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COOL, CREATIVE AND CONTEMPORARY

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BLACK+WHITE PHOTOGRAPHY FEBRUARY 2017 ANTONIO OLMOS + SAUL LEITER + OLYMPUS OM-D E-M1 MKII + SHOOTING ARCHITECTURE ISSUE NO.199
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 © Anthony Bailey

BLACK + WHITE GETTING BACK

PHOTOGRAPHY ON TRACK
EDITORIAL
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com

H
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com
aving been such an exponent of the print,
Features Editor Anna Bonita Evans
such a believer in the power of holding
email: anna.evans@thegmcgroup.com a photograph in the hand rather than
Designer Toby Haigh viewing an image on screen – I realised
recently that I had slipped, that I had
ADVERTISING
Advertising Sales Guy Stockton hardly produced any prints over the last
tel: 01273 402823
email: guy.stockton@thegmcgroup.com
EDITOR’S year of so – and I wasn’t sure how that had happened.
Maybe I had become lazy. Or maybe it was just
PUBLISHING
LETTER economics – printing is expensive – but whatever
Publisher Jonathan Grogan
FEBRUARY the cause, it happened. That is, until I started on
MARKETING a new project.
Marketing Executive Anne Guillot 2017 I’d had this project in mind for some time and once
tel: 01273 402 871
started, I couldn’t stop and was involved with not only
PRODUCTION the photography but also some text that went with it.
Production Manager Jim Bulley
Origination and ad design GMC Repro I began to think about it as a book – which of course
Printer Buxton Press Ltd led to the idea of doing a mock-up. The first version consisted of my simply adding
Distribution Seymour Distribution Ltd pictures to a Word document, which was OK as far as it went, but for the second
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are very effective.
01
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Cheques should be made payable to they sold well (I didn’t make much profit but it was very nice to see them admired!).
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Quite apart from the principle – long live the print and all that – it has been
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Black+ White Photography (ISSN 1473-2467) is published
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01_EDS_LETTER_199 ER/MB.indd 1 20/12/2016 10:46

 © Antonio Olmos © Francesco Merlini

08 32

© Saul Leiter

24

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© Alex Schneideman

46

BLACK+ WHITE PHOTOGRAPHY ISSUE 199 FEBRUARY 2017 NEXT MONTH’S 200TH SPECIAL ISSUE IS OUT ON 16 FEBRUARY

COVER 32 HIS OWN LANGUAGE 18 ON THE SHELF

This month's cover is
by Vincent Versace
FEATURES
08 WITNESS TO HISTORY
Powerful pictures of the Troubles
by Antonio Olmos
24 LIGHT, FORM AND SOUL
Celebrating the work
of Saul Leiter
Francesco Merlini is not one
for following rules
66 FACE TO FACE
Beautiful horses by
Kerry Hendry
NEWS
04 NEWSROOM
Latest news in monochrome
06 ON SHOW
The show to see this month
The best new photography books
20 IN THE FRAME
Your guide to exhibitions
COMMENT
22 AMERICAN CONNECTION
Susan Burnstine meets
Rocky Schenck
42 A MODERN EYE
Shoair Mavlian on the
multi-talented Lionel Wendt

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 © Tim Daly © Oliver Lynton © Tim Clinch

56 72 68

© Lee Frost

50

03
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64 A FORTNIGHT AT F/8 INSPIRATION TESTS & PRODUCTS Send us your best

Tim Clinch shares some smartphone pictures
41 INSIGHT 78 IN FOCUS
tough love
Exploring the links between A closer look at the Olympus 72 SALON
text and image OM-D E-M1 MkII Images that tell a story
TECHNIQUE
50 TOP TIPS 46 THINKING PHOTOGRAPHY 80 CHECKOUT 88 SUBSCRIPTION OFFER
Lee Frost’s brilliant ideas for Is street photography Six of the best macro lenses Have B+W delivered to your door
photographing buildings a dead genre?
84 BLACK+WHITE LOVES 90 NEXT MONTH
56 PHOTO PROJECTS 60 GET CURATING Our pick of new photography gear Don’t miss our special
Learn to see the world in tones The rewards of 200th issue!
a joint exhibition YOUR B+W
68 SMART GUIDE 96 LAST FRAME
70 SMARTSHOTS A prize-winning single image
Ideas for getting your work seen

02-03_CONTENTS_199 ER/.indd 3 21/12/2016 12:24

 NEWS NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
© Jeremy Woodhouse/www.tpoty.com

HIGH CONTRAST
Leading brands will have the
latest gear on display at the
Photography Show at the NEC in
Birmingham from 18 to 21 March.
Canon, Fujifilm, Hasselblad,
Nikon, Olympus and Sony will
be there, as well as a host of top
photographers discussing their
work and techniques.
thephotographyshow.com
The National Media Museum
has appointed a new curator of
photography and photographic
technology. Dr Geoffrey Belknap
is a historian of photography,
visual culture and Victorian
science. He will be responsible
for the museum’s collection of

photographs and photographic
04 equipment, including
B+W internationally renowned works
and objects from the Daily
Herald, Kodak, and Impressions
Gallery collections.
nationalmediamuseum.
org.uk
Entries are now being taken
for the Felix Schoeller Photo
Award 2017. The international
competition offers a first prize
WORLD IN PICTURES
Black & white photographers were among the
award-winners in the Travel Photographer of the
Year competition.
The awards attracted entries from more than
120 countries, with Portuguese photographer Joel
Santos scooping top prize for his colour pictures
of traditional fishing in Ghana. Successful black &
white photographers included Alison Cahill and
© Andrew Bruce
Jeremy Woodhouse’s picture
was among the winners.
Jeremy Woodhouse from the UK, Ruiyuan Chen
from China and Beniamino Pisati from Italy.
The winning pictures go on display at the UK
City of Culture celebrations in Hull from 18 May
to 30 June and then the University of Greenwich
in London from 4 August to 3 September.
For more winning pictures from the competition,
see the app edition of this magazine.

FESTIVAL
of €10,000 plus category prizes
of €2,000. Deadline: 31 May.
felix-schoeller-

FEVER
photoaward.com
Stuart Franklin is one of the
speakers at the forthcoming
Arena annual seminar. The two- Photographers from across the UK
day celebration of photography will head to Derby this spring for
runs at the Riviera Hotel in the Format photography festival.
Bournemouth from 10 to 12 Launching on 24 March, the
March. Other speakers are month-long event includes new
Alixandra Fazzina, Ben Hall, work by 200 photographers,
Adrian Dennis, Alan Hayward a photobook fair and the results
and Vanda Ralevska. Tickets
of the Format17 Open Call
available from the website.
competition. Another highlight
arenaphotographers.com
is People, Places and Faces: the
The Circulations festival of young WW Winter’s Archive, a show of
European photography takes historical glass plates from the
place in Paris from 21 January 150 year-old local Winter’s Studio.
to 5 March. The event aims to
formatfestival.com
celebrate young photographers
across the continent.
festival-circulations.com From Cold Air Rising
by Andrew Bruce.

04-05_NEWS_199.indd 4 21/12/2016 10:56

 © Henry Iddon
HEAD FOR THE HILLS
Photographer Henry Iddon has
received Arts Council funding
to photograph contemporary
adventure sports with an
antique camera.
The Underwood Instanto
camera is on loan from the
Mountain Heritage Trust and
is the same camera used by the
Abraham brothers, who were
the first to photograph rock-
climbing and panoramas in the
Lake District. The camera is
made from solid mahogany and
uses 12 x 10in glass plates.
An exhibition of Henry
Iddon’s photography using
the Instanto camera runs at
the Keswick Museum and Art
Gallery until May.
© Dennis Stock / Courtesy of Peter Fetterman
Gallery, Santa Monica, CA
One of the pictures on show
– Audrey Hepburn during the
filming of Sabrina by Billy Wilder,
1954, by Dennis Stock.
BIG SHOW
More than 100 fine art
photography galleries will
be showing work at the
Photography Show in New York
from 30 March to 2 April.
The show, presented by AIPAD,
features contemporary, modern
and 19th century photographs
at Pier 94.
aipad.com
04-05_NEWS_199.indd 5
Wilteysha, 1993,
by Dana Lixenberg.
© Dana Lixenberg, courtesy
of the artist and Grimm,
Amsterdam
BACK IN PRINT
Two books of black & white
photography by Giacomo Brunelli
have just been released. The
Animals was originally published
in 2008 to great critical acclaim
and is now available in a new
edition with eight extra images
(see page 19 for a review). Also
just reprinted is Brunelli’s second
book, Eternal London. The books
are available from Dewi Lewis
Publishing, price £25 each.
dewilewis.com
SHORTLIST ANNOUNCED
The shortlist has been announced for the Deutsche Börse 05
Photography Foundation Prize 2017. The £30,000 prize rewards
a photographer for a body of work produced between 1 October
SMART CHOICE B+W
Kodak have unveiled a
2015 and 30 September 2016. The shortlisted artists are Sophie smartphone for photographers.
Calle, Dana Lixenberg, Awoiska van der Molen, Taiyo Onorato and The Kodak Ektra features a 21Mp
Nico Krebs. Their work is on show at the Photographers’ Gallery in camera offering an f/2 aperture,
London from 3 March to 11 June. The winner will be announced at plus a 13Mp front-facing camera
an awards ceremony during the exhibition run. with f/2.2 aperture. The camera
© Steve Gosling has a manual mode providing
adjustments to exposure, ISO,
focus, white balance and shutter
speed. It also sports a Super 8
app to give the look of Kodak’s
famous Super 8 movie film.
Price £449.
kodakphones.com
NEW BOOK
Black & white pictures by
A question of time American magazine photographer
John G Zimmerman can now be
UP FOR AWARDS
by Steve Gosling.
seen in a new book. Zimmerman
(1927-2002) took sport, fashion,
Congratulations to British photographer Steve Gosling, who received art and politics pictures for Life,
five nominations and an honourable mention in the Black & White Time and Sports Illustrated.
Spider Awards. The competition attracts thousands of entries, with accpublishinggroup.com
only a few hundred being awarded Nominee status.
21/12/2016 10:56
 NEWS ON SHOW
Drawn to calamity since he first held a camera at aged 10, photographing the dead
was Enrique Metinides’ day-job for almost half a century. Michael Hoppen Gallery
reveals a different perspective on his work, as Anna Bonita Evans finds out.

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Mexico City (VW burning), 1951.

A D
t 10 years old Enrique
Metinides knew he
was different to other
children. Rather than
spending his time enjoying the
unworldly innocence of youth
he was photographing the
aftermath of car accidents.
Using a Box Brownie camera
– a gift from his father – to
document the crashed vehicles
kept outside his local police
station in San Cosme, Mexico
City, even as a boy Metinides
was drawn to dark real-life
dramas that showed the
fragility of human existence.
Born in 1934, he had his first
photograph published when he
was just 12. The image was of a
dead body, a subject that became
a lifelong focus in his practice.
‘His catalogue is a reflection of the man himself: espite the grim subject
a strange dichotomy of ruthlessness and compassion, matter, his work stays
away from being
melancholy and hope, and randomness and certainty.’
exaggerated and is not
At 13 he was an unpaid but – red or bloody news – a section degrading to the victims. ‘I saw
regular assistant for a crime of mass media reporting on these accidents and I saw the
photographer at the tabloid tragic or violent events. evil in them,’ he says.
sensationalist newspaper In recent years the context ‘Sometimes I even feel angry
La Prensa and was given the for his work has shifted, moving because I remember the drama
nickname El Nino (the boy) from the pages of newspapers that the people went through.’
by his older contemporaries. to gallery walls. Wanting to go His catalogue is a reflection
Wanting to be the first on beyond a simple illustration of of the man himself:
a crime scene, Metinides a crime scene, Metinides a strange dichotomy of
enrolled as a Red Cross included little to no blood in his ruthlessness and compassion,
volunteer. He encountered the imagery. Instead he focused on melancholy and hope, and
living terrors of the fifth largest the bystanders of the accident randomness and certainty.
metropolis in the world first- with their morbid curiosity seen Metinides is an enigma.
hand, documenting its crimes, en masse. ‘I tried to take a In the 2015 documentary film
disasters and tragedies for different kind of photograph, The Man Who Saw Too Much
five decades. His skill and not with gory bodies,’ says we’re invited into his world where
commitment made him a key Metinides in a video interview he surrounds himself with vast
figure in defining nota roja for Vice magazine. collections of bullet shells from

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shoot-outs, 3,000 toy models
of emergency vehicles, and
newspaper cuttings, video
recordings and other ephemera
related to the 9/11 terrorist attack.
Yet these objects aren’t his only
06-07_ON_SHOW_199/ABE/ER.indd 7
company, far from being a recluse
he is a family man, now retired.
The documentary also shows
us his early interest in film noir
and classic gangster movies – key
influences as many of his images
Texaco, State of Mexico, August 1970.
All images © Enrique Metinides – courtesy of Michael Hoppen Gallery
hold a filmic quality. As curator
Trisha Ziff writes in the foreword
for the book The 101 Tragedies of
Enrique Metinides: ‘Metinides’
photographs are crafted with
cinematic precision and style,
State of Mexico, 1963.
07
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yet his compassion for the
victims is never far away. He
feels a deep moral responsibility
toward those left behind.’
His work’s wide appeal has
garnered much attention, with
the photographer winning many
prestigious awards, had books of
his catalogue published to great
success and been the focus of
numerous major international
exhibitions in New York, Berlin,
Madrid, San Francisco, London
and Paris.
Returning to the UK’s capital
city in 2017 is a selection of his
prints for a retrospective at the
Michael Hoppen Gallery. On
show in the early spring, the
photographs are a comprehensive
survey of some of the most
graphic and unsettling – yet
strangely intriguing – imagery
you’re ever likely to see.
ENRIQUE
METINIDES
is on show from 9 February to 24
March at Michael Hoppen Gallery,
3 Jubilee Place, Chelsea, London,
SW3; michaelhoppengallery.com
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NEWS EXTRA

TRAVEL PHOTOGRAPHER OF THE YEAR

We proudly present some of the best black & white pictures
from the Travel Photographer of the Year competition.
For more information see tpoty.com.
© Dominic Byrne/www.tpoty.com

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 All images this spread © Sonnge Cui/www.tpoty.com

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 All images this spread © Beniamino Pisati/www.tpoty.com

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 All images this spread © Ruiyuan Chen/www.tpoty.com
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 All images this spread © Alison Cahill/www.tpoty.com

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 INTERVIEW

All pictures were taken

during The Marching Season
in Northern Ireland 1995-2000.
© Antonio Olmos

A WITNESS
TO HISTORY
Antonio Olmos’s
photographic journey
spans many countries
and many opportunities
for reportage. Donatella
Montrone interviews the
photojournalist about
Trump’s infamous ‘wall’,
finding his voice and the 09
9
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beauty of storytelling.

Left Young Protestant boys watch a

hijacked bus burn in Belfast during
protests in support of Orangemen in
their stand-off at Drumcree church
in Portadown.

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 L
ike an evangelist delivering a
sermon to his congregation,
he would look out at his
sea of disciples along the
campaign trail, that now
infamous hand motion
setting the tempo for his
chant – ‘Build that wall…
build that wall’ – delivered in
bitter rhapsody. It was the psalm of Donald
J Trump, whose plan for a ‘beautiful wall’
along the US-Mexican border was intended
to block anyone making an illegal crossing
over the 3,200km international boundary
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 Left A member of the Apprentice Boys of
08-16_ANTONIO_OLMOS_199 ER/ABE.indd 10
into the United States. ‘The Mexican in me
is very depressed that such an openly racist
candidate got elected as president of the
United States,’ says Antonio Olmos,
a photojournalist who has lived and worked
in both Mexico and the USA over the years,
and obtained his degree in photojournalism
from California State University in Fresno.
Olmos has fond memories of a kinder,
gentler America, when Mexicans could
enter the country from Tijuana without
restrictions. ‘When I was a little kid, I mean
really little, I would cross the border and go
buy candy. I remember going to see Herbie
The Love Bug in Calexico. It was a big deal
in those days – you could go back and forth
without any problems. I used to watch
American television, and I could speak
English from an early age. That border was
very porous, but I’m the last generation of
Mexicans who could cross it freely.’
As a photojournalist, Olmos has worked
extensively in the Americas, the Middle
East and Africa, covering human rights
abuses, the environment and conflict,
and spent three years working as a staff
photographer for the Miami Herald.
Now resident in London, Olmos has
shot commissions for NGOs, the New
York Times, Independent and Guardian,
as well as numerous international titles.
His reportage is powerful, forcing the
viewer to look beyond the obvious and
offering a unique interpretation of the
unmistakable. The Landscape of Murder,
for example, a series that documents the
site of every murder that occurred in
London over a two-year period, offers an
alternative portrait of the capital city –
one shaped by violence. ‘I think we have
huge misconceptions about crime based
more on tabloid fodder than reality. Many
of the murders I documented were the
result of domestic violence against women,
alcohol abuse or mental health issues,’ he
says of the series, which challenges the
common notion that in London’s inner-city
boroughs, most deaths are gang related.
‘Olmos immersed himself in
his surroundings, chronicling
spontaneous moments set
against the backdrop of
sectarianism – ordinary
people in a complex
sociopolitical climate.’
Derry prepares to march in the city’s streets
to commemorate the siege of Londonderry.
Above right Mourners carry one of the coffins
of three boys killed in Ballymoney after their
house was attacked and fire-bombed during
protests in support of the Orange Order in their
stand-off at Drumcree Church in Portadown.
Right Members of the Orange Order Portadown
District Lodge No.1 rest at Drumcree Church.
21/12/2016 11:05
 11
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O
lmos spent a week shooting his
most recent series, Refugee Crisis
2015, for the Guardian and the
Observer, visiting Hungary,
Austria, Serbia, Macedonia and Greece and
chronicling the effects of displacement on
refugees fleeing persecution and conflict.
But it is an older series, Northern Ireland:
The Marching Season, which he shot over
a five-year period during the peace
negotiations, that strikes a chord during our
interview, given the stinging election result
in America – not least because of the
prophetic significance of The Troubles that
plagued Northern Ireland at the end of last
century, the result of ethno-nationalist ideals
that turned brother against brother, and the
ethno-nationalist ideals of the president-
elect that have polarised Americans.
‘I covered the Marching Season in Northern
Ireland every summer for about five years.
Most of the marches were peaceful, but some
went through Catholic neighbourhoods,
which caused a lot of conflict.
‘I gravitated towards Portadown and
Drumcree: they were the biggest flash
points. There were riots and conflicts and
barricades and bonfires, and everybody was
participating – families, kids. I didn’t have 

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 to ask permission to photograph them; they
knew why I was there. I had my press pass
around my neck, and because of my accent,
because of the way I look, no one thought of
me as either a Catholic or a Protestant – no
one thought of me as British either. But
there were some really right-wing elements
in the loyalist community, some skinheads
and racists, so some people would verbally
abuse me and call me a Paki. When I said
I am Mexican I think it disarmed them a bit.’
Olmos immersed himself in his
surroundings, chronicling spontaneous
moments set against the backdrop of
08-16_ANTONIO_OLMOS_199 ER/ABE.indd 12
Above A drum major of a loyalist band waits for
the day’s marches to begin in Portadown in
support of the Orange Order in Drumcree.
Opposite A young boy adds fuel to the fire at a
road block in the Sandy Road area of Belfast
during protests in support of Orangemen
in Drumcree Portadown.
sectarianism – ordinary people in a complex
sociopolitical climate: a young couple in a
sexually charged embrace, with Northern
Ireland ablaze behind them; a lad pushing
a wooden door onto a bonfire, with evidence
of a deeply wounded community all around
him. ‘The whole series was shot in natural
light, on a Leica, or on a two-and-a-quarter
camera, and the pictures were developed at
one of a handful of labs in Belfast at the time.’
W
e talk of the refugee crisis,
arguably the most
photographed event of modern
times, and of the importance
of having an impartial eye when
documentating cross-border migration. He
says of the unprecedented coverage: ‘Those
refugees have documented their own plight 
21/12/2016 11:05
 13
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Above left A Catholic family at Milltown

cemetery in Catholic west Belfast during
a rally commemorating the Easter Rising
against British rule.

