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BLACK + WHITE

I
travel by train to work and, every
morning, on the first stop along the
line, I see a man standing on the
PHOTOGRAPHY platform reading. He continues to read
for the length of the journey and packs
EDITORIAL his book into his rucksack when we
Editor Elizabeth Roberts
email: elizabethr@thegmcgroup.com arrive at our destination. On the return
journey, I once again see him standing
Deputy Editor Mark Bentley
email: markbe@thegmcgroup.com on the platform reading, and he continues
Designer Toby Haigh
to read until he gets off the train.
I’ve been watching this man now for
© Vicki Painting
ADVERTISING about two years. I have made several
Advertising Sales Guy Stockton EDITOR’S LETTER FEBRUARY 2019 attempts to see the front covers of his
tel: 01273 402823
email: guy.stockton@thegmcgroup.com
books to discover whether he is reading

PUBLISHING
Publisher Jonathan Grogan
THE READER Jackie Collins or Dostoevsky (I’m pretty
sure, by the look of the books, that he’s not
reading a quantum physics textbook) but
MARKETING without any luck, largely because the books
Marketing Executive Anne Guillot ‘I suppose what pleases are always open. To pursue him further,
tel: 01273 402 871 I feel, would border on stalking.
PRODUCTION
me so much about this Ultimately, I don’t care what the content
Production Manager Jim Bulley man is his commitment. of his books are, it’s enough to know that
Origination and ad design GMC Repro he loves the act of reading. That slow
Printer Buxton Press Ltd He commits himself engagement with the imagination. The total
Distribution Seymour Distribution Ltd concentration that it demands. And it’s end
completely to what he is product? A world we create inside ourselves
SUBSCRIPTIONS
tel: 01273 488005 doing without distraction.’ that lives with us for a long time to come.
email: pubs@thegmcgroup.com I suppose what pleases me so much
SUBSCRIPTION RATES about this man is his commitment. He commits himself completely to what he is doing
without distraction. When we photograph, with similar commitment, we produce good
01
Subscribe from £26.95 (including free P&P)
B+W
Save 10% with 6 issues work, but if we allow ourselves to be only half there, half committed, we produce mediocre
Save 15% with 12 issues work. It’s much like cooking. The results are commensurate with the commitment put in.
Save 20% with 24 issues
It strikes me that whether I am shooting with a film camera on a tripod or using my
Plus UK subscribers can save an extra
10% by choosing direct debit.
phone to capture a fleeting moment, I would be better off giving equal weight to both.
When it comes to photography there are no quick and easy answers (I don’t mean by
Cheques should be made payable to
GMC Publications Ltd. Current subscribers this that you shouldn’t enjoy it!). But, like the man I call The Reader, you have to commit
will automatically receive a renewal notice yourself from beginning to end (every page). No shortcuts, no skipping paragraphs, no
(excludes direct debit subscribers) finishing before the end and starting another.
But bear in mind that The Reader must chose his book with care because he knows
POST YOUR ORDER TO
The Subscription Department that he is going to spend at least 40-50 minutes a day with it (I can’t vouch for what he
GMC Publications Ltd, 166 High Street, does in the evenings or weekends). In a similar vein, we should only photograph the
Lewes, East Sussex, BN7 1XU, UK things that really interest us, not the things that everyone else finds interesting.
If we choose carefully it’s not difficult to give ourselves over to it with total committment.
Black+ White Photography (ISSN 1473-2467)
is published every four weeks by GMC Publications Ltd
Black+White Photography will consider articles for
publication, which should be sent to the editor together Elizabeth Roberts, Editor
with a stamped self-addressed return envelope.
GMC Publications cannot accept liability for the loss or
elizabethr@thegmcgroup.com
damage of unsolicited material, however caused. Views
and comments expressed by individuals in the magazine
do not necessarily represent those of the publishers
and no legal responsibility can be accepted for the
results of the use by readers of information or advice of
whatever kind given in this publication, either in editorial
or advertisements. No part of this publication may be
reproduced, stored in a retrieval system or transmitted
in any form or by any means without the prior permission
of GMC Publications Ltd. With regret, promotional offers
and competitions, unless otherwise stated, are not
available outside the UK and Eire.
© Guild of Master Craftsman Publications Ltd. 2019

CONTACT US

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

 © Don McCullin © Nick Veasey

08 48

© Josué Rivas

26

© Homer Sykes
© Christopher Colville
02 34
B+W 22

BLACK+WHITE PHOTOGRAPHY ISSUE 225 FEBRUARY 2019 NEXT MONTH’S ISSUE IS OUT ON 14 FEBRUARY

COVER 48 THE INVENTIVE MIND 25 ON THE SHELF

Picture by Jack Davison X-rays by Nick Veasey The best new books

FEATURES NEWS COMMENT

08 GETTING AWAY WITH IT 04 NEWSROOM 22 AMERICAN CONNECTION
Don McCullin’s powerful pictures Your update on all things b&w Susan Burnstine talks to
Christopher Colville
26 TELLING THE UNTOLD 18 ON SHOW
Josué Rivas photographs Our recommended 40 REFLECTIVE PRACTICE
protesters in the USA photography exhibition Vicki Painting on whether (or not)
to press the shutter
34 THE WAY WE WERE 20 IN THE FRAME
Homer Sykes documents the Your guide to photography 64 A FORTNIGHT AT F/8
British with a gentle eye exhibitions in the UK Tim Clinch on bridging the
generation gap
© Vicki Painting © Matt Vickery

40 72

© Eddie Ephraums

66

03
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© Sophie Alyz

74

© Chris Gatcum

44

FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 86 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK

TECHNIQUE INSPIRATION TESTS & PRODUCTS 74 SALON

54 TOP TIPS 06 MAGNUM OPUS 80 CHECKOUT A documented story
Lee Frost’s ideas for A close look at a Six of the best camera straps
shooting winter landscapes Magnum photograph 86 HOW TO GET PUBLISHED
84 BLACK+WHITE LOVES We want to see your best work
60 PROJECTS 44 STRAIGHT TALKING Cool new photography kit
IN VISUAL STYLE Chris Gatcum challenges 90 NEXT MONTH
Advice on how to a received wisdom YOUR B+W What’s coming up
present your work 42 SUBSCRIPTION OFFER in our March issue
66 ON REFLECTIONG Have B+W delivered to your door
70 SMART GUIDE Eddie Ephraums on 96 LAST FRAME
TO PHOTOGRAPHY lessons learned 72 SMARTSHOTS Your picture could
Take landscapes on Prize winning pictures win a great prize
your smartphone
 NEWS
HIGH CONTRAST
Shahidul Alam,
who was
interviewed
in B+W 132,
has been
released on
bail from prison in Bangladesh.
The renowned photojournalist
was imprisoned for more than
100 days after criticising the
government. Human rights groups
had called for his release.
Top agency Magnum Photos
has launched an online
photography course. The Art
of Street Photography features
10 video lessons with guidance
from Magnum Photographers
Bruce Gilden, Martin Parr,
Susan Meiselas and others, plus
04 ten workbooks with interviews,
B+W tips and tricks.
learn.magnumphotos.com.
London Art Fair runs at the
Business Design Centre from
16 to 20 January. The fair
includes Photo50, an exhibition
of contemporary photography
curated by Tim Clark which
features British and international
photographers.
Vanessa Winship is among the six
speakers at the Arena Seminar
2019. The event runs at the
Riviera hotel in Bournemouth from
8 to 10 March. Visitors can book
for one or two days or stay the
whole weekend.
arenaphotographers.com
The Photography Show returns
to the NEC in Birmingham from
16 to 19 March. Highlights include
seminars, masterclasses and
talks, plus the chance to see and
try the latest photography gear.
A new gallery has opened in
London. Bastian is based in Davies
Street and focuses on 20th
century artists. The opening
exhibition of Polaroids by Andy
Warhol runs until April.
NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
ARBUS IN
LONDON
A major exhibition will showcase pictures
from the early career of Diane Arbus.
The exhibition at the Hayward Gallery
in London runs from 13 February to 6 May
and brings together original prints from the
Diane Arbus Archive plus pictures from
private collections in the US.
Diane Arbus: In the Beginning features
nearly 100 photographs from the first half
of Arbus’ career – from 1956 to 1962. The
pictures reflect her interest in the variety of
New York life – from portraits of couples
to carnival performers, strippers and
transvestites. Fifty pictures have not been
shown in Europe before.
Visitors can also see A Box of Ten
Photographs, a portfolio of work produced
by Diane Arbus between 1970 and 1971
lent by the V&A in London.
Left Jack Dracula at a bar,
New London, Conn. 1961.
Courtesy Metropolitan Museum of Art, New York
/© Estate of Diane Arbus, LLC
RARITIES
SOLD
A rare collection of pictures by
David Bailey has sold for £2,080
at auction. The collection, called
Box of Pinups, dates from 1965
and features portraits of some
of the biggest names of the
1960s including Mick Jagger,
Andy Warhol, the Beatles,
Jean Shrimpton, Cecil Beaton,
Terence Stamp and Rudolf
Nureyev. The collection of 36
prints in the original box was
sold as part of the Photographica
sale at Chiswick Auctions.
Other sales included Robert
Capa’s Omaha Beach for £2,080
and Marc Riboud’s Province
Kwangsi for £1,040. A rare Ross
London Xpress lens sold for
an auction record of £21,450.
Chiswick Auctions is inviting
consignments for the next sale,
which will be in May during
London Photo week.
 © Ansel Adams Publishing Rights Trust

© Silvia Rosi

The Family Album, from the series Self-Portrait

as my Mother by Silvia Rosi.

SUPPORTING NEW WORK

Two photographers have been selected to
Moonrise, Hernandez, receive £10,000 each to support the creation
MASTER WORKS New Mexico, 1941. of new work. The help comes from the
third Jerwood/Photoworks Award, which is
Pictures by one of the greats of black & white photography are on show in London. presented every two years. The judges include
Ansel Adams: Landscapes of the American West features many of his most powerful Shoair Mavlian, former contributor to B+W
photographs, including one of his most famous – Moonrise, Hernandez, New Mexico, Photography and now director of Photoworks.
1941. The exhibition runs at Atlas Gallery in London until 2 February. The two photographers are Silvia Rosi and
Atlas Gallery director Ben Burdett said: ‘To fully appreciate Adams’ work you Theo Simpson. Rosi explores the concept of the
have to see his prints in the flesh. His work is technically brilliant from the creation family album, while Simpson looks at evolving
05
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of a photograph to its production and printing. Adams is a master in every environments. As well as £10,000, they will
aspect of photography.’ receive access to an additional production fund
© Mark Edwards of £5,000 plus mentoring support and a joint
London and touring exhibition.
© Steve Gosling

ICE BREAKER
Congratulations to Steve Gosling, who had
six nominations in this year’s Black & White
Spider Awards. The competition attracted
more than 8,000 entries from around the
world and his picture Breaking Ice took third
MAKING HISTORY place in the fine art category. To celebrate the
This black & white picture by Mark Edwards was among the shortlisted images from award he is producing a limited edition print
the Historic Photographer of the Year awards. The competition invited professional and (25 copies) of the picture, price £55. Contact
amateur photographers to make pictures of historic and cultural sites around the world. steve@stevegoslingphotography.co.uk.
The photograph shows a Second World War bunker off the Isle of Sheppey.
 I N S P I R AT I O N

06
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French painter Balthus at home in Rossinère, Switzerland, 1999 by Martine Franck © Martine Franck / Magnum Photos
MAGNUM OPUS
Black+White Photography has been
invited by Magnum Photos to choose
one picture each month from their
archive to discuss, dissect, examine and
consider. This month Elizabeth Roberts
looks at an image by Martine Franck.
hat initially drew me to this picture

W was the repetition of curves – graceful

lines that echo throughout the image
from the arm of the chair to the cat’s
tail on to the beautiful cheekbones on the man
seated on the sofa. The light is probably falling from
a window to the left of the picture that accentuates
these lines, and if we look more closely we find our
eyes travelling in a curve from the averted gaze of
the man, along the body of the cat to its eyes that
look with hesitancy into the camera lens.
And it’s there that the complications start for this
isn’t just a picture of a man with a cat in a domestic
setting, it is a picture of a famous painter called
Balthus, taken by a Magnum photographer who is
married to one of the founders of this great agency.
We also know that within two years the painter
will be dead, within four years the photographer’s
husband will also have died, and the photographer
07
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herself will only survive another 13 years.
Franck and Cartier-Bresson were long time
friends of Balthus. The painter was a man with a
complex history whose paintings of pubescent girls
have attracted criticism in recent times – once you
know this you begin to wonder whether it changes
the way you view the picture. An underlying sense
of doubt creeps into the story.
Franck’s picture of him reveals his sensuality –
his soft clothes, his hand on the fur of the cat, the
velvet cushion and the lush upholstery – but more
than that it reveals a sense of loss and mortality.
He was, after all, 91 years old when the picture
was taken and his fragility shows.
While his eyes are averted, they are also
unfocused – he is lost in his own thoughts – and
the eyes of the cat, being closer to the camera lens,
are literally out of focus. The two are as one, their
bodies seemingly joined. They are comfortable with
one another, old friends, as were the photographer
and the subject. The links come full circle.
It is interesting that making a photograph of
someone we know, and perhaps care for, is so much
more revealing than making an image of a stranger.
This portrait says so much through so little. The
complexities of life, sexuality, friendship and death;
they are all here lying beneath the surface of what is
seemingly just a caught moment between friends.
 F E AT U R E GETTING AWAY WITH IT
A major retrospective of British photojournalist Don McCullin is now
on show at Tate Britain in London. Tracy Calder talks to Simon Baker
All images (director of the Maison Européenne de la Photographie) about
© Don McCullin
McCullin’s love of mud, Tupperware and printing.

