Black & White Photography - January 2016

BLACK+WHITE PHOTOGRAPHY
COOL, CREATIVE AND CONTEMPORARY
JANUARY 2016
ANDREA MODICA + IAN BERRYS THE ENGLISH + SHOOTING IN ICELAND + SONY A7R II
ISSUE NO.185
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- Inspiring your creativity through imagery -
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EDITORS LETTER
Anthony Roberts
Elizabeth Roberts, Editor

elizabethr@thegmcgroup.com
s we start the new year I have been

thinking about the photography
exhibtions Ive seen over the past
12 months. This was prompted by a
young photographer who asked me what had been
the most influential, or best, exhibition Id seen
recently. I hesitated before I answered. In fact, I
hesitated for about three weeks because I wasnt
sure that there had been an outstanding one that
had lingered with me one of those that stays
in your mind for years, and nudges you to start a
new project or to subtly change your approach.
While I was thinking about this, I happened
upon an exhibition of photographs by the artist
(mainly known for his paintings) Cy Twombly.
His photographic images were a set of still
lifes (in colour, Im afraid forgive me) that
had such exquisite innocence about them that
I was captivated. Unfocused, soft, simple and
facebook.com/blackandwhitephotog
beautifully conceived. They are now so firmly

embedded in my memory that I can take any
one of them out and look at it at will. Nothing
will change this, they will stay forever and I feel
privileged to have seen them.
I dont think they are going to influence my
photography in any fundamental way (no colour
youll be glad to hear!) but they will remind me
of who I am, and in turn that will have its place in
my photography.
I think its so important to look at other
peoples work, to really understand what you like
not in a terribly analytical way but more in an
instinctive way. I think you absorb it, it becomes
part of you and consequently you become part
of your pictures. Its funny how the brain works,
particularly when it comes to creativity. There
dont seem to be any obvious rules, but things
like this fall together and it seems to work.
follow us on Twitter @BWPMag
PINBOARD
Daniel Dytrych
Terry Gibbins
01
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Claire McConnell
1 SIONE
2 DARK PILLARS
3 PULPIT STAIRS
This is a portrait shot by Daniel Dytyrch

of his friends sisters daughter, Sione. Using
his Nikon D300 and Zeiss f/1.4 50mm lens,
Daniel took the photograph earlier this year
one early morning in the shade on a sunny
day. To see more of Daniels B&W work
check out his Twitter feed or his website.
@DanielDytrych
danieldytrychphotography.co.uk
We cant stop looking at Claire McConnells

intriguing photograph of a woodland scene.
Taken on an early November morning in
Wendover Woods, the subtle mystical look,
complex composition and wide range of
tones was achieved with a Canon 5D MkIII
and f/2.8 100mm lens at ISO 100 and a
shutter speed of 1/40 second.
greeneyedlens.com
Cathedral steps have always been a popular

photographic subject, with the most wellknown being Frederick H. Evans 1903
A Sea of Steps, Stairs to Chapter House,
Wells Cathedral. Photographer and London
cabbie driver Terry Gibbins took this
picture on his iPhone 6 of the Pulpit Stairs
at the Cathdrale Notre-Dame de Reims.
@teegee217
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Andrea Modica
ISSUE 185
JANUARY
2016
CJ Pressma
20
Alex Timmerman
22
Tytia Habing
Ian Berry
36
COVER
IMAGE
This month's
cover image is
by Tytia Habing
GET IN TOUCH
02
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Tel 01273 477374

facebook.com/
blackandwhitephotog
twitter.com/BWPMag
EDITOR
Elizabeth Roberts
elizabethr@thegmcgroup.com
DEPUTY EDITOR
Mark Bentley
markbe@thegmcgroup.com
ASSISTANT EDITOR
Anna Bonita Evans
anna.evans@thegmcgroup.com
FOR FULL
DETAILS OF
HOW TO GET
PUBLISHED IN
BLACK+WHITE
PHOTOGRAPHY
TURN TO
PAGE 52.
NEXT MONTHS
ISSUE IS OUT ON
21 JANUARY
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FEATURES
ARTIFACE
6 THE
OF THE IMAGE
Andrea Modica weaves
stories with images
22
THE ART OF
STORYTELLING
Alex Timmermans on his love

of the wet collodion process
36
THE ENGLISH
REVISITED
Ian Berry documents a nation
NEWS
4 NEWSROOM
The latest from the

photography world
16 IN THE FRAME
Photography exhibitions
around the country
OF
18 EXHIBITION
THE MONTH
The show to see
COMMENT
20 AMERICAN
CONNECTION
Susan Burnstine on the
experimental work of CJ Pressma
48 A MODERN EYE
Shoair Mavlian on
a key female photographer
78 AATFORTNIGHT
F/8
Look, read and think,
says Tim Clinch
80 60-SECONDS
Stefan Burle answers

our quick-fire questions
02/12/2015 11:30
Carlo Sguazzini
Tim Daly
66
30
Caroline Mardon
Lee Frost
44
Yulia Naganova
60
82
03
B+W
TECHNIQUE
60 NEW ICE AGE
INSPIRATION
YOUR
BLACK+WHITE
70 SONY A7 RII
30 PORTFOLIO
66 PHOTO PROJECTS 54 ALL

ABOUT
PRINTING
GUIDE
72 SMART
TO PHOTOGRAPHY
74 CHECKOUT
58 SUBS OFFER
Tim Clinch on making

change work for you
Kit ideas for your shopping list
Lee Frost on why Iceland

is perfect for B&W photographers
44 READER
WORKSHOP
TESTS AND
PRODUCTS
Learning to make
foldout photobooks
Tim Daly with his

monthly challenge for you
Eddie Ephraums on printing

your photography project
Powerful camera
given the B+W test
Six of the best

secondhand camera retailers
85
BLACK+WHITE
LOVES
Your pictures
could win a prize
Have B+W
delivered to your door
82 SMARTSHOTS
The best smartphone

pictures can win prizes
86 NEXT MONTH
96 LAST FRAME
Whats coming up
A single image to close
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NEWS
NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
HIGH CONTRAST
Photographs by Annie Leibovitz
will be exhibited in London before
travelling to 10 cities around the
world. The exhibition, Women: New
Portraits, is at Wapping Hydraulic
Power Station from 16 January
to 7 February before touring to
Tokyo, San Francisco, Singapore,
Hong Kong, Mexico City, Istanbul,
Frankfurt, New York and Zurich.
ubs.com/annieleibovitz
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Photographers are invited to

submit entries for the Royal
Photographic Societys first
open photobook exhibition. The
competition is for self-published
photobooks and the prize is
1,000. Shortlisted photobooks
will be exhibited at the Espacio
Gallery in London in October
2016 as part of Photomonth East
London. Deadline: 31 July.
rps.org/photobook
Get your entries in for the
Fujifilm Student Awards 2016.
The competition is open to all UK
students, not just those studying
photography. Entry is free but
images must be taken on
Fujifilm film.
fujifilmstudentawards.co.uk
Thirteen artists have been selected
for the Photo50 exhibition at
London Art Fair at the Business
Design Centre from 20 to 24
January. Photography galleries will
also be showing work and a
Photography Focus Day on
20 January will feature artist talks,
guided tours and panel discussions.
londonartfair.co.uk
Endurance in full sail by Frank Hurley.
CELEBRATING ENDURANCE
New high-resolution pictures
of a famous expedition that
took place a hundred years ago
have been produced from the
original glass plates.
The pictures by Frank Hurley
record Ernest Shackleton and
the Endurance Expedition of
1914-17. The expedition was
an attempt to make the first
land crossing of the Antarctic
continent. However, the ship

became stuck in ice and the
crew had to leave it and find
refuge on the deserted Elephant
Island. Shackleton then sailed
800 miles in an open boat to
arrange the rescue of his men.
Hurleys glass plates and
celluloid negatives of the
expedition are stored securely
at the Royal Geographical
POSITIVE ABOUT PINHOLE
Lovers of food photography

can enter the Pink Lady Food
Photographer of the Year 2016.
The competition offers a prize
pool worth 10,000.
Deadline: 7 February.
pinkladyfoodphotographer
oftheyear.com
Nikon has confirmed it is
developing the Nikon D5 DSLR.
The new flagship camera will
represent the next generation of
professional FX-format models.
nikon.co.uk
Pittenweem Harbour
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Mike McCaw
Society in London. Newly

digitised versions taken directly
from the originals have been
made and reveal detail never
seen before.
More than 90 pictures
some over 2m in width and
height are exhibited at the
Royal Geographical Society in
Kensington Gore, London,
until 28 February.
This is one of a series of pinhole
pictures produced on direct
positive paper by photographer
Mike McCaw.
The 21 pictures of Fife in
Scotland were taken on a
homemade pinhole camera with
an f/300 aperture. The images
were produced on Harman Direct
Positive FB glossy 10x8 silver
gelatine paper. There is no negative,
making each picture unique.
The photographs can be seen
online at pinholian.com and in an
exhibition, Mike McCaw f/300:
Scotland in Slow Motion, at Gold
Street Studios in East Victoria,
Australia, until 14 February.
02/12/2015 10:14
GOING
GLOBAL
Black & white photojournalism
by German photographer
Christian Werner was among
the winners in the Felix
Schoeller Photo Awards.
The second edition of the
international competition for
professional photographers has
established itself worldwide,
with participants from 65
countries. The Gold Award went
to Karolin Klppel from Berlin.
Christian Werner, winner Photojournalism/Editorial
Photography category, Felix Schoeller Photo Award 2015
From the series 74 by

Christian Werner.
BROUGHT
TO BOOK
Photobooks investigating issues
such as modern conflict, the
financial world and newspaper
journalism have won prizes
in the Paris PhotoAperture
Foundation PhotoBook Awards.
The winner of the First
Photobook category was You
Havent Seen Their Faces by
Daniel Mayrit, the Photography
Catalogue of the Year was
Images of Conviction: The
Construction of Visual Evidence
by Diane Dufour and Xavier
Barral, and the Photobook of the
Year was Illustrated People by
Thomas Mailaender. A special
jurors mention went to Deadline
by Will Steacy.
Thirty-five books will be
displayed at Aperture Gallery
in New York (until 8 February),
Huis Marseille in Amsterdam
(December to January),
Scotiabank Contact Photography
Festival in Toronto (1 to 31 May),
Riga Photomonth in Latvia
(12 May to 3 June), Festival
of Photography in Poland
(9 to 19 June) and Landskrona
Foto Festival in Sweden
(19 to 27 August).
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BIG PRIZE
ANNOUNCED
STEREOSCOPY BOX
Rock star Brian May has designed
a special Victorian Gem box for
people interested in stereoscopy.
The Queen guitarist has long
had an interest in stereoscopy,
which is the Victorian art of 3D
pictures. He is the owner of the
London Stereo Company, which
publishes stereoscopic work, and
has designed a viewer to enable
stereoscopic viewing.
Now London Stereo have
released a Victorian Gems
box containing a pack of 12
stereoscopic portraits of an
Oxfordshire village taken in
the 1850s by TR Williams,
a pack of 12 diableries cards
featuring ghoulish scenes from
the 1860s, a pack of 12 Poor
Mans Picture gallery cards
Brian May with

the Victorian
Gems box
and (above)
one of the
stereoscopic
pictures.
imitating Victorian paintings,

a booklet with a history of
stereoscopy and a dedicated
stereo viewer.
The Victorian Gems box
is available price 95 but
Black+White Photography
readers can buy one at the 10%
discounted price of 85.50.
Simply go to the website and
enter this code: VGBWP
londonstereo.com
This picture by Chinese

photographer Yang Yongliang
was among those shortlisted
for the prestigious Prix Pictet
photography prize.
The award, sponsored
by Swiss wealth and asset
managers the Pictet Group,
is described as the worlds
leading prize in photography
and sustainability.
The winner was announced
by Kofi Annan, honorary
president of Prix Pictet, at
the Muse d'Art Moderne
de la Ville de Paris, where
pictures by the 12 shortlisted
photographers were exhibited.
The award went to Paris
photographer Valrie Belin,
who received 100,000 Swiss
Francs (about 66,000).
An exhibition by the
12 shortlisted photographers
will travel to Maxxi in Rome,
International Red Cross and
Red Crescent Museum in
Geneva, Westbau in Zurich,
Contemporary Art Brussels,
Palau Robert in Barcelona and
the Museum of Photographic
Art in San Diego.
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Yang Yongliang
Nikhil Rasiwasia / 2016 Sony World Photography Awards
Life is a competition by Nikhil Rasiwasia, an entry into

the Sony World Photography Awards.
SEEKING THE WORLDS BEST

A prize pool of $30,000 is on
offer for the winners of the Sony
World Photography Awards.
The competition aims
to reward the worlds best
contemporary photography
from 2015. As well as cash,
prizes include Sony camera gear,
inclusion in the Sony World
Photography Awards exhibition

at Somerset House in London
and in the 2016 awards book.
The deadlines for entry are
5 January for open, youth and
national awards and 12 January
for professional awards. Category
details are on the competition
website. worldphoto.org
Artificial Wonderland II
Travellers Among Mountains
and Streams (detail)
by Yang Yongliang.
02/12/2015 10:14
FEATUR E
All images Andrea Modica
THE ARTIFICE OF THE IMAGE

Andrea Modica is intrigued by the notion that an image can
be a great and fabulous liar. In this interview, Donatella Montrone
finds out more about the unconventional photographer
who weaves stories with images.
ndrea Modica grew up

in a typical Brooklyn
row house, in a
predominantly Italian
and Irish community,
before the invasion of
gentrification
a time when working-class neighbours
spent long summer evenings sitting on
the stoop, watching kids on the street play
tag, skip rope and buy ice cream from
the trusted vendor ambling through the

neighbourhood in his gleaming white
van. It was a busy neighbourhood, alive
with activity and kinship, and only a short
subway ride from Manhattan.
As a child Modica became obsessed
with abstract expressionism, namely the
complex geometric paintings of fellow
Brooklynite Al Held (1928-2005). I could
sit in front of his paintings for hours, says
Modica. By my early teens, I was painting
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in my parents basement and intended to

become a painter, so I enrolled in art school
to do exactly that first at the Brooklyn
Museum Art School, where I did some
modelling in exchange for classes, and later
at Purchase College, State University of
New York (SUNY).
Photography had its usual place in
Modicas childhood: it merely recorded
events birthdays, holidays, weddings.
And because the framed images scattered
about her home merely served a purpose,
she never gave photography much thought.
She was, however, greatly inspired by her
mother, a classical pianist who, due to a
recurring illness, would periodically stop
playing the piano for long stretches. The
house would suddenly grow quiet. Things
can change on a dime, and I understood
that as a child. Because of that I live my life
with a deep understanding that I may not
be able to do something tomorrow, so I had
better do it today.
Treadwell is perhaps
Modicas most lingering series,
not least for its portrayal of
the desolation of a girl and
her family living on the
fringes of society.
n her sophomore year at SUNY Purchase,
Modica took a course in photography
and became hooked. She then had what
she calls a transformative moment, after
she picked up her 8x10 camera and took a
picture of her flatmate. My roommate was
stereotypically feminine, but somehow in
my photograph she seemed androgynous.
I suddenly understood photography as
the great and fabulous liar that it is, and
I continue to explore that in my work today.
I remain amazed by the photographers
ability to weave a tale that appears real,
but is, of course, a complete fiction.
Modica always knew shed be an artist no
matter what, she says. She worked at two
halfway houses full-time while studying
for her BFA in visual arts and art history at
SUNY, and later at Yale, where she earned
Modena, Italy
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Opposite Modena, Italy
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Modena, Italy
Opposite Modena, Italy
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Fountain, Colorado
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Pine Plains, New York
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an MFA in photography. Working the
night shift in a psychiatric halfway house

freed my days to photograph. I was
determined to do anything I could to pay
my bills so I could pursue photography. By
the time I applied to Yale I was primarily
interested in studying with Richard
Benson, the master printer. I had studied
platinum printing with Jed Devine at
SUNY and was already deeply interested
in alternative printing processes. I fell in
love with photography originally through
the act of constructing pictures relatively
slowly with a big camera. Although I use
and teach digital photography, the 8x10
is still the camera I grab when I get out
of bed. And I prefer to make my own
prints, while on my feet, moving around,
processing film in a tray, washing, drying,
proofing, editing and then, finally, handcoating a piece of paper and making a
contact print using UV light. I like the way
the prints look and feel in my hands.
readwell is perhaps Modicas most

lingering series, not least for its
portrayal of the desolation of a
girl and her family living on the
fringes of society. From 19862001, she
photographed Barbara, following her
and her extended family as they moved
from one farmhouse to the next in
rural New York State. She met Barbara
quite by chance in 1986, while driving
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through Upstate New York. Driving past

a farmhouse, she noticed a cluster of
people sitting on a porch. They caught
her eye, so she pulled over and struck up
a conversation with them. Barbara was
among them only seven years old at
the time. That was the start of a 15-year
friendship that would culminate at the
moment of Barbaras death, when having
been diagnosed with diabetes some 10
years into their friendship Modica and
her lens were present at Barbaras bedside
to see out her final days. It was to be their
final collaboration.
The viewer is constantly

suspended between future
tense and past dread,
between a sensual lust
and a limpid patina.
The images from that 15-year period
which were published in two separate
books, one by Chronicle Books (1996) and
the other by Nazraeli Press (2004) are
haunting, shot entirely in monochrome
and printed using the platinum process.
For their final years together, Modica
continued to photograph Barbara using
the same 8x10 camera and the small lamp
at Barbaras bedside as her main source of
light. Barbara died on 7 October in 2001,
Sicily
Oneonta, New York
02/12/2015 10:22
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and so the series was put to rest. Treadwell
is the name of the small town where

Barbara and I met, says Modica.
Like Treadwell, the inspiration for
Best Friends also happened upon Modica
by chance. A high school in Connecticut had
invited her to be their artist in residence.
She had planned to take portraits of students
but soon noticed that each one arrived
at the session accompanied by their best
friend. The impenetrable bonds and physical
proximity she witnessed between the
adolescents intrigued her, and she pursued
the project in earnest after having received
the Anonymous Was A Woman award
an unrestricted grant that celebrates the
accomplishments of women artists. For
Best Friends, I photographed exclusively at
one high school in Modena, Italy.
s We Wait, Modicas latest

photobook, is a collaboration
between the artist and fellow
Brooklynite and renowned
photographer Larry Fink, who edited and
sequenced the book from several different
bodies of work. Larry also included some
orphan images that dont belong to any
particular series. The book is unlike any Ive
It was as if he took all the

images and dumped them on
the oor, and after guratively
dancing on them, scooped
them up and put them
in his own order.
done before; the images are without titles

or dates all factual information becomes
irrelevant. Larry wrote the intro, and his
essay is superb. Of Modicas work, he
writes: The viewer is constantly suspended
between future tense and past dread,
between a sensual lust and a limpid patina.
Indeed, that limpid patina which graces
what are seemingly random subjects, along
with her ability to weave a tale around
them, are true of Modicas entire body
of work a bra hooked around a hanger,
which she found on the floor in a bedroom
while working on Treadwell; a dead foetal
piglet, discovered after its mother had been
slaughtered in an abattoir in Colorado;
an elderly woman, her expression not
dissimilar to the taxidermy bird perched
at the end of the table where shes sitting.
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Opposite Fountain, Colorado Above Treadwell, New York
Most of my ideas come from the world and

the many things that present themselves
while Im photographing. The woman
with the stuffed bird was the mother of
my landlord in Sicily. At the time I was
working as a Fulbright Scholar, renting the
apartment where she was born and lived
most of her life. I photographed her in her
sons kitchen. The bird happened to be
there a decoration, I suppose.
Larry Fink approached Modica with an
interest in curating a book of her images, so
she sent him a dozen or so highly organised
digital folders of different projects, none of

which had ever been published. It was as if
he took all the images and dumped them on
the floor, and after figuratively dancing on
them, scooped them up and put them in his
own order. The book is a true collaboration,
and I learned a great deal about my work,

seeing it through his eyes.
Fink writes, in the intro to As We Wait:
to try to understand where [Modicas
work] takes you is to let go of any preamble
about what things are supposed to be.
Andrea Modica is a professor of photography at Drexel University in Philadelphia.

