chinese individual in the Tank Man picture may still be alive. For most people, Chimerica is about the modern day tensions between America and China, but the play is also a fascinating look at the role of the photographer. It celebrates the courage of photojournalists and their commitment to truth in an age of state censorship and fake news. It shows how a single image can tell a story that spreads around the world and down the years. But it also shows how that picture can haunt the one who took it and how personal ambition can sometimes be inspiring and sometimes damaging. It is a fictional story, but like all good stories it has the ring of truth. If you haven’t seen Chimerica, you can catch the excellent Channel 4 TV series for free on the All 4 on-demand service.

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Black+ White Photography (ISSN 1473-2467) is published every four weeks by GMC Publications Ltd. Black+White Photography will consider articles for publication, which should be sent via the website at blackandwhitephotographymag.co.uk. GMC Publications cannot accept liability for the loss or damage of unsolicited material, however caused. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of GMC Publications Ltd. With regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire. © Guild of Master Craftsman Publications Ltd. 2020

Front cover – I can’t breathe by Papajgun (Jamal Yussuff-Adelakun). The picture is part of the Hold Still online exhibition by the National Portrait Gallery and features 100 photographs that provide a unique collective portrait of the UK during lockdown. See page 18 for more pictures.

CONTACT US Web blackandwhitephotographymag.co.uk | Facebook facebook.com/blackandwhitephotog | Twitter @BWPMag | Instagram@bwphotomag

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BLACK+WHITE PHOTOGRAPHY ISSUE 246

FEATURES 8 A WAY OF SEEING Malagasy photographer Pierrot Men casts a loving gaze on his homeland

24 PREHISTORIC SUNS Steve Mulligan describes his journey in search of the ancient observatories in the American West

32 60-SECOND EXPOSURE Multi-media artist Lori Vrba on her

ultimate camera club and her best party trick

NEWS

COMMENT

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22 AMERICAN CONNECTION

All the latest in black and white

Douglas Marshall talks to Susan Burnstine about his innovative and newly established agency, Marshall Contemporary

34 AN ENGLISH EYE Alex Schneideman celebrates the power of James Ravilious’ classic photography book which captures the landscape and people of north Devon

42 HIT THE STREETS Matty Graham talks to William Castellana about shooting from the hip in New York

6 A FINE BALANCE In praise of the brilliant Edward Weston

68 A FORTNIGHT AT F/8 18 ON SHOW A unique collective portrait of the UK during lockdown

Inspiration or explanation? It’s the million dollar question

TECHNIQUE 20 IN THE FRAME The best photography shows

50 THE FINE ART OF PORTRAITURE

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FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 90 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK Great ideas for improving your portrait photography

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70 ONE-DAY PHOTO PROJECTS

56 SUBSCRIPTION OFFER

Your guide to submitting work to the magazine

58 TOP TIPS

Eddie Ephraums takes some advice from B+W’s former editor

Lee Frost’s fabulous tips for coastal photography

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94 NEXT MONTH 76 SMARTSHOTS

A peek at what’s to come

Prize-winning smartphone photographs for your delectation and delight

96 LAST FRAME

64 PROJECTS IN VISUAL STYLE

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Tim Daly has an early morning photo project for you

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74 SMART GUIDE

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NEWSROOM News from the black & white world Edited by Mark Bentley markbe@thegmcgroup.com

HIGH CONTRAST Lacock Abbey and the Fox Talbot Museum have re-opened, although you’ll need to book your visit in advance. The idyllic country house was once home to William Henry Fox Talbot, the inventor of the photographic negative, and the museum is now home to hundreds of cameras, devices and toys dating from the 18th century, as well as almost 3,500 photographic images ranging from the earliest processes through to the first part of the 20th century. National Trust members can book for free, while tickets for adult nonmembers are £10.

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Leica is to move part of its M-mount lens production from its famous Wetzlar factory to a state of the art facility in Portugal. The move is to avoid a 25% tariff imposed on ‘Made in Germany’ products by the US government. Lenses to receive the new ‘Made in Portugal’ engraving include the Summilux-M 50mm f/1.4 ASPH, 35mm f/2 ASPH and 28mm f/2 ASPH. Leica’s Portuguese-made optics will be identical in design, manufacture and warranty, and will filter through to retailers before the end of the year. A 109-year-old camera shop has burned down in Kenosha, Wisconsin, during recent rioting. Rode’s Camera Shop opened in 1911 and was owned by the Rode family until eight years ago when the business was bought by employees Paul Willette and Tom Gram. The riots were triggered by the shooting of Kenosha resident Jacob Blake by a police officer. The co-owners subsequently declined a presidential request to be part of a ‘tour of damage’ visit and photo opportunity. ‘Everything Trump does turns into a circus and I just didn’t want to be involved in it,’ said Gram in a local TV interview.

Sandra Gould Ford in her office in Homewood, PA, 2017 by LaToya Ruby Frazier

KRASZNA-KRAUSZ WINNER ANNOUNCED Chicago-based visual artist LaToya Ruby Frazier has won the 35th Kraszna-Krausz Photography Book Award for her eponymous book LaToya Ruby Frazier. Published to accompany last year’s exhibition at Mudam Luxembourg, Frazier’s powerful tome brings together three series that comment on racial discrimination, poverty and post-industrial decline: The Notion of Family (2001–14), On the Making of Steel Genesis: Sandra Gould Ford (2017) and And From the Coaltips a Tree Will Rise (2016–17). She receives a £5,000 prize. ‘In my photographs, I make social commentary

about urgent issues I see in the communities or places I’m in. I use them as a platform to advocate for social justice and as a means to create visibility for people who are on the margins, who are deemed “unworthy”: the poor, the elderly, the working class, and anyone who doesn’t have a voice. I create depictions of their humanity that call for equity,’ said Frazier. Frazier is an associate professor at the School of the Art Institute of Chicago and will soon publish two new books: LaToya Ruby Frazier: The Last Cruze (2020) and Flint is Family in Three Acts (2021).

END OF AN ERA Jürgen Schadeberg, described as the father of South African photography, has died aged 89. He is best remembered for his iconic images of Nelson Mandela and the struggles of the apartheid era, and leaves behind a personal archive of more than 200,000 negatives spanning 70 years. Born in Berlin in 1931, Schadeberg worked as an apprentice for the German Press Agency before emigrating to South Africa where he became lead photographer and artistic editor for Drum, a magazine produced for a black audience. As a foreigner, he was able to enter otherwise segregated black communities and photograph not just the forced removals and harsh conditions facing workers, but also musical luminaries such as singer Miriam Makeba and trumpeter Hugh Masekela. After leaving Drum in 1959 he documented the demolition of Glasgow’s slums, Berlin’s Cold War division and South Africa’s first free elections. He also taught photography in England, America and Germany. In 2014 he received a lifetime achievement award from New York’s International Center of Photography.

COMPACT COMPANION Sony has unveiled the world’s smallest and lightest full-frame camera with in-body image stabilisation (IBIS). The compact Alpha 7C shares a lot of its spec with the popular Alpha 7 III – the same 24Mp CMOS sensor, ISO 100-51200, 10fps burst speed, hybrid AF system and 5-axis IBIS – but offers a smaller viewfinder, fully articulated touchscreen and single SD card slot. Sony’s new travel and street-friendly mirrorless measures 124 x 71 x 59mm, weighs 509g and has an RRP of £1,900.

A complementary FE 28-60mm f/4-5.6 lens continues the small and light theme, measuring 66 x 45mm and weighing 167g. © Artcurial

EARLY CAMERA TO BE AUCTIONED

Pagan roots – St Barts Easter Vigil by Niki Gorick. © Niki Gorick

OUTDOOR DISPLAY An outdoor exhibition of photographs of people of a variety of different faiths is now on display in London. The pictures by Niki Gorick were taken at various events in the City of London and can be seen at Guildhall Yard until 28 October and then Aldgate Square from 29 October to 26 November. The photographs can also be seen in a book, Faith in the City of London, published by Unicorn Publishing, price £25.

UP FOR SALE

Jeanne Moreau, c. 1970 by Slim Aarons

A collection of almost 40 portraits of celebrated French actress Jeanne Moreau was due to be auctioned online by Artcurial from 16 to 22 October. The collection includes pictures by Slim Aarons, Cécil Beaton, Henri Cartier-Bresson, Peter Lindbergh, Helmut Newton, Bettina Rheims and Agnès Varda. Profits will be donated to the Jeanne Moreau Foundation, which protects artistic creation and ensures initiatives in the field of cultural and artistic creation. artcurial.com

A camera made in the early days of photography is coming up for auction. The Mousetrap camera was made in about 1840 and is the first of its kind ever to be auctioned. It goes under the hammer with specialist photographic auctioneers Flints Auctions on 19 November with an estimate of £50,000 to £70,000. Only six other Mousetrap cameras are known to exist, all in a museum collection. Constructed from wood with a simple fixed focus lens, a Mousetrap camera was used by one of the founders of photography, William Henry Fox Talbot, although there is no evidence he used this particular camera. Jonathan Brown, camera expert at Flints, said: ‘This auction is a once in a lifetime chance to acquire a Mousetrap camera as one has never before come to the open market and it is impossible to know if an opportunity will ever arise again. We anticipate a great deal of excitement and interest from private collectors and museums.'

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NEWS

A FINE BALANCE A beautiful new monograph marking 125 years since Edward Weston’s birth sheds new light on the great American photographer, revealing more about the man behind some of the most celebrated imagery since the medium’s inception. Anna Bonita Evans reports.

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here’s no doubt that Edward Weston was one of the most influential photographers of the 20th century. Celebrated for his creativity, tonal contrast and remarkable ability to balance the real and the abstract – an approach he coined as Seeing Plus – Weston accelerated photography out of the Victorian age towards a modernist aesthetic. This sumptuous new book published by Chronicle Chroma is a worthy tribute to the great photographer. Marking 125 years since his birth, the clothbound hardback holds 125 photographs paired with the same number of excerpts from Weston’s personal journals – or as he called them, daybooks. Again we enjoy reading about his pivotal role in Group f/64, his creative awakening in

Mexico, his colourful love life, unwavering commitment to his sons, and how his career was cut short by his debilitating battle with Parkinson’s disease. Yet as well as the comprehensive chronological rundown, this book asks us to look again at the great American photographer. While his classic studies have made an indelible mark on the photographic medium, it’s intriguing to see his images accompanied by his writing, which was stylistically quite different. Author Steve Crist uses the book format to his advantage and reveals more about the man behind the famous images of the peppers. By creatively partnering the photographer’s words and images on each double-page spread, we gain fresh insight and see how Weston approached the two mediums disparately. While Weston’s

photographs are exceedingly beautiful, they have simplicity and are devoid of decoration. They are a stark contrast to his diaries, where there’s a forgivable weakness for an unduly romantic style. Included in Crist’s introductory essay are scanned pages from Weston’s journals, where we see his wonderfully ornate handwriting and his love for mystery and secrecy. Take for example his retelling of his encounters with his many lovers, their names represented only by their initials or the letter X. There are many passages readers will enjoy, including those where Weston exclaims his astonishment at his irresistible attraction to women: ‘What have I, that bring these many women to offer themselves to me? I do not go out of my way seeking them – I am not a

stalwart virile male, exuding sex, nor am I the romantic, mooning poet-type some love, nor the dashing Don Juan bent on conquest.’ His optimism and good humour, however, excuse his fussy prose and make for fascinating reading of the ever-changing, restless life of an artist.

‘When making a portrait, my approach is quite the same as when I am portraying a rock.’

he most illuminating passages are those where he articulates his photographic practice. Detailing his democratic approach towards his subject matter and his focus on finding the unusual in the commonplace, it’s interesting to recognise how these ideas still permeate a photographer’s consciousness today. Weston writes: ‘When making a portrait, my approach is quite the same as when I am portraying a rock. I do not wish to impose my personality upon the sitter, but, keeping myself open to receive reactions from his own special ego, record this with nothing added.’ While his daybooks are revelatory, the reproductions of his photographs here are – in all senses of the word – celebratory. Laying testament to Weston’s meticulous approach (there is a wonderful quote where he implores his son to walk through the house lightly and keeps the windows shut for fear of a slight breeze), the tonal quality and density of the ink so thick it almost seems in relief, echoing the softness and sensibility Weston is remembered for. This is a fascinating, inspiring, revelatory book, shedding light on one of the world’s most well-known and respected image-makers.

Opposite Legs in Hammock, 1937. Photograph by Edward Weston. Top right Winter Idyll, Big Sur, 1945. Photograph by Edward Weston. Below right Nude, 1936. Photograph by Edward Weston.

Edward Weston with photographs by Edward Weston and an introduction by Steve Crist is published by Chronicle Chroma. The linen cloth-bound hardback is £26.

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FEATURE

A WAY OF SEEING

All images © Pierrot Men

Pierrot Men casts a loving gaze on his homeland, capturing snapshots of the Malagasy people and their relationship with their surroundings. Donatella Montrone reports.

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very encounter tells a story and every scene is rich with meaning, says Pierrot Men, a Malagasy photographer who’s been documenting everyday life on the African island for more than 40 years. His role is that of witness to his homeland and the kinfolk who shape its culture. He casts a thoughtful eye on his subjects, transforming the banal – women washing linens in a lagoon, a child writing on a chalk board, a man at the barber – into the poetic. To the viewer, everyday scenes familiar to locals become intimate portraits of an island nation whose habitat is as distinct as its inhabitants. Madagascar’s undulating coast, its canyons, dunes and mangroves, along with its incomparable biodiversity and multicultural influences, set an evocative backdrop for Men’s vignettes, snapshots of the Malagasy people and their surroundings. He brings to life small

moments with an artistic eye, capturing details that might otherwise go unseen, imprinting every frame with elegance. His attention to detail and composition draw the viewer in, making it impossible to look away. ‘Everything in Madagascar inspires me,’ he says. ‘I try to make visible the small fragments of life from ordinary things; not the truth, but the essence of things.’

en has no set approach to his photography and eschews any suggestion that he’s a chronicler. ‘I don’t make well-constructed reportage – other photographers can do that better than me,’ he says. ‘Each of my photographs is an encounter, each image the visceral expression of what I see. I try to find, and reveal, tiny fragments of life, of time… In short, I make images, just images, because to reflect an image is to run the risk of seeing it disappear.’

He was born Chan Hong Men Pierrot in Midongy du Sud in south-east Madagascar. The son of a French-Malagasy mother and a Chinese father, his career as an artist dates back to his teens, when he took up painting before dedicating his life to photography. ‘My first love was painting,’ he explains. ‘I started in 1972, mainly oils on canvas, copying scenes from the photos I had taken with an old Leica.’ But his talent for imagemaking soon shone, and he abandoned any notion of making a livelihood as a painter, dedicating his life to photography instead. He opened a photo studio, Labo Men, in a poor neighbourhood in Fianarantsoa, the capital of the Haute Matsiatra region in south-central Madagascar. ‘I initially made family portraits and ID photos, and I used to photograph weddings, birthdays, football matches and Famadihanas [the funerary rituals of the Malagasy people]. I did this to make a living, while at the same time mastering the camera.’

