Professional Documents
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Black + White Photography - September 2018 UK PDF
Black + White Photography - September 2018 UK PDF
I
recently joined a photography
collective in London and am
CONTACT US
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© Kate Bellis
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© Chris Gatcum
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BLACK+WHITE PHOTOGRAPHY ISSUE 219 SEPTEMBER 2018 NEXT MONTH’S ISSUE IS OUT ON 30 AUGUST
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© Ian Taylor
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© Martin Hudak
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HIGH CONTRAST
Acclaimed photographer Don
McCullin has a retrospective of
his work at Tate Britain in London
from 5 February to 6 May next
year. The exhibition will feature
his photographs from Vietnam,
Northern Ireland and Syria, as well
as rural landscapes in Britain.
IN THE FINALS
Leica has announced the 12 finalists Land of the Giants by Will Burrard-Lucas, who was one of the recipients of the 2017 Sony grants to develop
in the Leica Oskar Barnack Award. his work on the elephants of Tsavo National Park. © Will Burrard-Lucas, United Kingdom, 2018 Sony World Photography Awards
Around 2,500 photographers
from around the world entered the
competition. The overall winner will
TAKING ON THE WORLD
receive €25,000 plus a Leica M-series The 12th edition of the Sony World Photography will receive $25,000. Winning pictures will
camera and lens valued at €10,000. Awards has begun. Photographers are invited be shown at the awards exhibition in London
Pictures by the 12 finalists will be to submit images to one of the four separate and on international tour.
displayed at Neuen Schule für competitions – Professional, Open, Youth Also announced are the recipients of the 2018
Fotografie Berlin from 10 to 31 and Student. The deadlines are 30 November Sony grant. Alys Tomlinson, Luca Locatelli,
October as part of the European (Student), 4 January (Open and Youth) and Tom Oldham and Balazs Gardi each receive
Month of Photography Berlin. 11 January (Professional). The overall winner $7,000 to develop a project over the next year.
BOOK WILL 05
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ROCK YOU
Rock star
Brian May has
launched a new
book of 3D
photography.
The Queen
guitarist is one
of the world’s
foremost
collectors of 3D photography and set
up the London Stereoscopic Company
to restore and republish Victorian 3D
pictures. The company has published
several books on the subject, including
3D diableries and 3D pictures of an
Oxfordshire village.
The latest book is about Victorian
photographer George Washington
Wilson, who became an innovative Marianne, 13 years old. Her grandmother started to do breast ironing to her one month before this image,
stereoscopic photography. Written by pressing the breast with a stick and wooden bowl. East Cameroon, November 2016. © Heba Khamis
by professor Roger Taylor, the book
features more than 80 3D stereo cards
and comes with a complimentary REUTERS GRANT
viewer designed by Brian May. Black & white photographer Heba Khamis photojournalist Yannis Behrakis. Pictures by
George Washington Wilson, Artist and is among eight photojournalists who have the eight recipients will also be distributed
Photographer by Professor Roger Taylor been awarded a grant by Reuters. globally by Reuters. Heba Khamis has
(with an introduction by Brian May) is The Egyptian photographer will receive a documented breast ironing in Cameroon,
published by the London Stereoscopic $5,000 grant to support her work, as well as refugees working as gay prostitutes in
Company, price £30. It’s out now, advice and planning assistance from Reuters Germany and transgender people in Egypt.
see londonstereo.com for details.
NEWS ON SHOW
An exhibition at the Scottish National Portrait Gallery in Edinburgh explores how
transport has become part of our lives. Louise Pearson, curator of photography
at the National Galleries of Scotland, talks to Anna Bonita Evans about the show.
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Man on the Metro, Glasgow by Iain Mackenzie. Collection: National Galleries of Scotland © Iain Mackenzie
This exhibition is made up of 70 prints ‘Photography has developed fabric of our daily lives, from the daily grind
from the National Galleries of Scotland of commuting to holidays away from home.
archive. What made you choose transport alongside transport.’ A number of different frame types are used
as a subject for a major show? to suit the size, style and age of the images,
Photography has developed alongside through which to capture both notable and there is also a custom-made frame
transport – witnessing the Industrial changes to the world around us and the which houses 104 stereographs from the NGS
Revolution, the invention of the motorcar and mundanity of our everyday lives. collection – depicting modes of transport
the birth of air travel within the first hundred ranging from donkeys to zeppelins.
years of its invention. This has created an How are the images displayed – are
exciting dynamic between the two, with they sequenced chronologically While exploring the archive and curating
photographers constantly seeking to capture or thematically? the show, was there a photograph you
transport’s changing technology and social The exhibition is arranged thematically, were particularly drawn to?
and economic impact. beginning with a section that explores the The Forth Bridge has been a constant source
As well as broadening our horizons and extraordinary range of modes of transport of inspiration to photographers, engineers and
radically altering our perception of the in existence – from planes, trains and the many people who cross it every day. Dieter
world, transport is part of our daily lives. automobiles to prams, elephants and Appelt’s 2004 piece Forth Bridge – Cinema.
Photographers are repeatedly drawn to the subways. The next section considers how Metric Space immediately resonated with me.
theme of commuting, fascinated by its ability transport has shaped the world around Consisting of 312 separate silver gelatine prints
to show humanity at its most ordinary. The us, from enabling migration and trade to in eight panels, it offers a lyrical interpretation
great appeal of transport as the subject of a driving industry and making it possible to of an engineering masterpiece that conveys
thematic show is the opportunity it presents photograph the world from above. The final both the strength of the structure and the
to consider photography as a medium section considers transport as part of the rhythm of the movement as you travel across it.
Have you discovered anything about
the photographic medium and its
development during the show’s creation?
It’s been fascinating to see how early aerial
photography compares to the work of aerial
photographers working today. The technology
has changed, but the fascination with the
view from above has remained the same.
You can see this clearly when you consider
Alfred G Buckham’s incredible aerial shots
of Edinburgh from the 1920s alongside the
new acquisition 49 Jets by the American
photographer, architect and pilot Jeffrey
Milstein. Taken nearly 100 years apart, both
images consider aeroplanes in relation to the
earth below, and rely on the technology of
their day to enhance the image to create
a dramatic final composition.
All images
© Felipe Jácome
LORDS
OF THE
MANGROVE
Felipe Jácome’s
photographs document a
little-known community of
shell-pickers who earn a living
digging around the fantastical
root systems of Ecuador’s
mangrove trees. ‘I discovered
something unique,’ he tells
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slow burn for documentary
photographer Felipe Jácome –
a series 10 years in the making, in
which he documents shell-pickers
working in the mangrove forests
of the Cayapas Mataje Ecological Reserve in
north-west Ecuador, his homeland. ‘There
are photographers who can produce a perfect
photo essay in two weeks, but I’m not that
person,’ he says. ‘It takes me a very long time.