She is currently working on a project at a horse clinic near Bologna, Italy.
Signed copies of As We Wait, printed and published by LArtiere, are available
online at Photo-Eye Bookstore. See photoeye.com/bookstore.
For more of Andrea Modicas work, visit her website at andreamodica.com.
02/12/2015 10:22
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.
Brought to you
by Leica Camera
LONDON
BLOOMBERG SPACE
To 19 December
Melanie Manchot: The Gift
New photography, video and
object installation.
50 Finsbury Square, EC2A
bloombergspace.com
COPPERFIELD
To 19 February
Darren Harvey-Regan: Erratics
Solo exhibition of black & white images
depicting natural rock formations
eroded by wind and sand.
6 Copperfield Street, London SE1
copperfieldgallery.com
FOLD
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To 16 January
Ellen Hyllemose
Landscapes reconfigured.
158 New Cavendish Street,
London W1W
foldgallery.com
HAMILTONS GALLERY
To 16 January
Irving Penn: Flowers
Classic photographs from the master.
13 Carlos Place, London W1K
hamiltonsgallery.com
Annie Leibovitz with her children, Sarah, Susan and

Samuelle, Rhinebeck, New York 2015.
Annie Leibovitz
WOMEN: NEW PORTRAITS

16 January to 7 February
IWM
To 24 April
Lee Miller: A Womans War
A major new exhibition of
150 photographs.
Lambeth Road, SE1
iwm.org.uk
Newly commissioned work in Annie Leibovitzs ongoing project

that reflects the changing role of women.
WAPPING HYDRAULIC POWER STATION Wapping Wall, London E1W

63 Gee Street, London EC1V
magnumphotos.com
3 Jubilee Place, SW3 3TD

michaelhoppengallery.com
MEDIA SPACE
NATIONAL PORTRAIT
GALLERY
LITTLE BLACK GALLERY

Gentlemen Prefer Blondes
Starring Marilyn Monroe by Milton
H Greene and Douglas Kirkland.
13A Park Walk, SW10
thelittleblackgallery.com
LONDON WATERLOO STATION

To 7 February
Landscape Photographer
of the Year
This years award-winning pictures.
The Balcony, Waterloo Station
info@take-a-view.co.uk
To 28 March
Gathered Leaves:
Photographs by Alec Soth
A rare chance to see a survey of this
Magnum photographers career to date.
To 28 March
Julia Margaret Cameron:
Influence and Intimacy
Portraits by the seminal photographer to
mark the 200th anniversary of her birth.
Exhibition Road, London, SW3
sciencemuseum.org.uk
MICHAEL HOPPEN GALLERY

MAGNUM PRINT ROOM
To 31 January
David Hurn: The 60s
An exhibition that focuses on Hurns
diverse output in just one decade.
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To 9 January
Voces: Latin American
Photography 1980-2015
Looking at Latin America beyond the
polarity of the centre and the periphery.
To 4 January
Simon Schamas Face of Britain
Images by Charlie Phillips included
in the show.
To 21 February
Taylor Wessing Photographic
Portrait Prize 2015
The prestigious annual award.
Admission 4.
11 February to 22 May
Vogue 100: A Century of Style
Celebrating 100 years of cutting edge
fashion, beauty and portrait photography.
St Martins Place, WC2H
npg.org
PHOTOGRAPHERS GALLERY
To 10 January
ubs.com/annieleibovitz
Burden of Proof
The work examines the way
photographs have been used
as criminal evidence.
To 10 January
Nomie Goudal:
Southern Light Stations
The artists first major show in London.
To 10 January
Horizontal Humans
New work by ScanLAB Projects that
is part of a forthcoming programme
focuses on forensic imaging.
To 16 January
Evgenia Arbugaeva
First UK show by this Russian artist.
22 January to 3 April
Saul Leiter
Pioneering colour photography.
Rosangela Renno
Brazilian artist working with archives
and vernacular photographs
26/11/2015 11:33
16-18 Ramillies Street, W1F

thephotographersgallery.org.uk
British photographer.
Millbank, SW1P
tate.org.uk
1 Oozells Square,
Brindleyplace, Birmingham
ikon-gallery.org
TATE MODERN
IMPRESSIONS GALLERY
18 February to 12 June
Performing for the Camera
With over 500 images spanning 150
years, this exhibition draws together
the relationship between photography
and performance.
Bankside, London SE1
tate.org.uk
5 January to 19 March
Jerwood/Photoworks
Awards 2015
An exhibition of work by three artists
selected for the inaugural awards.
Centenary Square, Bradford
impressions-gallery.com
PROUD CHELSEA
To 10 January
Sinatra at 100:
A Century in the Making
Rare photography from the Sinatra
family archive.
161 Kings Road, London SW3
proud.co.uk
ROYAL GEOGRAPHICAL
SOCIETY
To 28 February
Enduring Eye
Newly digitised images of Shackletons
expedition and its fight for survival.
1 Kensington Gore, London SW7
rgs.org
SERENA MORTON II
To 23 January
Bill Bernstein: Disco
Seventies clubland in focus.
343-345 Ladbroke Grove,
London W10
serenamorton.com
THEPRINTSPACE
To 19 January
Black+White Photographer
of the Year 2015
The winning pictures on show.
74 Kingsland Road, E2
theprintspace.co.uk
NATIONAL MEDIA MUSEUM
NORTH
THE CIVIC GALLERY
To 16 January
The RPS International
Print Exhibition
This years selection of winning images.
Hanson Street, Barnsley
barnsleycivic.co.uk
HULL INTERNATIONAL
PHOTOGRAPHY
To 31 December
Barlife
Faces, interiors, moments
a study of people in bars and cafs,
by Dave Morris.
Upper Deck, Princess Quay
Shopping Centre,
Kingston Upon Hull
creativeandcultural.wordpress.com
IKON
TATE BRITAIN
To Autumn 2016
Jo Spence
Key works by the important
Janet Mendelsohn
Images from the late 60s focusing
on a Birmingham community.
To 3 February
Revelations:
Experiments in Photography
Looks at the link between leading
contemporary photographers and
pioneering techniques from the 19th
and 20th centuries.
Little Horton Lane, Bradford
nationalmediamuseum.org.uk
PEOPLES HISTORY MUSEUM

6 February to 14 August
Grafters
Curated by photographer Ian Beesley
with new poems by Ian McMillan.
Left Bank, Spinningfields,
Manchester
phm.org.uk
The Peak District
Landscape images of the dark and
white peaks by Paul Webster.
Wellington Road South,
Stockport SK3 8AB
stockportartgalleryproject.com
To 20 January
Travelling Light
Black & white and colour landscapes
from the UK, Europe and the
USA by Steve Gosling.
Keswick, Cumbria
theatrebythelake.com
SOUTH
LUCY BELL GALLERY
To 9 January
Ian Berry: The English
Reportage at its best.
46 Norman Road,
St Leonards-on-Sea
lucy-bell.com
TOWNER ART GALLERY
Focusing on photographic portraiture

and the representation of women.
MAUREEN PALEY 21 Herald Street, London E2
16-17_IN_THE_FRAME_185 ER2/MB.indd 17
maureenpaley.com
LIGHT WORKS:
THE ART
OF THE
PHOTOGRAM
To 30 January
A diverse collection of unique
work from the early 20th
century to the present day.
49 Dorset Street, London W1U

atlasgallery.com
17
B+W
WEST
HAUSER & WIRTH SOMERSET
To 31 January
Don McCullin:
Conflict, People, Landscape
A retrospective by Britains most
celebrated photographer.
Durslade Farm, Dropping Lane,
Bruton, Somerset
hauserwirthsomerset.com
M SHED
To 10 April
Wildlife Photographer
of the Year 2015
The renowned exhibition on loan from
the Natural History Museum in London.
Princes Wharf, Wapping Road, Bristol.
bristolmuseums.org.uk
SCOTLAND
INVERNESS MUSEUM
AND ART GALLERY
Hannah Starkey, courtesy Maureen Paley, London
To 24 January
Erwin Blumenfeld, courtesy Atlas Gallery
ATLAS GALLERY
STOCKPORT ART GALLERY
& WAR MEMORIAL
THEATRE BY THE LAKE
HANNAH STARKEY
Erwin Blumenfeld, Untitled,

New York, 1953
To 10 January
Julian Germain:
The Future is Ours,
Classroom Portraits 2004-2015
Children from 19 countries.
Devonshire Park, College Road
Eastbourne
townereastbourne.org.uk
Familiar Faces,
Favourite Places
Black & white portraits from Wester
Ross accompanied by the subjects
favourite views, by Adrian Hollister
and Mark Appleton.
Castle Wynd, Inverness
highlifehighland.com
26/11/2015 11:33
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
APERTURE FOUNDATION
Photographs from the innovative

Japanese photo magazine Provoke.
Albertinaplatz 1, Vienna
albertina.at
GALLERY
To 8 February
Drew Nikonowicz:
2015 Portfolio Prize Winner
Exhibiting photographers intriguing
series This World and Others Like It
a set of monochrome landscapes.
547 West 27th Street, New York
aperture.org
CIMMIC PHOTOGRAPHY
To 29 January
American Beauty
Exquisite B&W analogue pictures
of the USA.
43-45 Burggasse, Vienna
cimmic.com
CANADA
NATIONAL GALLERY
FRAENKEL GALLERY
Peter Hujar: 21 Pictures
Retrospective of photographers wide
range of work including street, studio,
landscape and still life photography.
49 Geary Street, San Francisco
fraenkelgallery.com
OF CANADA
To 28 February
Mirrors with Memory:
Daguerreotypes from Library
and Archives of Canada
Some of the earliest photographic
glimpses of Canada.
380 Sussex Drive, Ottawa
gallery.ca
GEORGE EASTMAN HOUSE
20
B+W
To 24 January
Alvin Langdon Coburn
Major retrospective of celebrated
Pictorialist photographer.
900 East Avenue, Rochester
eastmanhouse.org
MUSEUM OF MODERN ART

To 20 March
Ocean of Images:
New Photography 2015
New work by photographers in 14
countries exploring photo-based culture.
11 West 53rd Street, New York
moma.org
PHILADELPHIA MUSEUM
OF ART
To 21 February
Multitude, Solitude:
The Photographs of Dave Heath
B&W images of mid-century America.
2600 Benjamin Franklin Parkway,
philamuseum.org
Philadelphia
ROSENBERG & CO
To 12 February
The World of Fred Stein
Vintage prints by seminal photographer.
19 East 66th Street, New York
rosenbergco.com
To 24 January
Phillippe Halsman: Astonish Me!
Seminal works by the American
photographer over his 40-year career.
To 29 May
Capa in Colour
Dedicated to Capas 14 years of
shooting colour and how this type
of photography renewed his vision.
1 Place de la Concorde, Paris
jeudepaume.org
MUSEE DE LA CHASSE
ET DE LA NATURE
To 14 February
George Shiras:
The Interior of Night
Around 50 vintage prints by Shiras a
pioneer of wildlife flash photography
in the late 1800s.
62 Rue des Archives, Paris
chassenature.org
Carried by the Wind

B&W pictures of fleeting moments
in European cities.
35 Belziger Strasse, Berlin
galeriehilanehvonkories.de
HELMUT NEWTON
FOUNDATION
To 22 May
Helmut Newton:
Pages from the Glossies
Enlargements of magazine spreads,
including headlines, page numbers,
commentary and captions, where
Newtons work was featured.
To 22 May
Greg Gorman: Colour Works
Pictures relating to global music,
art and the film business.
Jebensstrasse 2, Berlin
helmutnewton.com
HOUSE OF PHOTOGRAPHY
To 21 February
Sarah Moon: Retrospective
Renowned fashion photographers
most celebrated works.
Deichtorstrasse 1-2, Hamburg
deichtorhallen.de
GERMANY
GALERIE HILANEH
VON KORIES
To 19 February
Coney Island Embrace, 1938

Morris Engel courtesy of Steven Kasher Gallery
AMERICA
PM New York Daily: 1940 - 48

Pictures from liberal daily newspapers archive, works by Weegee,

Helen Levitt, Morris Engel, Margaret Bourke-White
and Mary Morris are included.
STEVEN KASHER GALLERY

stevenkasher.com
SCAD MUSEUM OF ART
THROCKMORTON FINE ART
To 31 January
A Fashionable Mind:
Photographs by Jonathan Becker
Major retrospective.
601 Turner Boulevard, Georgia
scadmoa.org
To 9 January
Vintage Masters of Photography
Prints by famed photographers from
the twentieth century.
throckmorton-nyc.com
SUNDARAM TAGORE GALLERY
AUSTRIA
ALBERTINA
The Iconic Photographs
Collection of celebrated photographs
by the great Steve McCurry.
110 Madison Avenue, New York
sundaramtagore.com
29 January to 8 May
Provoke: Between Protest
and Performance, Photography
in Japan 1960 -1975
53 Hohenzollernring, Cologne
hardhittagallery.com
NEDERLANDS FOTOMUSEUM
FRANCE
FONDATION HENRI
CARTIER-BRESSON
To 30 January
Humanists
Images by the great photojournalists.
43 Rue Daubenton, Paris
argentic.fr
HARDHITTA GALLERY
To 6 March
Imperial Courts: 1993-2015
Dana Lixenbergs powerful 12-year
documentation of Imperial Courts, a
housing project in Watts, Los Angeles.
401 Keizersgracht, Amsterdam
huismarseille.nl
To 31 January
Pimi: Darkroom
Darkroom prints, spanning from the
19th century to the current day.
Cable Factory, Helsinki
valokuvataiteenmuseo.fi
GALERIE ARGENTIC
To celebrate Hardhitta Gallerys fifth anniversary, work by Arlene

Gottfried, Jamel Shabazz, Gregory Bojorquez, Joseph Rodriguez,
Miron Zownir and Oliver Blum will be on show.
HUIS MARSEILLE MUSEUM

VOOR FOTOGRAFIE
OF PHOTOGRAPHY
Ugo Mulas:
La Photographie
B&W pictures by the late photographer.
2 Impasse Lebouis, Paris
henricartierbresson.org
HOLLAND
FINLAND
FINNISH MUSEUM
CHINA
Mudra Blessing, Shidoji, Kagawa,

Shikoku, Japan, 2002
Michael Kenna
Into the Woods

To 28 February
Group exhibition with works by Michael Kenna, Koon Wai-Bong,

Michael Wolf, Sarah Lai and Riitta Kuisma.
BLUE LOTUS GALLERY

60 Wing Tai Road, Hong Kong
bluelotus-gallery.com
Joseph Rodriguez
Carson
5 years Six Artists
To 28 February
Less is More
More than 150 images created by
Rankin in the last 20 years.
40 Hamburger Strasse, Rostock
kunsthallerostock.de
Dona Schwartz: On the Nest
Colour series that won third prize
in the 2011 Taylor Wessing
Photographic Portrait Prize.
1026 Queen Street West, Toronto
bulgergallery.com
Los Angeles, 1992
GERMANY
THE KUNSTHALLE
ROSTOCK GALLERY
STEPHEN BULGER GALLERY
METROPOLITAN MUSEUM
OF ART
To 6 March
The Aftermath of Conflict
Photographer Jo Ractliffes images
of Angola and South Africa.
1000 Fifth Avenue, New York
metmuseum.org
JEU DE PAUME
To 31 December 2016
The Darkroom: Extraordinary
Stories from the History of
Dutch Photography
Exhibition brings more than 185 years
of Dutch photography to life.
Willhelminakade 332, Rotterdam
nederlandsfotomuseum.nl
JAPAN
TAKA ISHII GALLERY

PHOTOGRAPHY / FILM
Kuni Sugiura
Creative photograms.
5-17-1 2F Roppongi Minato-ku, Tokyo
takaishiigallery.com
RUSSIA
THE LUMIRE BROTHERS

CENTER FOR PHOTOGRAPHY
To 24 January
Mikhail Savin:
It will be a Cold Winter
B&W photographs depicting the political
climate in Europe, especially Russia,
during the 1960s.
To 24 January
Naum Granovskys Grand Style
Russian architecture (especially
of buildings during the Stalin era).
To 31 January
Kacper Kowalski: Side Effects
Highly graphic colour aerial
photographs revealing the human
impact on the natural world.
lumiere.ru
SPAIN
FUNDACI MAPFRE
To 28 February
Paz Errzuriz
Unconventional B&W portraits of those
on the margins of Chilean society.
13 Brbara de Braganza Exhibition
fundacionmapfre.org
Hall, Madrid
SWEDEN
FOTOGRAFISKA
To 24 January
Where the Children Sleep
Magnus Wennmans pictures of child
refuges from the war in Syria.
Stadsgardshamnen 22, Stockholm
fotografiska.eu
21
B+W
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
APERTURE FOUNDATION
Photographs from the innovative