8
08
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Protester, Cuban Missile Crisis, Whitehall, London, 1962

on McCullin hates sunny days; for ‘For McCullin the landscape number of impressive near misses too: in

D him there’s nothing better than

a dark, foreboding sky over the
flooded lowlands of his home in
Somerset. ‘Now the weather has started to
get crappy he will be out taking photographs,’
says Simon Baker, director of the Maison
Européenne de la Photographie in Paris. ‘He
will be out in the ditches, up to his knees
in mud, waiting for sufficiently cloudy,
miserable conditions.’ McCullin has been
capturing the quiet corners of the West
Country for many years now and, by his own
admission, being out in the cold and wet has
proven hugely therapeutic. ‘When I see this
landscape, I hear music, I hear freedom,’ he
suggests in an interview with Peter Ross for
the RPS Journal (2018). For McCullin the
landscape offers temporary respite from the
images of human tragedy that plague his
offers temporary respite from
the images of human tragedy
that plague his mind.’
mind. He was a child when he saw his first
dead body: a woman hit by a car that had
mounted the pavement in the street where
he lived. Now, at the age of 83, he has seen
more death than most of us could bear.
Understandably, it has left its mark.
Over the years McCullin has also
endured more than his fair share of physical
pain: both his legs were injured by a mortar
shell in Cambodia, he broke his arm in five
places falling off a roof while under fire in
El Salvador, and, more recently, he suffered a
collapsed lung and a broken rib after tripping
over fallen masonry in Syria. He has had a
1970 he was with a platoon of Cambodian
soldiers in the rice fields of Prey Veng when
the Khmer Rouge opened fire. McCullin put
his camera (a Nikon F) on a ridge nearby
and threw himself into the water, his head
practically submerged. When he retrieved
his camera minutes later it had the perfect
imprint of a bullet from an AK-47. He found
this oddly exhilarating, as he explains in his
autobiography Unreasonable Behaviour
(a film based on the book is due to be
released later this year). ‘I thought to myself,
boy, you’ve done it again,’ he writes, ‘you’ve
managed to get away with it.’ His damaged
Nikon is currently on display at Tate Britain
in London – just one of the affecting exhibits
in a major retrospective of the photographer’s
work, curated by Simon Baker and Shoair
Mavlian, with assistance from Aïcha Mehrez. ›
 09
9
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The Guvnors in their Sunday Suits, Finsbury Park, London 1958

 aker and his team spent days at

›
B McCullin’s home discussing his
prints, negatives and artifacts.
Occasionally the photographer
would disappear up to the loft and come
back with incredible relics in Tupperware
boxes. ‘Don has a very good sense of his
back catalogue – he knows which images
are important to him,’ explains Baker, ‘it’s
important to say that this is not a show
about Don, it’s a show made with him.’
Baker and McCullin have joined forces
several times before – Tate owns a number
of McCullin’s prints, and Baker played a key
role in their acquisition. ‘Don is a committed
printer,’ he reveals, ‘so the question wasn’t
which images to include in the show, but
which were the best prints – it was a nice
discussion to have.’ McCullin’s passion for
printing is well documented: when the sun
comes out and the West Country is overrun
with tourists he slips into his darkroom and
listens to Bach while dropping a few sheets
of paper into the developer. ‘When I go into
the darkroom I am totally in my territory;
it’s somewhere I can control,’ he explains
in a short video for the Economist (2010).
‘I feel as if I have levitated myself away from
all the evils of the world.’ To prolong this
feeling he tries to avoid working on the
most disturbing war images if he can.
10 Even so, these negatives and prints live
B+W
alongside McCullin in his home, as though
they are his personal cross to bear. ‘The
house itself, he often says, is full of ghosts
that seep from a cramped room just off the
spotless kitchen,’ remarks Aida Edemariam
in her interview with the photographer
for the Guardian (2005). So what happens
when these spirits are released and then
trapped behind glass in a gallery? ‘Don has
a kind of moral or ethical reserve about war
photographs being treated as art,’ explains
Baker. ‘He would argue that it’s not art, but
it still deserves to be seen, and if it has to
be seen on the wall then it has to be seen
on the wall.’ He hopes to show the younger
generation how futile war can be through
his imagery, and exhibiting this work is
one way of opening up the discussion.
His youngest son, Max, is a teenager,
›
so it’s a cause close to his heart.

‘I thought to myself, boy,

you’ve done it again,’ he
writes, ‘you’ve managed
to get away with it.’

Right Grenade Thrower,

Hue, Vietnam, 1968
11
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12
B+W

Top Londonderry, 1971 Above Local Boys in Bradford, 1972

Opposite top Evening in my village, Somerset, 2008 Below Stonehenge, 2017
13
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14
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› Incredibly, 97% of the prints in the
exhibition were made by McCullin in his
home darkroom. He is a perfectionist and
will print the same negative over and over
again until it meets his exacting standards.
‘Like many photographers he is constantly
worried that his eyesight or dexterity will
decrease to the point where he can’t print
any more, so he feels an urgent need to make
sure he leaves behind really good quality
prints of all the important images,’ says Baker.
‘He is a very hardworking person.’ McCullin
also has a keen sense of his own mortality,
which must be a great motivator. ‘He often
says this is the last time I’m going to be
doing this, but then he will be off shark
fishing somewhere incredibly dangerous,’
says Baker. ‘It’s hard to reconcile the two
Don McCullins: the one who thinks he is
at the end of the road, and the one that is
constantly going off on adventure holidays!’

‘Living with these images day

in, day out must be unsettling
but, worse still, McCullin
knows what happened just
before and just after he
released the shutter.’
e may have earnt fame as a war

H photographer, but it’s a label

15
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McCullin really hates. ‘He’s not
a war photographer,’ insists Baker.
‘If you look at all his work; even when
he was travelling to photograph conflict
he was coming back to England and
photographing the north, or the countryside.
War photography was always part of his
practice; the part that earnt him money
and celebrity, but it wasn’t the only thing
he was doing.’ In 2012 Baker selected 47 of
McCullin’s images, leaving out the war work,
and exhibited them at Tate Britain. The
show focused on three areas of his work: his
assignment to Berlin in 1961, coverage of the
homeless in London in the 1960s, and urban
and rural landscapes. ‘When you see what
he did documenting poverty in the north
or homelessness in London it’s still about
concern for social issues and injustice,
it has many of the same drivers,’ says Baker.
The show was extremely well received. ›

Left Woods near My House, Somerset c.1991,

Tate purchased 2012
 › But no retrospective would be complete
without wartime images such as Shell-
shocked US Marine, and this time McCullin
and Baker felt it was appropriate to include
such ‘classics’. ‘Shell-shocked US Marine is a
very difficult picture to print,’ reveals Baker.
It’s hard to get the contrast right, and get the
eyes right under the helmet.’ The picture was
taken during the Battle of Hue in Vietnam
in 1968. McCullin found a soldier sitting on
a wall, staring into the distance. ‘He had got
to a point in the battle, or in his life, when
he couldn’t take any more of it,’ suggests
McCullin in a video for Tate (2014). ‘I kind
of dropped down on my knees and took five
frames and he never blinked an eye.’ When
he made the initial edit he actually missed
this picture, but it has gone on to become
one of his most recognisable. McCullin
has mixed feelings about this success; his
original intention was to use the picture to
make a ‘silent protest’ about the futility of
Below Destruction of the Monumental Arch, Palmyra, Syria, 2018
16
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war, but now he is sick of printing it. EXHIBITION
Living with these images day in, day out Don McCullin is on show at Tate Britain
must be unsettling but, worse still, McCullin in London until 6 May. Full price tickets
knows what happened just before and just are £18, members go free.
after he released the shutter, which must For more details see tate.org.uk.
add to his torment. Thankfully, in the 1980s
he found some relief through landscape
photography – a passion that continues
to this day. Towards the end of last year
Jonathan Cape published The Landscape,
which features more than 100 works from
this aspect of McCullin’s practice. These are
dark pictures, in every sense of the word:
the hills are reduced to dark, monstrous
shapes, trees appear twisted and crippled
by the wind, floodwater pools in fields, The Landscape by Don McCullin,
reflecting the glowering sky. These are not ISBN 9781787330429
uplifting pictures, and yet there is a beauty, This beautifully-produced hardback,
a great beauty, to them. This is landscape published by Jonathan Cape, includes more
seen through the eyes of a man who has than 100 of McCullin’s images, with locations
witnessed the worst atrocities one man ranging from the lowlands of Somerset to
can do to another, and has survived. the ancient city of Palmyra in Syria.
 NEWS ON SHOW
The first major retrospective of photographer and trade unionist Martin Jenkinson
All images
© Martin Jenkinson Photo
shows his passion for social justice, fairness and equality. Tracy Calder previews
Library/pressphotos.co.uk
the show and looks at the stories behind the pictures.
18
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n 6 June, 1984, George ‘Geordie’
O Brealey stood in front of a line of
police officers at Orgreave coke
works in south Yorkshire and
carried out a mock inspection. He was
wearing a toy helmet he’d bought on a daytrip
to Cleethorpes, and a badge on his jacket
stating the reason for his grievance, ‘miners
on strike’. What seems odd is that Brealey
appears to be having a chat with one of the
police officers. It later transpired that the man,
Paul Castle, was the grandson of a coal miner,
and while he disagreed with the picketers he
did have some sympathy for them. While
Castle doesn’t appear bothered by Brealey’s
joke, his colleague is unimpressed. Staring
at the camera, his expression is solemn.
Looking at this picture you get the
impression that Jenkinson, a former
steelworker, was staring back just as hard.
A week before he took this picture Arthur
Scargill, president of the National Union
of Mineworkers (NUM), had been arrested
at Orgreave, and tensions were running high.
Above Picket wearing a joke police helmet,
talking to police officers without identification
numbers at Orgreave during the 1984-5
miners’ strike, 1984.
Opposite top Maxine Duffus, South Yorkshire
Passenger Transport’s first black woman bus
driver, Herries Road bus garage, Sheffield, 1983.
Opposite below left A football supporter places
a wreath outside the Hillsborough Stadium on
the day after 96 football fans were killed at the
start of the FA Cup semi-final between Liverpool
and Nottingham Forest, 1989.
Opposite below right Von the Sheffield Star
newspaper seller at BSC River Don Works,
Sheffield, 1982.
Less than two weeks later 8,000 miners
clashed with police in a dispute known as
the Battle of Orgreave.
Martin Jenkinson was born in west
London in 1947, the son of an electrician and
a secretary. He lived in Watford until he was
19 when he moved to Cheltenham. A string
of seemingly unrelated jobs followed,
including positions as an apprentice
mechanic, service station attendant and lorry
driver, before he moved to Sheffield with his
wife and daughter in 1976. Here Jenkinson
took a job in a wire-making factory, where he
became a trade union official with the
Amalgamated Engineering Union (AEU). He
was made redundant three years later and
signed up to a yearlong employment
placement on local community newspaper
the Woodpecker. This move was fortuitous,
as Jenkinson proved to be a natural behind
the camera. Within a year he had established
himself as a freelance photographer.
rom the outset Jenkinson had a strong
F sense of social justice, fairness and
equality, and his beliefs were reflected
in the subjects he chose to record. In
1983 he made a striking environmental
portrait of Maxine Duffus, the first black
female bus driver for South Yorkshire
Passenger Transport. Earlier that year he had
been in Ecclesall Road in Sheffield when 1,500

people queued up to try to secure a job at a
new restaurant. The queue snaked down the
road as far as the eye could see, and Jenkinson
caught the depressing spectacle on film.
His most celebrated work, however, focuses
on the British protests of the 1980s. As well
as his coverage of Orgreave, Jenkinson was
the official photographer for the People’s
March for Jobs in 1981, and received requests
from NUM and other unions to cover their
conferences, galas and events. He also
documented the Women Against Pit Closures
movement, supplying pictures to both tabloid
and broadsheet newspapers.
Who We Are is the first major retrospective
of Jenkinson’s work and covers a wide range
of subject matter, from protest images to
candid street scenes. It also includes press
badges, contact sheets, union pin badges
and notebooks that once belonged to the
19
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photographer. After Jenkinson’s death in
2012, his daughter Justine took over his
archive, and you get the feeling there are
more surprises to come.
SEE THE PICTURES
Who We Are: Photographs by Martin
Jenkinson runs until 14 April at Weston
Park Museum, Western Bank, Sheffield.
museums-sheffield.org.uk.
 NEWS IN THE FRAME
If you would like an exhibition included in our listing, please email Elizabeth Roberts
at elizabethr@thegmcgroup.com at least 10 weeks in advance. Edited by Tracy Calder.
LONDON
ATLAS GALLERY
7 February to 9 March
This Empty World
Nick Brandt’s much anticipated new
body of work addressing the escalating
destruction of the natural world at
the hands of man.
49 Dorset Street W1U
atlasgallery.com
BASTIAN GALLERY
January to April
Photographs by Andy Warhol
Portrait and self-portrait Polaroids
depicting artists, actors and friends.
8 Davies Street W1K
galeriebastian.com
DESIGN MUSEUM
26 April to 17 September
Stanley Kubrick: The Exhibition
Unique insight into the director’s vast
archive through original props and
20 costumes, set models and
B+W rare photographs.
224-238 Kensington High Street W8
designmuseum.org
FOUNDLING MUSEUM
8 February to 5 May
Bedrooms of London
The consequences of a shortage
of housing for children in London
are highlighted with photographs by
Katie Wilson and first-hand narratives
by families.
40 Brunswick Square WC1N
foundlingmuseum.org.uk
FOUR CORNERS GALLERY
To 9 February
East End Suffragettes:
The Photography of Norah Smyth
These remarkable photographs, taken
100 years ago, are exhibited for the
first time, just a stone’s throw from
where they were taken.
121 Roman Road E2
fourcornersfilm.co.uk
HACKELBURY
To 23 February
Oli Kellett: Cross Road Blues
Large scale photographs from Kellett’s
on-going series taken at urban
intersections across America.
4 Lauceston Place W8
hackelbury.co.uk
Dee and Lisa on Mott Street, Little Italy, New York, 1976.
© Susan Meiselas, 2018. The Deutsche Börse Photography Foundation Prize 2019 will be on show at the
Photographers’ Gallery from 8 March, with the winner announced on 16 May.
PHOTOGRAPHERS’ GALLERY
HAUSER & WIRTH
To 9 February
Zoe Leonard
Aerial photographs that balance
rigorous conceptualism with a
distinctly personal vision by New
York-based artist.
23 Savile Row, Mayfair W1S
hauserwirth.com
HAYWARD GALLERY
13 February to 6 May
Diane Arbus: In the Beginning
Organised by MoMA in New York,
this exhibition explores the first seven
years of Arbus’ career (1956-1962)
and features work never before
shown in Europe.
southbankcentre.co.uk
IMPERIAL WAR MUSEUM
To 31 March
Making a New World
Art, photography, film, live music, dance
and conversations that explore themes
of remembrance and how the First World
War has shaped today’s society.
Lambeth Road SE1
iwm.org.uk
NATIONAL MARITIME MUSEUM
To 5 May
Insight Investment Astronomy
Photographer of the Year
Celebrating 10 years of awe-inspiring
images taken by astrophotographers
worldwide.
to photography over the previous
12 months in Europe.
16-18 Ramillies Street W1F
tpg.org.uk
QUEEN’S GALLERY,
BUCKINGHAM PALACE
To 28 April
Shadows of War: Roger Fenton’s
Photographs of the Crimea, 1855
More than 60 photographs from
the Royal Collection.
Westminster SW1A
royalcollection.org.uk
TATE BRITAIN
5 February to 6 May
Don McCullin
Major retrospective of one of Britain’s
greatest living photographers. Features
tpg.org.uk 250 prints made by McCullin covering
conflict, travel, landscape and still life.
To 12 May
Blood of Silver
Park Row, SE10 Best known for her black & white images
rmg.co.uk of religious rituals in Slovakia, and life in
London markets, Markéta Luskacovà’s
NATIONAL PORTRAIT GALLERY pictures show a concern for the ties
7 March to 27 May that bind people together.
Only Human: Millbank SW1 4RG
Photographs by Martin Parr tate.org.uk
Some of Parr’s best known portraits
alongside works never exhibited before.
New material reveals Parr’s take on the
social climate in Britain in the aftermath
NORTH
of the EU referendum. ATKINSON
St Martin’s Place WC2H To 23 March
npg.org.uk ARTIST ROOMS:
Robert Mapplethorpe
NATURAL HISTORY MUSEUM Provocative and powerful work by one
To 30 June of the most important photographers of
Wildlife Photographer of the Year 54 the late 20th century drawn from the
Breathtaking images of life on Earth collection of Artist Rooms.
chosen from more than 45,000 entries to Lord Street, Southport
this annual competition, presented theatkinson.co.uk
on light panels.
Cromwell Rd SW7 nhm.ac.uk BRADFORD INDUSTRIAL
MUSEUM
PHOTOGRAPHERS’ GALLERY To 10 November
To 24 February Studio to Selfie: An Exploration of
Roman Vishniac: Rediscovered Portrait Photography
Work that spans more than five decades, Exploring the relationship between
ranging from European modernism in photographer, viewer and subject and
the 1920s to colour photomicroscopy how now, in the era of the mobile phone
in the 50s and 60s. camera and the selfie, the photographer
8 March to 2 June is often all three.
Deutsche Börse Photography Moorside Road, Eccleshill, Bradford
Foundation Prize 2019 bradfordmuseums.org
This highly regarded annual prize
recognises artists and projects deemed DARLINGTON TOWN HALL
to have made a significant contribution To 22 February
Almost a Memory A History of British Trailblazers
Images by Chris Walker of an In-depth historical survey showcasing
abandoned north-east farmstead the achievements of female
re-absorbed by nature. photographers working in Britain.
Feethams, Darlington Includes Dorothy Bohm, Sarah Lucas
and Anna Atkins.
HEPWORTH WAKEFIELD 5 to 17 February
To 22 April Time
British Photographs from Open Art Collective artists question
the Hyman Collection our relationship to the notion of time
Leading British photographers and the influence it has on our lives.
Chris Killip, Martin Parr, Tony Chobham Road, Woking
Ray-Jones and others explore thelightbox.org.uk
our evolving relationship with
the natural world. NOVIUM
Gallery Walk, Wakefield To 10 March
thehepworthwakefield.org A Celebration of People
and Places
MUSEUMS SHEFFIELD Photographs by Chichester Camera
To 14 April Club, both contemporary and archival,
Who We Are: Photographs by that show how the area has inspired
Martin Jenkinson photography over the decades.
Powerful retrospective showing the Tower Street, Chichester
drama and detail of everyday lives, thenovium.org
captured over four decades. Includes
Jenkinson’s famous images of the RUSSELL-COTES ART
miners’ strikes in the 1980s. GALLERY & MUSEUM
Weston Park Museum, To 2 June
Western Bank, Sheffield China: Through the Lens of
museums-sheffield.org.uk John Thomson (1868-1872)
Large-scale images of the landscape
and people of China, accompanied
SOUTH by objects collected by Merton and
Annie Russell-Cotes on their trip to
Daria. From the series Ex-Voto by Alys Tomlinson, who receives the Silver
Award at the International Photography Exhibition 161.
LIGHTBOX East Asia. © Alys Tomlinson 21
30 January to 2 June East Cliff Promenade, Bournemouth ROYAL PHOTOGRAPHIC SOCIETY, BRISTOL rps.org B+W
Women in Photography: russellcotes.com