I work slowly – sometimes too slowly. I spent
a great deal of time with the shell-pickers
(concheros in Spanish) getting to know them
and their families, watching how they work.
Sometimes I would just hang out with
them and not take any pictures at all.’
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Jácome became familiar with the Cayapas
Mataje Ecological Reserve in the northern
province of Esmeraldas through his work with
the UNHCR (the UN refugee agency)
monitoring the arrival of refugees from the
Colombian conflict. The reserve’s 35,000
hectares of mangrove forest near the
Colombian border had been threatened by
rapid deforestation, so in 1996 the Ecuadorian
government gave the estuary of the Cayapas
Mataje river protected status. It’s located in an
impoverished region, inhabited by about 26
Afro-Ecuadorian communities. ‘I knew there
was a community of shell-pickers living there.
I would see them early every morning,
hopping into boats to go harvest shellfish
among the mangroves. But I had never
explored the forest, until one day I decided
to accompany them and hopped in too.’
Children as young as 10 are expected to help, ‘We are not the owners of move to other parts of the country where they
and even though the community leaders and have family, but others move to the cities by
local authorities encourage the children to the photos; they become themselves. The elders said it would be great if
stay in school, many drop out to become the children could go to school and return to
full-time concheros.’
ours after the people their homes at the end of the day. At least they
offer themselves to us.’ would be well fed – some don’t have the same
ince the series took shape gradually, access to food as they would at home.’
WhiteWall.co.uk
Stores in Berlin / New York / Paris / Zurich
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.
LONDON
BARBICAN ART GALLERY
To 2 September
Dorothea Lange: Politics of Seeing
The first UK retrospective of one of
the most influential photographers
of the 20th century.
To 2 September
Vanessa Winship
The first UK solo exhibition by
the award-winning British
contemporary photographer.
1 Silk Street EC2Y
barbican.org.uk
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© Catwalking
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or 10 years Geoffrey over the years, artists and been hosting a regular artist talk ‘I have an affinity for Petzvals
F
Berliner has created photographers increasingly series developed by programs because they are useful for 19th
captivating tintype visited the facility, which allowed director Leandro Villaro so century photography, but I’ve
portraits of artists many opportunities for Berliner Berliner has been taking been collecting photographic
who have visited the to invite subjects to pose for portraits of each invited artist gear and lenses for over 30 years,’
Penumbra Foundation him. Additionally, he’s invited a even if he’s unfamiliar with their he says. ‘My first love was lenses
in New York City where number of artists he admires to work. ‘The making of a portrait for my Leica M cameras. From
he’s worked as the executive sit for him, including a variety of is an opportunity to get to know there I went into medium format
director. Berliner amassed an painters, writers, poets, dancers, someone on a special level,’ he with Rolleiflex and then on to
impressive collection of portraits, musicians, curators and gallery says. ‘It also introduces me to Graflexes. The Petzvals came
many of which feature some of owners. Berliner’s process also work I otherwise would have not with my interest in the early
the most respected artists in becomes a vehicle to educate been exposed to.’ processes after I had already
contemporary photography. subjects about the technique of ventured into large format.
While it may seem making tintypes. He regularly uring a recent trip to As for imperfect renderings,
logical for a photographer
to make portraits of other
photographers, no one can
dispute we can be among the
most difficult subjects as we
invites his subjects into the
darkroom to witness the tintype
development process so they
can experience the magic first
hand. He also admits he enjoys
D New York City I had
the great pleasure of
visiting the Penumbra
Foundation where I was able to
tour the impressive facility.
I was always interested in lenses
that offered unusual or
unpredictable characteristics.
The first lens I collected like this
was the Leica Thambar, a 1930s
typically dislike sitting in front the process of making a portrait Perhaps the most memorable soft focus lens used for
of the camera. But Berliner has more than the images themselves part of the tour was getting the Hollywood photography.’
skilfully faced this challenge to and adds that one of his favourite chance to visit Berliner’s massive As an artist who makes her
create a stunning ongoing aspects is sharing the final image vintage gear and lens collection own cameras and lenses, it was
body of work. with his subject. that he’s been housing there truly breathtaking to be in the
As Penumbra has grown In recent years Penumbra has for eight years. room where Berliner stores
All images © Geoffrey Berliner / Penumbra Foundation
EXHIBITIONS
USA
BALTIMORE
Baltimore Museum of Art
Until 25 November
Maren Hassinger: The Spirit of Things
artbma.org
BOCA RATON
Boca Raton Museum of Art
Until 21 October
Lisette Model: Photographs from
the Canadian Photography Institute
of the National Gallery
bocamuseum.org
CHICAGO
Art Institute of Chicago
2015, Scott B. Davis Until 28 October
Never a Lovely so Real:
around 2,000 lenses that soft focus era to our current as they are needed for a Photography and Film in Chicago,
1950-1980
represent every optical design period of lenses. ‘Sadly there’s particular job, application or
from the 1839 Achromat and not enough time to use all of format,’ he says. ‘I have lenses
artic.edu 21
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Petzval through the Pictorialist them but I use many primarily that will cover as large and
larger than 20x24 inches. Some CLEVELAND
of my prized lenses are soft Cleveland Museum of Art
Until 7 October
focus lenses such as Pinkham
Danny Lyon: The Destruction of
& Smith, Struss Pictorial, and
Lower Manhattan, 1966-67
Kalosat but also early New York clevelandart.org
City lenses by Henry Fitz,
CC Harrison, Charles Usener,
and Holmes, Booth & Haydens.
FORT WORTH
Amon Carter Museum
I also have a very comprehensive
Until 16 September
Globe collection and many Multitude, Solitude:
stereo pairs. There are too The Photographs of Dave Heath
many to mention. I enjoy cartermuseum.org
understanding the relation
these lenses have to one another HOUSTON
and how their formulas
Catherine Couturier Gallery
influenced photography.’ Until 13 October
Currently, Penumbra Libbie Masterson
Foundation co-founder Eric catherinecouturier.com
Taubman and Berliner are
planning to join forces to write LINCOLN
a book about the development of DeCordova Museum
the photographic lens from its Until 30 September
invention through to 1940. Next Lived Space:
month a selection of Berliner’s Humans and Architecture
work will be exhibited at decordova.org
Kingsborough Community
College in Brooklyn, New York NEW ORLEANS
City. The exhibition will continue A Gallery for Fine Photography
through the month of November. Until 27 September
instagram.com/geoffreyberliner Ben Depp: Bayou’s End
2018, Lisa Elmaleh penumbrafoundation.org agallery.com
Gallery-quality
giclee prints
image © Jo Froehner
from £7 delivered
/À>`iVÕÃÌiÀÃLiiwÌvÀÕÀÜ
Ìi>Li>`i`ÌÃiÀÛVi°9ÕV>
setup and manage your limited edition prints, using Point101’s online tool.
point101.com
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NEWS
ON THE SHELF
companion to the
THE CAMERA:
A exhibition of the
same title, on show
at the J Paul Getty
Museum in Los Angeles from
26 June to 21 October, this
ESSENCE AND
APPARATUS
Victor Burgin
remarkable book goes a long Mack
way to compensate those of us Softback, £17
MEXICO – who are not going to make it
highly regarded writer,
A
BETWEEN LIFE to the exhibition.