Japanese photo magazine Provoke.
Albertinaplatz 1, Vienna
albertina.at
GALLERY
To 8 February
Drew Nikonowicz:
2015 Portfolio Prize Winner
Exhibiting photographers intriguing
series This World and Others Like It
a set of monochrome landscapes.
aperture.org
CIMMIC PHOTOGRAPHY
To 29 January
American Beauty
Exquisite B&W analogue pictures
of the USA.
43-45 Burggasse, Vienna
cimmic.com
CANADA
NATIONAL GALLERY
FRAENKEL GALLERY
Peter Hujar: 21 Pictures
Retrospective of photographers wide
range of work including street, studio,
landscape and still life photography.
49 Geary Street, San Francisco
fraenkelgallery.com
OF CANADA
To 28 February
Mirrors with Memory:
Daguerreotypes from Library
and Archives of Canada
Some of the earliest photographic
glimpses of Canada.
380 Sussex Drive, Ottawa
gallery.ca
GEORGE EASTMAN HOUSE
20
B+W
To 24 January
Alvin Langdon Coburn
Major retrospective of celebrated
Pictorialist photographer.
900 East Avenue, Rochester
eastmanhouse.org
MUSEUM OF MODERN ART

To 20 March
Ocean of Images:
New Photography 2015
New work by photographers in 14
countries exploring photo-based culture.
11 West 53rd Street, New York
moma.org
PHILADELPHIA MUSEUM
OF ART
To 21 February
Multitude, Solitude:
The Photographs of Dave Heath
B&W images of mid-century America.
2600 Benjamin Franklin Parkway,
philamuseum.org
Philadelphia
ROSENBERG & CO
To 12 February
The World of Fred Stein
Vintage prints by seminal photographer.
rosenbergco.com
To 24 January
Phillippe Halsman: Astonish Me!
Seminal works by the American
photographer over his 40-year career.
To 29 May
Capa in Colour
Dedicated to Capas 14 years of
shooting colour and how this type
of photography renewed his vision.
1 Place de la Concorde, Paris
jeudepaume.org
MUSEE DE LA CHASSE
ET DE LA NATURE
To 14 February
George Shiras:
The Interior of Night
Around 50 vintage prints by Shiras a
pioneer of wildlife flash photography
in the late 1800s.
62 Rue des Archives, Paris
chassenature.org
Carried by the Wind

B&W pictures of fleeting moments
in European cities.
35 Belziger Strasse, Berlin
galeriehilanehvonkories.de
HELMUT NEWTON
FOUNDATION
To 22 May
Helmut Newton:
Pages from the Glossies
Enlargements of magazine spreads,
including headlines, page numbers,
commentary and captions, where
Newtons work was featured.
To 22 May
Greg Gorman: Colour Works
Pictures relating to global music,
art and the film business.
Jebensstrasse 2, Berlin
helmutnewton.com
HOUSE OF PHOTOGRAPHY
To 21 February
Sarah Moon: Retrospective
Renowned fashion photographers
most celebrated works.
Deichtorstrasse 1-2, Hamburg
deichtorhallen.de
GERMANY
GALERIE HILANEH
VON KORIES
To 19 February
Coney Island Embrace, 1938

Morris Engel courtesy of Steven Kasher Gallery
AMERICA
PM New York Daily: 1940 - 48

Pictures from liberal daily newspapers archive, works by Weegee,

Helen Levitt, Morris Engel, Margaret Bourke-White
and Mary Morris are included.
STEVEN KASHER GALLERY

stevenkasher.com
SCAD MUSEUM OF ART
THROCKMORTON FINE ART
To 31 January
A Fashionable Mind:
Photographs by Jonathan Becker
Major retrospective.
601 Turner Boulevard, Georgia
scadmoa.org
To 9 January
Vintage Masters of Photography
Prints by famed photographers from
the twentieth century.
throckmorton-nyc.com
SUNDARAM TAGORE GALLERY
AUSTRIA
ALBERTINA
The Iconic Photographs
Collection of celebrated photographs
by the great Steve McCurry.
110 Madison Avenue, New York
sundaramtagore.com
29 January to 8 May
Provoke: Between Protest
and Performance, Photography
in Japan 1960 -1975
53 Hohenzollernring, Cologne
hardhittagallery.com
NEDERLANDS FOTOMUSEUM
FRANCE
FONDATION HENRI
CARTIER-BRESSON
To 30 January
Humanists
Images by the great photojournalists.
43 Rue Daubenton, Paris
argentic.fr
HARDHITTA GALLERY
To 6 March
Imperial Courts: 1993-2015
Dana Lixenbergs powerful 12-year
documentation of Imperial Courts, a
housing project in Watts, Los Angeles.
401 Keizersgracht, Amsterdam
huismarseille.nl
To 31 January
Pimi: Darkroom
Darkroom prints, spanning from the
19th century to the current day.
Cable Factory, Helsinki
valokuvataiteenmuseo.fi
GALERIE ARGENTIC
To celebrate Hardhitta Gallerys fifth anniversary, work by Arlene

Gottfried, Jamel Shabazz, Gregory Bojorquez, Joseph Rodriguez,
Miron Zownir and Oliver Blum will be on show.
HUIS MARSEILLE MUSEUM

VOOR FOTOGRAFIE
OF PHOTOGRAPHY
Ugo Mulas:
La Photographie
B&W pictures by the late photographer.
2 Impasse Lebouis, Paris
henricartierbresson.org
HOLLAND
FINLAND
FINNISH MUSEUM
CHINA
Mudra Blessing, Shidoji, Kagawa,

Shikoku, Japan, 2002
Michael Kenna
Into the Woods

To 28 February
Group exhibition with works by Michael Kenna, Koon Wai-Bong,

Michael Wolf, Sarah Lai and Riitta Kuisma.
BLUE LOTUS GALLERY

60 Wing Tai Road, Hong Kong
bluelotus-gallery.com
Joseph Rodriguez
Carson
5 years Six Artists
To 28 February
Less is More
More than 150 images created by
Rankin in the last 20 years.
40 Hamburger Strasse, Rostock
kunsthallerostock.de
Dona Schwartz: On the Nest
Colour series that won third prize
in the 2011 Taylor Wessing
Photographic Portrait Prize.
1026 Queen Street West, Toronto
bulgergallery.com
Los Angeles, 1992
GERMANY
THE KUNSTHALLE
ROSTOCK GALLERY
STEPHEN BULGER GALLERY
METROPOLITAN MUSEUM
OF ART
To 6 March
The Aftermath of Conflict
Photographer Jo Ractliffes images
of Angola and South Africa.
1000 Fifth Avenue, New York
metmuseum.org
JEU DE PAUME
To 31 December 2016
The Darkroom: Extraordinary
Stories from the History of
Dutch Photography
Exhibition brings more than 185 years
of Dutch photography to life.
Willhelminakade 332, Rotterdam
nederlandsfotomuseum.nl
JAPAN
TAKA ISHII GALLERY

PHOTOGRAPHY / FILM
Kuni Sugiura
Creative photograms.
5-17-1 2F Roppongi Minato-ku, Tokyo
takaishiigallery.com
RUSSIA
THE LUMIRE BROTHERS

CENTER FOR PHOTOGRAPHY
To 24 January
Mikhail Savin:
It will be a Cold Winter
B&W photographs depicting the political
climate in Europe, especially Russia,
during the 1960s.
To 24 January
Naum Granovskys Grand Style
Russian architecture (especially
of buildings during the Stalin era).
To 31 January
Kacper Kowalski: Side Effects
Highly graphic colour aerial
photographs revealing the human
impact on the natural world.
lumiere.ru
SPAIN
FUNDACI MAPFRE
To 28 February
Paz Errzuriz
Unconventional B&W portraits of those
on the margins of Chilean society.
13 Brbara de Braganza Exhibition
fundacionmapfre.org
Hall, Madrid
SWEDEN
FOTOGRAFISKA
To 24 January
Where the Children Sleep
Magnus Wennmans pictures of child
refuges from the war in Syria.
Stadsgardshamnen 22, Stockholm
fotografiska.eu
21
B+W
NEWS
EXHIBITION OF THE MONTH

Showing one of the most important and innovative photographers
of the 19th century in a new light, Julia Margaret Cameron
gives insight into the portraitists development as an artist and her
relationship with the V&A museum. Anna Bonita Evans reports.
Circe, 1865
18
B+W
The Passing of King Arthur, 1874

longside the likes of
William Henry Fox
Talbot, Henri
Cartier-Bresson and
Ansel Adams (not to mention
Annie Leibovitz, Edward Weston
and Robert Capa), Julia Margaret
Cameron is an individual whose
name and work is known
throughout the photography
world. With an impressive
archive and a highly innovative
style (some pictures still seem
intensely modern despite being
taken and printed 150 years ago),
Camerons images have toured in
major international exhibitions,
been written and talked about
countless times and reproduced
to the extent that almost anyone
interested in photography will
18-19_EOTM_185/ABE/MB/ER.indd 18
Charles Darwin, 1868, printed 1875

recognise her pictures.
So how do you produce an
exhibition that reveals
something new about a
photographer whos received so
much exposure and praise?
Marta Weiss, the curator of
photographs at the V&A, has
done just that and to powerful
effect too. A lot of recognition
for Camerons pictures came
posthumously, so Weiss takes us
back to a time when Camerons
work was known in the artistic
and high society circles she
mixed in, but not much beyond.
We are presented with a story
of one womans relentless
dedication to her chosen medium,
how she worked for it to be
recognised as an art form and her
affiliation with the South

Kensington Museum (now the
V&A). The story is told from the
viewpoint of her professional
relationship with the museums
founding director, Sir Henry Cole,
who in 1865 presented Cameron
with her first exhibition the
only one during her lifetime.
he exhibition is structured
around four letters
Cameron wrote to Cole
and reveals Camerons
personal development as an artist:
were given insight into her views,
aspirations and working methods.
Visitors can also learn about the
womans concerns as a portraitist
and desire to earn an income
from photography (as well as her
struggles with the technical

aspects of the medium) from the
diary extracts set alongside the
letters and 100 pictures.
Coles 1865 diary, in which he
records going to pose for his
portrait with the photographer,
is displayed alongside the only
surviving portrait Cameron took
of Cole. Another rare piece is the
recently discovered, never
exhibited in public before, first
photograph showing Camerons
studio. Taken in around 1863 by
photographer Oscar Gustaf
Rejlander, the picture depicts
two women drawing water from
a well in front of a glasshouse
which Cameron later turned into
one of her studios. The other was
at the V&A, where in 1868 Cole
granted her the use of two
rooms, making her the museums
first artist-in-residence.
The prints seen here have been
chosen from the museums
collection of more than 250 of
Camerons images, including 88
the V&A acquired or received as
a gift directly from her, and other
prints that were collected later
from various sources.
Part of the nationwide
celebration of the photographers
bicentenary anniversary, there is
also the Science Museums show
Julia Margaret Cameron:
Influence and Intimacy at the
Media Space in London and a
series of events and displays at
Dimbola Museum and Galleries
on the Isle of Wight Camerons
former home.
The book Julia Margaret
Cameron: Photographs to
Electrify you with Delight and
Startle the World by Marta Weiss
also accompanies the show.
Its published by Mack in
partnership with V&A
Publishing and costs 25.
The book is available to buy now.
Go to mackbooks.co.uk for
more details about the title.
02/12/2015 10:28
All images by Julia Margaret Cameron Victoria and Albert museum, London
19
B+W
Julia Jackson, 1867
JULIA MARGARET CAMERON

is on until 21 February 2016 at the V&A Photographs Gallery, Cromwell Road, London, SW7 2RL, supported by the Bern
Schwartz Family Foundation. Opening hours are 10am to 5.45pm and 10pm on Fridays, seven days a week. Entry is free.
18-19_EOTM_185/ABE/MB/ER.indd 19
02/12/2015 10:28
COMMENT
susanburnstine.com
AMERICAN
CONNECTION
At the age of 71, now suffering visual impairment, CJ Pressma
remains a passionate, determined and prolific photographer.
Susan Burnstine looks at his experimental work, past and present.
20
B+W
hile teaching this

past summer
at Santa Fe
Photographic
Workshops, I had the good
fortune of working with
Louisville based photographer
CJ Pressma who proved to be one
of the most inspired students
Ive had the pleasure of working
with to date. As Pressma is
visually impaired, hes overcome
great odds to create his uniquely
powerful images, but whats
most remarkable is that hes one
of the most determined artists
Ive ever met and his enthusiasm
for photography is boundless.
Pressma first fell in love with
photography in 1962 during
his freshmen year at Antioch
College. After earning an
Legs on Beach
20-21_USA_CONNECT_185 ER/MB.indd 20
Frozen Truck Night Lights

undergraduate degree there, then
an MFA in Photography from
Indiana University, he founded
and ran an alternative school for
creative photography from 1970

to 1978 called the Center for
Photographic Studies.
Perhaps Pressmas most defining
moment in his photographic

journey happened in 1972 while
watching the Fellini film, Roma.
He became captivated by specific
flashes of light that occurred in
a brief stretch car scene in the
film. It is strange to me (almost
absurd) that such a small element
in this film was so influential
in my work, he says. I guess it
was the power of those flashes,
the shadows they created and
the mystery of the night that
compelled me to start making
my Night Lights images.
Pressma recreated the effect of
those flashes in his photographs
many times during the 1970s, but
stopped making pictures after
opening a multimedia business
in the early 1980s and didnt start
making pictures again until he
closed the business in the 1990s.
During his forties, Pressma
began losing his vision due to
diabetes, which he first developed
at the age of 12. He was always
aware that his vision could one
day become compromised yet
he approached life fearlessly.
He lovingly attributes his selfconfidence, independence and
determination to pursue his
passions to having very wise
and supportive parents who
taught him to believe he could
do anything he wanted to do.
At the age of 50, Pressma
became blind in one eye due
to diabetic retinopathy then
underwent aggressive laser
treatment in both eyes, which
destroyed his peripheral vision.
You might say I see like a camera
sees with a slight telephoto lens,
he says. His mobility and balance
have been affected, but he says,
I guess rather than change the
way I work, it has made me more
determined to work in the way I
like and find ways to go to places
that are probably a bit more
dangerous for me. No big deal
26/11/2015 11:39
All images CJ Pressma
EXHIBITIONS
USA
ATLANTA
JIMMY CARTER PRESIDENTIAL
LIBRARY AND MUSEUM
Until 17 January
The Peoples China:
Village Life by Zeng Yi
jimmycarterlibrary.gov
DETROIT
DETROIT INSTITUTE OF ARTS
Until 18 January
30 Americans
dia.org
HOUSTON
CATHERINE COUTURIER GALLERY
Michael Kenna
catherinecouturier.com
LOS ANGELES
GETTY CENTER
Ghost Town
we all have to feed our passion.
During 2010, he revisited
his archives and came across
his Night Lights images from
the 1970s while working on
a catalogue for a 40-year
retrospective exhibition. As he
viewed the images, he realised
it was the work he was most

passionate about throughout his
career. He became inspired to
make new images for the series,
but had to delay until 2012.
During a trip to Santa Fe in
2012, Pressma hired a driver to
transport him around Northern
Lone Cow Near Pecos Ruins
20-21_USA_CONNECT_185 ER/MB.indd 21
New Mexico and was thrilled

when they happened upon an
abandoned cattle ranch at dusk.
The lighting and conditions
proved ideal to reproduce the
style used for his Night Lights
series, so the inspiration came
flooding back in.
Pressma became driven to
complete the series, but needed
a new and consistent means to
create the conditions for the
effect. The solution, I reasoned,
was to find a software process
that would emulate the visual
effect of the strobe at dusk
look, he says. This I did by
using a combination of three
Photoshop plugins: Perfect Photo
Effects Suite, Mystical Suite
Gen 1 and HDR Efex Pro 2.
Now at 71 years young,
Pressma remains as inspired to
create images as he was when he
first picked up a camera in 1962.
cjpressma.com
21
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Until 21 February
The Younger Generation:
Contemporary Japanese Photography
getty.edu
NEW ORLEANS
OGDEN MUSEUM OF
SOUTHERN ART
Until 17 January
Bill Yates: Sweetheart Roller
Skating Rink
ogdenmuseum.org
PORTLAND
BLUE SKY GALLERY
Until 31 January
Jim Lommasson:
Exit Wounds and What We Carried
blueskygallery.org
SAN DIEGO
MUSEUM OF PHOTOGRAPHIC ARTS
Until 31 January
The Time Between:
The Sequences of Minor White
mopa.org
WASHINGTON DC
SMITHSONIAN AMERICAN
ART MUSEUM
Until 20 March
Irving Penn: Beyond Beauty
americanart.si.edu
26/11/2015 11:39
INTERVIEW
All images Alex Timmermans
THE ART OF STORYTELLING