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He befriended the renowned Madagascan photojournalist Daniel Rakotoseheno, known as Dany Be, who recorded the country’s ongoing political upheavals and eventually spent time in jail for it. Dany Be felt affinity with Men’s work and in 1985 invited him to collaborate on an exhibition in Antananarivo, the capital city. It was Men’s first photography show, he says, and in effect launched his career and reputation as a master of photography. ‘That’s how my photographic career really started,’ says Men, who hasn’t sat in front of an easel since 1989.

adagascar and its inhabitants have always been at the heart of his work, which is shot entirely in natural light, each snapshot revealing a profound connection between photographer and place. ‘Photography has offered me the most beautiful of gifts: Madagascar and its intimacy, the love of an entire people. My people. And that’s what I have always transmitted, or tried to transmit, in my work.’ Men’s style has been likened to that of Henri Cartier-Bresson, father of the decisive moment, in which the photograph represents

the essence of the event. Indeed, Men believes his best pictures are those that are spontaneous, where his gaze is unobtrusive. Rarely are his subjects seen communicating, rarely do they lock eyes with his lens. Instead, they are captured discreetly. His subjects seem languid, perhaps contemplative, immersed in chiaroscuro and oblivious to his presence. ‘I am lucky because my eye has not yet tired of photographing the Malagasy people – they provide an endless source of inspiration. When I take pictures, I sometimes understand right away what I see, but sometimes I feel things without

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understanding them, trusting my instincts, leaving the field open to the snapshot.’ He is something of a pioneer in Madagascan photography circles, having set up a studio at a time when itinerant street photographers were few and studios more service-oriented than sources of inspiration. ‘Today, however, there are a lot of photographers in Madagascar. They’re passionate about photography and brimming with confidence,’ determined to elevate African image-makers in the photography world. ‘Photography is alive and well in Madagascar – it has come a long way, with collectives, workshops and shows such as

Le Mois de la Photo à Madagascar,’ he says. Men recalls the first photo he ever took, of a little girl with a lambahoany (loincloth) covering her head. ‘She had a magnificent look. It was my first photo and my first portrait,’ taken with a 1960s Kodak 6x9 folding camera given to him by his father. ‘My dad used that camera to take family photos,’ says Men. ‘I still have it.’ Pierrot Men’s work has exhibited internationally: at Rencontres de Bamako, Biennale Africaine de la Photographie in Mali, Art Élysées in Paris, and Espace Sablon in Brussels, as well as in galleries in major cities throughout the United States and

Africa. He’s a recipient of the 1995 Mother Jones Prize in San Francisco, for which he won his trusted Leica camera, that he still uses today, and the Jeux de la Francophonie in Antananarivo. He’s published a number of photobooks, including Gens de Tana, La Mer Comme Quotidien and Des Hommes et des Arbres, and has made work in colour, capturing the same spirited Madagascar that emerges in monochrome. His work is displayed and available for sale in his studio, Labo Men, in Fianarantsoa. To see more of Pierrot Men’s photography, visit pierrotmen.com or @pierrotmen on Instagram.

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NEWS

ON SHOW Everything from virtual birthday parties to rainbows and the weekly clap for key workers is represented in Hold Still, a unique collective portrait of the UK during lockdown, says Tracy Calder.

t’s not often an exhibition leaves you in pieces, but Hold Still has the viewer flip-flopping from joy to despair like no other. Perhaps it’s because we are all still in the middle of a once-in-a-lifetime event, not yet experiencing that relief that comes with distance. Covid-19 is not yet a page in the history books or a set of figures to be analysed without emotion. We are still in the thick of it, witnessing what a global pandemic can do to our lives and livelihoods. But for every tale of heartbreak and struggle there is a contrasting tale of hope and love. Launched by the National Portrait Gallery in London in the spring, Hold Still is an ambitious community project that will no doubt prove invaluable to social historians in years to come. Photographers were invited to submit images that fell into one of three categories: Acts of Kindness, Helpers and Heroes and Your New Normal. The response was impressive – more than 31,000 images were sent in, with entrants ranging in age from four to 75 years old. Choosing 100

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Outdoor space by Val Azisi

images from this pool of work must have been tough, but the selection panel (which included the Duchess of Cambridge and NPG director Nicholas Cullinan) based its decisions on the emotions and experiences conveyed, rather than obsessing about technical ability. Everything from virtual birthday parties to rainbows and the weekly clap for key workers is represented, resulting in a unique portrait of the UK during lockdown. Each picture tells an isolated story, but when viewed together they sum up our collective experience beautifully. Some of the images are hard to look at: Roni Liyanage’s shot, for example, shows the moment his daughter, Gaby, was finally able to embrace her grandmother following the death of her grandfather a month earlier. ‘“Where’s grandpa?” they whispered as they cried,’ recalls Liyanage. ‘Then Gaby, without hesitation, smiled and pointed to the trees outside the window where he had spent his last weeks, comforted by the view of St Mary Abbots church, where he had been baptised 66 years earlier.’

ne of my favourite pictures was shot by Val Azisi and shows two of her three children squeezed on to the balcony of their second floor flat. The oldest child has her face raised to the sky, soaking up the sun, while still in her pyjamas. The younger sibling, wearing her sunglasses upside down, is completely engrossed in a book. As the mother of a seven-year-old girl I know this moment probably only lasted a few seconds, but it has so much to say. The duvet cover drying on the balcony tells of how this space, no larger than a few metres long, serves multiple purposes. The pyjamas encapsulate that feeling most of us had during lockdown – that time was standing still, and yet somehow racing by. Finally, the joy on the children’s faces is complete balm for the soul. It’s a reminder to recognise, and relish, the simple pleasures in life. Equally uplifting is the kiss exchanged between mother and newborn, captured by Leigh Harris (the father). ‘Despite everything

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The first kiss by Ali Harris and Leigh Harris going on in the world, children and babies in particular have a way of keeping us grounded and focused (most of the time!) and we are so proud to have brought a new life into the world during the height of this pandemic,’ says Harris. It’s an honest, raw shot. The mother (Ali) is wearing a facemask, while the baby is pressing himself against a plastic sheet, seeking the most familiar person in the room. The hands of the medical team that delivered him can be seen in the background, slightly overexposed, which gives them an angelic air. It’s a picture of hope. Looking at the baby we project ourselves into the future and imagine that, by the time he goes to school, this will be an event consigned to the history books. Most of these pictures were not taken by professional photographers; they were not created for commercial gain, or to secure followers or likes on social media. For the most part, they were created because humans have an innate need to tell stories. Often when I visit a photography exhibition I ignore the accompanying captions – so many of them seem to add a layer of unnecessary complexity – but this time I urge you to read every last line. These stories are our stories, individually and

Akuac by Anastasia Orlando collectively, and they help us make sense of what is a complex and troubling time in our lives. Just make sure you have a box of tissues handy when you get started!

Where’s Grandpa? by Roni Liyanage

SEE THE PICTURES The Hold Still digital exhibition is available to view online at npg.org.uk/holdstill.

NEWS

IN THE FRAME If you would like an exhibition included in our listing, please email Mark Bentley at markbe@thegmcgroup.com at least 10 weeks in advance. Edited by Tracy Calder. Wildlife Photographer of the Year 56 Prestigious annual competition celebrating the breathtaking diversity of the natural world. Cromwell Road SW7 nhm.ac.uk

Please check with your chosen venue before visiting as dates are subject to change due to the ongoing situation with Covid-19. In order to limit numbers, many venues are operating a ticketing system (which includes free events).

PHOTOGRAPHERS’ GALLERY To 24 January 2021 Hyperborea – Stories from the Russian Arctic Culmination of a long-term project by Evgenia Arbugaeva, focusing on the remote land and people of the Russian Arctic.

LONDON ALBUMEN GALLERY

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To 15 November Ernst Schlogelhofer: July 2nd, 1961 – 39 Degrees In 2019 Derek Hill, son of Formula 1 driver Phil Hill, visited the now disused Reims F1 race track to record a documentary about his father’s life. Schlogelhofer photographed the project. Online only albumen-gallery.com

To 24 January 2021 From Here to Eternity Spanning five decades, this show brings together key series from Sunil Gupta’s photographic practice for the first time. 16-18 Ramillies Street W1F thephotographersgallery.org.uk

ALDGATE SQUARE

ROYAL ACADEMY

29 October to 26 November Faith in the City of London Outside exhibition of pictures by Niki Gorick of the people and places of worship for a variety of faiths within the City of London. Aldgate Square, EC3N nikigorick.com

To 3 January 2021 Summer Exhibition 2020 The world’s largest open submission art show, selected by a committee of diverse individuals and covering all mediums, from prints and paintings to film, photography and sculpture. Burlington House W1J royalacademy.org.uk

ATLAS GALLERY To 5 December Andreas Gefeller: Mapping Perception Gefeller’s photographs question external reality, the nature of perception and how the camera can be used to reveal what lies beyond our senses. 49 Dorset Street W1U atlasgallery.com

Mara by Kovi Konowiecki, from the series Driftwood, appeared in last year’s exhibition. © Kovi Konowiecki

TAYLOR WESSING PHOTOGRAPHIC PORTRAIT PRIZE 2020

SOMERSET HOUSE From 24 November Promoting the best in contemporary portrait photography – the results of this international competition will be displayed online in a gallery replicating the rooms of the National Portrait Gallery. Online only

npg.org.uk

Many artists and writers passed through the doors of this private members’ club including Francis Bacon, John Deakin and David Bailey. 2A Bathurst Street W2 dellasposa.com

Refugees: Forced to Flee Exploring refugee experiences, from Nazi Germany’s persecution of Jews to treacherous Mediterranean crossings. Lambeth Road SE1 iwm.org.uk

HAMILTONS GALLERY

DELLASPOSA

To 8 January 2021 Helmut Newton: High Gloss Exhibition marking what would have been Newton’s 100th birthday. 13 Carlos Place, London W1K hamiltonsgallery.com

No end date Hold Still A unique collective portrait of the UK during lockdown. Themes include Helpers and Heroes, Your New Normal and Acts of Kindness. See page 18. Online only npg.org.uk

To 20 December Tales from the Colony Rooms: Art and Bohemia

IWM LONDON

NATURAL HISTORY MUSEUM

To 24 May 2021

To 6 June 2021

DAVID HILL GALLERY To 28 November Tête A Têtes – West African Portraiture from Independence into the 21st Century Group show celebrating the work of some of the most influential African photographers including Sanlé Sory, Rachidi Bissiriou and Malick Sidibé. 345 Ladbroke Grove W10 davidhillgallery.net

NATIONAL PORTRAIT GALLERY

To 28 February 2021 Leila Alaoui: Rite of Passage First major UK retrospective of the celebrated French-Moroccan photographer who died in a terrorist attack in Burkina Faso while working on a women’s rights campaign. Somerset House, Strand WC2R somersethouse.org.uk

TATE BRITAIN To 31 January 2021 Steve McQueen Year 3 Ambitious visual portraits of citizenship, explored via the medium of the school class photograph. Millbank SW1P tate.org.uk

TATE MODERN To 15 November Andy Warhol Fresh look at the extraordinary life and work of this Pop Art superstar. Includes

NORTH

work never seen before in the UK. To 29 November Irving Penn Penn’s photographs of rubbish on the streets of New York City transform our view of overlooked objects.

TATE LIVERPOOL To 7 May 2021 Don McCullin More than 250 iconic photographs, captured over the last 60 years. Royal Albert Dock, Liverpool tate.org.uk

To 7 March 2021 Zanele Muholi First major UK survey of Muholi who came to prominence in the early 2000s with photographs that told stories of black lesbian, gay, bisexual, trans, queer and intersex lives in South Africa. Bankside SE1 tate.org.uk

WESTON PARK MUSEUM 23 October to 3 May The Sheffield Project: Photographs of a Changing City Pictures of 1980s Sheffield during a time of pressure and change. Western Bank, Sheffield museums-sheffield.org.uk

V&A To 31 January 2021 Cairo Streets Historic photographs of people going about their business in Egypt’s capital. Cromwell Road SW7 vam.ac.uk

WHITECHAPEL GALLERY To 3 January 2021 Home: Live>In Room Considering the ways in which lockdown has affected experiences of art and culture, the gallery’s Youth Forum presents a virtually curated display of artworks drawn from the Hiscox Collection. 77-82 Whitechapel High Street E1 whitechapelgallery.org

SOUTH LUCY BELL GALLERY To 14 November Great Apes Fundraiser featuring limited edition prints of mountain gorillas, chimpanzees and orangutans by Ian Wood. 46 Norman Road, St Leonards on Sea, East Sussex lucy-bell.com

Full moon over the highest peak of the Krkonoše Mountains, Sniezka, taken in December 2019 by Daniel Koszela. © Daniel Koszela

INSIGHT INVESTMENT ASTRONOMY PHOTOGRAPHER OF THE YEAR 2020

NATURE IN ART GALLERY 12 November to 9 January 2021 British Wildlife Photography 10th Anniversary retrospective

To 8 August 2021

Winning entries from the 12th year of this popular competition, which aims to show us the universe in a new light.

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NATIONAL MARITIME MUSEUM Park Row, Greenwich Peninsula SE10

Main A38, Twigworth, Gloucester natureinart.org.uk

VENUES ACROSS OXFORD

An old man sits on a staircase in Bab el-Oued, Algiers, Algeria, 31 May 2014. Niqabs have become more popular in Bab el-Oued over the past 20 years. © Romain Laurendeau (World Press Photo Story of the Year Nominee)

WORLD PRESS PHOTO EXHIBITION 2020

To 16 November Photo Oxford 2020 Exhibits and events exploring the achievements and challenges faced by women behind and in front of the lens, covering representation, collectors, curators and pioneers. Various displays hosted in Oxford’s iconic buildings sites.google.com/view/ photooxford2020/home

WEST THE BOX

To 29 November (Various dates and locations around the world – see worldpressphoto.org for all venues) Powerful pictures from the 73,996 submitted.