Nearly a decade in the photographer and
AND DEATH planning, the exhibition (and philosopher, Victor
Harvey Stein book) brings together the work Burgin has been a
Kerlag of more than 80 photographers, key figure in the development
Hardback, £32 from 1911 to 2011, that have of theory and practice in
I
photography to experiment, 1960s. In this collection of
photographer to shoot a A CENTURY essays, related specifically to the
explore and innovate.
country such as Mexico – OF FASHION Fashion photography has long camera, we discover his thinking
vibrant with colour – in black PHOTOGRAPHY over nearly five decades and
lagged behind other genres in
& white, but Harvey Stein has see how image making and our
Paul Martineau the fine art world, but the J Paul
pulled it off with verve. His 14 understanding of the language
J Paul Getty Museum Getty Museum has dedicated
trips to the country, between of imagery have developed
Hardback, £50 time and resources to acquiring
1993 and 2010, have provided over that period of time. Placed
such work, led by associate
him with enough material to chronologically from 1975 to
curator in the Department of Photographs, Paul Martineau. Icons
illustrate this extraordinary 2017, the essay titles range from
of Style will be regarded in the future as a superb resource for the
society in all its richness and life. Photography, Phantasy, Function
history of fashion and fashion photography – as well as being the
Focusing largely on small
most gorgeous book to browse through. to Shadows, Time and Family 23
towns and villages, with an Pictures, with much in between. B+W
Elizabeth Roberts
emphasis on ritual and festival, A writer of clarity and
Stein’s photographs tell us not intelligence, Burgin is both
I
have long been fascinated by
only about the country, but accessible and complex as he
the dual roles of photographer
about Stein’s feelings towards it. looks at representation, whether
and printer – roles that at
In his introduction he describes on the wall of a gallery, on the
times have seemed highly
how, as a teenager, he imagined printed page, on the street or
unequal, with printers rarely
what Mexico would be like, online, and how this affects the
receiving acknowledgement for
finally making his first trip there way in which we see ourselves
their skills in interpretation. In
in 1993. ‘I have never been and the world around us.
analogue times, this relationship
disappointed,’ he writes, it’s a A fairly dense but fascinating
was key to the success of a print,
vibrant, friendly, emotionally read with few pictures to distract
and bonds were made between
available, and sometimes raw from the meaning behind them.
photographer and printer that
land where a stranger is looked Elizabeth Roberts
lasted for many years.
upon with curiosity and warmth.’
In Analog Culture we are
His pictures reflect his comment.
introduced to the work of
Very far from being a guide to
printing team Gary Schneider
Mexico, this book is a personal
and John Erdman who worked
journey by one photographer
together in New York from ANALOG CULTURE:
who clearly loves the place and PRINTER’S PROOFS
1981 to 2001, printing for some
feels comfortable with it.
of the most famous names in FROM THE SCHNEIDER/
Elizabeth Roberts
photography. Here we learn ERDMAN PHOTOGRAPHY
about their printing methods
LAB, 1981-2001
and their close personal
relationships with their clients, Edited by Jennifer Quick
see examples of their work Yale University Press
and hear first hand how they Harback, £40
approached it.
This book is not only a fascinating insight into the now almost
obsolete world of photographic printing but it also gives us a glimpse
into the New York photographic culture in the late 20th century.
Elizabeth Roberts
F E AT U R E METAMORPHOSIS
Photographing his homeland destroyed by war, Shōmei Tōmatsu presents
a recovering Japan and the upheaval that went with it. A major retrospective
in Spain celebrates his groundbreaking work. Anna Bonita Evans reports.
All images © Shomei Tomatsu – INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film
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Opposite A bottle melted and deformed by atomic bomb heat, radiation, and fire, Nagasaki, 1961.
Above Hibakusha Tsuyo Kataoka, Motoharamachi, Nagasaki, 1961.
uspended and placed centre ‘Photographing his country’s icking up a camera in the shadows
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frame, at first glance it looks
like a hanging piece of meat –
perhaps a scorched pig’s leg.
Giving imagination free reign
it could be a rotting mutated
upheaval, Tōmatsu was more
concerned with interpreting his
surroundings than providing
P of the Second World War,
Tōmatsu started taking pictures
while studying economics at
Aichi University. With his brother’s
encouragement he pursued the art
creature from a science experiment gone a realist depiction.’ and in 1952 had images published in
wrong. Looking closer doesn’t make it any Camera magazine’s monthly photography
clearer; whatever the subject matter is it’s of the late photographer in Barcelona competitions. Photojournalist Ken Domon
unpleasant, strange and lifeless. this summer. recognised Tōmatsu’s talent and a lifelong
Startlingly surreal, A Bottle Melted and Surprisingly, this is the first exhibition in creative collaboration between the two was
Deformed by Atomic Bomb is one of Shōmei Spain of the giant of Japanese photography. born. Photographing up to his death in
Tōmatsu’s most revered photographs. Put together by the Mapfre Foundation in 2012, Tōmatsu documented his country’s
Hugely powerful in context, the Japanese collaboration with the Tokyo Photographic transformation from a broken nation to
photographer captured the deformed object Art Museum, Shōmei Tōmatsu celebrates a global power.
while visiting a museum of remembrance in a visionary whose ever-changing style In less than 30 years Japan went from
Nagasaki 16 years after the atomic bombs paralleled his country’s own metamorphosis. an isolated empire to a country under
were detonated. With loans from the prestigious galleries occupation to a democratised, economically
Obscure and impactful, the picture is a across the world, the display is curated by thriving state that joined the United Nations
metaphor for the cataclysm of war and is as Juan Vicente Aliaga, professor at Universitat in 1956 and hosted the Olympic games
powerful today as it was when it was first Politècnica de València, who traces key in 1964. Rebuilding and redefining itself
taken almost 60 years ago. It’s also one of the events in Japan’s recent history through at such a rapid rate didn’t come without
first images on show in a major retrospective Tōmatsu’s vast oeuvre. trouble: the radical change created tension
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Above Kadena, Okinawa, 1969. Below Yokosuka, Kanagawa, 1966 Opposite Cultivation, Nagoya, 1966.