For the last six years, Dutch photographer Alex Timmermans
has been working exclusively on imaginary subjects, using the wet
collodion process. He explains to Joe Staines just what it is about this
labour intensive process that he finds so appropriate for his work.
22
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02/12/2015 10:32
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Opposite The Power Of Nature Above Tea Time
Joe Staines: What sort of photography

were you doing before you discovered
the wet plate process?
Alex Timmermans: Just the normal
business weddings, commercial
photography, portraits and so on. I also did
some urban photography for myself, but the
problem was that everybody started using
the same locations so it was very hard to find
anything that hadnt already been published
on the web. In 2009 I stopped commercial
photography and was able to focus completely
on wet plate first portraits and then in
2012 I started my storytelling work.
JS: What was it about wet collodion

photography that especially attracted you?
AT: Digital photography didnt challenge me
any more; it had become too predictable.
More and more I disliked using Photoshop
to correct the mistakes I had made during
a shoot. Dont get me wrong, there is nothing
wrong with digital photography; I see
stunning work made by some very talented
photographers, but for me there was no
longer the passion for it.
JS: So why not return to using film?
AT: Of course, I could have gone back to
normal film. But the wet plate process gave

me back the feeling that I was really making
a picture again, not just taking it. It brought
me back to the very basics of photography:
from cutting the glass, mixing my own
chemicals, experimenting with formulae,
all the way to making my own print. Having
control over the whole process.
JS: How does the fact that its so slow
and labour-intensive affect your choice
of subject matter?
AT: Because it takes so much effort to make
a plate, it really slows me down and forces
02/12/2015 10:32
24
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Above To The End Of Nowhere Opposite The Kite Runner
me to think over every single shot before
I take it. That means the whole setting,

the model, the light, the exposure time.
And its always such a joy to be working
with a very simple camera and beautiful
antique handmade lenses.
JS: With your storytelling photographs,
where do your ideas come from, and how
do you develop them?
AT: Thats always the most difficult thing to
explain. There are two possibilities: the first
one is when I see something that inspires me.
For example, with The Kite Runner, it was

enough for me just to see a kite in the sky.
Then my brain starts painting the picture
I would like to make. That part of the
process can take weeks or even months, and
if the idea isnt fully formed I put it aside
and start on another one. Mostly its the
final details that take the longest time.
JS: So a lot of the work is thinking about
the image?
AT: I am a real daydreamer,as some
members of my family will tell you. But when
I finally make the picture I know exactly

what I want, there is hardly any room for
experimenting; it needs to be exactly what
I have in my mind.
JS: And whats the second possibility?
AT: Sometimes I come across a beautiful
location that Id like to use in a story.
With The Rain Maker there was an old
greenhouse that was being restored and,
during the work, a lot of rain fell so that
it became flooded and the water acted
like a huge mirror. At this point the whole
02/12/2015 10:32
25
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The wet plate process gave me back the feeling that I was
really making a picture again, not just taking it.
02/12/2015 10:33
26
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Above Scarecrow Opposite The Rain Maker
painting process began again, but I only had

a few days before the water disappeared.
I wanted to do something with the rain,
so then I started making the clouds and
the whole watering system. Sometimes the
preparations are more fun than making
the actual picture.
JS: A lot of your stories play on the idea

of the 19th century but add a fantastical
dimension. To what extent are your
photographs a conversation with images
of the past?
AT: Good question! The look of the

process automatically draws you back to
the world of old fashioned photography
and, personally, I dont think very modern
subjects really go with the process theres
a wrenching contradiction that just doesnt
work. The 19th century feel adds something
mysterious to the storytelling.
JS: What about your portraits?
AT: With the portraits it is obvious that
there is a dialogue with 19th century
portraiture. I make them in exactly the same
way, using a headrest, which enables the

model to hold still, and with long exposure
times of 4 to 6 seconds. With a long exposure
the model will start to stare, which creates a
rather dreamy look. I never use flash for my
portraits as youd lose that quality and the
picture would look flat.
JS: Are there any specific 19th century
photographers you particularly admire or
whose work has inspired you?
AT: No, not really, I actually feel closer to
certain contemporary photographers such as
02/12/2015 10:33
27
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I wanted to do something with the rain, so then I started making the

clouds and the whole watering system. Sometimes the preparations
are more fun than making the actual picture.
02/12/2015 10:33
28
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Above Lost Opposite Redmond OHanlon
Erwin Olaf, who I admire for his creativity,

the photographer and painter Teun Hocks,
Robert and Shana ParkeHarrison, and
Stephan Vanfleteren.
JS: There seems to be quite a community

of photographers working with the wet plate
process and I know you have organised
workshops and meetings for fellow
collodion enthusiasts.
AT: I used to run workshops but stopped
because I needed more time for my own
work, but I still organise the European
Collodion weekend each year in May. In the

whole world there are maybe a few thousand
practitioners, but we are an enthusiastic
community that likes to go public. Many of
us have become close friends, and we share
experiences andtry to help each other
when problems occur.
JS: Is it an area of photography you would
encourage more people to try?
AT: Many people underestimate the work
involved, even for just a single plate. Ive
seen many begin but just as many quit after
only a few months. Its not just

about buying a camera and chemicals.
I would compare it to playing the piano:
if you want to be successful, you need to
practise over and over. You need to learn
how the chemicals react and what to do to
prevent failures. There are plenty of other
beautiful old processes that are much
easier to start with, such as cyanotype,
or even traditional analogue work. So my
advice would be to start with one of these
and do it step by step, otherwise it could
be a big disappointment.
02/12/2015 10:33
29
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Visit Alex Timmermans website at alextimmermans.com and his blog at collodion-art.blogspot.co.uk
02/12/2015 10:33
YOUR B+W
PORTFOLIO
Black+ White are delighted to welcome Fotospeed to our Portfolio pages.

Suppliers of both darkroom and digital printing materials, they are offering
our winning readers 50-100 worth of Fotospeed inkjet papers
each month. Turn to page 52 for full details of how to submit.
All images Carlo Sguazzini
30
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CARLO SGUAZZINI
100
CARLOS KIT
30-34_PORTFOLIO_185 ER/MB.indd 30
Canon 6D
Tamron SP 70-200mm f/2.8 lens
02/12/2015 10:42
31
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26/11/2015 11:43
50
PEDRO DIAZ
MOLINS
PEDROS KIT
Nikon D800 / D700
16-35mm f/4,
11-16mm f/2.8 lenses
32
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All images Pedro Diaz Molins
26/11/2015 11:43
33
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26/11/2015 11:43
34
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Jakub Pasierkiewicz
JAKUB PASIERKIEWICZ
50
JAKUBS KIT
Nikon D300
18-70mm f/3.5-45 lens
26/11/2015 11:43
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12/7/15 12:51 PM
I N T ER V I E W
THE ENGLISH REVISITED

It was forty years ago that Magnum photographer Ian Berry set
out to photograph the English. It was a journey of exploration and
discovery that culminated in what is now a classic body of work.
Elizabeth Roberts reports.
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02/12/2015 10:49
All images Ian Berry / Magnum Photos
Holidaymakers shelter from the rain

on Blackpool promenade, 1987.
37
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02/12/2015 10:49
38
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An old woman with her dog during the Queens Jubilee year, 1977.
t the Lucy Bell Gallery in

St Leonards-on-Sea this
winter a remarkable
exhibition of work is being
shown. The English by
Magnum photographer Ian
Berry has stood the test of time and is as
fascinating today as it was when it was first
published although, how it is perceived
might have altered. At the time, says
Berry, a BBC interviewer asked me if I was
a communist and the editor of a current
affairs magazine asked me if I was a fascist.
Far from being a hotbed of rebellion, the
work is seemingly a charming nostalgic
trip into a time of innocence. But, on
closer inspection, it is an extraordinary
documentation of a nation and its people,
frozen in time. I didnt start out with any
preconceptions, explains Berry as we sit in

the Magnum offices in London where we
have met to talk about the show. I simply set
out to discover the English.
This is by no means an oversimplification
of the matter because, while Berry was
born in the north of England, he spent his
formative years from the age of six to 17
in boarding school. Only a month after
leaving school he relocated to South Africa
where he learned photography and worked
on newspapers and magazines, gaining a
worldwide reputation for his photographs
of the Sharpeville massacre in 1960. The
images were later used in court evidence,
proving that the police fired at the retreating
crowd, shooting many of the peaceful
demonstrators in the back. Sixty-nine people
were killed and many others injured. Berrys
photographs he was the only photographer

to capture the event went round the world,
but were never published in South Africa.
fter eight years in South Africa,
Berry moved to Paris where he
was invited by Henri CartierBresson to become a member of
Magnum. After two years he returned to
an England that he hardly knew. I was very
lucky, he says with characteristic modesty.
I was given a grant by the Arts Council to
do a project on the English I thought that
Opposite top
Derby day at Epsom racecourse, 1975.
Opposite bottom
British army officers in Ireland inspecting
horses they intend to buy for cavalry use, 1974.
02/12/2015 10:49
39
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02/12/2015 10:49
40
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Three men in cloth caps, probably coal miners, Durham, 1974.
while my eyes were still fresh, it would be
a good thing to do.

Dividing the country up geographically,
he set out on the project. One of the things
that had tempted me to do it, he says,
was Robert Franks book The Americans.
I thought that he didnt really do the
Americans justice there were a lot of good
things in the book but I felt it was a bit of a
jukebox look at America. And so I tried to
get a more rounded look at the English.
It was the mid 70s and a time when
access was relatively straightforward for
photographers. You asked permission and
then you were allowed in, he says. And I
had a stroke of luck I was commissioned
by the editor of the Architectural Review,
who invited several photographers to do a
complete issue of the magazine. He asked
me to do health and welfare, which got me
into schools, hospitals, doctors waiting
rooms and so on. These days its much
harder. Berrys quiet and gentle manner,
even though it belies a firm determination,
Ive been arrested more times

than Ive had hot dinners,
he says. But I nd that if
you are polite and pleasant,
you are all right.
has given him access to places that many
would have been denied. Ive been arrested
more times than Ive had hot dinners,
he says. But I find that if you are polite
and pleasant, you are all right. It didnt
help much, however, when it came to
photographing the upper classes:
They always insisted on putting a damn
horse in the background, he says.
ow in his early eighties, he is still
travelling the world in search
of photo stories, particularly
in China. These days its much
easier you have the internet and you
can find out about things before you go.
Twenty years ago you went somewhere

and found out about it when you got there.
Indefatigable, he looks with quiet scorn at
the suggestion that he should be slowing
down. If you retire, you die, he says flatly.
Ian Berry has travelled the world covering
conflicts, famines, disasters, wars and
human tragedies, but he still retains a light
in his eye and a quiet humour. Its not all
Washington riots or whats happening in
Baghdad, you know, he says. There are
interludes that are lighter. Yes, it can be fun.
The English by Ian Berry is on at

the Lucy Bell Gallery until 9 January.
46 Norman Road, St Leonards-on-Sea
TN38 OEJ; lucy-bell.com.
Opposite top
Doctors waiting room in Battersea, 1969.
Opposite bottom
A hospital in the Midlands , 1969.
02/12/2015 10:49
41
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02/12/2015 10:49
A DV ER TO R I A L
THE ULTIMATE DIGITAL SLR

The Canon EOS 5D series has been at the forefront of digital SLR
technology for a decade. Leading pro photographer Lee Frost
has owned and used every model in the 5D range and rates
the EOS 5D MkIII as the most versatile DSLR in the world.
42
B+W
hen Canon
launched
the EOS
5D back in
September
2005, it
changed the face of creative
photography forever. Not only
was it the first digital SLR to
offer a full-frame CMOS sensor
and at an affordable price, but
the giant leap in image quality
also made it the first digital
camera capable of producing
images that picture libraries
would accept. This marked a
true turning point in the shift
42-43_CANON_ADVERTORIAL_185 ER/MB.indd 42
from film to digital and one

that I, along with many other
enthusiast and professional
photographers, embraced. The
digital revolution had already
begun, but the Canon EOS 5D
made sure it was unstoppable.
Over the last 10 years, the
EOS 5D range has gone from
strength to strength and each
new model sets a standard
that other manufacturers
can only hope to match. The
EOS 5D MkII, launched in
September 2008, not only
gave us image resolution
topping 20Mp and an ISO
range expandable all the way

to 25600 (at a time when IS0
3200 was the limit for many
DSLRs), but it was also the
first full-frame DSLR to offer
broadcast quality 1080P HD
video capability. This feature
revolutionised video and movie
making and the 5D MkII has
been used extensively for
film and TV work due to its
compact size and low weight.
Ever eager to innovate, in
March 2012, Canon launched
the EOS 5D MkIII in time to
celebrate the 25th anniversary
of the very first EOS camera
(the 650) and Canons 75th

anniversary. In the EOS
5D MkIII, Canon created
a completely new camera
compared to the 5D MkII and
upgraded every major system
from the focusing to the
metering. They also listened
to feedback from consumers
and introduced many
improvements, from dual CF
and SD card slots to a locking
exposure mode dial, a large
depth-of-field preview button
moved to the right side of the
body and 100% viewfinder
coverage.
26/11/2015 11:45
Illustrative pics Lee Frost
43
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ast forward three years

and though technology
has moved on Canon
launched the 50Mp EOS
5DS and 5DSR earlier this year
the EOS 5D MkIII still ranks
as perhaps the most versatile
digital SLR in the world today.
I should know. Ive owned one
from the start and shot many
thousands of images with it in
all corners of the world. From
Morocco and Namibia to Burma
and Bhutan, in the sticky heat
of the tropics to the cold of
Iceland, it has never let me
down for a second.
Image quality from the 22.1Mp

full-frame sensor is stunning, the
61 point AF system is the most
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ever known and the massive ISO
range of 100-25600 (expandable
to 50-102400) means you can
shoot successful images literally
in any situation even outdoors
at night handheld.
Never before has a digital
SLR offered such a perfect
blend of features and functions,
which is why the Canon EOS
5D MkIII has become iconic
among serious enthusiasts and
professionals alike, who need
a camera they can rely on to

shoot any subject, anywhere
and in any lighting conditions.
From landscapes, architecture
and action to travel, nature and
portraiture, the Canon EOS 5D
MkIII will deliver stunning results

time after time. If you want to
take your photography to the
next level, there is no better
camera to help you achieve
that goal.
CANON SPECIAL OFFER

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between now and January 13th 2016 and youll receive a
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Note: Purchase of Canon EOS 5D MkIII and BG-E11 Battery Grip between
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see www.canon.co.uk/promotions/batterygrip-rebate.
For more information about the

Canon EOS 5D MkIII visit canon.co.uk
42-43_CANON_ADVERTORIAL_185 ER/MB.indd 43
26/11/2015 11:45
INSPIRATION
All photographs
Caroline Mardon
READER WORKSHOP
We invited three readers to an exclusive workshop with acclaimed
photographer, printer and photobook maker Eddie Ephraums.
The aim of the workshop was to learn how to make a foldout
photobook. Eddie takes up the story.
44
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CLAIRE HOSKIN: PHOTOGRAMS
or this workshop, it was great to

see photographers so in touch with
the process of photobook making,
working with their hands, rather
than a keyboard and mouse.
Each of our participants brought
along a series of pictures they had been
working on, then everybody shared their
book idea with the group to help work out
the final edit. Editing together is so much
easier and more effective than doing it alone.
We used Lightroom Library mode to
make the final image edit and to arrange
the picture sequence. Next we created an
44-46_READER_WORKSHOP_185 ER/MB.indd 44
Indesign A3+, eight-panel, grid layout and

dropped each set of images into a separate
page. Any layout application that lets you
create a grid will work.
We printed each persons book with
the advanced black & white printer driver
setting, using Fotospeed High White
Smooth 220gsm paper a rag paper that
prints, creases and folds well. Anything
heavier than 220gsm will not fold so easily
or lie as flat when closed.
The next stage was to crease each sheet.
Although I have a hand creasing machine, we
used the blunt edge of a cutlery knife to score
the page folds, which is how participants

would make this kind of book at home.
After that we cut each sheet in two 4-panel
lengths, ready for joining and folding. We
carefully aligned the two lengths and glued
them together with a Herma glue roller.
Next we folded the books, being careful
not to press each fold too hard until the
whole book was gathered and the page edges
lined up. Then we pressed them and edgetrimmed each one.
Finally we made card sleeves, with a
thumbcut to help take out each book. What
could be easier, more rewarding and fun?
02/12/2015 10:56
PAMELA MATTHEWS: PEPPERS
45
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2 Folding the pages.
1 Scoring the page folds.
3 The two lengths ready for glueing.
02/12/2015 10:56
46
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SARA PUGH: NAMIBIA BUILDING
Editing together is so much easier and more eective than doing it alone.
4 Glueing the two lengths.
5 Aligning the folded pages before pressing the book.
READER WORKSHOPS
If you would like to join us on a B+ W Photography reader workshop,
contact Anna Bonita Evans on anna.evans@thegmcgroup.com.
02/12/2015 10:57
supporting creative excellence
Photograph Kevin Mullins
When people
spend relatively
large amounts on
framed items they
want to know
that, even if hung
in well-lit natural
light areas, the
images ZRQW
fade or warp.
ASWPP LMPA
printed on Fujicolor Crystal Archive by One Vision Imaging
and full saturation, praised by photographers for whiter than white

highlights, vibrant colour and superb shadow detail. Developed for use
with all mini labs and medium to large-scale printer systems, Crystal
Archive Digital Pearl is a silver halide paper containing pearl mica
pigments and metal oxides which combine to give purer whites and
has a thicker base and higher stiffness for a high-quality look and feel.
With superb archival permanence, images printed on Crystal
Archive Digital Pearl will look as fresh in the future as the day they
were taken. Portrait and wedding photographers will nd the paper
ideally suited for albums and display prints and will marvel at the
high level of detail and colour achieved. This is a paper which
de es the ageing process. Your clients will love you for it.
Kevin Mullins
For more information on the full range or to request a

sample print please call Peter Wigington on
01234 572138, or email: photoimaging@fuji.co.uk
or visit
047_BW_185.indd 47
12/7/15 10:12 AM
COMMENT
All pictures Aenne Biermann,

courtesy of Tate Photography
A MODERN EYE
An experimenter and innovator, Aenne Biermann is one of the most
important female photographers of the 20th century. Shoair Mavlian,
assistant curator of photography at Tate Modern, tells the story
of her tragically short photographic career.
48
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Cherry plantation
n November 2015 Tate Modern
hosted a two-day conference
titled Fast Forward: Women in
Photography, which broadly
looked at womens involvement
in, and contribution to, the
photographic medium. There
were some fantastic papers
presented which focused on
women photographers from the
beginning of the 20th century.
This prompted me to look back
through the Tate collection and
write about Aenne Biermann,
a key female figure in early 20th
48-50_A_MODERN_EYE_185 ER/MB.indd 48
Opposite My child
century photography whose work
we hold in the Tate collection.
Aenne Biermann was born in
Goch, Germany, in 1898 and took
up photography in 1921 at the
age of 23. Biermann was a selftaught photographer, mastering
her technical skills by reading
magazines and journals during
a time when the photographic
medium was coming of age. Her
interest in photography grew
from a desire to capture family
moments and developed into
a much more studied interest
in the camera's relationship

to documenting the beauty
and complexity of the modern
world. She was interested in
documenting her immediate
surroundings, focusing in on the
light and shadow, and shape and
form, found in both the natural
and man-made world.
As was common practice
during this time, Biermann took
on commissions alongside her
personal practice and in 1927
the local geologist Rudolf Hundt
commissioned her to take very
precise photographs of rocks

and minerals for his scientific
work. This was perhaps a turning
point for Biermann as not only
did it prompt her to hone her
technical skills in the studio
and in the darkroom but, more
importantly, it triggered her to
see architectural forms present
within these organic objects.
This can be seen in the way in
which she photographed plants
and flowers in the studio, often
isolating them against a black or
white background, taking them
07/12/2015 12:19
49
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02/12/2015 11:00
50
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Hazelnut catkins
out of their natural context so
that they appear as a series of

shapes and forms. Biermann
described how she was interested
in photographing living things,
stating how she saw themin
terms of their architectural
structures. These fascinating
still lifes are a stunning and
rather unique part of her
practice, highlighting her ability
to isolate an object to reveal
its natural beauty.
iermann produced her

main body of work
between 1926 and 1933,
and along with her
focus on the still life she also
concentrated on the broad themes
of portraiture and landscape.
Many of her portraits are cropped
in tight around the face and she
often experimented with extreme
She was interested in documenting her immediate

surroundings, focusing in on the light and shadow,
and shape and form, found in both the natural
and man-made world.
close-ups, sometimes just focusing
in on one facial feature, for
example the eyes or nose. Her
experimentation across all of these
themes was made possible due to
the technological advancements in
the photographic medium at the
time, for example portable
hand-held cameras allowed her to
move freely through the landscape
and capture images from different,
more flexible angles.
Biermanns work was
associated with the movement of
New Objectivity or Neue
Sachlichkeit which emerged in
Germany following the end of the
First World War and continuing
as a dominant aesthetic until