WEST
MARTIN PARR FOUNDATION
To 16 March
A Contested Land
Work from Document Scotland,
a collective of four photographers
brought together by a common vision
to witness and capture important
stories within their homeland.
316 Paintworks, Arnos Vale, Bristol
martinparrfoundation.org
MUSEUM OF BATH
ARCHITECTURE
9 February to 23 June
Architectural Photographer
of the Year 2018
Exploring the intrinsic link between
architecture and photography, and
the way people engage with the
built environment.
Countess of Huntingdon’s Chapel,
The Paragon, The Vineyards, Bath
museumofbatharchitecture.org.uk
Patti Smith, 1975 by Robert Mapplethorpe
ARTIST ROOMS National Galleries of Scotland and Tate. Lent by the Artist Rooms Foundation 2014 ROYAL PHOTOGRAPHIC
© Robert Mapplethorpe Foundation
SOCIETY, BRISTOL
ATKINSON theatkinson.co.uk 7 February to 24 March
International Photography
Exhibition 161
The world’s longest running photographic
exhibition showcases work from 54
photographers including Catherine Hyland,
Christopher Bethell and Alys Tomlinson.
337 Paintworks, Arnos Vale, Bristol
rps.org
SCOTLAND
ABERDEEN MARITIME MUSEUM
To 28 April
Paul Duke: At Sea
Striking portraits of north-east Scotland’s
fishing communities at a time of decline.
Shiprow, Aberdeen
aagm.co.uk
CITY ART CENTRE
To 17 March
Robert Blomfield:
Edinburgh Street Photography
Tender, bold and humorous images of
the post-war period in the UK by a man
with an engaging manner and healthy
disrespect for authority.
Market Street, Edinburgh
edinburghmuseums.org.uk
 COMMENT AMERICAN CONNECTION
Christopher Colville is an endlessly creative photographer who works
with everything from gunpowder to the bioluminescence of a squid.
susanburnstine.com
He talks to Susan Burnstine about embracing surprises.

22
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first happened upon a number of odd jobs, but in While in graduate school at medium in non-representational

I
Christopher Colville’s work
at a Los Angeles art fair and
was not only transfixed by
its aesthetic beauty, I was
fascinated by his elusive
process and compelled to
learn more about the meaning
and motivations that inspired
his imagery. After his gallery
representative explained he
was exploding gunpowder on
the surface of silver gelatin
paper, I was astonished and
had to find out more about
this distinctive artist.
Colville received his MFA
from the University of New
Mexico in 2003, moved to the
Sonoran Desert with his fiancé
(now wife of 15 years) Melanie
and taught at Arizona State
University for nine years as an
adjunct and visiting faculty.
Additionally, he worked with
several art institutions and had
recent years has stepped away
from demanding teaching loads
to focus on his creative interests
and also work as an art editor
for Prompt Press.
the University of New Mexico,
Colville began experimenting
with the raw materials of
photography and questioned the
generative possibilities of the
form. ‘I desired to create work
that was not a reflection of
the visible world, but instead
the birth of something new
into and of itself,’ he says. By
the completion of graduate
school, he worked with a
variety of reactive materials
including the bioluminescence
of a decomposing squid, the
reflective ghostly qualities of
plated silver on black paper
along with light filtered through
dissected eyes as a means to
meditate on ideas of creation,
memory and mortality.
olville’s seminal
C series, Works of Fire
was born via an
invitation to create
work for the Huffington Post as
a response to a poem by Nicole
Walker titled Germination. The
poem describes an explosion of

seedpods, collecting native seeds,
protecting heritage and creating
something new for the future.
He wasn’t compelled to create a
descriptive response; instead he
wanted to create something that
was: ‘the direct result of energy,’
he says. ‘I remembered
harvesting gunpowder from
shotgun shells I stole from my
father when I was a child in order
to create homemade fireworks.
The fireworks were pretty pitiful
but they left beautiful burn
marks on the ground. That night
I went into my back yard and
started experimenting with
gunpowder and silver gelatin
paper and I was captivated by the
experience. The results felt like
a way of turning the photograph
inside out. The demanding
physicality of the work was
deeply satisfying.’
Colville’s images are all made
outdoors at night when the
moon is low in the sky or just
a sliver of light. ‘Each image in
this series is made by igniting a
small portion of gunpowder on
the surface of silver gelatin
paper. In the resulting explosion,
light and energy abrade and burn
the surface while simultaneously
exposing the light-sensitive silver
emulsion. I loosely control the
explosion by placing objects on
the paper’s surface, but the
results are often surprising and
unpredictable as the explosive
energy of gunpowder is the
true generative force creating
the image,’ he says.
As Works of Fire is an
exploration of the material and
process driven by Colville’s
fascination with the dual nature
of creation and destruction,
several of his subsequent series
employ similar techniques, but
are variations on the initial theme.
Colville embraces surprises in
the creative process but
confesses he’s uninterested in
All images © Christopher Colville
EXHIBITIONS
USA
ANDOVER
Addison Gallery of American Art
Until 31 March
The Body: Concealing and Revealing
Featuring Bill Jacobson, Edward Weston,
and Francesca Woodman
addision.andover.edu
BALTIMORE
Baltimore Museum of Art
Until 24 March
Time Frames: Contemporary East
complete chaos. ‘Chance is Asian Photography
always at play but I work to artbma.org
maintain an understanding of
the materials. Small refinements COLLEGEVILLE
in process allow the Ursinus College
development of a continually Until 11 May
evolving vocabulary of mark- Joel Meyerowitz: Aftermath
making,’ he says. ‘Slight changes Featuring Roy DeCarava, Carrie Mae
in paper, gunpowder or pressure Weems and Gordon Parks
significantly influence the ursinus.edu 23
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outcomes. For large prints I
compress the blast by standing KANSAS CITY
on top of steel plates covering Nelson-Atkins Museum of Art
the exposures. The pressure Until 7 April
from the explosion lifts me Ralston Crawford: Structured Vision
slightly and I am engulfed in the nelson-atkins.org
smoke and heat of the
experience. My seven and MEMPHIS
11-year-old boys think it is quite Memphis Brooks Museum of Art
a spectacle and love watching Until 20 March
from their bedroom window.’ Ernest C. Withers:
A Buck and a Half Apiece
Currently, Colville’s work is
brooksmuseum.org
part of a four-person exhibition
– Shots in the Dark – at the New
Mexico Museum of Art in Santa
NEW ORLEANS
Fe until March 31. Ogden Museum of Art
Until 10 March
christophercolville.com
New Southern Photography
Featuring three artists
ogdenmuseum.org
NORFOLK
Chrysler Museum of Art
Until 31 March
Carroll H. Walker:
Looking Back to the Future
chrysler.org
WASHINGTON DC
National Gallery of Art
Until 24 March
Dawoud Bey: The Birmingham Project
nga.gov
 NEWS
ON THE SHELF
Black+White’s line-up of some of the very best new photographic
publications out in the bookshops or to order online.
ROBERT DOISNEAU:
MUSIC
Clémentine Deroudille
Flammarion
Hardback, £30
s a child, Robert
A Doisneau learned the
violin and although
photography became
his vocation he never lost his
interest in music. Throughout
his life he photographed people
playing in concert halls, jazz
clubs, cafés and on street corners.
This book features 200
superb black & white pictures
celebrating music makers.
Big names such as Edith Piaf,
Maria Callas, Eartha Kitt, Django
Reinhardt and Yehudi Menuhin
are here, but so too are a host of
lesser known singers, accordion
players, brass bands, jazz and
classical musicians. Each picture
is a delight, reflecting Doisneau’s
generous spirit and love of
humanity. You can feel the
energy of the musicians, sense
the joy of those watching and
almost hear the music.
The photographs are curated
by Doisneau’s granddaughter,
Clémentine Deroudille,
who provides an engaging
introduction describing his life
and career. The pictures can also
be seen in a new exhibition at
the Cité de la Musique in Paris
until 28 April.
Mark Bentley
1-2-3-4
Anton Corbijn
Prestel
Hardback, £55
e might think of the
W 1980s as a colourful
period, but one of
the most talented
portrait photographers to emerge
in that time worked in black &
white. Anton Corbijn made his
name photographing the punks,
rockers and pop stars who came
to prominence in the 1970s and
80s. His gritty black & white style
helped define the edgy look of
bands such as U2, REM, Nirvana,
John Lydon, David Byrne,
Siouxsie Sioux and Nick Cave.
This large and beautifully
produced book draws from
Corbijn’s archive of 25,000
contact sheets and features
380 black & white (plus a few
colour) pictures of the bad boys
and girls of rock. Many of the
musicians featured have written
short articles praising Corbijn’s
visual skill and inventiveness.
Intriguingly, we learn he was
inspired by Arnold Newman
and Angus McBean – and that
provides a clue to how he uses
environmental photography
and a touch of theatre to create
mythic images of his subjects.
Captured in grainy black &
white are the bands who became
the voice of a generation.
Mark Bentley
SUMMER OF THE
FAWN
Alain Laboile
Kehrer Verlag
Hardback, £30
I
t must be a year or so ago that
we published Alain Laboile’s
enchanting photographs of his
family. He was, seemingly, at
that time relatively unknown so
it is a real pleasure to discover
his growing audience and,
I believe, his first book.
With his lens still turned on
his family in this idyllic south of
France setting, we see how the
children are developing, with
some of the older ones becoming
young adults. Home schooling
and play seem to intermingle and
learning through experience a
natural corollary.
There is a romanticism in the
work that harks back to early Sally
Mann, but with more rough and
tumble. The children are depicted
as though they exist outside of a
world of restraints, social media
and stress, inventing their own
amusements and discoveries.
Clearly Laboile and his partner
have developed this free and easy
lifestyle for themselves and their
children and so to turn it into a
subject for photography seems
like a celebration of what they
have achieved.
Elizabeth Roberts
DR. BLANKMAN’S
NEW YORK
Tod Papageorge
Steidl
Clothbound, € 40.00
find it difficult to believe
I that, at the age of 25, Tod
Papageorge went out on
the streets of New York in
1966 and shot the pictures
in this book. Encouraged by
25
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his new friends, Garry
Winogrand and Joel Meyerowitz,
his aim was to build a portfolio
with which to find work. Instead,
he created his own world of
pictures – subtle, quiet and with
such a fine sense of colour that
you feel he could have hand
painted each one.
There is not one page you
want to skip – instead, each
picture demands attention,
and this is helped by acres
of white space around the
images in which the pictures
can sit within their intensity.
I think what makes the
work so good is its freshness.
In a time of overload of the
street photography genre, it
is great to see this early work
with its finely tuned eye for
exactly the right moment in
the right place. That, combined
with the unbelievably beautiful
Kodachrome colour transparency
film Papageorge was using at
the time, makes for some
astounding viewing.
Elizabeth Roberts
26
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 F E AT U R E

All images © Josué Rivas

TELLING
THE UNTOLD
When the indigenous people
of Standing Rock protested at the
desecration of their sacred ground,
photojournalist Josué Rivas
documented the story. Donatella
Montrone talks to him about
the ‘water protectors’ and the
importance of honouring
the Lakota rites.

27
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W
hen North Dakota
law enforcement
and the National
Guard fired rubber
bullets at indigenous
peoples and activists
protecting the Missouri River from the
Dakota Access Pipeline, caging them in cells
made out of chain-link fence and marking
their arms with numbers, onlookers gasped.
Many condemned the actions as that of a
concentration camp. Indeed, the Office of the
UN High Commissioner for Human Rights
issued a statement saying the response of
law enforcement was disproportionate and
inhumane. ‘Marking people with numbers
and detaining them in cages, on the bare
concrete floor, without being provided
medical care, amounts to inhumane and
degrading treatment,’ the statement read. 