DE NIEUWE KERK Dam Square, Amsterdam, the Netherlands

nieuwekerk.nl

Permanent Photo Album Images from the 19th century to the present day reflecting the rich and diverse communities of Plymouth and the surrounding region. Tavistock Place, Plymouth, Devon theboxplymouth.com

rmg.co.uk

MARTIN PARR FOUNDATION To 20 December The Station by Chris Killip Images recently discovered by Killip’s son reflecting the energy and vibe of the Station music venue in Gateshead during the mid-1980s. 316 Paintworks, Bristol martinparrfoundation.org

WALES ORIEL GALLERY THEATR CLWYD 20 November to 16 January 2021 RPS International Photography Exhibition 162 Spirituality, family, identity and inclusion are just some of the powerful narratives explored this year. Raikes Lane, Mold theatrclwyd.com

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COMMENT

susanburnstine.com

AMERICAN CONNECTION Having taken the Photo LA fair by storm, Douglas Marshall talks to Susan Burnstine about his newly established agency’s roster of photo-based artists, his recalibrated approach to traditional art fairs and why local is the future.

n the face of Covid-19 and social unrest across the United States, February 2020 seems like a lifetime ago. During that simpler, more hopeful time, I attended the annual photography fair Photo LA at Barker Hanger. While I enjoyed spending time at a number of exceptionally curated booths from well-known galleries, it was Douglas Marshall’s newly established venture, Marshall Contemporary, that most impressed me. Marshall’s superbly curated booth featured three artists:

Canadian fine art photographer Jakob de Boer, Spanish duo Albarrán Cabrera, and German multimedia artist Judith Stenneken. While each artist is exceptional in their own right, together they formed a compelling conversation that reached beyond both technical and philosophical boundaries. Unquestionably, his booth was the standout of the year. Marshall’s original roster of six artists had been friends, all of whom he felt were creating innovative work. While many galleries rely on large rosters

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Where Ravens Cry 27, 2016 by Jakob de Boer © Jakob de Boer

of artists that can appeal to a variety of buyers, he opted to tightly curate his roster. ‘I’d like it to stay a tight group of represented artists, a team as I refer to it, who know each other, but certainly the roster will grow to provide different visions in the field and hopefully expand outside of just photobased artists, as I follow many 3D and works-on-paper artists as well,’ he says. Marshall initially gained experience in exhibiting photography while working for the Peter Fetterman Gallery

from 2012-2017 where he became the acting director during his final three years. After departing amicably in the autumn of 2017, he travelled to Germany to work with curatorial friend Ira Stehmann in what he describes as a quasi-sabbatical and personal journey to study German photography. In late 2017, Marshall returned to Los Angeles with a plan to create a new contemporary platform and he explored this idea while helping run a space for the Paris-based

The Mouth of Krishna #99, 1999 by Albarrán Cabrera Galerie XII. ‘This was a great learning experience but I ultimately decided to pursue my own vision for a programme, Marshall Contemporary, shortly thereafter,’ he says. ‘With the support of my artists and colleagues, I finally overcame the notion that you have to be wealthy to operate a gallery. Maybe in the traditional sense that is true, but I chose to believe passion and vision were paramount to bankroll.’

hen Marshall Contemporary was first established in 2018, he began social media and website development mostly as an outlet for creative and curatorial musings on contemporary fine art photography. ‘Pop-ups and fair presentations developed as originally planned in 2019 before everything was put on hold and re-calibrated in early 2020 amid the pandemic.’ Prior to Covid-19, Marshall was among the growing voices that felt its possible brick-andmortar programs were no longer

Illuminate Naturally in Darkness #16, 2011 by Judith Stenneken

‘I finally overcame the notion that you have to be wealthy to operate a gallery.’ viable or necessary any more, especially for those who were starting from a non-existent budget. ‘Fairs seemed to be the dominant marketing force so I had planned to invest in them, interspersed with pop-ups in LA. Now, it appears the market will likely shift to local markets, about which I feel newly optimistic,’ he says. ‘The art fair circuit had gotten out of

control and was brutally exhausting for small staffed galleries, and expensive for galleries who couldn’t afford to do them while also feeling you couldn’t afford not to do them. While I hope they continue in some format, as international travel is a huge perk of the job, I would rather cultivate a local community of artists and collectors in the long run.’

The Mouth of Krishna #752, 2013 by Albarrán Cabrera © Albarrán Cabrera

Marshall was scheduled to exhibit at the inaugural year of Paris Photo New York and the Seattle Art Fair, but both were cancelled in light of Covid-19. ‘This was, of course, a huge disappointment in the early launch stages of the gallery, but held in perspective of the larger health crisis and those whom it most seriously affected,’ he says. But he quickly turned this lemon experience into lemonade. ‘This quiet period gave me time to develop digital initiatives, focus on building out the website, growing the roster and re-think the business plan towards a more locally focused, but necessarily dynamic and innovative, model.’ Going forward, Marshall plans to host small events and private in-home salons as he seeks a permanent space. While everyone in the gallery world is searching for new avenues and directions, I for one am excited to watch how Marshall develops his exciting new approach to photography galleries. marshallcontemporary.com

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FEATURE All images © Steve Mulligan

PREHISTORIC SUNS An obsession with prehistoric astronomy – or archaeoastronomy – led Steve Mulligan on an epic journey in search of observatories that resulted in his latest book, Prehistoric Suns: Ancient Observations in the American Southwest.

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rehistoric people were mesmerised by the sky, by the changing of the seasons and by the movement of the stars. Knowing when to plant crops, when to harvest, when summer was turning to fall, and winter to spring, these were life-affirming times. Realising that the long winter nights had begun to shorten would have been joyous knowledge, offering the promise of spring. Figuring out when these events happened took a serious sophistication,

‘The owner of the company that hired me, hearing I was a photographer, told me of an 18ft snake petroglyph that lit up on the summer solstice.’ as well as a strong scientific method. Creating a marker – using natural landforms – that would only light up on the day of the summer solstice, finding a location to carve it, and then placing the

petroglyph in the exact spot to mark the event, all of this was a formidable intellectual and physical task. The ancients created observatories that exactly marked the summer and winter solstice, the equinox, the cross-quarters (those days dividing the solstices and the equinoxes), even making an observatory to mark the lunar stand-still (where the moon rises at its northern most point in the eastern sky). These observatories still exist around the world, with some spectacular sites in the American West.

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harmed and intrigued by the surrounding canyons, I moved to Moab, Utah, in the late 1970s. As this was before Moab became a tourist boomtown, there was a paucity of jobs, with one of the few being a river guide. The owner of the company that hired me, hearing I was a photographer, told me of an 18ft snake petroglyph that lit up on the summer solstice. While this sounded interesting, the local canyons, having been what lured me here, were occupying my photographic attentions. His story, however, anchored firmly in my memory. Years later, a friend and I were told of a prehistoric observatory south of Moab. Visiting it on the summer solstice, we settled in, waiting for the event. The light show inside this huge split boulder was intricate and exact, and the Calendar Valley site would become the catalyst that ignited my obsession with prehistoric astronomy. Long after hearing about it, I would visit the solstice snake. This marker was incredible, with a perfect arrowhead of sunlight forming at midday on the solstice, over the snake's head. This would be one of the most dramatic markers that I photographed for this series. Over the ensuing 15 years, I would research, locate and photograph the myriad observatories scattered across the western United States, with the heaviest concentration located in the canyons and mesas of the southwest. Across the west, different areas seemed to always have one person drawn into archaeoastronomy, exploring, locating and verifying the markers. Almost without exception, these folks were generous, giving me advice and directions to their sites.

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‘The ancients created observatories that exactly marked the summer and winter solstice, the equinox, the cross-quarters, even making an observatory to mark the lunar stand-still.’

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CAPTURING THE SITES ON FILM The markers, by their very nature, are difficult to photograph, both physically and technically. Often placed in narrow, confined spaces, camera set-up is difficult. The contrast range was usually extreme, and the events rarely lasted long enough for more than one or two exposures. Being hopelessly trapped in the past, I still shoot film with a 5x4 camera, making silver prints in a wet darkroom. Despite cutting development times as much as possible, the negatives were still ridiculously contrasty. Over the span of this project, I used several different techniques to deal with this problem. For the most extreme conditions, I would pre-expose the negative to the scene pre-event, building up the shadow densities, and then re-exposing the same negative during the event. The second exposure would be determined by the highlight, which was often a sun ‘dagger’. I have photographed several total solar eclipses, and developed this technique to have foreground detail, rather than just a black image of the sun. Another technique I employed was to expose, before the shoot, several negatives to a grey card, helping to build up shadow densities. The contrast in several of the markers was too extreme even for these techniques. To overcome this, I would use an extremely powerful flashlight, painting in the shadows. As I gained experience shooting, developing and printing the sites, the process became smoother. My film of choice is Ilford FP4, developed in Kodak HC-110. My paper of choice is Ilford FB Multigrade, and I employ a doubleexposure printing system. The first, usually very short, high-contrast exposure lays down a shadow base, while the second, soft-contrast exposure fills in the midtones and highlights. This system worked particularly well with the marker photos. Using a two-developer system also helped, briefly dipping the exposed paper into a hard developer, and then for a longer time into a dilute, soft developer. This gives excellent contrast control, as well as good local tonal control, delineating the delicate edges between similar tones. mulliganphotography.com

Prehistoric Suns: Ancient Observations in the American Southwest is available now from University of New Mexico Press ($65, unmpress.com)

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FEATURE

All images © Lori Vrba

60-SECOND EXPOSURE Multi-media artist Lori Vrba ponders whether Julia Margaret Cameron and Ralph Eugene Meatyard would get on, why she felt miserable as a professional photographer, and the usefulness of her best party trick. Tracy Calder is all ears.

Girl Child

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Lori Vrba is a multi-media artist based in North Carolina, USA. Her work is rooted in themes of memory, illusion, loss and revival and is held in collections throughout the world. She has curated several exhibitions, including Tribe for the Fox Talbot Museum and the Center for Photographic Art. Her first monograph The Moth Wing Diaries was published in 2015. lorivrba.com instagram.com/lorivrba facebook.com/lori.vrba.1

What does photography mean to you? Photography is my own personal connection to the past, present and future. It allows me to keep a visual diary of what has happened in my lifetime, as well as a glimpse into the lives before my own. It insists that I be fully present in any given moment in order to look deeply and miss nothing. Other than love, and my children, my pictures will possibly be the most significant mark on the world I leave

Garden at Lacock Abbey behind. Photography is my own meaningful connection to humanity. It sounds like a haughty answer, but it’s a profound question.

Tell us your favourite photographic quote. ‘Sharpness is a bourgeois concept’ – Henri Cartier-Bresson.

Describe your style in three words? Feminine. Evocative. Southern.

What’s the biggest risk you have taken as a photographer? I’ve been taking exhibition and installation risks right from the very beginning, so I don’t think of them as risks anymore. When I began working with assemblage and threedimensional objects, that felt risky. I wasn’t well known enough to safely branch out in a way that could potentially dilute my visual voice, so I felt nervous about confusing people.

What is your favourite photographic book? Wolf’s Honey by Vojtech V. Slama. I never get over it. Tell us about a photographic opportunity you have missed. A photographic opportunity can mean a lot of different things, but I’ll go with photographs I wish I’d taken. In fact, there’s a magical moment happening right now, as I type this email, that I’d give anything to witness through the lens. My best friend’s sister has been training hummingbirds to eat out of her hand. She has set up a backdrop outside, placed flowers in her hair and is standing perfectly still. The hummingbirds are hovering all around her like she is Snow White. This is all taking place about a thousand miles from here and the only reason I’m not there is because of the pandemic. It hurts.

Name one item (aside from a camera) that every photographer should own. A field tool belt. Who would you most like to collaborate with? I spend the majority of my time collaborating with wildly creative people, so I already feel it’s an embarrassment of riches. I will go with a fantasy and say Shana and Robert ParkeHarrison. I love to physically construct a scene and I like how they think and take it to the finish line. In my

fantasy, I am their understudy and I am taking notes as fast as I can while contributing in some way. What is your worst photographic habit? Not exhausting a subject. I walk away too soon when I should have loaded the proverbial contact sheet. Tell us one thing most people don’t know about you. I can write with both hands at the same time, with the left hand writing backwards and the right hand writing forwards. I would have to demonstrate it because it’s difficult to explain. It’s a great bar trick! What would you say to your younger self? You have everything you need to make a wonderful life. Stop looking around for it, look within and just get on with it. What has been your most embarrassing moment as a photographer? Gosh. I try to forget embarrassing moments, and there have been quite a few! I hate this question. Ugh. OK, it was the day I was loading a Hasselblad

Seven Dresses and ripped open an exposed roll of film – so, of course, I lost probably the best images ever made in the history of time – and a hot-shot-fancy-pants photographer was sitting next to me and saw it all happen. For the record, I was seriously sleep deprived that day. Who would join you in your ultimate camera club (dead or alive)? Julia Margaret Cameron, Francesca Woodman, Josef Sudek, Henry Fox Talbot, Viviane Maier, Ralph Eugene Meatyard. I wonder if they would like each other and who’d be the most fun?

Rebecca’s Palm

Resting What single thing would improve your photography? The return of 20/20 vision – I miss it terribly. Which exhibition could you have spent a month in? This will sound arrogant, but it would have to be one of my own or one that I have curated or produced for someone else. I put so much time and guts into an exhibition and installation that I am always a little heartbroken when I have to walk away. It feels a little like leaving a new baby.

Which Instagram or social media accounts inspire you? Alain Laboile @alainlaboile, Dawn Surratt @dawn_surratt, Ari Seth Cohen @advancedstyle, Heidi Lender @heidilender. The worst thing about being a professional photographer is… I don’t consider myself a professional photographer now, but I was for a while many years ago. I actually hated it. I was physically and spiritually miserable making photographs for the sole purpose of pleasing someone else.

Willing

Which characteristics do you think you need to become a photographer? Need is a strong word, but I can share some characteristics that I find invaluable. Firstly, hypersensitivity. It's a blessing and a curse. It means that I fully experience the world in front of me. Secondly, tenacity, because there is nothing easy about doing it well or being relevant. Thirdly, a sense of humour – the self-deprecating variety. What are you thinking about when you release the shutter? Hold your breath, like a prayer.

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F E AT U R E

All images © James Ravilious

AN ENGLISH EYE Described as an expression of the common purpose of man, James Ravilious’ unsung retrospective documents the landscape and people of north Devon with a warmth and humility that was mirrored in the book’s compilation. Alex Schneideman charts its journey.

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ames Ravilious and his wife moved to the north Devon village of Dolton in 1972 hoping for art teaching work in the area. And it is here that a first thread through history becomes apparent: the threads that connect Ravilious’ work with the wider world criss-cross his life, as do the deep lanes that run like old and lost rivers through the north Devon countryside. Ravilous’ wife, the writer Robin née Whistler, still lives in north Devon, her homeland. Robin’s father was the poet and glass engraver Laurence Whistler who was, in turn, the younger brother of Rex Whistler, both major figures in the contemporary British art scene of the 20th century. James’ lineage had artistic weight too: his father was the engraver and artist Eric Ravilious. So in the union of Ravilious and Whistler two deep lanes joined with a kind of inevitability which seems to occur so often in the stories of creative endeavour.

‘Ravilious and his wife left London and settled into the rhythm of the seasons in a secluded rural area of south-west England.’ Ravilious and his wife left London and settled into the rhythm of the seasons in a secluded rural area of south-west England. North Devon in the 1970s was a place of close community ties, old fashioned and unspoiled. And, as Robin says, James was, ‘looking for a path in life’. Before arriving in Devon, Ravilious had trained as a painter and engraver at St Martin’s School of Art in London and had been teaching for some years. He had not studied photography, but he had seen the 1969 V&A exhibition of Henri CartierBresson’s photographs, which ran for a short period of time and then toured to Sheffield,

York, Leeds, Eastbourne and finally Oxford. Ravilious visited this exhibition and was profoundly affected by it. For the first time he appreciated the ability of the medium to depict humanity and it was the spark that would lead him to pick up a Leica. Along with Cartier-Bresson, Ravilious’ great inspirations included Lewis Hine, Frank Meadow Sutcliffe, Walker Evans and William Eugene Smith, all exponents of the humanist current in photography. Another important influence came from the English photographer and artist Edwin Smith. After Smith’s death in 1971 it would be Olive, Smith’s widow, who gave Ravilious one of Edwin’s first cameras, an Ica bellows camera, and some old, uncoated Tessar lenses. These optics would help give his work the particular extended tonality that he became known for. The subtlety of his print making was also influenced by his close reading of Ansel Adam’s Zone System and discussions with the photographers’ guru, Brian Allen.

