COOL, CREATIVE AND CONTEMPORARY

Photography and videography can change us.

They change the way we feel.
Our understanding.

They change our hearts and minds.

They change the rules.

Testing the limits of our comfort zones.

Changing the way others see the world.
See themselves.

Together let’s change the way we do things.

Change the narrative.
Change the bigger picture.
Open up opportunity.
Give more people a voice.
Put camera kit in more hands.
Create a more sustainable future.
A future with more people included in it.
Here’s to the stories to come.

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BLACK + WHITE THE MAGIC OF PRINT
PHOTOGRAPHY
W
hile photobooks and galleries offer excellent ways to see
and enjoy great photography, another important area for
EDITORIAL the presentation of brilliant work is magazines.
Mark Bentley In the first decades of the 20th century, magazines such
email: markbe@thegmcgroup.com
as Berliner Illustrirte Zeitung in Germany and Vu in France led the way
Scott Teagle in showing photographs. Vu, which ran from 1928 to 1940, attracted some
email: scottt@thegmcgroup.com
of the very best photographers in Europe, including Brassaï,
Designer Toby Haigh Henri Cartier-Bresson, Robert Capa and André Kertész.
ADVERTISING As technology improved and the excitement about magazine
email: gmcadvertising@thegmcgroup.com photography spread, more magazines sprung up. In the US, Life
tel: 01273 402855 magazine had been running as a general title since 1883 but in 1936 it
PUBLISHING relaunched as a photography news magazine and became a huge seller.
Publisher Jonathan Grogan Among the many outstanding photographers featured were Harry
Benson, Margaret Bourke-White, Gordon Parks and W Eugene Smith.
MARKETING
Indeed, the legendary Family of Man exhibition curated by Edward
Digital Marketing Sophie Medland
Marketing Executive Anne Guillot Steichen included more than 100 pictures from the Life archives.
email: anneg@thegmcgroup.com In the UK, Picture Post was first published in 1938. One of its founders
was photographer Kurt Hübschmann, who left Germany in the 1930s
PRODUCTION
Production Manager Jim Bulley and is now better known as Kurt Hutton. He was joined by other
Origination and ad design GMC Repro talented photographers, including Bert Hardy, Thurston Hopkins
Printer Buxton Press Ltd and Grace Robertson – and you can read more about the fascinating
Distribution Seymour Distribution Ltd story of Picture Post on page 32.
SUBSCRIPTIONS In the post-war years, titles such as Vogue, National Geographic
tel: 01273 488005 and the Sunday Times Magazine (to name just a few) have all published
email: pubs@thegmcgroup.com outstanding pictures that have become key works in the history of
photography. Today we can also see a vast number of pictures online,
01
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Save 10% with 6 issues of magazines, the high quality of design and production, means they are
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Save 20% with 24 issues still a wonderful way to enjoy photography.
Plus UK subscribers can save an extra Enjoy the issue.
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Cheques should be made payable to GMC Mark Bentley
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ON THE COVER
outside the UK and Eire. Picture by Jason Davis.
© Guild of Master Craftsman Publications Ltd. 2021 See some of the best new B&W landscapes on page 42.
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 © Hana Gamal
08
© Neil Burnell
42
02
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BLACK+WHITE PHOTOGRAPHY ISSUE 259 CONTENTS
FEATURES
08 THE LIVES OF OTHERS
Donatella Montrone describes
Hana Gamal’s latest series as
a journey into her soul
24 TIME AND TIDE
Patience and perfectionism
combine in David Magee’s
minimalist fine art seascapes
32 EVERY PICTURE
TELLS A STORY
Picture Stories is a new
documentary that explores Picture
Post magazine’s iconic history
38 60-SECOND EXPOSURE
Artist Diana Nicholette Jeon talks
about the interaction of concept,
content and media
42 LANDSCAPE
PHOTOGRAPHER
OF THE YEAR 2021
We present the best black & white
entries from this year’s
big landscape competition
© Kurt Hutton/Picture Post/Hulton Archive/Getty Images
32
© Paddy Summerfield
06
NEWS 20 IN THE FRAME
04 NEWSROOM The best photo exhibitions
The latest competition results, around the UK
books and exhibitions from the
world of B&W photography COMMENT
22 AMERICAN CONNECTION
06 BOOKSHELF Richard Sharum documents Cuba’s
Paddy Summerfield’s new tome rural farming community – the
is an unflinching depiction of country’s beating heart
struggle and redemption
66 A FORTNIGHT AT F/8
18 ON SHOW Tim Clinch puts his professional
This year’s Taylor Wessing pride to one side and adopts
Photographic Portrait Prize shortlist a more personal approach
 © Andrés Pantoja © Antje Findeisen

48 74

© Lee Frost

56

© Karol Srnec

78

03
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FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 90 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK

TECHNIQUE A lens flare app saves the day for TESTS & PRODUCTS 74 SMARTSHOTS
56 TOP TIPS Tim Clinch, as he struggles with 84 B+W LOVES A stunning showcase of your
Lee Frost wraps up warm and the high quality of new lenses The Sony A7 IV grabs the headlines best black & white images
heads off in search of winter in this month’s gear releases
landscapes with a stark simplicity INSPIRATION 78 SALON
48 TRY… 86 CHECKOUT Discover Karol Srnec’s charismatic
62 BEYOND THE Constanza Isaza Martínez A round-up of the best 50mm portraits of local and exotic bird life
RULE OF THIRDS introduces us to the beginner- prime lenses for your money
Tim Daly explores the many friendly world of the cyanotype 90 HOW TO GET PUBLISHED
NEW and varied compositional YOUR BLACK+WHITE We want to see your work
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 © Ray Jennings/The 12th Epson International Pano Awards

NEWSROOM
Edited by
Kingsley Singleton

PORTRAIT GIFT
The University of Oxford’s Bodleian
Libraries has restated its commitment
to photography with the appointment
of a Curator of Photography and the
donation of a landmark collection.
The post will care for and develop the WONDERFULLY WIDE
libraries’ photography collections, Each year, the Epson International Pano Awards awards and open to amateurs and pros alike, prizes
and has been created thanks to a celebrates the best in wide-format photography. included thousands of pounds in cash as well as
£2 million endowment from the Founded in 2009 by Australian landscape Epson printers and projectors.
Bern Schwartz Family Foundation. photographer David Evans, this year, the Monochrome work was well represented in the
The foundation has also donated its competition received 5,378 entries from 1,245 contest and you can see all the winners and highly
photographic archive. professional and amateur photographers across commended images at thepanoawards.com. In fact,
Though working primarily 97 countries. one of this year’s special prizes, The Nikon Australia
in colour, American portrait Broadly split into nature, landscapes and built Award, was won by this striking image from Ray
photographer Bern Schwartz’s environment categories, but also including special Jennings, shot at Walcha, New South Wales.
relaxed, informal style has something
to offer any exponent of social
portraiture. Working in the 1970s,
04 he shot famous sitters from around
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the world, including artists, writers,
politicians and royalty, before his
untimely death. The collection
includes around 50,000 pictures, some
existing only as negatives, along with
copious diaries and notes.
Find out more at bodleian.ox.ac.uk.

FOUNDLING PHOTOS
In a landmark project, the
Foundling Museum, Bloomsbury,
has commissioned portraits to
commemorate children given into
care. Five photographers have each
created a portrait of a former pupil of
the Foundling Hospital, which took in
more than 25,000 children between
1741 and 1954. It was the UK’s first
children’s charity and continues
today as Coram. The artists include
Jillian Edelstein, Mahtab Hussain,
David Moore, Ingrid Pollard and
© Kikuji Kawada
Wolfgang Tillmans. These images will
hang together with paintings of the DARK BEAUTY
hospital’s governors and benefactors, In 1965, on the 20th anniversary of the This new edition from Mack is a facsimile of the
giving care-experienced children destruction of Hiroshima, Japanese photographer priceless original maquette, now in the New York
visibility and voice. Accompanying Kikuji Kawada produced Chizu, translating as Public Library, and is published in collaboration
the project is a documentary film, ‘The Map’. It’s a photobook of high-contrast with them. It comprises two volumes set in a
The Sitting, directed by Gilly Booth. monochrome images that captures the damage hardback slipcase, with accompanying booklet
Visit foundlingmuseum.org.uk and horror, both physical and psychological, and extended interview with the artist, and runs
for details. of post-war Japan, as well as its complicated to 272 pages, many in gatefold format.
relationship with the US during reconstruction. It’s available now at £100 from mackbooks.co.uk.
Collage of Lady Sitwell by Cecil Beaton

CELEBRATED SALE
Shedding rare light on early
20th-century portraiture,
a collection of antique
prints from revered British
photographers, including Sir
Cecil Beaton, has gone on
sale at Dreweatts auctioneers
(dreweatts.com). The collection,
owned by the famous Sitwell
family and featuring a host
of luminaries from the time,
included portraits of artist
Pavel Tchelitchew, musician
Violet Gordon-Woodhouse,
pianist Frederick Dawson and
05
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numerous members of the
family, including a Beaton
print of Edith Sitwell, the
original of which is in the
V&A’s permanent collection.
© Aliki Braine
Among other objects showing
the family’s artistic leanings EXAMINING THE ISLAND
are three framed photographs As part of London Art Fair 2022, Photo50: No Place the medium with sculpture, performance,
of Georgia Sitwell by Hay is an Island sees photographic artists responding movies and sound. Included among the 14 artists
Wrightson, Maurice Beck and to the fantasy of isolation, both geographically featured is Aliki Braine with her work Where Two
Helen Macgregor, who worked and in terms of photographic possibilities and Seas Meet, made at Skagen, Denmark, in 2018,
as chief photographers for connectivity. The exhibition, at the Business Design a northern coastal town famed for its sandbar
British Vogue magazine. Centre in Islington, runs from 19-23 January, headland where the North and Baltic seas collide,
with a preview on 18 January. and wherein negatives are folded along the line
Installations will showcase photography as where the waters mix.
part of a wider sphere of art and cultures, mixing Find out more at londonartfair.co.uk.

DXO’S DIGITAL TIME MACHINE

Dame Sitwell by Cecil Beaton
DxO has released FilmPack 6, offering
monochrome fans the chance to quickly and
easily apply classic black & white film effects to
their digital images, and a whole lot more besides.
The new version, which comes in Elite (£129) and
Essential (£75) versions, offers up to 38 mono
renderings. Among them are Impossible PX 600
Silver Shade, 20 new effects, including ‘drops’ and
‘crumpled paper’ designed to give photos a vintage developed in collaboration with the Friends of the
look, 15 new light-leak effects, 15 new frames, French Museum of Photography. This interactive
and comprehensive eight-channel HSL settings mode helps users process their images based on
for fully customisable toning. There’s also a new 14 different periods.
mode called Time Machine, which has been Try FilmPack 6 for free at dxo.com.
 NEWS BOOKSHELF
Described by Alex Schneideman as an autobiography written in photography,
All images Paddy Summerfield’s latest book is an unapologetically visceral
© Paddy Summerfield
depiction of his inner struggle and eventual redemption.
ome Movie is the fifth
H book in a cycle of works
published by Dewi Lewis
starting with Mother
and Father (2014), in which
Paddy Summerfield examined his
relationship with his parents. In
2016 Oxford Pictures described
his younger self’s loneliness
and sexual dislocation in the
city in which he grew up; the
2018 work Empty Days depicted
Summerfield’s fragmented
and solitary path through an
unloving and claustrophobic
world; and 2019’s Holiday
Pictures was a travelogue of
alienation – many of his subjects
pictured from behind, as if the
parental exclusion Summerfield
suffered as a child accompanied
him wherever he went.
Summerfield’s new book is a
disquisition on his descent into
06 darkness and eventual return
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to hope from the perspective
of a man taking stock of a life
disturbed by frequent and
immobilising bouts of mental
illness. Home Movie evokes the
photographer’s slide into an abyss
of depression and drinking and
his journey out of it.
This is a brutal, unexpurgated
self-examination that reminds
us of the work of Antoine
D’Agata, who recorded the
shaded side of his life and long-
term drug addiction in books
such as Stigma (2004) and Index
(2014). However, there is a clear
difference between these two
photographers’ work: where
D’Agata depicts a human in
the throes of subjugation to his
‘Summerfield’s new book is a disquisition on
the photographer’s descent into darkness
and eventual return to hope.’
darkest urges and unconstrained
desires, Summerfield illustrates
an epic fight against the
gathering darkness and his
eventual redemption.
f there is a genre to which
I Summerfield’s work is oriented,
it is to the Japanese we should
look. Masahisa Fukase and
Nobuyoshi Araki both made
personal bodies of work in
which the photographer and his
subject fuse through a sustained
series of images that are the
coalescence of the photographer’s
exterior and interior worlds.
Both photographers created a
visual language of photography.
Fukase’s 1991 book The Solitude
of Ravens is an exercise in self-
identification with the external.
In this case, the ravens become
symbolic of the failure of his
relationship with his wife and
the resulting sense of dislocation
and solitude. The ravens become
a language for which there are
no words. Araki’s book
Sentimental Journey creates
another photographic dialectic
to consider his marriage and
experience of his wife’s death.
Likewise, Summerfield defines a
world for which he cannot find
words through imagery that
transcends the literal. Home
Movie is a new dialect and the
organisation of the book is the
grammar required to convey the
story of Summerfield’s life. The
book is an autobiography written
in photography.
In Home Movie, Summerfield
shows us a version of the
domestic in all its transgressive,
chaotic potential; stained sheets,
sex, torn wallpaper, bodies
on beds and abstracted body
parts are connected to form a
series of dystopian interiors.
The photographer’s slide into
mental illness is articulated in
tightly sequenced imagery that
repeats and juxtaposes; images
in close-up and blurred vision
(where the mind can play tricks)
are interspersed with disquieting
photographs of the familiar.
Everywhere, psychosis is drawing
in as reality and self-knowledge
retreat into the background.
Photographs of family slip by
and then we are outside and
in the world: homeless people,
dark gates to an old children’s
home and then drunkenness and
oblivion. There are visual themes
that run throughout; arms raised
by adults and children, the
haunting proximity of obsessive
sex, horrific disturbances of
vision, torment, death and
07
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redemption. Perhaps here, in this
latest work, Summerfield’s coda
of psychosis and sexual obsession
combine in a new expression of
the continuing pain of alienation
from his mother as an infant.
At last, there is a flash and
the photographer is obliterated.
His ego vanquished? We pass
through the maelstrom and
are returned to where it all
started (for Summerfield at
least): at peace, in the garden
of his childhood, with the sun
glinting through winter trees,
conveying hope of renewal
and release. Home Movie is the
story of a man’s life written in
the language of photography.
HOME MOVIE
Paddy Summerfield
With an essay by
Patricia Baker-Cassidy
Dewi Lewis Hardback, £30
 FEATURE

All images
© Hana Gamal

THE LIVES
OF OTHERS
Egyptian photographer
Hana Gamal describes her
series We’re All Fugitives as a
journey into her soul, ‘driven
by a desire to connect and
an equally strong desire
to withdraw’. Donatella
Montrone investigates.