1933. New Objectivity emerged
as a response to, and rejection of,
the sentimentality and idealism
of the previous generation and
instead sought to engage with the
world as clearly and precisely as
possible. Although the movement
ran across the mediums of
painting, architecture and
literature, these core ideas were
particularly suited to the
photographic medium due to the
cameras ability to produce a
faithful recording of the world.
Although she was linked to the
movement of New Objectivity,
Biermann worked in relative
isolation. Despite this, she

exhibited widely between the
years 1929 and 1932, often
alongside key figures from the
movement such as August Sander
and Albert Renger-Patzsch. She
had a solo exhibition at the
Kunstkabinett in Munich in 1929
and was included in several group
exhibitions, including the
seminal exhibition Film und
Photo in Stuttgart in 1929. The
exhibition included over 1,200
works and brought together
artists from all over the world
and was instrumental in showing
the influence and potential of the
photographic medium.
Sadly, Biermann died in 1933 at
only 35 years of age. Over her
short career she took around
3,000 negatives however, only
around 400 vintage prints survive
today. For Tate, it is important to
collect vintage prints from the
early 20th century whenever
possible, and recently we were
fortunate enough to acquire a
small group of vintage works by
Biermann. Apparently, she
worked long into the night in her
darkroom in order to master her
printing technique and this can
be seen in the exceptional quality
of her prints. Without intending
to fetishise the idea of the vintage
print, it is a wonderful thing to see
these rare handmade objects up
close and, as a museum dedicated
to showing photography, it is
important for visitors to be able to
see these rare objects from a very
important moment in the history
of photography.
YOU MIGHT
ALSO LIKE
Ilsa Bing (1899-1998) took up

photography in the late 1920s
and quickly became known
as one of the leading female
figures from the inter-war period.
Famously, Bing adopted the new
technology of the time, the newly
released handheld Leica and
subsequently was often referred
to as the Queen of the Leica.
02/12/2015 11:01
,

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12/7/15 10:03 AM
HOW TO GET PUBLISHED IN

Your chance to see your images on the pages of
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PORTFOLIO
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52
B+W
ALL SUBMISSIONS SHOULD INCLUDE THE SUBMISSION

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Shoot with your smartphone and send in your pictures you

could be one of three lucky winners each month who wins a
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52-53_HOW_TO_185 ER/.indd 52
26/11/2015 11:50
LAST FRAME
JOIN OUR ONLINE COMMUNITY
FOLLOW US ON FACEBOOK
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image that you would like
to see printed big and
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the file to us and you could
win just that, provided by
theprintspace and
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Keep up with the black & white world by liking

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FOLLOW US ON TWITTER
Stay in touch through Twitter at
twitter.com/BWPMag
You can email the editor, Elizabeth Roberts,
at elizabethr@thegmcgroup.com
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READER ASSIGNMENT
If you would like an EXHIBITION or EVENT included in

Black+White Photography please email Anna Bonita Evans at
anna.evans@thegmcgroup.com at least 10 weeks in advance.
If you have a NEWS story that you think would interest readers
please email Mark Bentley at markbe@thegmcgroup.com.
SUBMISSION FORM
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B+W
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52-53_HOW_TO_185 ER/.indd 53
POST YOUR SUBMISSIONS TO

Black+ White Photography, GMC Publications Ltd,
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26/11/2015 11:51
54
B+W
54-56_EDDIE_EPHRAUMS_185 ER/MB.indd 54
02/12/2015 11:09
INSPIRATION
All images Eddie Ephraums
ALL ABOUT PRINTING

Sometimes a photography idea can lurk at the back of our minds for years
before suddenly sparking into life. But how should the pictures be printed?
We need to ask ourselves the right questions, says Eddie Ephraums.
ne of the
key things
Ive learned
through the
photobook
mentoring
and workshops I do with
photographers is this: if we are
unclear about anything to do
with our photography, its not
that we dont have the answers
(typically we do), its that we
dont know the right questions
to ask ourselves.
This is where outside input
can really help. Ive witnessed
it time and time again. So what
are the questions I need to be
asked to kick-start a project Ive
been sitting on for 13 years?
The project involves
photographing then printing
all my daughters shoes Ive kept
since she was born. You may
remember I introduced
the idea back in B+W 158,
but since then the project has
remained dormant as work
and other commitments have
taken priority.
This all changed recently
when a friend showed me a set
of four exquisite prints hed
bought. They were from Mike
Perrys wonderful Mr Plastig
Welsh series of barnacleencrusted, washed-up flip-flops
and shoes. The prints got me
thinking (as good prints do),
posing all sorts of questions
about my own shoe project.
For a start, as a catalogue
of Perrys work says: [His]
approach leads to a paradox in
that the shoes have become
both aesthetically appealing
objects and yet pollutants at
the same time. Perry uses this
ambiguity to make us think
about whats going on.
So, I ask myself, what exactly
is going on with my shoe project?
Specifically, do I want to make
personal approach a parents

view of my daughters formative
years? For example, how would
it look (and what would it mean)
if I photographed the shoes in
black & white, adding emotion
through the print treatment?
But then I ask myself: in this
digital screen age, is printing
the right approach to make
a series of shoe images for
a teenager wedded to her
smartphone? Im going to ask
fellow workshop leader friends
to quiz me on the project.
I like the
idea of hanging
the shoe prints
in the stairwell
of our home.
55
B+W
or the moment I like

the idea of hanging
the shoe prints in the
stairwell of our home,
both as a timeline of
my daughters life
and as a metaphorical reminder
to the family of the journey
shes been on as she grows up.
I also like the idea the prints
might inspire visitors to think
about working on a print project
themselves, just as seeing the
Mike Perry prints in a friends
house inspired me.
But is the idea of hanging
the shoes in the stairwell
really such a good idea?
I suspect my daughter will see
this as the perfect opportunity
to buy yet more shoes, to drive
the picture collection upwards
towards the loft and the new
bedroom she hopes her parents
will build there for her. Its a
good job her feet have
stopped growing.
F
ONE OF SEVERAL BAGS OF SHOES
Ive yet to count how many pairs of shoes my daughter, like any child,
has got through in 13 years. Im wondering what style I want to shoot
them all, if indeed there should be a single style perhaps not. And what
about those shoes where colour is their standout feature? What more
can I discover in them through black & white?
a historical record of the shoes,
photographing them in a factual
manner, delighting in their
colour and every worn detail

to let the shoes do the talking?
Or should I adopt a more
Opposite HOW TO PHOTOGRAPH THE SHOES?

After 13 years of keeping all my daughters shoes its time to start
photographing them. The question is how to begin? Here I decided to use
what was to hand, creating a simple still life set-up with a 36x24in black
print box to shade and sculpt the natural light and act as the backdrop.
Subsequently I placed a piece of card on top of the box to reduce the
amount of light coming from overhead.
02/12/2015 11:09
56
B+W
THE FINAL PRINT BUT DOES IT

CONVEY THE EMOTION I WANT?
This print certainly has a look to it,

but is it what I want? In part, yes:
the black nothingness of the
backdrop evokes a feeling of
emptiness in me and I am reminded
my daughter is no longer a baby
(where have the intervening years
gone?). Now 13 years old she is
very much her own person, wearing
Doc Martens boots and trainers,
and most definitely tying her own
laces! However, I am still waiting
for her to polish her school shoes.
Might there be an opportunity for
humour in that particular image?
02/12/2015 11:09
Creative space...
Mar: 8-13, 2016
WRITING FOR PHOTOGRAPHERS | ELIZABETH ROBERTS & EDDIE EPHRAUMS
Join B&W Photography magazine editor/creative writing teacher, Elizabeth, and B&W monthly
columnist, Eddie, to add power and insight to your photography through the written word.
Time will be split between the studio, developing your practical and creative writing skills
working on artists statements, photo biogs, text for websites and blogs, plus other forms of
expressive writing and being out on location shooting images as the source and subject of
your writing. Youll be clearer about your photography than ever before.
Mar: 14-20, 2016
PASSION & PURPOSE VISION & PRINT | PAUL WAKEFIELD & EDDIE EPHRAUMS
What better way to communicate your vision than through exquisitely crafted, expressive
prints? But, how do you develop that vision and what does it take to make such a print? This
workshop explores two practices: i) passion & purpose keeping photo notebooks as a way of
developing your photographic ideas and ii) vision & print the art and craft of creative printing
as the ultimate means of expression. Combined with these two practices will be plenty of
friendly and insightful discussions, printing sessions and expert print critiques.
Your photography will never have looked better.
Nothing matches the

creative buzz and
collective experience
of a small group OSW
residential workshop
Our unique range of outcomebased workshops cover the
practical, creative and aesthetic
considerations of being a
photographer. You will be
inspired, motivated, encouraged
and pleasantly challenged.
The Open Studio Photo
Workshop Centre (pictured
above) overlooks Loch Ewe,
in NW Scotland, looking towards
the Torridon mountains and the
Outer Hebrides. With its own
sea-view cafe, lecture room and
fully equipped imaging studio,
it makes the perfect photo
location workshop centre.
AUTUMN WORKSHOPS 2016

PHOTOBOOK DESIGN | EDDIE EPHRAUMS & ANDREW NADOLSKI
Date to be confirmed. Email us for further information.
To find out more about our approach to photography, visit:

www.openstudioworkshops.com
057_BW_185.indd 57
12/4/15 4:43 PM
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12/8/15 9:42 AM
THE NEW ICE AGE

Iceland is one country that should be on every
photographers bucket list, and if youre going to
go, Lee Frost reckons winter should be your season
of choice. From ice caves to the Northern Lights,
it will have you captivated.
60
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60-64_LEE_FROST_185 ER/MB.indd 60
26/11/2015 12:01
TECHNIQUE
All images Lee Frost
61
B+W
UNDER THE VATNAJOKULL GLACIER, SOUTH ICELAND
Being inside an ice cave is an amazing experience, and something

every photographer should do if they visit Iceland during the winter.
Canon EOS 5D MKIII with 16-35mm zoom, 1/2sec at f/16, ISO 200
26/11/2015 12:01
after its three main commercial banks

collapsed, leaving 100 UK local authorities
840 million down and giving rise to jokes
such as: Whats the capital of Iceland?
Answer: About 3.50.
But what really put Iceland on the map
in recent years occurred in April 2010,
when a violent volcanic eruption blasted
through the Eyjafjallajkull glacier, kicking
up an ash cloud 9km high that caused
chaos throughout European airspace
and created great mirth as we listened to
newsreaders around the world trying to
pronounce the damned name. There are
YouTube videos to prove it.
You wanted cash, we gave you ash
read the headlines! Oh, how we laughed.
Where did yours truly happen to be?
Iceland of course! Call it fate or bad
planning, but when I booked the flight
months earlier for my first trip to the Land
of Fire and Ice, I had no idea what was
on the horizon.
As it happened, the eruption was a bonus,
providing amazing photo opportunities and
an unforgettable experience. But one thing
became evident during that first trip you
cant do Iceland in a single visit; theres
simply too much to take in. So I went back.
Not once, but 10 times, with three more
planned for 2016. Iceland does that to you. It
gets under your skin. The landscape is epic
and stunningly beautiful think Scotland
on steroids. The population is small and the
empty spaces big. Every time you return
from one trip, youre itching to go back again
to take shots that eluded you on that one.
62
B+W
The landscape is epic and

stunningly beautiful think
Scotland on steroids.
GRUNDAFJORDUR, SNAEFELLSNES PENINSULA, ICELAND
Kirkjufell (Church Mountain) is the most popular subject on the Snaefellsnes Peninsula.
I loved the way this block of frozen lake ice echoed its distinctive triangular shape.
hats great. Can you bring me

back a King Prawn Ring and some
Sticky Chicken Skewers? Not
really the response I was soliciting
when I mentioned to a neighbour that I
was going to Iceland, but even when Id
cleared up the confusion and explained
that I was referring to the country, not the
supermarket chain, his reaction was still
unremarkable to say the least. Why the
hell do you want to go there?
Icelands one of those countries that
everyones vaguely heard of, but few
know much about. Its up in the Arctic

somewhere, freezing cold, light all summer,
dark all winter and inhabited by people who
wear woolly jumpers, eat pickled shark and
believe in trolls. Only some of that is untrue.
It also gets a pretty bad press. In the
70s we had the Cod Wars, during which
Icelandic fishermen were cutting the nets
of British trawlers that illegally entered
their fishing grounds. Then Bjrk hit the
charts and scared us half to death with
her weird voice and even weirder fashion
sense. In 2008 the country went bankrupt
here are benefits to visiting Iceland

at any time of year. During the
summer the country enjoys 24-hour
daylight while in autumn the colours
are beautiful. However, in recent years,
winter has become my favourite time to
visit. January and February are the months
I generally choose, but November to March
is the winter season. Not only are there far
fewer tourists to get in the way (which is a
bonus now the numbers flocking to Iceland
each year has topped two million), but the
weather isnt nearly as bad as you might
expect, the light can be sublimely beautiful
and theres the added bonus of being able
to shoot inside ice caves (which are only
safe to access from October to March).
Yes, its cold, but no colder than a clear
winters day in the Scottish Highlands and
not as cold as New York City in winter. The
lowest Ive seen the mercury drop to in
January in Iceland is -12C. On a still day that
26/11/2015 12:01
NEAR SNAEFELLSNES, ICELAND
NEAR VIK, SOUTH ICELAND
It takes longer to get from A-B in Iceland, simply because

there are so many great roadside photo opportunities.
Freshly fallen snow and an overcast sky perfect conditions

for shooting a minimalist monochrome landscape!
Canon EOS 5D MKIII with 70-200mm zoom, 1/400sec at f/5.6, ISO 800
Canon EOS 5D MKIII with 70-300m zoom, 1/160sec at f/8, ISO 1600
doesnt feel too bad if youre wrapped up in

decent outdoor clothing. Contrary to popular
belief, it doesnt snow constantly either.
Plenty of the white stuff does come down,
but youre not fighting through blizzards all
the time Ive been there for days at
a stretch and not seen a single flake fall.
If you like a lie-in then youll love Iceland
in winter. Forget alarm calls at stupid-oclock to be out for dawn. In January, the
sun doesnt rise until well after 11am and
it sets again around 4pm. That sounds like
an incredibly short day just five hours of
sunlight. But the twilights are surprisingly
long so you can start shooting at 9.30am
and keep going until after five. The sun
also remains very low in the sky (sunrise
and sunset positions are amazingly close)
so the quality of light is wonderful all day
and theres no need to down cameras
during the middle hours. I tend to do
any major drives in darkness too, so the
daylight hours arent wasted.
Road conditions during the winter can
vary, but are generally pretty good. The
main road, Highway 1, loops around the
entire country for about 830 miles and
is Tarmac for 99% of that. Icelanders
dont bother to grit their roads like we
do. Instead, they put winter tyres on their
vehicles that are equipped with steel studs
to provide traction. They work surprisingly
well. The roads are often so icy you can
barely walk on them, but driving is no
problem in all but the severest weather.
I tend to stick mostly to the south
coast of Iceland where the influence of
the sea means the weathers milder than

the remote interior. I favour it because
theres a fantastic variety of locations
and scenery which include the glacial
lagoon of Jkulsrln and the nearby
iceberg beach that has become legendary
among landscape photographers; the
charming town of Vik y Myrdal with its
black sand beach, dramatic rock stacks

and picturesque church set against
mountains; the waterfalls of Skgafoss and
Seljalandsfoss and the coastal mountains
at Stokksnes on the very eastern tip of the
south coast. The Golden Circle of Geysir,
Gullfoss waterfall and ingvellir National
Park is worth a visit in winter and can be
63
B+W
SKGAFOSS, SOUTH ICELAND
Icelands waterfalls are impressive at any time of year, but during winter
they take on an other-wordly appearance.
Canon EOS 5D MKIII with 70-300m zoom, 1/125sec at f/5.6, ISO 400
02/12/2015 11:13
covered in a good day (starting with sunrise

at Geysir). I also love the wild Snaefellsnes
Peninsula north of Reykjavik, home to the
wizard hat mountain Kirkjufell, the remote
black wooden church at Budir, fantastic
lava fields and dramatic coastline.
f course, one of the main

highlights of a winter visit to
Iceland is the chance to explore
an ice cave. Ill never forget the
first time I did that I was totally awestruck.
Being in the cave was like being surrounded
by giant frozen bubble wrap. Bright blue
bubble wrap! But it got even better because
as the sun started to rise, golden light shone
through the cave entrance and bounced
around on the surface of the ice. The three
hours spent in that cave rank amongst the
most enjoyable of my photographic life
a truly magical experience.
Normally, landscape photography ends
when darkness falls, but Iceland has
another trick up its sleeve the Aurora
Borealis, or Northern Lights. Winter is the
best time of year to see the Aurora, which
is caused by charged particles colliding
with atoms in the high altitude atmosphere,
but you need a relatively clear sky as cloud
cover obscures the display, and there also
JKULS BEACH, SOUTH ICELAND
Beached icebergs from the nearby Jokusarlon lagoon litter the beach
like glassy sculptures and offer endless creative potential.
Canon EOS 5D MKIII with 24-70mm zoom, 0.9 ND grad, 1/100sec at f/13, ISO 400
needs to be aurora activity, which can vary

enormously from day to day, even hour to
hour. I check the Aurora website several
times each day on Vedur.is, the Icelandic
Meteorological Society website, and if it

looks reasonable (anything from 2-up on
a scale of 0-9 is worth a punt) I head out
around 10pm. The activity if theres going
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STOKKSNES, SOUTH ICELAND Frozen dune grasses and black volcanic sand make a perfect foreground
to the towering snow-covered mountain Vestrahorn at the eastern end of Icelands south coast.
Canon EOS 5D MKIII with 16-35mm zoom, 0.45 ND grad, 1/8sec at f/11, ISO 200
02/12/2015 11:14
NEAR GEYSIR, ICELAND
The winter landscape in Iceland is totally

captivating and its hard to drive for long before
another scene beckons you to stop and shoot.
Canon EOS 5D MKIII with 24-70mm zoom,
1/400sec at f/8, ISO 1600
to be any usually peaks between 10pm

and 2am so sometimes you just need to
watch, wait and hope for the best. Its a fun
thing to do though. Everyone has their eyes
glued to the sky, hoping to see something.
The Aurora looks more vivid in a photograph
than it does to the eye, because the human
eye sees in monochrome at night, so weak
activity isnt always clear. When theres a
proper display, however, its like nothing
on Earth, with vivid green swirls dancing
and flashing across the sky. Colour is an
important part of this phenomenon, but
even as a black & white photographer you
cant help but be moved and amazed by it.
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The land is buried under a

blanket of white with only
the boldest features standing
out, such as trees, fences and
walls, and its possible to shoot
wonderful minimalist images.
The winter landscape is well suited to
black & white photography because it
tends to look monochromatic, especially
when covered in snow. I also love the way
that snow simplifies scenery. The land is
buried under a blanket of white with only
the boldest features standing out, such as
trees, fences and walls, and its possible to
shoot wonderful minimalist images. I find
a telezoom lens is the best choice as it
allows you to home in on specific aspects
of a scene, such as a fence arching over
the brow of a hill, skeletal trees in the
distance or a remote farmhouse dwarfed
by icy mountains.
One of my favourite locations is the
volcanic sand beach at Stokksnes, which
provides the foreground to views of the
PINVELLIR NATIONAL PARK, ICELAND
It was -10C on a perfectly still day when I captured this image.