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n 1966 funds had been made available for a local institution whose role it was to foster the art and cultural life of Devon’s rural parts. The Beaford Centre was founded by the artist and teacher John Lane on behalf of the Dartington Hall Trust, an organisation dedicated to supporting the arts in Devon and the West Country. Lane invited Ravilious in the autumn of 1972 to contribute to the Beaford Archive, a photographic record of the landscape and people of north Devon. Ravilous was to record the lives and landscapes that surrounded him in return for a part-time stipend that would enable him and his family to live. With his commission from the Beaford Centre and John Lane’s support, Ravilious set about weaving his tapestry of life around him. By the time the Beaford Centre ceased its financial support after 17 years (largely due to Thatcher-era arts cuts), Ravilious had contributed some 80,000 negatives to the archive, yet despite losing financial support he continued to photograph the people, life and events of north Devon for the next decade. Not a natural networker, Ravilous dreaded the idea of schmoozing in London for the purposes of advancing his work and reputation. Consequently this extraordinary

‘Perhaps you can detect in Ravilious’ images the peculiar ability of British artists to commit to paper a view of the world that looks on it aslant and often with a kind of sweet sadness.’ and growing collection of photographs drew little attention from the outside world, despite a publication of the work in the 1980 book Heart of the Country, which received good press coverage and was well reviewed. It was not until the Royal Photographic Society accorded Ravilious a retrospective exhibition in1997 that his work began to receive broader recognition. This exhibition, titled An English Eye, had been curated by the sociologist Peter Hamilton, who had come across Ravilous’ photographs through the work of another sociologist who had used Ravilous’ pictures to illustrate his thesis on the people of rural Devon. On 6 June 1997, as ill health increasingly hampered Ravilious, Hamilton arrived in north Devon to interview him for a magazine article, and to discuss the publishing of a book about his work. The day

before, by happy accident, Ravilious had received a visit from Barry Lane, director of the Royal Photographic Society, and its exhibitions manager to discuss the idea of a retrospective. Hearing that Hamilton was due to arrive the next day, they suggested he be offered the role of curator of the RPS show. So began An English Eye. Hamilton had previously published many books of photography, including acclaimed publications featuring the work of Willy Ronis and Robert Doisneau. Hamilton and Ravilious formed an instant bond and the publisher took great care to look through the thousands of negatives and reference prints that Ravilous had made, to produce both the RPS exhibition and the book that formed its catalogue. Toby Matthews, Hamilton’s son, designed the book and essays were contributed by Edward Chorlton, on behalf of Devon County Council, and Barry Lane, secretary general to the RPS. Peter Hamilton provided the main texts (which are inspirational in their depth and detail). The writer and playwright Alan Bennett, a collector of Ravilious’ prints, wrote the foreword. The first edition was printed in Leeds at the legendary and now defunct printers Jackson Wilson. Two subsequent editions have been printed at EBS in Verona.

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adly, Ravilous died in 1999 at the age of just 60 from the illness that had dogged him for many years. The book was proposed, developed, designed and published as his health was failing. The timing of the publication is just one of the reasons this book deserves a place in any collection: it was to be one of the last creative efforts of an important artist. More particularly the work gathered in it is quite simply beautiful. It is a book of intimate humanity and sensitive depiction, but what is not often acknowledged is that the photographer’s own personality and emotional poise is written into the grain of every image. James Ravilous’ photographs do not take a particular political position or try to teach in any meaningful way. Perhaps you can detect in his images the peculiar ability of British artists to commit to paper a view of the world that looks on it aslant and often with a kind of sweet sadness; an understanding of the natural world that Dylan Thomas called ‘the green fuse’, the force of nature which all of us who live

on this island are viscerally aware of. And Ravilious’ work represents the confluence of British art: there is a clear line leading back through the history of British art, from Eric Ravilious to John Piper, Frank Meadow Sutcliffe and Samuel Palmer, all the way to Thomas Bewick. In addition, through Ravilious’ photographs you can witness the synthesis of British photography with British art and with the European humanist photographic movement. The love and care that were taken at every stage of publishing An English Eye is key to understanding the value of the book beyond the quality of the images, from his wife’s support to the inspiration of a visionary arts director, from the gift of Smith’s camera to Hamilton’s creative partnership. From the deep lanes of Devon to the shelves and minds of thousands of photographers, An English Eye is an expression of the common purpose of man. And in these fractured times perhaps it is best to leave the last words to our putative national bard, Alan Bennett: ‘The whole effort was to introduce one half of Britain to the other’.

WRITER’S NOTES Alex Schneideman wishes to thank Robin Ravilious and Peter Hamilton for their generosity and patience during the writing of this article. The original prints from the 1997 RPS exhibition are going to the Burton Art Gallery’s permanent collection. See burtonartgallery.co.uk. Robin Ravilious has prints available for purchase. Contact her through the website jamesravilious.com for more information. The Beaford Archive has a fantastic website (beafordarchive.org) with thousands of Ravilious’s photographs available to see. Two recent books of note are The Recent Past (photos) and James Ravilious – A Life (memoir), both published in 2017 by Bitter Lemon Press. An English Eye by James Ravilious, published by Peter Hamilton / Devon Books, 1998, includes 113 duotone images printed at Jackson Wilson, Leeds. The second edition was published by the Bardwell Press, 2007, and printed by EBS, Verona. The foreword was written by Alan Bennett.

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The Beaford Archive would like to offer B+W readers a discount on all digital prints from beafordarchive.org. Use coupon b+w15 at checkout to receive 15% off all orders until 20 November.

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FEATURE

All images © William Castellana

HIT THE STREETS Street photography is one of the most challenging image-making genres, but when you live in New York there’s no shortage of interesting subjects. Matty Graham talks to William Castellana about shooting from the hip in the Big Apple.

reat street photography is revered and for good reason when compared to other image-making genres. When shooting landscapes, photographers only have to battle the elements; in portraiture, photographers have models ready to follow their instructions. But in street photography you’re at the mercy of the cold asphalt and all those who tread on it.

Technique, people skills, instinct and courage are all needed in equal measure to produce successful frames and William Castellana makes it look easy. By trade, the New York-based professional shoots still lifes and architecture, but it’s Castellana's surroundings in the Big Apple that precipitate the segue into street photography as he captured the inhabitants of Williamsburg. We caught up with him to find out more about his unique shooting style.

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Above left Two men crossing street Above right Shadow

Can you tell us a little about yourself and how you got involved in photography? After graduation I started to freelance as both a photographer and lighting technician focusing primarily on commercial still life. Since then my photos have been acquired by more than 50 museums, won numerous awards and appeared in many publications such as Communication Arts, Creative Quarterly, Rangefinder, Newsweek, Time, New York, Bloomberg Businessweek and Los Angeles. How would you describe your photographic style? In 2014 I undertook a photographic project

whose genre and subject matter were completely foreign to me, both as a photographer and individual. Up until then I spent the majority of my photographic career focusing on the precise art of still life; whose challenge I believe is to animate the seemingly inanimate. My foray into street photography happened on a whim and was partly influenced by a remark a magazine writer made in reference to my work. She said: ‘Your black & white photos are absent of any real people, but there is a life to what you’re seeing.’ That remark really struck a chord and got me thinking as to why I had been avoiding the human subject all these years.

The technical approach of still life photography is diametrically opposed to street photography in that the former is a more methodical and planned process and the latter is less controlled. Segueing to street photography was a way for me to experience life firsthand – freeing me from the process of making stuff up – life was there in plain view ready to be extracted and composed out of its frenetic and chaotic flow. Influenced by famous street photographers such as Garry Winogrand, Robert Frank and Henri Cartier-Bresson, as well as by the tenets of cinéma-vérité, I set out to photograph my neighbours in the one-half

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death, the Satmar community has grown exponentially and continues to thrive through closely observed traditions and social mechanisms. As an outsider, what I witnessed through my camera during that period was new and unique compared to my everyday routine and what the rest of the city’s inhabitants were pulsing to. For me, street photography is about the preservation of time and place – a kind of poetry that distils both in equal measure.

Men inspecting lulav during Sukkot

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which demarcates the religious from the secular communities of Williamsburg, Brooklyn. The photographs in this series are constrained to the neighbourhood view since my outsider status made access to a more privileged look impossible. In their simplest sense, the images in this series form a social document of a people

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Woman with children

and a place; namely, a sect of Hasidic Jews known as the Satmars. This sect of Hasidic Jews was founded in Satu Mare, Romania, by Rabbi Joel Teitelbaum in the early 20th century. After the Second World War Teitelbaum settled in Williamsburg, Brooklyn, to lay the groundwork for a religious ideology that would launch one of the largest Hasidic movements in the world. Since Teitelbaum’s

Can you talk us through your approach to street photography? I shoot from the hip and have my camera pre-focused at six feet, so my technique is extremely simple. It’s a common practice that’s been employed by many of the great street photographers from past to present. Since my camera doesn’t have a viewfinder, I find it much easier to shoot this way, relying solely on visualisation. After a bit of practice, one can estimate what’s going to be in the frame even when the camera isn’t at eye level. Of course there are many photos that don’t work out but that goes with the territory. Street photography is a hard genre to master, what elements do you look for in a successful frame? A successful frame for me is one that elicits an emotional response, but I’m much more interested in how images can communicate with one another and be part of an eloquent whole, as Robert Frank deftly accomplished in his seminal book The Americans. As I’m photographing it’s a very visceral experience so the content of the image is usually latent and only fully realised as I’m editing and pairing images together. For example, in the image Two Boys Embracing (see page 45) I find the juxtaposition of the embracing boys against the woman’s embraced hands fascinating as it seems to strengthen and underscore the solidarity that binds the community and individuals together. The boys seem to be joined through gesture and clothing – joined at the hip or conjoined – their matching clothes further highlighting their togetherness. Are there any themes or social issues that you try to mirror in your street photography or are the subjects a product of a more organic approach? I’m very interested in the right to privacy issue as it relates to street photography and how that might affect the archive of imagery produced by future generations. From what I’ve learned, everyone seems to be on edge these days about having their picture taken on the street, in places of business and at the airport where body scanners are being used to thwart potential misdeeds. We are

›

Kids on street corner

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Two boys embracing

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Three boys running

› all under surveillance, all the time, and

that brings up a larger dialogue about the right to privacy. With the ubiquity of smartphones, billions of street photographs are taken every day by people who disseminate these images across all media. If the law were to forbid the taking of street photographs we would lose our identity as a nation. Pictures act as historical documents, and without them we’d have no idea where we’ve been or where we are going. They are mementos of the human condition.

Woman picking food container

Imagine if a retroactive law were put in place to forbid the use of street photographs for any use, editorial or otherwise, without the permission of those depicted. What would that do to the rich photographic archive of street photography that currently resides in our museums, places we esteem and frequent to witness human achievement across all cultures? My photographic viewpoint is constrained to the streets and therefore, in a sense, I blend in because I frequent the same streets. Street photography is a kind of poetry that

Bicycles in courtyard

can speak to our souls by embracing the humanity that we all share irrespective of our cultural differences and that’s what I’m interested in. In your opinion, what’s more important in street photography – solid technique or the people skills to prompt interaction with subjects? Since I photograph from the hip there’s absolutely no interaction with my subjects as these are candid photos. Therefore, technique would be more important to me.

Can you talk us through your kit bag – what cameras and lenses do you use on the street and what’s the item you would recommend? I think the Ricoh GR series is the best camera out there for street photography. It’s nimble, discreet and pocketable and it’s the only camera I use for street photography! How much post-processing goes into your frames and can you share your workflow in this area? I only do simple burning and dodging in post-production, techniques one could do in a wet darkroom. Once these adjustments are made the images are sent off to my Epson SureColor P800 printer and printed on Epson’s Hot Press Bright paper. What’s the best bit of photo advice you’ve been given and are willing to share, and what advice would you give to readers who have been inspired by your imagery and want to try something similar? Interesting photos can be made anywhere and everyone has a unique vision, so look no further than your immediate surroundings to find a story that has meaning for you. What does the future look like for your street photography? Are there projects you’re looking to explore, or perhaps you are thinking of exhibiting or publishing? I haven’t made any street photographs since the South Williamsburg series. Lately I’ve been so engrossed in making a series of still life photographs for my children’s book, Inquisitive Creatures, with my partner Linda Montanez. The book is a story about four friends living in an abandoned workshop on a quest to solve one of science’s most difficult problems – time travel. As they set out to build a time machine, they discover that teamwork, persistence and above all friendship are the ingredients that make their dream come true. Sprinkled throughout the story are gentle references to some of the greatest scientists of all time, including Einstein, da Vinci, Newton, Tesla and Galileo. Most recently, images from this series were acquired by the Mulvane Art Museum and the Asheville Art Museum.

The pictures shown here are from the book South Williamsburg/Brooklyn by William Castellana

Above Boys sitting on stairs Below Man talking on cell phone

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TECHNIQUE

All images © Tim Clinch

THE ART OF PORTRAITURE With a lifetime of people photography to draw on, Tim Clinch questions the portrait genre’s fundamentals and suggests a few addendums of his own to further clarify what it means to capture someone’s likeness.

efore we begin, it is important that we define what we mean by a portrait. The dictionary definition is: ‘a painting, drawing, photograph, or engraving of a person, especially one depicting only the face or head and shoulders’. I think we would all agree with that, but I would add a few caveats. For me, in order to be described as a portrait

rather than reportage or street photography, there has to be some sort of relationship between the sitter and the photographer. To be considered a portrait, the subject of the picture must be aware that they are being photographed. This can be fleeting. The quick question, ‘Can I take your

picture please?’ can be enough to establish eye contact, but it is often essential. Can a candid picture shot in a food market without the subject’s knowledge be considered a portrait? For me, no. This is not to say that it is not a good picture, not at all, it’s simply not a portrait.

‘There has to be some sort of relationship between the sitter and the photographer.’

The next caveat is the clause: ‘…especially one depicting only the face or head and shoulders’. In a lifetime in photography I have been commissioned to shoot a lot of pictures of people, both famous and otherwise. Sometimes they have been close-ups of a face, or a head and shoulders, but often they have been of people involved with their work, or in their workplace, and usually shot full length.

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Above French chef Michel Gerard in his kitchen at his Michelin three-star restaurant in Eugénie-les-Bains. I posed him at the front and had the staff moving around and working behind him. Opposite Chef and owner of the iconic St John restaurant Fergus Henderson shot for the Independent.

Fergus is a quirky character and I love the negative space in this and the notice I left in the top corner.

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One of the commissioning editors who had a great influence on me when I started working for the Sunday colour supplements back in the 1980s was an amazing gentleman called Colin Jacobson, the picture editor of the Observer Magazine. Back then, these magazines were pretty much the pinnacle of the photographic tree and were what most photographers aspired to. When I first went to the Observer to show Colin my work I was in the middle of a personal project about farm workers in Cornwall. Colin looked at my images (all shot on large-format colour transparency and all involving old men, mud and tractors), looked up at me and uttered a phrase which has stayed with me to this day: ‘Hmm, old retainers with their utensils’. Luckily, he liked them and we enjoyed a wonderful working relationship which lasted for many years. So, the head and shoulders, and the person in their environment: both, in my mind, portraits. The next vexed question is around eye contact. Is it essential in a portrait? To my mind, definitely not. When I am shooting a portrait I will often ask my subject to look away from the camera. This can often add something and make the picture stronger. Lack of eye contact often adds a feeling of vulnerability to a portrait. As in all aspects of your photography, you will only find out if you try. Top Shot for an exhibition I had in Sofia in Bulgaria. Called Portrait of a Village it was done to raise money for a new roof for the community centre in my village and consisted of a series of photographs of the inhabitants and their friendly faces. All shot with a very narrow depth of field to avoid distraction from the background. Below Food writer Claudia Roden in

her home in London, shot for Tel Aviv newspaper Haaretz. Shot using daylight. Note how although she is not looking directly at the camera her eye is perfectly sharp.