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 W
hen a part It started on the 25 January 2011.
of you is A Tuesday. Tens of thousands of people
crumbling, descended on Tahrir Square that morning
colour doesn’t and it swelled quickly, the roars of protests
› really mean reverberating throughout Egypt in
anything.’ Hana deafening waves. It marked the beginning
Gamal spoke of the end of Hosni Mubarak’s government,
those words and from that moment, both Egypt and
during our interview, when I asked why she Hana would be changed forever. ‘I felt
made We’re All Fugitives in black & white. something beautiful and strange happening.
I’ve been reflecting on them since, because It’s an indescribable feeling, one that only
to understand the series, one needs to the people who were there can comprehend.
understand Hana.  I was witnessing history and I wanted the
We’re All Fugitives was a healing memory to stay with me forever, so I took
journey for Hana, born of a time of pain out my phone and started taking pictures –
and questioning. She says it was both and I haven’t stopped since.’
‘introspective and retrospective, a death
and a rebirth’. The images were made over
a number of years, during which Hana lost
‘I was witnessing history and
herself in Cairo’s bustling streets in search I wanted the memory to stay with
of succour. Hours of wandering turned into me forever, so I took out my phone
a journey of discovery – one that led Hana
to better understand the city of her birth and started taking pictures – and
and, importantly, make peace with herself. I haven’t stopped since.’
10
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That day saw the rebirth of a nation – an
uprising of one formidable, collective voice
that made Hana want to rediscover her
homeland and her sense of place. ‘It brought
me closer to my people, closer to the streets.’
Suddenly, everything Hana understood
about herself was called into question.
She had been studying psychology and art
therapy at the American University in Cairo
and changed her focus to photography. ‘I
started taking photography courses to learn
more about its history and the technical
aspect of taking pictures. It quickly became
my passion, but I didn’t truly find my voice
until after I graduated. There were times
when I felt so lost and unsure if I had made
the right decision. There were long phases
of frustration, feelings of failure. So many
people were telling me to leave photography,
to keep it as a hobby and find a stable job
instead, but the voices inside my head were
much louder than theirs. So, I listened to
my heart, not knowing where photography
would take me.’ ›
11
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 P
hotography became an escape –
an escape from the trappings of a
› conventional lifestyle, an escape
from the misguided career advice
of others and, not least, an escape from an
emotionally ruinous relationship. We’re
All Fugitives was made at a time of
overwhelming upheaval in Hana’s personal
life. ‘One of the major things was trying to
heal myself from an emotionally abusive
relationship. It took me a long time to
forgive myself for making my soul go
through so much trauma. Around the same
time, my father had also been diagnosed
with cancer, and seeing him in pain shook
me deeply. It affected me in many ways,
of course, but mostly it affected the way
I perceive life. What’s important, what’s
not? What’s real, what isn’t? Making We’re
All Fugitives was my escape. I wanted
to run away from my life and the people
I knew and immerse myself in other
people’s lives. It was like connecting
and disconnecting at the same time.
‘Whenever I was feeling low, I would
go outside and start taking pictures that
could possibly capture how I was feeling.’
She would roam the city streets, lost
among strangers, exchanging pleasantries
and listening intently to their stories.
She was ‘endlessly inquisitive’ about
their lives, and as they got to know Hana
better, she was invited into their homes.
‘With open wounds, and a constant
search for home, I was losing and finding
myself in their lives, like a fugitive,’ she
explains. ‘It was, and still is, incredibly
therapeutic. It allowed me to be intimately
‘So many people were telling
me to leave photography, to
keep it as a hobby and find
a stable job instead, but the
voices inside my head were
much louder than theirs.’
connected to others with no fear of hurt,
no fear of being found. That’s why I am
emotionally attached to photography
– I can’t imagine life without it.’
fter witnessing social unrest
A in her homeland over several
years, while simultaneously
experiencing turmoil in her
personal life, Hana began to question
the concept of home and belonging.
‘This is when my real journey began.
Everyone is running from something,
or someone, or maybe searching
for something. We’re all fugitives –
fugitives from what has been, what
is, and what might be. Fugitives from
lost hopes and dreams, from hidden
wounds, from memories, from the
reality of our lives. Fugitives from our
fears, from the void, from love – and
sometimes even from ourselves. Home
isn’t merely a place, it’s a feeling, and
›
we are all in constant search of it.’
15
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‘There is something magical about holding a camera – it gives

you an excuse to be there, wherever you are, to connect
with your subject in an almost raw, intimate way.’

› In making the series, Hana became
enveloped by countryfolk eager to open
their hearts. They let her in, on her terms,
allowing her to be present in their lives
from the other side of the lens. ‘There is
something magical about holding a camera
– it gives you an excuse to be there, wherever
you are, to connect with your subject in an
almost raw, intimate way. I become fearless
when I am shooting. I like to take my time,
to get to know the person and make them
feel comfortable. When I take a picture, I
want the viewer to feel it, not just see it.’
As a visual artist, Hana finds beauty in
that which is unseen. ‘They say change is
the only constant in life, but sometimes
it’s hard to deal with or accept change.
Maybe you’re too fragile to face it. Maybe
you’re not ready. Accepting change is often
fraught with the pain of the experience
that makes it necessary. A kind of pain
that rips you apart and breaks you down,
forcing you to rise again. To me, this kind
of rebirth is beautiful – achingly beautiful.’
Hana Gamal graduated from the American
University in Cairo with a double degree in
psychology and mass communication and
media arts, and has recently completed a
post-graduate degree at the Danish School of
Media and Journalism in Aarhus. Her work has
been exhibited internationally, including at
the Crypt Gallery, London, Beirut Photography
Festival and Institut du Monde Arabe, Paris.
To see more of Hana’s work,
go to hanagamal.com
 NEWS ON SHOW
Celebrating the best in contemporary portrait photography, the Taylor Wessing
Photographic Portrait Prize 2021 is now on show at Cromwell Place, a new
arts hub in London. Tracy Calder takes a look at some of this year’s top entries.

T
here is something about
Tony Kearney’s image
Jack (from the series
Artist[s]) that really
moves me. It might be the
gloriously bushy beard that
cascades from Jack’s chin, or
the way his head seems to be
floating above his shoulders in
a strange god-like fashion but,
in truth, I think it’s his eyes. At
first glance, it looks as though he
is smiling, but if you cover up his
eyes with your hand, you’ll see
that his mouth is a horizontal
line – neither happy nor sad.
If you cover up his mouth,
however, his eyes tell a different
story. There is joy there, but
also determination and even
sadness. It’s as though an artist
has emptied tubes of paint on
to a palette and swirled them
around to form a complex
18 soup of colour. Every emotion
B+W
is played out in those eyes –
whatever you’re feeling when
you look at this portrait is
reflected right back at you.
Perhaps the reason his eyes
feel so important is because
we’ve all been wearing face
masks for so long. In July 2020,
the Guardian published an
article featuring advice on how
to communicate through a
mask. ‘Genuine smiles come
from “creased” eyes (known by
psychologists as a Duchenne
smile),’ it suggested. ‘Smiles
which are posed tend to be
displayed more by the mouth.’
I have lost count of the
number of times I have passed
strangers in the street, smiled
at them under my mask and
wondered if they can tell I’m
trying to communicate empathy
or compassion. I guess I will
have to practise creasing my
eyes! Looking at Jack’s open,
unmasked face suddenly feels
refreshing, and hugely necessary.
Kearney’s image of Jack is
just one of 55 striking portraits
on display at Cromwell Place,
a new arts hub in central
London, as part of the Taylor
Wessing Photographic Portrait
Prize 2021 exhibition. The
exhibition is usually held at the
National Portrait Gallery in St
Martin’s Place, but the building
is currently closed for major
redevelopment works. Global
law firm Taylor Wessing has
sponsored the awards for 14
years now, and the show has been
a staple in my events calendar
for even longer than that.
In the past, I have to admit that
I’ve had a love/hate relationship
with some of the photographs
selected by the judges – there
was a distinct fashion for grumpy
teenagers that went on a bit
longer than I would’ve liked.
This year, however, things feel
a bit different: there’s a sense
of inclusivity, diversity and
openness, and the competition
is all the better for it.
There are three international
photographers on the shortlist
(by the time you read this,
the winner will have been
announced): Katya Ilina,
Pierre-Elie de Pibrac and David
Prichard, each selected by a panel
of judges from 5,392 entries.
Ilina was chosen for her portrait,
David, which is taken from a
series celebrating positive body
image and questioning notions
of masculinity and femininity.
‘The series, entitled
Rosemary & Thyme, subverts
time-honoured tropes of
representation in western art by
depicting male sitters in poses

© Tony Kearney / Savage Films © Donavon Smallwood

Jack, October 2020, from the series Artist[s] by Tony Kearney Untitled, September 2020, from the series Languor by Donavon Smallwood
 © Hady Barry © Kymara Akinpelumi

Caught in the 'Act', January 2021, from the series

My Friend Azi, August 2020, from the series Wearing the Inside Out by Hady Barry Dichotomy by Kymara Akinpelumi

traditionally found in portraits and collaboration. There are no based photographer David be expressed in their physicality.
of females,’ explains the NPG. grab shots here and no sense of Pritchard and his portraits ‘I wanted to produce portraits
The image has a rich, voluptuous ‘dark tourism’. ‘Each portrait of First Nation women who that were dignified, strong and
feel, with colours, textures and emanates from long discussions spent their working lives on beautiful, and worthy to represent
a pose that we might usually I had with my subjects about cattle stations in Far North these women today and into the
associate with traditional a painful event in their lives,’ Queensland. The work they future,’ said Pritchard.
paintings of women. says Pibrac. ‘In all the pictures, undertook – from homestead
‘From Velázquez to Ingres, I forbid any movement, as if they chores to maintaining the welfare
painters have portrayed men are trapped by their surroundings of livestock, often on horseback
19
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in positions of power, or as with no visible escape.’ To me, – would have been physically SEE THE PICTURES
muscular heroes in battle, they feel like film stills, as though demanding. The gruelling and Taylor Wessing Photographic
whereas females are often life has carried on either side of repetitive nature of this lifestyle Portrait Prize 2021 is on show at
pictured naked and reclining, the frame, but the individuals are can be read on each of their Cromwell Place, London, until 2
communicating softness, frozen, unable to move forward. faces: these are tough, resilient January 2022. To find out more,
weakness and openness to gaze,’ Finally, we come to Sydney- women, but their past seems to visit npg.org.uk/photoprize.
says Ilina. ‘I wanted to borrow the © Hady Barry
so-called feminine body language
from those paintings and
juxtapose it with male sitters.’
Pibrac, on the other hand,
was selected for his large-format
portraits made in Japan, where
he spent eight months travelling
to some of the country’s most
troubled regions. Here, he
captured individuals who have
shown fortitude in the face
of adversity.
‘In Fukushima, he
photographed residents still
exiled from their contaminated
homes following the nuclear
meltdown a decade ago,’ says
the NPG. ‘Other portraits were
taken in the former mining
town Yubari, once known as the
country’s capital of coal, now
devastated by colliery closures
and depopulation.’
These images are the result of
hours of conversation, revelation Contemplation II, September 2020, from the series Wearing the Inside Out by Hady Barry
 NEWS IN THE FRAME
If you would like an exhibition included in our listing, please email Mark Bentley
at markbe@thegmcgroup.com at least 10 weeks in advance. Edited by Tracy Calder.
Please check with your chosen venue before visiting as dates are subject to change due to the ongoing situation with Covid-19. |
LONDON
ATLAS BUSINESS CENTRE
To 20 February 2022
Shubha Taparia: Crescent
Taparia explores themes of change,
transition and impermanence.
Unit 7, Atlas Business Centre,
Oxgate Lane NW2
prahladbubbar.com
BRENT MUSEUM
AND ARCHIVES
To 3 December
From the Ground Up
Portraits of Freddie Mercury,
Alex Scott and Marcus Rashford
on display as part of an exhibition
exploring people, stories and
industries connected with
Wembley Stadium.
Library at Willesden Green,
95 High Road NW10
brent.gov.uk
20
B+W CROMWELL PLACE
To 2 January 2022
Taylor Wessing Photographic
Portrait Prize
Celebrating the very best
work in contemporary
portrait photography.
4 Cromwell Place SW7
npg.org.uk
DAVID HILL GALLERY
To 18 December
Ben Hassett: Beer Soda Lotto
Photographic survey of
Los Angeles’ liquor stores.
345 Ladbroke Grove W10
davidhillgallery.net
FLOW PHOTOGRAPHIC
GALLERY
To January 2022
The Jungle Portraits:
Izabela Jedrzejczyk
Portraits that form an important
record of the people of the north-
east as they faced uncertainty
amid deindustrialisation in
the early 1980s.
1010 Harrow Road NW10
flowphotographic.com
IMPERIAL WAR
MUSEUM LONDON
To 9 January 2022
Generations: Portraits
of Holocaust Survivors
ONL Online only
street reportage to documentary
filmmaking and colour
photography.
16-18 Ramillies Street W1F
thephotographersgallery.org.uk
SCIENCE MUSEUM
To March 2022
Amazônia
Images celebrating the indigenous
peoples and varied landscapes
of the Brazilian rainforest
by Sebastião Salgado.
Exhibition Road SW7
sciencemuseum.org.uk
SOMERSET HOUSE
To 6 February 2022
We Are History
Philip Cunningham captured daily life, friendship and youth culture around Bethnal Green Nine artists offer a different
© Philip Cunningham perspective on the climate crisis.
OXFORD HOUSE Strand WC2R
To 17 December somersethouse.org.uk
Youth of Yesterday
Youth culture in and around Bethnal Green in the 1970s, TOWER HAMLETS LOCAL
captured by Philip Cunningham. HISTORY LIBRARY & ARCHIVES
Derbyshire Street, London E2 oxfordhouse.org.uk To 4 February 2022
The Vanished East End
Documentary photography from
Portraits of Holocaust survivors and PHOTOFUSION PHOTOGRAPHY the 1970s and 80s by Diane Bush,
their families, taken by members of CENTRE Mike Seaborne, Brian Griffin,
the Royal Photographic Society. To 3 December Tom Hunter and Syd Shelton.
To 9 January 2022 The Spots That Never Went 277 Bancroft Road E1
Wim Wenders: Reflection on the devastation of ideastore.co.uk/local-history
Photographing Ground Zero the AIDS pandemic in 1980s-90s
Large-scale photographs taken London by Roelof Bakker. WEBBER GALLERY
less than two months after 3Space International House, To 14 January 2022
the 9/11 terror attacks. 6 Canterbury Crescent SW9 Zora J Murff:
Lambeth Road SE1 iwm.org.uk photofusion.org At No Point In Between
Murff confronts America’s
NATIONAL MARITIME MUSEUM ROYAL ACADEMY OF ARTS uncomfortable relationship with
To 7 August 2022 To 23 January 2022 power, privilege, violence and race.
Astronomy Photographer Light Lines: The Architectural 18 Newman Street W1T
of the Year 2021 Photographs of Hélène Binet webberrepresents.com
More than 100 images from the 13th Binet’s images reveal the light,
year of this popular competition. space and form that unites
To Easter 2022
Exposure: Lives at Sea
architecture.
Piccadilly House, Piccadilly W1J
NORTH
Shining a light on what life is royalacademy.org.uk BALTIC CENTRE FOR
really like for those who work CONTEMPORARY ART
at sea today. PHOTOGRAPHERS’ GALLERY To 20 March 2022
Romney Road SE10 To 1 February 2022 Phyllis Christopher: Contacts
rmg.co.uk Light Years: The Photographers’ Intimate glimpse at a lesbian
Gallery at 50 community in San Francisco
NATURAL HISTORY MUSEUM Part one of a series of four during the 1990s, showing how
To 5 June 2022 exhibitions celebrating TPG’s the camera participated in the
Wildlife Photographer of the Year 50th anniversary. performance of queer identities
Inspiring images that tell the story To 13 February 2022 and feminist politics.
of a planet under pressure. Helen Levitt: In the Street To 20 March 2022
Cromwell Road SW7 Retrospective showcasing Levitt’s Sutapa Biswas
nhm.ac.uk photographic practice, from Exploring themes of time and
space, particularly in relationship
to gender, identity and desire.
Quayside, Gateshead
baltic.art
MUSEUM OF LIVERPOOL
To summer 2022
Blitzed: Liverpool Lives
Photographs and personal accounts
showing the devastation the Blitz
brought to the city of Liverpool.
Pier Head, Liverpool
liverpoolmuseums.org.uk
Open Eye Gallery
To 12 December
Collective Matters
Reflecting on a series of socially
engaged projects developed over
the past two to three years across
the north-west region.
19 Mann Island, Waterfront, Liverpool
openeye.org.uk
WESTON PARK MUSEUM
To 19 December
Park Hill at 60:
Photographs by the Residents
Celebrating the 60th anniversary
of one of Sheffield’s most
prominent landmarks,
Park Hill flats.
Western Bank, Sheffield
museums-sheffield.org.uk
SOUTH
BRIGHTON MUSEUM
To 23 January 2022
Bowie/MacCormack 1973-76:
Rock ‘n’ Roll with Me
Images of life on the road with
one of the world’s greatest rock
APERTURE GALLERY
To 22 December
Ian Berry: The English and Beyond
Images from Berry’s classic 1970s series, The English, alongside more
recent work exploring the complexity of English and British identity.
17a&b Riding House Street, London W1W apertureuk.com
stars, captured by Bowie’s friend
Geoff MacCormack.
Royal Pavilion Gardens, Brighton
brightonmuseums.org.uk
FOX TALBOT MUSEUM
To February 2022
Astronomy Photographer
of the Year
Galaxies, aurorae and skyscapes
all feature in this competition
celebrating the best in
astrophotography.
Lacock Abbey, Wiltshire
nationaltrust.org.uk
THE LIGHTBOX
8 January to 6 February 2022
UCA Farnham MFA
Photography Show
Vibrant and exciting work
produced by students at the Stockholm, 1972, by Dorothy Bohm
University for the Creative Arts. © Dorothy Bohm
Chobham Road, Woking FLORA FAIRBAIRN & CO
thelightbox.org.uk ONL Online
To 13 December
NEW FOREST HERITAGE CENTRE The Art of Noticing: Photographs by Dorothy Bohm
To 9 January 2022 Work spanning 40 years highlighting Bohm’s unique
David Bailey Wildlife Wanderings perspective on a rapidly changing world.
Hares, red squirrels, deer and birds florafairbairn.com
all beautifully captured by an
award-winning photographer.
High Street, Lyndhurst paths of London to his current Cathays Park, Cardiff museum.wales
newforestheritage.org.uk rural surroundings in Sweden.
16 Narrow Quay, Bristol ORIEL Y PARC GALLERY 21
bristolphotofestival.org To 16 January 2022
WEST MARTIN PARR FOUNDATION
Land/Sea by Mike Perry
Landscape photography
B+W
ARNOLFINI To 19 December challenging conventional
To 16 January 2022 I Am Not Invisible ways of seeing our coastline
Coming up for Air: Thilde Jensen’s document of a and countryside.
Stephen Gill – A Retrospective homeless community excluded St David’s, Pembrokeshire
Exploring Gill’s rich sense of space, from mainstream society. orielyparc.co.uk/land-sea
through the flea markets and tow 316 Paintworks, Bristol
martinparrfoundation.org
RPS HOUSE
SCOTLAND
To 12 December SCOTTISH NATIONAL
Pink Lady Food Photographer PORTRAIT GALLERY
of the Year To 23 January 2022
Celebrating the world’s finest Thomas Joshua Cooper:
food photography and film. The World’s Edge
337 Paintworks, Bristol rps.org Images of the most extreme points
and locations surrounding the
Atlantic Ocean.
WALES 1 Queen Street, Edinburgh
nationalgalleries.org
NATIONAL MUSEUM CARDIFF
To 16 April 2023
The Rules of Art? Subscribe to Black + White
Five hundred years of painting, Photography magazine
drawing, sculpture, photography,
film and ceramics posing
A Patient and Two Nurses, Midlands, 1969 questions about representation,
© Ian Berry/Magnum Photos identity and culture.
To 27 March 2022
David Hurn: Swaps
Highlights from the David Hurn
collection, focusing on exchanges See page 40 for details
with his Magnum colleagues.
 CO M M EN T
susanburnstine.com
AMERICAN CONNECTION
The real Cuba lies not just in Havana but in the endeavour of the island’s
All images
rural farming community, as Richard Sharum discovered while working
© Richard Sharum
on his latest documentary project. Susan Burnstine reports.
or the past 17 years, island is rural and composed Campesinos as the majority of of his career. ‘They expressed