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and Japan’s identity was divided between he exhibition consists of 180 images psyche remained at the core of his practice,
holding on to an ancient, cultural heritage
while embracing modernity and the West.
Photographing his country’s upheaval,
Tōmatsu was more concerned with
interpreting his surroundings than providing
T spanning Tōmatsu’s 60-year career
and is divided into 11 sections in
chronological order. Starting with
the aftermath of war (1940s to 50s), the
display leads on to a nation of social unrest
it’s interesting to see how Tōmatsu became
focused on the impact his society had on the
land rather than their actions and behaviour.
Another topic of interest is the slight
departure to his usual work in Afghanistan,
a realist depiction. Abandoning pictorialism, and protest (60s and 70s). A clear shift 1963. Sent by Taiyo magazine to photograph
the popular aesthetic before 1945, he in subject matter highlights Tōmatsu’s the day to day life of a then monarchical
responded to his country’s turbulence in changing creative concerns. From the 1980s country, this is a rare glimpse of Tōmatsu
exciting and creative ways with odd camera onwards the photographer largely focused photographing outside his home country.
angles, radical cropping and experiments in on the effect Japan’s reconstruction had on Seeing his work en masse reinforces how
the darkroom. the environment. He links conservation with Shōmei Tōmatsu transformed photography
His visual treatment takes us beyond the ideas he first explored in his 1962 project at in Japan. He was a man who took risks,
limitations of documentary photography to Nagasaki where his photographs of everyday believed in his ideas and stayed receptive to
a place far more real. A compelling record objects take on double-edged meanings. the continual transformation of his home
of the nation’s psyche, Tōmatsu’s approach Among these later series is Asphalt, country. Looking at life and capturing all
to documentary was subjective and which depicts small objects that have its contradictions, Tōmatsu’s photographic
expressive, searching and immediate. fallen on to the pavement pointing towards vision shocks, enthrals and endures.
A major influence on the Provoke our throwaway society. Plastics presents
generation of the 1970s with their rough, where the natural and artificial strangely SHŌMEI TŌMATSU
blurry, out of focus style, Tōmatsu paved the co-exist: we see bottles, clothing and other is on show until 16 September 2018
way for Takuma Nakahira, Yutaka Takanashi man-made items alongside shells and dead at Casa Nogués exhibition hall,
and Daidō Moriyama. animals on the beach. While his nation’s Barcelona; fundacionmapfre.org
F E AT U R E VIEW FROM THE HILL
Working on a collaborative project takes co-operation and a shared vision, and
All images when five artists get together the result could be a fascinating multi-layered
© Kate Bellis
book – which is just what Kate Bellis and her compatriots achieved.
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Above Shearing the tups, Griffe Walk Farm. Opposite top John Bowler milking the Griffe Walk Herd.
Opposite below Ian Swinging a lamb to release fluid from its lungs, watched by his nephew, Josh.
t was in March 2016 that five artists came together to explore economy, the communities that exist in the area, and the features
I
an area in the south-east corner of the White Peak limestone of the hill itself. In the process of this exploration, they say:
plateau. Poet Lucy Peacock, film-maker Gavin Repton, songwriter ‘We descended a 300m shaft on a bit of rope in order to explore
and performer Carol Fieldhouse, sculptor Sally Mathews and Galconda Mine, walked into the bowels of the earth at Gook Luck
photographer Kate Bellis collaborated in their exploration of the Mine, watched explosions at Longcliffe Quarry, chanted at the winter
people, industry and landscape of the area – and produced solstice at the cave at Harborough Rocks, and measured cows.’
a book entitled HILL.
Divided into four parts, HILL looks at the farming families who Here we show a small selection of Bellis’ images from the
earn their living rearing sheep and cattle, the network of disused project. To buy HILL, published by Green Feather Books
mines and quarries which are still an important part of the local at £20, go to hillproject.uk/shop.
ON SHOW
HILL will be on show at the Copeland Gallery in Peckham, London, from 21 February to 3 March, 2019.
See the website for more tour dates and details. hillproject.uk.
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Opposite Kevin Beacham, face excavator driver, Longcliffe Quarry.
Above Arthur Wheeldon Listening to Radio Derby, Moor Cottage Farm, Wirksworth Moor. Below Jim Wain with the bull, Little Broadgate Farm.
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Above Margaret Wain looking out of her back door, Little Broadgate Farm.
36 Below Boys in the Druid’s Chair at Harboro Rocks.
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Professional
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COMMENT
REFLECTIVE PRACTICE
The idea of losing thousands of photographs from your phone could bring
you out in a cold sweat. But when it happened to Vicki Painting
@vickipaintingphoto
she discovered a great weight lifted from her shoulders.
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lowly, the icy feeling travelled pictures had been my safety blanket – gallery setting or we could imagine them
S
up from the soles of my feet and I had been reluctant to delete any, even as stacked into the storage units and boxes which
formed itself into a knot in the this monstrous collection took up ever more were displayed alongside. We viewers were
pit of my stomach. I had lost my storage and the images were rarely viewed. offered the chance to consider a number of
phone, and my most immediate After the initial shock wore off I began to ways these pictures could be sequenced, edited
concern (aside from all the ensuing feel what I can only describe as something like or simply put away out of sight.
inconvenience) was the loss of approximately relief, a new lightness took hold, as if I had just The idea of shedding or casting off by
20,000 photographs that had gathered in the shed a huge weight. This in itself induced a natural process has become pertinent to me
phone over the course of six years. kind of guilt. Surely, I should feel slightly more as a result of this recent loss. In the natural
About 20,000 photographs? How could bereft than this? It has been well documented world shedding means something is cast off
there have been so many? And no, they that for people whose homes have been in a natural process, revealing a new layer
weren’t backed-up. Of course, the answer is destroyed it is often the loss of their personal underneath, often for the cycle to start up all
that it is far too easy to amass such a collection items, and particularly photographs, which over again. The key for me is to try to halt this
and there has been much discussion about they find the most devastating because these process of accumulation. I intend to do this on
why we feel the need to record everything are the things that have meaning. The sheer my new phone by rigorously auditing my
around us as if this is some form of validation. volume that had been weighing heavily on my images – scrutinising, appraising and deleting
Another explanation points to a kind of phone attests to a lack of focus and meaning. redundant shots. This isn’t proving easy but
apathy, a lack of focus. Yet still, I couldn’t get I’m feeling the need to manage with much
over the shock of losing this vast stock with so ayanita Singh’s 2016 exhibition less in all areas of my life, including my
many moments wiped out and gone forever.