Left An upside down American flag waves

at a healing gathering. Fort Yates, North
Dakota, USA. September, 2017.
28
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 Tensions at Standing Rock had escalated
when the US Army Corps of Engineers
and a private energy contractor ploughed
ahead with plans to build a 1,900km pipeline
near the Standing Rock Sioux Reservation,
desecrating a sacred burial ground with
wanton disregard. As events unfolded, the
world learned of the punitive treatment of
indigenous peoples and allies – the use of
water cannons and percussion grenades,
tasers and pepper spray – resulting in serious
injuries to many. Today, it is those harrowing
images that the world associates with the
clash in Lakota, Dakota and Nakota territory.
‘Standing Rock became the epicentre of a
modern indigenous rights movement in the
United States. For the most part, mainstream
Above Diné Walker. Cannon Ball,
North Dakota, USA. November, 2016.
Below left Elder praying during a peaceful
demonstration. Cannon Ball, North Dakota,
USA. November, 2016.
Below right People stand near a handcrafted
bridge. Cannon Ball, North Dakota, USA.
November, 2016.
media parachuted into the story, took some
pictures and left,’ explains photojournalist
Josué Rivas – himself of the Mexica
(Anahuac) and Otomi peoples – whose series
Standing Strong shifts the narrative away
from the human rights abuses and violence,
and reframes it from an intimate perspective.
‘Standing Strong honours and celebrates
the resilience of the “water protectors” who
united at Standing Rock against the pipeline.
It focuses on prayer instead of controversy.’
he Lakota people of the Great Sioux
T
Nation are among the original
peoples of the American landscape,
and for whom water is the source of
all life. It is the ‘first medicine’, for it
sustains us in our mother’s womb. A Lakota
prophecy warns that a black snake will arrive
to destroy the Earth, and for the tribes who
gathered in campsites near the Standing
Rock Reservation, that snake arrived in the
form of the Dakota Access Pipeline. But
many outsiders did not understand this, and
so the narrative around the protests is told 
People cross a handcrafted bridge to Turtle Island, a sacred site and burial ground. Cannon Ball, North Dakota, USA. November, 2016.
29
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Water protector praying by the river. Cannon Ball, North Dakota, USA. November, 2016.
 Young man putting down tobacco. Fort Yates, North Dakota, USA. September, 2017.
30
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Canoe ceremony at Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. August, 2016.
Police mace Water Protectors. Cannon Ball, North Dakota, USA. November, 2016.
31
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Matriarch. Cannon Ball, North Dakota, USA. November, 2016.

32
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 from the perspective of those divorced from
it. ‘Statistics show that 83.6% of the staff in
US newsrooms are white. Only 0.39% are
American Indian. Indigenous people are
under-represented in media, so who is telling
their story? And how are they telling it? This
is really important because that is how we
create our reality about people – that’s how
we perceive people,’ explains Rivas.
‘The Standing Rock protest was a huge
ceremony, and a lot of people didn’t
understand that, although there was a core
group of indigenous photographers who
documented events properly. As indigenous
photojournalists, we were telling our own
story. When we document, we understand
protocol, so we asked the elders for
permission to photograph, we respected the
sacred sites, sacred items. We are taught
to be non-extractive, and that means we
are not just taking photographs, we are
“creating images ”,’ he explains.
Top Resistance. Cannon Ball, North Dakota,
USA. November 2016.
Above left Two men get sprayed by law
enforcement with high pressure water during
a demonstration near the Oceti Sakowin Camp.
Cannon Ball, North Dakota. November 2016.
Above right Last stand at Oceti Sakowin Camp.
Cannon Ball, North Dakota, USA. February 2017.
or Rivas, photography is a means
F with which to connect with people.
‘Indigenous peoples are often the
“subject” of photos taken by the
Western lens, photographed because they
look “native” – riding horseback, wearing
feather headdresses. They are rarely the ones
telling their own stories. Though not a Lakota
myself, I knew not to photograph children,
which is huge. A lot of photojournalists just
didn’t get that. By following the Lakota ways,
I was granted access to places and ceremonies
that no other photographer witnessed – and
I felt really grateful. The trust the Lakota
placed in me enabled me to present a side of
the story that is misunderstood, or untold, by
non-indigenous photojournalists,’ he explains.
‘We come from cultures that have been
using storytelling to pass down traditions
since time immemorial. My dream is that
indigenous people, especially the youth,
will see the camera as a powerful tool for
resistance and as a tool for healing, but,
most importantly, as a tool for hope.’
Josué Rivas, 29, has received a
Magnum Foundation Photography and
Social Justice Fellowship, co-founded
Natives Photograph, and is the winner
of the 2018 FotoEvidence Book Award
with World Press Photo.
For more information on Standing Strong
the photobook, go to josuerivasfoto.com.
 F E AT U R E THE WAY WE WERE
With humour and a gentle eye, Homer Sykes documented Britain and the
All images British for half a century. In a newly published book we look back at a time
© Homer Sykes
of innocence and conflict through the eyes of the photographer.
In the introduction to his new book My British Archive: The Way We Were 1968-1983, published by Dewi Lewis, Homer Sykes writes:

have been documenting Britain for 50 that interested me. It was the tail end of more obvious news image; I was looking for

I years, it’s where I grew up, it’s the country

I know and love. This book is not supposed
to be a chronicle or a comprehensive visual
account of the social history of the period, but
it is a personal view of life that I encountered.
Some may consider the content London-
centric; it is, but that’s where I’ve lived.
In 1968 I took my first serious
photographs. I was a first year photography
student at LCP – the London College of
Printing and Graphic Arts. Reading copies
of Creative Camera magazine, edited by
Bill Jay, I came across the work of the young
American street photographers, Garry
Winogrand, Bruce Davidson and the Swiss-
American Robert Frank. And, of course, the
great humanist Magnum photographers.
I had moved to London. I was surprised
and excited by what I saw. I became aware of
a social reality and of the political landscape,
and I decided to document those aspects
34
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the swinging 60s, the turbulent 70s were
awaiting. My photographs became narrative-
led as I began to understand the many
contradictions that permeate British life; ‘the
haves and have-nots’, the ‘top hat, cloth cap’
characteristics of society that were still very
present at the time. I was intrigued by the
way people interrelated or didn’t, what they
wore – their dress code marking them out
as belonging to a certain class or aspiring to
belong to an alternative tribe.
I was a flâneur, I hung around on street
corners, and made friends with strangers
and tried to get myself invited back into their
homes, clubs and workplaces to make more
intimate photographs that revealed their lives.
Throughout this period I covered
numerous weekend demonstrations that
pitted one political class, one section of
society, against another and the government.
But always I attempted to get behind the
other moments, spontaneous juxtapositions
that gave depth and understanding to the
demonstrators’ predicaments.
This was the midpoint in Prime Minister
Harold Wilson’s 1966 Labour Party’s term
in government. Over the next 15 years the
country was led by Edward Heath, Wilson
once more and James Callaghan. In 1979
Margaret Thatcher, a Tory, became Britain’s
first woman Prime Minister, she was to usher
in another, entirely different era: Thatcherism.
My British Archive:
The Way We Were
1968-1983 by Homer
Sykes is published by
Dewi Lewis at £30
dewilewis.com

Cirencester, Gloucestershire 1974. At the Church of St. John the Baptist annual summer fête, women shelter from the rain.
 St John's Wood, London 1975. The Eton v Harrow cricket match played at Lord's Cricket Ground.
35
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Lewisham, London 1977. Police protect defiant National Front supporters during the so-called Battle of Lewisham.
 Westminster, London 1969. Four young men attend a Conservative Party ‘Forward Again with the Tories’
36 rally in Trafalgar Square in preparation for the 1970 General Election.
B+W

Whitechapel, London 1974. A café on Whitechapel High Street.

Whitechapel, London 1975. Great Eastern Buildings, Peabody Housing Estate. A resident in her living room after a hard day’s work.
37
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Covent Garden, London 1980. By 1980 the Blitz Club had relocated from Soho to a down-at-heel wine bar in Great Queen Street.
 Victoria, London 1968. Two brothers with their father at the Royal Horticultural Society Annual Flower Show.
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South Kirkby, Yorkshire 1979. Retired miner Tommy was a bandsman at Hemsworth Colliery. On his smallholding
he kept several pigs on land that he rented from the National Union of Miners.
 !… ‫ٳ‬n… !Á 0 ( áX Á R

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 CO M M EN T
REFLECTIVE PRACTICE
There comes a moment for every photographer when the decision to press
the shutter or not is one of utmost importance. Vicki Painting considers
@vickipaintingphoto
the justification for both options and how they affect our lives.
P
hotographs Not Taken (2012)
by Will Steacy is a collection of
photographers’ essays for which the
unusual premise was to compile a
book of photos without pictures –
or as Lyle Rexer put it in his introduction:
‘A book of pictures without images’. This
notion of absence as a way to highlight can
be seen as a continuation by a long line of
artists as a way of drawing attention to their
medium by effectively negating it.
In the 1952 composition 4’33’’ the
experimental composer John Cage treated
his audience to what many have commonly
perceived to be a musical void lasting
roughly four and a half minutes, but was
instead a performance intended to draw
attention to sounds, other than musical. So
in place of the orchestra we hear the muffled
coughs and the shuffling of the audience in
their seats or the clack of a distant banging
door, sounds that would normally be masked
by the music but are always there.
How might a photographer produce an
40 image without producing a photograph?
B+W
Rexer believes that photographers may
struggle more than other disciplines when
trying to renounce the image, being the most
reluctant to explore this idea when asked to
express themselves through words rather than
pictures. It is often quoted that photographers
can’t write and can only truly express
Small statue, known as Aphrodite, forms a link to the past. All images © Vicki Painting
themselves through pictures, in spite of the
well-documented affinity between pictures
and words. This cliché, is blown out of the
water by the photographers here who bring to
the page vivid descriptions of the photographs
which they decided for a number of reasons
not to take, along with accounts of pictures
missed, hidden, retracted or the ones which
were failures. Just as Cage was able to
introduce an audience to extraneous sounds
that were always there, so is something extra
revealed and communicated in the written
account by each photographer that would
not have been present in the picture.
‘THE IDEA THAT AN ASSUMED
EMOTIONAL DETACHMENT
ENABLES A PHOTOGRAPHER
TO GAZE ON A SCENE AND
SIMPLY RECORD IT IS UNLIKELY
TO BE THE CASE, THIS IS
FURTHER AMPLIFIED WHEN
THE SUBJECT IS KNOWN
TO THE PHOTOGRAPHER.’
ll of us will ask ourselves at some
A stage, should I take this picture?
When the question could be:
should I really be looking? This
becomes all the more expedient when
the choice becomes: should I be looking
or helping? A question often asked of
photojournalists and by photojournalists
themselves when faced with a situation
where others believe they may be more
usefully deployed in simply helping out.
The oft-cited case of Kevin Carter, the
South African journalist who took the Pulitzer
Prize-winning picture of a starving girl being
stalked by a vulture during the famine in
Sudan in 1993, brought this question to the
fore. Carter received criticism for not helping
her; the power of the shot seeming graphically
to depict her fate, though reports suggest she
did in fact survive. Carter did not intervene,
he pressed the shutter, he chose to take the
picture. Struggling Girl became the ultimate
case study in the debate as to whether
photojournalists should intervene or simply
take pictures. How might Carter have written
about this if he had chosen not to take this
picture? He paid a heavy toll, scarred by his
experiences and the criticism of his actions,
he died by suicide a year later.
The idea that an assumed emotional
detachment enables a photographer to gaze
on a scene and simply record it is unlikely to
be the case, this is further amplified when
the subject is known to the photographer.
I purposely took the decision not to
photograph my father during his decline,
Above: Hybrid portrait formed from a set of
ID pictures of my father.
Opposite: Printed on to wax paper and
re-photographed. A continuous analogue process.

being immersed in the business of caring
but, more importantly, also knowing that
at this stage I could not flick the emotional
switch off. That doesn’t mean there weren’t
moments when the photograph didn’t
present itself, and I took pictures of his
possessions and objects that he used which
seemed to carry a trace of him, but I declined
to photograph the man and have no regrets
about making this choice. It is only since his
death that I have set about making pictures
of him using archive photographs and words.
Photographer Peter Riesett describes how,
on seeing his grandmother sitting on her bed
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beautifully illuminated by fading sunlight and
looking through an old shoebox of photos of
her recently deceased husband, he realised
that, to have taken her picture would have
been an imposition, and sums it up perfectly
when he said: ‘Perhaps some images are
meant only for the mind and the heart’.
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2019
 INSPIRATION
STRAIGHT TALKING
It’s become a rite of passage that to be a photographer we need to switch
All images off auto on our cameras. But Chris Gatcum challenges the received wisdom
© Chris Gatcum
and wonders whether dialling in A might help creativity and enjoyment.
I
n 2015 a book entitled
Photography Beyond Auto
hit the shelves of everyone’s
favourite online and bricks-
and-mortar bookstores, bearing
my name on the cover. This didn’t
come as much of a surprise to
me, because I’d spent a fair chunk
of the latter half of 2014 bashing
out the words and pulling
pictures together. But it wasn’t
until I received a trickle of emails
from people who had parted
with their cash to buy the printed
pages that I knew the book had
landed in the real world.
As is often the case, the title
was ultimately decided by the
publisher, after a lot of discussion
with their sales and marketing
teams about how best to label
it to get the most exposure in
online searches and the like.
In this instance, the working
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title – Beyond Auto – became
Photography Beyond Auto, so
it would be more obvious what
category the book fell under.
Although I prefer the slightly less
obvious approach of the original,
this decision makes sense from
a commercial standpoint.
To further clarify things,
a subtitle was added, reading:
‘Switch off auto mode and take
better, more original photos’.
That largely sums up the
book’s premise and intended
audience: it was aimed at novice
photographers looking to move
away from automatic camera
settings and take control of their
photography. However, the last
five words of the subtitle – ‘take
better, more original photos’
– have always jarred a little.
Below I have a number of ‘auto only’ cameras that are great for day trips
or outings when I just don’t want or need the fuss of a ‘proper’ camera.
This shot was taken on an Olympus XA-1 compact at a theme park.
Why? Because it implies that if
you shoot using your camera’s
auto mode the opposite is true:
that you will take worse, less
original photos. And I’m just not
convinced that’s true.
n the past I wouldn’t have
I hesitated to condemn the
auto mode on a plethora of
compacts and SLRs, and I
would just have enthusiastically
followed that up with a sweeping
damnation of anyone who
thought otherwise or – heaven
forbid – actually turned their
camera’s mode dial to the Big
Bad A. The reason for my
zealousness, or at least my excuse
for it, is simply that the mantra
I’ve been fed since day one is that
‘proper’ photographers use
manual mode or, at the very
least, a priority mode. They
certainly don’t use auto.
As soon as you start to take
photography seriously this
directive comes into force. I first
encountered it in books and
magazines, and now it’s a mouse
click away, with photographers,
camera manufacturers, teachers
and photo retailers (and probably
butchers, bakers and candlestick
makers) quick to explain that
auto is for non-photographers
and something you’d better wean
yourself off as soon as possible
if you want to progress. And if
that doesn’t get through,
entry-level cameras aimed at
hapless newbies are teeming
with automatic and scene modes,
while ‘worthy’ cameras for
worthy photographers are not:
which one do you want to be? ›
 Left Auto can’t do everything.
I doubt any camera would get the
exposure for this heavily backlit
shot right; in some situations
manual control is essential.