Above right A loyalist Protestant couple kissing

during the July 14th bonfire in the Sandy Road
area of Belfast during protests in support
of Orangemen in Drumcree Portadown.

Left A member of the Orange Order Portadown

District Lodge No.1 at Drumcree Church where
the British Army have erected a barrier to keep
them from marching down the mainly
Catholic Garvaghy Road.

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 – they all have smartphones and are making
pictures of each other, telling their own
stories. Without smartphones the world
might not have had such an intimate
perspective, and the internet plays a big part
in that; they were able to disseminate
real-time images of their crossings to
a global audience of millions. But the other
good thing about the internet is that it gives
local photojournalists in war zones a voice.
It’s harder to be a photojournalist today, in
the classic sense. Magazines have no money
to send photojournalists around the world
to cover stories; there are no big budgets
to publish photo stories. If you are
08-16_ANTONIO_OLMOS_199 ER/ABE.indd 15
‘There were riots and
conflicts and barricades
and bonfires, and everybody
was participating –
families, kids.’
a photographer and you want to cover
Afghanistan, you’ve got to go and live in
Afghanistan, because no one is going to pay
you to travel there. The internet gives local
photographers in places like Afghanistan
a platform from which to tell their stories.’
He recounts his childhood in Mexicali,
15
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sitting in his grandmother’s home flicking
through family albums, looking at pictures
of his mother as a young girl. ‘My father
abandoned us when I was five, and my
mother was forced to leave us behind to
find work in America, so I lived with my
grandmother. We were poor, but there was
a lot of love. I come from a large family,
which means there are a lot of photo albums
in everyone’s homes. I used to love looking
at them when I was a kid; I loved looking at
photos of my mother and my grandparents
on their farm. They seemed very romantic.
Everyone looked young and happy –
they were like magic to me.
21/12/2016 11:05
 16
B+W
 I think I had subconsciously fallen in love
with photography back then.’
But it was the work of Bruce Davidson
that inspired him to pursue photography
as a career. ‘I saw Davidson’s essay East
100th Street and something clicked inside
my head. I was blown away by his work.
I thought it was beautiful, extremely
beautiful, and also very political.
He made pictures of poor people that didn’t
look downtrodden. They looked majestic,
they were powerful, they were full of pride.’
For Olmos, photography is both
08-16_ANTONIO_OLMOS_199 ER/ABE.indd 16
Above A young loyalist holds up a British flag
at the barricade erected by the RUC and the
British Army to keep the Orange Order from
marching across the Ormeau Bridge and the
Ormeau Road.
a journalistic pursuit and an artistic
pursuit. ‘Some people can make beautiful
pictures that don’t communicate a lot of
information, and some people make photos
that communicate a lot of information but
are not beautiful to look at. To make a good
picture, you have to be creative, you have to
be artistic in your approach, but you also
have to be truthful because you are a
witness to history. It’s a fine balancing act.’
Antonio Zazueta Olmos is represented
by Eyevine Photo Agency. He is the
recipient of a World Press for the
People Award, First Place – News.
His first book, The Landscape of
Murder, is published by Dewi Lewis.
Visit Antonio Olmos’s website at
antonioolmos.com
21/12/2016 11:06
 fototonic.co.uk

INSPIRATIONAL PHOTOGRAPHY
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017_BW_199.indd 17 12/15/16 10:15 AM

 BOOK REVIEWS
MASTERING
STREET
PHOTOGRAPHY
Brian Lloyd Duckett
Ammonite
Paperback, £19.99
I
n this how-to guide on
capturing street life in
a dynamic way, author
Brian Lloyd Duckett says:
‘Street photography is more
of an art than a science
which can be enjoyed by
anyone, irrespective of the
depth of their photographic
knowledge or the quality of
18 their equipment.’ Yes, the genre
B+W
has risen in popularity since
photography’s democratisation
(thanks to affordable DSLRs
and camera phones) but just
because it’s a subject readily
accessible, should we race to
the nearest street corner and
document what we see?
As Duckett points out, to get
a truly good image requires
a number of skills developed
over time. Here he lays out
those skills in six chapters,
illustrating the points with
his own work. The fifth chapter
outlining legal and ethical
issues when photographing
in public will be of interest.
Anna Bonita Evans
18-19_ON_THE_SHELF_199/ABE/ER.indd 18
ON THE SHELF
F
irst published in 1982,
In Boksburgh is David
THE TRAIN NYC
Goldblatt’s photographic 1984
essay on South Africa’s Brian Young
apartheid. The book’s title
Damiani
shares the name of the white-
Hardback, $45
only town Goldblatt chose to
O
photograph – found on the ffering a unique
periphery of Johannesburg. cross section of
This new edition includes seven
additional images and an essay
the population, the
subway was the
by South African journalist ideal setting for Brian Young
Sean O’Toole. to document his first year in
The pictures offer a record New York in 1984. As the city
IN BOKSBURGH of life lived: we see the recovered from an economic
residents’ routines, family depression, its strangers rode
David Goldblatt
activities and community together on run-down, graffiti
Steidl
meetings. While Goldblatt laden trains that reflected large
Hardback, £38
gives evidence of enforced scale urban decay suffered with
racial segregation he does not show active resistance to the loss of manufacturing and
apartheid, instead his approach is far more powerful. Following decline in social services.
his philosophy: ‘The camera is not a machine gun,’ he explains, In one image, a homeless man
‘I needed to show how normal in an international sense life in sleeps below a Smirnoff advert
Boksburg was and yet how insanely abnormal it was. Abnormal written in Spanish; another
beyond anything you could imagine.’ photograph looks into a heavily
Dedicating the book to his fellow compatriots, In Boksburg is daubed, crowded rush hour
also as much Goldblatt’s personal processing of living under a racist carriage as it waits to pull away;
regime. This is an intelligent, insightful look at a dark period of the occasional passenger catches
recent history, which is made all the more powerful in its subtlety. Young in the act, and sends a
Anna Bonita Evans miserable glance our way.
Smiles are conspicuous in
S
treet: The Human Clay their absence. As Young writes
is the third of a six-book in his afterword, ‘It was a bleak
retrospective of Lee time; it was Gotham.’ One of
Friedlander’s work, this countless visual representations
time featuring street photography of New York, The Train NYC
captured mostly in American 1984 eschews the bright lights
cities between 1960 and 2015. and homes in on the dark
It is interesting how underbelly of a damaged city
Friedlander’s visual style has awaiting renewal.
changed so little in more than Simon Frost
half a century; it seems as though
the images were taken on the
same day, made all the more
STREET:
apparent as the book leaps around THE HUMAN CLAY
chronologically. A suited man in Lee Friedlander
a fedora looks into a Philadelphia
Yale University Press
auto-shop window in 1961, while Hardback, £45
opposite two heavily hairsprayed
teenage girls in 1988 admire a jewellers’ display in New York.
Friedlander likes glass. Barely a page goes by without a shot
taken through a window, through a phone booth or reflected in
a shop front. Placards and billboards also frequently appear to
contextualise the scene.
He certainly has a recognisable style, but at 206 pages, Street
is somewhat baggy and repetitive. One wonders whether a more
imaginatively curated collection of one or two volumes would do
the work a better service than the projected six.
Simon Frost
20/12/2016 10:50
 THE ANIMALS
Giacomo Brunelli
Dewi Lewis Publishing
Hardback, £25
A
fter receiving critical
acclaim when first
published in 2008,
this new edition
of Brunelli’s mesmeric The
Animals includes eight extra
images and a foreword by
scholar Alison Nordström.
While the subjects of this
book are highly ordinary, the
pictures are quite the opposite.
Documenting the animals
we often encounter – horses,
squirrels and mice; chickens,
toads, cats and dogs too –
Brunelli’s stylised aesthetic
makes us fear them. Using
his father’s Japanese 35mm
Miranda camera, the deep
blacks and unsettling bright
whites make familiar creatures
into unfamiliar beasts – they
are fragmented monsters
out of myths, emerging from
darkness. Despite the imagery’s
intensity, there’s a strange
beauty to the work – we keep
turning to the next page.
Each aspect of this title’s
production – be it the printing,
paper or picture sequencing –
make it a desirable object,
but it is the content that makes
it so special.
Anna Bonita Evans
‘The deep blacks
and unsettling
bright whites make
familiar creatures into
unfamiliar beasts.’
18-19_ON_THE_SHELF_199/ABE/ER.indd 19
NORTH OF DIXIE:
CIVIL RIGHTS
PHOTOGRAPHY
BEYOND
THE SOUTH
Mark Speltz
Getty Publications
Hardback, £20
T
he prevailing visual
history of the Civil
Rights movement is
that of Birmingham,
Montgomery and Selma in
the south. In North of Dixie,
POLITICAL THEATRE historian Mark Speltz instead
Mark Peterson curates 100 rare photographs
Steidl Hardback, €35 following the hard-fought,
A
merican politics has never been more like a stage drama, grassroots campaign north
opera, or perhaps most accurately, a pantomime, than of the Mason-Dixon line, from
the 2016 presidential campaign. In this landmark piece Los Angeles to Philadelphia,
of political photojournalism, Mark Peterson follows the between 1938 and 1975.
players and the viewing public across the stages of a surreal and Each of the four chapters is
intensely character-driven campaign trail. introduced by an enlightening
Peterson really knows how to set a tone. He uses smartphone apps essay on the national injustices
to manipulate DSLR images, creating a dreamlike aesthetic that against African Americans, the
perfectly infers the sculpted reality of a campaign that was played role of activist photographers,
out significantly through a filter in the virtual domain. He even sets the use of photography as a tool
19
B+W
screenshots of tweets from Clinton and Trump beside photos of to create the public image of
their competitor, and the unsettling truth is this; it isn’t a gimmick. the movement and, conversely,
Political Theatre dares to straddle fantasy and reality in a the role of the camera as an
way that perfectly mimics the campaign itself; this book is the instrument of surveillance
experience of the 2016 election distilled in photo form. and repression.
This is what photojournalism is about. An original and excellently
Simon Frost curated composite view, from
many photojournalists and
T
his two-book set is a activists alike, North of Dixie
fitting tribute to the late, is a timely parallel to today’s
great René Burri. Kept safe citizen journalism, which still
in a slipcase and each with examines the complex relation
a hardback cover bound in a rich between black communities
hue of green cloth, the titles are and armed police. This is made
a beautiful presentation of his explicit in the introduction,
lifetime of work. which sets the cover image,
Known for his distinct from 1967, below a photograph
documentation of key cultural from Ferguson in 2014.
and political events of the Simon Frost
second half of the 20th century,
we see Burri’s portraits of
revolutionaries, depictions of war
and his celebration of modern
RENÉ BURRI:
architecture. With a mixture of MOUVEMENT
colour and B&W imagery, the Hans Ulrich Obrist
anthology also has his lesser- Steidl (with Diogenes)
known work just as worthy of Hardback, £75
recognition. What sets Burri
apart is the impressive variety of his practice and his ability to show
new perspectives. His oeuvre embraces modernity and still feels fresh
even though many images were taken over 40 years ago.
Anna Bonita Evans
21/12/2016 11:08
 NEWS IN THE FRAME
If you would like an exhibition to be included in our listing, please email Elizabeth Roberts
at elizabethr@thegmcgroup.com at least 10 weeks in advance. International listings are
on the app edition of the magazine.

LONDON
ATLAS GALLERY
contemporary photographers
from around the world.
St Martin’s Place WC2H
To 28 January npg.org
The Psychic Lens:
Surrealism and the Camera NUNNERY GALLERY
Vintage prints relating to surrealism. 27 January to 26 March
49 Dorset Street W1U Traces of the Future: Archaeology
atlasgallery.com of modern science in Africa
New work from Evgenia Arbugaeva
ESTORICK COLLECTION and Mariele Neudecker.
OF MODERN ITALIAN ART Bow Arts, 181 Bow Road E3
13 January to 19 March bowarts.org/nunnery
War in the Sunshine:
The British in Italy 1917-1918 PEGGY JAY GALLERY
Drawings and painting plus 50 images 22 to 26 March
by war photographers WJ Brunell A Catalogue of Obsessions
and Ernest Brooks. Photography by Louis M Champion.
39a Canonbury Square N1 Burgh House, New End Square NW3
estorickcollection.com burghhouse.org.uk

FOUNDLING MUSEUM PHOTOGRAPHERS’ GALLERY

3 February to 30 April 27 January to 26 March
Child’s Play Gregory Crewdson:
A major new project by Mark Neville Cathedral of the Pines
exploring childhood play. A new body of work by the
20 40 Brunswick Square WC1N acclaimed American artist.
B+W foundlingmuseum.org.uk 16-18 Ramillies Street W1F
tpg.org.uk
HAMILTONS GALLERY
To 27 January PROUD CHELSEA
Herb Ritts: Super To 5 February
Work by acclaimed fashion photographer. Bowie by Duffy
13 Carlos Place W1K A celebration of two of the century’s
hamiltonsgallery.com greatest artistic innovators.
161 King’s Road SW3
HENI GALLERY proud.co.uk
To 31 January
David Bailey NW1 © Agorastos Papatsanis / Wildlife Photographer of the Year
TATE MODERN
Images of the suburban decay of Primrose To 7 May
Hill and Camden, shot 34 years ago. WILDLIFE PHOTOGRAPHER OF THE YEAR The Radical Eye:
To accompany the publication of a book. Modernist Photography from
6-10 Lexington Street, Soho W1F To 10 September the Sir Elton John Collection
henipublishing.com Enjoy the world’s best nature photography displayed on backlit panels. An unrivalled selection of classic
modernist images from the
JEWISH MUSEUM LONDON NATURAL HISTORY MUSEUM Cromwell Road SW7 nhm.ac.uk 1920s to the 1950s.
To 12 February 15 February to 11 June
Scots Jews: Identity, Belonging Wolfgang Tillmans 2017
and the Future line between fact and fiction. The many stories of the Mexican Work by the innovative artist since 2003.
Judah Passow’s portraits of Scotland’s 13A Park Walk SW10 reportage photographer. Bankside SE1
diverse and complex Jewish community. thelittleblackgallery.com 7 March to 12 April tate.org.uk
Raymond Burton House, Manuel Franquelo
129-131 Albert Street NW1 MAGNUM PRINT ROOM The Spanish artist’s first solo TOWER BRIDGE
jewishmuseum.org.uk To 27 January show in the UK. To March
Children’s World 3 Jubilee Place SW3 Swans, Gloves, Roses and Pancakes
LITTLE BLACK GALLERY Vintage prints by David ‘Chim’ Seymour. michaelhoppengallery.com Martin Parr’s unique view of Britain.
4 to 27 May 63 Gee Street EC1V Tower Bridge Road SE1
The Woman Who Never Existed magnumphotos.com NATIONAL PORTRAIT GALLERY towerbridge.org.uk
New work from Anja Niemi. To 26 February
30 May to 10 June MICHAEL HOPPEN GALLERY Taylor Wessing Photographic V&A
Etudes by Tyler Udall 9 February to 24 March Portrait Prize 2016 To 19 February
A look at gender, sexuality and the blurry Enrique Matinides Portraits by some of the most exciting A History of Photography: The Body