The strange thing, however, is that out of
all of these pictures of family, friends and
places visited, and what I thought was vital
information recorded, I can perhaps bring to
D Museum of Shedding at the Frith
Street Gallery in London put
forward the notion of being in a
museum where all the images are packed away.
The 73 photographs could be put on the walls
photographic practice. So far I have noticed
that there are fewer pictures and that these
are quieter and simpler. I can see these new
qualities reflected back at me in a more
pared down aesthetic. Sometimes it can
mind only 20 of these images. I realised the as we might expect to see them in a traditional be good to start from scratch.
All images © Vicki Painting
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Quarry at Fuencaliente de La Palma, Canaries. The seemingly sparse volcanic landscape slowly reveals small details illuminated by the late afternoon sun.
BLACK+ WHITE PHOTOGRAPHY
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B+W
2018
INSPIRATION
STRAIGHT
TALKING
In the first of a new series,
Chris Gatcum questions the
validity of current trends in
photography to favour art over
craft and rules over instinct. Here
he celebrates individuality, creativity
and learning through practice.
have been ‘doing’ photography for a while
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I now and, as I draw close to celebrating my
third decade ‘with camera’, I am, like most
people would be, fairly confident that I know
my aperture from my elbow. I have even written
a few books that I would like to think go some
small way towards proving that. When I was
asked to contribute to B+W it felt as though I
had been invited to move up an echelon. This
is not a magazine with the word ‘amateur’ in
its masthead, or a book with ‘beginner’ in the
title; it is a publication devoted to the oldest
and perhaps purest form of photography, with
contributors who I viewed as gods when I was
learning to print in a darkroom.
Unfortunately, no sooner had I acknowledged
those few facts, self-doubt crept in: was I
worthy of a magazine that is slightly more
highbrow than the populist arena I usually
perform in? The problem is, the Art of
photography (with that capital A) is something
I have happily sidestepped at every opportunity,
and so I don’t consider myself ‘educated’ in
that respect. On my degree course I attended
my contextual studies lectures only when my
absence could no longer be overlooked, and
even when I was there I allowed the background
noise of Kant, Gombrich, Sontag et al, to wash
over me as I planned my next shoot.
Right I photographed these gulls for maybe 15
minutes on and off while they attempted to steal
my chips. Although I had plenty of shots showing
the birds in full, I much prefer this serendipitous
frame where the focus is the eye at the extreme
right edge and the birds are cut off.
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Top Minimalism is not something I’ve studied in a formal sense, but Above The De La Warr Pavilion in Bexhill, East Sussex, is known for its art
simple compositions naturally appeal to me, such as this tiled dome deco styling, but for this shot I turned my lens on the building’s simpler
photographed against a bright, but overcast sky in Eastbourne. A central, front facade. To include both the signage and the roofline meant pushing
symmetrical composition just felt ‘right’ in this instance; an instinctive the minimal detail to the extreme top and bottom edges of the frame,
rather than ‘educated’ decision. leaving a broad central band of...nothing.
At the time, I firmly believed that practising (‘I will place my subject centrally and thumb whether it is something we necessarily need
the craft of photography was the only thing my nose at the rule of thirds, ha!’). to worry about as much as we sometimes do.
that would help me improve, not some My fear is that if I immersed myself in Simply being asked to fill these pages caused
arty-farty discussion on the nature of beauty. deeper art theory I would simply be giving me to have a crisis of confidence because
However, now faced with the unstoppable myself more of these crutches to lean on. Not there’s a void in my knowledge that could be
juggernaut of a magazine deadline l found only would I be expanding the mental filled. But that doesn’t necessarily mean that it
myself questioning whether not being au fait checklist of boxes that could be ticked in needs to be. This might sound like ignorance
with the writings of an 18th-century German order to place an image on the altar of Art, – possibly arrogance – but I think I would
philosopher, or intimate with the number but in doing so I might risk limiting myself in prefer to improve my photography by
sequence attributed to a 12th-century Italian terms of both the photographs I take and the continuing to learn from my mistakes and
mathematician meant that somehow I wasn’t ones that I accept as a viewer; on a conscious finding my own path. Of course, I can’t undo
credible enough to write here. or subconscious level, images would be ‘right’ what I already know, but I can at least control
or they would be ‘wrong’, depending on how the flow of knowledge, and while I might
ut just how much can the philosophies many of these accepted criteria they met. unwittingly find a Fibonacci sequence
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alexismaryonphotography.com
TECHNIQUE
TOP TIPS
SHOOTING MOVING SUBJECTS
From panning and freezing, to intentional camera movement and zooming
your lens, there are more ways to shoot a moving subject than there are
All images © Lee Frost
to skin the proverbial cat. Lee Frost offers his top tips.
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HAVANA, CUBA
Panning is my favourite technique for capturing moving subjects. It’s hit and miss, but the sense of motion it creates is hard to beat.
Canon EOS 5D MkIII with 24-70mm zoom lens, 1/15sec at f/16, ISO 100
lthough we usually turn to fast Once your panning skills improve you FREEZE THE ACTION
CIENFUEGOS, CUBA
This budding basketball star seemed to spend more time in the air than on the ground, so the only way
to capture the moment was by setting a high shutter speed and capturing him in suspended animation.
Canon EOS 5D MkIII with 70-200mm zoom lens, 1/800sec at f/4, ISO 400
Experiment with anything from 1/15sec
down to several seconds in low light.
USE SLOW SYNC FLASH
If you combine a slow shutter speed with
a burst of flash you get frozen and blurred
images of your subject at the same time.
This technique, known as slow-sync flash,
can be used to capture a strong sense of
motion in all manner of low-light moving
subjects, from sporting events to your kids
having fun on fairground rides.
A flash to ambient light ratio of 1:2 or 1:4
tends to be the most effective as you don’t
want the flash to dominate the image.
With a dedicated flash unit, set the power
output to ½ or ¼ or, alternatively, set the
flash exposure compensation on your
DSLR to -1 or -2 to achieve this ratio. Your
camera should also be set to aperture
priority so it selects a shutter speed to
correctly expose the ambient light – any
speed from 1/30sec down to ½sec will
give a good effect, depending on how fast
your subject is moving. Finally, for the best
effect, set your camera/flash to rear curtain
sync or second curtain sync so the flash
fires at the end of the exposure.
