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BLACK + WHITE

I
recently joined a photography
collective in London and am

PHOTOGRAPHY beginning to wonder why I haven’t

done this before. We meet every six
EDITORIAL weeks or so and talk about, and show,
Editor Elizabeth Roberts our work, as well as doing practical
email: elizabethr@thegmcgroup.com tasks in terms of presentation i.e.
Deputy Editor Mark Bentley making prints, creating small books,
email: markbe@thegmcgroup.com framing etc. Each of us has a
Designer Toby Haigh particular goal we are working
ADVERTISING towards and a joint one of holding an
© Vicki Painting
Advertising Sales Guy Stockton exhibition in the autumn. We’ve even
tel: 01273 402823 EDITOR’S LETTER SEPTEMBER 2018 discussed making a small publication.
email: guy.stockton@thegmcgroup.com It’s very much about the tangible.
PUBLISHING
Publisher Jonathan Grogan
A PHOTOGRAPHY The benefits go way beyond the obvious.
We learn from one another, give and
MARKETING
Marketing Executive Anne Guillot
COLLECTIVE receive constructive criticism, generate
new ideas, get practical help, pool
tel: 01273 402 871 resources – and have a great deal of fun.
PRODUCTION We started the group with five like-
minded people and already we’re finding
Production Manager Jim Bulley
Origination and ad design GMC Repro
‘We learn from one another, new members, invited for their likely
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Distribution Seymour Distribution Ltd abilities. Trust and honesty are a key
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 © Felipe Jácome © Geoffrey Berliner / Penumbra Foundation

08 20

© Shomei Tomatsu – INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film

24

© Kate Bellis

32

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42

BLACK+WHITE PHOTOGRAPHY ISSUE 219 SEPTEMBER 2018 NEXT MONTH’S ISSUE IS OUT ON 30 AUGUST

COVER 68 FACE TO FACE 23 ON THE SHELF

Image by Chris Gatcum. See p42 Nathan Wake answers The best new books
our questions
FEATURES COMMENT
08 LORDS OF THE MANGROVE NEWS 20 AMERICAN CONNECTION
The shell-pickers of Ecuador 04 NEWSROOM Susan Burnstine talks
by Felipe Jácome All the latest to Geoffrey Berliner

24 METAMORPHOSIS 06 ON SHOW 38 REFLECTIVE PRACTICE

Groundbreaking
g pictures The show to see this month Vicki Painting on losing pictures
hom Tom
by Shomei Tomatsu
18 IN THE FRAME 66 A FORTNIGHT AT F/8
32 VIEW FROM THE HILL Photography exhibitions Tim Clinch on achieving your
Kate Bellis photographs rural life around the country photographic ambitions
 © Nathan Wake © Tim Clinch

68 66

© Ian Taylor

72

© Martin Hudak

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 NEWS
NEWSROOM
News from the black & white world. Edited by Mark Bentley. markbe@thegmcgroup.com
© Leica Camera AG

HIGH CONTRAST
Acclaimed photographer Don
McCullin has a retrospective of
his work at Tate Britain in London
from 5 February to 6 May next
year. The exhibition will feature
his photographs from Vietnam,
Northern Ireland and Syria, as well
as rural landscapes in Britain.

Photography organisation Shutter

Hub has launched an appeal for
cameras. The group is supporting
Accumulate, a charity dedicated
to empowering homeless people
through creativity. Unused
digital and film cameras and
equipment can be donated to
Accumulate, which then provides
the equipment for photography
workshops for homeless people. The Leitz-Park.
04 Details from shutterhub.org.uk.
B+W