20-21_IN_THE_FRAME_199/ABE/ER.indd 20 21/12/2016 11:10


STAN FIRM INNA INGLAN:
BLACK DIASPORA IN LONDON 1960-70S
To Autumn
Recently acquired works gifted by the Eric and Louise Franck London
Collection by eight photographers who came from the Caribbean
and West Africa to live in London.
TATE BRITAIN Millbank SW1P
Since photography’s inception the
camera’s focused on the body for artistic
expression and scientific examination.
Cromwell Road SW7
vam.ac.uk
ZABLUDOWICZ COLLECTION
30 March to 9 July
You Are Looking at Something
That Never Occurred
Fourteen artists explore photography’s
ability to suggest moments that are
far from certain.
176 Prince of Wales Road NW5
zabludowiczcollection.com
NORTH
DARLINGTON TOWN HALL
GALLERY
16 January to 10 March
Sea, Sand and Steel
Chris Walker’s B&W project
of the Teeside coast.
Feethams, Darlington
darlington.gov.uk
MANCHESTER ART GALLERY
To 29 May
Strange and Familiar:
Britain as Revealed by
International Photographers
20-21_IN_THE_FRAME_199/ABE/ER.indd 21
Chiltern Imagez
Photographic Exhibition
Images by members of camera clubs
SCOTLAND
FOTOSPACE GALLERY
within the Chilterns Association, 20 March to 19 May
organised by Imagez Camera Club. Never Go Forwards Without
Queens Park, Aylesbury, Bucks First Looking Back
qpc.org A retrospective of the work of
the late Aase Goldsmith.
SOMERSET MAUGHAM Rothes Halls, Glenrothes, Fife
GALLERY fifefotospacegallery.org
8 to 14 February
Journeys: Open Studio SCOTTISH NATIONAL
Photographers PORTRAIT GALLERY
Explores a group of photographers’ To 3 April
journeys – all looking for a new direction. The View from Here:
Horsebridge Centre, Whitstable Landscape Photography
horsebridge-centre.org Comprehensive display of prints from
the 1840s to the present day.
EAST
SAINSBURY CENTRE
1 Queen Street, Edinburgh
nationalgalleries.org
FOR VISUAL ARTS STREET LEVEL PHOTOWORKS
To 19 March To 5 February
Masters of Japanese Photography Tabula Rasa II
Work by key Japanese photographers Five artists’ work that explores
of the second half of the 20th century. the passage of time.
© Raphael Albert University of East Anglia, Norwich Trongate 103, Glasgow
scva.ac.uk streetlevelphotoworks.org
21
tate.org.uk B+W
Over 200 works by some of the leading
20th century photographers.
Mosley Street, Manchester
manchesterartgallery.org
NATIONAL MEDIA MUSEUM
To 8 February
Fox Talbot: Dawn of the Photograph
The work of pioneer Fox Talbot.
Little Horton Lane, Bradford
nationalmediamuseum.org.uk
SOUTH
NORTH WALL ARTS CENTRE
1 to 19 February
Ken Russell’s Teddy Girls and Boys
Fifty images by the film director that
capture London’s fledgling youth culture.
South Parade, Oxford
thenorthwall.com
NUDE TIN CAN GALLERY
17 to 29 March
© The Roger Mayne archive / courtesy of Bernard Ouaritch Ltd
Perspectives
Herts Foto Forum show their work. ROGER MAYNE
125 Hatfield Road, St Albans
nudetincan.gallery 3 March to 11 June
The first major London exhibition of the artist’s work since 1999.
QUEENS PARK CENTRE
GALLERY PHOTOGRAPHERS’ GALLERY 16-18 Ramillies Street W1F tpg.org.uk
To 27 January
21/12/2016 11:10
 NEWS OUTSIDE THE FRAME
If you would like an exhibition to be included in our listings, please email Anna Bonita Evans
at anna.evans@thegmcgroup.com at least 10 weeks in advance.
AMERICA
AKRON ART MUSEUM
To 12 February
Our Land
Photographs of the American landscape.
Group show, includes works by Ansel
Adams and Carleton E. Watkins.
One South High, Akron, Ohio
akronartmuseum.org
AMON CARTER MUSEUM
OF AMERICAN ART
To 12 February
American Photographs:
1845 to Now
Includes works by Walker Evans,
Nicholas Nixon, Helen Levitt
and William Christenberry.
3501 Camp Bowie Blvd Ft Worth, Texas
cartermuseum.org
BROOKLYN HISTORICAL
SOCIETY
To 1 July
Truman Capote’s Brooklyn:
The Lost Photographs
of David Attie
20 Attie’s pictures of Brooklyn Heights
B+W
and its waterfront.
128 Pierrepont Street, Brooklyn
brooklynhistory.org
CENTER FOR CREATIVE
PHOTOGRAPHY
To 29 April
Flowers, Fruit, Books, Bones
Over 60 still life photographs from
the centre’s collection.
1030 North Olive Road, Arizona
creativephotography.org
CLEVELAND MUSEUM OF ART
26 February to 30 July
Black in America:
Louis Draper and Leonard Freed
Two views of African American daily
life during the civil rights movement.
11150 East Boulevard, Ohio
clevelandart.org
DECORDOVA MUSEUM
To 26 March
Edward Steichen:
20th century photographer
Seminal works from the
instrumental photographer.
51 Sandy Pond Road, Massachusetts
decordova.org
DES MOINES ART CENTER
1 February to 29 April
Portraits of the United States
Congress 1986-1987
125th Street from elevated train, 1950
FRANCE
THE EARLY YEARS:
CONTAGIOUS OPTIMISM
3 February to 30 April
Major retrospective of Harold Feinstein’s imagery,
portraying 1940s and 50s America.
GALERIE THIERRY BIGAIGNON
9 rue Charlot, Paris thierrybigaignon.com
Judith Joy Ross’ compelling pictures
of America’s Congress members.
4700 Grand Avenue, Des Moines
desmoinesartcenter.org
FRAENKEL GALLERY
To 4 March
Richard Learoyd
Colour portraits, still life and B&W
landscapes photographed in
California and eastern Europe.
HOWARD GREENBERG GALLERY
To 11 February
Sid Grossman
The first solo exhibition in 30 years
of the B&W photographer – coincides
with the new monograph The Life and
Work of Sid Grossman.
To 11 February
Sy Kattelson
Around 45 street photographs of
New York during the 1940s and 50s.
41 East 57th Street, New York
howardgreenberg.com
MADISON MUSEUM OF
CONTEMPORARY ART
To 12 November
Reconfigured Reality:
Contemporary photography
from the permanent collection
An overview of works since
1970 that have helped define
contemporary photography.
227 State Street, Wisconsin
mmoca.org
MINNEAPOLIS INSTITUTE
OF ARTS
To 16 April
Resistance, Protest, Resilience
Around 60 documentary images
of significant protests during
the 20th century.
2400 Third Avenue, Minnesota
artsmia.org
MUESUM OF MODERN ART
To 7 May
The Shape of Things:
© Harold Feinstein Photographs from the archive
of Robert B Menschel
Major show displaying works that cover
photography’s multifaceted history.
11 West 53rd Street, New York
moma.org
PETER FETTERMAN GALLERY
To 25 February
Unseen: Silhouettes and shadows
Over 90 pictures by six B&W
photographers; includes work by
Giocomo Brunelli, Wolfgang Suschitzky
and Sabine Weiss.
49 Geary Street, San Francisco 2525 Michigan Avenue, California
fraenkelgallery.com peterfetterman.com
HARN MUSEUM OF ART SCOTT NICHOLS GALLERY
To 1 April To 18 February
Mirror, Mirror… Conversations with the Dead
Portraits of Frida Kahlo Danny Lyon’s powerful B&W
Around 60 intriguing photographs documentation of American
of the Mexican artist. prison inmates.
34 Street and Hill Road, Florida 49 Geary Street, San Francisco
harn.ufl.edu scottnicholsgallery.com
SMITHSONIAN NATIONAL
PORTRAIT GALLERY
To 20 Feburary
In the Groove
Jazz portraits by Herman Leonard.
801 F Street NW, Washington DC
npg.si.edu
STEVEN KASHER GALLERY
To 18 February
Jimmy DeSana: Late work
Never exhibited before prints by DeSana
– largely experimental and colour.
To 18 February
Ming Smith
Pictures by the only original
female member of the renowned
African American photography
collective Kamoinge.
515 West 26th Street, New York
BELGIUM
FOTOMUSEUM
17 February to 4 June
Alex Soth: Gathered Leaves
Images from the Magnum
photographer’s acclaimed series.
Waalsekaai 47, Antwerp
fotomuseum.be
DUBAI
CUSTOT GALLERY
To 28 February
Inherit the Dust
Powerful B&W panoramic images
of industrialisation in east Africa.
Alserkal Avenue, Al Quoz
custotgallerydubai.ae Nuevo Progresso,
AMERICA Tamaulipas, Mexico, 1978

stevenkasher.com
WALTHER COLLECTION
19 January to 2 April
Acts of Intimacy: The erotic gaze
in Japanese photography
Three key photographic series
by Japanese photographers Nobuyoshi
Araki, Daido Moriyama and
Kohei Yoshiyuki.
526 West 26 Street, New York
walthercollection.com
YOSSI MILO GALLERY
26 January to 11 March
Pieter Hugo: 1994
The South African artist’s most
recent body of work.
245 10th Avenue, New York
yossimilo.com
FRANCE
LA CALLE
FONDATION HENRI
CARTIER-BRESSON To 25 February
To 23 April Magnum photographer Alex Webb’s visual interpretation
Images à la Sauvette of Mexico. Includes colour and black & white imagery.
Vintage prints from Cartier-Bresson’s
celebrated book The Decisive Moment ROBERT KOCH GALLERY
plus a number of archival documents 49 Geary Street, San Francisco
recounting the history of the publication.
2 impaase Lebouis, Paris
henricartierbresson.org GALERIE LES FILLES
DU CALVAIRE
GALERIE CAMERA OBSCURA 1 to 25 February
To 18 February Les Femmes S’en
Michael Vanden Eeckhoudt Mêlent Revisited
Humorous black & white imagery Includes portraits of Patti Smith,
of animals and European life. Blondie and Kate Bush.
268 Boulevard Raspail, Paris 17 Rue des Filles du Calvaire, Paris
galeriecameraobscura.fr fillesducalvaire.com
JEU DE PAUME
To 28 May
Eli Lotar: 1905 to 1969
Large-scale retrospective of
Romanian photographer’s
Surrealist works.
To 28 May
Record: 1978-1990
B&W pictures from Zofia Rydent’s
Sociological Record project, where
her aim was to document every
house in Poland.
1 Place de la Concorde, Paris
jeudepaume.org
© Alex Webb/Magnum
kochgallery.com
relate to the theme: shifting boundaries.
1-2 Deichtorstr, Hamburg
deichtorhallen.de
LEICA GALERIE FRANKFURT
21
B+W
To 18 March
Vincent Peters: Personal
B&W portraits and nudes
of the female form.
15 Grosser Hirschgraben, Frankfurt
leica-camera.com
NETHERLANDS
HUIS MARSEILLE MUSEUM
VOOR FOTOGRAFIE
To 5 March
Regarding Nature
Evocative and contemporary colour
landscape photographs by Chrystel
Lebas. Commissioned by London’s
Natural History Museum.
401 Keizersgracht, Amsterdam
huismarseille.nl

CANADA
ˇ
VICKTOR KOLÁR:
CANADA 1968 TO 1973
21 January to 18 February
A retrospective of the Czech documentary photographer.
STEPHEN BULGER GALLERY
1026 Queen Street West, Toronto
GERMANY SWEDEN
Montreal, 1972 GALERIE HILTAWSKY FOTOGRAFISKA
© Vicktor Kolář/ Courtesy
of Stephen Bulger Gallery
To 11 March
Martin Pudenz
24 February to 14 May
Lumiére
Retrospective of the quirky German Fashion photographs by
photographer’s work. Patrick Demarchelier.
Tucholskystrasse 41, Berlin Stadsgardshamnen 22, Stockholm
hiltawsky.com fotografiska.eu
HOUSE OF PHOTOGRAPHY
3 March to 1 May
European Photo Exhibition Award Send your exhibition details to
bulgergallery.com Winning and successful images from anna.evans@thegmcgroup.com
this year’s competition – all images
 COMMENT
AMERICAN CONNECTION
Rocky Schenck likens his pictures to a series of emotional illustrations of
his dreams, nightmares, obsessions – and sense of humour. He talks to Susan
susanburnstine.com
Burnstine about cinematic dreams and painting his photographs with colour oils.

22
B+W

R
ocky Schenck’s evocative
imagery is born from
his rich and wonderful
dream world that echoes
with wonder, terror, longing,
betrayal, hope and fear.
His first book, Photographs
(University of Texas Press, 2003),
features many of his seminal
black & white images and was
deservedly met with considerable
critical acclaim. And now, 13
years later, the University of
Texas Press has published his
second book, The Recurring
Dream (Fall, 2016), which is a
remarkable collection of images.
I visited Rocky at his
Hollywood Hills home to chat
about his new monograph. As
we began our conversation, he
explained that he had intended
to publish the new book six years
ago, but the project suffered
numerous delays. At one point
he considered self-publishing,
but he put that on the back-
burner after the University of
Texas Press accepted his book
proposal in 2015. ‘I’m glad that
the book didn’t come out six
years ago because it wouldn’t
be the book that it is now,’ he
says. ‘I’ve changed. I’ve gone into
a different direction. And I’m
happy with the way it ultimately
turned out.’
The Recurring Dream imparts
an ‘individual journey through
life, perhaps veiled and somewhat
metaphoric,’ Rocky explains. ‘It’s
a series of emotional illustrations
of my dreams, nightmares,
obsessions, paranoia,
subconscious meanderings, and
my sense of humour and my
deep appreciation.’
Rocky’s instantly recognisable
style has long been created with
35mm Kodak T-Max film and
by placing elements over his
camera lens to create varying
levels of diffusion and deliberate
vignettes. Perhaps the biggest
shift in his work is that many
of the images in the new book
are black & white prints, hand
painted with colour oils. In the

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 All images © Rocky Schenck

EXHIBITIONS

USA
CHICAGO
Art Institute of Chicago
Until 30 April
Provoke: Photography in Japan
between Protest and Performance
1960-1975
Featuring Takuma Nakahira, Koji Taki,
Yutaka Takanashi and Takahiko Okada
artic.edu
Museum of Contemporary
Art Chicago
Until 12 February
Witness
Featuring Walker Evans, Kevin Carter,
Dawoud Bey, Sophie Calle, Larry Clark,
Sharon Lockhart, Jerry James Marshall
and Andres Serrano
mcachicago.org

past, he solely used black, white
and brown oils, but now his
prints have a full spectrum of
surrealistic colours.
a living, so he began shooting
commercial photographs that
resembled his movie stills. After
quitting college he moved to Los
Angeles, accepted assignments
DETROIT
Detroit Institute of Arts
that was about 15 miles away in
Until 23 April 23
Detroit after Dark: B+W
Dripping Springs. So my escape Photographs from the DIA Collection
was movies on TV.’ Featuring Jon DeBoer, Scott Hocking,
He continues, ‘Films are so Ralph Jones and Rob Kangas
much like dreams. And my dia.org

R
ocky has long been known
for shooting outrageous
colour commercial
projects and had typically
reserved black & white for his
fine art. So what made him
move to colour in his personal
work? He explains, ‘I love the
idea of complete manipulation
of the colour palette. When you
shoot in black & white it’s up to
you to figure out what kind of
“colours” are in there. It’s not
as a portrait photographer and
created personal work during
his free time.
Typically, whenever Rocky
paints prints at his easel, there’s
a classic film playing on the TV.
‘My training was basically movies
on TV,’ he says. ‘I had a pretty
isolated upbringing, growing up
on a big ranch in central Texas.
I went to a very small school
GAINESVILLE
dreams are very cinematic –
they’re like going to the movies.’
Looking toward the future, Harn Museum of Art
Until 2 April
Rocky anticipates publishing
Mirror, Mirror…
a book of portraits he’s been
Portraits of Frida Kahlo
photographing for years of harn.ufl.edu
celebrities, everyday people,
nudes, artists, musicians and LOS ANGELES
eccentrics, which I will be very The Getty
much looking forward to. Until 30 April
rockyschenck.com Breaking News:
Turning the Lens on Mass Media
getty.edu

ROCHESTER
like documenting reality. I’m
conjuring up my own dream
world which I’ve always been Eastman Museum
doing my entire life.’ Until 11 June
Richard Renaldi: Manhattan Sunday
At the age of 12 he began
eastman.org
painting in oils and remarkably
was selling his work only one SAN FRANCISCO
year later. During college he Euqinom Projects
focused on filmmaking but also Until 25 February
became immersed in the world Scott B. Davis
of photography after he began euqinomprojects.com
shooting stills on the sets of his Fraenkel Gallery
experimental movies. His first Until 4 March
love was filmmaking, but he Richard Learoyd
accepted that he had to make fraenkelgallery.com

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 FE AT U R E

All images © The Saul Leiter

Foundation, All Rights Reserved

LIGHT, FORM
AND SOUL
Recognition came late for
Saul Leiter but he’s now
seen as one of America’s
greatest street photographers.
Steve Pill looks at a lesser-
known, more intimate, series
by Leiter, and pays tribute to
the man and his work.

24

F
B+W
rom the split-second the
shutter is pressed, every
photograph becomes a memory
– a captured moment, forever
gone. Some photographers
try to fight the inevitable
passage of time by recording a
scene with the utmost clarity,
whereas others choose to embrace that
inherent nostalgia by creating images that
are every bit as selective, suggestive and
blurry as our own faltering memories.
Perhaps the very first photographer to
truly explore this latter aesthetic is the late,
great Saul Leiter. Born in Pittsburgh in 1923,
he has been feted in recent years for the
photographs he took on the streets of New
York’s Lower East Side in the late 1940s and
1950s. While the period’s fashions, cars
and shop-fronts appeal to a contemporary
audience enthralled by the television series
Mad Men, it was the way that Leiter bent
the world into his own poetic, artistic vision
that gives his photography enduring appeal.
British curator and writer Martin
Harrison is largely responsible for the
rediscovery of Leiter’s work in the 21st
century, thanks to his landmark monograph,
Early Color, published by Steidl in 2006.
When the author first met Leiter in the
early 1990s, he would join him out on
the streets with his camera. 