The foreground looked like it was covered in pure white candy floss!
magnificent mountain Vestrahorn. The sand

is black and features areas of gentle ripples
as well as low, undulating dunes. In winter,
when the sand is frozen or dusted with snow,
it makes wonderful monochrome foreground,
while Vestrahorn rises majestically from the
sea. I never tire of that place.
Iceland is renowned for its waterfalls, and
in winter they look even more awesome,
with thousands of giant icicles dangling
precariously from cliff faces, and sheets of
glassy ice created by the gradual freezing
of water flowing over rocks. Standing
beneath Skgafoss or Seljalandsfoss is a

humbling experience. You feel like youve
been teleported to a different world.
Actually, what am I talking about? You have
Iceland in winter is a different world!
Ive got two trips planned for early
2016, when Ill be taking small groups of
photography enthusiasts out to Iceland. As
always, I cant wait, and as far as Im aware,
none of them has been to Iceland in winter
before so seeing their faces light up when
we head out on the first morning to explore
an ice cave will be something else!
02/12/2015 11:15
TECHNIQUE
All images Tim Daly
PHOTO PROJECT 30:
THE EDGELANDS
The marginal areas surrounding our metropolitan centres are great places for
photographic study. Look for picture opportunities in industrial estates and
factories, retail parks and railway arches. Tim Daly redrafts our city limits.
ying on the outskirts of our
towns, those peripheral spaces
that have become known as the
edgelands are a rich source of
inspiration for photographers. While
not fitting into any of those traditional
themes of landscape, the built
environment or urban exploration, the
edgelands provide an alternative site
for exploring the world we live in.
Industrial estates, out of town retail
parks, power plants, scrap yards and
ring roads were all invented to keep the
more functional aspects of society at

arms length and were never envisaged
as visitor destinations. Less planned
and much less manicured than our
towns and cityscapes, such places
exist everywhere and can provide a
fascinating glimpse of the forgotten
spaces that support our increasingly
complex and layered world.
For this project, Id like you to visit
a place that youve never considered
previously and see if you can unearth
a hidden photographic gem.
SECTION 1: THEME IDEAS

Pick a local area that youve got easy access to and do some desk research first
using Google Maps before you venture out. Dont be put off by anything unpromising,
as these bland, nondescript places can produce unexpectedly good returns.
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2 EDGELAND WILDLIFE
1 FACTORY LUNCHTIME
Lunchtime outside many factories and
industrial estates heralds the arrival of mobile
food vans, a respite for cigarette smokers
or perhaps for the more football minded,
the chance of a quick kickabout. On your
shoot, keep a look out for such things, like
this example of a rudimentary goal painted
under a railway arch in Runcorn.
Lewis Hines groundbreaking
documentary photographs showing riggers
working on the Empire State Building
created many iconic images, but none
better than those showing workers enjoying
their lunchtime breaks and recuperation.
Look also at Richard Avedons project
In the American West, for his on the spot
portraits taken outside the factory gates.
What would workers nowadays look like
after emerging from a similarly long shift?
66-69_TIM_DALY_185 ER/MB.indd 66
While most wildlife photography places

great importance on recording the very
essence of a species, there are plenty of
alternatives to this approach. If you place
yourself within a man-made environment
theres an equally interesting way of
showing edgeland wildlife as it exists.
Hidden in the most unusual of places, like
this birds nest found in a scrapyard, is
evidence of the animal kingdoms clever
adaptation to less than ideal surroundings.
Artist and photographer Stephen Gills
A Book of Birds similarly displays an urban
vision of wildlife, showing his street level
encounters with our feathered friends.
For a more surreal project, look at Ricardo
Cases excellent book Paloma al Aire
showing the rituals of Spanish pigeon
fanciers and their colourful charges.
Both books make the connection between
wildlife and people and urban centres.
3 TRADES AND INDUSTRIES

Like the famous Pompidou Centre in Paris
which has all of its functional services
on the outside, industrial estates on the
outskirts of our towns feed our neverending demand for disposal, utilities,
products and services. While many new
estates are modular and identical, look
out for older industrial settlements where
buildings have been repurposed from
another age, as this example shows.
Look for unusual businesses or those
selling an unexpected service you might
be surprised at what you find. The postindustrial landscapes of photographer
John Davies are an excellent place to start
especially his European works found in
his book Cross Currents, shot from his
trademark high and distant viewpoints.
02/12/2015 11:22
4 RETAIL PARKS
Across most developed nations, the
ubiquitous out of town retail park can
provide rich pickings in this era of changing
shopping habits. Choose an angle that
allows you to focus on a particular aspect,
such as the negative impact on the
surrounding area, as this example shows, or
perhaps look at those parks that are closing
down due to changing economic conditions.
To create a sense of emptiness within
bigger spaces and sites, consider shooting
wider and more encompassing views so
you can see how all the different elements
spatially interact. For inspiration, look at
the work of Paul Seawright, especially
his project Margins which takes a look at
marginal lands and uninhabited spaces.
INSPIRATIONAL QUOTE
Ive decided to recast myself as utopian. I like this landscape of the M25
and Heathrow. I like airfreight offices and rent-a-car bureaus. I like
dual carriageways. When I see a CCTV camera, I know Im safe.
JG Ballard.
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5 RAILWAY ARCHES
Adapted, bricked up and pressed into use
again, the railway arch has a long history
of supporting trades, services and repair
workshops, as this example shows. Look for
the nearest railway arches and see what you
can find out about their current inhabitants
and the stuff they make and repair.
Look at geograph.org.uk an ongoing
online community project that seeks to create
an archive of photographs that document the
physical landmarks and landscapes around
us. Search using the term railway arch
and see if you can find a site near where you
live, or perhaps something thats missing
from the collection that you can contribute
through your own project.
02/12/2015 11:22
SECTION 2: DO THE DRIFT

For many writers, artists and photographers,
the edgelands provide a richly textured subject
worth experiencing and reimagining through walks.
CITY LIMITS
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Navigating your way around the edgelands can be a tricky task,

as most are not designed for pedestrian access and many present
considerable barriers to your drift. Iain Sinclairs inspirational
wander around the M25 is memorable for his navigation through
difficult terrain, lost space and peripheral tracts of private land
deemed out of bounds. Such space, however, can provide special
views of the city from a distance, framed by unexpected things,

as this example shows. Consider shooting the city from those
distant, empty places like an estuary shoreline or docklands
waiting for redevelopment. Look also at Andrew Kttings film
Swandown (with a cameo by Iain Sinclair), where he travels in
a swan pedalo from Hastings to Londons Olympic Park.
MAKING SENSE OF HISTORY
VISUALISING LAYERED HISTORY
Reading the imaginative outpourings of psychogeographers

might also suggest an additional lens through which to see your
chosen subject, especially if you are interested in social history
or geography. Pick a place that has rich back history, but one
which is still visible and present today. This example shows the
Dot Motor Cycle works in Hulme, Manchester, a building that
survived slum clearance but nowadays stands isolated within
the developing city centre.
Look into your chosen subject and see if there are any
enthusiast groups or preservation societies that are connected
they may have detailed local history research that you can dip
into to inform your work.
The author Iain Sinclair is much known for his walks in London and
the surrounding areas, resulting in books such as London Orbital
and Hackney, That Rose-Red Empire: A Confidential Report.
Alongside Will Self, Sinclair is partly known as a psychogeographer
which is an imaginative way of exploring urban space through
walking through a particular territory. The books of both writers
are an excellent place to start if you are interested in mixing history
with observation and fact with the imagined.
Plan a walk (or a drift as psychogeographers like to call it) around
a historical area, as this example shows, but prime yourself with
as much factual research as possible beforehand. Pre-loaded with
such information and with ideas looking for a place to emerge,
youll shoot your response in a completely different manner.
02/12/2015 11:22
SECTION 3:
SIGNS OF PEOPLE
Although most edgeland places may
be empty and without the vibrant
buzz of a city community, its worth
considering looking for and shooting
evidence of their inhabitants.
MAKING SENSE
OF WORDS
Your chosen edgeland zone may already
be home to other creative people,
sharing low rent spaces alongside fixers,
manufacturers and distributors. Find out
if theres any ongoing art projects in the
area, especially if they involve showing
work in the street or other open space.
Graffiti, as this example shows, might be
a signpost for something happening or
somebodys emerging art practice.
DO-IT-YOURSELF
Half-finished but not forgotten, many do-it-yourself projects lie around waiting to be
revived and resuscitated. Workshops, garages and yards can be full of such things
and they can often create a poignant subject for a documentary project.
Good subjects to explore are classic car restoration and anything to do with boat
repair and renovation, especially canal barges. Look for hard-working weekend DIY
people working on renovation projects and see if you can capture the physical
marks of effort and labour, as this example shows.
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PROJECT OUTCOME
Aim to make a series of prints on a
chosen theme, such as this example
made from a collection of painted
goalposts in industrial zones.
FINDING INSPIRATION
ROADSIDE SHRINES AND PROTEST SIGNS
Dock roads and industrial estates are mostly designed for car access only, so can
be pretty grim places for pedestrians. Tragically, when an accident does occur, it is
sometimes followed by a roadside shrine, as shown, or a homemade memorial
recording the event. In a similar vein, roadside protest signs also provide a key to
understanding tensions and disagreements within a community. Anything that shows
signs of human intervention where youd least expect it is worth capturing.
Edgelands: Journeys into Englands

True Wilderness by Paul Farley and
Michael Symmons Roberts
Richard Avedon
avedonfoundation.org
Paul Seawright paulseawright.com
John Davies johndavies.uk.com
Ricardo Cases ricardocases.es
timdaly.com
02/12/2015 11:22
TESTS AND
PRODUCTS
All images Andy Luck
he new 42.4Mp back

illuminated CMOS
sensor in the Sony
A7R II is not only highly
advanced, it is the highest
resolution full-frame image
sensor Sony has made.
The new sensor design
combines the advantages
of high resolution and high
sensitivity. The gapless on-chip
lens design and anti-reflective
coating on the surface of the
sensor improve light collection
so that high ISO can be used
with low noise performance and
excellent dynamic range.
The A7R II has an extremely
impressive ISO range from
100 to 25600 (expandable to
ISO 50 to 102400), which is
quite amazing for such a high
resolution camera.
Another advantage of the
new sensor design is the
sheer speed with which the
camera outputs data from the
sensor, which is claimed to be
3.5 times faster than on the
previous camera, again quite
an achievement as the original
A7R was no slouch!
All this speed, sensitivity
and resolving power is also
available in a much smaller and
lighter package in the A7R II
than in a comparable DSLR.
The A7R II weighs in at around
628g with battery a little
heavier than the original A7Rs
465g but still a considerable
weight saving compared to the
Nikon D810 (980g) or Canon
5DS R (930g).
A compact system camera like
the A7R II also has the further
advantage over a DSLR of the
lack of a mirror, which makes it
easy to fit all sorts of lenses via
lens/body adaptors, thanks to
the short flange back distance.
All Sonys A-mount lenses can
also be used via an LA-EA3 or
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70-71_Sony_A7R_II_185 ER/MB.indd 70
SONY A7R II
2,599
(body only)
The Sony A7R II is a high resolution compact system camera

with a whopping 42.4Mp sensor. Andy Luck puts it to the test.
LA-EA1 mount adapter.
Additionally, with peaking and
image zoom available through
the electronic viewfinder,
manual focus feels more
accurate than AF for subjects
like macro and close-up.
The A7R II also has a much
improved AF. The Fast Hybrid

AF has 399 focal plane phasedetection points that cover an
impressive 45% of the image
area claimed to be more
coverage than any other fullframe camera.
Additionally, 25-point
contrast detection AF is
also available. The fast AF
combined with a respectable
5 frames per second maximum
frame rate means the A7R II
gives up very little in terms of
speed to conventional fullframe DSLRs either.
WATER DROPLETS ON GERANIUM LEAVES
The Sony A7R II metering system is

very reliable and retained the subtle
dark tones in this scene well.
Sony A7R II with OM Zuiko 50mm
f/1.8 lens via OM/NEX adaptor,
1/125sec at f/8, ISO 200
HORNBEAM CANOPY
Built-in focus peaking makes it easy to

find focus even with old manual focus
lenses from the days of film cameras.
Sony A7R II with OM Zuiko 24mm f/1.8 lens via
OM/NEX adaptor, 1/25sec at f/8, ISO 200
02/12/2015 11:23
he electronic OLED
viewfinder of the
A7R II is one of the best,
with 100% coverage,
2,359,296 dots, Zeiss coating
and the worlds highest claimed
viewfinder magnification of 0.78x.
It provides a big, punchy picture
with good shadow and highlight
detail. All the information and
compositional overlays are
there, such as zebras, grids,
exposure, focus points, focus
zoom, histogram just about all
you could possibly need to see,
without ever having to take the
camera away from your eye.
The A7R II also has the
fantastic 5-axis IBIS (in-body
image stabilisation) of the
A7 II, which provides a claimed
camera shake compensation
equivalent to using a 4.5-stop
LIKES
TECHNICAL SPECIFICATIONS
5-axis IBIS
42Mp resolution
Superb 4K video to card
with S-Log2
Electronic First Shutter Option
and silent shooting
Two batteries and wall
charger supplied
Adaptability offered
by lens mount
Sensor
Lens mount
Processor
Shutter speeds
ISO
LCD
Card format
Power
Size
Weight
DISLIKES
fit to the camera is an advantage

that becomes very obvious as
light levels fall and shutter speeds
increase. It means you can shoot
at lower sensitivities for longer.
Video in the A7R II is a step
up from the A7 II, with 4K
recording in XAVC S5 format for
breathtaking detail in either fullframe or cropped, Super 35mm
format, which can be made
direct to the card in camera, or
via a clean HDMI output.
One of the few downsides
to the original A7R was the
very noisy shutter. This has
been effectively addressed in
Slow motion HD limited to

720p (needs firmware update)
faster shutter speed with any
lens you fit to the camera. It is
extremely effective and works
very well for handheld video too.
Being able to shoot stabilised
stills or video with any lens you
42.4Mp full-frame 35mm BSI CMOS sensor

Sony E
Bionz X
30 to 1/8000sec
50 to 102400
3in tilting with 1.23 million dots
SD, SDHC, SDXC, memory stick
NP-FW50 battery
127 x 96 x 60mm
625g
the new model with a totally
redesigned unit that cuts
mechanical front/rear curtain
vibration by a claimed 50%,
while the electronic front curtain
can also be used for even less
vibration. In addition, a new
silent mode has been added
which will be welcomed by
event photographers.
The new A7R II also has
Wi-Fi and NFC (near field
communication) and can access
Sonys PlayMemories Camera
Apps, which add further creative
capabilities to the camera, such
as time-lapse photography.
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VERDICT
GREY HERON REFLECTION
The 5-axis IBIS (in-body image stabilisation)

has done a good job of preventing shake when
using a long telephoto zoom at what would
normally be an unfeasibly slow shutter speed.
Sony A7R II with Tamron 150-600mm lens at 600m, via
Nikon/NEX adaptor, 1/160sec at f/8, ISO 800
70-71_Sony_A7R_II_185 ER/MB.indd 71
The Sony A7R II has the worlds first 35mm, full-frame,

back illuminated sensor. Combined with the Bionz
processor, 42Mp and no low pass filter, it provides amazing
picture quality with medium format type resolution.
In addition, IBIS, 4K video to internal card, silent
shooting, ISO 102400 and a host of other features in a small,
light body thats easy to carry all day, make Sonys A7R II
quite simply one of the best hybrid cameras you can buy.
RATINGS
HANDLING
PERFORMANCE
SPECIFICATION
VALUE FOR MONEY
97%
98%
98%
96%
97.25 %
OVERALL
02/12/2015 11:23
TECHNIQUE
timclinchphotography.com
THE SMART GUIDE