More than 100 pictures by some

of the masters of photography
BUILDING FOR THE FUTURE
Leica has unveiled a new rooms and features more than To commemorate the opening
are on display at the Caillebotte
complex of buildings at its HQ 250 pictures on display. of the new buildings, special
Property in Yerres near Paris from
in Germany and announced Visitors to the HQ can limited editions of the Leica Q,
15 September to 2 December.
The pictures are drawn from several new products. see many of the key cameras Leica M10 and Leica D-Lux were
the collection of Sondra Gilman Guests, including Black+White created by Leica since the on sale. Also announced was the
and Celso Gonzalez-Falla and Photography, were invited to company started in 1914. Leica C-Lux (see page 85), plus two
include work by Henri Cartier- look round the impressive new The site is also host to several Leica watches and the Leica M10
Bresson, Robert Doisneau, Hiroshi buildings at the Leitz-Park in exhibitions, including Eyes Edition Zagato, a special limited
Sugimoto, Berenice Abbott, Man Wetzlar, Germany. The buildings Wide Open! 100 Years of Leica edition of the popular camera
Ray, Edward Weston, Walker Evans provide ultra-modern space Photography – a celebration of designed by Andrea Zagato,
and other big names. for research and development, some of the pictures taken with owner of the Italian design house.
as well as space for the Leica Leica cameras, and pictures by The site employs around 1,200
A new gallery showing museum, archives, photo studio, Magnum photographer Bruce people and is expected to make
photography and other arts has
Leica store and the Living Ernst Davidson, who received this an important contribution to
opened in London. The After Nyne
Leitz Hotel, which offers 129 year’s Leica Hall of Fame award. Wetzlar and the tourist industry.
Gallery in Portland Road is a
collaboration between Olympus
and the After Nyne Creative
Services Group. The inaugural
exhibition featured work by
Olympus brand ambassadors
Martina Govindraj and B&W
photographer Steve Gosling.

Pictures from a top photography

prize are on show at Les
Rencontres d’Arles in France
this summer. The Prix Pictet is
celebrating its 10th anniversary
Left Leica M10 Edition Zagato.
with a major retrospective
featuring work by all its winners. Above Ur-Leica, built by Oskar
Barnack, completed in 1914.
 © Stephen Dock

From the series Architecture of Violence

by Stephen Dock, one of the finalists
in the competition.

IN THE FINALS
Leica has announced the 12 finalists
in the Leica Oskar Barnack Award.
Around 2,500 photographers
from around the world entered the
competition. The overall winner will
receive €25,000 plus a Leica M-series
camera and lens valued at €10,000.
Pictures by the 12 finalists will be
displayed at Neuen Schule für
Fotografie Berlin from 10 to 31
October as part of the European
Month of Photography Berlin.
Land of the Giants by Will Burrard-Lucas, who was one of the recipients of the 2017 Sony grants to develop
his work on the elephants of Tsavo National Park. © Will Burrard-Lucas, United Kingdom, 2018 Sony World Photography Awards
TAKING ON THE WORLD
The 12th edition of the Sony World Photography will receive $25,000. Winning pictures will
Awards has begun. Photographers are invited be shown at the awards exhibition in London
to submit images to one of the four separate and on international tour.
competitions – Professional, Open, Youth Also announced are the recipients of the 2018
and Student. The deadlines are 30 November Sony grant. Alys Tomlinson, Luca Locatelli,
(Student), 4 January (Open and Youth) and Tom Oldham and Balazs Gardi each receive
11 January (Professional). The overall winner $7,000 to develop a project over the next year.

BOOK WILL 05
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ROCK YOU
Rock star
Brian May has
launched a new
book of 3D
photography.
The Queen
guitarist is one
of the world’s
foremost
collectors of 3D photography and set
up the London Stereoscopic Company
to restore and republish Victorian 3D
pictures. The company has published
several books on the subject, including
3D diableries and 3D pictures of an
Oxfordshire village.
The latest book is about Victorian
photographer George Washington
Wilson, who became an innovative Marianne, 13 years old. Her grandmother started to do breast ironing to her one month before this image,
stereoscopic photography. Written by pressing the breast with a stick and wooden bowl. East Cameroon, November 2016. © Heba Khamis
by professor Roger Taylor, the book
features more than 80 3D stereo cards
and comes with a complimentary REUTERS GRANT
viewer designed by Brian May. Black & white photographer Heba Khamis photojournalist Yannis Behrakis. Pictures by
George Washington Wilson, Artist and is among eight photojournalists who have the eight recipients will also be distributed
Photographer by Professor Roger Taylor been awarded a grant by Reuters. globally by Reuters. Heba Khamis has
(with an introduction by Brian May) is The Egyptian photographer will receive a documented breast ironing in Cameroon,
published by the London Stereoscopic $5,000 grant to support her work, as well as refugees working as gay prostitutes in
Company, price £30. It’s out now, advice and planning assistance from Reuters Germany and transgender people in Egypt.
see londonstereo.com for details.
 NEWS ON SHOW
An exhibition at the Scottish National Portrait Gallery in Edinburgh explores how
transport has become part of our lives. Louise Pearson, curator of photography
at the National Galleries of Scotland, talks to Anna Bonita Evans about the show.