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‘It was a revelation to see the way he
could photograph someone as though he
were invisible,’ recalls Harrison today. ‘He
was the antithesis of, say, Diane Arbus: he
would sort of curl up within himself and not
be noticed – not impinge. I then realised
how he achieved all those partly voyeuristic
and non-interventionist photographs.’ As
Ulrich Rüter puts it in the 2012 catalogue
to Leiter’s exhibition at Hamburg’s
Deichtorhallen: ‘Even in the thickest tangle
of the city, his pictures display a blatant,
eloquent composure.’
A
frustrated painter, Leiter used a
shallow depth of field to create
great swathes of colour within his
street photography, a nod to the
abstract expressionist art movement of the
era. A fondness for silhouetted figures and
cheap, out-of-date film further add to the
sense of his photographs as half forgotten
memories, in which bold tones blend richly
like gouache paint and tight crops underline
his innate sense of composition.
It was art that brought Leiter to New
York in the first place. After begging his
mother for a Detrola camera in his teens,
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‘He was genuinely interested in
the women that he was friends
and lovers with – it was not only
about taking their pictures but
also about understanding them.
You can really see that in
the photographs…’
he was told in no uncertain terms by his
father, a respected Talmudic scholar fluent
in seven languages, that photography
was akin to pornography.
While still in the Midwest he turned
his attentions to painting and, following
brief stints at university and rabbinical
school, two strangers visiting from New
York bought one of his abstract paintings
from an exhibition in Pittsburgh. That they
happened to be the famous choreographer
Merce Cunningham and avant-garde
composer John Cage no doubt encouraged
Leiter to leave home and take a bus to
Manhattan in 1946.
After a difficult start that involved
several nights sleeping rough in Central
Park, Leiter took a series of menial jobs
and befriended the future Magnum
photojournalist W Eugene Smith, who
gave him a camera and a copy of Alexey
Brodovitch’s Ballet photobook. Before
long, his own monochrome photographs
appeared in Life magazine and Edward
Steichen’s influential Always the Young
Strangers exhibition at the Museum of
Modern Art (MoMA) – the press release
for which described Leiter’s contribution
as: ‘Several prints of a surrealist nature.’
I
n the early 1960s, Leiter moved to the
East Village – his home until his death
on 26 November 2013 – and almost
all his street photographs were taken
within a few blocks of his apartment. It was
during this time that he also began taking
the affectionate monochrome portraits of
female friends and lovers that feature in the
new monograph, In My Room, which has
been co-edited by Margit Erb, his assistant
for 18 years at the Howard Greenberg
Gallery and director of the Saul Leiter
Foundation. Creating a book from scratch
without Leiter’s input for the first time was a
daunting task for Margit, but she was helped 
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 by his previous attempt to get a similar
project off the ground.
The photographer made around 3,000
prints in the 1970s that provided a series
of clues for Margit: ‘Saul went back and
printed some of his favourite images over
and over again, as if he was trying to perfect
the image,’ she says. ‘For example, the cover
image is a picture of a woman called Inez
and she’s taking her shirt off – he printed
that maybe four or five times.’
While Margit has referred to In My Room
as Leiter’s ‘nudes’ book for the last 18 months,
she deliberately chose to leave such a loaded
word out of the title. ‘A more appropriate
word would be intimates,’ she ventures.
‘He was genuinely interested in the women
that he was friends and lovers with – it was
not only about taking their pictures but also
about understanding them. You can really
see that in the photographs: the respect for
their intelligence and their feelings.’
Unsurprisingly, the greatest commercial
success of Leiter’s early career came as
a women’s fashion photographer. He set
up a studio on Fifth Avenue in 1963 and
spent the next 18 years creating magazine
covers and spreads for the likes of Harper’s
Bazaar alongside his contemporaries
Richard Avedon and Hiro. He later quit
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the fashion world when he saw that people
were supervising his work and, in doing so,
turned his back on financial stability.
S
uggest to Margit that Leiter was
not career-minded is a huge
understatement and she hoots with
laughter. He missed the opportunity
to feature in Steichen’s follow-up 1955 MoMA
exhibition The Family of Man, a veritable
who’s who of mid-century photography,
because, she says, ‘He got distracted and
wanted to do something else that day,’ while
Harper’s art director Henry Wolf has recalled
him turning up to his first portfolio review
looking like, ‘an unmade bed’.
Likewise, when Saul enjoyed his long
overdue career renaissance in his last decade,
he regularly refused to do interviews and
turned down an Annie Leibovitz shoot for
Vanity Fair. Even his belated recognition as a
pioneer of early street photography brought
a series of bashful rebukes. In Tomas Leach’s
fascinating 2012 documentary In No Great
Hurry, Leiter says, ‘If you really knew what
has been done and tried by other people,
you’d realise that nothing is terribly new.’
With his reluctance to bathe in the
spotlight, Leiter instead spent his days
building up a phenomenal body of work that
even those around him are still struggling
to comprehend. Around 300,000 slides now
reside in the foundation’s air-conditioned
storage unit in Lower Manhattan, while
Leiter’s early embrace of digital technologies,
aided by the donation of a DSLR camera
and $10,000 from Olympus in 2004, added
another 5,000 digital images to that total.
Luckily, demand for Leiter’s work has
hit an all-time high. The 2016 exhibition
Saul Leiter: Retrospective at London’s the
Photographers’ Gallery welcomed almost
6,000 visitors in the first weekend alone,
while the makers of several Hollywood
movies, including Todd Haynes with his film
Carol and Sam Mendes’ Revolutionary Road,
have cited him as a major inspiration. In the
production notes for the latter, production
designer Kristi Zea reveals how she was
drawn to Leiter’s, ‘painterly lushness and
emphasis on fragmentation and isolation.’
The publication of In My Room is yet
further evidence that the Jewish faith’s
loss was photography’s gain and this
self-deprecating, bemused and amusing
character deserves his place among the
medium’s greatest ever exponents.
In My Room, published by Steidl
will be available early spring 2017.
saulleiterfoundation.org
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 F E AT U R E
HIS OWN LANGUAGE
Francesco Merlini is not one for following rules, and endeavours to speak his own
All images photographic language that stays true to his creative instincts. Katherine Anker talks to
© Francesco Merlini
him about two of his series, Farang and Le Tchad Dense – the latter of which you see here.

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R
emember when Myspace
was popular? The 30-year
old Francesco Merlini
asks me this as he lights a
cigarette and smiles at me
through his Skype camera
from Milan. ‘People would
populate their Myspace
profiles with pictures they had found on
the internet in order to show who they
were. For me, my project Farang is the
same thing.’ Of course Francesco’s highly
acclaimed series is photographs he has
taken but as he explains: ‘It’s not pictures
of my bedroom, my mother and my friends,
but it’s a reflection of me – it’s my thoughts
about a subject.’
In a way, this is how the Milanese
photographer approaches all of his work.
Farang is an obvious example because it’s
a personal project, but Francesco applies
this ethos to his photography and rarely
takes any assignments that don’t allow him
to express a part of himself. He’s in the
unusual situation that he can afford
to be picky; he’s represented by Italian
photography agency Prospekt, but also
works as an editor and sales manager at
the agency’s office in Milan, ensuring a
steady salary. He says, ‘I’m happy about
this situation because it enables me to
cut down on commercial jobs and focus
on my personal projects.’
At Prospekt, Francesco has learned
an important lesson by editing other
photographers’ work: ‘I realised that it’s
not about the single image, it’s about how
the pictures come together to tell a story,’
he says. With that in mind, he embarked
on the project Farang. The photographs are
all taken in unfamiliar places on trips in
Italy, France, Kosovo, Turkey and Thailand
(fittingly, farang means foreigner in Thai)
but the subjects are familiar. Francesco
describes the pictures as a kind of tarot
card, a single representation of a collective
perception: ‘Many subjects are really
normal things. Most people don’t notice
them as they’re just part of daily life.
I realised that I often find interest and
beauty not in the classical sense but more 

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‘For me, the photographic language you use is an instrument like the camera,
with which you can underline a sensation or an atmosphere.’
 that you see something and turn around
and really notice it.’
To make the subjects in his images stand
out, Francesco made a conscious decision
to always use flash, even when shooting in
daylight. ‘I wanted to give the pictures a
sense of three-dimensionality. With black
& white you don’t have the colour that can
sometimes help create a distance between
the subject and other things. Without flash
you risk that the subject and background
will merge,’ he says. Flash also helped bring
out a large spectrum of grey tones, giving
Francesco’s images a different look and
feel. ‘In the last few years, a lot of high
contrast black & white photography has
been popular. I realised for me, the very
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classical, monochrome, high contrast
look is aesthetically pleasing but it
communicates less than it used to –
perhaps because I’ve seen it so much,’
he says. ‘The photographic language
you use is an instrument or tool like the
camera, with which you can underline
a sensation or an atmosphere.’
S
peaking his photographic language
became even more instrumental
for Francesco when he was faced
with media censorship on a trip to
Chad in 2015. Invited by the NGO Acra,
he was able to enter a country that sees
no tourism and where photographing
freely isn’t permitted. ‘I was only allowed
to photograph inside a refugee camp at
the Central African Republic border, and
all my time was organised with a detailed
programme. For a photographer it’s quite
frustrating because you can find something
interesting and you only have half an
hour to spend on it,’ he says. Realising
that it would be impossible to create an
objective photographic reportage under
such restrictions, Francesco decided to
photograph in a way that showed his
subjective thoughts about the place:
‘I wanted to communicate the thickness of
the air and sense of suffocation. Sometimes
it was hotter than 50°C. It was hard to work
in that heat. But also, from a social point
of view, there’s a dictatorship and nothing
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‘I wanted to communicate the thickness of the air and sense of suffocation. Sometimes
it was hotter than 50°C. It was hard to work in that heat. But also, from a social point
of view, there’s a dictatorship and nothing changes, nothing develops.’

 changes, nothing develops.’ As usual,
Francesco wanted to draw attention to
the subject in the photograph. ‘It made no
sense to use flash because it was in daylight
and the light was very strong. So I realised
the best way to focus on the foreground
was with an open aperture,’ he says.
Despite strict instructions not to
photograph anything without permission,
Francesco eyed an opportunity to break
the rules once the project was over and he
was waiting to fly back from the capital,
N’djamena. ‘I knew I couldn’t take pictures
of the army, police and government
buildings but I thought I could get away
with taking some photographs of trees and
landscapes. At one point I was in a square,
taking an image of a tree and a policeman
grabbed me by the neck, threw me on the
ground and arrested me,’ he says. After five
hours at the police station, a representative
from the NGO was able to get Francesco
released. ‘They looked at my camera and
saw I had no pictures of the things I wasn’t
allowed to photograph. I was afraid that
they would keep the camera, so that scared
me, but I didn’t worry about my safety –
I was with an NGO so there would have
been a big upheaval if something really bad
had happened to me,’ he says.
Back in Milan, Francesco is working
on getting a publishing deal for Farang:
‘Maybe a book is the only way I can really
close that project. For a photographer it
can be very difficult moving forward and
a book could help me do that,’ he says.
Francesco’s unapologetically subjective
gaze has also earned him an unlikely
new group of clients, such as trendy style
magazines Dazed and Pizza. Even GQ and
Vogue Italy have started commissioning
Francesco to shoot backstage editorials at
Milan’s fashion shows. ‘If an art director
of a fashion magazine calls me, they don’t
want the classical studio pictures. They ask
for me because I bring the language of my
personal projects into the fashion world.
I’m not interested in making people look
good, but modern fashion magazines are no
longer about beauty, they’re about attitude.’
francescomerlini.com

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 Photograph and words by student Sarah-Jane Field

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 INSPIRATION
INSIGHT
Black+White Photographer of the Year Vicki Painting is studying for an MA in
documentary photography. Here she looks at how photographers have explored
Image © Vicki Painting
and utilised the close links between word and image for very different effects.

T
here is a natural affinity between
writing and photography.
Photographers have often called
upon text to add a more layered
meaning to their work.
Walker Evans (who studied French
literature before turning to photography and
who always held on to the desire to write)
often included fragments of text such as
advertising signs in his pictures, drawing
attention to the limitations of the image to
stand alone. Jo Spence, in Putting Myself in
the Picture (1986), used text on her own body
to emphasise her sense of vulnerability and
powerlessness within the health system as
she underwent gruelling medical treatment,
creating a new space for the viewer to form
their own interpretation of the work.
In her series Belgravia (1979-1981) and
Gentlemen (1981-1983), Karen Knorr uses
phrases spoken by her upper class sitters to
further illuminate what is seen. Knorr says
the effect of reading the text slows down
the viewing process and forces the viewer to
re-evaluate the image. She sees the work as
a collaboration and her subjects as actors.
This affinity can work in reverse when
writers introduce photographs into their
text, often seen in autobiographical writing
when words may not be enough and
complex emotions in this instance may be
better expressed through images.
WG Sebald embedded photos into his
text mid-sentence, causing text and image
to become a single entity. His use of black &
white photographs seemingly employed less
to illustrate what he had written and more
often to confound and obfuscate as the
pictures are not captioned and appear
to disrupt the narrative.
As readers we decode text and image in
different ways, and used within text the
image undermines the connection between
the present and the past. By including the
extra element we are being asked to pay
closer attention to what we are seeing.
Follow Vicki Painting @vickipaintingphoto

41
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 COMMENT
A MODERN EYE
Looking at modernist photography from an international perspective, assistant curator
All images: Untitled,
1933-38 – courtesy at Tate Modern Shoair Mavlian puts Lionel Wendt, a Sri Lankan photographer whose
of Tate Modern
aesthetic fused modernity with his native culture and heritage, into sharp focus.

42
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A
fter recently working
on an exhibition
of modernist
photography, I was
intrigued how the ideas and
principles of the genre quickly
spread throughout the globe,
erupting in pockets at different
moments throughout the early
20th century and taking on
different characteristics in each
location. Tate has interesting
examples from Japan, Argentina,
Brazil and Sri Lanka and for this
issue I’ve decided to focus on the
work of Lionel Wendt, the artist
credited with championing the
modernist aesthetic in Sri Lanka.
Lionel Wendt was born in 1900
in Colombo, Sri Lanka – formally
known as Ceylon. He studied law,
first in Colombo then in 1919 he
travelled to the United Kingdom
to continue his studies at
Cambridge. While in the UK
he also pursued his passion for
music and, a talented pianist,
studied at the Royal College
of Music. He performed as
a concert pianist on his return
to Ceylon in 1924 and became
an important member of the
local cultural scene.
By the early 1930s Wendt
regained interest in photography
having practised it as a hobby
when a child. Quickly the
medium became his main focus
and, with the financial means
to pursue his artistic interests,
Wendt became a key figure for
photography in the city by
building an impressive collection
of photographic equipment and
international magazines – such
as Photograms and U.S. Camera
– and apparently welcomed
other local photographers into
his studio to read and discuss
the literature.
Wendt’s work covers the
themes of portraiture, still
life and new approaches to
landscape, however he was
deeply interested in depicting
and celebrating the traditions
and cultures of his native
country. His portraits use tight
crops, minimal backgrounds
and, although distinctly modern
in style, feature traditional
clothing, immediately placing
them within their unique
environment. This emphasis
on the traditions, people and
landscape of Sri Lanka offers
an exciting, uniquely modern
insight into Ceylon’s cultural
circles of the time.
Incorporating local culture was
extremely important to Wendt
as at the time British colonialism 

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 with an influx of state-sponsored
academia threatened to dilute
traditions across art, dance and
music. This interest in the local
heritage continued throughout
his life and in 1943 Wendt was
a founding member of the
Colombo 43 Group, a collective
of painters who united against
the government that supported
Victorian naturalism and the
official Ceylon Society of Arts.
As the organiser in chief of
Colombo 43 Group, Wendt
played a key role in this
important moment
in Sri Lankan art history.
A
lthough his subject
matter was interesting
and diverse, Wendt’s
practice is also
characterised by his interest in
42-45_A_MODERN_EYE_199/ABE/ER.indd 44
photographic technology.
With a large collection of
cutting-edge equipment he
tried different cameras and
techniques, experimenting
with different developing
and printing processes.
He experimented extensively
with darkroom techniques (such
as solarisation) and produced
prints with a rich depth of tone
and metallic surface.
He also tried out double
exposure and photomontage,
creating surreal landscapes that
often incorporated the unique
coastal landscape of the region.
For Wendt, as with many
photographers at the time,
printing was an important part
of the photographic process and
often involved hours of work.
Following his untimely death in
1944 most of Wendt’s negatives
were burnt, as per his
instructions. This ensured no
YOU
posthumous prints could be
made, meaning these vintage
MIGHT
prints are rare objects.
As an artist and educator
ALSO LIKE…
Wendt was instrumental in the
development of modernism in
Sri Lanka. He was a founding
member of the Photographic
Society of Ceylon, established Japanese modernist
in 1935, and often exhibited his photographer Iwao
work – including a solo show Yamawaki studied at the
at the London Camera Club Bauhaus in Dessau. After
in 1938. In 2013 Tate acquired initially studying architecture
a group of Wendt’s vintage he turned his interests to
prints that were recently photography and on his
exhibited in Tate Modern's return to Japan continued to
In the Studio: International make work while advocating
Surrealism alongside artists principles learnt at the
such as Max Ernst, Salvador Bauhaus and championing
Dalí and Claude Cahun. the modernist aesthetic.
21/12/2016 11:33
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 INSPIRATION
THINKING PHOTOGRAPHY
Is street photography an obsolete genre? Alex Schneideman argues that
Follow Alex Schneideman
it has become a gentle pastime that doesn’t delve beneath the surface of
on Instagram @ schneidemana
things – and that when it does go deeper it becomes something else.

46
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W
e simply must
talk about street
photography. This
subject has been
bothering me for a long time.
It has taken me a while to figure
why, but I think I am now
approaching a conclusion –
street photography as a concept
and genre should cease to exist.
From this day forward the
concept of street photography
ought to be consigned to the
footnotes of Wikipedia.
I’ll put this antipathy to a
popular form of photography
‘I can prove to you why we need to move beyond Now, here’s a bit of a non
sequitur but please follow me
the empty concept that is street photography.’ – the greatest English engraver
of the 19th century was Samuel
in context. First I should You could also say that street Palmer (often cited by British
explain what I mean by street photographs are characterised documentary photographers
photography. This genre is by chance and the interplay as a key influence). His Blake-
defined by location – the street between humanity and the inspired engravings established
– and its haphazard nature. built environment. This form all the key objectives of street
One could argue that the nature of photography is attractive, photography decades before
of street photography is simple in concept, but not always photography. There may even
and easy to define because its worthy of the attention it be an argument to make that
only concern is the interaction receives and I hope I can prove Samuel Palmer was the father
between a photographer and the to you why we need to move of the documentary movement,
people and events found in the beyond the empty concept but that’s for another time.
urban environment. that is street photography. Although Palmer’s work was 

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 All images © Alex Schneideman

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 48
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 decidedly bucolic, his focus
was ordinary working people
in their natural habitat. He
would show his very human
subjects in a dynamically
depicted environment. Street
photography owes a debt to him
because his intricate engravings
elevated the mundane – the
everyday occurrences that
the art of the time was not
concerned with. Palmer died
46-49_THINKING_PHOTOGRAPHY_199 ER/ABE.indd 48
in 1881, just as photography
was making the recording of
everyday life more accessible.
A mere 16 years after Palmer’s
death, Eugene Atget started his
Old Paris series of street-
inspired photography that he
would pursue for the next 30
years until his death in 1927.
Atget wanted to capture all of
Paris life before it gave way to
the onslaught of modernity.
Contemporary artists such as
Picasso, Matisse, Derain and
Man Ray were all drawn to
Atget’s photographs of Paris
life because they detected
a surrealism in the imagery
which reflected their
own artistic concerns.
Unfortunately for Atget, he
was not to live long enough
to see his work’s success.
However, because of his
pictures and the august crowd
it attracted, an entire genre
was born – street photography.
What endures of Atget’s
work is his dedication to
document. He did not consider
himself an artist, rather a
working photographer in
the act of documentation.
His important depictions of
everyday life were to inspire
generations of photographers.
21/12/2016 11:34
 49
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S
o let’s name some of the
great photographers
known for street
photography who came
after Atget: Walker Evans,
Berenice Abbott, Cartier-
Bresson, Garry Winogrand,
Harry Gruyaert, Diane Arbus,
interactions) but these visual
gags are the by-catch of serious
work. The current ubiquity of
street photography and its
acceptance as a valuable artistic
exercise speaks of the ease with
which it is partaken and the
lack of commitment it requires.
that can be successful by its
own standards without delving
beneath the surface of things.
When street photography goes
deeper it stops being street
photography and becomes
its more noble cousin –
documentary photography.
and fruitless occupation.
We each have an ability to
connect with the world in the
same way that Palmer and
Atget did. As artists and
documentarians we should
attempt to go deeper and dare
ourselves to commit to themes,

Alex Webb, Elliott Erwitt and
Robert Frank. I pluck these
names out of the air and no
doubt you could add more. I see
no connection in the work of
these disciples of Atget to the
concept we now understand as
street photography.
All of these practitioners are
serious artists, journalists and
social documentarians. Their
approach is, respectively,
particular, questing,
intellectual, deep and deeply
felt. Their work may contain
some of the tropes of what we
have come to expect from
street photography (such as
juxtapositions between people
and street typography, trompe-
l’œil effects and animal-human
I
After all, most of us live in a subjects and concepts. We may
town or city. We can easily take believe street photography fail, we may find ourselves
a couple of hours to shoot the is a dead term describing inadequate to the task; but just
world around us. I have to an obsolete practice. In trying to delve further into the
admit it is an enjoyable way to this way it reminds me of mire of humanity gives us the
spend time. Street photography Don Quixote running his only chance of unearthing the
has become a gentle pastime sword at windmills – a difficult odd, unexpected and precious
gem. The street is not enough
on its own – humanity is the
IN THE PICTURE focus and when the street
The photographs this month are all taken from my book comes first something is lost.
Want More (artbookspublishing.co.uk), which is a detailed look As Oscar Wilde said, ‘We are
at our complex relationship with consumerism. Engraver Gaylord all in the gutter, but some of us
Schanilec has carved some of the pictures on to wooden blocks are looking at the stars.’
that will be printed and published as a limited edition letterpress
version – a first for a documentary photo series.
NEXT MONTH AGREE OR DISAGREE?
I’ll be looking at the value of photography to future generations Let me know at
and its impact on what we choose to photograph now. @schneideman331 or email me
at alex@flowphotographic.com

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 TECHNIQUE
TOP TIPS: ARCHITECTURE
Architecture is one of our most accessible subjects. With a little imagination
– and the help of this month’s top ten tips – Lee Frost reckons it can also
All images © Lee Frost
be the source of some amazing images.