F
documentary
photographer Richard
Sharum’s aim has
been to create work
that highlights the
lives of those often unseen or
overlooked. He’s documented
homeless children attending
or attempting to attend school,
paediatric cancer, the town of
Sandbranch, Texas, and the
of Campesino families who are
rarely photographed. Initially
Sharum’s intent for this work was
to create a historical document
of a disappearing lifestyle,
culture and people, but what he
ultimately created was a more
nuanced perspective of a people.
After arriving in Cuba in
2016, Sharum learned that a
considerable number of young
Cubans, based on the fact that
they occupy the majority of
the island, and that they are a
warm and beautiful people,’ he
says. ‘They are also kind and
honest and believe in direct
communication – saying what
you mean while being respectful.’
He believes people in the
United States could learn quite
a bit from the Campesinos, as
to me numerous times that they
were very grateful that someone
came to see and know them, to
spend quality time, instead of
going to Havana like everyone
else. Most of the places in the
book are extremely difficult to
get to, where they don’t see many
strangers, much less ones with a
camera from a hostile land.’

aftermath of Hurricane Katrina.
And his most recent series,
Campesino Cuba (GOST Books),
is his most poignant and affecting
exploration yet.
It explores the lives of Cuban
farmers, known as Campesinos,
widely regarded as the backbone
of their country. While the great
majority of imagery created
by non-Cubans in Cuba is
produced in Havana, 85% of the
22
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men were renouncing life in the
countryside for the cities, thus
abandoning traditional farming
techniques. Consequently, this
imbalance is worsening the
country’s difficulties with food
production and availability.
Sharum’s deep admiration
and respect for the Campesinos
resonates in every image
produced. ‘The overall mission
of the book is to convey the
their sense of community is far
more advanced. ‘The strength in
the Cuban people I encountered
was palpable, even though they
lived in guano huts with dirt
floors. They were also some of the
happiest people I ever met.’
Sharum considers the high level
of hospitality the Campesinos
showed him was beyond what he
had experienced anywhere else
in the world during the course
S
harum was raised in a
multi-ethnic family in
Corpus Christi, Texas,
with working-class
parents and an older sister.
Topics of identity and culture
became a constant presence
in his life and subsequently
fundamental to his work. His
mother was white and father
half-white, half-Hispanic, and
thus, his sister had brown skin,

while his hair and features were
light as a youth.
‘In a neighbourhood where
99% of the people were of
a different colour, I had to
withstand the pressures and
abuse of looking dissimilar. This
hardened me in one way, but
more importantly, it taught me
lessons on the invalid nature of
judgement and oppression based
on the colour of one’s skin,’ he
says. ‘To me, even as a child,
the solution was easy: inform
one group about another using
universal truths, wipe away the
differences, cut to the core of our
time together and the division
would end… This philosophy still
guides me today, as simplistic as
it sounds. After shooting for 17
years though, doing solely this
sort of doc work, it has proven to
be anything but simple.’
Sharum is currently focusing
on a new project entitled Spina
Americana (or ‘American Spine’),
which explores a corridor from
the US/Mexico border to the US/
Canadian border. The ‘spine’ is
100 miles wide and 1,600 miles
long and runs through Texas,
EXHIBITIONS
USA
CHICAGO
Art Institute of Chicago
Until 17 January 2022
André Kertész: Postcards from Paris
artic.edu
NEW ORLEANS
New Orleans Museum of Art
Until 6 February 2022
Ishimoto Yasuhiro: Centennial Selections
noma.org
NEW YORK CITY
International Center
Oklahoma, Kansas, Nebraska, of Photography
North Dakota and South Dakota. Until 10 January 2022
He says he was inspired to Gillian Laub: Family Matters
explore this area as a means icp.org
to ‘survey my own country, in
search of the national identity, or OBERLIN
at least an identity not often seen’. Allen Memorial Art Museum
Throughout December, Until 23 December
23
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Sharum has an exhibition at the Focus: Power, Agency and Objectivity
Bridge Gallery in Cambridge, in Early Photography
Massachusetts. He also has a solo amam.oberlin.edu
show at the Dallas Center for
Photography from 3 March 2022. ROCHESTER
Eastman Museum
richardsharum.com Until 2 January 2022
gostbooks.com To Survive on this Shore: Photographs
and Interviews with Transgender and
Gender Nonconforming Older Adults
eastman.org
ST LOUIS
Contemporary Art Museum
St. Louis
Until 13 February 2022
Farah Al Qasimi:
Everywhere There Is Splendor
camstl.org
ST PETERSBURG
Dali Museum
Until 2 January 2022
Lee Miller: The Woman Who
Broke Boundaries
thedali.org
STANFORD
Stanford University
Until 29 March 2022
Exquisite Reality: Photography and the
Invention of Nationhood, 1851-1900
events.stanford.edu
24
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 FEATURE

All images
© David Magee

TIME AND TIDE

A love of the sea and an
influential photography teacher
set David Magee on a lifelong
path of fine art photography
in which meticulous attention
to detail and a strong sense
of self-expression play
essential roles. Elizabeth
McClair-Roberts reports.

T
his story begins last spring,
when I was invited by a friend
to celebrate his birthday at
Rathfinny Estate, a vineyard
in the south of England. On
the slopes of the downland,
the vines grow in parallel
lines in sight of the sea. It’s
a beautiful place to be on a spring evening
and the restaurant serves exquisite food.
25
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But as we arrived in the reception area,
I became completely distracted by a large
and imposing image hanging on the wall. It
was a black & white photograph of the Seven
Sisters – a nearby location, but probably
one of the most photographed landscapes
in the UK. However, there was something
about this majestic image that compelled me
because there was something about it that
stood out from the many photographs of the
place I have seen over the years. Eventually,
my companions had to call me away into the
dining room, but there I discovered another
similar seascape image, equally imposing.
Throughout the meal, I found myself
glancing over my shoulder to take another
look. I won’t say it spoilt my meal or the
enjoyment of the conversations, but it was
certainly a distraction.
The pictures stayed vividly in my mind
and wouldn’t go away, so the next weekend
I returned to Rathfinny to find out more
about them. I discovered they were the
work of an Irish photographer named David
Magee. I asked myself what it was about
them that intrigued me, and the only answer
I could come up with was that they conveyed
a sense of emotion, as though I was seeing
the place through the eyes, and feelings,
of the photographer. ›
SEVEN SISTERS STUDY
 › I began my research and discovered that
he grew up in West Cork (where he still
has a house) and had a love of the sea – and
that his work was meticulously carried out.
Eventually, I made contact with David and
we arranged to meet up for an interview.

eeting someone for the first

M time is always an interesting

experience – the pre-conceived
idea rarely matches the reality.
And so it was with meeting David Magee.
I had expected a rather introverted, solitary
character, not the delightful and humorous
man I actually met. And yet, as we talked,
it became clear that while being a lively and
sociable person, he is also someone who
likes his own company and is at his happiest
spending hours alone in the landscape,
waiting for the right composition and light
to take the picture that he has envisaged.
‘It’s where I make sense of things,’ he
tells me, ‘For as long as I can remember,
I have felt most at peace outside, by the sea.
The sea is quite simply a part of me and
consequently a major focus of my work.’
David’s love of the sea began in early
26 ESPRIT DE CORPS childhood, when he spent weekends
B+W
with his father fishing in West Cork.
‘Photography and fishing are my two
life passions,’ he says. You can see that
both occupations are (generally) solitary
experiences in the natural world. His love
of fishing is often shared these days with
his own children and close friends, but
his photography is spent alone.
Having spent many years using film,
he now works digitally but has not
changed his approach – that of capturing
exactly what he has visualised in-camera.
‘I have no interest in post-production.
For me, the excitement and achievement
has always been to visualise and create
while in the landscape.’
To achieve this involves a great deal
of watching and waiting. And sometimes
not taking a picture if the elements are
not right, even if he has planned the shoot
and travelled some distance to get there.
This is the aspect of perfectionism that
comes through in his work. He does not
set out to document a specific time or
place, instead he sets out to capture the
intrinsic qualities of the landscape – a
serenity and quietude that he knew as
a child on the Atlantic coast.›
THE END
 27
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FALLEN GUARDIAN
28
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FLAT CALM
 29
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MECOX STUDY
 avid studied fine art and graphic

›
D design at Glasgow School of Art
where, in 1982, he encountered
Thomas Joshua Cooper, who ran
the fine art photography department and
who was to be the trigger that set him on
a lifelong photographic path. ‘He planted
the seed in my becoming totally absorbed
in the world of photography as an art form,’
he explains. But David’s work is essentially
about self-expression: ‘I first and foremost
make the work for me,’ he says.
While fine art photography has been his
passion for the past 25 years, David has
combined this with running an award-
winning graphic design studio in London.
He has also travelled extensively – in India,
Sri Lanka, Greece, Japan, England, USA and,
of course, Ireland – making his distinctive,
long-exposure images whose commonality
exists in their essence rather than their
specific content. An image from Japan, for
instance, can sit comfortably beside a shot
taken in India or USA. But in recent years
he feels that maybe what he is looking for
lies closer to home, in Ireland: ‘Despite
having travelled the globe in search of
“that elusive image”, I have come to realise
KILBRITTAIN that the work I am happiest with, and the
30 environment that I like photographing in
B+W
most, was within easy reach all along.’

David Magee has

published two books
of his work. The first,
Outside, was released
in 2017 and contains
work created 1995-
2017, and the second,
Outside II, has work
created 2015-2020.
They are designed
by David Magee
and published by
Concentric Editions
in limited editions
of 450 copies,
and collectors’ editions of 50 copies in a
clamshell box with print. The finest papers
and production values are used throughout
to achieve a sumptuous publication.
To find out more, visit concentriceditions.
com or davidmageephotography.com.
TIDELINE
 31
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TRANSCENDENT
 FEATURE EVERY PICTURE TELLS A STORY
For two decades, Picture Post published some of the most important social
All images
documentary photography about life in Britain ever taken. A new feature-length
© Getty Images documentary, Picture Stories, explores the iconic magazine’s legacy.
Hulton Archive
Nick Smith talks with its director Rob West.

I
was looking into the story of Picture
Post magazine a few years ago,’ says
Rob West, ‘when someone made the
comment that within its pages is a whole
generation of forgotten photographers.’
West, who is the director of the
feature-length documentary Picture
Stories, says that, on looking deeper
into the subject, he was ‘surprised’
that no-one had made a film about
Picture Post for a generation, and sensing an
injustice, he set out to put it straight. ‘What
I wanted to do was look at Picture Post
through the eyes of modern photographers,
to get a sense of what that tradition of
photography means to them today.’
It’s hard to imagine in our post-digital
world quite how much influence Picture
Post had during the years spanning the
Second World War, starting out in 1938
and coming to an end in 1957. Within two
months of the presses rolling, it was selling
1,700,000 copies per week and is, with
some justification, seen by photojournalism
historians as the UK’s direct equivalent to
Life magazine in the US. With its liberal,
anti-fascist and populist editorial axis,
Picture Post quickly became a bestselling
magazine during the Second World War
and was hugely influential for years after.
According to West, it not only revolutionised
the way in which magazines were presented
to the public, but it also showed ‘Britain
‘What I wanted to do was look
at ‘Picture Post’ through the
eyes of modern photographers,
to get a sense of what that
tradition of photography
means to them today.’
to the British in a fundamentally new
way’. Picture Post’s photographers cast
light on the lives of ordinary people at
home, on the street and unposed in a
way they had never been seen before.
West says that in making Picture Stories,
he wanted to bring Picture Post to life in
a way that made both the magazine and
its contributing photographers relevant to
modern audiences. ‘Many of the things we
take for granted in photography, and our
understanding of photographs and picture
layout, started with Picture Post. Many of
our ideas about British society were forged
by Picture Post and its unique group of
creators. So, it was important also to bring
this to younger audiences that may know
nothing about this magazine and make it
relevant to them. And although the context
of taking and publishing photographs has
changed a lot, today we’re in a world where

© Haywood Magee/Picture Post/Hulton Archive/Getty Images

32
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A newsagent’s shop in Coventry, 1942, by Haywood Magee.