45
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 › This ‘auto off’ hymn is
therefore something you will
eventually learn and one that
most of us will come to sing
happily at the top of our lungs
like a teenager at a Little Mix
concert after one too many
alcopops, or at least catch
ourselves humming under our
breath. As if to prove the point,
as I’m writing this – and by sheer
coincidence – one of the popular
mainstream magazines has
appeared on the shelves of my
local newsagent with ‘Dial M for
Manual: Take control to capture
your best-ever images’
emblazoned on its cover. It’s the
exact same memo we’ve been
receiving for decades and the
message is clear: go manual or go
home. Now, don’t get me wrong,
I’m not suggesting for a moment
there’s no value in this message:
quite the opposite. I absolutely
believe we need to learn to
differentiate our apertures from
our elbows. Depth of field, the
effect that shutter speed has on
movement, how ISO affects
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amplification/sensitivity and
noise/grain, EV numbers and all
the other quirks of exposure have
a pivotal part to play in how we
create our images. But do we
sometimes fall into the trap of
making them too important?
s admirable as the
A notion of using
manual mode to
‘take better, more
original photos’ or ‘capture our
best-ever images’ is, a whole
host of poor and unoriginal
photos can be found sacrificed
on its altar, enshrined in a world
of disappointment. I can only
wonder if, by repeating the ‘only
manual matters’ mantra, we
are guilty not only of pushing
novices to cut the auto umbilical
too soon, but of alienating those
who would – and could – be
great photographers were it not
‘In the past I wouldn’t have hesitated to
condemn the auto mode on a plethora
of compacts and SLRs.’
for the incessant pressure to
appreciate the supposed nuances
of, say, f/13 as opposed to f/11,
and the absolute necessity of
being able to dial that in by hand?
Today, there are millions
of great shots being taken on
fully automatic smartphones
by people who are arguably the
future of photography, but who
paradoxically don’t identify as
photographers. At the same
time, those who transition from
a large flat screen with a tiny lens
to a much smaller screen with a
much bigger lens in the hope of
becoming a better photographer
are immediately hurled into the
manual abyss. I am certain that
many of them simply disappear,
overwhelmed by the pressure as
they fall through the darkness.
For sure, learning the exposure
trinity is going to benefit your
photography, but photographers
of all levels could benefit from
being less involved in what the
camera does from time to time.
Bogging ourselves down with
the technicalities of exposure is
all well and good, and getting
an exposure within 1/10 stop is
an admirable skill, but it is of no
benefit whatsoever if the process
distances us from the picture,
rather than bringing us closer. In
striving (or struggling) to get it
right from a technical perspective
it is easy for our photographs to
suffer: compositions are forced,
imagination is replaced by
replication and well-rehearsed
rules are rolled out to anchor
key elements in predetermined
positions like a tired catalogue
model running through their
repertoire of poses. In this way
the ‘what’ becomes secondary to
the ‘how’, not through a lack of
ability, but because the mental
gymnastics we feel obliged to go
through take over and distract us
from the very thing that inspired
us to lift a camera to start with.
Auto, on the other hand – or
Above An Olympus Trip 35 has
been my go-to auto camera for 47
20 to 30 years. The fixed lens and B+W
built-in (battery free) light meter
mean I can really concentrate on
what I am photographing, rather
than worrying about how.
Left Auto modes are synonymous
with entry-level cameras, which
is perhaps why models like the
Hasselblad XPan eschew them.
This basically forces photographers
to take control of their exposures
(or at least develop a rudimentary
understanding of aperture and
shutter speed), but how many
shots and how much enthusiasm
is lost along the way?

even program mode at a push –

takes all the head scratching out
of the equation. In one turn of the
mode wheel we can concentrate
more fully on composition,
lighting and those other key visual
areas, while the camera delivers
perfect focus and exposure. By
extension we can revel more
in success, rather than reeling
from missed opportunities, lost
moments and wasted effort. And
surely that is more beneficial than
a hefty kick in the mojo because
manual led us astray?
 F E AT U R E THE INVENTIVE MIND
His work has been described as forensic investigation as an art form but for
All images Nick Veasey the X-ray image has more to say about contemporary society.
© Nick Veasey
Elizabeth Roberts visits his newly opened gallery in Kent.

48
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Above 1971 VW Beetle, January 2015 Opposite Solo Iris, March 2008

eeting Nick Veasey is ‘Nick is fascinated with the into photography since I was about 14 and

M
not so much like
encountering a breath
of fresh air as a strong
breeze. Unpretentious,
with a dry sense of
humour, he is refreshing company, as I
discovered when I visited his new gallery
in Kent. On the surface, he is unassuming
but this belies – much like his work –
what lies beneath. Look closely and you
find an inventive mind matched with
a perfectionist nature.
The gallery he has just opened – Process
Gallery in Lenham in Kent – is a modernist
style building that has been designed to
accommodate his working studio and a
gallery for his own work alongside other
contemporary artists. The grounds around
the gallery are to become a sculpture park
later this year.
The architects Guy Holloway, who
designed the space, were given a brief that
included a solid concrete X-ray chamber with
a massive lead door to contain the radiation
that is emanated during the long exposures
N has spanned the last 25 years all
Nick makes when photographing. ‘If I were to
X-ray you,’ he commented, ‘you would have
interior / exterior which he
relates to our consumerist
society that relies on
external appearances.’
about two months to live.’ I declined the offer.
Nick is fascinated with the interior / exterior
which he relates to our consumerist society
that relies on external appearances. ‘X-ray is
an honest process – it has integrity, it reveals
how a subject is designed whether that be by
man or by nature. By removing surface detail
and exposing the normally invisible internal
make up of an object, my work is a comment
about the superficiality of modern life. It’s
what is on the inside that really matters.’
ick’s highly successful career that
began with a Pepsi Cola can. In his
disarming way he explains how it
happened: ‘I was working in graphic design
as a marketing manager,’ he explains. ‘But I
was so rubbish at it that the company went
bust and I was made redundant. I had been
I always messed about in the darkroom at
school, experimenting. So I decided to try
and make a career of it. At that time Zoe,
my wife, was a graphic designer for a TV
show called the Big Breakfast. She came
home one day and said they needed an
X-ray of a Pepsi Cola can because one of the
presenters, Johnny Vaughan, was going to be
filmed sitting in a truck load of Pepsi cans
– one of which had a magic number in its
ring pull. If you found that one can, you won
£100,000. The script had Johnny Vaughn
asking viewers how they could cheat – and
then a cut to an X-rayed can.
‘However, they were having difficulty
finding anyone to take the X-ray so I said
I would do it. Zoe persuaded her boss to
give me 24 hours. I phoned the hospitals but
they were too busy with their patients. I then
discovered that X-rays were used in non-
destructive testing of aircraft landing gear,
much in the same way as you would have an
MOT on your car. I found a company who
were willing to hire me the equipment and
a technician for the day. The technician’s
name was Lesley and she showed me how to
X-ray the can. After that we spent the rest of ›
49
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 Ostrich Feather Hat, February 2017 V&A CREDIT: by Cristóbal Balenciaga 1955-1960 from the fashion collection Victoria & Albert Museum.
50
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Mantua Dress, March 2017. V&A Credit: Leconte (Madame)(embroiderer)

1740-1745, Giles, Magdalene (maker) 1740-1745 from the fashion collection Victoria & Albert Museum.
 51
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Michael Jackson, June 2015

52
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Typewriter August 2013
› the day X-raying random things – my shoes,
odds and ends, whatever came to hand.
It might sound clichéd but it was a real light
bulb moment for me, I thought the images
were brilliant. It took about three months
for Lesley to teach me how to really use the
equipment and then I was on my way.’
Nick spent a year making a portfolio then
got on a plane to America, visiting advertising
agencies and talking to whoever he could.
‘When it started, it literally exploded,’ he says.
‘I spent the next 10 years doing commercial
work.’ He worked on major campaigns for
the likes of Nike and Mercedes but eventually
turned to the fine art world.
oday, Nick has clients worldwide and
T has had a number of major exhibitions
as well as being represented in high
end galleries. He has also worked
closely with the V&A. With his mobile X-ray
‘It took me about three months because that is at the heart of his work.
Laborious beyond belief, it takes days, if not
for Lesley to teach me how to weeks, to produce one image. Each part of an
really use the equipment and object is X-rayed on to sheet film that is then
scanned on an ancient 1980s drum scanner
then I was on my way.’
and stitched together digitally. ‘If I love an
unit he spent weeks X-raying some of the image, I really love it,’ he says, ‘and I’m willing
museum’s oldest and most precious objects, to put the work in.’ Looking round the walls
including early clothing from the historical of the gallery, there is certainly plenty to love.
fashion department. Later his work was
described by one of the curators as ‘forensic
investigation as an art form’.
He has also created X-ray images of
famous stars from Marilyn Monroe to
Michael Jackson. When I questioned him
as to how this was achieved he replied with
characteristic flippancy: ‘I use stiffs.’ In fact,
the skeleton he used was loaned to him by a
museum and was pressurised in a rubber suit
so that it could be manipulated.
Nick’s gallery is aptly named Process
Process Gallery is open to the public seven days
a week and admission is free.
Process Gallery, Sandway, Lenham, Kent ME17 2LU
processgallery.art
P RODU C I NG DIG I TA L F I N E A RT PA P E R S SU I TA B L E F OR A L L P HOTO G R A P H IC N E E D S

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 TECHNIQUE
TOP TIPS
WINTER LANDSCAPES
Predicting what’s in store for us this winter is about as easy as winning the
All images lottery, but whatever the weather brings, great images are guaranteed.
© Lee Frost
Lee Frost offers his ten top winter tips.

I
t’s 8am, minus 10° and I’m standing by the edge of a frozen lake
waiting patiently for the sun to rise into the crisp morning sky.
I lost all feeling in my toes an hour ago, despite bashing my boots
together and jumping up and down on the spot, and fingers are
continually flexed for fear they’ll freeze to the bone. Oh, for a cup
of coffee and a hot bacon butty! But there’s a job to be done.
I’m gazing out over an amazing frozen landscape and despite
the plummeting mercury, conditions couldn’t be better.
Moments like this are rare and special. Breakfast will have to wait...
Winter landscape photography is an unpredictable business.
The weather can change not only from day to day, but hour to hour,
or minute to minute. Making plans is difficult; disappointment comes
with the territory. So if a window of opportunity presents itself you
have to seize it, and to hell with everything else!

54
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 GOOD PLANNING
Planning is the key to success in winter.
Because the weather’s unpredictable you
need to be prepared for whatever the
elements throw at you. Check the weather
forecast several times each day. Do some
scouting locally and establish places you can
get to quickly to take shots after snowfall,
or if it’s a crisp, frosty morning, or when a
heavy fog comes down. By compiling this
winter wish list, you’ll know exactly where to
go to make the most of whatever weather
conditions happen to greet you.
Rannoch Moor, Scotland
It must have been minus 10° when I took
this shot, but conditions were perfect, with
mist rising over the frozen landscape.
Canon EOS 1DS MKIII with 70-200mm zoom
lens, 1/30sec at f/11, ISO 100
 FULLY EXPOSED 
The biggest problem you’re going to face
when shooting snow-covered winter
landscapes is getting the exposure right. The
metering system in your camera is calibrated
to correctly expose average scenes that
contain a fairly even mix of light and dark
tones (think mid-grey). A snow scene is
about as far from average as you can get,
but your camera doesn’t realise that and
sets an exposure as though it is. Result?
The shot is underexposed and the snow
comes out grey. With digital cameras,
overcoming exposure error is easy because
you can take a test shot, check the preview
image and the histogram then adjust the
exposure accordingly.
With snow scenes, underexposure
almost always occurs, so after looking at
the preview image and its histogram I dial in
extra exposure using the camera’s exposure
compensation facility. I may start with as
little as +⅓ stop or as much as +1 stop and
I may need to go to +2 or more to achieve
‘correct’ exposure. The important part is
paying attention to the histogram because as
you increase the exposure the tones in the
histogram shift gradually to the right. What
you don’t want to do is move them so far
to the right that the highlights start to blow
out because with a snow scene that could
mean half the image ends up overexposed
and even though snow is white it does have
55
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texture, which you need to retain.

Snaefellsnes, Iceland
Sunshine on snow is probably the trickiest
subject to expose for. I needed +2 stops of
exposure compensation to get this shot right.
Canon EOS 5DS with 24-70mm zoom lens,
1/160sec at f/22, ISO 400

 KEEP IT SIMPLE
Snowfall simplifies the winter landscape by
obscuring details. Only big, bold features
remain after heavy snow – trees, pylons,
walls, telegraph poles, fence lines and
buildings. Low-level features are buried from
view. This provides the perfect ingredients
for stark, simple landscapes. Use a telezoom
lens to isolate a single feature, such as a
bare tree in the middle of a snowfield or
a fence arching over the top of a snow-
covered hill, and exclude all other features
so you end up with minimalist compositions.
Converting the images to black & white can
work really well when you’re shooting scenes
like this and it simplifies them even more.

Haukadalur Valley, Iceland

I used a telezoom to home in on the pattern
created by these silhouetted trees and their
shadows against snow and a washed-out sky.
Canon EOS 5DS with 70-300mm zoom,
1/640sec at f/11, ISO 200

  MISTY MOMENTS 
If you rise early on a cold winter’s morning
you’ll often find mist swirling around
trees, hanging over rivers and streams
like a mysterious shroud and reducing the
world to pastel colours and simple, two-
dimensional shapes. Mist also tends to
settle in valleys, and when viewed from a
high position can look incredibly evocative,
with trees tops and church spires just
visible, or plumes of smoke from coal fires
drifting into the frozen air. Scenes like this
tend to look their best after a very cold
night, when the mist has frozen and stays
put for much longer. If you descend into
the mist you’ll also find trees covered in
a thick coat of frost due to the moisture in
the air settling on them before freezing.

 SNOW JOKE
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. Near Borgarnes, Iceland
Ideally, the weather should be clear and Mist was rising from these snowy mountains like steam from a hot bath.
the sun shining so there’s more contrast, An increase in temperature from the winter sun was the cause.
but dull, grey days can work well too, Canon EOS 5DS with 70-300mm zoom lens, 1/1250sec at f/8, ISO 200
especially for minimalist images.
Early morning and late afternoon are Use footprints, fences, walls and other to clone them out, and in some cases
generally the best times to shoot snow. features to break up the foreground, but a neat line of footprints can make an
The sun will be low in the sky so it casts tread carefully when you reach a promising effective lead-in line, but if you’re not sure
long shadows, which add interest to your location so you don’t ruin the foreground where to shoot from initially it’s best if you
images and also reveal texture in the snow. with your own boot prints. It’s no big deal walk around the perimeter of the scene.
56
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

Þingvellir, Iceland
Freshly-fallen snow has a beautiful, delicate texture that the morning or afternoon sun
reveals. I was so pleased that no one had trampled through this pristine foreground.
Canon EOS 5DS with 16-35mm zoom lens, 1/50sec at f/13, ISO 100
 

 FROZEN
It’s hard to imagine temperatures getting so low in winter that
moving water can actually freeze, but it does happen, and the
results can look amazing. Waterfalls usually freeze over time, bit
by bit. Often you’ll still find some water flowing between or behind
the ice, but it’s not unknown for them to freeze up completely and
create a wall of patterned ice or giant icicles. Where there is water
flowing still, include it as a contrast with the ice and use a slow
shutter speed of ½-1 second to blur its motion.
Above Skogafoss, Iceland The cliffs surrounding this famous Icelandic
57
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waterfall were covered in giant frozen icicles that had been created
by spray from the falls. It was a mesmerising sight.
Canon EOS 5D MKIII with 16-35mm zoom lens, 8secs at f/11, ISO 100


 DAY BY DAY
A benefit of shooting landscapes in winter is the days are short and
civilised. Forget rolling out of bed in the middle of the night – the
sun doesn’t rise until after 7.30am down south and as late as 9am
in the north of Scotland – and it’s setting again before 4pm, so you
can shoot from dawn to dusk and still be home in time for tea.
Even better, once the sun has risen it doesn’t climb very high
in the sky before heading back down to the horizon again, so the
quality of light is good throughout the day even if you’re shooting
in full sun, with long shadows raking across the landscape and
helping to reveal texture and form – important elements when
shooting to convert to black & white. To make the most of the day
I aim to be on location an hour before sun-up. In winter that means
setting out in total darkness and using a head torch to find my way
around, but it’s worth it because the eerie half-light of predawn can
be just as magical as sunrise. The character of the light at this time
of day is just as important as its colour, plus the temperature is likely
to rise through the day so if you want to catch delicate frost and
atmospheric mist, dawn is the time to be out there.