ALNWICK, NORTHUMBERLAND
The blurred/sharp effect you get by using
slow-sync flash is ideal for capturing a sense of
motion in close range moving subjects – especially
when ambient light levels are low and you’re
forced to use a slow shutter speed.
Canon EOS 5Ds MkIII with 24-70mm zoom lens,
1/2sec at f/4, ISO 400
MOTION IN
THE LANDSCAPE
Although we think of the landscape as a
static entity, it’s actually full of movement,
such as the swaying of grass or the rustle
of trees in the breeze. So why not slow
the shutter speed down and make that
movement an integral part of your images
instead of freezing it? Mount your camera on
a tripod and experiment with different shutter
speeds. If a strong wind is blowing you may
only need ½-1 second to record lots of blur,
but in a gentle breeze you may need to keep
the shutter open for 20 seconds or more.
TORRIDON, SCOTLAND
This shot was taken on a very windy day. After
numerous failed attempts to freeze the blowing
trees, I decided to do the opposite and emphasise
their movement with a long exposure.
Canon EOS 1Ds MkIII with 70-200mm zoom lens,
10secs at f/32, ISO 50
days is using neutral density filters – such
as the Lee Filter ProGlass IR ND10 or
Hitech Pro Stop ND10 – to slow exposures
right down to several minutes in broad
daylight and record the passing of time.
Drifting clouds turn into streaks of tone
rushing across the sky, water loses its
surface texture and smooths out, while
stationary elements stand out in stark
3D. Coastal scenes work particularly
well because you have two ever-moving
elements in the sea and sky to contrast with
static features such as piers and jetties. The
effect can look amazing.
These filters are so dense that you can’t
actually see through them – though live
view in the latest DSLRs usually can. You’ll
need to mount your camera on a tripod
to keep it steady, use the bulb setting so
you can lock the shutter open for as long
as necessary, and focus the lens manually
GULLFOSS, ICELAND before fitting the filter. To calculate the
I experimented with different shutter speeds when taking this shot, and decided the most effective exposure, take a meter reading without the
one was 1/2sec as it recorded motion in the water without it being a mass of textureless white. ND on the lens them multiply it by 1000
Canon EOS 5D MkIII with 70-200mm zoom lens, 1/2sec at f/22, ISO 100 (for a 10-stop ND) – 1/30sec becomes
33 seconds, 1/15sec becomes a minute,
MOVING WATER If you want that gaseous milky effect 1/8sec becomes two minutes, and so on.
Water is one of the most common moving that so many love, you need to slow the You can also download an app such as the
subjects, simply because it’s all around speed right down. For gentle waterfalls Lee Stopper to your smartphone and use
us in so many forms – rivers, streams, where the volume of water is modest, try a that to calculate correct exposure.
waterfalls, the sea, fountains, and falling shutter speed of 1-10 seconds. For bigger
54
rain. The effect you get is all down to how waterfalls or any waterfall after heavy rain, ZOOM YOUR LENS
fast the water is flowing and the shutter 1/2-2 seconds should do the trick. The key Another great way to introduce a sense
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speed you use to shoot it. If you want to is to keep slowing the shutter speed down of motion into your images – even if the
record a sense of natural motion, where until areas of the waterfall start to blow out subject isn’t actually moving – is to use the
there’s some blurring in the water but you (overexpose). Once that starts to happen zooming technique. All you do is set your
can still detect plenty of texture, you won’t you know you’ve gone as slow as you can. camera to a slow shutter speed – anything
need to keep the shutter open for very long from 1/15sec or slower – then as you trip
– for a waterfall maybe 1/15 or 1/8sec, EXTREME ND FILTER the shutter, zoom the lens through its focal
for a river or the sea 1/4-1/2sec. One of the most popular techniques these length range from one end to the other. This
turns your subject into a series of streaks
exploding out from the centre of the frame,
and the effect looks stunning.
You need to zoom the lens smoothly
and evenly through the exposure so the
zoom-burst effect is also smooth and even,
rather than jerky. It’s a good idea to have
a few practise runs, to gauge how fast or
slow you need to zoom the lens so you
don’t reach the end of the focal length
range before the shutter closes to end the
exposure. Then it’s a case of experimenting
until you get a shot you’re happy with.
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MERZOUGA, MOROCCO
These dancers moved quickly around the room at various stages during their routine, so with my
camera on a tripod, I used a slow shutter speed to record them as ghost-like figures.
Canon EOS 5D MkIII with 16-35mm zoom lens, 1.3secs at f/10, ISO 100
timdaly.com All images ©Tim Daly
TECHNIQUE
PROJECTS
GRIT AND GRAIN
If you’re not inspired by the clean, sleek lines of digital photography
IN VISUAL
why not consider the punk aesthetic of grain? Tim Daly turns up
STYLE 14
the ISO and shows you how to get messy.
rain is a wonderful, creative element that’s Photographers like William Klein and Daidō Moriyama used
G
sadly been overlooked in today’s largely digital grain to create an edgy, punk aesthetic that went against the cool,
era, yet for many photographers in the recent detached European style so dominant from the 1960s onwards.
past it was part and parcel of their creative The creative control of grain in the analogue world of shooting
or signature look. film and darkroom printing is still possible to do with the minimum
While most digital tools have been developed of kit. For DSLR users, there are some very convincing software
to minimise noise, it’s rare that we encounter images that tools that do a good job too.
have been broken up into visible dots or grain. Like a pointillist For this project we’ll be exploring different ways of creating
painting, grainy photographs do seem to belong to a different era, and enhancing grain in your black & white images using both
but their creative potential is massively overlooked today. analogue and digital techniques.
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1 2
INSPIRATIONAL QUOTE
‘The kinetic quality of New York, the kids, dirt, madness – I tried to find a photographic style that would come close to it.
I’d crop, blur, play with the negatives. I could imagine my pictures lying in the gutter like the New York Daily News.’
William Klein
3
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3 TRY A SPECIAL FILM
For those photographers interested in trying something new, this Rollei Infrared 400. Used together with a deep red filter (or black for true
project is the perfect time to experiment with a different type of film. infrared recording), infrared film can create wonderful ethereal effects,
Although the famous Kodak infrared film is no longer available, there as this example shows. Look out for bright patches of sunlight that can
are other infrared style films that you can try, including Ilford SFX and actually overspill into adjacent shapes, causing creative burn or flare.