 © Bert Hardy/Getty Images

Two boys in the Gorbals area of Glasgow, 1948, by Bert Hardy.

how we display content and combine words
with images to tell a story is still important,
albeit often on an internet page. I think one
of the interesting things about this film
will be how people react to the fact that
innovations in the way that we use text
and images today to tell stories have their
origins in Picture Post and still resonate.’
day and is almost certainly worth looking at.’
Picture Stories combines commentary by
modern photographers and photography
experts, with archive footage of interviews
with Picture Post photographers such
as Stefan Lorant, Tom Hopkinson and
Humphrey Spender. The documentary’s
structure tells the story of the magazine
33
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from its inception in 1938 – founded by
photojournalist and social campaigner
Lorant, friend to Winston Churchill and
Jewish refugee from Nazi Germany – ‘to
when it came to its knees in 1957. And we’re
telling it through the photojournalism: in ›
© Thurston Hopkins/Picture Post/Hulton Archive/Getty Images

T
hree years in the works and running
at 74 minutes, Picture Stories
comes from the independent
production company Ship of Life,
and is advertised as a film that explores
the magazine that shaped British culture.
West says that to get the project off the
ground he approached Getty Images and the
Hulton Archive that own the copyright to
the images themselves. The back story here
is that Sir Edward Hulton, owner of Picture
Post, had established the Hulton Press
Library in 1945 in response to the growing
sense of the importance of the magazine’s
assets as a historical resource, while, at the
turn of the millennium, Getty digitalised
the entire archive following the acquisition
of the collection a few years before. Says
West: ‘Literally hundreds of thousands of
images are gathered together in that archive.
In fact, the published photography is only
a small proportion of what was produced.
There are negatives, contact sheets and so
on, much of which hasn’t seen the light of A trio of Jamaican immigrants in Birmingham, 1955, by Thurston Hopkins.
34
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The elder daughter of a large family polishes shoes on the doorstep, 1945, by Kurt Hutton.
© Kurt Hutton/Picture Post/Hulton Archive/Getty Images
 35
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An unemployed man leaning against a wall in Wigan with two children looking on, 1939, by Kurt Hutton.
© Kurt Hutton/Picture Post/Hulton Archive/Getty Images
 © Bert Hardy/Getty Images
36
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Above A couple relaxing in a basement in Elephant and Castle, London, 1949, by Bert Hardy. Opposite Alfred Smith, one of the 1,830,000 unemployed, 1939, by Kurt Hutton.
› other words, selecting some of the iconic
stories and talking about what was behind
them. We’re just trying to tell the story of
the life and death of Picture Post through its
photography.’
One of the reasons West wanted to make
the film is that ‘in its heyday, Picture Post
was a superior product. If you take any
individual edition of the magazine and
examine it, the quality of the photography,
layout and editorial content and the
thinking behind it is extraordinary.’ More
so, he continues, when you consider that
this was a product that for the first years of
its production cycle was produced during
a global war: ‘There were bombs going
off all around their offices. There were
paper shortages, ink shortages, wartime
censorship… The fact that the small team
on Picture Post was able to produce the
range of content – week after week – to
the quality that it did under such difficult
circumstances is a huge achievement. The
magazine published images that remain
extraordinary to this day.’
‘The fact that the small team
on ‘Picture Post’ was able to
produce the range of content to
the quality that it did under
such difficult circumstances
is a huge achievement.’
P
hotojournalism on the pages of
Picture Post became the currency of
social information, and what fired the
imagination of the massive readership
was ‘the combination of images, the selection
of the photography, the construction of the
stories, the interplay of the photographs and
their captions. These images were powerful
– and not just explicitly the war photos.
What we’ve tended to focus on in the film
are images of ordinary people doing
ordinary things.’ And West sees a ‘strong
degree of connection’ between the reader
and subject matter that wouldn’t have
existed if the editorial remit had been
to cover narratives ‘about celebrities,
politicians or the more established subjects
of magazine photography’.
When it comes to the photography itself,
the sheer breadth of editorial coverage can
be seen in the contrast between two covers.
On 25 February 1950, there is Churchill,
every inch the statesman in his morning
coat, watch chain and spotted bow tie; a year
later, on 3 February 1951, four working class
women in aprons, boots and shawls stand
on the broken surface of a terraced street
with the cover line ‘Why is our fish so dear?’
The image of these fishwives, says West, ‘is
archetypal Picture Post. It’s working-class
life; everyday life. It’s all about the intimacy
of ordinary people in the street. It is
emblematic of the idea that Picture Post
seemed to convey of deprived people as
having an heroic quality and that they
are worth putting on the front cover of a
magazine. Images like these have these days
become something of a visual cliché, but at
the time they were unique and extraordinary.’
For further information, visit
picturestoriesfilm.com
© Kurt Hutton/Picture Post/Hulton Archive/Getty Images

37
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 FEATURE 60-SECOND EXPOSURE
Contemporary artist Diana Nicholette Jeon talks to Tracy Calder about
All images © Diana taking risks, being mistaken for an entertainment critic and the
Nicholette Jeon
importance of believing in yourself and your ideas.
What does photography
mean to you?
I can’t answer that question all
that well, and it doesn’t bother me
that I can’t. Simply this: I like it. It
allows me to say something I want
to communicate with my art.
Describe your style
in three words.
Eclectic, forlorn, content-driven.
What is your favourite
photographic book?
Transformational Imagemaking:
Handmade Photography Since
1960 by Robert Hirsch.
Tell us about a photographic
opportunity you have missed.
Missing deadlines for a
show I wanted to enter, not
having yet applied for a
Guggenheim [Fellowship], not
38 finishing the application for
B+W
a residency I would’ve liked
to get… to name a few.
Tell us your favourite
photographic quote.
‘Be daring, be different, be
impractical, be anything that will
assert integrity of purpose and
imaginative vision against the
play-it-safers, the creatures of
the commonplace, the slaves
of the ordinary.’
– Cecil Beaton
What’s the biggest risk you have
taken as a photographer?
Almost all of my work is a risk in
some way. I change what I do to
suit the idea, which many people
think is unwise. For me, however,
the interaction between concept,
content and media is crucial.
Name one item (aside from
a camera) that every
photographer should own.
It’s not an item, but it is something
I feel every photographer or artist
should have. It’s a strong sense of
who they are as an artist and why
The Cloud and the Hope
they’re making what they make.
Tools, to me, are icing on the cake.
You might be surprised at what
you can do with a lack of tools, but
it’s not surprising when someone
who doesn’t understand why they
do what they do fails to make work
that inspires.
Who would you most like to
collaborate with?
Doug and Mike Starn, because
I love the aesthetic they cultivate
(messy, torn, taped etc), as well
as their willingness to push
boundaries. Aline Smithson,
because her work is beautiful and
personal. Ann Hamilton, because
she makes the most fabulous
installations. Process is an integral
part of her work (as it is for mine),
and she seamlessly crosses
different media. Lynn Yamamoto,
because she makes installations
about issues dear to my heart.
And Enrique Martinez Celaya.
When I heard him speak when I
was an undergrad, he made me
sit up and say, ‘Aha, bingo’ when
he talked about the importance
of media as an integral part of
his work. That lecture changed
my view of art and how I go about
making it.
What is your worst
photographic habit?
Not organising and correctly
cataloguing images soon
after shooting – it always
leaves me hunting around
for the image I want.
Tell us one thing most people
don’t know about you.
I used to live and work in the
Silicon Valley. My then boyfriend
and I attended a Jay Leno show
at a comedy club in the East Bay
Area of San Francisco. When we
joined the line to get in, the person
checking off names pulled us
out of line and ushered us to the
front row centre seats. Jay played
to us all night, interacting with
me several times, but avoiding
everyone else at the same table.
We couldn’t figure out what had
caused our great fortune, so my
boyfriend asked about it on the
way out. The door person looked
at me and said, ‘Aren’t you the
entertainment critic for the San
José paper?’ Someone had
obviously made an error. Jay and
his management must have been
disappointed that the critic, who
probably didn’t have great seats,
never wrote up the show.
What has been your most
embarrassing moment as
a photographer?
I think most of my embarrassing
moments are in my personal
life, not my work life. If I had to
say something, I would say
making a poor impression due
to typos when submitting a
professional application.
What would you say to your
younger self?
Don’t worry about not going
to art school directly from high
school – you have nothing to say
as an artist yet. When the time
is right for you, you will find your
pathway back to art and make
whatever mark you are meant
to make because you will have
lived enough to have things you
want to talk about via the work.

Who would join you in your

ultimate camera club
(dead or alive)?
Personally, I don't believe in the
concept of camera clubs. It’s
been my experience that the
gatekeepers focus too much on
gear and mastery of traditional
formal aspects than creativity and
content/concept. I feel they kill
creativity before it starts. Sorry if
this offends anyone – I know that
some people might have had a
more positive experience than me.

Which exhibition could you

have spent a month in?
It’s not a photography exhibition, The Sinking and the Fear
but I saw Ann Hamilton’s ‘at
hand’ the day it was closing
at the Hirschhorn Museum in
Washington DC in 2004. It was
39
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an incredible experience.

What single thing would

improve your photography?
Having stronger technical skills
would, of course, be great. I can
make Photoshop (or any app)
do what I want, but I am not a
‘technical’ photographer in the
traditional sense. I have always
cared more about ideas and their
expression than the mechanics
of photography and gear.

The worst thing about being

a professional photographer is…
I’ve never carried out any
commercial or ‘for hire’ work.
I’ve always been an artist working
with lens-based and mixed media,
making what I want. So, while
I am a professional, I consider
myself to be an artist. I don’t know
what challenges ‘professional’
photographers face in the course
of their day, but I imagine some
are very unpleasant. The Suspicion and the Lie

Diana Nicholette Jeon is an award-winning contemporary artist who lives and works in Honolulu. Her work has been shown in both solo and group
exhibitions nationally and internationally. Diana has an MFA from the University of Maryland, Baltimore County and writes a weekly column called
‘Poignant Pics’ for One Twelve Publications. Diana has been featured in LensCulture, Diffusion, SHOTS Magazine and the Art Photo Index, among others.
To see more, visit diananicholettejeon.com and Instagram @diananicholettejeon.
 COOL, CREATIVE AND CONTEMPORARY COOL, CREATIVE AND CONTEMPORARY
ISSUE NO.259

COOL, CREATIVE AND CONTEMPORARY COOL, CREATIVE AND CONTEMPORARY

 COOL, CREATIVE AND CONTEMPORARY COOL, CREATIVE AND CONTEMPORARY
ISSUE 254

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2021
 FEATURE LANDSCAPE PHOTOGRAPHER OF THE YEAR 2021
This year’s LPOTY results feature a plethora of stunning black & white images
that capture the UK’s diverse topography in all its monochromatic glory.
Here are our favourites…
Top left Lockdown Walks, Paul Constable
I captured this image on an evening exercise walk
during the third lockdown. I had never visited the
location before but was struggling to find inspiration
in my usual local spots. I loved the fallen branch in
the bottom right of the image. It made me think
of David and Goliath.

Below left Daybreak Beside the River Brathay,

Miles Middlebrook
Mist rises from the River Brathay near Skelwith Bridge,
Lake District, half an hour after daybreak.

Opposite top A Place of Elves, Ian Iles

Foggy woodland at Great Bear, Quantock Hills,
Somerset, in November 2020. The oaks in this ancient
wood take on some strange, twisted shapes, and fog
lends the place a mystical and magical air.

Opposite below Quiet Legend, Demi Oral

This valley plays home to the legend of Thor, and when
conditions are like this, there’s almost no better place
in the Peak District. The patterns created by the light,
layer of mist and topography in the valley created a
perfect stage for this lone tree to shine. I felt black
42 & white really exaggerated this wonderful scene.
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Overleaf Wandering Home, Nick Shepherd

A cloudy afternoon with hazy sun made for an
atmospheric shot of sheep making their way home.
I particularly liked the sun picking up the highlights
on the sheep’s backs. The diffused lighting of the sun and
softness of infrared suited the very quiet subject matter.
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Opposite Eternal II, Neil Burnell
This is an image of my favourite twisted hawthorn
tree on Dartmoor. I have several images of this tree
in various conditions, but the moody light captured
in infrared makes this image my favourite from
this location.

Top left Westcombe, Mark Bauer

I’d hoped for a colourful sunset, but when the sun
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dipped into thick haze on the horizon, it clearly
wasn’t going to happen. So, I opted for black & white
and a composition based around the strong shapes
and textures in the bay.

Top right Pipe Dreams, George Robertson

This image was taken at night looking over the
petrochemical plant in Grangemouth. It was a long-
exposure shot in which I wanted to create movement
in the steam from the cooling towers, contrasting
with the detailed engineering pipework and
floodlighting on the plant.

Right Time is a Sculptor, Jason Davis

Carleon Cove in Cornwall was once the site of a busy
serpentine factory where stones were shaped and
polished. On this evening, the sea was powerful and
spray filled the air as the light faded quickly. Using a
remote to trigger the shutter was vital in coordinating
the timing of the waves gushing through a gap; the
slow exposure reveals the energy of the sea.

Landscape
Photographer of the
Year – Collection 14
is published in
hardback, by
Ilex, price £30
 TECHNIQUE TRY…
MAKING CYANOTYPES
All images Accessible, affordable and infinitely creative, cyanotype printing is a beginner-friendly gateway
© Constanza Isaza to alternative analogue experimentation. Photographic artist Constanza Isaza Martínez
Martínez unless stated
guides you through the process’s storied history and fascinating intricacies.

T
he cyanotype process is a wonderful introduction to the
world of hand-coated alternative process printing. While
many alternative processes are expensive, difficult or
use toxic chemicals, cyanotype is a simple,
inexpensive and low-toxicity process.
It is possible to make very simple cyanotype prints
using low-tech and even cameraless set-ups, making
the process perfect for teaching complete beginners
and even children. Conversely, it is also possible to make technically
accomplished prints from digital negatives. Cyanotypes can be made on
paper, fabric, wood and glass among other materials, providing a flexibility
that allows for creative experimentation. They can be bold and graphic
or subtle and tonal, and if their Prussian blue colour is not appropriate
to the work, they can be easily toned and otherwise manipulated.
Cyanotype printing can be as simple or as complicated as you
would wish to make it, and the availability of pre-mixed kits and even
pre-coated paper makes the process accessible and easy. If you
are looking to master the process, the chemicals can be purchased
individually and digital negatives can be carefully calibrated to produce
prints with a full tonal range. As well as making photographic prints, the
process is often used to make photograms, prints from hand-drawn
negatives and abstract work.

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Constanza Isaza Martínez, Andrés Pantoja and Melanie King,

‘Ultraviolet’ during exposure, 2015. © Andrés Pantoja

HISTORY AND USE IN CONTEMPORARY ART
The cyanotype process was invented
by English polymath Sir John Henry
Herschel in 1842, a mere three years
after the invention of photography was
announced to the public. Herschel was an
astronomer, chemist, mathematician and
natural philosopher who was particularly
interested in the scientific applications of
the emerging medium of photography. As
well as inventing the cyanotype, he also
discovered the use of sodium thiosulfate
as a permanent photographic fixer, which
both Louis Daguerre and William Henry
Fox Talbot adopted in place of previous, less
reliable methods of fixing.
Herschel was a close friend of
Anna Atkins, one of the first woman
photographers and a pioneer of both the
cyanotype process and the photobook. Like
many early photographers, Atkins was also
interested in science, in her case botany,
and used the cyanotype process to make a
remarkable series of photograms of British
seaweeds and algae, collected in her book
Photographs of British Algae. These early
cyanotypes remain in excellent condition,
and Atkins’ book can be seen in a number
Constanza Isaza Martínez, Andrés Pantoja, and Melanie King, ‘Ultraviolet’
after processing, cyanotype on fabric, 8.5x15m, 2015. © Andrés Pantoja
of collections around the world. There are
copies in the Natural History Museum
and the Horniman in London, and the
New York Public Library holds Herschel’s
personal copy of the book, given to him by
Atkins herself.
The cyanotype process produces
striking Prussian blue images, which can
be toned in various substances to produce
prints in many different colours. Despite
its simplicity and low cost, it was not as
widely used in the 19th century as more
popular processes such as the salt print.
However, it remained in use well into the
20th century as a means of reproduction:
architectural blueprints, for example, were
made with cyanotype chemicals. In the
20th century, the process began to be used
by contemporary artists such as Susan Weil
and Robert Rauschenberg, who made a
series of large-scale cyanotype photograms
around 1950, mostly using Weil’s body as a
human negative.
In recent years, the process has been
rediscovered by contemporary artists and
explored in relation to its historical context,
as well as the expressive possibilities it
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offers. In 2014, the artist Walead Beshty
covered the entire wall of the Barbican’s
Curve gallery in over 12,000 cyanotypes.
In 2015, Andrés Pantoja, Melanie King
and myself were commissioned by the
Wellcome Collection and UCL to make a
gigantic cyanotype for their On Light event.
The print, made on fabric and measuring
7.5x15m, was made in collaboration with
members of the public attending the event.
The artist María Martínez-Cañas uses
the cyanotype process to create ethereal
photograms of objects placed directly on
the paper, while Oliver Beer has recently
made cyanotype reproductions of his
drawings, echoing the use of the process
in architectural blueprints. In his Folding
Light series, Pantoja makes small-scale
photograms of origami-like shapes made
of folded paper and fabric. In the series
Prussian Blue, I explore the expressive
potential of cyanotypes by using only paper,
light and chemicals to produce abstract
prints. The Fabrica series, by contrast,
uses the cyanotype process to create
photographic prints of a derelict building
on lightweight, delicate kozo paper.
 Constanza Isaza Martínez, from the Fabrica series, cyanotype on Kozo paper, 30x45cm, 2018.
50
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WHAT YOU NEED
WORKSPACE
Cyanotypes are only sensitive to ultraviolet
light, so you don’t need a fully light-tight
darkroom or safelights. As long as you keep
direct sunlight out of your workspace, you can
work under normal, relatively dim lighting – any
tungsten or LED bulb will be fine, though you
should avoid fluorescent bulbs, which will emit
enough UV light to fog your paper.
You will require a flat table or worktop to coat
your paper on (make sure it’s easy to clean
or tape butcher paper over it to protect from
spills), a tray of water larger than the paper,
scales, measuring beakers, a plastic bowl and
a brush for coating.