Right Haukadalur Valley, Iceland I hid the low winter sun behind these trees
so I could shoot into the light and capture the tree shadows raking
towards the cameras – without flare ruining the image.
Canon EOS 5DS with 24-70mm zoom lens, 1/400sec at f/11, ISO 200

‘he repeated freeze-thaw that occurs as temperatures rise during the day also creates amazing patterns.’
58
 STAY WARM
If you want to enjoy your time in the winter
B+W
landscape you need to stay warm and
comfortable, so make sure you wrap up.
I start out with a thermal base layer then
add two or three further layers to my top
half including a wind and waterproof outer
shell. For my bottom half I favour lined,
waterproof trousers as they’re warmer and
 made a great foreground. To make the most of it
Gullfoss, Iceland
If winter weather can do this to a parked car, imagine what it can do to an
under-dressed photographer standing around for hours in freezing conditions!
Canon EOS 5DS with 70-300mm zoom lens, 1/250sec at f/6.3, ISO 400
keep the damp out when kneeling in snow.
The extremities tend to feel the cold first so
thick socks and stout boots are the order
of the day for feet, a hat for the head and
gloves for hands. If it’s really cold I wear a
thin pair of inner gloves and a thicker pair
of outer gloves, removing the outer pair
when I need to operate the camera but
keeping the thinner pair on.
 ICE PATTERNS
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 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 temperatures rise during the
day also creates amazing patterns – like
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 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.
Left Loch Bà, Scotland
This ice pattern looked so geometric and 3D
that it could have been carved by a laser.
Nature never fails to astound.
Canon EOS 1DS MKIII with 70-200mm zoom lens,
½sec at f/16, ISO 100
 COMPOSE FOR IMPACT
To capture the true majesty of a perfect
winter’s day, nothing beats big, bold
landscapes beneath a dramatic sky. I don’t
mind clear, cloudless sky in mid winter
because it adds simplicity to the landscape,
but given the choice I prefer there to be
some cloud around to add character and
impact. Fortunately, it’s rare not to see cloud
at some point during a typical winter’s day.
In terms of capturing the scene, the
usual landscape rules apply. I mainly use
either a 16-35mm zoom or a 24-70mm,
I look for foreground interest to give the
composition a strong sense of depth and
scale, I stop the lens down to f/11 or f/16 to
ensure front to back sharpness then grad
the sky down with a Lee Filters ND hard
grad to retain that drama and detail in the
sky – either a 0.6 or a 0.9 grad. I know a lot
of photographers abandoned grads when
they switched to digital capture but for me
they’re essential because I prefer to get
the image as close to finished in-camera
as I can. I’d rather be out shooting than in
processing Raw files thanks very much.
Opposite Stokksnes, Iceland
The patterns on this frozen black sand beach
I shot at 16mm with the camera low to the
ground and in portrait format.
Canon EOS 5DS with 16-35mm zoom lens,
½sec at f/16, ISO 100


59
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 timdaly.com All images ©Tim Daly

TECHNIQUE
PROJECTS
PRINT LAYOUT
There’s something special about creating a print, but how you position
IN VISUAL
the image on your choice of paper can truly make or break the final
STYLE 20
look of the picture. Tim Daly talks you through the options.

T
he placement or layout of an image on to a sheet of printing
paper can have much more of a visual impact than you’d
think. In fact, there are numerous styles and conventions
employed by professional practitioners that have in the past
remained largely unexplained. Since words and images were first
placed on paper, certain assumptions have developed that affect
the ways in which we, perhaps subconsciously, react to borders
and gaps between the edge of the image and the edge of the
paper. Descended from a time when paper was a very expensive
commodity, these notions have conditioned our responses to
looking at artists’ prints, photographs and books of all kinds,
including photobooks.
Broadly speaking, photographs that are printed with wide borders,
and lots of empty paper suggest luxury; while conversely no borders,
no gaps and no extra space suggests the opposite. Yet both of
these rules can be broken with a change of context. In this feature
we’re going to explore the practical implications and creative choices
available for adding an extra layer of visual impact to your work.

SECTION 1: METHODS TO CONSIDER

For this project, choose a selection of your best images to make into high
quality prints. If you’ve got the budget, splash out on some expensive inkjet
paper too. Remember, it’s the proportions that count rather than the overall
size or scale, so you can experiment just as effectively on small paper.

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1 CLASSIC 35MM ON A SHEET OF 10X8IN PAPER

Unfortunately, the proportions of our variable sized digital sensors
don’t really match the proportions of A-sized papers, so there are
compromises to be made when considering layout. This dilemma,
however, was the same for 35mm film photographers using standard
10x8in darkroom paper format. The combination of 24x36mm film
enlarged on to 10x8in without cropping created a characteristic type
of border, as shown. While the top and bottom tabs are deeper and
equal, this kind of placement symbolised an uncropped, full-frame print
signalling the photographer’s skill in composition and previsualisation. So,
in short, a specific kind of layout can also project a complex backstory.
INSPIRATIONAL QUOTE
‘A beautiful print is a thing in itself, not just
a halfway house on the way to a page.’
Irving Penn
2
2 BORDERLESS PRINTS
On a small scale, borderless prints are sometimes perceived as
visually less attractive, resembling mass-produced photo lab prints
more than fine artworks. This kind of print can feel like mechanical
output destined to have a short lifespan, perhaps with a functional
purpose rather than something to be treasured as an art print.
However, large-scale borderless prints such as those by Andreas
Gursky suggest the opposite. Flush-mounted on rigid aluminium
and without a surrounding frame, these prints make an epic visual
statement. Framed large-scale borderless prints, such as those by
Larry Sultan (see link on page 63), can look effective too.
 3 4

3 TABBED PRINTS 4 AVOID THE OPTICAL ILLUSION OF EVEN BORDER WIDTHS

A recent visual style incorporates a blank The commonest mistake we make when printing is not a real issue at all – it’s an optical
white space or a tab on the printing paper illusion. Put simply, if we make a print with equal sized white borders around all four edges,
and this has its roots in Polaroid and as seen in the example left, then the bottom border will look thinner even though it’s the
contemporary Japanese photobooks. Used same width as the other three. To solve this you need to make the bottom border thicker than
by photographers such as Wolfgang Tillmans the top, left and right, as shown in the example right.
and Rinko Kawauchi in both exhibition
printing and books, the tab provides a kind
of visual buffer zone and blank space which 5
seemingly strengthens and fortifies the image
by isolation, as this example shows. Search
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for and look at examples of Rinko Kawauchi’s
books, especially Illumination, to see how the
white tab and image placement contribute to
the minimal vibe of her work.

5 WHY FRAME PRINTS?

In addition to enhancing the appearance of
your prints, the process of framing creates a
hermetically sealed environment for your work.
Many digital paper prints can be damaged
by handling, but more severely so by invisible
atmospheric pollutants if kept exposed to the
open air. When framing a print, it’s never a
good idea to have the print surface touching
the glass, as in a clip frame, because this
contact point will be susceptible to moisture
damage. Always separate the print from the
glass with a mat or set the image away from
the surface. The back of the frame is important
too, for if you don’t seal all around with framing
tape it’s an open invitation to all kinds of bugs
to climb inside and eat your artwork.

‘Many digital paper

prints can be damaged by
handling, but more severely
so by invisible atmospheric
pollutants if kept exposed
to the open air.’
 SECTION 2: PRINT BORDERS IN LIGHTROOM
Your choice of paper quality, paper size and layout can make the final print feel like an enhanced and precious portfolio print.

1 PAPER SIZE
AND SENSOR SHAPE
Many digital cameras have sensors that
produce images with slightly different
dimensions, unlike the universally shaped
35mm film, which always produced a
36x24mm negative shape. Like the varying
aspect ratio options found on TV sets such 2
as 16:9 and 4:3, there are several different
image shapes used in digital photography. 2 LAYOUT IN LIGHTROOM
Depending on the aspect ratio you are Lightroom has the most visual method of print layout with its full-screen sized print module.
shooting with, you’ll find the international Here each image can be applied to a preset layout template or within an editable grid such
paper shapes and sizes don’t really fit. as the fine art mat template as shown. Both print and border sizes can be altered by click
Shown here is the universal A4 paper shape dragging, or for more precision using the margin sliders, as shown. Lightroom’s print
compared with three common aspect ratios module also provides a time efficient way of printing a selected group of images with
used in today’s digital cameras. the same layout, without having to treat each as a separate print job.

62 ‘If you visualise a sheet of printing paper like a picture frame, you’ll realise that
B+W
it’s not necessary to fill it entirely with your image.’

3 BIG OR SMALL?
If you visualise a sheet of printing paper like a picture frame, you’ll
realise that it’s not necessary to fill it entirely with your image. In
these three examples the most pleasing result is the print with the
smallest image. On the left is a typical example of a print where
edge to edge (or full-bleed) doesn’t really enhance the composition
of the image. In the middle, uneven white borders suggests an A4
print from an office printer, while the example shown right is
a classical layout with a deeper bottom border.
SECTION 3: MAKING MULTIPLE IMAGE PRINTS IN LIGHTROOM
Lightroom’s versatile print module allows you to lay out several images on a single sheet of paper.

1 USING A PICTURE PACKAGE TEMPLATE

The picture package
templates can be
found under the
template browser
in Lightroom’s print
module. Here you
can make multiple
prints of different
sizes on a single
sheet of paper,
determined by the
current paper size
selected in your
page setup dialog
box. Picture package 2
templates can look
uninspiring at first 2 ADAPTING A CONTACT SHEET TEMPLATE
glance but they do Lightroom’s two contact sheet templates need modifying considerably
have some useful to make an attractive printout. After choosing the paper size in the
functions. Firstly, page setup box, next change the template to fit your precise needs.
they allow you to For this example, the 4x5 contact sheet template was chosen, which
1
make prints at a initially gave a rather gappy result. Starting with the page grid, a 3x3
size smaller than your inkjet will allow – albeit needing to be trimmed configuration was chosen to reduce the number of images on the
down once dry. After selecting a template, check the cells and page from 20 to 9. If I’d selected more than 9 in the first instance,
image settings dialog boxes to see what’s been applied any overflow images are automatically made into a second
automatically, as you can modify it to suit. document using the same 4x4 pattern.

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3 MAKING YOUR OWN CUSTOM LAYOUT

The most versatile of Lightroom’s print module layouts is the free-
flowing custom package option found in the layout style option box.
Here you can both resize and drag the picture boxes exactly where
you want them, then simply drag images in from the thumbnail viewer
at the bottom of your screen. This method is an ideal way to prepare
a sequence of images to output directly to a connected inkjet. If you
want to send your custom layout to a remote printing service, the
process is slightly different. As Lightroom doesn’t allow you to export
a print layout, you’ll need to change the default print to option from
printer to Jpeg file (this is at the top of the print job dialog box). Set the
print resolution to 300ppi, then press print to file. Once created, you
can send the resulting Jpeg to your chosen lab. 4

INSPIRATIONAL IDEAS 4 FINAL OUTCOME

Rinko Kawauchi books For my final print I’ve chosen to output my image at a small size
Andreas Gursky exhibition prints on a cream coloured cotton inkjet paper. The extra wide borders
Larry Sultan’s framed borderless prints create a precious, personalised feel to the print.
 COMMENT
A FORTNIGHT AT F/8
New technology has made some aspects of photography much easier,
timclinchphotography.com
but it can cause divisions. We should resist the urge to bad-mouth each
@clinchpics
other and instead enjoy learning new things, says Tim Clinch.
64
B+W
ay back in
W the dark ages,
when I was
a teenager,
there was
much talk about the generation
gap. There was muttering from
the young about how their
parents just didn’t understand
them and many sentences from
mums and dads the length
and breadth of the country
beginning, ‘The trouble with
young people today…’
It was ever thus, I guess,
but the quote from footballer
Wayne Rooney after he won his
last England cap in a friendly
game against the USA has got
me thinking about our attitudes
towards photography. Rooney
was, somewhat controversially,
awarded his final cap to honour
his long career playing for
England. He came on as a
second-half substitute, playing
alongside the new England
squad, an exciting team made
up of teenagers and players in
their early twenties. Interviewed
after the game, Rooney said: ‘I
know there are some ex-players
I’ve spoken to who can’t come to
terms with England doing well.’
Now, there is no denying that
with the advancement of digital
technology the technical side of
photography has made things
easier. For example, what used to
take me hours in a studio using
all my experience of lighting
learned from many years of
assisting some very good
professional photographers can
now be achieved in minutes
using post-production and this
does present photographers who
learned their craft in the
pre-digital age with a dilemma.
Does the removal of struggle
create bad photography? By this
I don’t mean the age-old creative
struggle – that will never go
away. I mean the physical
struggle of having to learn a craft
and apply it in order to express
oneself. I don’t know, but it’s an
argument I hear a lot, especially
from the older generation.
I do know that the removal of
the struggle to learn what many
people consider to be the nuts
and bolts of photography has
changed things. Whether this is
a good or a bad thing is for you
to decide, but it has certainly
thrown up a lot of new problems
and decisions for the latest
generation to deal with.
I
’m not saying there is nothing
to disagree with or dislike
in the world of modern
photography. Believe me, there
is plenty! But I feel very strongly
that it is how we disagree that is
as important as what we disagree
about. There is no place for the
kind of jealousy that Wayne
Rooney talked about among his
ex-professional colleagues. There
is simply no need to bad-mouth
others simply because they fell
in love with photography in 2018
rather than 1978 (or whenever),
and there is never a time to bang
on about how everyone is a
photographer these days.
So what if everyone is a
photographer these days?
Celebrate that reality. Change
the bar for yourself. Show people
why you stand out among the
 WHAT TIM
DID THIS
MONTH

I’ve been enjoying writing

this column for a fair few years
now and quite frankly never in
my wildest dreams did I think
I would end up quoting Wayne
Rooney in it! Life – and indeed
this magazine – moves in
mysterious ways.

My pictures this month are

all examples of something I
wrote about when I first started
doing this column – the power of
words, lettering and typography
in photography. I think it must
be because our brains are
hardwired to read, even if we do
not understand the language.
I love the strong, graphic lines
these pictures bring.
65
B+W

The photographer I
have chosen this month is
Alecsandra Raluca Dragoi
(alecsandraralucadragoi.com).
All images © Tim Clinch My beloved partner has accused
rest. Redefine yourself and me of overusing what she calls
your work. Concentrate on the the ‘P’ word, but believe me,
only thing you really need to this young woman is a proper
ask yourself every single time photographer. Originally from
you capture an image – is this Romania, now established in
picture any good or not? And London, she works as a freelance
don’t ignore what’s happening photographer, has had her work
out there at the moment in published in National Geographic
2019. Learn from the things and the Guardian. Numerous
happening here and now. awards sit under her belt, such
Embrace Instagram. Enjoy as the prestigious Sony Awards.
learning some new software. Why ‘proper’? Well, she
Dare to be different. is a working, professional
At the end of his interview photographer. She is not an
Rooney thought about what artist. Her pictures do not require
he had said about the jealousy any explanation (like so much
among some ex-players and of the pretentious nonsense
said, ‘That is wrong. I’m not paraded as photography these
like that. I’m a fan now. I want days) and she is very, very
England to do well.’ good. Interviewed recently
Well said, Wayne. I haven’t in the Independent, she said,
hung up my lenses just yet, and ‘Photography has been a
doubt if I ever will, but certainly, fantastic way to grow up faster
I’m a fan. And I really, really and get to know myself.’
want photography (and the This is what the future of
England footy team) to do well… photography could and should be!
 INSPIRATION
ON REFLECTION
The start of the new year is a good opportunity to review the previous 12
All images months of photography and make plans for the future. Eddie Ephraums
© Eddie Ephraums
considers the lessons learned and their impact on his thinking.