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 T
ake a peep out the nearest window. What do you see?
Chances are the first thing your eyes settle on is bricks
and mortar – a building in other words. Depending
upon where you live, that could be a Victorian terrace,
a cul-de-sac of modern detached houses, the
dreaming spires of a soaring cathedral, or a towering
great block of flats. But it doesn’t really matter what type of
architecture you’re used to seeing, because buildings in shapes,
sizes and styles make exciting and challenging subjects that can
be enjoyed by beginners and experienced photographers alike.
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From crumbling old cottages, ancient castles and towering
cathedrals, to state-of-the art office blocks, stark industrial units,
giant bridges and magnificent monuments, architecture offers
endless opportunities to make creative images. We’re not just
talking outside either – interiors can be just as inspiring. As well
as photographing entire buildings, architectural details also make
great subjects too. One minute you can be shooting an entire
structure with a wideangle lens, the next abstracts and details
with a telezoom. One building can be the source of dozens of
different images, shot both day and night, inside and out.
. CUTTING EDGE
Brash and bold, hard and angular, modern
architecture demands a totally different
approach to old buildings. You can be more
adventurous with angles to emphasise shape
and line, or look for symmetry and exploit
that. For once, strong sunlight is friend rather
than foe because its harshness helps to
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emphasise the strong design elements and
give your images graphic appeal.
Modern buildings give architects the
freedom to experiment and explore, so do
the same with your photography. There are
lots of amazing buildings in the UK worth
checking out: the Sage in Gateshead, City
Hall in London, Selfridges in Birmingham,
Salford Quays in Manchester. Seeing one
will get those creative juices flowing and
before you know it you’ll be filling up
those memory cards.
VALENCIA, SPAIN
If modern architecture is your thing, the
amazing City of Arts and Sciences in Valencia
is the place to head. You can literally spend
days shooting there, day and night.
Canon EOS 5D MKIII with 24-70mm zoom lens,
1/125sec at f/11, ISO 100
20/12/2016 11:17
  

SISSINGHURST, KENT
Old buildings make great subjects for
infrared photography. This shot was taken
at Sissinghurst Castle and I purposely included
lots of foliage in the composition as it shows
the infrared effect brilliantly.
Canon EOS 5D IR conversion with 17-40mm zoom lens,
1/100sec at f/14, ISO 200

. RED ALERT
Architecture is well suited to infrared
photography. Old buildings take on a
spooky persona as skies go dark and
foliage records as ghostly white – the late
Sir Simon Marsden made a career out of
this with books like The Haunted Realm.
Modern architecture responds well too,
as the high contrast and starkness of
infrared suits the strong lines and sharp
VENICE, ITALY angles of contemporary buildings.
Old buildings ooze character and charm. This beautiful house has survived for centuries If you’re got an infrared-modified
52 in the middle of a canal in Venice and made a perfect long exposure subject. digital camera, use that. Alternatively,
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Canon EOS 5DS with 16-35mm zoom lens, Lee Filters Big Stopper, 90 seconds at f/9, ISO 200 an infrared-transmitting filter such as
the Hoya R72 will work fine.
. ANCIENT ARCHITECTURE
Old buildings are hard to beat when it comes to character, they’ve had centuries to
develop it. Cathedrals, castles, twee old cottages, ivy-covered manor houses – all make . THE LOW DOWN
fascinating subjects whether they’re as good as new or falling apart. Wide and low is an approach that pays
Warm, soft light is well suited to old buildings, so shoot early morning or late afternoon dividends with any type of scenic
and use side-lighting to reveal texture in the old stonework. Framing the subject building photography, but especially architecture.
from under a tree, archway or doorway will help to focus attention and hide unwanted If you want to exploit the drama, scale
details. By excluding all signs of modernity your images will also have a timeless feel. and perspective of big buildings, shoot
from a worm’s eye view with your widest
 lens. Vertical lines converge dramatically,
lines fire off in all directions, curves sweep
and swoosh and the sky becomes
your background.
The urban landscape is where this
approach pays dividends because you can
juxtapose architectural features to create
dynamic compositions. Stand among
skyscrapers and look up. Find a flyover or
underpass and use it to frame the scene
beyond. Stand under the entrance to one
building and crane your neck to see others
across the street.

LONDON, ENGLAND
This is the Hay’s Galleria on the Thames
Embankment in London. I love the pattern of
the glass and steel roof and used a full-frame
fisheye lens to capture this super-wide view.
Canon EOS 5D MKIII with Sigma 15mm lens,
1/60sec at f/6.3, ISO 400

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 

CASABLANCA, MOROCCO
. INSIDE JOB I grabbed this shot while on a tour of the enormous Hassaan II Mosque
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Although most architectural shots are taken outside, often the in Casablanca. I noticed the pattern of the windows and waited
inside of a building is just as interesting, and while dull weather isn’t for a person to walk into frame to add a sense of scale.
great for external shots, the soft, flat light can work wonders indoors Canon EOS 5DS with 24-70mm zoom lens, 1/100sec at f/4, ISO 400
because it keeps contrast down. It’s the same if the heavens open –
get out of the wet and keep shooting, you know it makes sense! 
Old buildings often have atmospheric interiors because the
windows are small and light levels fall away rapidly to create
wonderful studies in light and shade. Low light levels often make a
tripod necessary to avoid camera shake, while a wideangle zoom
will allow you to get a lot in the shot even when your back’s against
the wall – literally. Modern interiors tend to be a riot of repetition –
lines, angles and edges or clever curves and sinuous swirls – while
symmetry is often evident if you find a central viewpoint.

. IN THE DETAIL
The usual approach to architectural photography is to capture the
whole building, but if you take a closer look you’ll discover lots
of interesting details. Magnify and isolate – forget about what’s
going on outside the viewfinder – all that matters is what’s in it,
and that’s down to you. Look for patterns and repetition – spiral
staircases, mirrored panels, columns and buttresses. Juxtapose
shapes – hard corners with smooth curves, overlapping forms,
walkways against the sky. Shadows and contrast can make a
massive difference to the impact of an image, so shooting on a
sunny day is a good idea – everything looks rather flat when it’s
overcast. Don’t just look up either – paving, railing and boardwalks
create amazing patterns. Buildings, whether ancient or modern,
are designed to work on different levels. You can stand back and
be awestruck by the big picture, but look closer and you’ll see BRIGHTON, EAST SUSSEX
that every building is a sum of its parts – parts that make great Often, parts of a building make better subjects than the whole thing.
photographs when abstracted and isolated. This detail was shot at Brighton Marina.
Canon EOS 5DS with 70-300mm zoom, 1/60sec at f/14, ISO 100

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  . LONG SHOTS
Though you’re most likely to use a wideangle zoom from close
range to shoot architecture, don’t be afraid to back off and switch
to a longer lens to reveal the building in its environment, and use
perspective to add impact. The longer the lens, the more perspective
is compressed so the elements in the scene appear crowded
together. This gives a totally different feel to wide shots. In urban
areas, a telezoom creates a claustrophobic effect, with buildings
squished into the frame like a deck of cards. You can also contrast
old buildings with new to great effect – a church or cathedral with
a tower block looking up in the background, for example.

. CORRECT CONVERGING VERTICALS

If you shoot a tall building from close range with a wideangle lens,
often you’ll need to tilt the camera to get the top of the building
in shot. This causes converging verticals, where the sides of
the building lean inwards. The effect can look fantastic if you
exaggerate it, but if you want the building to look upright, you need
to keep the camera back parallel to it. Try shooting from a higher
viewpoint so you’re looking across at the building. Moving further
away from the building then zooming in is another option as the
effects of converging verticals are reduced with distance.
Alternatively, correct the convergence in Photoshop. Go to
Select>All then Edit>Transform>Distort and pull the corners of the
image up and out to straighten the sides of the building. Using
View>Show>Grid can help ensure the verticals are truly vertical.

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LONDON, ENGLAND
Telezoom and telephoto lenses work really well in busy cities as they
allow you to compress perspective and crowd buildings together
so they appear to be piled on top of each other.
Canon EOS 5D MKIII with 70-300mm zoom lens, 1/640sec at f/8, ISO 400

RABAT, MOROCCO
Even quite severe
converging verticals
can be corrected in
Photoshop, though
you need to leave
plenty of space
around the building
so avoid some of it
being cropped out
when you make the
corrections.
Canon EOS 5DS with
16-35mm zoom lens,
1/100sec at f/8, ISO 100

Above Uncorrected
Left Corrected

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 

. ON REFLECTION HAVANA, CUBA

55
Modern buildings are a great source of reflections This kaleidoscope effect was captured outside the art museum in old Havana.
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because the exterior is usually clad in glass Each glass panel reflects a different building, and the reflection changes as you walk by.
panels that reflect everything from the sky to Canon EOS 5D MKIII with 70-200mm zoom lens, 1/80sec at f/8, ISO 100
other buildings nearby. Old buildings, such as
castles and stately homes, often have water
nearby, in the form or moats or ornamental lakes.
If you move in close you can capture a mirror
image of the building reflecting in the water.
Use a telezoom to fill the frame for abstracts
and a wideangle for broader views, and
remember to focus on the reflection itself rather
than the surface containing the reflection

. VACANT POSSESSION

Abandoned buildings are the guardians of many
secrets. Who lived there, why did they leave,
what became of them? It’s not uncommon to
enter abandoned homes in remote areas and find
personal possessions still inside. Commercial
buildings such as hospitals, factories, schools,
dance halls and nightclubs are just as fascinating
– they ooze mystery and intrigue from every
creaky floorboard or broken windowpane.
You need to be sensible in terms of trespass
and personal safety, but empty old buildings
are hard to resist and can be the source of
stunning images.

ISLE OF LEWIS, SCOTLAND

There are lots of abandoned crofts in the Highlands
and islands of Scotland, in various stages of
dereliction. I discovered this one on the Isle of Lewis.
Mamiya C220 with 80mm lens, 1/2sec at f/11, ISO 400


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 PHOTO PROJECT 44:
TECHNIQUE
TONE
Seeing the world in tones can really help you enhance your own black
& white production style. Tim Daly shows you how to increase your
timdaly.com
tonal awareness and wrest back control from the presets.

L
ike shape, form and texture, tone is another visual
design element to get to grips with in the world
of picture making. Yet tone is rarely a subject
matter on its own and is best thought of as a tool
for manipulating subjects through the careful control of
camera exposure and post-production editing techniques.
Many of our most favourite images are created by
photographers who have masterful tone awareness and
control, such as John Blakemore, Michael Kenna and
Sebastião Salgado. Tonal sophistication isn’t the subject of
their projects, but they do use it to pique our curiosity and
draw our attention to their work. While many of us labour
under the world of auto exposure and software presets, for
this project, we are going to switch them off and go native.
We’re going to explore tone in depth and look at the tools
and processes you can creatively control it with.

SECTION 1: STYLES TO CONSIDER

Though there are many different tonal styles and recipes that have been employed by photographers
and artists since the Renaissance, we’re going to look at five easy palettes.

1 2

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1 LIGHT TONES 2 DARK TONES

Images comprised of lighter tones tend to
be easier to view and easier to hang in a
domestic space. With this kind of visual
style, the emphasis is often placed on
singular or minimal objects. The clean feel
and uncluttered look remains an editorial
favourite in contemporary magazines and
cookery books. Light tone scenarios are
easy to create in the studio, but perhaps
slightly harder on location – like this example,
which was shot against an overcast sky.
To add a measure of control to your
shooting technique, consider experimenting
with over-exposure. Using your DSLR’s
+/- compensation setting, making three
bracketed exposures of +0.6, +1.0, +1.6
in addition to your manually metered shot.
Any excessive highlights on your resulting
file can easily be ‘greyed’ by decreasing the
Highlight value in Lightroom’s Basic panel.
Dark and densely toned prints make for an virtuoso method of controlling the density
exotic and rewarding visual experience when of your image’s midtone grey, but you can
viewed in a museum or gallery setting. Such explore similar results by using a simple
photographs rely on you moving physically under-exposure technique.
closer than usual, scrutinising each area of Using your DSLR’s exposure
the print to see if you can glimpse lurking compensation settings and manual
details or messages. Dark toned images can exposure mode, reduce the amount of light
also be enhanced by high quality papers and reaching the sensor by under-exposing
high-dynamic range printing processes, and bracketed frames with these settings:
by a creative use of exposure technique. -0.6, -1.0, -1.6. When editing, choose the
Ansel Adams’ groundbreaking Zone file which best captures the sombre mood
System technique is perhaps the most of your subject.
INSPIRATIONAL QUOTE
‘Two factors thus emerge as requisites of success in the field of creative photography.
First, the subject must be photogenic. Second, its recreation in a photograph must be
based upon technical knowledge, guided and supported by artistic inspiration.’
– Andreas Feininger

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3 RESTRICTED TONAL RANGE
Surprisingly, we unconsciously react to tonal
values in images by making assumptions
about place, time and even the season it
was shot. Imprinted with years of experience
of seasonal difference and change, we
instinctively read and deconstruct images
without really thinking. Weather events,
lighting conditions and seasonal change
can all produce characteristic tone effects
which can be effective when captured in
camera or created in post-production.
Low contrast images, such as this
example, are made from lots of close
together midtones, with no strong blacks
or whites present in the image. Whether the
image was captured in a foggy setting or as
a result of a crafty tonal edit in Lightroom
(it doesn’t really matter), it’s effective
because of its standout difference.
4 5 LENS CHARACTERISTICS
4 EXPANDED TONAL RANGE
The opposite state of affairs occurs
when we capture and edit up an image
with an expanded tonal range, as in this
example. With full black and white together
with a wide variety of tones in between,
such an image traditionally used to be
presented on conventional darkroom
printing paper rich in silver halides.
Viewing tonally rich prints in a gallery
setting is an enhanced optical experience
unlike anything you’ll get from a screen or
even a top quality photobook.
56-59_TIM_DALY_199 ER/ABE.indd 57
All images © Tim Daly
While lens flare filters and numerous other
smartphone presets have perhaps made
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us slightly cynical about faking lighting
conditions, it is worth considering how
vintage lenses can create their own highly
individual look. Vintage cameras and older
manual focus lenses available through the
second-hand market often use uncoated
optics, resulting in low contrast results, as
this example shows. Although not ideal for
most purposes, an uncoated lens can be
thought of as a creative tool, far removed
from our modern, accurate, fast focusing
and high resolving DSLR lenses. Many retro-
style cameras, such as the Holga and Lomo
ranges, mimic this low contrast feel and work
especially well when shot into the light.
Achieving similar tonally rich images can
be made easier by using your camera’s
dynamic range optimisation settings,
called Active-D Lighting (Nikon) or Auto
Lighting Optimiser (Canon). Both of these
prevent shadow areas becoming too
dark and highlights being too bright and
empty of detail. Shooting Raw and editing
your files in the 16-bit mode will also help
maintain and preserve your extended
range too, as will printing out digital
C-types rather than inkjets.
21/12/2016 11:56

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TONAL SEPARATION WITH THE CLARITY TOOL
Lighting on location is rarely perfect and is often flatter and lower
in contrast than we’d like. This can lead to many images lacking
punch when they are converted to black & white using Lightroom’s
default processes. The Clarity tool, however, provides a clever way
of making the edges of tones more distinct and helps to separate
out colours and tones from one another. Like the Structure tool
in Silver Efex Pro, Clarity helps you to pull apart tones that would
ordinarily be too close together, as this example shows.
56-59_TIM_DALY_199 ER/ABE.indd 58
SECTION 2:
TONE CONTROL
IN LIGHTROOM
In addition to creative exposure
techniques in camera, you can also
enhance the tonality of your images by
using key tools within Lightroom.
BEWARE THE BLACK &
WHITE AUTO MIX CONVERSION
Like many sophisticated imaging
applications, Lightroom has a hidden black
& white conversion preset that is worth
scrutinising in more detail. Found within
Preferences > Presets in the top Default
Develop Settings panel, the crucial option is
called Apply auto mix when first converting
to black & white. Unusually this is ticked by
default, meaning you’ll automatically get a
crude preset conversion when you click on
the Black & White button, producing this
example as shown (top).
If you uncheck this option, the result is
much better, flatter and low contrast as
shown (below) and a more ideal starting
point. Keep it unchecked and take more
control over your conversions.
‘Like many sophisticated
imaging applications, Lightroom
has a hidden black & white
conversion preset that is worth
scrutinising in more detail.’
REDUCING WHITE AND BLACK POINTS
While most digital editing for print focuses on the creation of a pure
white and black point, there are circumstances when you might opt
for a different kind of look. Softer contrast prints, as this example
shows, are easily created in Lightroom’s Basic panel by entering
positive values for the blacks and negative values for the whites.
Play with each end of the tonal scale until you achieve a balanced,
low contrast effect. This technique is a great way to enhance lots of
delicate greys in your subject.
21/12/2016 11:56
 SECTION 3: REBALANCING TONAL
RELATIONSHIPS IN LIGHTROOM
Lightroom provides a perfect working environment
for colour to monochrome conversion, with eight
separate colour controls to use.