SAFETY EQUIPMENT
Cyanotype chemicals are relatively benign,
particularly when diluted. However, most
chemicals in powder form can cause irritation
if touched or inhaled. It is advisable to wear
nitrile gloves and safety glasses when handling
chemicals either dry or in solution, and an
appropriate mask when handling dry chemicals.

PAPER
Cyanotype works well on many papers, but
papers that are ‘buffered’ or ‘acid free’ (soaked
in alkaline solution to counteract the aging
Constanza Isaza Martínez, from the Prussian Blue series, cyanotype on watercolour paper, 56x56cm, 2010. effects of acidity on paper) will not work well.
This is because the emulsion is very sensitive
to alkalinity, which will bleach it over time.
Many lower-cost watercolour papers are not
buffered and will therefore work very well.
Some recommended papers are Fabriano
Accademia, Canson Mix Media and even
brown kraft paper.

NEGATIVES OR OBJECTS
You can use film or digital negatives, or
alternatively make photograms using objects
placed directly on your sensitised paper. Flat
objects such as plants, feathers or lace work
very well when pressed down with a sheet of
glass, but you can also experiment with bulkier
objects to create interesting compositions
– we used human bodies as ‘negatives’ in
our Ultraviolet cyanotype. Alternatively, take
inspiration from architectural blueprints and
make your own negatives by drawing on clear
acetate with permanent markers or tracing
paper with pencil.

CHEMICALS
Solution A: dissolve 10g potassium
ferricyanide in 50ml distilled water. Make up
to 100ml and store in a brown glass bottle.
Solution B: dissolve 25g ferric ammonium
citrate (green) in 50ml distilled water. Make up
to 100ml and store in a brown glass bottle.
NB You can expect to pay about £20-30 for
the materials required to make hundreds
of prints, though you can also purchase the
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chemicals pre-mixed as a kit. Andrés Pantoja, Folding Light #13, cyanotype on Japanese paper, 7x14cm, 2015.

A simple
printing
UV LIGHT SOURCE frame
You will need a source of UV light to expose your prints, such as a UV
exposure unit, which will hold your negative flat against the paper. For a
low-tech set-up, you can use the sun and a simple contact printing frame
made from a heavy sheet of glass, a sturdy sheet of card or foamboard,
and some clamps or bulldog clips. If you’re making photograms of
bulky objects, there’s no need for a printing frame at all.
 THE PROCESS
COAT AND DRY
Rinse your brush and squeeze out any
excess water.
Tape the corners of your paper to your
coating table.
Measure out equal amounts of solutions
A and B and mix them together in a small bowl.
Dip your brush in the cyanotype solution and
use it to coat your paper with a thin, even layer
of sensitiser. Try not to let the solution pool on
the surface.
Let your paper dry thoroughly in the dark – it
should be completely dry before exposure.

Measuring solutions A and B.
EXPOSE TO UV LIGHT
Place your negative or objects in contact
with the sensitised paper, in your exposure
unit or contact printing frame. Expose using
a predetermined exposure time on exposure
unit, or by inspection using sunlight. Your
print is fully exposed when the shadows have
darkened fully and begun to lighten again.

PROCESS
Place your print in a tray of tap water
and agitate.
Change the water several times until it
runs clear and the print shifts towards a
turquoise-blue colour.
Optional: place the print in a bath of 1L
52 tap water and a capful of 3% hydrogen
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peroxide for about 30 seconds to intensify
the blue colour.
Wash again in several changes of
clean water.
Hang your print to dry.

TONING
Toning works best on prints that have
dried at least overnight.
Mixing solutions A and B together. Wet your print in a tray of tap water
before toning.
Optional: a pinch of sodium carbonate in
a tray of tap water can be used to bleach your
print before toning (bleach it quite strongly – it
will come back in the toner). Be sure to wash
your print well after bleaching.
Black, rooibos and green teas all give very
good results simply by making a tray of strong
tea and immersing your print in it for a few
minutes to several hours. Keep an eye on the
gradual colour change by lifting your print out
and inspecting it often. The change will be
gradual or rapid depending on the type
and strength of your chosen toner.
Other toners you can try: tannic acid,
red wine, boiled oak bark or galls, tea made
from any plant containing tannic acid
Once you are happy with the colour shift,
transfer back to a tray of running water
and wash thoroughly.
Hang your print to dry.
Coating paper.
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STAGES OF PROCESSING
Top Clockwise from top left: after exposure, in the first water
bath, after washing, after hydrogen peroxide bath.
Right Constanza Isaza Martínez, from the Fabrica series,
cyanotype on Kozo paper, 30x45cm, 2018.

TIPS AND ADVICE

To avoid liquid chemicals, you can buy pre-coated
paper from Silverprint or Firstcall Photographic.
Try coating your paper with different shapes, such
as an oval shape instead of the traditional rectangle.
Coat fabric by soaking it in the solution, squeezing
the excess and hanging to dry. You can also try coating
other substrates, for example wood or glass.
Feel free to experiment and play – cyanotype is easy
and inexpensive, allowing for plenty of creativity. You
can draw or paint on your prints after they’ve dried, cut
them up and use them for collage, or even re-coat with
fresh chemicals to print another image on top.
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Constanza Isaza Martínez, from the Fabrica series,

cyanotype on Kozo paper, 30x45cm, 2018.

RECOMMENDED
If you can, it’s worth making the trip to see Photographs of British Algae by Anna Atkins. It is held in a number of collections,
including the Science Museum, the Natural History Museum and the Horniman in London, as well as the New York Public Library.

ARTISTS WORKING WITH BOOKS WEBSITES

THE CYANOTYPE PROCESS The Book of Alternative Processes constanzaisaza.com
Christina Z Anderson, Oliver Beer, – Christopher James luxdarkroom.co.uk
Walead Beshty, Marco Breuer, Annette Golaz, Coming into Focus – John Barnier christinazanderson.com
Jacek Gonsalves, Constanza Isaza Martínez, Cyanotype: The Blueprint in Contemporary alternativeprocesses.com
Melanie King, Galina Manikova, María Practice – Christina Z Anderson mikeware.co.uk
Martínez-Cañas, Andrés Pantoja, Meghan Cyanotype Toning: Using Botanicals to
Riepenhoff, Almudena Romero, Mike Ware, Tone Blueprints Naturally – Annette Golaz SUPPLIERS
Susan Weil and Robert Rauschenberg The Keepers of Light – William Crawford silverprint.co.uk
firstcall-photographic.co.uk
bostick-sullivan.com

ABOUT CONSTANZA
Constanza Isaza Martínez is a visual artist, printmaker and art historian based in London, working with historical photographic processes.
Her photographic work focuses on still life and abstraction, with an emphasis on the materiality of the print. She is co-founder of Lux
Darkroom, where as well as teaching processes including platinum/palladium, photogravure, and cyanotype, she also prints editions in these
and other processes for a wide range of clients.
Visit constanzaisaza.com and luxdarkroom.co.uk
 TECHNIQUE
TOP TIPS THE WINTER LANDSCAPE
All images Winter is the perfect season for black & white because often that’s all you get!
© Lee Frost
Lee Frost goes in search of stark simplicity.
O
f all the seasons we get
to experience every year,
winter has to be the least
favourite for most folk. Our
perfectly tended gardens
turn into a hideous
muddle of fallen leaves and rotting foliage,
the landscape is stripped to its bare bones,
temperatures drop to ridiculous levels and
day and night seem to merge into one.
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1 RISE AND SHINE
Winter is a great season for lazy
photographers. The sun doesn’t rise until
after 8am, and it sets again by 4pm, so you
don’t have to crawl out of bed in the middle
of the night and you can shoot until sundown
and still be home in time for tea. However,
what they lack in quantity, winter days make
up for in quality. Because the sun never rises
more than 30° above the horizon, the light
quality is always high and you can shoot non-
As for the weather, we either get
swamped by snow or frozen to death. Just
getting the car off the drive each morning
can be like a military exercise, and if you
commute by train, you’d better wear your
thermals, because there’s no guarantee
of what time you’ll finally make it to work.
Wrong kind of snow, they say. It was leaves
on the tracks just a few weeks before!
However, if you ignore the negative
stop all day long – on a good day you end
up with more effective shooting hours than
in the middle of summer.
On a crisp, frosty morning, sunrise can
be amazing. The sun’s orb often looks twice
its normal size because the light from it
is scattered. Early morning is also prime
time to photograph frost and ice – before
temperatures rise and it melts.
In exposed inland areas, you will often find
aspects of winter and look at it for what
it really is, you'll quickly realise that it’s
an incredibly photogenic time of year.
There are few sights more captivating
than the landscape covered in a layer of
crisp white snow, or the sun slowly rising
over a frosty landscape. Personally, I can’t
get enough of winter – it’s an amazing time
of year for landscape photography, no
matter how cold it is!
Loch Ba, Rannoch Moor, Scotland
This scene was captured at dawn on a freezing January
morning. The boulders in the frozen water made
ideal foreground interest.
Canon EOS-1Ds MkIII with 17-40mm lens,
ISO 100, 0.8sec at f/16, 0.6 ND hard grad
hoar frost, which is formed when mist or fog
freezes during the night and covers everything
it touches in an icy powder coating.
2 SNOW JOKE
There’s nothing like freshly fallen snow
to transform the landscape into a winter
wonderland. To capture snow at its best, you
need to be on location as soon as possible
after the fall ceases, so it’s in pristine
condition. Ideally, the weather should be
clear and the sun shining so there’s more
contrast, but dull, grey days can work well
too, especially for minimalist images.
Early morning and late afternoon are
generally the best times to shoot snow.
The sun will be low in the sky so it casts long
shadows, which add interest to your images
and also reveal texture in the snow.
Use footprints, fences, walls and other
features to break up the foreground, but
tread carefully when you reach a promising
location so you don’t ruin the foreground
with your own boot prints. It’s no big deal to
clone them out and, in some cases, a neat
line of footprints can make an effective
lead-in line, but if you’re not sure where
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to shoot from initially, it’s best if you walk
around the perimeter of the scene.
Black Rock Cottage, Rannoch Moor, Scotland
On this morning, the mercury had dipped to -10°C.
It was bitterly cold, but the conditions suited the
location perfectly – and there was no danger of the
snow melting any time soon.
Canon EOS 5D MkIII with 24-70mm lens,
ISO 200, 1/8sec at f/11

3 HEAD FOR THE HILLS

For the ultimate winter landscape experience,
take yourself off into the wilds. In exposed
upland areas, the weather tends to be more
severe and temperatures lower so that’s where
you’ll bag your hardcore images. The Lake
District, Yorkshire Dales, Peaks, Snowdonia,
Cheviot Hills and anywhere in the Scottish
Highlands is worth a visit. Coastal regions can
also be productive during the winter, but the
influence of the sea usually keeps temperatures
higher, so the likelihood of snow is reduced.

Glencoe, Scotland
The snowy mountains against the stormy sky caught
my eye while I was shooting on Rannoch Moor, so
I fitted a telezoom to my DSLR and homed in
on the most dramatic part of the scene.
Canon EOS 5DS with 70-300mm lens,
ISO 400, 1/500sec at f/5.6
 4

58
B+W

4 KEEP IT SIMPLE
Snowfall simplifies the winter landscape by obscuring details. Only big, bold features remain Rannoch Moor, Scotland
after heavy snow – trees, pylons, walls, telegraph poles, fence lines and buildings. Low-level This simple composition literally appeared before
features are buried from view. This provides the perfect ingredients for stark, simple landscapes. my eyes when low cloud dispersed and the mountain
Use a telezoom lens to isolate a single feature, such as a bare tree in the middle of a snowfield behind the trees appeared. I isolated the scene
or a fence arching over the top of a snow-covered hill. Try to distil the image until all you’re left with a 300mm focal length.
with are simple shapes and tones. It’s surprising how little you need to create a successful Canon EOS 5DS with 70-300mm lens,
composition, and the simplicity of the winter landscape is ideally suited to this approach. ISO 100, 0.8sec at f/16
5 WINTER EXPOSURE 5
Underexposure is common when shooting
snow or frosty scenes because your camera
tries to record the white as a midtone grey –
the ‘average’ tone it’s calibrated to correctly
expose. To prevent this, you need to increase
the exposure. The amount varies depending
on the situation, but what you must avoid is
overexposing the snow, otherwise it will come
out pure white with no detail recorded.
Increase the exposure in 1/3-stop increments
using your camera’s exposure compensation
and check the histogram for each shot as
well as the preview image. You’ll see the
histogram gradually shift to the right. Keep
increasing the exposure until the histogram is
as far to the right as you can get it before the
brighter highlights start to overexpose. In some
situations, you may reach this point with 2/3-1
stops of exposure compensation, but in others
you may need to increase the exposure by
more than 2 stops. It doesn’t matter how much
you increase the exposure by, providing you
don’t blow the highlights.

‘Underexposure is common
when shooting snow or frosty
scenes because your camera tries
to record the white as a midtone
grey – the ‘average’ tone it’s
calibrated to correctly expose.’
59
Budir Church, Iceland B+W
As most of this scene features snow, I needed to dial
in 1.5 stops of exposure compensation to prevent
the image from being underexposed.
Canon EOS 5DS with 24-70mm lens,
ISO 400, 1/100sec at f/11

6 CRACKING UP
After a freezing-cold night, a sheet of ice often
forms over still water in lakes, lochs, ponds and
puddles and offers great potential for pattern 6
and detail images. Trapped air forms millions
of tiny bubbles while the movement of water
as the ice forms results in graceful curves and
swirls in the ice. The repeated freeze-thaw
that occurs as temperature rise during the day
also creates amazing patterns that resemble
shattered glass, and one stretch of riverbank or
lakeshore can be the source of many different
images. A macro lens is ideal for real close-
ups, but a standard zoom or a 50mm prime
lens also works well. Just one obvious word of
warning – people die every winter when they
fall through ice into freezing water, so don’t take
unnecessary risks for the sake of a photograph.

Loch Awe, Scotland

I had gone to this location to photograph Kilchurn
Castle at dawn, but got distracted by the amazing
ice patterns at the edge of the frozen loch.
Canon EOS 5DS with 70-300mm lens,
ISO 100, 1sec at f/45
 7 7 FADING AWAY
Mist and fog add a sense of mystery to
the landscape and reduce bold features to
simple shapes. Roads and railway tracks
fade into the gloom, dog walkers appear
then disappear as if by magic and sea
and sky merge into one grey mass. Thick
fog also saps the saturation from a scene
and renders us all colour blind, so it’s the
ideal weather for black & white. Look for
repetition in the scene, such as avenues of
trees, jetties and piers, lines of telegraph
piles or pylons, so you can capture the
effect of them fading away. Use a telezoom
to emphasise the effects of mist and fog
by homing in on more distant parts of the
scene and compressing perspective so
the layers of tone appear closer together.
Alternatively, use a wideangle lens to include
foreground interest. Features close to the
camera will be clearly visible even in fairly
dense fog, so you can capture plenty of
detail while everything else seems to fade
into oblivion.

‘Look for repetition in the

scene, such as avenues of
trees, jetties and piers, lines
of telegraph piles or pylons,
60 so you can capture the effect
B+W
of them fading away.’

Port Navas, Cornwall

This location is just a few minutes from my home,
so when a foggy morning was forecast, I wandered
down nice and early and made the most of conditions.
Canon EOS 5DS with 16-35mm lens,
ISO 100, 1/8sec at f/8

8
8 FOREGROUND INTEREST
Nothing beats a big, dramatic wideangle
scene for capturing the drama and beauty
of winter, so keep your eyes peeled for
suitable candidates. Foreground interest
is particularly important. Look for snow-
covered boulders, footprints in the snow
and patterns in ice or water flowing around
frozen rocks, then get in low and close with
your widest lens to exaggerate perspective.
If you stop down to f/11 or f/16, you’ll be able
to record the whole scene in sharp focus. For
added drama, turn your camera on its side
and shoot in portrait format.