4 5
1
2
1 FAST FILM
There are many different types of black & white film you can use to 2 PUSH-PROCESSING
create enhanced grain and print effects. Best of all, these are easy to Conventional film can be rated at a different ISO than
process at home with a basic developing tank, as shown. Fast speed recommended in order to gain extra sensitivity. Pushing film
black & white film produces coarse, grainy photographic prints. Grain is involves increasing the ISO speed of a film (for example from 400
caused by the crystals of light-sensitive silver becoming visible when to 1600), which is then compensated by an extended development
enlarged in the print. Fast film is designed to be exposed on low light time. Pushing film is a good alternative to using flash and essential
conditions and is still available to buy nowadays – look out for Ilford Delta when a subject is too far away to be lit with artificial light anyway.
ISO 3200 or Kodak Tri-X Pan. At ISO 400, Tri-X is a versatile film much Sports photographers frequently pushed film when light levels
used by press and sports photographers for capturing moving subjects, are low, but as an effect it must be applied to an entire roll of film.
but it can be used for its atmospheric qualities too. If you don’t want to Pushing increases the amount of visible grain and will also increase
try home processing you can also have Tri-X and most other black & film contrast. How long you extend the development time is
white film developed by a specialist mail order lab such as Harman Lab. determined by the type of film and developer you use.
58 3 WARM DEVELOPMENT
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For a really experimental effect, try developing your film in a warmer than usual developer solution. Instead of processing
at the usual 20 degrees, increase the temperature of the developer and water mix, while reducing your development
time to compensate. Most black & white film developers will have instructions on how to modify development time in
relation to temperature. The quicker and warmer your development, the bigger the grain will become. However, avoid
times under three minutes as the developer solution won’t have enough time to cover the entire film evenly.
3
SECTION 3: USING DIGITAL TOOLS
Digital sensors create noise rather than grain but there are plenty
of ways to enhance the grittiness of your file with software trickery.
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any of my favourite possessions are made of wood. I can identify most of our major native species: ash, oak, beech,
badge and realised she thought I was one of their group. We got might differ, to share my images and the idea for my project – and to
chatting about photography and soon her very friendly fellow Meetup exchange feedback. The group was made up of an extraordinary mix
friends joined us. It now seems I am one of their group and a date is of nationalities, whose cultural differences will doubtless affect their
being fixed to get together. Would I show them how to make photo way of seeing (how does my Englishness affect mine?). Their images
books, they wondered? Well, that was an unexpected start to my tree will likely be as diverse and individual as the trees on the heath and
project! What next, I wonder? I am looking forward to getting to know both.
I’m curious to see the group’s pergola photographs and how they envisagebooks.com
B+W APP
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SUBSCRIBE TO OUR DIGITAL EDITION
WAV PCM
WHAT TIM
DID THIS
MONTH
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closely with the digital team and when
the GFX was announced, there was an
opportunity to apply for the role as
Technical Product Specialist. I started
just over a year ago and the role is quite
varied, from offering technical support to
X photographers and end users, training
my colleagues on new products, working
on workshops to demonstrate the GFX
and Pro products to universities and
B2B customers.
PROFILE
Kent-based Nathan Wake is a fine art
landscape photographer and Technical
Product Specialist for Fujifilm. He hosts
workshops and courses with Light and
Land and is a member of both the Society
of Wedding and Portrait Photographers
(SWPP) and the Society of International
Nature and Wildlife Photographers (SINWP).
pixelrights.com/nathan-wake
TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
There are plenty of stories out there of photographers who have had their
timclinchphotography.com pictures used without permission. But just occasionally those stories have
@clinchpics | clinchpics
a happy ending. Tim Clinch shares what happened to him.
h the perils and woes of the
THE PICTURES
This month’s pictures are all from the
commission I have been talking about.
Because the pictures are to be used on
social media I was able to shoot the whole
thing on my phone (an iPhone 8 Plus)
and during the shoot I became aware of
something to be very careful about.
I love the portrait mode on my iPhone,
but shooting any form of glass with it
switched on can cause massive problems.
It is very clever indeed, but because the
shallow depth of field look (I can’t stand
the word bokeh) is created digitally, rather
than with a lens and an f-stop, it often
cannot cope with glass – which sometimes
simply disappears. You have been warned.
SMARTSHOTS
The one camera you always have with you is on your phone, and we want to
see the pictures you take when the moment is right. We have three Class 10
32GB Micro SDHC EVO Plus cards to give away each month. With a transfer
speed of 95Mb/s, each MicroSD card also comes with an SD adapter – meaning
it’s compatible with both your smartphone and digital camera.
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© ROBERT DONALDSON
© NEIL JOHANSSON
www.samsung.com/memorycard
YOUR B+W SALON
In our search for some of the best work by black & white aficionados,
All images we discovered Ashley Good working in the subdued light of
© Ashley Good
a museum among the bones of animals from long ago…
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‘Osseous is an ongoing project exploring the skeletons, skulls and bones that form part of the collection
at the Oxford University Museum of Natural History. These stark, almost bleached forms are shot on
Polaroid Originals B&W 600, a high contrast black & white instant film. The deep blacks and crisp
whites highlight the contrast between the subjects and the background. The frames of each Polaroid
are removed, revealing the skeletal structure of the image itself, thematically linking the image
and the medium. Excess negative is displayed, lending the images a decayed, distressed feel.’
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...and PRINTS
What is supplied
Ɣ Matched to the original artwork
Ɣ Printed on Silk 300gsm card
Ɣ Artist’s name, details printed on reverse
Ɣ Supplied creased, with matching white envelope and cello bag
Set of prints per 35mm 120 4”x5” 5”x5” or 5”x7” 6”x6” or 6”x8”
6”x4” +£7.15 6x45 +£7.00 +£13.25 +£15.25
5”x71/2” +£11.85 6x6 n/a +£7.50 +£12.45
6”x9” +£15.00 6x7 +£5.65 +£10.00 +£14.65
FREEPOST, The Darkroom UK Ltd, 15 Berkeley Mews, High Street, Cheltenham GL50 1DY Tel. 01242 239031
www.the-darkroom.co.uk Prices shown are postal only and include Vat at 20%. Payment online or cheque with order.
TESTS AND
PRODUCTS
CHECKOUT
Tablets have become a useful tool in the photographer’s kit bag as they
double up as a portfolio, studio tool, photo editor and storage device.
Daniel Calder rounds up six of the best.
IPAD PRO (10.5IN)
The Pinnacle
If the new iPad is the definitive something tactile, fluent and
tablet, then the iPad Pro is more precise. Although the
the pinnacle. It offers greater new iPad shares this facility,
processing power, a better it’s not to the same standard.
display and extra storage, while The iPad Pro offers a faster
matching the smaller model for refresh rate, meaning there’s
weight and battery life. The only less lag between touching the
problem is it costs £300 more. screen and making a mark.