THE CONVERSION DILEMMA

We all see and shoot in colour, but often the inherent
differences between colours are not translated when
image files are converted to monochrome, as this
example shows. What is a dominant and eye-catching
red in the colour image is translated into a muted version
of its former self in mono. Importantly, colour has a tonal
weight, with different hues dominating or receding when
placed against each other.

MAKING COLOURS INTO

LIGHTER THAN ORIGINAL TONES
Lightroom’s precise B&W Mix sliders come
into their own when you’re working with
images that need tonal adjustment after
conversion. Mostly, the problem arises when
you’ve got too much of the same colour
in the shot, as in this example of green
undergrowth. The middle panel shows the
image after conversion, then to make it
stand out better I’ve increased the Yellow
value which helps to unclog the dense areas
of foliage, shown in the right hand panel.
59
MAKING COLOURS INTO B+W

DARKER THAN ORIGINAL TONES

Blues often convert lighter than we think
they should do, as shown in this example
(left and middle panels). To make the blue
as strong and standout as the original, I’ve
decreased the blue value in the B&W Mix
panel to make it darker. When blue editing
Jpeg files, keep an eye out for posterisation
in gradient areas as this will mean you’ve
stretched the edit too far.

PROJECT OUTCOME
Produce a set of images on a specific
place and try, as I’ve done in this
example, to maintain a stylistic
tonal range throughout.

INSPIRATIONAL
PHOTOGRAPHERS
John Blakemore – The Stilled Gaze
Thomas Joshua Cooper – Dreaming
the Gokstadt and Between Dark and Light

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 INSPIRATION
GET CURATING
If putting on a solo exhibition of your work sounds too daunting, why not
take part in a joint exhibition? In the third of this series, Eddie Ephraums
All images © Eddie Ephraums
shows how working together can be both rewarding and fun.

I
n my previous article we
looked at the idea of putting
on an exhibition. For many
photographers this probably
sounds like a daunting
prospect, fraught with
problems and pitfalls. Why
not turn these difficulties
into exciting challenges, by
working at them with others, as
part of a group exhibition? Skills
can be shared, fun can be had
and much can be learned along
the way. Photography doesn’t
have to be a solitary experience,
alone with a camera or hidden
behind a computer screen.
Meeting people on a
workshop can be a great
way to find a group of like-
minded, exhibition-hungry
photographers. Out on location
and back at the workshop centre
I always see participants come
together with the others on
a course to form a tight-knit,
supportive group.
With this in mind, my
Scottish workshop partner
Adrian Hollister and I decided
to organise an exhibition
workshop, A Portrait of

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 Below
Shooting for the group exhibition
A Portrait of An Teallach
Putting on an exhibition is a
daunting but exhilarating creative
challenge. So, taking part in a group
show can be a great way to start.
Here I photographed Jose
Shackleton looking towards An
Teallach from above Gruinard Bay.
What a great location. Another
group had photographed the 2015
solar eclipse from here. This time
the gods provided beautiful weather
and a covering of snow.

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An Teallach. As the title light permitting, we had under Above

implies, the idea was to create
a portrait of one of Scotland’s
most iconic mountains, but
not your normal portrait, as in
a single image or a collection
of individual images. Instead,
the intention was to create a
collective picture, in which
each individual’s image
showed a particular facet of
the mountain and its environs.
Viewed in totality, we hoped the
knowledgeable local audience
would see their iconic mountain
in a fresh light. Weather and
a week to do this before the big
opening night.
At the outset we discussed
different viewpoints and
locations, what each had to offer
and at what time of day would
be best. As with any exhibition
it pays to get expert advice,
so we brought in Scottish
mountain photography expert
Colin Prior and local
mountaineer and geology
whizz Paul Tattersall. My role
was to manage the curating,
processing and printing –  within the exhibition as a whole.
How do you curate a
group exhibition?
First we made a contact sheet of
everyone’s six favourite images of
An Teallach. Then each participant
chose two images from everyone
else’s sheets. I made a note of these
and the two best-rated images from
each photographer were then tacked
to a scaled-up wall plan, with
measurements taken from the
gallery plan. Finally, we swapped
around each person’s two images,
to see which one worked best

60-62_GET_CURATING_199 ER/ABE.indd 61 21/12/2016 11:57

  Adrian’s main role was to
cajole (the most important job!).
As a local resident he also had
the other key task of securing
a venue. He got the newly
opened local National Trust
for Scotland Gallery.
O
ne of the first
challenges we set
the group was to
become clear on
what a portrait meant to each
of them. So, we invited them to
write their view in 75-100
words. As always, this kind of
challenge immediately brought
the group together and
the variety of written
interpretations was
extraordinary. Some wrote
poems, others focused on the
geology and geography or the
challenges they faced. Together,
their words created a unique
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60-62_GET_CURATING_199 ER/ABE.indd 62
‘Photography doesn’t have to be a solitary group exhibitions is that
everyone has other work-life
experience, alone with a camera or skills they can employ. So,
who better to translate our
hidden behind a computer screen.’ exhibition flatplan into reality
than a couple of engineers?
portrait and we decided to But it is extraordinary the Thank you Dave and Kevin. It
typeset them under each effect that taking part in a was great for Adrian and I to
person’s image. collective endeavour (with a watch an academic engineer
Typesetting was yet another shared sense of commitment and a practising one work
task to add to the already – not to mention an imminent things out. Occasionally they
mountainous list. And we deadline) has on people’s agreed. I joke not when I say
hadn’t even properly started creativity, self-belief and Dave’s height came in handy,
photographing the mountain, ability to get things done eyeballing the hanging line of
with all the photographic and done in style. all the images. Who needs a
challenges which that entailed. What’s also great about laser spirit level when you can
borrow a tall bloke and spend
Below Talking to the press on the opening night the money on something really
During the workshop some participants were filmed on location and at the life-affirming, like taking part
gallery by renowned filmmaker Richard Else and his partner Meg, for a TV in a group show?
documentary about An Teallach. Here Jose Shackleton was asked what she
got from taking part in the show. She and other participants found that talking
to camera about their own photography, as well as writing their thoughts for MORE INFORMATION
the exhibition, were truly enlightening experiences. The opening night was envisagebooks.com
packed out. And the locals’ response? It was great. @envisagebooks
21/12/2016 11:57
 Creative space... Nothing matches the
creative buzz and
collective experience
of a small group OSW
residential workshop
Mar: 6-12, 2017
STILL LIFE & LOCATION PORTRAITURE Our unique range of outcome-
based workshops cover the
JOE CORNISH & EDDIE EPHRAUMS practical, creative and aesthetic
A unique opportunity to work with Joe & Eddie, shooting 10x8" large format location portraits considerations of being a
and still life studio images. B&W film will be processed in house. Whatever camera you use - photographer. You will be
inspired, motivated, encouraged
digital or film - this will be a truly inspiring workshop, guaranteed to enhance your vision and and pleasantly challenged.
develop your photographic skills.
The Open Studio Photo
Workshop Centre (pictured
above) overlooks Loch Ewe,
Mar: 13-19, 2017 in NW Scotland, looking towards
DEVELOPING PHOTOGRAPHY – PEER GROUP PROJECT WORKSHOP the Torridon mountains and the
Outer Hebrides. With its own
PAUL WAKEFIELD & EDDIE EPHRAUMS – WITH GUEST PARTICIPANT JOE CORNISH sea-view cafe, lecture room and
We all want peer-group feedback and support, so Paul, Eddie and Joe will share their current fully equipped imaging studio,
projects, to help take them to the next stage. We invite you to do the same, whatever project it makes the perfect photo
location workshop centre.
you are working – small or large. This will be a workshop full of insights and inspiration.

Main picture: Workshop participant Grace Law at the Open Studio working on the fold-out
brochure for her ‘Going North’ exhibition.

Further details of these and our other workshops can be found on our website:
www.openstudioworkshops.com
info@openstudioworkshops.com

063_BW_199.indd 63 12/22/16 9:44 AM

 COMMENT
A FORTNIGHT AT F/8
It must be something to do with beginning a new year as Tim Clinch
is bursting with resolutions, or rather, things he won’t be doing in the
timclinchphotography.com
near future – and he invites you to join him…

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I
realise that for several
months now I have been
sweetness and light
personified. So just in case
any of you thought that I
was mellowing, this month
I’m grumpy again, so take a
deep breath, pour yourselves
a drink and get ready for a
‘I will start by banning myself from taking something on an old chopping
board with an antique knife
another picture of something on an old chopping next to it. OK, it looks nice but I
board with an antique knife next to it.’ have done it so many times that
it’s become the easy way out for
campaign and the head honcho But I digress…Photography is me. Come on Clinch, you can do
of the You Don’t Learn About my passion. I love it and I will better than that. Push yourself.
Photography by Getting a Degree go to my grave with a camera in Try something different.
in it, You do it by Taking Pictures my hand, but honestly? I have

bit of a rant…
In my official capacity as the
chairman of The Campaign for
Real Photography, the standard
bearer for the I Want my
Photography Back movement, the
leader in chief of the Stop it With
all Your Arty Nonsense and Just
Take Some Decent Photographs
pressure group, I feel it is time to
announce a moratorium.
There is simply too much
photography about these days.
(Actually there is too much
of a lot of things about these
days – food, reality TV, celebs,
footballers…news! Especially this
year, definitely too much news.)
had to cut back so hard on the
amount of stuff I actually look
at that, for the first time in my
life, I’m having doubts. So, the
moratorium. You don’t have to
agree with me, but I’m banning
certain things for a whole year.
I will start by banning myself
from taking another picture of
B
ear with me my friends,
there’s a bit of tough
love going on here, but
we will all benefit from
it in the long run.
I shall be banning any new
street photography projects.
We don’t need any more for
at the very least a year so find

64-65_FORTNIGHT_199 ER/ABE.indd 64 21/12/2016 11:58


something else to do. I will also
be banning any more pictures
from the Miserable school of
photography. Go away with your
abandoned swimming pools in
the rain, and your cars on bricks
in front of a scarred wall. And
while you’re about it, take all
your precious, washed-out 120
colour neg film that you think
is just so cool, arty and post-
modern. (And by the way, does
anyone know what post-modern
actually means?)
Into your rucksack you can
put all those pictures of lakes
shot on a very long exposure
with bits of wood sticking up
64-65_FORTNIGHT_199 ER/ABE.indd 65
out of them. Michael Kenna
does them better and frankly
I’m fed up with imitations.
Next, take your utterly
depressing Taylor Wessing
school of portraits of people
looking miserable and chuck
them in the lake. And chuck
them a long way please. Try
taking some happy, positive, life
enhancing pictures instead.
Food photographers. There
shall be no more pictures of
plates from above surrounded
by carefully scrunched up
napkins and crumbs. I mean
it…no more crumbs. Landscape
photographers? Leave the
All images © Tim Clinch
blooming polarising filter
at home for a year. I know
this is a black & white
magazine, but skies are not
jet black. Never! Go on, you
know you can do it. iPhone
photographers? Get rid of all
your apps apart from one. Then
spend a whole year learning how
to use it.
OK, I reckon if we all stick
to this for a year the world
(the world of photography at
least) will be a much better and
harmonious place.
Phew. Thank you all for bearing
with me. I feel better already.
Now, a stiff drink please…
WHAT TIM
DID THIS
MONTH
Been back in Gascony working
on my cook book project. We have
decided (in an attempt to make
some money out of it) to self-
publish as the amounts we have
been offered by publishers are
pitiful. Now realising what a strain
it all is. Makes me appreciate
what a good photo editor does
to earn their keep!
Also recognising that, however
challenging self-publishing a book
is, we are having enormous fun
shooting down on the farm as
this month’s pictures (hopefully)
show. We have been cooking on
wood, pitchforking hay for the
goats and I have also found out
that the goats have rectangular
pupils in their eyes!
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The photographer I have
chosen for you this month is
Michael Kenna. No stranger
to this publication and a fine
photographer. They do say
that imitation is the sincerest
form of flattery, so he must be
possibly the most flattered man
in the world at the moment!
Take a look at his website
michaelkenna.net and take
particular notice of his new work,
and his commercial work.
As a professional, I always enjoy
looking at someone’s pictures
when they are on top of their
game. And that’s exactly where
he is. Constantly changing and
evolving. Good stuff.
21/12/2016 11:58
 FEATURE
FACE TO FACE
For Kerry Hendry staying true to her photographic vision was key in
developing her equestrian imagery. This independence has paid off, with a
All images © Kerry Hendry
set of horse portraits that are both dramatic and serene. She talks to Steve Pill.
When was your first encounter
with horses?
I think I was about four or five years old.
My uncle had a huge grey hunter called
Gamble, kept in the heart of Jilly Cooper
country in Gloucestershire’s Slad Valley.
My uncle put me on the front of the saddle
with him and we galloped around a huge
open field. I will never forget the feeling –
it was like flying.
And when did your interest in
photography develop?
Like many, I grew up spending hours
in bookshops buying the Ansel Adams
calendars and obsessing over his black &
white images of Yosemite. I started taking
landscape pictures as a teenager, but
then work took over so I had a break from
photography for many years. When I started
shooting equine images again, many of my
peers encouraged me to incorporate it into
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66-67_F2F_198 ER/ABE.indd 66
my PR agency, Capture, but selling work and
chasing commissions made me lose the joy
very quickly. I stopped shooting completely
and sold most of my kit. When I picked up
a camera again, I wanted to stay true to
myself and create something personally
fulfilling: images I was truly proud of, even
if they only ever made it onto my own walls.
What is the hardest part of
equestrian photography?
Even if you’re conversant with equine body
language there’s always a few surprises,
so split-second instincts and reflexes are
essential. You can’t pose wild horses, or ask
them to do the same thing again, so you
have to be ready and adaptable. Once I did
come close to getting run over by a herd in
the Camargue and I fell down a massive
hidden hole in Iceland. You learn to fall and
trip while holding your camera gear safely
above your head – it’s an essential skill.
The photos in your Equus Noir series
are very successful at isolating a single
horse in dramatic light. How do you
achieve this?
All of my images are captured in natural
light. Bright, high contrast light (normally
a photographer’s worst fear) can work
brilliantly for this style of photography.
Technically, grey horses are my dream.
Essentially I use two methods – underexpose
in camera and/or adjust the exposure in
Lightroom – but the initial capture has to be
right otherwise it simply won’t work.
I hardly ever touch Photoshop. It’s literally
all about finding the right light and being in
the right position. That could be waiting for a
horse to be in a single pool or spot of light, or
against a good background and be partially
backlit. I’m not looking for a straight
silhouette though; I want the light to ‘kiss’
the right places to show the shape, movement
and magnificence of the horse.
Who are your photographic heroes?
I hugely admire Jonathan Chritchley’s
imagery, especially his sailing pictures –
you just feel the passion in his work. I also
love the adrenaline and ‘chase’ found in
Amanda Lockhart’s hunting and horse
racing images. American photographer
Tony Stromberg has also been a great
inspiration and good friend; I adore his very
dramatic imagery and he’s a keen horseman
too. I think the best equine photographers
do more than take pictures – it’s a heartfelt,
spiritual connection.
PROFILE
Kerry was born in Cheltenham in
1971. She began her career as a
press officer and became head of
PR for Lowepro. In 2008, she
launched her own photography-
focused PR agency, Capture,
whose clients include Tokina,
Manfrotto and Wilkinson Cameras.
Her equestrian photography has
taken her to America, Portugal and
Iceland and she became the
UK’s first female Fujifilm
X-Photographer ambassador.
kerryhendry.co.uk
21/12/2016 12:03
 ‘I want the light to ‘kiss’
the right places to show
the shape, movement
and magnificence
of the horse.’

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 TECHNIQUE THE SMART GUIDE TO PHOTOGRAPHY
We all enjoy taking pictures on our mobile phones, but too often
timclinchphotography.com
that’s where they remain. Tim Clinch has some ideas to get your
clinchpics
work presented in a professional way and seen by a larger audience.

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I
’m always banging on about actually
doing something with your mobile
photography rather than leaving the
pictures languishing in your phone, so
this month I’d like to share with you
some really great ways to:
Get your work seen by a much
larger audience.
Present your mobile photography
in a slick and professional way.
Get people to say nice things
about your photography (which, let’s
face it, is always nice).
I’ve told you about the importance of
Instagram and tried to get you all posting
stories on Steller. If you’ve got those up and
running then good on you (and I’m following
a lot of readers on both platforms). But now
it’s time to move on to the next step.
Firstly, competitions. There are literally
‘They describe their books as
travel notebooks and they
look absolutely amazing.’
hundreds of photography competitions on
the internet, but which ones to enter? Well,
a good place to start is a website called
Photo Contest Insider (photocontestinsider.
com). This website lists photography
competitions from around the world and
gives you direct links to the relevant
websites and lists the prizes. You can filter
your interests (to find mobile photography
competitions, for example) and really do
some research before entering anything.
The one competition I have regularly
entered since it started five years ago is the
Pink Lady Food Photographer of the Year
Awards (pinkladyfoodphotographeroftheyear.
com). Showing off a bit, I’ve had pictures in
the final every year and won a few awards
too, which is always very nice. They have a
Mobile Phone category and, a word of
advice, have very few black & white entries
– so a good strong shot will really stand out.
The big one for mobile photography,
however, is the iPhone Photography Awards
(ippawards.com). Now, I have never made
any secret of the fact that I am a Mac user.
As a professional photographer, the industry
I work in runs on Macs. Every magazine,
publishing house and design group I know
uses Macs, and for that reason alone I am
a Mac man, and therefore my mobile phone
of choice is the iPhone. Obviously other
phones of all sorts and specifications are
available. For me, however, these awards
are the top of the tree.
As with the Pink Lady awards, the IPP

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 All images © Tim Clinch
awards generate a huge amount of press
worldwide. So you never know what might
happen and, as they say, you’ve got to be
in it to win it. The deadline for this year’s
IPP awards is 31 March and the deadline
for the Pink Lady awards is 5 February.
So get on with it!
Next month I will give you a few hints and
tips on how to enter competitions, what
images to choose and how to decide
which categories to enter.