Rannoch Moor, Scotland

The moorland stream provided ideal foreground
interest in this composition, carrying the eye into
the scene towards the tiny hut in the distance.
Canon EOS 5DS with 16-35mm lens,
ISO 100, 1.6secs at f/11, 0.6 ND hard grad
 9

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9 WATCH THE WEATHER

I’m an obsessive weather forecast checker
throughout the year, and winter is no exception.
Landscape photography relies so much on
the weather, and knowing how it’s likely to be
will help steer you towards a particular type
of location, or get you thinking about specific
types of shot. I visit metoffice.gov.uk, xcweather.
co.uk and metcheck.com and compare the
forecasts. Overseas, I’ll use local weather
forecasting services. If a clear night is predicted,
that means temperatures will drop and there’s
a good chance of frost the next morning, which
makes an early start worthwhile. If cloud is
predicted and the temperature isn’t likely to drop
below freezing, a frosty covering is less likely.
Near Snaefellsnes, Iceland
I captured this simple scene from the roadside, while
driving from Reykjavik to the remote Snaefellsnes
Peninsula. Iceland is always a great winter
destination – the clue’s in the name!
Canon EOS 5D MkIII with 70-200mm lens,
ISO 400, 1/400sec at f/5.6

10 DRESS CODE 10
The best method of staying warm and dry
in winter is to wear lightweight thermal
layers followed by a long-sleeved shirt or
lightweight fleece, a heavier fleece or down
jacket, and finally a decent wind/waterproof
jacket. Avoid jeans and instead wear thick
cotton or thermal trousers. Wearing a hat not
only keeps your head warm but your whole
body, as less heat will escape, while gloves
and boots will take care of your extremities.
In wet or freezing weather, wear waterproof
overtrousers.

Haukadalur Valley, Iceland

Wearing the right gear when you’re shooting in
winter is essential. The cold can creep in very quickly,
and it’s hard to concentrate when you’re frozen.
Canon EOS 5D MkIII with 17-40mm lens,
ISO 400, 1/640sec at f/8
 TECHNIQUE
NEW SERIES
BEYOND THE RULE OF THIRDS: THE GRID
timdaly.com
Welcome to a new four-part series exploring the traditions and techniques
Images ©Tim Daly
of composition. Tim Daly helps you get the measure of framing grids.
s Edward Weston once principles before we start breaking the rules. not benefitted from a traditional art and

A
remarked: ‘Consulting the
rules of composition before
taking a photograph is like
consulting the laws of gravity
before going for a walk’. Like
Weston, I’m ambivalent to the importance
placed on Renaissance-era composition
grids, but it’s best to understand their
While digital photography has made
it easier for us to understand the basics
of shooting and editing images, our
visual skills and knowledge of framing
and composition has remained largely
based on two fairly ancient schemes:
the rule of thirds and the golden ratio (or
section). For many photographers who’ve
design background, these rules can
seem baffling, arbitrary and irrelevant.
Few of us explore alternative visual
techniques employed by lesser-known
photographers and visual artists, so for this
project, I’m going to encourage you to refresh
your approach to composition through
practical shooting and reviewing tasks.

1 INFORMAL PRACTICE
REALLY HELPS
Having looked at paintings and photographs
for over 50 years, I’ve absorbed, adapted and
downright stolen many great compositional
schemes. A great way to improve your own
knowledge is to get into the habit of making
informal shoots, much like an artist treats
drawing as a preparation for painting. Keeping
up your creative fitness is what it’s all about,
not seeking perfection. Shoot this assignment
in your garden, local park or high street and
focus on experimentation. An even easier
method is to use your smartphone together
62 with a 3x3 grid overlay to practise composition
B+W
in a more informal, less pressurised manner.

SECTION 1:
GRID SYSTEMS TO EXPLORE
INSPIRATIONAL QUOTE 1 GOLDEN RATIO/SECTION
‘Self-conscious artiness is fatal, but it certainly would not hurt to study OR FIBONACCI SPIRAL
Perhaps the most baffling to non-
composition in general. Having a basic understanding of composition
mathematicians is the golden section – that
would help construct a better organised image.’ beautiful but slightly unsettling spiral often
Berenice Abbott seen online overlaid above images of the
Mona Lisa or the Parthenon. The scheme
2
isn’t intended to provide us photographers
with a compositional grid, although there are
plenty of images on the net that have been
retrospectively measured against it (many
rather bafflingly using distorted or cropped
spirals to better argue their case).
Without delving too deep into the underlying
geometry, the ratio is effectively a rectangle
divided into a square, with the remainder also
subdivided into a square and so on, producing
a ratio of 1:1.6. Of course, the aspect ratios of
our modern-day DSLRs are different at 1:1, 3:2,
4:3 and 16:9, so arguably the two schemes can
only be fully unified by post-process cropping
(see Section 3). Above all, the golden ratio
is about proportion and volume rather than
positioning at intersections, as this uncropped
example shows, broken down into a square on
the right and a thinner column on the left, itself
further subdivided into a smaller square.
 3 4

2 GOLDEN TRIANGLE
A much lesser-known grid is called the golden
triangle. Here, the rectangular frame is sharply
divided by a diagonal line running from opposite
corners. Next, two further diagonals are drawn
from the two remaining corners at right angles
to the diagonal. This grid is especially useful
for street or event photography or any situation
where there is a dynamic interplay between
shapes and lines. As this situation moved into
place, I adjusted my shooting position to take
advantage of the diagonals. By lining up the
subjects against the grid as far as possible,
I was able to turn a static, posed scene into
a much more interesting shot.
artist’s frame is divided into two overlapping
squares, each of which is subdivided by two
diagonal lines into four equal triangles. The
scheme isn’t proposed as a compositional
framing device, instead Westhoff claims
many well-known artworks contain important
elements placed on the diagonals. It’s
a fascinating theory and one that you
could easily look for in your own library
of photographs, like this example using
Lightroom’s similar Diagonal grid.
5 DYNAMIC SYMMETRY
Perhaps the most complicated scheme of
all is called dynamic symmetry, a complex
grid scaffolded by multiple diagonal lines and
triangles. Looking at first like a string artwork
from the 1970s, this grid contains the most
63
B+W
lines of all and can be visually distracting
in use. Essentially, it’s a guide to achieving
symmetry across multiple zones in your image
and can be terrific fun to play with, especially
when shooting scenes out on location, as
this example shows. Set as a DIY overlay in
camera, dynamic symmetry is incredibly
useful if you are shooting interiors or studio
still life, as the grid lines tell you exactly where
to position props and objects.

3 RULE OF THIRDS
Much used by artists and draughtspersons
over the centuries, the ancient rule of thirds
offers a simple but structured way to organise
your photographs. The rule dictates that
an image should be divided into nine equal
sections, using two horizontal and two vertical
lines, with the most important elements
arranged at the intersections of these lines. In
principle, this sounds much more complicated
than it is in practice, but if you can lock the
main elements of your image on to any one
of these points, you can be guaranteed an
effective and pleasing result like this. However,
not all intersectional points need be filled.

4 DIAGONAL METHOD
This alternative to the rule of thirds was
developed by Dutch teacher and photographer
Edwin Westhoff. Here, the rectangle of the 5
 SECTION 2: SHOOTING WITH GRIDS
Improve your compositional awareness by practising with grids.
1 WITH A SMARTPHONE
If you’ve got a basic smartphone, chances
are it’ll have a simple grid overlay that you can
easily switch on. For Android phones, go to
Camera > Settings > Grid Lines. For iPhones,
go to Camera > Settings > Grid. Usefully, when
you change the capture ratio settings (e.g.
from 4:3 to 16:9 or wider), the gridlines adjust
64 to the new shape. As smartphones have much
B+W
higher-quality displays than the rear monitors
on our DSLRs, they offer a great way to practise
screen-preview shooting as an alternative
to squinting through your DSLR viewfinder.
2 WITH A DSLR
Like the etched ground-glass viewing screens
of vintage field cameras, many modern-day
DSLRs provide screen overlays so you can
2 3
better compose your scene. Best viewed on tempered glass or peel-off clear plastic. With
your DSLR’s rear LCD preview screen, search the screen protector affixed, switch the camera
for Framing Grid (Nikon), Grid Display (Canon) on and with a fine permanent marker, place a
or Grid Line (Sony) in your camera settings dot in each corner of your chosen aspect ratio.
menu. Some cameras, such as Panasonic’s Next, draw a rectangle from the dots and then
S1 (Sheer Overlay) and Nikon Z bodies draw your desired grid overlay on top. Great
(Multiple Exposure > Overlay Shooting), even for exploring lesser-known grids such as the
allow you to use your own images as custom golden triangle and dynamic symmetry.
viewfinder overlays. Make these active and
compose your scenes using the grids as a
guide. This Nikon Z 5 has a 4x4 framing grid.
3 DIY OVERLAYS
If you like improvising with more complex grids,
a good way to explore these is to modify a
screen protector on your smartphone. Available
from all internet auction sites for a couple
of pounds, protectors are made from thin
SECTION 3: POST-PRODUCTION GRIDS
Lightroom Classic has a largely hidden cropping grid to help you review or rejig less-than-perfect compositions.

1 2 3

1 LIGHTROOM GRIDS ‘Consulting the rules of composition before taking a photograph

Lightroom has numerous useful crop-overlay is like consulting the laws of gravity before going for a walk.’
modes, which are accessible only in the
Develop module. You’ve probably never seen
this aspect of Lightroom Classic before, or
perhaps switched it on by mistake. In the
Develop module, choose the Crop Overlay tool,
then nudge any corner or handle in the image
if the overlay doesn’t immediately appear.
You’ll see the default grid/square mesh pattern
appear as an image overlay, as in this example.

2 CROP-GRID OVERLAYS
To change the grid style, go to Tools > Crop
Guide Overlay and select one of the eight
options from Grid, Thirds, Diagonal, Centre,
Triangle, Golden Ratio, Golden Spiral or Aspect
Ratios (the latter is mostly used for unifying a
65
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set of images to a fixed proportion). You can
also use a keyboard shortcut (O) to cycle grid
overlays one after another and also Shift + O
to reorientate the overlay, the latter especially
useful for the golden spiral.

3 EXPLORE YOUR IMAGES

WITH DIFFERENT GRIDS
A great way to review the compositional
strengths and weaknesses of your back
catalogue is to review them using one of the
overlays. You may discover that your strongest
images adhere to one of these grids, or you
may be able to refine your camera composition
by software cropping. As you drag the Crop
Overlay tool, the overlay shrinks and adapts
to fit the new version you have created.

4 FINAL OUTCOME
For this task, I’ve reviewed some of my existing
images and found some surprising results, like
this shot which seemingly fits perfectly into
the golden section.

USEFUL RESOURCES
James Cowman’s informative website has a
free downloadable set of dynamic symmetry
grids – over 200 in total –and they are great
fun to play with in Photoshop or Lightroom.
the-art-of-composition.com
Edwin Westhoff’s diagonal method
diagonalmethod.info 4
 COMMENT
A FORTNIGHT AT F/8
A bittersweet moment of clarity sees Tim Clinch ignore his own advice
All images and eschew his professional persona in favour of a more personal
© Tim Clinch
approach that allows his inner artist to roam freely.
ou’ve all known me strange noises I now make particularly badly affected. I’d been recommended to a

Y
a long time now
and I like to think
that while I may
very occasionally
seem a little
grumpy and curmudgeonly, I
hope I have never come across
as a moaner and never (in this
column at least) been prone to
self-pity or wasted any words
on you while freewheeling
down Poor Little Me Street.
But a few things that have
been happening recently
have left me feeling a little
melancholy and contemplative
about my life in photography.
First of all, I’m getting
older. It’s something that is
happening to all of us and the
changes that it brings about
are a constant surprise. I’m
66 not talking about the physical
B+W
side: the aches and pains, the
when bending over to tie my In fact, it’s been almost client by someone I’ve worked
shoelaces, the inability to drink impossible. In-flight airline with for many years for a
as much as I once did. No, magazines, for many years one five-day interiors/lifestyle/
I’m talking about my attitude of the mainstays of my picture advertising shoot at a big and
to photography; my attitude sales, have pretty much ceased very glamorous marina in the
towards what, for all my to exist. I have wasted a lot of Adriatic. Organising it seemed
working life, has been my job. time wondering whether I’ll to take forever and there were
Bear with me for a minute ever get commissioned for a big endless Zoom meetings with
or two. I’m not expecting any job again; whether I’ll ever get very earnest young people, all
sympathy, but times during that buzz I’ve always got when with different ideas for the
Covid have been tough. someone trusts me enough shoot. There were discussions
Everyone has been badly professionally to handle a big with the producer about my
affected. Photographers, budget, organise a complicated lighting requirements, choice
especially ones like myself shoot and deliver the results of models, styling options,
who specialise(d) in travel exactly as the client wanted. choice of locations etc. I went
photography, have been Well, imagine my surprise into professional mode (this
particularly hard hit. Travel recently when a big job did was, after all, something I’d
itself, obviously, has been finally come my way again. done countless times before),
safe in the knowledge that it
‘It was sometime in the morning of day two that would all be fine. I flew down
the realisation hit me: I’m done; through with it. to the location, installed
myself into my hotel and had
In the words of the wonderful song by one of a couple of drinks with the
my heroes, BB King, ‘The Thrill is Gone’.’ (charming) clients and crew.

I
t was sometime in the
morning of day two that
the realisation hit me: I’m
done; through with it. In
the words of the wonderful
song by one of my heroes, BB
King, ‘The Thrill is Gone’.
In the classes that I run online
with a fellow photographer
friend (two-photographers.com),
I am always banging on about
how, as photographers, we don’t
actually learn that much just by
taking pretty pictures. That’s
the easy part. We learn and
improve by pushing ourselves,
taking pictures we would not
normally take and getting
out of our comfort zones.
However, as I took another
picture of a load of perfectly
dressed models pretending to be
millionaires swanning around
timclinchphotography.com | @clinchpics | clinchpics
67
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on the deck of a superyacht I watched the stylists running as the make-up ladies fussed
clutching their perfectly styled around ensuring that the and fretted, touching up lips
G&Ts and chatting away like jumper draped casually round and eyes as they went, I realised
they were all the best of friends the shoulders of one of the that, possibly for the first time,
even though they’d all just met male models had just the right I didn’t want to be doing this.
up an hour previously, and as amount of casual elegance and So, I am not in any way falling
out of love with photography
THE PICTURES – far from it, it is my lifelong
This month’s selection is from the shoot I mentioned in the main text passion – but if the experience
(as are the pictures in my column about smartphone photography with Covid has taught me
on page 72). I’ve always struggled with the difference between my anything it is that I have spent
personal life and my professional life. When I’m working, I often far too long taking pictures
photograph luxury and privilege, but in my personal life, I live in a tiny I don’t like, or (whisper it)
village in the foothills of the Balkans in Bulgaria and am never happier sometimes even care about,
than when out walking with my dog. other than professionally, and
These pictures remind me of something my great friend John Mason from now on I will be firmly
would say. John was a car photographer, which, like what I do, can ignoring my sage advice and
sometimes be glamorous but often means a lot of standing around in concentrating on what I and
car parks waiting for the rain to stop. I’ve visited John on location many I alone want to do. Behind this
times and as the hours drag by and the rain keeps on falling, there hard-bitten professional facade
will inevitably come a point when he will look my way despairingly as is an artist struggling to get out
everyone realises they are probably not going to get the shot done and he needs all the help and
today and utter the immortal words, ‘You see life in this job, man.’ encouragement he can get!
 INSPIRATION
ONE-DAY PHOTO
A CRAFTY CONNECTION
PROJECTS Searching for the vital link between individuality and community, Eddie Ephraums
All images concludes that collaboration is the key to unlocking new skills and achieving levels
© Eddie Ephraums
of refinement that would otherwise be beyond our abilities.