06
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Man on the Metro, Glasgow by Iain Mackenzie. Collection: National Galleries of Scotland © Iain Mackenzie

This exhibition is made up of 70 prints
from the National Galleries of Scotland
archive. What made you choose transport
as a subject for a major show?
Photography has developed alongside
transport – witnessing the Industrial
Revolution, the invention of the motorcar and
the birth of air travel within the first hundred
years of its invention. This has created an
exciting dynamic between the two, with
photographers constantly seeking to capture
transport’s changing technology and social
and economic impact.
As well as broadening our horizons and
radically altering our perception of the
world, transport is part of our daily lives.
Photographers are repeatedly drawn to the
theme of commuting, fascinated by its ability
to show humanity at its most ordinary. The
great appeal of transport as the subject of a
thematic show is the opportunity it presents
to consider photography as a medium
‘Photography has developed
alongside transport.’
through which to capture both notable
changes to the world around us and the
mundanity of our everyday lives.
How are the images displayed – are
they sequenced chronologically
or thematically?
The exhibition is arranged thematically,
beginning with a section that explores the
extraordinary range of modes of transport
in existence – from planes, trains and
automobiles to prams, elephants and
subways. The next section considers how
transport has shaped the world around
us, from enabling migration and trade to
driving industry and making it possible to
photograph the world from above. The final
section considers transport as part of the
fabric of our daily lives, from the daily grind
of commuting to holidays away from home.
A number of different frame types are used
to suit the size, style and age of the images,
and there is also a custom-made frame
which houses 104 stereographs from the NGS
collection – depicting modes of transport
ranging from donkeys to zeppelins.
While exploring the archive and curating
the show, was there a photograph you
were particularly drawn to?
The Forth Bridge has been a constant source
of inspiration to photographers, engineers and
the many people who cross it every day. Dieter
Appelt’s 2004 piece Forth Bridge – Cinema.
Metric Space immediately resonated with me.
Consisting of 312 separate silver gelatine prints
in eight panels, it offers a lyrical interpretation
of an engineering masterpiece that conveys
both the strength of the structure and the
rhythm of the movement as you travel across it.
Have you discovered anything about
the photographic medium and its
development during the show’s creation?
It’s been fascinating to see how early aerial
photography compares to the work of aerial
photographers working today. The technology
has changed, but the fascination with the
view from above has remained the same.
You can see this clearly when you consider
Alfred G Buckham’s incredible aerial shots
of Edinburgh from the 1920s alongside the
new acquisition 49 Jets by the American
photographer, architect and pilot Jeffrey
Milstein. Taken nearly 100 years apart, both
images consider aeroplanes in relation to the
earth below, and rely on the technology of
their day to enhance the image to create
a dramatic final composition.

The National Galleries of Scotland

photography collection was established
in 1984 and now holds more than 40,000
works. It started with an interest in
collecting Scottish photography but
soon widened its remit to be more
international. How much of this global
scope is reflected in the exhibition?
Transport is intrinsically linked to travel,
and this thematic exhibition has allowed us
to explore the global nature of the National
Galleries of Scotland’s photograph collection,
with photographs in the show taken as far
07
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away as America, India and Russia. However,
there is a strong Scottish thread running
throughout the exhibition, with the Forth
Bridge, Glasgow shipbuilding and Edinburgh
bus stops all featuring prominently.

This is the third in a series of thematic

exhibitions exploring the National
Galleries of Scotland’s archive, is there
going to be a fourth show and can you
hint at what the subject matter will be?
There are plans to continue this series
of thematic exhibitions showcasing the
permanent collection, but the theme will
have to stay a surprise for now!

Top right The Forth Bridge, about 1920

by Alfred G Buckham.
Collection: National Galleries of Scotland
© Richard and John Buckham

Bottom right Riding Camel with trappings.