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Top left and right Shots for the exhibition I had in Sofia in Bulgaria called Portrait of a Village. All shot with a very narrow depth of field to avoid distraction from the background. Below left This illustrates the importance of having a black background. This gentleman was picking grapes in a vineyard in the Côtes du Rhône in France on a hot and windy day. We clipped the background to the shady side of his van, added a reflector and got this strong portrait, which I love. Below right A wonderful strong matriarch in the Carpathian Mountains in Western Ukraine. A mother of 13, she cooked us a memorable lunch after which I asked if I could take her portrait. Strong cropping and a shallow depth of field emphasise that smile. And those gold teeth!

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Above Wine maker Sylvie Esmonin and her dog Justy in Gevrey-Chambertin in Burgundy. This was shot at the height of the wine harvest,

Sylvie was tired, hot and busy so we set the shot up in advance, called her over when we were ready and got the shot in about two minutes.

HINTS AND TIPS Be careful of getting too close with a wideangle lens as this will distort the face. Obviously, if this is what you are trying to achieve, fine. I once took a portrait of the much-missed comedian and actor Rik Mayall very close up on a very wideangle lens, but as he was well known for his facial contortions and ‘gurning’ it worked well and made the cover of the magazine. Otherwise, for head and shoulders or close-up

pictures, I would use a standard 50mm, or a slightly longer 85mm on a full-frame DSLR. Secondly, it’s all about the eyes. Shallow depth of field is wonderful and can make for great portraits, but whether your subject is looking at you or gazing wistfully off into the distant horizon, make absolutely sure that the eyes (or at least one eye) are pinsharp. They are, after all, the window of the soul.

For a close-up, backgrounds can be anything as long as they don’t distract. It’s a portrait and the subject is your sitter so don’t let anything get in the way, and remember the power that a shallow depth of field can give. For a wider portrait of the ‘old retainer’ type, make sure that the background you choose is relevant and, again, don’t let anything take your eye away from the star of your photo. Something I never travel

anywhere without, and has been an ever-present in the boot of my car for many years, is a length of black velvet and a few sturdy clips. Invaluable for shooting portraits on the go, you can clip it anywhere, stand your subject in front of it and, hey presto, you’ve got yourself a studio. As for cropping, especially when shooting a head and shoulders, the age old rule is fill the frame and be bold.

timclinchphotography.com | @clinchpics |

clinchpics

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Top left Madame Dubordieu, the bean lady. A regular at my local market when I lived in France, I visited her at her home and set up this simple but effective portrait. I would hesitate to call her an ‘old retainer’ but it is of the genre. Top right Chicken farmer Christine LaMartine with one of her birds. As always, shot in the shade. Below left Pig farmer Jacques Chapolard in Gascony. I moved him out of the direct sunlight into the entrance to a barn and posed him against some non-distracting hay bales. Below right Shot for the exhibition I had in Sofia in Bulgaria called Portrait of a Village. All shot with a very narrow depth of field to avoid distraction from the background.

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TECHNIQUE

TOP TIPS All images © Lee Frost

SHOOTING THE SEASIDE We all like to be beside the seaside. When it comes to drama, natural beauty and sheer variety, the coastline is hard to beat as a photographic location. Lee Frost grabs his camera, bucket and spade and heads for the sea.

he sea has always held a special place in my heart. I still have fond memories of childhood holidays in Skegness, building fortresses in the sand, searching for crabs in shallow rock pools, flying flapping kites on the breeze and listening to the gentle lapping of waves on the beach. It was the sound

of the sea that captivated me most of all back then, and almost 40 years later it still does – nothing beats a brisk beach walk to clear writer’s block and get the creative juices flowing. The coast is also the place where I cut my teeth as a photographer. As a teenager I patrolled Torquay seafront in search of

candid subjects – pensioners snoozing in deckchairs, funny drunks posing for the camera, kids splashing in the sea. I also discovered the joys of night and lowlight photography, shooting floodlit fountains, illuminations on the pier and neon signs outside bars and clubs. I have always had a penchant for seaside resorts out of season, boarded-up, deserted and slightly depressing – and still do today. These days, I live near the sea in Cornwall and love to spend time exploring its sandy beaches, dramatic bays and picturesque villages. What keeps me inspired is the huge variety of subject matter that the coastline presents, from dramatic views to small details. The changing weather and the ebb and flow of the tide also provide endless opportunities – come rain or shine, you’ll always find something interesting to photograph and it’s almost impossible to return home without at least a few great shots in the bag.

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1 CLASSIC VIEWS The most dramatic coastal images tend to be those that adhere to the traditional principles of landscape photography – wideangle lens, foreground interest to add depth and lead the eye into the scene, front-to-back sharpness, a focal point to give a sense of scale and good light to bring out the character of the scene. It’s a simple formula to follow and providing you don’t miss out any of the above factors you’ll be guaranteed great shots. The quality of light isn’t quite as important for black & white images as it is for colour because the actual colour of the light is irrelevant – so if a sunrise or sunset is muted, for example, it doesn’t matter. The soft light of a dull day can also work brilliantly in black & white if you match it to the right subject. That said, nothing beats sharp sunlight early or late in the day, when the low sun casts long, raking shadows that add relief and reveal texture. Bamburgh, Northumberland

A classic coastal location captured soon after sunrise. Bamburgh Castle forms an unmistakable outline in the distance. Canon EOS 5D MKII with 17-40mm zoom lens, 0.6ND hard grad, 1/20sec at f/11, ISO 100

2 TIME AND TIDE A technique I fall back on time and time again when photographing the coastline is to use long exposures to record motion, not only in the sea, but any other moving elements in the scene, such as clouds in the sky. To achieve this I mostly use Lee Filters Pro Glass IRND 10 and 15 stop neutral density filters to allow exposure of several minutes even in the middle of the day. The images that result have a surreal quality about them. The sea is smoothed out, clouds record as delicate streaks of tone and static elements such as piers, jetties and rocks stand out starkly. I tend to avoid sunny weather for these long exposure images and instead prefer overcast days when the light is soft, or windier conditions when there’s lots of movement in the sea and the sky is more dramatic. St Michael’s Mount, Marazion, Cornwall When the tide’s high, St Michael’s Mount becomes an island, cut off from the rest of Cornwall. I used a 10-stop ND filter for this image, to smooth out the sea and record motion in the clouds. Canon EOS 5DS with 24-70mm zoom lens, 3mins at f/11, ISO 100

‘I find it almost impossible to walk past a stretch of rocky shoreline without stopping and searching for photo opportunities.’

3 ON THE ROCKS To the casual observer, rocks are just rocks, but to photographers they’re fascinating subjects and I find it almost impossible to walk past a stretch of rocky shoreline without stopping and searching for photo opportunities. It’s the patterns and textures I find most interesting, formed not only when the rocks were created millions of years ago but also by the action of the sea and the elements. Look for sedimentary swirls and soft curves in rocks that live below the high tide mark and coarse textures in those that stay above water but receive a pounding from the elements. Pebble beaches are another great source of patterns – look for groups in different sizes and colours and capture them in the soft light of an overcast day. Lizard Peninsula, Cornwall The geology on the Lizard coast is amazing – you could spend days just shooting rock details. I used my iPhone to take this shot while walking on Gunwalloe Beach. iPhone XS Max, 6mm lens (equivalent to 52mm), 1/1300sec at f/2.4, ISO 16

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4 THE HUMAN ELEMENT Coastal scenes often lack scale because there’s nothing in them of familiar size, but that’s easily remedied by including a person in your shots, and as people love being by the sea, it’s rarely a problem finding a figure. Look for lone dog walkers, kids skimming stones, loving couples enjoying the view, families or groups of friends in silhouette. Those people don’t need to be big and dominant in the compositions. In fact, if you keep them nice and small the effect is often better because it helps to emphasise the grandeur of the scene and the scale of big open spaces. Vik, Iceland This tiny lone figure gazing out to sea adds a focal point and a sense of scale. Cover him up and the impact of the image is dramatically reduced. Canon EOS 1DS MKIII with 70-200mm zoom lens, 1/1000sec at f/4, ISO 100

‘Drained of colour, noise and laughter they have the air of a ghost town, frequented only by stray dogs and screeching seagulls.’

5 CLOSED FOR WINTER

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There’s something very quaint about seaside towns in the winter, boarded-up and abandoned to the ravages of the weather. Drained of colour, noise and laughter they have the air of a ghost town, frequented only by stray dogs and screeching seagulls. But it’s for all these reasons that I love holiday resorts out of season. I lived in Torquay for several years and witnessed first hand the transformation as summer came to an end, but photographically I found the place much more inspiring, looking slightly forlorn and rough around the edges. Its true character began to show when all the glitter and glitz was removed, and I spent many rewarding hours wandering around on drab winter days, shooting mono images of the deserted pier, empty beaches, chained-up deckchairs, tatty posters and ‘closed for winter’ signs. The same story is repeated all around the British coast every year and the more downmarket the resort, the more potential it offers. Whitley Bay, Tyne and Wear I love this old café on the seafront near Whitley Bay. The exterior hasn’t changed in decades and it harks back to the grand old days of the English seaside resort. Holga 120GN, fixed 60mm lens, 1/100sec at f/8, ISO 400

6 WEATHER OR NOT The coastline tends to have its own weather, so what’s happening a few miles inland may not be the case by the sea. I have a particular penchant for stormy weather – it reveals the raw power of nature as waves explode against the shore and streams of airborne sand race across the beach, while overhead, black clouds swirl and boil. There’s always

the risk of a soaking when you venture out in such conditions, from both falling rain and pounding seas, but it’s exhilarating to experience wild coastal weather first hand, and the images can be truly magnificent. Use a waterproof cover to keep rain and sea spray off your camera, and fit an ND grad to your lens to darken the sky. Be aware of the

Porthleven, Cornwall

When a high spring tide and strong winds combine, huge waves crash against the coastline around Porthleven, creating fantastic photo opportunities. Canon EOS 5DS with 70-300mm zoom lens, 1/2000sec at f/8, ISO 200

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dangers too and avoid getting too close to the sea in stormy weather.

7 INSPIRING HARBOURS If beaches don’t do it for you, grab your gear and head for the nearest harbour. No matter what the weather’s doing you can always find things to shoot, and even on the dullest, drabbest days a quaint old harbour will keep you busy. Piles of rope, fishing nets, lobster pots, peeling paint, rusty chains, old boats, painted signs, reflections – there are endless subjects to choose from and all can be the source of great monochrome images. Sometimes I don’t even bother to use a ‘real’ camera – my iPhone is ideal when I’m wandering around, snapping away, and apps like Hipstamatic gives the images a fantastic fine art feel. You could even shoot a series of images then create a montage in Photoshop. Mullion Cove, Cornwall This wonderful old fisherman’s hut has stood for centuries by the harbour at Mullion Cove, on the Lizard Peninsula. Canon EOS 5DS with 16-35mm zoom lens, 0.6ND hard grad, 1/30sec at f/11, ISO 100

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8 LIFE’S A BEACH

9 PIERS OF THE REALM

10 CHECK THE TIDE TIMES

I love wandering along beaches, enjoying the view, looking for things to shoot. Any beach, anywhere. If I’m driving by the coast and I spot a great beach, I have to stop and check it out, if only to admire its scenery, listen to the sea and fill my lungs with the salty air. There’s nothing like it. Ripples in the sand are a constant source of monochrome inspiration, simply because they come in so many shapes and form. I love the play of light on wet ripples; it adds a silvery sheen that contrasts with the darkness of the sand to create amazing patterns. Ripples also make great foreground in broader views and by getting low and close with a wideangle lens you can really emphasise the shapes on the ripples nearest to the camera so they add scale and lead the eye into the scene. On stormy days, use a slow shutter speed to capture waves washing down the beach in streaks of milky foam. The retreat always works better than the advance and on shingle beaches the sound is amazing. Other things to look out for? Reflections in rock pools; flotsam and jetsam for interesting detail shots; lone boulders being washed by the incoming tide; beached starfish; the skeletal remains of dead fish, love hearts drawn in the sand by courting couples…I challenge anyone to go for a beach walk and not find something interesting to photograph!

There’s something quintessentially British about the traditional seaside pier, stretching gracefully into the sea and providing both a romantic promenade and a source of entertainment for those who visit it. Photographically, piers make great subjects too, and offer lots of potential. How about standing underneath the boardwalk so you can capture the legs and struts crisscrossing in silhouette with the sea and sky in the background, or shooting from one side to reveal the pier’s ornate structure in profile? In both cases, a long exposure can be used to blur the sea and sky so the pier stands out (see Time and Tide). On the pier itself, stand in the centre of the boardwalk at one end and shoot towards the other, using the converging lines to create a strong composition that carries the eye through the scene. As well as wideangle views, piers are also ideal for detail shots of the fancy ironwork, the stalls and rides, muted views through the old, scratched panes of glass, and candids of the characters you encounter while wandering around.

Knowing the state of the tide when you intend to visit a location can make a big difference to the photographs you take, so either get hold of a tide table for the area or check a website (try bbc.co.uk/ weather/coast/tides). If you want to capture ripples on a sandy beach at dawn or dusk, for example, the tide needs to be receding so the sand’s still wet and the ripples are fresh, but for waves crashing against the shore high tide tends to be more dramatic. There are also serious safety implications – you don’t want to find yourself cut off by an incoming tide.

8 Alnmouth, Northumberland This beautiful feather-like pattern was created by water trickling across wet sand. Canon EOS 1000D with 18-55mm zoom lens, 1/200sec at f/6.3, ISO 100

‘Ripples in the sand are a constant source of monochrome inspiration.’

Brighton, East Sussex The remains of Brighton’s West Pier make a fantastic coastal subject, especially for long exposure images on an overcast day. Canon EOS 5DS with 24-70mm zoom lens, 2mins at f/16, ISO 100

Botallack, Cornwall The Crown Engine Houses, located on a fantastic stretch of rugged Cornish coast, can be photographed when the tide is low, high, or anywhere in between. Canon EOS 5DS with 24-70mm zoom lens, 20secs at f/13, ISO 100

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timdaly.com

All images © Tim Daly

TECHNIQUE PROJECTS IN VISUAL STYLE

EARLY MORNING MOMENTS If you fancy seeing your surroundings in a brand new light, why not explore our latest time-sensitive assignment? Tim Daly gives you an early morning alarm call.

hotography, of course, is all about light: its atmospheric qualities and its ability to model and describe shape, form and texture. Yet, while many of us take advantage of favourable light, few of us explore the possibilities afforded by the soft light of early morning. For this assignment, we’re going to consider themes and techniques for shooting an alternative view of our surroundings, be it close to home or while

away on vacation. Depending on your location and the time of the year, you’ll need to work out in advance when to set your morning alarm call. The official sunrise time is approximately 20 minutes before conditions are ready for shooting, as the sun at this moment is not yet fully above the horizon. For this project, we’re going to focus on the following two-hour time slot and respond to those short-lived moments created by the ascending sun.

SECTION 1: RESOURCES AND SETTINGS TO CONSIDER For our assignment we’re going to explore potential locations, topics and project ideas that you can adapt to your own situation. Remember, it’s not essential to carry lots of equipment with you, but at the beginning of your shoot, be prepared to use a tripod or a higher ISO than you’d expect, such as 800 or 1600.