TO PHOTOGRAPHY
Turning the old adage, less is more, on its head, Tim Clinch advocates
shooting and shooting until you get the perfect image. Its all a question
of pushing yourself to get what you want from your photography.
72
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1
ne of the many put-downs
that I hear about both digital
and, especially, mobile
photography is that people just
snap away at a subject and take so many
pictures that one of them must be OK.
These people often talk about the lack of
discipline that digital has brought about.
You know, the throw enough mud at
the wall and some of it is bound to stick
theory of photography.
I disagree. For me, one of the most
important pieces of advice I can give to
any photographer is simply to slow down.
Take a bit more time, think about your
subject more and your pictures will get
better. Believe me, it works.
Well, one of the ways I now use to slow
myself down when using my mobile as a
camera is actually to take more pictures.
In fact, its become a discipline.
72-73_SMART_GUIDE_185 ER/MB.indd 72
2
We see something that takes our eye,
whip out the smartphone and take a
picture. Have a quick look at the screen,
and then were on our way. Well, hold your
horses, amigo. Are you sure? Absolutely
certain that its OK? That its a good
picture? And, even more importantly, are
TOP TIP
As Ive spoken about in the main text,
in order to make the most of our images
one thing that I always encourage
people to do is to shoot both horizontally
and vertically. Its amazing how few
people use this simple discipline. Just by
turning your camera 90 degrees you can
change everything. A landscape doesnt
have to be horizontal just as a portrait
doesnt have to be vertical.
Shake things up
you absolutely sure that it couldnt be

better? That you, by snapping away a little
bit more, couldnt make it better?
Exactly. Keep reviewing your pictures.
Keep looking at them, keep thinking about
them. Remember that one of the huge
advantages of digital photography is that
there are no film and processing costs to
hold you back, so make sure that youve
done as well as you can with every image
that you take.
Theres nothing wrong with this, and
dont let anyone tell you there is. Would I
have behaved like this when I was shooting
with film? Of course not. It would have
cost me a fortune. But times change, and
different ways of working come about with
each new development in photography.
It should be our job as photographers
to embrace these changes and make
them work for us
26/11/2015 12:15
All images Tim Clinch
THE PICTURES
Ive been experimenting a lot recently

shooting portraits on my phone. On a
recent shoot I covered all the portraits
three ways. Firstly, as I usually do, using
my Canon DSLR and a 85mm f/1.8 lens.
Secondly, on my Fuji X-Pro1 using the
35mm equivalent of a 50mm lens and,
thirdly, on my iPhone.
The big difference was that each
time I changed the camera I had to get
physically much closer to my subject. In
the case of the iPhone, very close indeed.
It was an interesting experience. I was
glad that I started with the longer lens as,
by the time I had my iPhone inches from
their nose, they were a lot more relaxed.
It doesnt always work as the iPhone lens
is quite wide, but when it does, its great.
Pictures 4, 5 and 6 are examples of
this. They are all well-known French wine
makers (Michel Niellon, Caroline Frey
and Michel Chapoutier respectively), and
the others are friends from Bulgaria and
Jasper, the son of a recent workshop
participant. Apart from number 1,
they were processed using the much
maligned TinType app from Hipstamatic.
This app can, if youre not careful, be
a bit gimmicky, but by turning all the
effects down almost to zero it can
produce some beautiful results.
Well, one of the ways I now

use to slow myself down
when using my mobile as a
camera, is actually to take
more pictures. In fact, its
become a discipline.
72-73_SMART_GUIDE_185 ER/MB.indd 73
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26/11/2015 12:15
TESTS AND
PRODUCTS
CHECKOUT
Before you splash the cash on a new piece of kit, check out the secondhand
market, says Daniel Calder. You might be able to find a bargain.
Visit one of these six retailers for some serious savings.
WEX PHOTOGRAPHIC
BEST FORVolume of products
lthough Wex
Photographic has
a showroom in
Norwich, its the
hugely successful website that
the company is justly famous
for. There are more than 16,000
different products listed online,
with one of the largest stocks
of used digital equipment in
the country. You will regularly
find over 100 listings of Canon
and Nikon DSLRs, a similar
number again of compact
system cameras and around
70 compacts. Lenses are well
represented too, with around
250 Canon options, 150 Nikon
and a good smattering of most

of the other major brands. Its
also a sensible place to check
for secondhand tripods, bags,
battery grips and filters.
The website is suitably
polished, with each item
photographed from a couple
of angles and given a detailed
condition statement with a
rating between 6 and 10. Its
worth noting that Wex often list
returned, open box, demo and
refurbished products that have
very little wrong with them but
are discounted nonetheless.
The company offers a
generous 12-month warranty,
as well as
free 4-day UK
delivery for
orders over
50. Theres
also an option
to collect from
the store, or
pay 4.99
for next day
delivery or
8.95 for
Wex often sell secondhand products that are
weekend
practically new, but at discounted prices.
delivery.
A
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KEY DETAILS
Address Unit B Frenbury Estate, Drayton High Road, Norwich, NR6 5DP
Website wexphotographic.com
Contact 01603 486 413, sales@wex.co.uk
How to buy Shop, online, phone
Warranty 12 months
74-76_CHECKOUT_185 ER/MB.indd 74
MPB
BEST FOROnline service
oasting a massive
inventory of used
digital equipment, an
excellent website and
next day delivery service, MPB
is one of the best places to
buy pre-owned photography
gear online. That is, as long
as you wish to buy a Canon or
Nikon DSLR and their related
lenses or, to a lesser extent, a
Panasonic, Olympus, Sony or
Fuji compact system camera.
Its also a good place to check
for flashguns, battery grips
and tripods.
The website enables you
to find products without
difficulty and results are laid

out in a grid of large thumbnail
images which can be sorted
by name, price or condition.
Every bit of kit is photographed
in a consistent style from a
variety of angles and given a
detailed condition rating. The
shutter count is listed and any
accessories included in the
package are clearly stated.
Theres also an overview of the
camera or lens so you can see
the tech specs without having
to look elsewhere.
Products can be bought
outright or with part exchange,
and each item has the security
of a 6-month
warranty.
Orders are
sent that
day if placed
before 4pm
and cost
8.95 for
goods over
100.
The website at MPB gives you all the information

you need and is the best in the business.
KEY DETAILS
Address None
Website mpb.com
Contact 0345 459 0101
How to buy Online, phone
Warranty 6 months
26/11/2015 12:20
THE CLASSIC CAMERA

BEST FORLeica goods
ituated near Tottenham

Court Road in London,
the Classic Camera
store is a Leica Premier
and Fujifilm Platinum Dealer
that also offers a focused
collection of secondhand
cameras and lenses. Both new
and used products are listed
on the shops website and can
be purchased online.
The strength of the preowned inventory is in its Leica
products, which divide into a
fairly even spread of M, R and
Screw mount bodies, while
M mount lenses tend to be in
greater supply than the other
two fittings. There are also
a handful of medium format
BEST FORDiverse range of lenses
cameras and lenses and a

few classic cameras such
as Voigtlander, Kodak and
Olympus. Its worth checking
the site for digital mirrorless
cameras too, as this section is
sure to grow in the future.
The website is simple but
effective, rendering search
results in a list sorted by
relevance, name or price. Each
product displays a front, back
and top view, condition rating,
shutter count, accessory list
and price. Delivery is free to
the UK for orders over 150,
and any purchase receives
a 6-month guarantee and
a courtesy health check or
sensor clean after one year.
The Classic Camera website uses a simple listing

approach to sell a great range of Leica goods.
KEY DETAILS
Address 2 Pied Bull Yard, Bury Place, London, WC1A 2JR

Website theclassiccamera.com
Contact 020 7831 0777, classiccameralondon@gmail.com
Warranty 6 months
CAMERA WORLD
amera World
operates two shops,
one in London,
the other in Essex,
alongside a well stocked
website. Customer service is
highly valued at all three venues,
as the number of awards the
company has won will attest.
The website gathers together
and displays the current stock
held at both shops. Its a
sizeable amount too, with a
collection of over 400 lenses.
Canon and Nikon are
strongly represented but its
the variety of other brands that
catches the eye, with almost
as many Sigma offerings and
a healthy number of Pentax,
Tamron, Minolta and Sony

products. Though there are
noticeably fewer cameras
than lenses, there is an equal
split between film and digital
cameras of around 50 each.
The website is incredibly
detailed in the ways to refine
your search, so that its easy to
find a particular lens fitting or
camera sensor size. The image
displayed of each product is
rarely of the actual item though,
and there is no detailed
description either, so you may
well need to phone before
buying. Free UK 4-day delivery
is available on purchases over
150 or you can pay 5 for
next day delivery.
75
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Used equipment at Camera Worlds two shops are

brought together on the companys website.
KEY DETAILS
Address 14 Wells Street, London, W1T 3PB and High Chelmer Shopping
Centre, Chelmsford, Essex, CM1 1XB
Website cameraworld.co.uk
Contact 020 7636 5005 (London), 01245 255 510 (Chelmsford)
Warranty 6 months
26/11/2015 12:20
PARK CAMERAS
BEST FORImpressive showrooms
ark Cameras boasts

two state of the art
showrooms, the original
one in West Sussex and
a new addition, after 40 years
of trading, in London close to
Tottenham Court Road tube
station. Both venues, along
with the companys website,
stock all the major photography
brands and a vast array of
accessories.
In comparison to the huge
amount of new products
stocked, the used section is
small. But you can usually
count on finding around 20
Canon and Nikon digital
camera bodies most of the time
and a fair few accompanying
P
76
B+W
lenses, especially for Nikon.

Fujifilm and Panasonic cameras
are also well represented, but
to a lesser degree.
The website has plenty of
filters to help narrow your
search and a number of ways
to sort the results. Each item
has been photographed from
almost every angle and all of
the images can be enlarged
for closer study. Theres also a
brief condition report and what
the package includes. If you live
nearby to either store you can
click and collect your purchase
on the same day, but failing that
Park Cameras offer free delivery
on orders over 50 or charge
10 for next day delivery.
Park Cameras take the trouble to photograph

every product from a variety of angles.
KEY DETAILS
Address 53-54 Rathbone Place, London, W1T 1JR and

York Road, Burgess Hill, West Sussex, RH15 9TT
Website parkcameras.com
Contact 01444 237 070, sales@parkcameras.com
Warranty 6 months
APERTURE
BEST FORFilm cameras
rom its central London

shop, Aperture processes
film, repairs cameras and
(along with its website)
trades in a broad range of
secondhand camera equipment.
Although the company stocks
Canon and Nikon DSLRs, it
is particularly strong in 35mm
Nikon equipment and is a fine
place to hunt out Leica M and
R cameras and lenses. Its also
a useful stop for medium and
large format gear, and is truly
outstanding for Hasselblad
equipment as the website links
to the ample stock found at
Apertures sister shop,
the Camera Caf.
Apertures website works
as a simple listing of products

divided into the major brands.
It doesnt take long to scan
down the page to find what
youre after, and you can see the
condition rating, price and any
extras included in the package.
Few of the products have
any images but the company
tends to only stock goods in
at least excellent condition
and obviously have a very
good reputation to maintain.
Purchases can only be made
by phone or email and are
sent out by Royal Mail Special
Delivery (10 minimum charge).
All goods come with a 6-month
warranty, unless its a Leica M,
which gets an extra 6 months.
The broad range of brands stocked by Aperture

is displayed in simple lists online.
KEY DETAILS
Address 27 Rathbone Place, London, W1T 1JE

Website apertureuk.com
Contact 020 7436 1015, 27@apertureuk.com
How to buy Shop, phone, email
Warranty 6 months, Leica M 12 months
26/11/2015 12:20
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awkins
ale HHawkins
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sed EEquipment
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U
r
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e
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a
ale@c m
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Pictures are for illustration purposes only. All prices include VAT@ 20%. E. & O.E.
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12/4/15 2:47 PM
COMMENT
timclinchphotography.com
A FORTNIGHT AT F/8
Sometimes, says Tim Clinch, the speed of technology can work
against us, giving us a short time span of interest and a lack of in-depth
understanding. The answer is to slow right down and look harder
78
B+W
1
which,
in case you
didnt know,
stands for
Too Much Information, is often
used as a riposte when somebody
says something slightly yucky or
embarrassing. It is also becoming
a riposte I use more and more
when looking at the internet these
days, particularly while looking at
photography websites.
When I was an assistant all
those years ago, back in the days
when advertising was a creative
profession rather than the bland
and depressing calling it has
become today, I became aware of
a change. There was a trend to
make ads that didnt look like ads
TMI
78-79_FORTNIGHT_185 ER/MB.indd 78
As with all things, once we start to feel comfortable,

thats the time to challenge ourselves,
to set ourselves new goals.
at all. Ads were being given an
editorial feel.
At the same time, there were
magazines being published in
which the use of photography
was startling. The Sunday Times
Magazine, for example, published
weekly, and led by the legendary
picture editor Bruce Bernard was
simply unmissable. Its amazing
use of bold photography and the
commissioning skills of Bernard
formed a lot of my own views
about photography that I still
hold to this day.
At that time, the Sunday

supplements had become
important places for some great
photographers to showcase their
work. Creative art directors and
influential picture editors were
commissioning some wonderful
photographers and letting them
run wild. Over time, I began to
notice a few names cropping up in
the photo credits. Ken Griffiths,
whose remarkable photographs
of Naples made up an entire issue
of the Sunday Times Magazine,
Denis Waugh and Peter Lavery,
and the quiet but powerful

portraits of Rolph Gobits.
n those days there were
never any photo credits on
advertising, so the only way
to find out about who had
taken the pictures in the latest
ad campaigns was to read
the industry bible, Campaign
magazine. Doing this, I found
out that not only had this
quartet been shooting for all the
best magazines, but they had
been shooting some of the most
interesting and influential ads
around as well.
I was desperate to find out
more. By talking to people
assistants, art directors and
26/11/2015 12:23
WHAT TIM
DID THIS
MONTH
Thinking about Waugh, Lavery,

Griffiths and Gobits, and that golden
age of magazine publishing, I have
been buying some vintage magazines
on Ebay. I recently purchased the
Naples special edition of the Sunday
Times Magazine photographed by
Ken Griffiths, for SIX POUNDS! There
is a wealth of stuff out there that can
be got really cheaply. So, not only
can you get to see some really good
photography, but you can also see
just how appalling and embarrassing
mens clothes and hairstyles were
back in the 70s!
Once again, no photographer
to recommend this month, but
two books. Firstly, One Hundred
Photographs by Bruce Bernard
showcases his outstanding eye for
choosing exceptional photographs,
and The Daybooks of Edward Weston.
These wonderful, intimate diaries
showcase Westons struggles to
understand himself, his society
and his photography (and his
womanising!). Reading these two
volumes epitomises exactly what I
mean by slowing down a bit and going
deeper than the internet ever can.
3
All images Tim Clinch
clients, I learnt that they all shot

on 5x4. All, apart from Gobits,
using the beautiful mahogany
and brass Gandolfi cameras made
by three wonderfully eccentric
brothers in a little workshop in
south-east London. And through
the grapevine, I found out that
they all shot on the then almost
impossible to find 200 ASA (now
ISO) Ektachrome sheet film.
I owned a Gandolfi, and loved
it, but always thought that I was
a bit weird as I couldnt afford
the slick (but rather dull) Swiss
made Sinar cameras that all the
studio photographers I assisted
used. These four guys made
78-79_FORTNIGHT_185 ER/MB.indd 79
me feel like part of an exclusive

club. I scoured London for a
few boxes of 200 ASA film and
was overjoyed when I found
some. For me, they were like the
Fantastic Four, all producing
fabulous photography, all similar,
but all different.
Over time I met them all,
and assisted Rolph Gobits for
a while. He was, and remains,
a massive influence on me and
my work and is still producing
amazing pictures. Of the other
three, Ken sadly died last year of
motor neurone disease, far too
young. Lavery and Waugh are
still working away.
The point of this ramble,

apart from bringing their talents
to your attention, is to return
to the beginning of this piece
all about HOW I found out
about them.
The internet was not around
then. There was no Google or
Wikipedia, so I had to work at it
slowly, over time, with a bit of
dedication. I couldnt just press
a button and find out all about
these photographers and their
work instantly.
Please dont think Im
becoming one of those It was
all better in my day bores. Im
not saying that at all. Im merely
79
B+W
The pictures this month are all

portraits taken in the wonderful
Domaine du Pegau winery in
Chteauneuf-du-Pape, France, on
my recent trip there for a new wine
magazine. All shot against a black
velvet background that we lugged
about with us for three weeks.
They are 1: Owner and vigneron
Laurence Feraud 2: Laurences
son Maxime and 3: Winemaker
Jacky Lucas.
suggesting that when it comes

to finding out about people
whose work we admire, that
we all slow down a bit. Work at
it a bit harder. Go a bit deeper
than the few seconds that most
people spend on a website. Our
attention spans are becoming
shorter every time we look at the
screens on our computers. Every
time we Google something.
So, look at books. Go to
exhibitions. Read. Think. Reflect
and give things time.
26/11/2015 12:23
FE AT U R E
All images Stefan Burle
60-SECOND EXPOSURE
Outdoor enthusiast (and electrical engineer) Stefan Burle has a passion
for landscapes, architecture, hiking and technology. Here he talks to Tracy
Hallett about annoying habits, essential characteristics and knee injuries.
I took up photography because

I am an electrical engineer by
trade, so when the first digital
cameras came out I was fascinated
by the technology behind them.
I bought an Olympus C2100-UZ
with my first pay cheque: it had a
2.1Mp sensor and 10:1 zoom lens.
Back then it seemed miraculous.
Gradually I became more
interested in making pictures than
the tools used to create them.
Tell us about your favourite
photographic themes.
As a keen hiker, I really enjoy
being outdoors this has led to a
passion for seascapes, landscapes
and treescapes, which I often
shoot using long exposures. This
technique helps me to work out the

essence of a scene or subject. Im
also drawn to interesting buildings
and architectural details.
Name one item that every
photographer should own.
You cant shoot long exposures
without a tripod, so thats
my must-have item.
Whats the biggest risk you have
taken as a photographer?
I once climbed down a very steep
ravine, despite injuring my knee
a few months earlier.
Do you have a photographic habit
that you wish you could shake?
Having returned from one
photographic trip, I always wait too

long before embarking on the next.
Photography isnt my profession
Im an amateur who enjoys
taking pictures so theres a lot
going on in my life. I have a family
who I want to spend time with and
a house that seems to need
constant repair. Also, at present,
Im not that motivated to take
pictures if I take a break I often
find that the urge comes back.
Who has been the greatest
influence on your photography?
Ive never really studied the
photographic masters of the past,
so its hard to name one person.
However, I do like the work and
approach of Cole Thompson
a modern day photographer

whose compositions are
exceptionally well thought out.
Tell us about a photographic
opportunity you have missed.
I miss quite a few photographic
opportunities, particularly when
Im out and about with my family.
I might see an intriguing subject,
but I know that with my style and
pace it can take an hour or so to
get a single shot, so I usually
drive on.
What has been your most
embarrassing moment
as a photographer?
So far Ive been lucky enough not
to embarrass myself too much.
80
B+W
Embarcadero, San Francisco, California
80-81_SIXTY_SECONDS_185 ER/MB.indd 80
26/11/2015 12:27
81
B+W
Convention Center, San Jose, California
Packard Electrical Engineering Building, Stanford University, California
You need to be patient: when youre shooting seascapes and landscapes

the light, clouds, sky, and even your mood has to be just right.
Tell us your favourite
photographic quote.
A photographer went to a
socialite party in New York. As
he entered the front door, the
host said, I love your pictures
theyre wonderful; you must
have a fantastic camera. He said
nothing until dinner was finished,
then: That was a wonderful
dinner; you must have a terrific
stove. Sam Haskins.
What, in your opinion, is the
greatest photographic discovery
of all time?
Digital cameras might not exist
were it not for the development
of the CMOS sensor, so Ill opt for
that. I would never have got into
photography if it still required using
chemicals, so this leap in technology
80-81_SIXTY_SECONDS_185 ER/MB.indd 81
has had a big impact on me.