66
B+W

s 2018 drew Looking back over the photographic year Awestruck, I couldn’t quite

A
to a close, I
found myself
looking back
over the year,
reflecting on my
photographic highs and lows,
successes and lessons learned.
I wonder how I can use these
experiences to inform and
improve my photography in the
years ahead? I also think about
the changing times we live in,
in which life only seems to exist
if it is photographed, and how
this might affect the future of
photography: its meaning
and purpose.
Thinking back over the year,
Much of my photography seemed to happen at or near to home, returning work out how to photograph
to familiar subjects and seeing them with more open eyes. Despite our innate this magic. Nature as the artist,
photographic desire to experience the new, it’s worth remembering that many totally in-tune with itself, is
successful artists have explored recurrent themes throughout their lives. always an inspiration, but
Sitting in the garden, watching the play of light is one of mine. sometimes its alchemy is a hard
act to follow.
I am struck by an unexpected attention, followed by my own As I write this, I am
realisation. Many of my most excited expletives! From my considering an opportunity to
memorable images were not vantage point I’d been watching travel to farther shores, to India
captured in camera, but are held a fellow photographer stalk a with my wife and daughter,
in my memory. I vividly recall herd of wild goats and beyond before my wife teaches a yoga
looking through my binoculars him lay an extraordinarily clear, course there. Experience has
at a pair of soaring eagles, memory-etched view down the taught me that only having
mobbed by a single raven and entire 13½-mile length of Loch a couple of weeks travelling
the extraordinary acrobatics Maree. Another time I walked in such a vast and culturally
that ensued. Then there was along the loch shore, following different environment is
the memorable sound of this a golden, waterline thread unlikely to produce particularly
encounter that first grabbed my of washed-up birch leaves. meaningful photographs. ›
 67
B+W

What did I focus on in 2018?

I realise my photography wasn’t a search for standout
imagery, instead it was a period of reflection, producing
quieter, inner-looking images. Friends commented on this
and the type of pictures I made – simple subjects that held
my gaze. I sense 2018 was an important transition period.
A time when I constructed my new daylight, photobook
making, garden studio. What future does this space hold?
68
B+W
› In such time-limited situations,
I find myself forever playing
catch-up, trying to develop my
connection with a particular
place but having to travel to
the next one before I do. Better,
perhaps, to leave the camera at
home and, since everything in
India is close-up and intimate,
to leave the binoculars too. And
my cameraphone? What about
just using a notebook and pen
to capture first thoughts and
process lasting impressions?
aradoxically, last year
P also taught me not to
think too much or to
strive with my
photography. There were times
when I found it best to adopt
a more responsive approach.
I think of the song thrushes that
Dreaming of photographic times ahead to feeling totally at one
I wonder if the song thrushes I photographed in my garden this year will photographing the birds.
return in 2019? If they do, how can I employ the experience I gained? I wonder: although I call
Last year’s images of them were essentially documentary in nature; myself a photographer, can this
might this year’s play more on the imagination? I’ve got a few months to sometimes be a hindrance? Is it
dream how these images might look before hopefully the thrushes return. a label that demands I always
look for images instead of truly
nested outside my photobook- the kitchen doorway with my seeing the subject first,
making workspace and how camera and just a sarong experiencing it for what it really
all-consuming they became. around my waist. Excitedly, she is? If dropping the label means a
I completely lost myself said she was going to show the less photo-driven approach and
photographing them, investing picture to her yoga students. that I don’t always get a picture,
hours, then days and finally two It had nothing to do with my no matter. Sometimes the one
whole weeks, responding to state of undress! Apparently that got away is what drives us
their nature and not just to my I was in a perfect, naturally on – that visceral sense of
own. At one point my wife aligned posture, even though encounter between the subject
photographed me as I knelt in I don’t do yoga. I put this down
‘I wonder how I can use these experiences
and self, expressed through
excited expletives rather than
camera megapixels.
to inform and improve my photography envisagebooks.com
in the years ahead?’ openstudioworkshops.com
 TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
Smartphones are small, light and easy to carry, so next time you are in the
countryside why not try using yours to take landscapes? Tim Clinch
All images © Tim Clinch
shares some great tips for extending your mobile photography.
ollowing on from last month’s

F challenge to photograph a still life on

your mobile phone (see B+ W 224),
I’m going to set you another challenge
– to take landscapes on your phone.
Readers of this column will know I always
advocate trying to inject your mobile
photography with punch. Good strong
images are the order of the day, mainly
because your mobile photography will often
be viewed on a smartphone. Readers will
also know I am not a huge fan of landscape
photography, and indeed feel I am pretty
rubbish at it. Obviously in my professional life
as a travel photographer I have to turn my
hand to it from time to time, but my first
instinct in almost all situations is to get closer.
So, this month I’d like you to shoot some
landscapes on your phone, and make them

70
B+W
 timclinchphotography.com | @clinchpics | clinchpics
subtle. See if you can get some detail
into them. Here are a few tips for getting
impact into your landscape photography.

1 I will say this only once but it is a

massive bugbear of mine and especially
important in landscape photography
– GET THE HORIZON STRAIGHT.

2 Include an interesting focal point.

Always look for something to grab
your eye, be it dramatic clouds, a tree, a
bird or something to avoid your landscape
being boring.

3 Make use of leading lines. Simply by

standing on a path or a bridge is a
powerful way to create depth and draw the
viewer into the scene. Your eye can’t help
but follow the lines into the distance.

4 Make use of negative space.

A minimalist look can be particularly
strong in landscape photography and
negative space is the best way to
emphasise this. Resist the temptation to
crop too tightly and have the courage to
leave space in your pictures.

5 If you feel your landscape photography

on your phone is too bland, try
switching on the HDR to add impact. HDR
can look awful in some conditions but can
often bring an otherwise dull landscape to
life by adding punch and detail.
So, get out there and start shooting!
And please remember to enter your mobile 71
B+W
images into the regular Smartshots
competition in the magazine.

Smartshots – see page 72.

How to submit – see page 86.

THE PICTURES THIS MONTH

The pictures shown here are all captured
in and around my village in Bulgaria. The
picture with the moon is my homage to
Ansel Adams’ Moonrise over Hernandez – ‘A minimalist look can be particularly strong in landscape
and probably has the great man spinning photography and negative space is the best way to emphasise this.’
in his grave!

INSTAGRAMMERS
OF THE MONTH
Julian Calverley (@jccalverley) –
a stunning photographer and producer
of some of the best iPhone landscapes
I have ever seen.
Ruairidh McGlynn (@ruairidhmcglynn) –
beautiful, minimalist landscapes.
Japanese photographer Koshi Nishijima
(@koshi_another_side) – produces amazing
ethereal landscapes. Shoots on an iPhone.
And finally, if you want to see some
interesting ways to play with textures in
your post-processing, check out Cat Cliffe
(@bodneyboo). Her pictures show what
can be achieved using a mobile.
 SMARTSHOTS
The one camera you always have with you is on your phone, and we want to see
the pictures you take when the moment is right. We have three 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 the three winners.

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WINNER © GREGORY PEASE

© PAUL LAWSON

© ALESSIA BECCIA © LES WELTON

 WINNER © MARK STEVENS

© MARTIN TIERNEY
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WINNER © MATT VICKERY © MICHAEL CASSELL

SUBMIT YOUR PICTURES

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

www.samsung.com/memorycard
74
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 YOUR B+W

All images © Sophie Alyz

SALON
In our search for some
of the best work by black
& white aficionados, we
discovered Sophie Alyz
from Paris who has spent
time in zoos and aquariums
photographing the animals
she hopes will not
be lost…

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‘My project title is:

Giraffes Have Never
Really Existed’
‘Giraffes don’t grow on trees.
There will be no trees any
more, by the way. Giraffes
grow in cages, for the
moment. Soon, they won’t
grow at all because humans
are destroying everything,
including themselves…’
76
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77
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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,
78 submit a well edited set of between 10-15 images online at blackandwhitephotographymag.co.uk.
B+W
Turn to page 86 to see how you can submit your work.
 B+W APP
BLACK+ WHITE PHOTOGRAPHY
SUBSCRIBE TO OUR DIGITAL EDITION

DOWNLOAD THE MAGAZINE

FROM ONLY £2.77
VISIT WWW.POCKETMAGS.COM
 TESTS AND
PRODUCTS CHECKOUT
Camera straps are often overlooked, but finding one that’s comfortable
and secure can give you the confidence to stay out shooting for longer.
There are some great choices out there. Daniel Calder looks at the options.

OP/TECH USA PRO STRAP 4V DESIGN PIUMA SL

Cushioned neck strap
The Pro strap from Op/
Tech USA is a considerable
improvement on the straps that
80 come with a new camera, and
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has the added benefit of not
displaying your camera’s logo to
the world. It’s a simple design,
but boasts a large (6 x 38cm)
neoprene pad to make carrying
weighty DSLRs (up to 7kg) much
more comfortable. Small raised
bumps on the back help it to
grip against your neck and not
move around. The wide range of
colours, including a camouflage
option, is appealing, but it also
means you can put a different
colour on each camera to help
locate the right one quickly.
The Pro strap extends to over
double its shortest length of
61cm, ensuring a good fit for
most photographers and also
letting it be used as a shoulder
strap, if preferred. Quick release
clips either side of the pad allow
the camera to be unclipped in
a jiffy, should the need arise.
There are two Pro straps to
choose from, depending on
how you want to attach it to the
camera. The standard model
sports the classic buckles,
while the Pro Loop is knotted
on to the camera.
LIKES
Fantastic price
Large, soft neoprene pad
Choice of buckle or
loop attachments
DISLIKES
Average manufacturing quality
Can get a bit warm and sticky
The neoprene pad on the Op/Tech
USA Pro strap is very comfortable.
Italian style
Superior materials, impeccable
craftsmanship and Italian style
are the hallmarks of 4V Design,
and the Piuma shoulder strap
shares all of these qualities.
Designed for mirrorless
cameras and medium sized
DSLRs, it’s composed of a
large, 40 x 4.5cm, leather
shoulder pad and an adjustable
webbing strap. The leather
is beautiful, soft and nicely
padded, providing a high The Giro accessory for the 4V
degree of comfort, while Design Piuma attaches to the
looking stylish at the same time. camera with an Allen key.
To prevent any slippage, the
underside of the strap is made while allowing the camera to
of fabric with a grippy silicon spin freely and to move up and
overlay. The strap attaches down the webbing strap as you
to the camera in the normal lift and drop the camera. The
way, by clipping on to one of security and flexibility of this
the camera eyelets, or you option overcomes the slight
can use the included Giro annoyance of having to keep
attachment for even greater the Allen key to hand.
flexibility. This small accessory The Piuma is undeniably
screws into the tripod thread luxurious, but the steep price
with an Allen key, ensuring a is somewhat offset by free
completely secure attachment delivery worldwide.

TECHNICAL SPECIFICATIONS TECHNICAL SPECIFICATIONS

Length 61 to 129.5cm Length 107 to 131cm
Width 1cm Width 2cm
Weight 91g Weight Unknown
Colours Black, red, navy, royal, wine, nature, steel, forest Colours Black, brown
Guide price £18.99 Guide price € 129.90 (about £115)
Contact optechusa.com Contact 4vdesign.it

SUN SNIPER ROTABALL PRO
Secure sling strap
By providing comfort, security
and unhindered access to the
camera, the Rotaball Pro strap
from Sun Sniper delivers all the
requirements of a good camera
strap. The German company
has been making these
products for many years and
this model is a result of steady
and consistent improvements.
Operating as a sling strap, the
camera glides effortlessly up
the webbing from its resting
position on the hip without
moving the shoulder pad at
all, which is fixed in place by
a second strap that clips under
the armpit. This will be great for
most people, but some may
find it constrictive, while
left-handers will find it tricky
as the clip will be on their back.
A stretchy shock absorber
below the pad absorbs the
bounce of a heavy camera
– relieving any stress to
the shoulder.
The Rotaball connector
screws into the tripod thread
and, thanks to a cluster of
ball bearings, allows the
camera to spin freely
for maximum flexibility.
TECHNICAL SPECIFICATIONS
Length
Width
Weight
Colours
Guide price
Contact
A plastic clip prevents anyone
else unscrewing the camera,
and metal threads running
through the strap hinder
any attempts at cutting it.
LIKES
Smoothly rotating connector
Metal threads add security
Shock absorbing design
DISLIKES
Not for left-handed users
Pricey
A secondary strap fastens
under the armpit to keep
the shoulder pad of the
Sun Sniper Rotaball
Pro in place.
80cm
7.1cm
231g
Black
£80
sun-sniper.com
PEAK DESIGN SLIDE LITE
Minimalist design
The Peak Design Slide Lite is
a pared down camera strap
that concentrates on fast, easy
attachment to the camera
and quickfire, single-handed
adjustment to the length of the
strap. It does this by foregoing
any emphasis on padding or
comfort. That’s not to say it
isn’t comfortable, just that
it relies on a tightly woven
seatbelt-like material to take
the burden rather than a pad.
This has the advantage of not
interfering with the way the
aluminium lever can be lifted
and smoothly pulled to either
tighten or slacken the strap in
an instant — allowing a tight fit
while walking and a looser one
when taking a photograph.
Attaching the camera to the
strap is equally quick, once
LIKES
Rapid, one-handed, length
adjustment
No fuss attachment to the camera
Super strong material
DISLIKES
No padding
TECHNICAL SPECIFICATIONS
Length
Width
Weight
Colours
Guide price
Contact
The aluminium clip on the Peak
Design Slide Lite allows the length
of the strap to be adjusted
one-handed.
you’ve got the Peak Design
anchors in place. These small
rubber discs with a cord loop
are knotted to your camera
eyelets and on to the anchor
mount that screws into the
tripod thread. This also allows
the camera to be carried on
the neck, shoulder or across
the body just by clipping on to
different anchor points.
The thoughtfully designed
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Slide Lite is intended for
mirrorless cameras and costs
a very reasonable $50.
99 to 145cm
3.2cm
104g
Black, ash
$49.95 (about £40)
peakdesign.com
FINE ART C-TYPE WORKING WITH
& GICLÉE PRINTING PHOTOGRAPHERS
& GALLERIES
IMAGE ARCHIVING SINCE 1993
01273 708222 | info@spectrumphoto.co.uk
Lower Ground Floor, Frederick House
ARCHIVAL PRINT 42 Frederick Place, Brighton, BN1 4EA
FINISHING spectrumphoto.co.uk
1901 FOTOGRAFI RODCHENKO
Handcrafted leather
The Rodchenko strap is a
beautifully slim (1.1cm) strip
of full grain English leather
finished with a 3cm wide
shoulder pad. It is handmade
near Bath, England, by portrait
photographer Mark Lewis. He
set up 1901 Fotografi six years
ago to create camera straps
from the finest vegetable tanned
leathers in the UK.
The superb workmanship,
contrast stitching and range of
striking colours make this strap
a fine fashion accessory. The
regular Rodchenko is available
in a fixed length of 115cm, but
as Mark makes each strap
himself he can offer custom
length finishes between 50cm
and 145cm for only £3 extra. He
LIKES
Handmade, leather craftsmanship
Custom-made options
Exceptional price
DISLIKES
Not the most comfortable strap
for heavy cameras
TECHNICAL SPECIFICATIONS
Length
Width
Weight
Colours Black (x2), brown (x2), tan, red, olive, blue, grey
Guide price
Contact
also offers an adjustable strap
with a metal buckle that extends
from 107cm to 146cm for £41.
Attaching the strap is easy,
as it slips through the camera’s
eyelets to form a secure loop
held in place by four stainless
steel grommets. If the strap is
too wide, a pair of split rings
can be clipped on first and the
strap can be threaded through
those instead. Considering
the quality of this handcrafted
product, the price is exceptional
and it’s enhanced further by the
free UK postage.
These simple studs on the 1901
Fotografi Rodchenko secure the
strap to the camera.
115cm
1.1cm
Unknown
£35
1901fotografi.co.uk
BLACKRAPID NICOLE ELLIOTT
Even weight distribution
Designed by women for
women, the Nicole Elliott strap
by BlackRapid is inspired by
traditional fabric baby carriers
that evenly distribute weight
across the body, rather than
concentrating it to a single
point. It does this by using a
stretchy, water-resistant fabric
that slips over the entirety
of the shoulder, spreading
out the load and providing a
degree of shock absorption.
The shoulder piece can be
reversed between plain black
and a black and white pattern
depending on your taste or
which hand you use to operate
the camera. It measures 19 x A pocket on the BlackRapid Nicole
60cm and features a couple Elliott keeps small accessories
of pockets to stow away close at hand.
accessories and a lens cap.
The strap attaches to LIKES
the camera via a swivelling Rotating connector
connector that screws into the Effective, load-bearing distribution
tripod mount and a lockable Spring-loaded locks fix the camera
carabiner clip — allowing a at any point on the strap
great deal of movement, while
ensuring the camera stays DISLIKES 83
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attached. To make doubly sure, Unique style won’t be
a Camera Safety Tether is also for everyone
included, which joins the strap
to an eyelet on the camera as
well. Two clips on the strap
can also be set to stop the
camera dangling around when
you bend over and accidentally
knocking it into things.
‘Designed by
women for women,
the Nicole Elliott strap
by BlackRapid is inspired
by traditional fabric baby
carriers that evenly distribute
weight across the body.’
TECHNICAL SPECIFICATIONS
Length 160cm
Width 2.5cm
Weight 180g
Colours Black/Patterned
Guide price $69.95 (about £55)
Contact blackrapid.com
 DARKROOM
Get back into the darkroom this year with
this new north London facility. Designed for
both the expert and the analogue newcomer,
Darkroom provides accessible facilities SONY FE 400MM F2.8 GM OSS
as well as introductory and experimental Sony promise brilliant image quality from this new large aperture super-telephoto prime lens.
analogue workshops. Also available as gifts. It’s designed for professional sport and wildlife photographers and is dust and moisture
Membership – from £60 resistant. It weighs 2,897g, making it the lightest lens in its class.
darkroomlondon.org £10,500 sony.co.uk