1 FIRST IN TOWN Do you have a job that starts early in the morning? Or do you work a shift pattern that makes you one of the first commuters at the train station? As the city wakes up, many workers have already been awake for hours ready for the morning rush hour. First light in the city can be spectacularly atmospheric, as Eugène Atget, the French photographer of surreal, empty street scenes discovered. If you’re travelling in each morning, see if you can shoot the busy bustle of the commute. In this example, I’ve used a worm’s eye view to shoot commuters crossing a river bridge during the half-light of a rainy, soulless morning.

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2 SEA FOG

If you’re lucky enough to visit the seaside over the next month or so, keep an eye out for the wonderful sea fogs that shroud our coastal locations in unexpected mist. Caused by a combination of warm air, cold sea and an inward breeze, these ephemeral fogs are a familiar sight to many holidaymakers on staycation this year. Sea fogs hug a localised area of the coast from early morning onwards, but are usually gone by the hottest part of the day and sometimes a lot sooner. What’s terrific about sea fog is that it creates an entirely new scenario from a familiar location, covering and shading strong shapes and presenting beautiful gradients and tonal recession for you to explore with your lens. This image, shot in St. Ives, Cornwall, was captured during a 7am early morning paddle.

INSPIRATIONAL QUOTE

‘Atget must have known that if he didn’t hurry, if he didn’t hit the streets before dawn, Old Paris and its ancient neighbourhood intimacies would be gone.’ – John Rosenthal

3 DESERTED RETAIL PARK For urban photographers, Sunday is a perfect time to shoot early morning, as you’ll not be troubled by traffic or other distractions until 9am. A good location to explore is your local retail park, quietly reflective in shutdown mode. Taking advantage of low-angle light raking in from the side and setting my shooting position to show the dynamic lettering at the corner of the building, I’ve captured a garden centre as it sits in the early morning sun. Using a mixture of Lightroom B&W filters, I’ve darkened the blue sky and tried to emphasise the kind of baking morning heat that you know is only going to get hotter.

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4 ON YOUR WINDOWSILL Wherever you live, you may have a particular window or doorway that receives wonderful, directional light during the early part of the day. Coming into your home at a low angle, early morning light will illuminate transparent or diaphanous materials and reveal textures you didn’t know existed. If you fancy working on an indoor project, consider placing different objects in the path of a known light event over a week and see what kind of images you can generate. Choose and style your props to take maximum advantage of the setting. In this example, I’ve used three sailing ship lamps to pick up the rays of early morning sunshine.

5 SILHOUETTE PORTRAITS A different way to approach dawn is to develop a project right inside your home. While the flat light of early morning shrouds everything outside, consider making silhouette portraits of your family against the light. This technique, sometimes referred to as contre-jour, can provide a fascinating and creative constraint. In essence, you’re contrasting light against shade, inside and out, while trying to capture a descriptive and characterful profile of your subject, as this example shows.

SECTION 2: COASTAL DAWN If you’re planning a trip to the seaside, get there a bit earlier and take advantage of unusual and short-lived first light effects.

1 TONE REVERSAL Within the first hour of usable daylight, you might spot an unusual light effect where the sky appears darker than the land. This weird tone reversal can make for some intriguing photographs, like this example shot at a deserted and empty seaside paddling pool. Light at this time of day can be super flat and low in contrast, lacking the emphasis of directional sun rays. However, it does provide you with a different palette of grey tones to explore. When editing your images, avoid increasing contrast (or setting pure black and white points) to preserve the muted, low dynamic range of the original scene.

2 ATMOSPHERIC GREYS Of course, flat early morning light together with an overcast day can create the kind of visual setting for an evocative downbeat documentary project. Don’t despair at the prospect of poor weather,

instead use it to your advantage by seeking out early morning visitors and solitary beach activity in an uncrowded setting. To further enhance a low-contrast palette of early morning light, consider using one of Lightroom’s new B&W conversion presets, found in the Basic panel. For this image, I’ve converted my original colour Jpeg using the B&W 10 profile, which knocks out whites, blacks and expands the greys to achieve a subtle low-contrast effect.

3 SILENCE OF EMPTY PUBLIC PLACES An inspiring project idea is to document locations that are usually rammed full of visitors and day trippers, emphasising emptiness with a wider lens rather than homing in on close-cropped details. Caught in the first few minutes of sunrise and without any directional light whatsoever, this image has a weird, almost moonlit tonal range. Great too if you can also include artificial lights and any other signs of impending daybreak.

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SECTION 3: SECOND PHASE DIRECTIONAL SUNLIGHT Light changes very quickly once the sun has fully risen above the horizon, so treat this as a further creative opportunity.

1 LONG SHADOWS Whether you live in a city or a rural area, the first half hour of full sunlight will create the longest shadows and show up the texture of pretty much anything that lies in its path, including oneself, as this example shows. If your early morning shoot coincides with a cloudfree day, you’ll experience the stunning light effects of low-level rays licking the top surface of your location. Find an east-facing space where light enters unimpeded and you’ll experience a wonderful light show. Work quickly, assuming you’ve got 20 minutes before the light changes position again.

2 BLEACHING EFFECT OF STRONG SUNLIGHT Strong early morning sunlight will also provide a full-on barrier if you shoot directly into it, but you can use it creatively too. Like shooting without a lens hood or with a lens flare filter, but without the drawbacks – this example has been edited with a high-key, low-contrast style. Depending on your editing app, create this effect by increasing Shadows and decreasing Highlights until you end up with mostly bright greys. In Lightroom, I’ve also added a very slight

split tone to add a hint of colour into the mix. Both overexposure and high key presets in Silver Efex will create a similar end result.

3 ENHANCEMENT EDITING Light at this time of day could present you with extreme contrasts, but you can call in some editing help by using a specialist plug-in such as Silver Efex. In this example, a burning highlight hole and deep shadows were a problem to edit using Lightroom, but Silver Efex’s Full Contrast and Structure Preset (number 024) enabled me to pull out details and textures that were otherwise tricky to isolate with a Lightroom mask. When editing lighting extremes, plug-ins and presets are a great way to preview potential treatments available from your file – there will always be something you can work with, together with some outcomes you never imagined were possible.

4 FINAL OUTCOME For my project, I’ve spent a week shooting the light effects of the 5.30am sunrise, enhanced by editing barely visible light rays as they radiate across the morning landscape.

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COMMENT

All images © Tim Clinch

A FORTNIGHT AT F/8 Inspiration or explanation? This is the million-dollar question Tim Clinch asks this month as he recalls the seminal moments in his life in which one has consistently triumphed over the other.

ince the beginning of the dreadful time we are having in the coronavirus era, my life, like many people’s lives, has changed exponentially. As a photographer who specialises in travel, my work has all but dried up. Some of my main clients, both for commissioned work and for picture sales, were airline magazines, almost all of which

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have either paused publication during the pandemic or closed down permanently. The two or three wine magazines that I could rely on for commissions have similarly halted production and who knows whether they will return or not. My only hope is that in these desperate times most of us find that a glass of wine or two helps the situation along a bit, so fingers crossed. All is not lost, however, as

I have been spending a lot of my time on Zoom, where, alongside a great friend and photography colleague, Joanna MacLennan, I am holding weekly sessions talking, looking at and sometimes arguing about the wonderful world of photography and all that’s in it (see @ twophotographers2020 on Instagram if you’re interested). One of the questions that has been burning away in my brain

during all this has been the one at the beginning of this column – inspiration or explanation – and I realise that, for me, in my career as a photographer, inspiration wins hands down every single time.

t won the first time I ever set eyes on the photograph that changed my life and that I will take to my grave: Migrant Mother by Dorothea Lange. I wrote a whole column about it a couple of years back. It won during the long and badly paid years I spent as an assistant, watching as several of the masters of their craft I was lucky enough to assist went about their business. The lesson I learned time after time was that planning was pretty much the key to everything in photography. Or, as Terence

THE PICTURES These pictures are all from the wine magazines I work for and go to prove that a wine shoot is not all bottles and glasses.

PHOTOGRAPHER OF THE MONTH In June 1954, at the age of 56, photographer Berenice Abbott set off with two companions from New York and drove south along US Route 1 capturing the road, its towns and inhabitants. From Florida motels made from buses to Maine potato farmers, Abbott memorialised communities up and down the east coast until they reached Key West in Florida. Once there, they turned around and retraced the route to its northern terminus at Fort Kent, Maine. While I love Berenice Abbott’s early work and her moving portraits of remarkable subjects such as James Joyce, Eugène Atget and Peggy Guggenheim, it is to her Highway 1 series that I return to time and time again.

timclinchphotography.com | @clinchpics |

clinchpics

WHAT TIM DID THIS MONTH

Getting inspired by revisiting some of my old books which I haven’t looked at for too long, and thoroughly enjoying inspiring some new people in our workshops by introducing them to some of the greats of photography.

Donovan once barked at me when I’d left something behind in the studio when we were on a location shoot, ‘Listen sonny, never forget the seven Ps: Prior Planning and Preparation Prevents P*** Poor Performance.’ Yes boss, sorry boss, etc. It won the first time a still life photographer I was assisting pressed a copy of Irving Penn’s Worlds in a Small Room into my hands and said: ‘Here you go, you might like this.’ It won the time that a photographer I was working for asked me to type out a quote for a job for what I thought was a lot of money and, seeing the

slightly startled look in my eyes, said to me: ‘Always remember, I’ve lost far more jobs by being too cheap than being too expensive. They want to think they’re hiring someone special.’ It won the time, when assisting a photographer whose work I had admired for a long time called Rolf Gobits, we went to the Hotel Meurice in Paris to photograph a prominent member of then prime minister Margaret Thatcher’s cabinet. I’d been assisting for about five years by then, had learned a lot and was wondering if I was ready to go out on my own. Rolf decided where he wanted to

shoot (next to a big window with beautiful soft light coming in) and set up his wooden 5x4 Gandolfi (one of which I was to buy for myself later on, my favourite ever camera). Rolf took a meter reading and asked me to sit in for a Polaroid. Slightly baffled at the lack of lighting, I did so and Rolf held my eyes and said: ‘Right, four seconds at f/8. Sit still and don’t blink’. At this point, while we were waiting for the Polaroid to develop, my head exploded and every fibre of my body lurched and twitched. In my mind all the things I wanted to say, or actually scream out loud, were

Realising how much I miss Spain and taking pictures there. Before all this started I visited Cadiz at least three times a year and now it’s been nearly 10 months and frankly I’m desperate for a glass of ice-cold sherry. Heard someone use the dreadful acronyms BCV and ACV for the first time. ‘Well, of course BCV none of us would have thought anything like this would ever be possible and ACV everything is going to be completely different.’ (If you haven’t guessed, it’s Before and After Coronavirus).

careering around. ‘Rolf, you can’t possibly make this man sit still for a portrait for four seconds. And you can’t possibly shoot on 5x4 at f/8. And while we’re about it, where is all your flash equipment? All you’ve got are a couple of small tungsten lights and a flimsy reflector.’ Rolf peeled the Polaroid apart to reveal a simply beautiful, perfect shot (even though it was a picture of me), soft, gentle light wrapping itself around my slightly puzzled visage. I still have the Polaroid and treasure it, as it was one of the most inspirational moments in my photographic lifetime. Yes, rules are important. Yes, they need to be learned, but the lesson I learned on that day was that rules are also made to be broken. Explanation? Yes, important but most times you can get that by asking. Inspiration? Once you start looking it’s everywhere.

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INSPIRATION ONE-DAY PHOTO PROJECTS/20 All images © Eddie Ephraums

WRITING FOR PHOTOGRAPHERS Three seemingly simple nuggets of advice from Black+White Photography’s former editor encouraged Eddie Ephraums to undertake a voyage of semantic discovery about his own photography and what really makes him tick.

’ve no doubt that readers of B+W Photography, and contributors like myself, still miss recently retired editor Elizabeth Roberts. In addition to being a wonderful editor, Elizabeth is a highly experienced creative writing teacher, so who better to help with this month’s oneday project, which focuses on photographic writing?

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It follows a conspicuous case of writer’s block that I’ve had with my A Photographer at Work online journal.

My hope is that Elizabeth’s advice will also encourage fellow photographers to write. Writing gives us a

Below The inspiration Photography is a challenge. So is writing about it, especially if we are writing about our own work. But writing has its rewards. It can inspire creative ideas and provide previously unseen insights into our image making. To honour the challenge of writing, I’ve chosen three images from a recent trip to Venice, each on the theme of dealing with adversity.

fresh perspective and a deeper understanding of our photography, and much as I find writing hard, I have always found it offers useful and often unexpected insights into my image making. Following a frank discussion about my journal, Elizabeth recommended three simple writing exercises. The first exercise is one I have always

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› found incredibly insightful and

a great tool for helping other photographers understand what grounds their work. The exercise is to think of three words that describe your photography and your approach to it. Elizabeth’s second exercise is to write a short paragraph about your work, but from the viewer’s perspective. Her third is to describe what you would like the viewer to see in your images. If I take the first exercise as an example, the three words that always come to mind are: exploration, meditation and revelation. In other words, I consider my photography to be about noticing what’s there in my day-to-day exploration of life. My photography is also

Above The idea As a photographer I am free to make images whenever and pretty much wherever I want, but freedom can become an endless playing field with creatively crippling consequences. Constraints are therefore helpful, if seemingly unpleasant. Having my photographic gaze steadfastly met by a one-eyed cat, confined to a perpetual third floor existence, serves as a sharp reminder of this.

about being present, focusing my lens (meditating) on what everyday opportunities and a present state of mind can provide. And it is also about discovering what the picture editing and image sequencing/ photobook-making process can then uncover or reveal.

igging a little deeper, I like to explore places and situations with my camera nestled in the palm of my hand (especially my Fujifilm X100 compact), feeling its presence like holding a perfectly formed pebble found on a favourite beach.

‘Writing gives us a fresh perspective and a deeper understanding of our photography.’

As I wander with my camera, I like to let my mind meander, giving my imagination free rein to play, all the time trying not to let conscious thoughts (or the inner critic) take over. Conscious thought does come into play, but later when I review the images and edit them into a sequence that finally reveals an often unexpected narrative. The subsequent book might be just three images long, or it might be many more. As a useful addition to Elizabeth’s three exercises, I recommend you elaborate on your own three words, as I have tried to do here. Then elaborate some more. I also asked Elizabeth for some writing tips. First: make sure that your writing is

›

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personal and human. Second: be sure to use both a dictionary and a thesaurus to find the precise meaning of what you are trying to say. Third: avoid all clichés. In response to Elizabeth’s excellent, suitably challenging advice, I am tempted to proffer a cliché: ‘Easier said than done.’ Writing isn’t easy for us photographers. But who said writing or photography should be easy? It’s important to remind ourselves, as Elizabeth has done, that in order to avoid written or photographic clichés we

Above The realisation I sincerely hope this doesn’t sound flippant, but the coronavirus lockdown is an opportunity to reflect on life and what is most important to us all. Through photography we can also reflect on what matters, in a way that words or deeds can not always express. Therefore a contemplative picture is perhaps the best way for me to end this One-Day Project.

need to put in the effort and challenge our thinking, in this case challenging it through the written word. As creative individuals it is

natural that we may feel out of our depth or become blocked as we try to get to grips with writing, as I have found writing a public online journal (and

‘As I wander with my camera, I like to let my mind meander, giving my imagination free rein to play.’

more about that in the journal itself). What isn’t healthy or good for our photography is to avoid challenges, or to keep quiet about what challenges us, even if that means talking about it publicly to an entire photographic magazine audience. But, now that I’ve written this, I feel ready to start my journal again, to discover – as I believe we all can through writing – some really useful photographic insights and inspiration. envisagebooks.com aphotographeratwork.com

›

PERSONAL VISION TO FINE ART PRINT

how do you see the world?