What would you say to your
younger self?
Go out and make photographs
and take your time!
Which characteristics do you
need to become a photographer?
You need to be patient: when
youre shooting seascapes
and landscapes the light, clouds,

sky, and even your mood has to
be just right. You also need to be
persistent: on my way to work I
pass the same tree every day, but
it has taken me five years to come
up with a composition of it Im
happy with.
Tell us one thing that most
people dont know about you.
PROFILE
Born and raised in southern Germany, Stefan Burle now
lives in San Jos, California where he shoots seascapes,
landscapes, architecture and nature. Hes a lover of the
great outdoors and enjoys order and simplicity, which
results in beautiful, sometimes abstract, monochrome
studies focusing on light, shapes, surfaces, structures,
patterns and contrast.
To see more of Stefans work visit stefanbaeurle.com.
I have a wild imagination.

What is your dream project?
It would be great to spend two or
three weeks in Alaska just taking
pictures. Its such a fascinating
part of the world, and I would
love to explore it fully. In my head
its still relatively untouched,
but in my heart I know that
simply isnt true.
What single thing would
improve your photography?
Having more time to go out
and make pictures.
If you hadnt become a
photographer, what would
you be doing right now?
Id like to think that I would be
exploring nature in some way.
26/11/2015 12:27
INSPIRATION
SMARTSHOTS
T one
The
on camera you always have with you is on your phone, and we want to see the
pictures you take when the moment is right and you cant resist a shot. We have three
picture
p
Class 10 EVO 32GB MicroSD cards to give away each month. With a grade 1
C
transfer speed of up to 48Mbs, each MicroSD card also comes with an SD adapter
ttransfe
meaning its compatible with both your smartphone and digital camera.
meanin
m
MIKE HILL
82
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JACQUI HAWKING
SANDRA PLEDGER
ED ALDRIDGE
WINNER
PATRICIA A FERREIRA
82-83_SMARTSHOTS_185 ER/MB.indd 82
02/12/2015 11:27
YULIA NAGANOVA WINNER
83
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MIKE HILL
MARK TIPPING
ELISABETH BROCH WINNER
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12/7/15 10:19 AM
TESTS AND
PRODUCTS
BW
LOVES
+
Cool photography gear

in the shops and online
R
RICOH
TTHETA S
MICROSOFT
SURFACE BOOK
Powerful new laptop with high spec display,
making it ideal for editing pictures. The
detachable screen can turn into a tablet.
TBC
microsoft.com
H
Have fun capturing
36
360 degree photos.
S
Shoots stills and
vi
video. Spherical
im
images can be
vi
viewed on PC
or smartphone.
299
theta360.com
85
B+W
SONY A68
Sonys new interchangeable lens camera
features a 24Mp sensor, excellent AF
performance, backlit top display and an ISO
range of 100 to 25600. Also boasts a tiltable
screen and full HD movie mode.
449 (body only)
sony.co.uk
FUJINON XF35MM
F/2 R WR
This lightweight prime lens is weather
and dust-resistant and can work in
temperatures down to -10C.
299
fujifilm.eu
MANFROTTO STREET COLLECTION

Stylish new camera bag collection featuring medium sized
backpack, messenger bag, shoulder bag and holster bag.
Provides space for camera, lens and accessories,
with internal dividers to give maximum protection.
Prices vary
manfrotto.co.uk
85_B+W_LOVES_185 ER/MB.indd 85
ROLLEI PRO DISPLAY

PROTECTION
Ultra thin, scratch-resistant, shatterproof and
shockproof optical glass designed to protect
your camera screen. Suitable for more than 50
camera models by the leading manufacturers.
19.99
rollei.com
CANON EOS M10

Compact system camera loaded with Digic
6 image processor plus 18Mp sensor and
49-point AF system. Features include 3in
touchscreen, Wi-fi connectivity and full
HD movie mode.
309.99 (body only)
canon.co.uk
07/12/2015 12:21
BLACK+ WHITE
PHOTOGRAPHY
Pedro Abascal
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To advertise on these pages 44

please
call Solomon on 01273 402819
Museum Street London WC1A 1LY
or email solomon.smith@thegmcgroup.com Tel: 020 7242 8681
Pre-owned Leica
Medium / Large & Other Format
27 Rathbone Place London W1T 1JE

Tel: 020 7436 1015
www.apertureuk.com
Mint
Exc++
MintExc+
User
Exc+
Exc+
Exc++
3690
1150
3990
890
470
390
490
290
Leica 16-18-21mm f4 Tri-Elmar-M ASPH + hood #4041xxx (boxed;)

Leica 21mm f2.8 Elmarit-M ASPH + hood #3780xxx
Leica 24mm f2.8 Elmarit-M ASPH Silver + hood #3809xxx Uncommon
Leica 28mm f2 Summicron-M ASPH + hood #3922xxx
Leica 28-35-50mm f4 Tri-Elmar-M ASPH + hood 1st Version; #3812xxx
Leica 28-35-50mm f4 Tri-Elmar-M ASPH + hood 2nd Version; #3948xxx
Leica 35mm f1.4 Summilux with Specs (M3 type; steel filter rim) #1730xxx
Leica 35mm f1.4 Summilux-M ASPH + hood #3921xxx
Nikon 3.5cm f1.8 W-Nikkor.C (L39) with M Mount Adapter
Leica 50mm f1 Noctilux-M Built in hood #3737xxx
Leica 50mm f1.4 Summilux-M ASPH 6 bit #4264xxx
Leica 50mm f1.4 Summilux-M + hood #3484xxx
Leica 50mm f2 Summicron-M Built in hood #4171xxx 6-bit coded (boxed)
Leica 50mm f2 Summicron #2608xxx
Leica 75mm f2.5 Summarit-M 6 bit #4240xxx (boxed)
Leica 90mm f2 Summicron-M Pre-ASPH #3595xxx
Leica 90mm f2 Apo-Summicron-M ASPH #3972xxx
Leica 90mm f2.8 Elmarit-M #3860xxx (boxed)
Exc++
Exc+++
MintExc++
Exc++
Exc++
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Exc+
Nr Mint
MintExc+
Mint
MintExc
Nr Mint
Exc++
Exc
Mint-
2650
1590
1790
1690
2090
2690
2290
1790
1190
3490
1990
1150
1090
690
750
790
1590
790
Leica Remote Control R8 (14202)

Leica 50mm f2 Summicron-R + hood 2 Cam #2361xxx
Leica 60mm f2.8 Macro-Elmarit-R 3rd Cam #3390xxx
Leica 90mm f2.8 Elmarit-R 3 Cam #3346xxx
Leica 180mm f3.4 APO-Telyt-R 3 Cam #2749xxx
Angenieux 35-70mm f2.5-3.3 R Mount
Leica R8/R9 Motor Winder (boxed)
MintExc
Exc+
MintUser
Exc++
Mint
40
390
390
420
490
490
150
Leica 55mm Polarising filter

Leica 21-24-28mm Viewfinder
Leica 24mm Viewfinder
Zeiss 25-28mm Metal Viewfinder (boxed)
Leica 3.5cm Metal Bright Line Viewfinder Chrome
Voigtlander 90mm Metal Viewfinder Black
Leica Televid 77 with 32x Eyepiece
Leica Motor M
Leica Ever Ready Case (to fit camera with Leicavit; boxed)
Mint
MintExc+++
Mint
Exc+++
MintExc+++
Mint
Mint-
80
220
170
190
290
90
750
220
90
Voigtlander Bessa-R3M 250 Year Limited Edition (40,50,75,90mm frames)

Voigtlander Bessa-R3A (40,50,75,90mm frame lines)
Voigtlander T-Winder
Voigtlander 50mm f1.1 Nokton VM + hood (boxed)
Voigtlander 50mm f1.5 Nokton L39 + hood chrome
Exc+++
Exc+++
MintExc+++
Exc+++
390
370
70
570
320
Leica M-P (240) Black #4912xxx (Complete; boxed)

Leica M7 0.72 Silver #2850xxx
Leica M6 + 50mm f2 Summicron-M Royal Photographic Society Set
Leica M6 0.58 TTL Silver #2682xxx
Leica M3 #1097xxx
Leica M1 Chrome #980xxx
Leica CL with 40mm f2 Summicron-C
Leica IIIf Red Dial with Delay Action
Schneider 55mm f2.8 LS AF + hood (boxed) ~ for Phase One 645

Fujica 65mm f8 Fujinon-SW + Viewfinder
Fuji GW690 III (90mm f3.5)
Mamiya 150mm f4.5G + hood for Mamiya 6
Mamiya 7 II with 65mm f4L + hood & Polarising filter ZE702
Mamiya 50mm f4.5L + hood + V/finder
Mamiya 65mm f4L + hood
Mamiya 150mm f4.5L + hood
Mamiya Polarising Filter ZE-702
Mamiya 80mm f2.8 AF LS + hood for ( 645 AF-D designed by Schneider)
Rolleiflex 3.5F (75mm Planar)
Rolleiflex 2.8F (80mm Planar)
Rolleiflex 2.8F (80mm Planar) with case, hood & UV filter
Rolleiflex 3.5T (75mm Planar)
1390
Mint
590
Exc
470
User
250
Exc++
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750
Mint
550
Mint
As New 350
70
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850
Exc++
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990
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350
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Linhof Technorama 617S III with 90mm f5.6 Super Angulon XL (Complete)
Linhof Technika IV with Schneider 135mm f5.6 Symmar
Wista Field 45DX Rosewood with Rodenstock 150mm f6.3 Geronar
Ebony SV-45 TE with additional set of wide angle bellows
Schneider 72mm f5.6 Super-Angulon XL (Copal 0) on Linhof board
Schneider 75mm f8 Super-Angulon (Synchro-Compur) on Linhof board
Schneider 90mm f6.8 Super-Angulon (Copal 0) on Linhof sized board
Schneider 180mm f5.6 Symmar-S (Copal 1) on Toyo Board
Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount)
Schneider 210mm f5.6 Symmar-S (Compur 1) Linhof Selected
Rodenstock 240mm f5.6 Apo-Sironar-S
MintExc+
Exc+++
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MintMintMintMintMintMint
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We offer an on-site processing and printing service at Aperture Rathbone Place.

Our C41 colour film processing service for 135 and 120 film with 24 hour turnaround. We also process
black and white film, please refer to our website for prices.
We also accept mail order at the following address, and will return your photographs within 4-5 working
days. Send your film(s) packed securely to the P.O Box below and make sure to include your name; address
and contact details for return postage.
An order form is availible to download from our website on the Film Developing Page.
Postage for Process and Print
1 - 2 rolls.............................................3
3 - 5 rolls.............................................6
6 - 10 rolls...........................................9
11 rolls or more................................Free
Process only
1 - 10 rolls...........................................3
10 - 30 rolls.........................................5
21rolls or more................................Free
Please send your order to:
Aperture Photographic
PO Box 7045
London
W1A 1PB
We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club)
Please send us your order with your payment details or phone us for further details.
Processing Prices (C41 Only) 24~48 hours

35mm develop only
35mm develop + print
35mm develop + print + CD
35mm develop + CD
Extra set of prints (order within 7 days)
Film scan to CD or digital media
5.00
10.00
12.00
8.00
4.00
7.00
120 develop only

120 develop + print
120 develop + print + CD
120 develop + CD
Extra set of prints (order within 7 days)
Film scan to CD or digital media
We also process Black and White Film! Please check our website
or phone us for prices and turn around time
6.00
12.00
15.00
9.00
4.00
7.00
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place
For all Hasselblad
equipment please
contact2016
Camera Cafe located at 44 Museum Street
92 B+W CLASSIFIED
JANUARY
BW_185.indd 92
4490
890
790
1990
690
370
430
270
270
320
1090
Tel: 020 7436 1015

Tel: 020 7242 8681
Email: 27@apertureuk.com
12/2/15 4:57 PM
To advertise on these
pages please call Solomon on 01273 402823
27 Rathbone Place London W1T 1JE
or email
solomon.smith@thegmcgroup.com
Tel: 020
7436 1015
B+W CLASSIFIEDS
www.apertureuk.com
44 Museum Street London WC1A 1LY

Tel: 020 7242 8681
Leica M6 TTL Titanium #2754xxx (boxed) , As New, 1390
Leica 35mm f1.4 Summilux-M ASPH Titanium, As New, 2590 Leica 35mm f2 Summicron-M ASPH Titanium, As new, 1990
Nikon FM3A Silver #286xxx, Mint, 490
Fuji GF670 (80mm f3.5) (boxed), Mint-, 1150

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 cannot 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;
youll 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 e uJANUARY
k . c o m 2016 B+W CLASSIFIED 93
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12/2/15 4:57 PM
01803 852400
B W CLASSIFIEDS
+
PHONE
LINES
OPEN
To advertise on these pages please
call
Solomon
on 01273 402819
MON
-FRI
8am
or email solomon.smith@thegmcgroup.com - 5pm,
SAT 9am - 5pm,
Email - info@mifsuds.com
SUN 10am - 1pm.
www.mifsuds.com
SHOP OPEN
Tel:
U.K. Stock
Only
Mifsuds Photographic Limited

27-29, Bolton Street, Brixham. Devon. TQ5 9BZ.
MON -SAT 9am - 5pm,

SUN 10am - 1pm.
PART-EXCHANGE WELCOME
WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE

FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED
For speediest response please email your equipment details to... info@mifsuds.com
EOS 1DX
Full Frame
Body only 4398
EOS 6D
BG-E13 Grip
139
100-400mm
f4.5/5.6
LII IS USM
1798
EOS 5DsR
Full Frame
Full Frame
Body only 2799
Body only 2949
*Ask about 200 part-ex bonus
EOS 70D APS-C

Body only 699
Plus 18-55 STM 744
Plus 18-135 STM
928
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Full Frame
Body only 1132
Plus 24-105 f3.5/5.6 IS 1498
EOS 5Ds
APS-C
Body only 1199
BG-E16 Grip
198
BG-E14 Grip
125
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LII IS
USM
7399
300mm f2.8
LII IS
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4499
EOS 5D MKIII
APS-C
Body only 589
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400mm f4
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USM
6799
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D7200
D5500
APS-C
Body only 749
Plus 18-105 VR
APS-C
Body only 498
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MBD-15 Grip
200mm f2
AFS G
VRII
3699
897
228
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VRII
3489
Body only 2189

MBD-12 Grip (D810/800/E) 279
D3300
APS-C
Body only 229
589
749
Plus 18-55 VR
400mm f2.8
G E FL
ED VR
8999
328
Full Frame
Body only 1477
Plus 24-120 f4 VR
MBD-16 Grip
549
738
500mm f4
LII IS
USM
6499
*Part-ex bonus is over and above
our normal quote for your gear
D750
D810
Full Frame
Full Frame
224
APS-C
Body only 479
Plus 18-55 STM
Plus 18-135 STM
Full Canon listing on website along with details of current cashback and trade in bonus offers
D4s
2699
BG-E11 Grip
EOS 750D
EOS 760D
Plus 18-135 STM
Full Frame
Body only 2198
Plus 24-105 f4 IS U L
D610
Full Frame
1997
228
24-70mm f2.8
AFS G
ED VR
1849
500mm f4 E
AFS FL
ED VR
7989
Body only 1029

MBD-14 Grip (D610/600)
198
200-500mm f5.6
E AFS
ED VR
1179
600mm f4 E
AFS FL
ED VR
9648
Full Nikon listing on website along with details of FREE grips and trade in bonus offers
Fuji X-T1
Every
photographers
dream
More on website
LATEST
COMPACTS
FROM
ALL IN STOCK AT MIFSUDS
More on website
G3X
G5X
G9X
Never leave home without one of these!
150-600mm f5/6.3 DG
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serious image quality for
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16-300mm f3.5/6.3
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The ideal travel lens

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YOUR B+ W
David Goold
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Here at B+W were looking out for some really stunning single images that just
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BLACK+WHITE PHOTOGRAPHY

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s we start the new year I have been

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This is a portrait shot by Daniel Dytyrch

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Cathedral steps have always been a popular

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A single image to close

Photographers are invited to

Endurance in full sail by Frank Hurley.

continent. However, the ship

POSITIVE ABOUT PINHOLE

Lovers of food photography

Society in London. Newly

From the series 74 by

Brian May with

imitating Victorian paintings,

This picture by Chinese

Nikhil Rasiwasia / 2016 Sony World Photography Awards

Life is a competition by Nikhil Rasiwasia, an entry into

SEEKING THE WORLDS BEST

Photography Awards exhibition

All images Andrea Modica

THE ARTIFICE OF THE IMAGE

ndrea Modica grew up

the trusted vendor ambling through the

in my parents basement and intended to

Opposite Modena, Italy

Opposite Modena, Italy

Pine Plains, New York

an MFA in photography. Working the

night shift in a psychiatric halfway house

readwell is perhaps Modicas most

through Upstate New York. Driving past

The viewer is constantly

Oneonta, New York

and so the series was put to rest. Treadwell

is the name of the small town where

s We Wait, Modicas latest

It was as if he took all the

done before; the images are without titles

Opposite Fountain, Colorado Above Treadwell, New York

Most of my ideas come from the world and

Black & White Photography - January 2016

Black & White Photography - January 2016