T
his month’s project
looks back on a
pre-Covid one-day
location shoot on
the Isle of Harris in
the Outer Hebrides.
The photographs are about
the craft of weaving tweed and
its connection with the local
environment. Revisiting these
images has got me thinking
about craft and the loss I
sometimes feel for traditional
analogue photography. The
darkroom was a very hands-on
environment that informed my
image making. In comparison,
I’m wondering what role
craft plays in today’s digital
photography and in what
way, like tweed, it weaves a
connection with our subject.
While the arrival of digital
inkjet printing brought about
the demise of traditional
analogue print making, so the
introduction of short-run digital
printing presses introduced
affordable photobook making.
For many photographers
like me, producing one-off,
handmade or short-run books
has taken the place of the
darkroom. The crafted stages
of book making provide that
vital, holistic connection with

68
B+W

The inspiration
A Harris Tweed loom in action. The cloth is produced in a rugged landscape that provides both the raw woollen material and the inspiration for the fabric’s many designs.
The practice of weaving makes me think about the role of craft in today’s photography and how the traditional darkroom processing used to inform and feed back into
my image making. In contrast, watching a print come out of an automated inkjet printer can feel somewhat detached.
 69
B+W

The Idea
Many of Harris Tweed’s designs are influenced by the local environment and the elemental forces that shape it. I wanted to reflect this in my landscape images here,
using movement to emphasise those processes at work and to echo the action of the weaver’s loom. If a location such as this were to inspire a tweed design, what
would that pattern look like? While photography tends to represent the world literally, tweed does so in an abstract manner. What might we learn from this?

image making that also puts ‘I’m wondering what role craft plays in today’s making, I also find myself
a personal stamp on what is now collaborating with other
produced. Craft also makes it
digital photography and in what way, like tweed, people and my craft has
hard for others to simply copy it weaves a connection with our subject.’ greatly benefitted from this
our efforts, should they wish less individual approach.

to do so.
Just as analogue
photographers had to evolve
their photographic practice in
response to digital, so Harris
Tweed making has had to
respond to changing times.
Originally, the tweed was
valued most for its functional
qualities, but its warm, rugged
and waterproof attributes didn’t
speak to changing demands in
fashion. The cloth has found
new ways to place itself in a
worldwide market. Some of the
highly original designs have
even become part of a catwalk
couture that values craft and
authenticity over surface image,
and just like tweed, fashion is
looking to be more in tune with
the environment.
T
here are useful lessons
to be learned from
Harris Tweed that can
be applied to today’s
photography. Like many of
us, weavers work alone from
home, but the process involves
a community of dyers, blenders,
carders, spinners, warpers,
finishers and inspectors of
the cloth. With photobook
The printer I work with has
an intimate understanding
of his digital printing press
that allows me to experiment
with unusual papers. His
knowledge has also enabled me
to combine unlikely papers with
unconventional ways of running
the machine. The result is
bespoke solutions that I could
›
not have achieved by myself.
70
B+W

The Realisation
Digital photography, and in particular computer post-processing and automated inkjet printing, has removed much of the time-consuming and sometimes unpredictable elements
of photography. Some would say this is for the better. But in trying to make things easier, has digital removed a very human need to be physically engaged with our creative practice?
And just like Harris Tweed, might our best images come from a more intimate – physical as well as mental – relationship with the world we photograph?

› Similarly, working with
an expert typographer has
introduced a new level of
refinement to the important
design aspect of my photobook
making. The typographer might
see something in my layouts that
needs emphasising or altering to
properly reflect what I am trying
to communicate. All of this is
for the better, like working with
a binder who knows precisely
which glue to use for which
particular job and why.
‘I wonder about the usefulness of yet more
images of faraway places or whether they
merely satisfy a personal desire to travel.’
And what about Harris
Tweed’s all-important
connection with place? In these
hopefully post-Covid times,
it has become easier for us to
travel with our cameras again.
But like many photographers
in these more climate-aware
times, I find myself asking the
question: in what circumstances
is it appropriate to travel for
our photography? I wonder
about the usefulness of yet more
images of faraway places or
whether they merely satisfy a
personal desire to travel.
I’d be the first to say it can
be very stimulating to travel.
However, it’s easy to confuse
this sense of excitement
with a genuinely informed
engagement with the subject,
like a traditional weaver has
between their craft and their
surroundings. If we follow their
lead, we will create uniquely
crafted images that are as
intimately connected with place
and as individual as the cloth
designs they produce.
envisagebooks.com
SUTHERLAND & CAITHNESS – PORTFOLIO WORKSHOP

how do you see the world?

The perfect opportunity to develop

your skills and express your vision

Open Studio Workshops

Feb 22-27, 2022 Nothing matches the
A PERSONAL APPROACH TO PRINTING creative buzz and
collective experience
EDDIE EPHRAUMS & ADRIAN HOLLISTER
of a small group OSW
residential workshop
Feb 28-6 Mar, 2022
Set up by EDDIE EPHRAUMS
SUTHERLAND & CAITHNESS – PRINT PORTFOLIO WORKSHOP and ADRIAN HOLLISTER, our
EDDIE EPHRAUMS & ADRIAN HOLLISTER unique range of outcome-
based workshops cover the
practical, creative and aesthetic
Oct 17-23, 2022 considerations of being a
photographer. You will be inspired,
ARDNAMURCHAN PENINSULA – PRINT PORTFOLIO WORKSHOP motivated, encouraged and
EDDIE EPHRAUMS & ADRIAN HOLLISTER pleasantly challenged.

I O WO
UD R
T

KS

Visit our website for a full list of workshops

PEN S

OS W
HOPS –
–O

www.openstudioworkshops.com SC
info@openstudioworkshops.com OTLAND
 TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
Ever felt the urge to add a flock of ducks to your images at the touch of
All images a button? Tim Clinch has – and he’s regretted it ever since. Thankfully,
© Tim Clinch
phone photography has come a long way in the intervening six years.

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THE PICTURES

T
here are few things I’m
ashamed about from
my time working for this
wonderful publication, but
one thing I wrote about at the dawn
of this column around six years ago
still leaves me feeling very uneasy.
In those six years, things have
changed substantially in the world
of smartphone photography. When
I started, it was all about apps,
seemingly fiendishly clever things
that could make your pictures look
like something they weren’t. You
could make your portraits look
like old sepia ‘Wanted’ posters
from your favourite Western. You
could make your landscapes look
like they were painted by Van
Gogh on old sacking. There were
apps for all sorts of nonsense
that made your photos look like
one thing and one thing only:
iPhone pictures. Back then,
the mobile photography world
could be pretty much summed
up in one word: gimmicky.
photography changed, but lenses
Not what I would have chosen, but what my client wanted, they are have also made leaps and bounds
all before-and-after pictures with flare added in afterwards at the as well. I pointed my cameras
post-production stage using the Lens Flare Optical Effects app. directly into the bright sun and…
Do I like them? Not really, but the reality of being a working nothing. Zilch. Nada. Barely a
photographer is that you are very seldom shooting for yourself. hint of flare from iPhone, Huawei,
Canon or Fuji. Lenses these days
Over the years, we have all jobs on my iPhone, had several are just too good!
grown up a bit and, as the good magazine spreads and a handful What to do? Well, back in
book says, ‘Put away our childish of covers all using this remarkable the gimmicky days, I vaguely
things’. Anything I shoot on my capture device. remembered an app that added
iPhone these days can still be However, I recently came up all sorts of flare wherever you
summed up in one word, and against an unexpected problem wanted it. A quick Google search
I’m delighted to say that word which had me searching through found exactly what I was looking
is ‘photography’. all the apps I’ve deleted. I had for: an app called Lens Flare
After all these years, I have been commissioned to shoot Optical Effects was the answer to
narrowed the number of apps some pictures at a very exclusive my prayers. Cheap, effective and
I use (and have on my phone) yacht marina in the Adriatic. It easy to use, it did the job perfectly.
to four or five and 99% of the was hyper-expensive and hyper- Now, please remember, I was
pictures I take on my phone glamorous (all the things I am not), not taking these pictures for
can be described as straight and one of the things they were myself – they were what my client
photography, the thrill being the after for their social media were wanted (don’t ask why, the world of
constant availability, the ease pictures with flare, the well-known commercial advertising works in
of use, the brilliant processing sunburst effect we all know from mysterious ways) – but if you ever
software (Snapseed, of course) shooting directly into the sun. do need or want to add flare to your
and the ability to share my work Simple, I thought. I was wrong. images, it works a treat. Frankly, I
instantly. I have shot several Not only has phone will probably never ever need to do
 timclinchphotography.com | @clinchpics | clinchpics

73
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this again, but should you insist,
there is almost certainly an app for
everything under the sun.
So, back to the first sentence and
the thing that I still cringe about…
Well, dear reader, there was an
app in those days, hopefully long
forgotten, called Add Birds, which
enabled you to add to your picture,
at the touch of a button (and this
gives me a chance to use all
these collective nouns which are
so marvellous), a flock of ducks, a
murmuration of starlings, a colony
of gulls or an exultation of larks.
It was truly a dreadful thing
and I apologise unreservedly for
mentioning it or even (heaven
forfend) suggesting you might
use it. My only defence was that
I tried to mention a few new apps
every month and must have been
seriously scraping the bottom of
the barrel. Please forgive me!
 SMARTSHOTS
Whatever camera you
have, we want to see
the pictures you take
when the moment
is right. We have
three Samsung
EVO Plus 64GB
MicroSDXC cards
with SD Adapters
(worth £25.99)
which have up to
100MB/s Read and
60MB/s Write speed to
give away each month
to three winners.

74 NOW OPEN TO ALL PHOTOGRAPHERS

B+W

WINNER © VARDHAN ADITYA

© MARK STEVENS WINNER © BOB ST-CYR
75
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© STEVE BOWERMAN © VARDHAN ADITYA

 © ANETE LUSINA © PAUL RAY

76
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© ANTJE FINDEISEN
 77
B+W

WINNER © DEVANSH KULHARIA

© DAVID DENAGEL © PATRICK MANN

SUBMIT YOUR PICTURES

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

samsung.com/memorycard
 YOUR B+W SALON
In our search for some of the best work by Black+White aficionados
we discovered Karol Srnec’s work. He captured these charismatic
and emotional portraits of local and exotic birds on the banks of the
Little Danube and in Bratislava Zoo, Slovakia.

78
B+W

I have been a photographer for more than 25 years and love black & white photography.
I always entertain the idea of converting my colour images to black & white, which seems
to elevate them into a more pleasing picture. Until recently I worked as editor-in-chief of
the internet portal ephoto.sk. However, along with so many people, my situation changed
dramatically through the Covid pandemic, and I am now building my own photography business.
I like to test out new equipment along the banks of the Danube and Little Danube. In the heart
of Bratislava the rivers are places of natural refuge, with visiting pelicans, swans and ducks.

All images © Karol Srnec | karolsrnec.sk

79
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80
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81
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82
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SUBMIT YOUR WORK TO SALON
We are looking for stories told entirely in pictures. If you think you have
just that, submit a well edited set of between 10-15 images online
83
B+W
at blackandwhitephotographymag.co.uk.
Turn to page 90 to see how you can submit your work.

INSTAX LINK WIDE PRINTER
If you’d like to share your monochrome work
instantly, then Fujifilm’s Instax Link Wide printer
is a quick, easy and high-quality solution. Aimed
at smartphone users and photographers, prints
can be made via the free Instax Link app, and
emerge at a decent 62x99mm within black or
white 86x108mm borders. The printer is also
84 compatible with Fujifilm’s own cameras, including
B+W
the recent X-S10. Using Instax Wide film, the
Link Wide prints in around 12 seconds and will
produce about 100 prints per battery charge.
£129.99 instax.co.uk
NIKON Z DX 18-140MM
F/3.5-6.3 VR
This all-in-one zoom for Nikon’s crop sensor
(DX) mirrorless Z cameras offers an equivalent
24-210mm view and weighs just 315g, making
it a great partner for the lightweight Z 50 or Z fc
bodies. It’ll also mount on full-frame (FX) bodies,
although at reduced resolution thanks to the
smaller image circle created. The 7.8x zoom
range is certainly versatile, and it can deliver a
close focus of 20cm wide or 40cm telephoto,
while 5-stop vibration reduction allows sharper
pictures without the need for IBIS.
£599 nikon.co.uk
WONDERLAB FROM
ANALOGUE WONDERLAND
Previously reported, but well worth a reminder,
Analogue Wonderland’s new WonderLab is
now open. Alongside its original services,
supplying rare and niche films to enthusiasts,
the WonderLab offers a range of developing
and scanning options, including C-41 and B&W
for 110, 120, 35mm and disposable cameras,
with more to come, including E6. Orders are
completed using a free tracked postage service,
but if you live near High Wycombe, you can also
drop them off at the store and say hello.
From £6 analoguewonderland.co.uk
TESTS AND PRODUCTS
BLACK+WHITE
LOVES
BENRO ROADTRIP PRO
For greater stability and versatility on your
NEW PHOTOGRAPHY travels, check out Benro’s new RoadTrip Pro
GEAR IN THE SHOPS tripods. These 6-in-1 models can be used as
a tripod, monopod, selfie stick, a full-height
AND ONLINE stand or as a ground-level or tabletop support,
the latter coming via an internal low-level leg
set, stored in the centre column. Available in
aluminium (£170) or carbon fibre (£225) and
weighing 1.37kg and 1.64kg respectively, they
have a maximum capacity of 8kg. Top height
is 152.5cm, folded length is just 38.5cm
and they come in black, silver or blue.
uk.benroeu.com
WD ELEMENTS SE SSD
If you’re on a short photo trip away from home,
backing up is important, or you might need
large files to work with on the move. Either
way, Western Digital’s Elements SE Solid State
Drive could be a great solution. Measuring just
64.5x64.5x8.7mm and weighing 27.2g, it’s
genuinely pocket sized, but fast and affordable,
with read speeds up to 400MB/s – much
faster than a traditional HDD – and capacities of
480GB, 1TB and 2TB. It’s pre-formatted for Mac
and Windows and comes with a USB 3.0 cable.
From £89.99 shop.westerndigital.com
TTARTISAN LIGHTMETER
Fans of keeping their photography as traditional
as possible should check out this hotshoe-
mounted lightmeter from TTArtisan. As you’d
expect, the meter has dials for ISO, aperture and
shutter speed, and a series of LEDs indicate
when correct exposure has been set. These
dials run from ISO 25-6,400, f/1 to f/22 and 1sec
to 1/2000sec respectively. Made from aluminium
and with a 60-hour battery life, it measures
40mm square and 13mm high and comes in
either silver of black to match your camera.
£65 ttartisan.myshopify.com
SONY A7 IV
Still arguably the leader in mirrorless camera tech, image stabilisation (IBIS) that offers up to 5.5
Sony has updated its ‘generalist’ full-frame range stops of advantage, and the body now features a
with the new A7 IV. The A7 models are designed fully articulated LCD, where the A7 III’s only tilted.
to offer an excellent mix of functions without the It has dual SD slots, one of which can also take a
specialised elements of the A1, A7S, A7R and A9 CFexpress Type A card, measures 131x96x80mm
series, but based on spec, the MkIV looks to be and weighs 658g, so should be a nicely portable
an incredibly capable camera in its own right. model. The A7 IV will be available from December
The A7 IV sees an upgrade in resolution – perfect for your Christmas list.
with a new back-illuminated 33MP sensor, up £2,399 sony.co.uk
from the 24MP chip on the MkIII. It also has a
85
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stated dynamic range of 15 stops, which is very
impressive. A new Bionz XR processor, the
same as used in Sony’s flagship A1, is also on
board, giving a native ISO from 100-51,200,
expandable to 50-204,800.
It can shoot at up to 10fps, and for AF it sports
759 phase-detection AF points covering 94%
of the frame, which functions with Sony’s Real-
time Eye AF mode for perfect focus in portraits
and candids. Bird and animal eye tracking has
been added to that mode, too.
For working handheld
in low light, the A7 IV
has five-axis in-body

SAMYANG AF
24-70MM F/2.8 FE
Celebrating its 50th year in optical design
and engineering, Samyang has launched a
landmark lens in the shape of the AF 24-70mm
f/2.8 FE. Designed for Sony E mount, this is the
company’s first-ever zoom and has a fast f/2.8
aperture. It fits both Sony full-frame and APS-C
format cameras, where it’ll give a 36-105mm
equivalent and uses a linear stepping motor for
smooth, quick and quiet AF. A useful minimum
focus of 35cm gives magnification at 0.27x. It’s
weather sealed, measures 128.5x88mm, weighs
1,027g and takes 82mm filters.
£829 samyanglens.com
 TESTS AND
PRODUCTS
CHECKOUT
With a focal length that roughly reflects the perspective of the human eye,
50mm primes also offer the benefit of fast maximum apertures.
Here’s our selection of nifty fifties to suit every budget.
SIGMA 50MM F/1.4 DG HSM ART
Pro-spec glass with numerous mounts
Taking its place in Sigma’s acclaimed Art series of professional-
level optics, the Sigma 50mm is available in a variety of mounts
including Canon EF, Nikon F, Sony E and L-mount for Sigma, Leica
and Panasonic full-frame cameras. Weighing 815g, the 50mm is a
solidly built optic that can take the rigours of everyday professional
use. A minimum focusing distance of 40cm means photographers
can get in close to their subjects, which is especially useful when
trying to capture cropped-in portraits.
Packing Sigma's HSM (Hyper Sonic Motor) technology for fast
and accurate autofocus, which broadens this lens’ appeal to
videographers as well as still shooters, the 50mm Art features 13
elements in eight groups to pack in SLD (Special Low Dispersion)
CANON EF 50MM F/1.4 USM glass to minimise axial chromatic aberration.
A rounded nine-blade diaphragm design means the Sigma
A golden oldie that still shines 50mm Art will offer plenty of attractive bokeh, especially when
While the EF 50mm f/1.4 may be as old as the hills, launching used at the maximum aperture of f/1.4. Photographers shooting
way back in 1993, it still offers Canon DSLR shooters a clever in high-contrast lighting will appreciate the inclusion of Sigma’s
compromise that bridges the gap between price and quality. Super Multi-Layer Coating technology, which reduces flare and
This is because while the lens costs under £400, it delivers an ghosting, while the professional-level credentials of the lens
ultra-fast maximum aperture of f/1.4, something rarely seen are backed up by its rugged construction which uses both a
in lenses at this price point. Featuring an eight-bladed circular high-precision brass bayonet mount and TSC (Thermally Stable
86 diaphragm for impressive bokeh, the EF 50mm switches up to Composite) to keep the lens light yet strong.
B+W
80mm when used on APS-C DSLRs such as the 90D and 7D MkII.
Despite the fast f/1.4 maximum aperture, the lens remains
lightweight, tipping the scales at just 290g and measuring 73.8 x
50.5mm. The USM in the lens’ name stands for Ultra Sonic Motor,
a nod to the speedy motor that controls the focusing mechanism.
This is a simple lens design with an AF/MF switch on the side
of the lens barrel and thin zoom ring. The 50mm f/1.4 does
includes a clever touch in the shape of a physical focus length
display which measures from 45cm (the lens’ minimum focusing
distance) to infinity. Remember, although this may be an older
lens and one for EF-mount DSLRs, photographers using newer
RF mirrorless cameras such as the R5 can add this optic to
their set-up by pairing it with an adaptor.