N
ow, the second thing. Publishing
a book. There are lots of self-
publishing websites out there,
some good, some less so. Blurb
(blurb.com), Lulu (lulu.com) and MixBook
(mixbook.com) are three of the best, but
something has just caught my eye that
I think looks amazing.
At the time of writing, Out of the Phone
(outofthephone.com) is still at the
fundraising stage. They describe their books
as travel notebooks and they look absolutely
amazing. Just the sort of book I would like
to present some of my stories in. I will admit
that I have contributed to the project (and
no, they are not paying me anything to say
this) and am very excited to see where this
project goes. By the time this issue of the
magazine hits the news stands, who
knows? It all looks very exciting…
69
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THE PICTURES THIS MONTH

The processing I use on my mobile
photography has become simpler and
more realistic and I find myself using
fewer apps and gimmicks. These
unrelated pictures, all shot in Bulgaria
and all simply converted into black &
white, will at some point be entered into
a competition. Which one? Not telling.
Don’t want any of you lot to beat me!

68-69_SMART_GUIDE_199 ER/ABE.indd 69 21/12/2016 12:07

 YOUR B+W
SMARTSHOTS
The one
o camera you always have with you is on your phone, and we want to
see tthe pictures you take when the moment is right and you can’t resist a shot.
We h have three Class 10 EVO 32GB MicroSD cards to give away each month.
With a grade 1 transfer speed of up to 48Mbs, each MicroSD card also comes with an
a
SD adapter – meaning it’s compatible with both your smartphone and digital camera.

70
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WINNER © ED ALDRIDGE

WINNER © DECLAN BOYLAN

© GRAEME ROBERTS

© PETER THUN © DOUGLAS LANDER

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 © MARK BIRCHILL

WINNER © WALTER ROTHWELL

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© MARTIN BRUNTNELL © MARK REEVES

SUBMIT YOUR PICTURES

ographymag.co.uk
Submit your hi-res pictures through our website at: blackandwhitephotographymag.co.uk
OR via Twitter by tagging us @BWPMag and using the hashtag: smartshots. hots.
If you are submitting via Twitter we will contact you for hi-res if you are chosen.
chosen.

www.samsung.com/memorycard

70-71_SMARTSHOTS_199ER/ABE/ER.indd 71 21/12/2016 12:14

 YOUR B+W

All images
© Oliver Lynton

S A LO N
In our search for some of the best
work by Black+White aficionados,
we came across Oliver Lynton
and his very special portraits of
the people in Kipsongo slum,
Kitale, Kenya. It goes to show
what photography can reveal…

72
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‘Kipsongo is home to
14,000 people, many
of the Turkana tribe.
They have developed
a local reputation
as the most violent,
drunken, dirty and
uncivilised of any
community. However,
while living and
working in Kitale the
people of Kipsongo
became especially dear
to me.
‘On two early
morning shoots I
asked people to bring
something they loved.
These portraits are the
result.’

Turn to page 86
to see how you can
submit your work.

72-76_SALON_199/ABE/ER.indd 72 20/12/2016 11:36

 73
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 74
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 75
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72-76_SALON_199/ABE/ER.indd 75 20/12/2016 11:37

 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

76
B+W

72-76_SALON_199/ABE/ER.indd 76 20/12/2016 11:37

 R e v e a l t h e n e x t s t e p i n yo ur p ho t o g rap h y j o u r n e y

BOOK
TI CK ET S
TO D A Y

S uppo r t e d bY

Q uo te B W TP S 1 7 a n d g e t a s pe c i a l di s c o u n t
Discount applies to standard adult entry tickets only. Members of trade and pro
photographers may apply for free trade passes subject to validation criteria.

photographyshow.com

077_BW_199.indd 77 12/16/16 10:00 AM

 IN FOCUS
TESTS AND
PRODUCTS OLYMPUS OM-D E-M1 MK II
The latest flagship micro four-thirds camera from Olympus brings together
an impressive array of forward-thinking features and technology, including a
20.4Mp sensor and continuous shooting at up to 60fps. We take a closer look.

78
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T
he E-M1 Mk II builds
on the foundations
of its predecessor
(the E-M1 from
2013) by offering
the same DSLR-
like handling in a mirrorless
body, but with vastly improved
performance. As such, the
body hasn’t changed as much
as the technology inside.
It’s impeccably built
in magnesium alloy with
comprehensive dust and water
sealing. The grip is slightly
larger, but the 2.36 million-dot
electronic viewfinder and 1.03
million-dot touchscreen are
essentially unchanged from
the E-M1, except for the full
IN A NUTSHELL than before, capturing up
to 18fps when used.
What is it? A fast-shooting, feature-packed, micro Another major leap
four-thirds camera forward is the 5-axis image
Who is it for? Pros and enthusiasts interested stabilisation for stills or
in 60fps Raw image capture, rapid autofocus and video, which works with any
class-leading image stabilisation in a mirrorless body lens and offers 5.5 stops of
compensation when shooting
How much? £1,849 handheld, and 6.5 stops with
Website? olympus.co.uk the Olympus 12-100mm f/4
lens. As for video, movies can
articulation of the LCD. The processor rapidly processes be shot in 4K (3840 x 2160)
body is liberally sprinkled with and reviews images, while or cinema 4K (4096 x 2160),
dials and buttons to ensure enabling up to 60fps burst recording up to 237Mb/sec.
rapid manual control of the shooting of Raw files with The 20.4Mp four-thirds live
camera, and almost every the electronic shutter. This MOS sensor is built for low-
one can be customised to processor, coupled with 121 power consumption, while
practically any setting. cross-type phase detection a new and improved
Inside the camera, a focus points, makes the battery provides a longer-
TruePic VIII double quad-core continuous autofocus faster lasting shoot.

78-79_IN_FOCUS_199 ER/ABE.indd 78 20/12/2016 11:39

 KEY FEATURES ALTERNATIVES
20.4Mp live MOS sensor
Up to 60fps continuous TO CONSIDER
shooting
121 cross-type phase
detection focus points
5-axis image stabilisation
Dust and weather
sealed protection
Dual SD card slot
4K and C4K movie
recording
FUJIFILM X-T2
APS-C sensor
24.3Mp

A
longside the 14fps continuous shooting
impressive £1,399 (body only)
technology sits ‘The body is liberally sprinkled
some nifty little
features. Pro Capture records with dials and buttons to ensure rapid
up to 14 frames before manual control of the camera.’
the shutter button is fully
depressed, ensuring a crucial
shot is never missed due to
slow reactions. Live Composite
records long exposures and
displays the image as it builds
up on the LCD, allowing the NIKON D500
photographer to stop the APS-C sensor
exposure when the picture 21Mp
79
B+W
looks perfect. Focus Bracketing 10fps continuous shooting
and Focus Stacking aids sharp £1,729 (body only)
macro work, while the 50Mp
High Res mode combines eight
shots to create a 50Mp image
that is full of detail.
Olympus micro four-thirds
cameras are at a mature stage
of development and as such
provide a varied range of
lenses at different price points,
as well as a host of other OLYMPUS OM-D E-M1
accessories. As the company’s Four-thirds sensor
flagship mirrorless camera, 16.3Mp
the E-M1 Mk II offers nimble TruePic VII image processor
handling, fully customisable £849 (body only)
manual control, cutting-edge
technology and specific
features that will enhance
many types of photography,
from sports and wildlife, to TECHNICAL SPECIFICATIONS
macro and landscape. Price (body only) 9£1,84
Sensor 20.4Mp four-thirds live MOS
Lens mount Micro four-thirds
LCD 3in, 1.03 million-dot, vari-angle touchscreen
PANASONIC LUMIX
ISO Low to 25600
Shutter speed 1/8000sec to 60sec
DMC-G80
Four-thirds sensor
Frames per second 60 (Single AF), 18 (Continuous AF)
16Mp
Dimensions (wxhxd) 134 x 91 x 69mm 5-axis image stabilisation
Weight (body only) 94 8g £699 (body only)

78-79_IN_FOCUS_199 ER/ABE.indd 79 20/12/2016 11:39

 TESTS AND
PRODUCTS
CHECKOUT
A good macro lens opens up a world of creative possibilities and enables
you to show the world of plants, insects and wildlife like never before.
Daniel Calder gets up close to some of the recent arrivals.

PANASONIC CANON EF-M 28MM F/3.5 MACRO IS STM

LUMIX G Clever design

T
MACRO he Canon EF-M 28mm F/3.5 Macro IS STM is an innovative
30MM little lens for the EOS M series of mirrorless cameras. Its
F/2.8 ASPH. most eye-catching feature is the two LEDs built into the
end of the lens, which provide a small amount of light to
MEGA O.I.S. offset the shadows so often cast when photographing close to
Affordable the subject. By using a button on the lens barrel, the LEDs can
be used together or separately as a left or right semi-circle of
four-thirds illumination, with a bright or dim setting.
lens The lens is capable of 1x magnification but also extends slightly
to achieve 1.2x magnification, with the subject a mere 13mm
from the front of the lens. The focus ring is pretty narrow but
offers manual override at any time. Despite the low price, the lens
features a hybrid image stabiliser, which is switched on in the
camera menu, to minimise camera shake when shooting handheld.
The build quality is good, although there is no dust or moisture
protection, and the lens caps and hood are included.

A
nother strong offering for micro four-thirds cameras comes
in the shape of the Panasonic Lumix G Macro 30mm F/2.8
ASPH. MEGA O.I.S. It’s compact, light, affordable and,
80 most importantly, sharp. Using a mix of metal and high-
B+W
grade plastic, the lens looks more expensive that it actually is. It also
performs better than the price suggests, so cost-cutting is achieved
by dispensing with any weather seals and exterior switches.
Therefore, there are no scales, nor is there an MF/AF switch or focus
limiter – although the speed with which the stepping motor moves
through the focus range renders a limiter unnecessary.
One key feature that is especially useful for older Panasonic
mirrorless cameras is the built-in optical image stabiliser to improve
shooting without a tripod – although due to the streamlined design
you’ll have to go into the camera menu to switch it on or off. One
thing to bear in mind is that life-size 1x magnification is achieved by
being extremely close to the subject.

TECH SPECS TECH SPECS

Focal length (35mm equivalent) 60mm Focal length (35mm equivalent) 44.8mm
Aperture f/2.8-22 Aperture f/3.5-22
Minimum focusing distance 10.5cm Minimum focusing distance 9.3cm
Lens mount Micro four-thirds Lens mount Canon M
Filter size 46mm Filter size 43mm
Lens construction 9 elements, 9 groups Lens construction 11 elements, 10 groups
Diameter x length 58.8 x 63.5mm Diameter x length 60.9 x 45.5mm
Weight 180g Weight 130g
Guide price £269 Guide price £294
Contact panasonic.com Contact canon.co.uk

ALTERNATIVELY ALTERNATIVELY
The Leica DG Macro-Elmarit 45mm F/2.8 The Canon EF 100mm F/2.8L IS USM Macro
ASPH. MEGA O.I.S. lens for micro four- lens offers top-notch optical performance at
thirds cameras also offers image stabilisation, a very useful focal length for around £800.
along with more lens elements and physical Made for Canon DSLRs, it also fits M-system
switches on the barrel for £539. cameras with the EF-EOS M mount adapter.

80-83_CHECKOUT_199 ER/.indd 80 21/12/2016 12:18

 ZEISS MILVUS 2/100M
Manual focus lens

I
f money is no object, the Zeiss Milvus 2/100M delivers
exceptional build quality, stunning optical performance and
a fast f/2 maximum aperture for Canon and Nikon DSLRs.
What it does not offer is autofocus, image stabilisation or 1:1
magnification. It is built to capture the sharpest possible images
(up to 0.5x magnification) without any added complication.
Combining the f/2 aperture with the 100mm focal length enables
incredible control over depth of field. This creates images where
the subject pops out from a nicely defocused background, making
the lens equally great for portrait and macro work. That said, the
lens requires skill to manually focus effectively. The silky smooth
focus ring takes up most of the matt metal barrel, with a rubber-
coated section for better grip. It rotates almost 360° from the
minimum (44cm) to maximum (infinity) focus distance with hard
stops at each end, allowing very precise adjustments.
The lens extends significantly as it focuses closer, revealing
etched magnification ratios on the barrel. Weather sealing is
included, as is a sturdy metal hood.
TAMRON SP 90MM F/2.8 DI
MACRO 1:1 VC USD (F017)
Elite performer

T
amron enjoys an enviable reputation with its 90mm macro
lens and this latest version, the F017, successfully builds
on past success. Available for Canon EF, Nikon F and
Sony A-mount cameras, it offers sharp optics and premium
features for a reasonable price.
The relatively large lens barrel is made from metal, with dust and
moisture protection and a small window on the side displaying
81
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a distance and magnification scale. The Ultrasonic Silent Drive
powers the autofocus more quickly and just as quietly as previous
models. Vibration Compensation (VC) is also improved with the
addition of XY-Shift compensation for less blurry handheld shots.
VC can be turned off with a switch on the barrel, as can autofocus
– although you can override autofocus at anytime by turning the
focus ring. A third switch sets the focus limit to 30-50cm, 50cm-
infinity or Full. The 30cm minimum focusing distance and non-
extending barrel mean the lens is ideal for photographing small
creatures as it offers less chance of disturbance.
Completing an impressive package, the lens comes with
a five-year guarantee and lens hood.

TECH SPECS TECH SPECS

Focal length (APS-C cameras) 145mm Focal length (APS-C cameras) 160mm
Aperture f/2.8-32 Aperture f/2-22
Minimum focusing distance 30cm Minimum focusing distance 44cm
Lens mount Canon EF, Nikon F and Sony A Lens mount Canon EF (ZE) and Nikon F (ZF.2)
Filter size 62mm Filter size 67mm
Lens construction 14 elements, 11 groups Lens construction 9 elements, 8 groups
Diameter x length 79 x 117.1mm Diameter x length 80.5 x 104mm
Weight 610g Weight 843g (Canon), 807g (Nikon)
Guide price £579 Guide price £1,300
Contact tamron.eu Contact zeiss.co.uk

ALTERNATIVELY
The highly regarded Sigma 105mm F/2.8 EX
DG OS HSM Macro lens offers similar features
to the Tamron 90mm model and also fits a
variety of cameras. Being older, it can be found
for a very reasonable £320.
ALTERNATIVELY
The Zeiss Milvus 2/50M is from the
same family as the 100mm optic, sharing
the same features and high performance
but with a shorter focal length of 50mm.
It costs around £949.

80-83_CHECKOUT_199 ER/.indd 81 20/12/2016 11:39

 Lab
The Ag Photo lab offers one of the most comprehensive range
of services in the industry, all to the highest possible quality.
Affordable C-Type printing from Film or Digital with
our Lightjet and Noritsu exposure units, up to 50” width;
Black & White film processing from £3.99
Colour film processing (C41 & E6) from £2,99 & £4.89;
Film scanning with Noritsu or Hasselblad Flextight
Giclee fine art; Digital Silver Gelatin.
See www.ag-photolab.co.uk for our lab services

Product
Massive range of photo consumables.
Traditional Film, Paper, Chemistry
Darkroom products
See www.ag-photographic.co.uk for our range of products

Workshops
Darkroom and unique photographic experiences.
Now booking for 2017.
Our workshops include plentiful supply of all
materials, breakfast on arrival, lunch and refreshments.
Visit www.ag-photographic.co.uk and go to courses.

Introduction to B&W
Darkroom Printing - £159
Friday 20 January
Saturday 4 February (fully booked)
Saturday 18 February

Improving your B&W printing in the Darkroom

with Andrew Sanderson - £249
Tuition with renound Ilford master printer, not to be missed.
This will set your printing on course to the next level.
Saturday 11 March

Documentary Photography on 35mm film with Pogus Caesar

Booking Soon (dates to be confirmed)

Ag Photographic & Ag Photolab

Unit 6 Phoenix Business Park, Avenue Road
Birmingham, B7 4NU. 0121 366 0016
sales@ag-photographic.co.uk

082_BW_199.indd 82 12/21/16 3:50 PM

 OLYMPUS M.ZUIKO DIGITAL ED
30MM F/3.5 MACRO
Compact and light

T
his 30mm f/3.5 macro lens is a small, lightweight and
affordable prime lens for Olympus and Panasonic micro four-
thirds cameras. Although it’s part of the Premier (mid-range)
level of optics from Olympus, it is a stripped back affair,
offering very good optical performance but without any extras.
The lens is built mostly from plastic, which keeps the cost and
weight down but means there is no weather protection included.
Much of the lens is taken up with a ribbed focus ring, leaving no
room for a distance scale, magnification indicator or focus limiter
switch. There’s also no built-in image stabilisation, relying instead
on the in-camera stabilisation of micro four-thirds cameras.
The most impressive feature of the lens is the 1.25x
magnification, equivalent to 2.5x with a 35mm camera. To achieve
this, however, you will need to get as close as 14mm from the
subject. Though fine for most subjects, small animals may be
disturbed by the close proximity of the lens, despite the internal-
focusing, non-moving barrel.

SONY FE 50MM F2.8 MACRO

Good all-rounder

W
ith its useful focal length, the Sony FE 50mm F2.8
Macro lens doubles up as a prime lens for a wide
variety of shooting scenarios, as well as a close-
up specialist. Although it’s principally designed as
an affordable option for the α7 series of full-frame cameras, it’s
83
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also compatible with Sony’s APS-C range of compact system
cameras, including the α6300 and α6500.
The lens is constructed to Sony’s usual high standards, with
metal casing and weatherproof sealing. To keep the costs down,
a standard AF motor is used instead of a quieter and faster micro
motor, and no image stabilisation is included.
It focuses down to 16cm from subject to sensor, achieving 1:1
magnification at this distance. However, the lens extends a long
way at this point, making insect photography somewhat tricky.
The side of the barrel contains a manual/autofocus switch, a
focus lock button to be used instead of the shutter button, and a
focus limiter switch to save time moving through the focus range.

TECH SPECS TECH SPECS

Focal length (35mm equivalent) 75mm Focal length (35mm equivalent) 60mm
Aperture f/2.8-16 Aperture f/3.5-22
Minimum focusing distance 16cm Minimum focusing distance 9.5cm
Lens mount Sony E-mount Lens mount Micro four-thirds
Filter size 55mm Filter size 46mm
Lens construction 8 elements, 7 groups Lens construction 7 elements, 6 groups
Diameter x length 70.8 x 71mm Diameter x length 57 x 60mm
Weight 236g Weight 128g
Guide price £500 Guide price £249
Contact sony.co.uk Contact olympus.co.uk

ALTERNATIVELY ALTERNATIVELY
The Sony FE 90mm F2.8 Macro G OSS is a The larger Olympus M.ZUIKO DIGITAL
dedicated macro lens for E-mount cameras ED 60mm F/2.8 Macro lens offers a more
and benefits from G lens quality construction, convenient working distance, weather
built-in image stabilisation and a non- sealing, magnification indicator
extending lens barrel for around £850. and focus limiter for £365.