The A10X chip provides The 10.5in Retina screen also
impressive processing speed, offers a 20% larger display
especially when dealing with an anti-reflective coating,
with graphic rendering. This a wider colour gamut and
couples nicely with the Apple TrueTone technology to adapt
Pencil, which transforms the screen’s output to the
complex image editing into surrounding light. In addition,
a Smart connector allows the
NEW IPAD (9.7IN) LIKES attachment of a keyboard,
Impressive processing power so you don’t have to rely
The Benchmark Supports the Apple Pencil on Bluetooth.
80 The new iPad (2018) is the editing, writing and sketching. Large storage capacity The increased storage
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definitive tablet. It sports Apple’s But you’ll have to pay £89 to capacity is welcome, but the
9.7in Retina display and plays get hold of it, and more again DISLIKES price rises considerably. The
host to more than 1.3 million if you want a keyboard or case. Very expensive 256Gb model costs £769,
apps built specifically for the Another issue for some Lack of ports while the 512Gb model is £969.
iOS operating system. It works photographers will be the
intuitively and is a pleasure to lightning port and the limited
use. It’s also now the cheapest storage, which may require
iPad in the current range. an alteration in workflow
Although it shares much to a cloud-based system.
of the same design and Alternatively, you’ll have to buy
technology found in the 2017 a variety of dongles to shunt
model, the new iPad includes images between devices.
some important enhancements.
Firstly, the A10 Fusion chip LIKES
improves processing speed, Over 10 hours of battery life
making light work of demanding Supports the Apple Pencil
apps such as Lightroom CC, Excellent value
Affinity Photo, Snapseed and
Polarr. Secondly, the new iPad DISLIKES
is compatible with the Apple Limited to 128Gb storage
Pencil — a pressure sensitive The Pencil, keyboard and
stylus used for precise image case all cost extra
BLACK+WHITE
LOUPEDECK +
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New enhanced version of the photo editing
console for Lightroom that uses buttons, dials
and scrolling wheels instead of a mouse. The
console connects to PCs and Macs via USB.
£199 loupedeck.com
LOVES CANON EF
70-200MM LENSES
Canon has announced upgrades to two
of its most popular L-series lenses. The EF
70-200mm f/4L IS II USM has a maximum
NEW PHOTOGRAPHY aperture of f/4 and offers a 5-stop image
stabiliser. The EF 70-200mm f/2.8L IS III USM
GEAR IN THE SHOPS (pictured) has a maximum aperture of f/2.8
and a 3.5-stop image stabiliser.
AND ONLINE EF 7-200mm f/4L IS II USM – £1,299.99
EF 70-200mm f/2.8L IS III USM – £2,149.99
canon.co.uk
LEICA C-LUX
New compact camera loaded with a 20Mp
sensor and 15x zoom. It boasts a 3in
touchscreen display and offers continuous
shooting at up to 10fps.
£875 leica-camera.com
HOW TO GET PUBLISHED IN
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CONTACT US
© Neil Massey
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Leica 50mm f2 Summicron-M Built in hood Exc++ £1050
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 50mm f2 Summicron-M Built in hood Exc £950 We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 50mm f2 Summicron-M Silver Built in hood (boxed) Mint £1250 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.
Leica 90mm f2 Summicron-M Heavy paint wear but excellent optics User £490
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 90mm f2.8 Elmarit-M Built in hood with Pouch #3780xxx Mint £790 Aperture 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 90mm f4 Elmar-C + hood Mint £270 PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica 135mm f3.4 Apo-Telyt-M #3842xxx (boxed) User £1390 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 13.5cm f4.5 Hektor Black Paint Hazy Optics but usable User £90
Processing Prices (C41 Colour Negative Film)
Leica 50mm f1.4 Summilux-R 3rd Cam Heavy Paint wear ; excellent optics
Use £750
35mm develop only £6.00
Leica 80-200mm f4 Vario-Elmar-R ROM Mint- £890 35mm develop + print £12.00
Leica SF-26 Flash (boxed) Mint £230 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica SF-40 Flash (boxed) Exc++ £230
Leica M10 Half Case Black (boxed) As new £150 120 develop only £7.00
120 develop + print £15.00
Leica M8/M9 Hand Grip Steel Grey Exc+ £50 120 develop + print + scan £17.00
Leica Handgrip M for M240 (boxed) Exc+++ £120 120 develop + scan £11.00
Leica EVF-2 Electronic Finder (M240) Mint £190 Extra set of prints (order within 7 days) £5.00
Olympus VF-2 Electronic Finder (M240) Mint- £120 Negative scan to CD or digital media (Per roll) £8.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Exc+++ £70 Xpan develop + scan £18
Leica 13.5cm Metal Viewfinder Chrome Mint- £80 Xpan develop + scan + print (5” x 13.5”) £24
Leica Lens Hood for 50mm f1.4 Summilux-SL ASPH Mint- £70 We also process Black and White Film!
Voigtlander 25mm f4 Snapshot-Skopar Silver L39 Exc+++ £220 Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are£550
located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY Tel: 020 7242 8681 www. cameramuseum.uk
27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
Tel: 020 7436 1015 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681
Cambo Wide 650 with Schneider 65mm f5.6 + (Wide 900) Schneider 90mm f8 Exc+++ £1690
Nikon F2S Black with MD-2 + MB-1 + MK-1 Rather beautiful £590
Rolleiflex 2.8GX Expression 94 (boxed with soft case & rubber lens hood) Mint- £2290
Horseman SW617 Professional + 72mm f5.6 Super-Angulon XL with V/finder & Centre filter (boxed) Mint- £2990
Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
Please contact us on 0207 436 1015 or 27@apertureuk.com
To advertise on these pages please call the Photography team
B W CLASSIFIEDS
+ on 01273 402823 or email advertising@thegmcgroup.com
Adrian Ensor
MASTER PRINTER
B+W
BLACK+ WHITE
PHOTOGRAPHY
Order yours online or by phone.
bwphotomag
VISIT WWW.THEGMCGROUP.COM Find us on Instagram
CALL +44 (0) 1273 488005 COOL, CREATIVE AND CONTEMPORARY
96
B+W
This month’s winner is Martin Hudak who wins a 20x24in print dry-mounted on to Foamex,
an exceptional quality and highly rigid foamboard. Martin can choose from a range
of four digital C-type and seven fine art inkjet papers for printing.
HOW TO ENTER
Go to our website: blackandwhitephotographymag.co.uk
to submit your images or send them on a CD to: B+W Photography, Find out more at
Last Frame, GMC Publications Ltd, 86 High Street, Lewes BN7 1XN www.theprintspace.co.uk
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