The figure on foot is a Rajpoot Thakoor,
1858-65, by Eugene Clutterbuck Impey.
Collection: National Galleries of Scotland

PLANES, TRAINS AND AUTOMOBILES:

TRANSPORTATION PHOTOGRAPHS
FROM THE NATIONAL GALLERIES
OF SCOTLAND
The exhibition runs at the Scottish
National Portrait Gallery in Edinburgh
until 13 January, 2019. Admission is free.
 F E AT U R E

All images
© Felipe Jácome

LORDS
OF THE
MANGROVE
Felipe Jácome’s
photographs document a
little-known community of
shell-pickers who earn a living
digging around the fantastical
root systems of Ecuador’s
mangrove trees. ‘I discovered
something unique,’ he tells
8 Donatella Montrone.
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ords of the Mangrove was a

L
slow burn for documentary
photographer Felipe Jácome –
a series 10 years in the making, in
which he documents shell-pickers
working in the mangrove forests
of the Cayapas Mataje Ecological Reserve in
north-west Ecuador, his homeland. ‘There
are photographers who can produce a perfect
photo essay in two weeks, but I’m not that
person,’ he says. ‘It takes me a very long time.
I work slowly – sometimes too slowly. I spent
a great deal of time with the shell-pickers
(concheros in Spanish) getting to know them
and their families, watching how they work.
Sometimes I would just hang out with
them and not take any pictures at all.’ 
 9
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  Jácome became familiar with the Cayapas
Mataje Ecological Reserve in the northern
province of Esmeraldas through his work with
the UNHCR (the UN refugee agency)
monitoring the arrival of refugees from the
Colombian conflict. The reserve’s 35,000
hectares of mangrove forest near the
Colombian border had been threatened by
rapid deforestation, so in 1996 the Ecuadorian
government gave the estuary of the Cayapas
Mataje river protected status. It’s located in an
impoverished region, inhabited by about 26
Afro-Ecuadorian communities. ‘I knew there
was a community of shell-pickers living there.
I would see them early every morning,
hopping into boats to go harvest shellfish
among the mangroves. But I had never
explored the forest, until one day I decided
to accompany them and hopped in too.’

‘I really wanted to give

back to the community
after many decades
of friendship.’
As the canoe glided along the narrow
waterways, Jácome became awed by the
reserve’s labyrinthine tangle of trees. He
was instantly struck by ‘how majestic
10 the mangroves are. They’re just magical,’
B+W
he says. ‘It’s an extremely special place.’
Mangrove trees cluster along waterways and
in marshland, exposing a fantastical mesh
of intertwined roots as water levels rise and
fall. ‘Visually, it’s crazy. The roots grow in
every possible direction – some are straight,
some are circular, some make geometric
shapes. It’s really hard to imagine unless
you’ve been there. A camera can never do it
justice. For a photographer, it’s an incredibly
challenging place. Everything is dull – mud,
brown water, brown roots – and you’re
always shooting in shade. The colours are
very uninteresting, so it made sense to shoot
the series in black & white. In fact, most of
my work is black & white; I think it captures
the essence of things better than colour.’
‘The Afro-Ecuadorian communities
that inhabit the region harvest black shells
[molluscs] to earn a living. Shell-picking is
tremendously arduous work – the concheros
have to crouch for hours, knee-deep in mud,
digging around in the small crevasses of the
buried roots. Even though the black shells
are a culinary delight in Ecuador, the workers
are paid only 8 cents on the dollar for every
shell they find. On average, a shell-picker will
collect 50 to 100 shells a day,’ he explains.
‘The first few days I was there, I decided to
follow a couple of old ladies who were picking
shells – they left me behind very quickly,
and I fell back and hung out with the kids. 
11
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15
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 Children as young as 10 are expected to help,
and even though the community leaders and
local authorities encourage the children to
stay in school, many drop out to become
full-time concheros.’
ince the series took shape gradually,
S Jácome was afforded a level of intimacy
and access he might not have otherwise
had. ‘To be close enough, people
have to trust you,’ he says. ‘I feel strongly
that photography has to facilitate a dialogue
between photographer and subject. In a lot
of places, like Haiti for example, there is so
much poverty and suffering. I lived in Haiti
for three years after the earthquake in 2010; it
has been photographed over and over again.
Every time there’s a hurricane or a disaster,
a million photographers will show up, take
pictures, and then go back to their hotels for
a nice cocktail, and nothing really changes for
the people. The locals have grown to despise
photographers, and you can understand why.
In many ways, photography is a violent act. We
as photographers ‘take’ a picture – we go in,
shoot some pictures, then leave. But really we
are not the owners of the photos; they become
ours after the people offer themselves to us.’
After a decade documenting the lives of
shell-pickers, Jácome came to realise that,
‘We are not the owners of
the photos; they become
ours after the people
offer themselves to us.’
for the children, the reserve is their kingdom.
‘They are the masters of this isolated,
unknown world, so that’s why I called the
series Lords of the Mangrove. I wanted
to somehow pay tribute to them – to the
children who work in the mangroves, and to
the ecosystem.’ In the summer of 2017, with
approval from the Ministry of Environment,
images from the series were printed on
immense billboards and suspended from
mangrove trees inside the Cayapas Mataje
Reserve, for a public exhibition like no other.
It opened to wide acclaim, highlighting the
plight of these little-known grafters, paid a
mere pittance to unearth delicacies for their
wealthier compatriots.
‘I really wanted to give back to the
community after many decades of friendship,
so I asked community leaders how I could
help. School only goes up to the ninth grade
in the community, so a lot of the children
leave at the age of 12 and move to the cities
where they can keep going to school. Some
move to other parts of the country where they
have family, but others move to the cities by
themselves. The elders said it would be great if
the children could go to school and return to
their homes at the end of the day. At least they
would be well fed – some don’t have the same
access to food as they would at home.’
He decided to give them a transport barge
– one that could take children to and from
the reserve to the nearest city. ‘I asked my
friends and family for help, so my brother in
Washington helped me fundraise. We hired a
venue with a bar, got a friend to play music and
had a big party. I raised over $7,000! Then I
went back to the reserve and found a local guy
who works with fibreglass to build it. The hard
part now is finding somebody who can take
responsibility for the boat, and who is able to
take the kids to school every day,’ he says.
‘I wanted to tell this story because
I had discovered something unique.
I found something that hadn’t already
been documented, and when that happens,
it’s a true blessing. When you find
something this beautiful, this magical,
you feel the need to share it.’
To see more of Felipe Jácome’s work visit
his website at felipejacome.com or follow
him on Instagram at @felipejacomephoto.
 Repeat Winner of the TIPA Award – 2013/2017