LIKES LIKES
Fast maximum aperture Impressive build quality
Value for money Acclaimed image quality
Lightweight Close minimum focusing distance

DISLIKES DISLIKES
Older motor design Heavier build

TECH SPECS TECH SPECS

Maximum aperture f/1.4 Maximum aperture f/1.4
Mount EF Mount EF, F, E, L, SA
Minimum focusing distance 45cm Minimum focusing distance 40cm
Autofocus Yes Autofocus Yes
Stabilisation No Stabilisation No
Filter size 58mm Filter size 77mm
Weight 290g Weight 815g
Guide price £389 Guide price £649
Contact canon.co.uk Contact sigma-imaging-uk.com
 FUJIFILM XF50MM F/1 R WR
Super-fast lens with super-large price
If you’ve got deep pockets and shoot with a Fujifilm camera, this
is the ultimate 50mm prime for you. Offering a game-changing
maximum aperture of f/1, this lens is a true bokeh monster and
will bring something different to your photography. When used
on a Fujifilm camera, the 1.5x crop factor turns this into a 75mm
optic, which will lend itself beautifully to closer portrait work,
such as headshots.
Making use of 12 elements in nine groups, and with one
aspherical element and two ED elements, Fujifilm’s 50mm f/1
is suitable for use by professional photographers. However, as
you’d expect, all that glass does increase its size and weight, with
the lens tipping the scales at 845g and measuring 87 x 103mm.
So, not the smallest or lightest 50mm for a mirrorless system,
but all is forgiven due to that extremely fast maximum aperture.
The lens’ professional credentials are further boosted by
the robust weather sealing around the moving parts of the
NIKON Z 50MM F/1.8 S construction, so you can head out in poor weather with
nothing to worry about.
Full-frame option for Nikon users
This robust, solidly constructed lens from Nikon walks a bit of a
tightrope. Designed for use with the brand’s full-frame mirrorless
cameras such as the Z 7II, the lens delivers a high level of image
quality, albeit with a slightly slower maximum aperture than
some of its rivals.
The premium performance is helped by a construction that
includes two ED glass elements and two aspherical lens elements,
and the lens features an oversized focus ring that will help users
who have switched to manual focus. The 50mm also boasts Nikon’s
anti-reflective Nano Crystal Coat technology to reduce ghosting
and flare, and when the lens is used on a Nikon crop-sensor
87
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camera such as the Z 50, the focal length switches up to 75mm.
Autofocus is taken care of thanks to a stepping motor for a
fast and quiet operation and Nikon states that every moveable
part of the lens barrel is sealed to protect against dust and
moisture, so this is certainly a lens that can take the rigours of
everyday use. A lens hood is included in the box to add further
protection from the sun’s rays.
Tipping the scales at 415g, there are lighter 50mm primes
out there, but the form factor should actually balance nicely with
a full-frame mirrorless body without becoming front heavy.
Bokeh fans may bemoan the lack of a f/1.4 aperture, but the nine-
bladed aperture will still do a decent job and this lens is a true
workhorse that will deliver professional-level image quality.

LIKES LIKES
Huge focus ring Ultra-fast maximum aperture
Weather sealing Premium image quality
Premium image quality Weather sealing

DISLIKES DISLIKES
Slower maximum aperture A little pricey Expensive

TECH SPECS TECH SPECS

Maximum aperture f/1.8 Maximum aperture f/1
Mount Z Mount X
Minimum focusing distance 40cm Minimum focusing distance 70cm
Autofocus Yes Autofocus Yes
Stabilisation No Stabilisation No
Filter size 62mm Filter size 77mm
Weight 415g Weight 845g
Guide price £519 Guide price £1,480
Contact nikon.co.uk Contact fujifilm-x.com
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 CANON RF 50MM F/1.8 STM
Budget option for stills and videos
Proving that fast 50mm lenses don’t have to break the bank, the
RF 50mm is one of Canon’s newest optics and is designed for
use on the brand’s range of full-frame mirrorless cameras such
as the Canon RP and R6. Front and centre for this entry-level
Canon prime is the brand’s STM (Stepping Motor) technology,
which delivers smooth and quiet autofocus. Make no mistake,
the STM technology is now tried and tested and reinforces this
prime’s credentials as an excellent choice for videographers.
The RF 50mm tips the scales at 160g and measures 40.5mm,
which could prove especially useful for those who like to keep
their set-up lightweight. A seven-bladed circular aperture design
helps deliver impressive bokeh, although the entry-level nature
of the optic means the maximum aperture is limited to f/1.8,
which is slower than other lenses in this review.
Canon’s Super Spectra Coating on the lens elements aims
to enhance image quality and it should be noted the RF 50mm
offers an incredibly close minimum focusing distance of just
30cm. One major factor for those considering this lens will be the
price and at just over £200, nobody can argue that the RF 50mm
f/1.8 doesn’t represent excellent value for money.

SONY FE 50MM F/1.8

Small yet perfectly formed
This tiny prime stays true to the nifty fifty ethos that
photographers love. Small, lightweight and very affordable, this is
the sort of optic every photographer should have in their kitbag.
The FE 50mm f/1.8 is designed for full-frame Sony mirrorless
89
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cameras such as the new A7 IV, but can also be used on the
brand’s E-mount crop-sensor bodies such as the A6600, on
which the focal length switches up to 75mm. The small design,
which measures 59 x 68mm, is perfect for more compact Sony
bodies and tips the scales at just 186g.
Autofocus is powered by Sony’s DC motor drive system and the
simple construction includes an aspherical element to minimise
spherical aberration. The smaller filter size of 49mm means you
may have to fork out for some new filters, but at £160, this lens is
an absolute bargain. A seven-bladed circular aperture delivers
bokeh while the other end of the aperture range stretches all the
way to f/22, which is useful if you want to capture starbursts in
artificial light sources.

LIKES LIKES
Excellent value for money Fast STM motor
Simple design Value for money
Lightweight Lightweight dimensions

DISLIKES DISLIKES
Small filter size Slower maximum aperture

TECH SPECS TECH SPECS

Maximum aperture f/1.8 Maximum aperture f/1.8
Mount E Mount RF
Minimum focusing distance 45cm Minimum focusing distance 30cm
Autofocus Yes Autofocus Yes
Stabilisation No Stabilisation No
Filter size 49mm Filter size 43mm
Weight 186g Weight 160g
Guide price £160 Guide price £220
Contact sony.co.uk Contact canon.co.uk
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY

Visit our website

90
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SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

BL ACK+WHITE PHOTOGR APHY COOL, CRE ATIVE AND CONTEMPOR ARY

 LAST FRAME SMARTSHOTS

YOUR B+W LAST FRAME

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

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

96 74 NOW OPEN TO ALL PHOTOGRAPHERS © MARK STEVENS WINNER © BOB ST-CYR

75
B+W B+W B+W

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

HOW TO ENTER Find out more at

Go to our website: blackandwhitephotographymag.co.uk www.theprintspace.co.uk WINNER © VARDHAN ADITYA © STEVE BOWERMAN © VARDHAN ADITYA

Do you have a single image that you Shoot with any camera and send in your pictures – you could be one of three lucky winners
would like printed big and hung on your each month who wins a Samsung EVO Plus 64GB MicroSDXC card. Upload your pictures to
wall? Send the file to us and you could our website, via Twitter by tagging us @BWPMag and using the hashtag #smartshots. If you
win just that. are successful we will request high-res files.

91
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blackandwhitephotographymag.co.uk YOUR B+W SALON
In our search for some of the best work by Black+White aficionados we
discovered Karol Srnec’s work. He captured these charismatic and
emotional portraits of local and exotic bird life on the banks of the

FOLLOW US ON FACEBOOK Little Danube and in Bratislava Zoo, Slovakia.

facebook.com/blackandwhitephotog

FOLLOW US ON TWITTER
@BWPMag

FOLLOW US ON INSTAGRAM 78 79
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PRIVACY

If you win a prize (Last Frame or I have been a photographer for more than 25 years and love black & white photography.
I always entertain the idea of converting my colour images to black & white, which seems
to elevate them into a more pleasing picture. Until recently I worked as editor-in-chief of

Smartshots) you agree we can give the internet portal ephoto.sk. However, along with so many people, my situation changed
dramatically through the Covid pandemic, and I am now building my own photography business.
I like to test out new equipment along the banks of the Danube and Little Danube. In the
heart of the city the rivers are places of natural refuge with visiting pelicans, swans and ducks.

your contact details (address, email All images © Karol Srnec | karolsrnec.sk

and telephone number) to the prize

sponsor so they can contact you
about sending you your prize. They We are looking for contemporary black & white pictures
will not use your details for any other that tell a story about the world as you see it. Send us
purpose or pass them on to a third party. a well-edited set of between 10 and 15 pictures.
 ApertureUK
Aperture UK
17a&b Riding House Street, London, W1W 7DT. 020 7436 9844
17a&b Riding House Street, London, W1W 7DT. 020 7436 9844

Leica M10-R £7200 inc. VAT Leica M10-P Black or Silver £6490 inc. VAT Leica M-Monochrom (body only)
Black or Silver £7400 inc. VAT

Leica Q2 Monochrom £4990 inc. VAT Leica M-A Black or Silver £4100 inc. VAT Leica MP 0.72 Black Paint or Silver
£4100 inc. VAT

Leica SL2 £5300 inc. VAT Leica Q2 £4390 inc. VAT Leica D-Lux 7 £1030 inc. VAT

Special Bundle Deal

Leica SL2-S with 24-70mm f2.8 Vario-Elmarit-SL ASPH. RRP £6350 Now £5850
Leica SL2 with 24-70mm f2.8 Vario-Elmarit-SL ASPH. RRP £7700 Now £7200

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

www.apertureuk.com Tel: 020 7436 9844 Email: info@apertureuk.com

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

Pre-owned

Leica Cameras M Mount Lenses Cont.

Leica S (typ 007) body with AC-S Release Exc++ £3990 Leica 90mm f2.8 Elmarit Black Exc+ £350

Leica 35mm f2.5 Summarit-S CS + hood (boxed) Mint- Leica 90mm f4 Elmar Collapsible Exc++ £350
£2390
Leica 45mm f2.8 Summarit-S CS (boxed) Mint- £2390 Kinoptik Paris 100mm f2 Apochromat (Converted to M
Mount by us) Exc+ £3990
Leica 70mm f2.5 Summarit-S CS + hood (boxed) Mint- £1590
Mint-
Leica Screw Mount
Leica 180mm f3.5 Apo-Elmar-S CS + hood (boxed) £2390
Leica IIIg Chrome Canadian (Just been serviced by us) Exc++ £850
Leica Multifunction Handgrip S with Battery Exc £320
Leica IIIg Chrome Exc++ £750
Leica M-Monochrom (typ246) (boxed) Exc++ £3290
Leica I Black Paint with 5cm f3.5 Elmar (Nickel) Exc £990
Leica M6 0.85 TTL Black Mint- £2790
Leica IIIf Black Dial Exc+ £270
Leica MP 0.72 Black Paint (Boxed) Exc++ £3490
Leica IIIf R/D D/A just serviced by us Exc++ £420
Leica MP 0.72 A La Carte Black Paint (Boxed) As new £4290
Leica IIIc Exc++ £320
Leica M2 Chrome Exc+ £890
Leica 5cm f3.5 Elmar Red Scale L39 Exc++ £290
Leica Motor-M Mint £250
Nikon 5cm f1.4 Nikkor-S.C Nippon Kogaku L39 Exc+ £590
Lenses (M Mount) Leica 9cm f4 Elmar L39 in Lens keeper Exc++ £130

Contax 16mm f8 Hologon T* + V/finder & filter Mint- £990 Leica 9cm f4 Elmar L39 Exc+ £110

Leica 16-18-21mm f4 Tri-Elmar-M + Finder (boxed) Mint £3290 Leica 10.5cm f6.3 Elmar (Mountain-Elmar) + hood Exc £570

Leica 21mm f2.8 Elmarit-M ASPH + hood Mint- £1790 Leica 13.5cm f4.5 Hektor L39 - good optics User £80

Leica 21mm f3.4 Super-Angulon Black Exc++ £950 Leica R-System

Leica 24mm f2.8 Elmar-M ASPH + hood Chrome Mint £2990 Leica R9 (boxed) Exc+++ £850

Minolta 28mm f2.8 M-Rokkor + hood Exc £390 Leica R7 Black Exc+++ £420

Leica 28mm f2.8 Elmarit-M + hood 3rd Version Exc++ £790 Leica 28mm f2.8 PC-Super-Angulon-R Exc+ £790

Leica 28mm f2.8 Elmarit-M ASPH + hood 6 bit Exc+++ £1050 Leica 28-70mm f3.5-4.5 Vario-Elmar-R ROM + hood Mint £490

Leica 35mm T2 Summicron-C (Cine Lens) Mint £7900 Angenieux 35-70mm f2.5-3.3 (Leica R mount) Exc+++ £750

Zeiss 35mm f1.4 Distagon ZMT* Black Mint- £1050 Leica 35-70mm f4 Vario-Elmar-R ROM + hood Mint- £650

Leica 50mm f1.4 Summilux Chrome 2nd Vesion Exc+ £1350 Leica 50mm f1.4 Summilux-R 3 Cam Exc £990

Leica 50mm f2 Summicron Chrome Rigid Exc++ £1050 Leica 50mm f2 Summicron-ROM Exc+++ £790

Leica 50mm f2 Summicron-M Exc+ £950 Leica 60mm f2.8 Macro-Elmarit-R ROM (boxed) Mint- £690

Leica 50mm f2.8 Elmar Chrome scratchy front glass Exc+ £350 Leica 90mm f2 Apo-Summicron-R ASPH ROM “RARE” Mint- £2750

Leica 50mm f2.8 Elmar -M Black + hood Exc++ £550 Leica 180mm f2.8 Elmarit-R 3 Cam User £250

Leica 90mm f2 Summicron Chrome Canadian Exc+ £550 Leica 180mm f3.4 Apo-Telyt-R 3 Cam Exc++ £650

Leica 90mm f2 Summicron-M Built in hood (boxed) Exc++ £850 Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Mint- £2390

Leica 90mm f2 Summicron-M Built in hood Mint- £990 Leica Extender-R 2X Mint- £120

Leica 90mm f2 APO-Summicron-M ASPH Mint- £1990 Leica Motor-Winder R8 Exc++ £80

Leica 90mm f2.8 Elmarit Chrome Exc++ £250

Voigtlander
Leica 90mm f2.8 Elmarit-M Black Built in hood Exc+++ £750 Exc++ £290
Voigtlander 15mm f4.5 Super-Wide-Heliar VM II
Leica 135mm f4 Tele-Elmar Exc £230 Mint £320
Voigtlander 21mm f3.5 Color-Skopar + hood VM

We are always keen to purchase your pre-owned cameras and lenses either outright or through part-exchange.

www.apertureuk.com Tel: 020 7436 9844 Email: info@apertureuk.com

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