80-83_CHECKOUT_199 ER/.indd 83 20/12/2016 11:39

 TESTS AND
PRODUCTS

BW +
LOVES
NIKON D5600
Aimed at enthusiasts, the Nikon D5600
houses a 24.2Mp DX-format image sensor PELI GUARDIAN
and features SnapBridge compatibility to IPHONE 7 CASE
sync images by Bluetooth to a smart device. Thin but durable, this hard plastic and rubber
Cool photography gear £799.99 18-55mm kit lens case slips on to an iPhone 7 or 7 Plus to add
£989.99 18-140mm kit lens greater protection to the smartphone.
in the shops and online europe-nikon.com From £24.99 peli.com

84
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LOWEPRO FLIPSIDE TREK
These backpacks blend the comfort and
functionality of a hiking rucksack with the
protection and accessibility you would
expect from a camera bag. They come
in three sizes: 250, 350 and 450.
From £125
lowepro.co.uk
ADATA SD700
IRIX 15MM F/2.4 LENS EXTERNAL SSD
Irix is an innovative lens manufacturer using This small external solid state drive transfers
Swiss design and Korean technology. The data at speeds of up to 440Mb/sec and is
15mm f/2.4 lens is available in a heavy duty, tough enough to survive in 1.5m of water
weather-sealed Blackstone casing (pictured) for 60mins. It also offers military-grade
or a lightweight Firefly casing. shock resistance.
From €475 (approx. £400) £135 (256Gb) £227 (512Gb)
irixlens.com adata.com

WHITEWALL
PHOTO CALENDARS
Whitewall has brought its considerable
printing expertise to the online creation of
photo calendars. Choose from four paper
stocks, 10 different calendar sizes and a
selection of contemporary, minimal designs.
From £14.95 whitewall.com
TENBA DNA SLIM 15
This slimmed down version of the Tenba DNA
15 messenger bag still provides ample room
for a DSLR with four lenses or a mirrorless
camera with six lenses, as well as space
for a 15in laptop and other accessories.
£120 tenba.com

84-85_B+W_LOVES_199 ER/ABE.indd 84 23/12/2016 08:28

 HAWKESMILL JERMYN
STREET CAMERA BAG
Hawkesmill has created a luxury camera
bag that is handcrafted in England using
waterproof canvas, Harris tweed and Italian
leather. A removable padded insert protects
the camera gear and a 15in laptop.
£549 hawkesmill.com
LEICA TL
Superseding the mirrorless Leica T, the TL remains a compact camera
with an APS-C sensor and touchscreen operation, but adds increased
internal memory of 32Gb, improved autofocus and enhanced
compatibility with other Leica lens ranges.
£1,450 leica-camera.com

85
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TETHER TOOLS CASE AIR
The Case Air Wireless Tethering System
attaches to a Canon or Nikon camera
to transmit images to a phone, tablet or
computer. The free app opens up advanced
camera controls, live view and automatic
sharing through the smart device.
£178.80 theflashcentre.com
DAGUERREOTYPE
ACHROMAT 64MM F/2.9
Modelled on the first photographic optical
lens from 1839, the Daguerreotype Achromat
captures images in a mixture of sharp detail
and silky soft focus. It is available in a Canon
EF, Nikon F and Pentax K mount, and is
compatible with many other cameras
using an adapter.
£399 shop.lomography.com
KAISER FILTERS
The complete range of Kaiser filters is now
available in the UK. The collection includes
polarising, skylight and toning filters as well
as a rotating Vario ND filter.
From £18.70 fotospeed.com

LEICA SUMMARON-M
28MM F/5.6 LENS
This ultra-compact (2cm deep) wideangle
lens for the Leica M rangefinder system is
a contemporary remodelling of the classic
28mm lens from 1955. Its unobtrusive size
makes it ideal for street photography and
captures analogue-looking images
with visible vignetting.
£1,900 leica-camera.com
WASHI W 35MM FILM – ISO 25
Hand-crafted in France by the world’s LOMO INSTANT
smallest film company filmwashi.com, this WIDE VICTORIA PEAK
extreme black & white film is tricky to use The brand new edition of this camera has
but gives a high contrast, grainy result been given a blue, grey and silver makeover.
similar to a charcoal sketch. It shoots Fuji Instax Wide Film for
£16.29 10x6cm instant images.
firstcall-photographic.co.uk £179 lomography.com

84-85_B+W_LOVES_199 ER/ABE.indd 85 20/12/2016 11:41

 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY
Visit our website

86
B+W

YOU CAN NOW SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

BL ACK+ WHITE PHOTOGR APHY COOL , CREATIVE AND CONTEMPOR ARY

86-87_HOW_TO_199 ER/ABE.indd 86 20/12/2016 11:42

 LAST FRAME SALON

Do you have a single image that you’d like We are looking for contemporary black & white pictures that
printed big and hung on your wall? Send tell a story about the world as you see it. Send us a well-edited
the file to us and you could win just that. set of between 10 and 15 pictures.

87
B+W

SMARTSHOTS PRINT SUBMISSIONS

Send your prints by post to:
Black+White Photography
GMC Publications Ltd
86 High Street
Lewes BN7 1XN
Please specify which section of the
magazine you are submitting to. If you
would like your work returned please send
a stamped addressed envelope. GMC
Publications cannot accept liability for the
loss or damage of any unsolicited material.

ONLINE COMMUNITY

FOLLOW US ON FACEBOOK
facebook.com/blackandwhitephotog

FOLLOW US ON TWITTER
@BWPMag

FOLLOW US ON INSTAGRAM
Shoot with your smartphone and send in your pictures – you could be one of three
@bwphotomag
lucky winners each month who wins a Samsung Class 10 EVO 32GB MicroSD card.
Upload your pictures to our website, via Twitter by tagging us @BWPMag and using FOR ALL CONTACT DETAILS
the hashtag #smartshots, or email them to anna.evans@thegmcgroup.com. blackandwhitephotographymag.co.uk
If you are successful we will request high-res files.

86-87_HOW_TO_199 ER/ABE.indd 87 23/12/2016 08:37

 SUBSCRIBE TO
BLACK+WHITE PHOTOGRAPHY
FROM £19.95* AND SAVE UP TO 30%
SUBSCRIBER BENEFITS WHAT YOU GET EVERY MONTH

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16-018_BW_SUBS_AD.indd 88 12/21/16 3:01 PM

089_BW_199.indd 89 12/20/16 9:57 AM
 COLLECTOR’S EDITION
B+W MARCH 2017 ISSUE 200 ON SALE 16 FEBRUARY

Don’t miss your exclusive 200th issue subscription offer

90
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© Sadegh Souri

NEXT MONTH
SADEGH SOURI ON FORGET REALITY
THE PERSECUTED WITH ISA MARCELLI’S
CHILDREN OF IRAN SURREAL IMAGERY

FREE POSTER FEATURING ALL 200 B+W COVERS

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90-91_NEXT MONTH_199 ER/ABE.indd 90 21/12/2016 12:19

 91
B+W

© Isa
Marcelli

90-91_NEXT MONTH_199 ER/ABE.indd 91 21/12/2016 12:19

 B W CLASSIFIEDS
To advertise on these pages please call the Photography team
+ 27 Rathbone Place London W1T 1JE
on 01273 402823 or email advertising@thegmcgroup.com
Camera Museum
Tel: 020 7436 1015 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Pre-owned Leica Medium / Large & Other Format

Leica TL Black with 23mm f2 Summicron-T (Complete; boxed) As New £1790 Contax 35mm f3.5 Distagon T* for 645 Exc+++ £890
Leica M Monochrom (Complete; boxed) 6300 Actuations only;New Sensor Exc £2750 Bronica 45mm f4 Zenzanon-RF + hood & V/Finder Mint £320
Leica M7 0.72 Black #2852xxx (boxed) Exc+ £1250 Fujica 65mm f8 Fujinon-SW + Viewfinder (Rare) Exc £450
Leica M6 Chrome Wetzlar #1705xxx (A few bright marks near viewfinder) Mint- £1090 Schneider 110mm f2.8 LS AF + hood (boxed) Mint- £1390
Leica M5 Black Exc £550
Leica M4-P Chrome ~ 70th Anniversary 1913-1983 Mint- £890 Mamiya 6 with 75mm f3.5G + hood Exc++ £1090
Leica M2 #1099xxx ~ Rare model; Made by Leitz Canada Exc+ £890 Mamiya 50mm f4.5G + hood Mint- £490
Leica CL + case Mint- £420 Mamiya 150mm f4.5G + hood (Mamiya 6) Exc++ £190
Minolta CLE Exc+ £350
Leica 10x50 BA Trinovid with Tripod Adapter (Boxed with Leather Pouch) Exc+++ £790 Mamiya 7 II with 80mm f4L + hood (boxed) Exc+++ £1490
Mamiya 43mm f4L + hood & V/finder Exc+++ £750
Leica 21mm f2.8 Elmarit-M ASPH + hood #3991xxx & Voigtlander v/f Exc++ £1490 Mamiya 50mm f4L + hood & V/finder Exc+++ £690
Dedicated to the monochrome photographer

Leica 21mm f2.8 Elmarit-M ASPH + hood 6-bit #4068xxx Mint- £1750 Mamiya 150mm f4.5L with FV702 V/finder (boxed) Mint- £390
Zeiss 21mm f4.5 Biogon ZM T* Mint £550 Mamiya ZE-702 Polarising filter Mint- £70
Leica 24mm f2.8 Elmarit-M ASPH + hood 6-bit #4036xxx (boxed) Mint- £1250
Leica 28mm f2 Summicron-M ASPH + hood #3929xxx ~ oil on blades Mint- £1490 Schneider 300mm f4 Apo-Tele-Xenar PQ for Rolleiflex 6008 Exc++ £1790
Leica 28mm f2.8 Elmarit-M ASPH 6-bit + hood #40770xxx Mint £1150 Rolleiflex SL66 + 80mm f2.8 Planar & Film Back Exc+ £690
Leica 35mm f1.4 Summilux-M ASPH FLE + hood #4247xxx (boxed) Mint £2690 Rolleiflex 3.5F (75mm Planar) with Meter Exc+++ £790
Leica 35mm f2 Summicron-M ASPH + hood 6-bit #4091xxx Mint- £1550 Rolleiflex Wide (55mm Distagon) User £1390
Leica 35mm f2 Summicron-M ASPH Silver + hood 6-bit #4100xxx (boxed) Exc+++ £1490
Leica 3.5cm f3.5 Summaron (L39) Exc+ £270 Horseman SW-D II Pro with Schneider 24mm f5.6 Apo-Digitar XL & Exc++ £2090
Leica 50mm f1.4 Summilux-M ASPH #4132xxx (boxed; complete) Mint £2090 Phase one Hasselblad H 101 Adapter plate
Leica 50mm f2 Summicron-M #3707xxx Exc+++ £1050
Leica 5cm f2 Summitar (L39) Exc++ £290 Fotoman 45PS with 58mm f5.6 Super-Angulon XL Exc++ £850
Leica 50mm f2.8 Elmar Exc+ £320
Leica 90mm f2 APO-Summicron-M ASPH #3856xxx Mint- £1790 Schneider 58mm f5.6 Super-Angulon XL (Copal 0) Mint- £530
Schneider 72mm f5.6 Super-Angulon XL (Copal 0) on recessed board Mint £650
Leica Remote Control R8 (14202) ~ 5 metres Mint- £40 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270
Leica 28-90mm f2.8-4.5 Vario-Elmarit-R ASPH ROM #3974xxx (boxed) Mint- £3750 Schneider 240mm f5.6 Symmar-S (Compur 3) Exc++ £290
Leica 80-200mm f4 Vario-Elmar-R ROM #3835xxx Mint £1090
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 21mm f4 Super-Angulon-R 2 Cam User £320
We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 35mm f2.8 Elmarit-R 3 Cam Exc++ £470 below and make sure to include your name; address and contact details for return postage.
Leica 100mm f4 Macro-Elmarit-R 2 Cam User £320 An order form is availible to download from our website on the Film Developing Page.
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
£120 Aperture Photographic 3 - 5 rolls.............................................£6
Voigtlander 50mm Metal Bright Line Viewfinder Black As New 6 - 10 rolls...........................................£9
PO Box 7045 11 rolls or more................................Free
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Mint- £110 London Process only
1 - 10 rolls...........................................£3
Leica 13.5cm Metal Viewfinder Chrome Exc+ £80 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 1.25x Magnifier (with chain & pouch) Mint- £120 Processing Prices (C41 Colour Negative Film)
Leica 1.4x Magnifier Mint- £140 35mm develop only £6.00
35mm develop + print £12.00
Voigtlander 28mm f3.5 SC Skopar + hood (boxed) (Nikon rangefinder) As New £250 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Voigtlander 50mm f1.5 S Nokton + hood (Nikon rangefinder mount) Mint- £270
Voigtlander Bessa-L black & Voigtlander 15mm f4.5 L39 (boxed) Exc+++ £390 120 develop only £7.00
£390 120 develop + print £15.00
Voigtlander 28mm f2 Ultron VM (boxed) Exc+++ 120 develop + print + scan £17.00
Voigtlander 40mm f1.4 Nokton Classic VM + LH-6 hood Mint- £420 120 develop + scan £11.00
Voigtlander 50mm f1.1 Nokton VM + hood Mint- £550
Extra set of prints (order within 7 days) £5.00
Voigtlander 75mm f1.8 Heliar VM + hood Mint £390 Negative scan to CD or digital media (Per roll) £8.00

Contax G2 + 35mm f2 Planar T* Exc+ £690 Xpan develop + scan £18

Xpan develop + scan + print (5” x 13.5”) £24
Contax 28mm f2.8 Biogon T* Mint- £270
We also process Black and White Film!
Contax 90mm f2.8 Sonnar T* Mint- £170
Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries
92 B+W CLASSIFIED FEBRUARY please2017
contact Camera Museum; located at 44 Museum Street Tel: 020 7242 8681 www.cameramuseum.uk

BW_199.indd 92 12/14/16 12:13 PM

 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
27 Rathbone Place London W1T 1JE Camera Museum
on 01273Tel:
402823 or email
020 7436 1015advertising@thegmcgroup.com 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Leica M6 with 35mm f2 Summicron-M Chrome Danish Royal Wedding Edition 052/200 , Mint , £3590

Dedicated to the monochrome photographer

Nikon F2 AS Black , Mint

Contax 21mm f2.8 Biogon T* + V/finder / Contax 28mm f2.8 Biogon T* / Contax 90mm f2.8 Sonnar T*

Panasonic DMC-GX7 (boxed), As New , £320

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
P l e a s e c o n t a c t u s o n 0 2 0 7 4 3 6 1 0 1 5 o r 2 7 @ a p e r t u r FEBRUARY
e u k . c o m 2017 B+W CLASSIFIED 93

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 B W CLASSIFIEDS
To advertise on these pages please call the Photography team
+ on 01273 402823 or email advertising@thegmcgroup.com

FILM PROCESSING
B&W and Colour Negative
Develop/Scan/Burn to CD
B&W RC Prints and Fibre Prints
Colour Prints
All formats catered for 35mm to 5x4
Fast Mail Order Service
Tel: 01472 388810 or 07944 083368
www.filmprocessingmailorder.co.uk
Dedicated to the monochrome photographer

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

used photographic equipment
Having trouble finding what you want? We’ve got nearly everything under one
roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.

Got a question about photography? We can answer it.

Starting a college course? Want to set up a darkroom?
Baffled by digital? We can help.

The Real Camera Company. Run by enthusiasts.

Photographic retailing like it used to be.

Sevendale House, 7 Dale Street

(Entrance on Lever Street), Manchester M1 1JA

Tel/Fax: 0161 907 3236

www.realcamera.co.uk

MISSING A BACK ISSUE

OF B+ W PHOTOGRAPHY?

You can order back issues direct from us for just £5.75 in the UK
and £6.25 overseas (includes P&P).
There are two ways to check availability and order:
CALLING OUR SALES TEAM ON +44 ( 0 ) 1273 488005
VISIT OUR WEBSITE AT WWW.THEGMCGROUP.COM

94 B+W CLASSIFIED FEBRUARY 2017

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 B+W CLASSIFIEDS
To advertise on these pages please call the Photography team
on 01273 402823 or email advertising@thegmcgroup.com

It’s
Sa l e !
If you have ANY unwanted camera equipment, why not turn it into instant money in time to pick up a bargain?

WE BUY MORE · PAY MORE · AND SMILE MORE

time

Dedicated to the monochrome photographer

IT’S SO EASY
Simply call or email Dale our Used Equipment Manager for expert valuation and advice
DIRECT LINE: 0207 467 9912 EMAIL: dale@cameraworld.co.uk
Or contact any of our used equipment experts on 020 7636 5005 or 01245 255510

GET IN TOUCH GET COLLECTED GET PAID

Give us a call and have a chat Pop it in the post or we can Take advantage of one of our
or fill out our simple form at collect it when convenient super Trade-Up Offers, or just
www.cameraworld.co.uk/used (dependant on value). take the money and ENJOY!
WHAT OUR CUSTOMERS SAY:
“ I have used CameraWorld on many occasions and always found the service outstanding friendly and
helpful. It is good to know that there are still high street shops who value the customer.”
Spencer H | 29.07.16

“ The part exchange process was straightforward and Dale was very friendly and helpful...”
Michael P | 06.06.16
100’S MORE ONLINE AT: www.cameraworld.co.uk/testimonials

NOW BUYING FILM CAMERAS

Due to increasing demand they could be worth more than you think!

www.cameraworld.co.uk
020 7636 5005 LONDON
sales@cameraworld.co.uk | 14 Wells Street (off Oxford Street), London W1T 3PB
01245 255510 CHELMSFORD
chelmer@cameraworld.co.uk | High Chelmer Shopping Centre, Chelmsford, Essex CM1 1XB

Goods and delivery services subject to stock and availability. Prices subject to change. Pictures are for illustration purposes only. All prices include VAT@ 20%. E. & O.E.

FEBRUARY 2017 B+W CLASSIFIED 95

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 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
© Patrick Janssens
of the art printing service, theprintspace – it could be you!

96
B+W

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

HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to:
B+W Photography, Last Frame, GMC Publications Ltd Find out more at
86 High Street, Lewes BN7 1XN www.theprintspace.co.uk

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 Winner of the TIPA Award

“Best Photo Lab Worldwide”

Awarded by the editors of 28 leading international photo magazines

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80 awards and recommendations. Made in Germany. Gallery quality trusted
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 Photo books in 5 mins

www.point101.com 9.7 / 10 on Trustpilot

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