Open Studio Workshops Oct 18-23, 2020. Open Studio Workshop Centre. NW Scotland PERSONAL VISION TO FINE ART PRINT EDDIE EPHRAUMS & ADRIAN HOLLISTER

Learn the skills and develop the vision to print colour and b&w images in your own unique style, for portfolios, exhibitions and artist-style books. Mar 22-28, 2021

NORTH & SOUTH UIST EDDIE EPHRAUMS, ADRIAN HOLLISTER & LOCAL EXPERTS Mar 30-5 Apr, 2021. Open Studio Workshop Centre. NW Scotland EXPLORE YOUR ARCHIVES EDDIE EPHRAUMS, ADRIAN HOLLISTER & ELIZABETH ROBERTS Visit our website for a full list of workshops

www.openstudioworkshops.com info@openstudioworkshops.com

Prints of local Mellon Udrigle beach Linda Lashford

Nothing matches the creative buzz and collective experience of a small group OSW residential workshop Set up by EDDIE EPHRAUMS and ADRIAN HOLLISTER, our unique range of outcomebased workshops cover the practical, creative and aesthetic considerations of being a photographer. You will be inspired, motivated, encouraged and pleasantly challenged.

TECHNIQUE

All images © Tim Clinch

SMART GUIDE TO PHOTOGRAPHY Images viewed on small screens need extra spice for them to be noticed, and strong diagonals and simple framing devices should be at the top of your creative shopping list. Tim Clinch shares some great ideas.

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1 wrote in this column a while ago about adding strength and impact to your mobile photography by using diagonals, and indeed they are a very powerful addition which work every time. The main reason that mobile photography needs added impact is purely because so often our mobile pictures are looked at small, on our phone or on Instagram, rather than printed. There’s nothing wrong with this, but I will never miss the opportunity to urge you all to get some pictures printed. Another very useful trick to add impact and lead your viewer’s eye into your picture is adding a frame. By this I do not mean a physical frame to the picture – you can do this when you have them printed and hang them on your wall. No, I mean compositional

2 framing, as in the examples I have chosen here. Framing an image with something surrounding it somehow anchors it and lends a bit of solidity. It can be as simple as shooting through

a doorway, as in the image looking out on to my favourite beach in Europe (picture 1), or the tram in Kyiv, Ukraine, framed by the metalwork of the cafe I was sitting in as it trundled past (picture 2).

THE PICTURES THIS MONTH Hopefully the pictures shown here demonstrate what I discuss in the main text. They were shot on the Costa de la Luz in Cadiz (1); Kyiv, Ukraine (2); the wonderful fish market, designed by Gustave Eiffel (of Tower fame), in Jerez de la Frontera (3); a bodega in Sanlúcar de Barrameda in Spain (4); at a friend’s house near Seville (5); and the door to the Church of the Holy Sepulchre in Jerusalem (6).

A PROCESSING TIP I’ve said this before, but as in all our mobile photography, be bold. You can throw a lot more at a mono image than you can at a colour one. Use age-old tricks of the trade such as diagonals and framing, and avoid anything wishy-washy in your B&W processing. As you all know, I rarely venture much further than the mighty Snapseed for my mobile processing needs and always make sure to have a look at the filters in the Black & White processing tool (contrast, bright, dark and so on), as they often do the job perfectly. Oh, and don’t forget to look at the filters in Noir as well.

The other pictures demonstrate what I’m talking about perfectly, the only exception being picture 5, which proves the framing does not have to be square or rectangular to do the job. This lovely little succulent in a round drainpipe in a wall shows that anything that anchors your eye does the trick. Adding strong lines that help your viewer’s eye to enter your picture and add an element of mystery by looking through to another view is nothing new. Indeed, it is something that photographers have been using since the birth of the medium, but, just like using diagonals, they work. The longer I go on through my personal photographic voyage I realise there really is nothing new. It’s all been done before so, as they say: ‘If it ain’t broke, don’t fix it.’

timclinchphotography.com | @clinchpics |

clinchpics

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INSTAGRAMMER OF THE MONTH Not a mobile photographer. In fact, he never even held an iPhone as he died in 2004, but the Richard Avedon Foundation (@avedonfoundation) can tell us more about impact in our mobile images than pretty much anyone ever has. A brilliant and inspirational account. Look, learn and be inspired every day by the master.

SMARTSHOTS The one camera you always have with you is on your phone, and we want to see the pictures you take when the moment is right. We have three Samsung EVO Plus 64GB MicroSDXC cards with SD Adapters (worth £25.99) which have up to 100MB/s Read and 60MB/s Write speed to give away each month to three winners.

STRATFORD

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ETCHINGHAM

PEARCE

WINNER

MIRZA

TANCREDI

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WINNER

PARKER

SCHMELING

SUBMIT YOUR PICTURES Submit your hi-res pictures through our website at: blackandwhitephotographymag.co.uk or via Twitter by tagging us @BWPMag and using the hashtag: Smartshots. If you are submitting via Twitter we will contact you for hi-res if you are chosen. www.samsung.com/memorycard

YOUR B+W

SALON In our search for some of the best work by black & white aficiondados, we came across Adam Clutterbuck’s pictures of a wood that has grown up among the slag heaps of an old mining area in the West Country.

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Nether Wood by Adam Clutterbuck ‘Nether Wood is a small area of willow, ash and beech woodland that has grown up among the slag heaps resulting from centuries of lead mining in the heart of the Mendip Hills in Somerset. Abandoned since 1885, the site has been reclaimed by nature, the ugly landscape partly softened by vegetation, the settling reservoirs choked by plant growth and inhabited by waterfowl. My photography attempts to evoke the atmosphere that I feel in this still-poisoned place – twisted branches and reflective dark pools set against the turning of the seasons. I chose a freeform lensbaby to deliver the style of imperfect images I wanted.’ adamclutterbuckphotography.com

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SUBMIT YOUR WORK TO SALON We are looking for stories told entirely in pictures. If you think you have just that, submit a well edited set of between 10-15 images online at blackandwhitephotographymag.co.uk. Turn to page 90 to see how you can submit your work.

POLAROID HI-PRINT 2X3 Instant film fans rejoice. Less than a year after Polaroid reclaimed its proper name (having been known as the Impossible Project and Polaroid Originals since its rebirth in 2008), the now Dutch-based originator has launched the Polaroid Hi-Print 2x3, a Bluetooth-enabled instant printer for the smartphone generation. Each cartridge contains 20 sheets that you print, peel and stick, with a free app that allows you to add filters and text to your images before printing. £89.99 (printer only) and £119.99 (starter set) uk.polaroid.com

FUJINON XF50MM F/1

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Fujifilm has released what it claims is the world’s first autofocus f/1 lens for any mirrorless system. The Fujinon XF50mm f/1.0 R WR has a 35mm equivalent focal length of 76mm and features all the usual XF weather sealing to protect against dust and moisture. Weighing in at a relatively light 845g, this groundbreaking 50mm measures 103.5 x 87mm, with 12 elements in nine groups, including one aspherical element and two extra-low dispersion (ED) elements to control spherical aberration. The new lens also features nine aperture blades for large, smooth bokeh and is described as an incredible tool for visual storytellers by Fujifilm’s senior director of marketing and product management, Victor Ha. £1,499 fujifilm-x.com

TESTS AND PRODUCTS

BLACK+WHITE

LOVES NEW PHOTOGRAPHY GEAR IN THE SHOPS AND ONLINE

LAOWA 2X MACRO LENS Laowa has added a MFT-optimised 50mm 2x macro lens to its line-up. The 50mm f/2.8 2x Ultra Macro APO is the world’s first 2x macro lens for MFT cameras and has a minimum focusing distance of 13.5cm, and a 35mm equivalent focal length of 100mm. It has 14 elements in 10 groups, seven aperture blades and a 49mm filter thread. £399 laowalens.co.uk

LOMOGRAFLOK 4×5 INSTANT BACK Attention large-format aficionados – Lomography has announced the LomoGraflok 4×5 Instant Back. Compatible with all Graflok-equipped 4×5 cameras, the LomoGraflok is an individual light-tightened instant film ejection unit for use with Fujifilm Instax Wide, described as the most widely available and cost-effective instant film on the market. As well as the LomoGraflok 4×5 Instant Back itself, the set also includes a focus compensation and composition mask and is intended as a more efficient way to test large-format camera set-ups before exposing expensive 4x5 sheet film. Although this analogue-tastic device won’t see the light of day until next April, preorders will save 10%. £116 shop.lomography.com

MEYER OPTIK GÖRLITZ LENS Back from the grave and under new ownership, the Meyer Optik Görlitz brand has already launched one new manual focus lens this year and is now ready to showcase its second: the Lydith 30mm f/3.5 II. Following the Trioplan 100mm f/2.8 II, the second-generation Lydith 30mm (the first was launched via Kickstarter back in 2017, itself a radical redesign of the original 1964 version) has been mechanically redesigned inside and out and features a minimum focusing distance of 15cm, a filter thread of 52mm and is available in the following mounts: Canon EF, Nikon F, Fujifilm X, Sony E, Pentax K, M42, Micro Four Thirds, Leica M and Leica L. €876 meyer-optik-goerlitz.com

PHASE ONE 90MM

SILVER PENTAX K-1 MKII

More large-format goodness, this time in the form of Phase One’s latest lens for its XT camera system, the Rodenstock XT – HR Digaron-W 90mm f/5.6. Released last year to much acclaim, XT is a compact medium-format system (a snip at just £6,840 body only) that accepts Phase One’s IQ4 digital backs and special XT lenses made by German optical specialist Rodenstock and is capable of shooting at resolutions up to 150Mp. The Rodenstock XT – HR Digaron-W 90mm f/5.6 is the fifth such lens and produces a large 120mm image circle designed to take full advantage of the XT system’s ability to shift 24mm in both the X and Y axes. A sixth and final XT lens is just around the corner. £12,552 phaseone.com

Pentax has released a limited-edition silver version of its flagship K-1 MkII camera along with three silver editions of its Star lenses. The full-frame DSLR, released in 2018 to positive reviews, features a 36Mp CMOS sensor, Shake Reduction II in-body image stabilisation and maximum ISO of 819200. The silver version is limited to only 1,000 units, each of which has been give a unique serial number from 0000001 to 0001000. The trio of lenses are the D FA 50mm f/1.4 SDM AW (£1,199), D FA 70-200mm f/2.8ED DC AW (£2,299) and D FA 85mm f/1.4ED SDM AW (£1,999). Only 600 units of each will be produced and will also feature unique serial numbers. £1,899 ricoh-imaging.eu

SAMYANG 35MM F/1.8 Want to add a tiny lens to your tiny camera for super-stealthy street photos? Samyang’s latest addition to its Tiny Series is the AF 35mm f/1.8 FE, a fast and lightweight lens designed exclusively for Sony’s full-frame E-mount. Significantly cheaper than Sony’s own glass, this autofocus prime follows on from Samyang’s 45mm f/1.8 and 75mm f/1.8 and is made up of 10 elements in eight groups and features a nine-blade circular aperture for smooth bokeh. It’s also weather sealed to protect from light dust, rain and snow and weighs a minuscule 210g and measures just 63mm in length. A newly researched and developed Linear STM takes care of focusing. £359 intro2020.co.uk

DUBBLEFILM SHOW Billed as a fun, affordable 35mm reusable camera with flash, the new Show camera from analogue specialist Dubblefilm is a throwback to when compact cameras were cheap, plastic and disposable – only this time they’re neon pink! The Show features a fixed 32mm f/8 lens, has a minimum focusing distance of 1m and shutter speed of 1/125sec. Film rewind is manual and the camera also includes a cotton neck strap, custom Nähe case by Japanese design house Hightide and Riso-printed instructions illustrated by Jose A Roda (joseantonioroda. com). If you fancy a retro antidote to digital precision and a colourful alternative to overpriced secondhand cameras, Dubblefilm will Show you the way. €55 dubblefilm.com

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CHECKOUT

PRINTERS Printing your own pictures gives the ultimate control, writes Daniel Calder, as he delves into the rich variety of printers currently on the market.

HP DESIGNJET Z9 24IN A1 printing

CANON PIXMA PRO-10S Great value

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The Canon Pixma Pro-10S has been around for many years now, but remains a solid option for those who print infrequently and have no need to print anything larger than A3. The Pro-10S shares the same Lucia ink system as the more expensive Canon Pro-1000 A2 printer, but with a couple of crucial differences as it uses 10 ink cartridges instead of 12. By going without the light and dark grey cartridges the fine tonal gradations of black and white printing are fractionally compromised, but it means the system is slightly cheaper to run. The smallvolume cartridges also mean they will need to be replaced more often for heavy users, but with less of an outlay. Happily, the Chroma Optimizer is included, which gives a glossy finish to prints while producing deeper blacks. The machine is large and weighs a hefty 20kg, so you’ll

want to find a good spot for it and leave it there. It boasts wireless connection and syncs to cloud services and apps without issue, but shows its age with the lack of a touchscreen.

The Canon Pixma Pro-10S includes a Photo Black, Matt Black, and Grey cartridge for nuanced mono printing

If price is of little concern or you want to print exhibitionstandard pictures up to A1 in size then the HP DesignJet Z9 is a fine option. The key stumbling blocks to overcome before you start churning out Tate-quality prints is the £3,100 price tag and whether or not you have enough room to find a spot for this table-sized printer: it is so large that it comes with its own stand. HP has opted for nine colour cartridges and an optional gloss enhancer instead of the 12 used in earlier models, claiming the benefit in speed and replacement costs of having less ink cartridges far outweigh the minimal loss of print quality. The speed of the printing is remarkable and a welcome positive, but each 300ml cartridge costs around £125. That’s a lot of ink, so you

The HP DesignJet Z9 is the size of a small table and prints images up to A1 in size will want to be printing regularly to warrant the cost and to keep everything working smoothly. The printer has two roll attachments, allowing easy switching between media. LIKES

A1 roll printing Quick print output High-volume ink tanks DISLIKES

Huge price tag Size and weight

LIKES

Cheap (but small) ink cartridges High-quality monochrome printing Chroma Optimizer cartridge enhances glossy prints DISLIKES

Heavy machine 10 cartridges to maintain

TECH SPECS

Max print size A3+ Print resolution 4800 x 2400 dpi Connectivity Wireless, USB 2.0, ethernet Dimensions (WxDxH) 689 x 385 x 215mm Weight 20kg Guide price £530 Cartridges Canon PGI-72 Guide price £14 Volume 14ml Colours 10 (Photo Black, Matt Black, Grey, Cyan, Photo Cyan, Magenta, Photo Magenta, Yellow, Red, Chroma Optimizer) Contact canon.co.uk

Max print size A1 Print resolution 2400 x 1200 dpi Connectivity Wireless, USB 2.0, ethernet Dimensions (WxDxH) 1293 x 695 x 998mm Weight 72kg Guide price £3,100 Cartridges HP 746 and 747 Guide price £125 Volume 300ml Colours 9 (Photo Black, Matt Black, Light Black, Red, Grey, Cyan, Yellow, Green, Blue) + optional gloss enhancer Contact store.hp.com

CANON IMAGEPROGRAF PRO-1000 Borderless A2 prints

EPSON SURECOLOR P800 Paper roll attachment The Surecolor P800 is Epson’s flagship A2 desktop printer and is capable of producing exhibition-standard prints to rival the Canon Pro-1000. The P800 uses an UltraChrome HD ink set made up of nine cartridges that includes four specialist monochrome cartridges. Only three of these are used at any time, as the machine switches between Photo Black for glossy paper and Matt Black for fine art paper. This can be done manually or automatically, but a small amount of ink will be wasted each time it happens. Ink is expensive too, but the cartridges are high-volume so they will need changing less often, along with the added benefit of there only being nine to replace compared to the dozen of the Canon Pro-1000. One area the P800 trumps the Canon Pro-1000 is its ability to use a paper roll for panoramas and a front-loading

tray for a wide variety of fine art papers up to 1.5mm thick. The printer weighs in a shade below 20kg, connects wirelessly and even has a tilting touchscreen display panel, which is more than can be said for the Canon models. LIKES

Excellent monochrome printing Features a paper roll attachment Accepts thick fine art paper

Professional-quality, borderless A2 printing is possible with the impressive Canon Pro-1000. Two feed trays allow a broad range of media to be used up to 0.7mm thick and 43.2cm wide. Thanks to a recent firmware update, large panoramas up to 120cm can now be printed too. The printer uses a vacuum system to keep the paper flat as it moves through the machine, reducing paper curls and smudging. The Lucia Pro ink set employs 12 cartridges to give exceptional results in colour or monochrome. Four specialist black & white cartridges ensure beautifully graduated monochrome prints, while the Chroma Optimizer cartridge adds a gloss coat on suitable papers to intensify a print’s depth and guarantee an even finish. Improved print quality comes at a cost though and with each PFI-1000 cartridge priced at £45 it’s not cheap to run. That said, they are

higher-volume tanks to minimise the frequency of replacement. This 17in printer just about manages to fit on a desk, but it’s seriously heavy and takes a bit of shifting to get in position. A 3in colour LCD displays information and instructions clearly.