TESTS AND PRODUCTS

BLACK+WHITE
84
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LOVES MARUMI M100
NEW PHOTOGRAPHY MAGNETIC FILTER HOLDER
SAMYANG AF 24MM F/2.8 FE Marumi’s new magnetic filter holder allows you
New wideangle lens for Sony mirrorless GEAR IN THE SHOPS to change filters quickly and easily. It screws
cameras. It’s compact, lightweight and into the front of the camera lens, then filters
promises a quiet, fast and accurate
AND ONLINE can be snapped on or off. It fits a wide variety
autofocus system. of lenses.
£279.99 samyanglensglobal.com £125.94 marumi-filter.co.jp

LEICA Q-P
Designed to be discreet, the Leica Q-P
does not have the eye-catching Leica red
dot logo but does have a restrained Leica
script on the top plate instead. The full-frame
TENBA AXIS BACKPACKS compact camera has a fast prime lens and
Super-tough backpacks designed to keep your camera equipment safe in extreme conditions. comes with a leather carrying strap and
Features include three access areas for camera gear, plus reflective webbing, padded laptop an extra battery.
sleeve, pockets for accessories and straps for a tripod. The Axis is available in three sizes. £4,100
20L – £180, 24L – £200, 32L – £225 tenba.com leica-camera.com
 PRODUCT
OF THE
MONTH

COOPH POSTERS
These stylish limited edition posters celebrate the world of photography. The A2-size
pictures are either by Lena Yokoyama or Emil Kozak and are signed by the artists.
€39 (about £35) cooph.com

LOMO INSTANT
AUTOMAT GLASS ELBRUS
Instant camera boasting a multi-coated
38mm glass lens. The camera supports long
exposures and multiple exposures, and the lens
cap doubles as a remote control shutter release.
£179 lomography.com

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Clamshell Backpack

HEX RANGER COLLECTION

The Hex Ranger Collection was developed
with input from several photographers and
consists of the Clamshell Backpack and the
Sling. The backpack has foam partitions
and plenty of space for camera, lenses and
accessories. The Sling is a day bag for shorter
trips and offers foam protection plus a fold-out
bottom pad that allows the Sling to be packed
flat when required.
Clamshell Backpack – $199.95 (about £155)
The Sling – $99.95 (about £78)
hexbrand.co.uk

The Sling
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY

Visit our website

86
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SUBMIT YOUR IMAGES ONLINE AT

www.blackandwhitephotographymag.co.uk

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

 LAST FRAME SMARTSHOTS

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

87
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ONLINE COMMUNITY SALON

FOR ALL CONTACT DETAILS

blackandwhitephotographymag.co.uk

FOLLOW US ON FACEBOOK
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PRIVACY

If you win a prize (Last Frame or

Smartshots) you agree we can give
your contact details (address, email
and telephone number) to the prize
sponsor so they can contact you
about sending you your prize. They 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.
 27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
www.apertureuk.com
Pre-owned Leica N i k o n Film Cameras
Leica SL (Boxed + Spare Battery) Mint- £3390 Nikon F with Eye Level Finder New Mirror Foam Exc+++ £450
Leica SL with charger + Spare Battery Exc+++ £3250 Nikon F2 with DE-1 Chrome #8027xxx Exc+ £370
Leica 24-90mm f2.8-4 Vario-Elmarit-SL + hood (boxed) Mint £2650 Nikon F2 Photomic AS Chrome #8021xxx User £320
Leica 90-280mm f2.8-4 APO-Vario-Elmarit-SL Exc++ £3090 Nikon F2 Photomic AS Chrome New Mirror Foam #8029xxx Exc+ £420
Leica 35mm T2 Summicron-C PL with Leica M-PL Mount and Mint- £8500 Nikon F2 Photomic SB Black New Mirror Foam #7727xxx Exc+ £450
CW Sonderoptic Baseplate (boxed) Nikon F2 Photomic SB Chrome New Mirror Foam #7547xxx Exc+++ £590
Leica Q-P Black (Boxed) Mint £3490 Medium / Large & Other Format
Leica Q Silver (Complete; boxed) As new £2790
Mamiya 6 MF + 75mm f3.5 G + Hood Exc++ £1350
Leica M-Monochom with Charger 11800 Actuations Exc+ £2690
Mamiya 150mm f4.5G + hood for Mamiya 6 (boxed) Mint- £190
Leica M10 (Complete; boxed) Mint- £4790 Mamiya 7 II (Champagne) + 65mm f4L + hood Exc+++ £2650
Leica M (240) Black Paint with Handgrip M (Boxed) Mint- £2690 Mamiya 43mm f4.5L + V/finder Mint- £750
Leica M (240) Black Paint (boxed with Spare Battery) Exc+++ £2590 Mamiya 43mm f4.5L + hood & V/finder Mint £790
Leica M (240) Black Paint (boxed) one small ding on top plate Exc £2290 Mamiya 50mm f4.5L + V/finder Some minor coating marks on front glass Exc++ £650
Leica M (240) Black (Complete; boxed) Exc £2490 Mamiya 150mm f4.5L + hood Mint £350
Leica M9 Black Paint - New sensor May (Complete; boxed) - 1500 act Mint- £2190 Mamiya 210mm f8N + V/finder Mint- £350
Leica M6 0.85 Exc+++ £1490 Mamiya ZE-702 Polarising filter Mint- £70
Zeiss 21mm f4.5 C-Biogon ZM T* (boxed) Mint- £590
Leica 21mm f2.8 Elmarit-M ASPH + hood #3885xxx Mint- £1450 Rolleiflex 2.8 E2 (Planar 80mm with meter) Shutter Service by us Exc £850
Rolleiflex 3.5F (Planar 75mm) Exc+ £750
Leica 35mm f1.4 Summilux-M ASPH FLE + hood Mint £2850
Schneider 180mm f2.8 HFT PQ + hood (6000 series) Exc+++ £890
Zeiss 35mm f1.4 Distagon ZM T* Mint- £1050
Fotoman 45PS + 80mm f4.5 Super-Symmar XL Mint- £750
Leica 35mm f2 Summicron-M ASPH Exc++ £1450
Horseman 6x9 RFH Exc++ £90
Zeisss 35mm f2 Biogon ZM T* (Boxed) MInt £650
Leica 50mm f1 Noctilux-M built-in hood (boxed) Exc++ £4490 Voigtlander Bessa III 667 + Hood (Boxed) Exc+++ £2350
Leica 50mm f1 Noctilux-M + hood (boxed) Exc++ £4290 Widelux 1500 (Boxed) Exc+++ £1290
Zeiss 50mm f2 Planar ZM T* (boxed) Mint £490 Schneider 47mm f5.6 Super-Angulon (Compur 0) Exc+++ £1690
Leica 5cm f2 Summitar L39 Exc+++ £320 Schneider 90mm f8 Super-Angulon (Compur 0) on recessed Linhof size board Mint- £350
Leica 75mm f2 APO-Summicron-M ASPH Mint £1990 Nikon 600mm f9 Nikkor-T ED (Copal 3) Exc+++ £250
Leica 90mm f2 APO-Summicron-M ASPH Mint £1990
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 90mm f2.5 Summarit-M 6 bit (boxed) Mint- £750 We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 90mm f2.8 Tele-Elmarit Exc £250 below and make sure to include your name; address and contact details for return postage.
An order form is availible to download from our website on the Film Developing Page.
Leica 90mm f2.8 Elmarit Chrome Suprisingly clean optics Exc+++ £390
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 90mm f4 Macro-Elmarit-M Mint £1590 Aperture 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 135mm f3.4 Apo-Telyt-M #3842xxx (boxed) User £1390 PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica 13.5cm f4.5 Hektor Chrome User £70 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica SF-26 Flash (Boxed) Mint £170
Processing Prices (C41 Colour Negative Film)
Leica EVF-2 Mint- £190
35mm develop only £7.00
Leica 1.4X Viewfinder magnifier (boxed) As new £160 35mm develop + print £14.00
Voigtlander 15mm Viewfinder Mint £80 35mm develop + print + scan £16.00
35mm develop + scan £11.00
Sony FDA-V1K 35mm Viewfinder by Zeiss (boxed) Mint £190
Leica 36mm Metal Viewfinder Exc+++ £120 120 develop only £8.00
120 develop + print £15.00
Leica 13.5cm Metal Viewfinder Chrome Mint- £80 120 develop + print + scan £17.00
Leica Lens Hood for 50mm f1.4 Summilux-SL ASPH Mint- £70 120 develop + scan £12.00
Leica R6.2 Black Exc++ £450 Extra set of prints (order within 7 days) £6.00
Leica 250mm f4 Telyt-R 3 Cam Exc+++ £390 Negative scan to CD or digital media (Per roll) £8.00
Leica 280mm f2.8 Apo-Telyt-R 3 Cam with Flight Case Exc+++ £2590 Xpan develop + scan £18
Leica 35-70mm f3.5-4.5 Vario-Elmar-R 3 cam (German) Exc+ £370 Xpan develop + scan + print (5” x 13.5”) £25
Leica 80-200mm f4 Vario-Elmar-R ROM #3835xxx Exc+++ £890 We also process Black and White Film!
Voigtlander 25mm f4 Snapshot-Skopar Silver L39 Exc+++ £220 Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY Tel: 020 7242 8681 www. cameramuseum.uk
 27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
Tel: 020 7436 1015 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Deardorf 8x10 Field Camera with 5x4 reducing back & dark slides (Lens sold seperately) User £1590

Rodenstock 300mm f5.6 Sironar-N MC Mint- £450

Rodenstock 360mm f6.8 Sironar-Nwith LEE Filters Bellows hood for 10×8 Mint- £550

Sinar 115mm f6.8 Sinaron W Mint- £550

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
Please contact us on 0207 436 1015 or 27@apertureuk.com
 NEXT MONTH
B + W ISSUE 226 MARCH 2019 ON SALE 14 FEBRUARY

HECTOR EMANUEL DOCUMENTS THE FIGHT

FOR THE REPUBLIC OF LAKOTAH
© Hector Emanuel

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+ Ian Berry on the English ⁄ The Etiquette of Instagram ⁄ New Series on Exploring Visual Style

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image © Jo Froehner
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 To advertise on these pages please call the Photography team
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www.realcamera.co.uk
Dedicated to the monochrome photographer

B+W
BLACK+ WHITE
OPEN ACCESS DARKROOM & STUDIO
PHOTOGRAPHY COURSES | MASTERCLASSES PHOTOGRAPHY
ALTERNATIVE PROCESSES | PRIVATE LESSONS
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bwphotomag
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423 PECKHAM LEVELS, 95A RYE LANE, PECKHAM, LONDON, SE15 4ST
COOL, CREATIVE AND CONTEMPORARY

Adrian Ensor
MASTER PRINTER

BLACK & WHITE

PRINTING WORKSHOP
Take part in a 1–to–1 darkroom masterclass
with award-winning printer Adrian Ensor.
For the last 45 years, Adrian has been a professional
black & white printer, working with photographers
from across the UK and around the world.
Adrian will use his experience to show you how to get
the best from every negative. The workshops take
place in Adrian’s own central London darkroom and
are tailored to suit your experience.

Find out more at

adrianensor.com

94 B+W CLASSIFIED FEBRUARY 2019

AWAKEN YOUR CREATIVE NATURE
HOW TO CREATE MINIMALIST WINTER LANDSCAPES

landscape | wildlife | nature | adventure

Out now in WHSmith, Waitrose, M&S, Sainsbury’s,

Tesco and all good magazine retailers

O U T D O O R P H OTO G R A P H Y M A G A Z I N E .C O.U K
 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
© Michaela Nigischer
state of the art printing service, theprintspace – it could be you!

96
B+W

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

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

© AIDA SAADAT @pargas

www.streetphotography.com
Our Revolution is to expose the BEST for free. To inspire & educate.
If you have outstanding street photography, street-portraits, street
art-photography, street-documentary or have something impressive
to say about the past, present or the future of street photography,
then we’d like to hear from you. Visit the website to discover more.