Four of the 12 ink cartridges in the Canon imagePrograf Pro-1000 are dedicated to monochrome printing LIKES

Prints borderless A2 pictures Exceptional monochrome printing Vacuum feed system keeps paper flat DISLIKES

Expensive cartridges No paper roll attachment Heavy and difficult to move

DISLIKES

Switching between blacks wastes ink Expensive cartridges

The Epson SureColor P800 sports a paper roll attachment for printing panoramas

TECH SPECS

Max print size A2 Print resolution 2880 x 1440 dpi Connectivity Wireless, USB 2.0, ethernet Dimensions (WxDxH) 684 x 376 x 250mm Weight 19.5kg Guide price £1,026 Cartridges Epson UltraChrome HD Guide price £50 Volume 80ml Colours 9 (Photo Black, Matt Black, Light Black, Light Light Black, Cyan, Light Cyan, Vivid Magenta, Vivid Light Magenta, Yellow) Contact epson.co.uk

Max print size A2 Print resolution 2400 x 1200 dpi Connectivity Wireless, USB 2.0, ethernet Dimensions (WxDxH) 723 x 435 x 285mm Weight 32.3kg Guide price £1,099 Cartridges Lucia Pro PFI-1000 Guide price £45 Volume 80ml Colours 12 (Photo Black, Matt Black, Photo Grey, Grey, Cyan, Photo Cyan, Magenta, Photo Magenta, Yellow, Red, Blue, Chroma Optimizer) Contact canon.co.uk

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Two new titles “fotoVUE are the gold standard of photo-location guidebooks. Local authors share their knowledge, guiding you to the classic places and those off the beaten track.”

384 pages, 62 locations and over 400 beautiful photographs

448 pages, 82 locations and over 500 beautiful photographs

• Detailed maps, directions and co-ordinates for each location • Best seasons and time of day to visit • Sun compass • Suggested itineraries and short walks • Accessibility information for the less mobile • Accommodation and best places to eat and drink

Discover all our books at: fotovue.com TO GET 20% OFF, INCLUDING FREE UK SHIPPING, USE DISCOUNT CODE OP20 AT CHECKOUT

Fotovue guides are also available from Amazon and all good bookshops.

www.fotovue.com The discount code only applies to books at full RRP, not to signed pre-orders or in conjunction with any other offers. Offer expires on 31st December 2020.

CANON IMAGEPROGRAF PRO-300

EPSON ECOTANK ET-7750

A3 printer

Cheap running costs The Epson EcoTank ET-7750 is perfect for those looking for a top-class, 3-in-1 printer with economical running costs. The high up-front cost for the printer is offset by the absence of cartridges, as the EcoTank range uses small containers to hold the different inks. Replacements for the five colours are purchased in 70ml or 140ml bottles.

Lying midway between the Canon Pixma Pro-10S and Canon imagePrograf Pro-1000 in price, the Pro-300 shares the same 10-cartridge ink system as the cheaper model but has the benefit of being lighter and more compact than both. The Matt Black cartridge ensures deeper blacks on fine art papers, while Photo Black brings out the best in prints with gloss paper. TECH SPECS

Max print size A3+ Print resolution 4800 x 2400dpi Connectivity Wireless, USB 2.0, ethernet Dimensions (WxDxH) 639 x 379 x 20mm Weight 14.4kg Guide price £700 Cartridges Lucia Pro PFI-300 Guide price £45 Volume 80ml Colours 10 (Photo Black, Matt Black, Grey, Cyan, Photo Cyan, Magenta, Photo Magenta, Yellow, Red, Chroma Optimizer) Contact canon.co.uk

TECH SPECS

Max print size Print resolution Connectivity Dimensions (WxDxH) Weight Guide price Cartridges Guide price Volume Colours Contact

A3 5760 x 1440dpi Wireless, USB 2.0, ethernet, memory card 526 x 415 x 168mm 10.5kg £599 105/106 EcoTank inks £12.49 70ml 5 (Black, photo black, cyan, yellow, magenta) epson.co.uk

EPSON SURECOLOR P5000 STD 240V HP SPROCKET SELECT Exceptional proofing

Mini-prints

The Epson SC P5000 boasts up to 99% Pantone solid-coated colour accuracy for pro-level proofing and an UltraChrome HDX ink set, composed of 11 cartridges, including four monochrome cartridges, for museum-standard printing. It also features a fine art paper path, which allows printing onto card up to 1.5mm thick and a roll paper attachment for making prints up to 100ft in length and 17in wide.

The HP Sprocket Select is an ink-free pocket printer that works with your smartphone or tablet via Bluetooth. Heat-sensitive Zink paper is used instead of ink cartridges to make 5.8x8.7cm prints with a peel-off sticky back. It’s a fun and efficient way to print out shareable mementos or document experiences for a scrapbook or diary.

TECH SPECS

Max print size A2+ Print resolution 2880 x 1440 dpi Connectivity USB 2.0, ethernet Dimensions (WxDxH) 863 x 766 x 406 mm Weight 52kg Guide price £2,100 Cartridges Epson UltraChrome HDX (T913) Guide price £80 Volume 200ml Colours 11 (Photo Black, Matt Black, Light Black, Light Light Black, Cyan, Light Cyan, Vivid Magenta, Vivid Light Magenta, Yellow, Orange, Green) Contact epson.co.uk

TECH SPECS

Max print size Print resolution Connectivity Dimensions (WxDxH) Weight Guide price Cartridges Guide price Volume Colours Contact

5.8 x 8.7cm 321 x 600 dpi Bluetooth 88 x 130.4 x 17.5mm 0.18kg £130 Zink sticky-backed 2.3x3.4in sheets £14.99 20 prints 4 store.hp.com

B+W

HOW TO GET PUBLISHED IN BLACK+WHITE PHOTOGRAPHY

Visit our website

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SUBMIT YOUR IMAGES ONLINE AT www.blackandwhitephotographymag.co.uk BL ACK+WHITE PHOTOGR APHY COOL, CRE ATIVE AND CONTEMPOR ARY

LAST FRAME YOUR B+W

SMARTSHOTS

LAST FRAME

SMARTSHOTS

Here at B+W we’re looking out for some really stunning single images that just lend themselves to printing and mounting large scale. Each month one talented winner will have their picture given this treatment by London’s state of the art printing service, theprintspace – it could be you!

The one camera you always have with you is on your phone, and we want to see the pictures you take when the moment is right. We have three Samsung EVO Plus 64GB MicroSDXC cards with SD Adapters (worth £25.99) which have up to 100MB/s Read and 60MB/s Write speed to give away each month to three winners.

TANCREDI

STRATFORD

B+W

WINNER

WINNER This month’s winner is James Whittaker from London who wins a 20x24in print dry-mounted on to Foamex, an exceptional quality and highly rigid foamboard. James can choose from a range of four digital and seven fine art papers for printing.

HOW TO ENTER Go to our website: blackandwhitephotographymag.co.uk

ETCHINGHAM

PARKER

SCHMELING

Do you have a single image that you’d like printed big and hung on your wall? Send the file to us and you could win just that.

PEARCE

WINNER

MIRZA

Shoot with your smartphone and send in your pictures – you could be one of three lucky winners each month who wins a Samsung EVO Plus 64GB MicroSDXC card. Upload your pictures to our website, via Twitter by tagging us @BWPMag and using the hashtag #smartshots. If you are successful we will request high-res files.

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SALON

ONLINE COMMUNITY FOR ALL CONTACT DETAILS blackandwhitephotographymag.co.uk

YOUR B+W

facebook.com/blackandwhitephotog

B+W

PRIVACY If you win a prize (Last Frame or Smartshots) you agree we can give your contact details (address, email and telephone number) to the prize sponsor so they can contact you about sending you your prize. They will not use your details for any other purpose or pass them on to a third party.

We are looking for contemporary black & white pictures that tell a story about the world as you see it. Send us a well-edited set of between 10 and 15 pictures.

Aperture Leica 17a&b Riding House Street, London, W1W 7DT. 020 7436 9844

Leica M10-R £7100 inc. VAT

Leica M10-P Black or Silver £6490 inc. VAT

Leica M10-D

Leica M-A Black or Silver £3750 inc. VAT

£6590 inc. VAT

Leica SL2 £5300 inc. VAT

Leica Q2 £4350 inc. VAT

Leica M10 Monochrom (body only) £7250 inc. VAT

Leica MP 0.72 Black Paint or Silver £3850 inc. VAT

Leica D-Lux 7 Black or Silver £1030 inc. VAT

Leica 18mm f3.8 Super-Elmar-M ASPH Black

£2490

Leica 35mm f2.4 Summarit-M ASPH Silver

£1650

Leica 21mm f1.4 Summilux-M ASPH Black

£6090

Leica 50mm f0.95 Noctilux-M Black

£8990

Leica 21mm f3.4 Super-Elmar-M ASPH Black

£2350

Leica 50mm f1.4 Summilux-M ASPH Black

£3250

Leica 24mm f1.4 Summilux-M ASPH Black

£6090

Leica 50mm f1.4 Summilux-M ASPH Silver

£3450

Leica 24mm f3.8 Super-Elmar-M ASPH Black

£2090

Leica 50mm f2 Summicron-M ASPH Black

£1990

Leica 28mm f1.4 Summilux-M ASPH Black

£5290

Leica 50mm f2 Apo-Summicron-M ASPH Black

£6390

Leica 28mm f2 Summicron-M ASPH Black

£3490

Leica 50mm f2.4 Summarit-M Silver

£1490

Leica 28mm f2.8 Elmarit-M ASPH Black

£1850

Leica 75mm f1.25 Noctilux-M ASPH Black

£10500

Leica 28mm f5.6 Summaron-M Silver

£2190

Leica 75mm f2 APO-Summicron-M ASPH Black

£3190

Leica 35mm f1.4 Summilux-M ASPH FLE Black

£4250

Leica 75mm f2.4 Summarit-M Black

£1650

Leica 35mm f1.4 Summilux-M ASPH FLE Silver

£4390

Leica 90mm f1.5 Summilux-M ASPH Black

£10700

Leica 35mm f2 Summicron-M ASPH Black

£2650

Leica 90mm f2 APO-Summicron-M ASPH Black

£3650

Leica 35mm f2 Summicron-M ASPH Silver

£2750

Leica 90mm f2.2 Thambar-M Black Paint

£4990

Leica 35mm f2.4 Summarit-M ASPH Black

£1650

Leica 135mm f3.4 APO-Telyt-M Black

£3190

Please check our website for full list. All new Leica products are covered by usual manufacture’s guarantee www.apertureleica.com

Tel: 020 7436 9844

Email: info@apertureleica.com

Aperture Leica 17a&b Riding House Street, London, W1W 7DT.

020 7436 9844

The M10-R £7100 Inc. VAT (Lens not included) Available in Black or Silver Chrome * 40 Megapixel CMOS M-Sensor * ISO 100 to ISO 50000 * Exposure times up to 16 min * Touchscreen * Ultra-silent shutter * And of course, made in Germany

The D-L ux 7 in Bla ck or Silv er £10 30 Inc . VAT

24-75mm f1.7-2.8 Summilux Lens - 17 Megapixel 4/3 Sensor - 4K Video - Integrated Bluetooth & Wifi - ISO up to 25600

The settings and features of the M10-D are stripped back and fully mechanically controllable. In place of the digital screen we find an exposure compensation dial. In Stock : £6590 inc. VAT

We are now an official Leica stockist. Please call or visit our website for your requirements and availabilities. We are also keen to purchase your pre-owned cameras and lenses either outright or through part-exchange. www.apertureleica.com

Tel: 020 7436 9844

Email: info@apertureleica.com

NEXT MONTH B+W ISSUE 247 ON SALE 26 NOVEMBER

94 B+W

NEW YORK NOIR BY GIACOMO BRUNELLI ANDY GOTTS ON PHOTOGRAPHING BIG NAMES IN BLACK & WHITE

BREATHTAKING WILDLIFE PANORAMAS BY ZANA BRISKIN FABULOUS CONTEMPORARY B&W LANDSCAPES CONTACT US Web blackandwhitephotographymag.co.uk Facebook facebook.com/blackandwhitephotog Twitter @BWPMag Instagram@bwphotomag

95 B+W

YOUR B+W

LAST FRAME Here at B+W we’re looking out for some really stunning single images that just lend themselves to printing and mounting large scale. Each month one talented winner will have their picture given this treatment by London’s state of the art printing service, theprintspace – it could be you!

96 B+W

This month’s winner is James Whittaker from London who wins a 20x24in print dry-mounted on to Foamex, an exceptional quality and highly rigid foamboard. James can choose from a range of four digital and seven fine art papers for printing.

HOW TO ENTER Go to our website: blackandwhitephotographymag.co.uk

Find out more at www.theprintspace.co.uk

Over 80 years of experience in photography goes into every camera we make. It’s part of what makes the FUJIFILM GFX System special

FUJIFILM-X.COM IMAGE TAKEN BY X-PHOTOGRAPHER BENO SARADZIC

Photography Magazine

Articles inside

LAST FRAME

B+W LOVES

PROJECTS IN VISUAL STYLE

THE FINE ART OF PORTRAITURE

SALON

ONE-DAY PHOTO PROJECTS

SMART GUIDE

A FORTNIGHT AT F/ 8

HIT THE STREETS

AN ENGLISH EYE

A WAY OF SEEING

ON SHOW

60-SECOND EXPOSURE

NEWSROOM

PREHISTORIC SUNS

AMERICAN CONNECTION

IN THE FRAME

A FINE BALANCE