‘ Best Photo Lab Worldwide’

Awarded by the Editors of 29 International Photography Magazines

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 NEWS
IN THE FRAME
If you would like an exhibition to be included in our listing, please email
Elizabeth Roberts at elizabethr@thegmcgroup.com at least 10 weeks in advance.

LONDON
BARBICAN ART GALLERY
To 2 September
Dorothea Lange: Politics of Seeing
The first UK retrospective of one of
the most influential photographers
of the 20th century.
To 2 September
Vanessa Winship
The first UK solo exhibition by
the award-winning British
contemporary photographer.
1 Silk Street EC2Y
barbican.org.uk

5TH BASE GALLERY

1 to 6 August
Points of Departure:
Tilbury to Harwich
An exploration of the piers and landing
stages along the Essex coast by MA
student Simon Fremont.
23 Heneage Street E1
5thbase.co.uk
18
B+W GALLERY@OXO
27 July to 19 August
Latitude
A new exhibition of wildlife images
from across the globe from the Arctic Looking Northwest, Somewhere Near
to the Antarctic by Roger Hooper. Torrance, CA, from LOS ANGELES
© Michael Light courtesy Atlas Gallery
Bargehouse Street, SE1 HIGH: PHOTOGRAPHY FROM ABOVE
oxotower.co.uk
To 1 September
HENI GALLERY Four photographers look down at the world in black & white and colour.
To 19 August
Seaside Shelters ATLAS GALLERY 49 Dorset Street W1U atlasgallery.com
From iconic seaside resorts to lesser
know towns, Will Scott has captured
seaside shelters in all their diversity. Alex Prager: Silver Lake Drive Shape of Light: 100 Years of Viviane Sassen: Hot Mirror
6-10 Lexington Street W1F The first mid-career survey of the Photography and Abstract Art Work by renowned Dutch artist
henipublishing.com American photographer and filmmaker. The intertwining stories of photography and photographer.
To 14 October and abstract art. To 7 October
HUXLEY-PARLOUR Tish Murtha: Works 1976-1991 Bankside SE1 tate.org.uk Lee Miller and Surrealism
To 11 August Documentary work by the exceptional in Britain
Auguste Rodin: The Photographs photographer on a historic moment of WHITECHAPEL GALLERY An exhibition that explores surrealism
Over 30 vintage photographs from social deprivation and instability in Britain. To 26 August in Britain through Miller’s lens.
the studios of August Rodin. 16-18 Ramillies Street W1F Killed Negatives: Gallery Walk, Wakefield
3-5 Swallow Street, Mayfair W1B tpg.org.uk Unseen Images of 1930s America thehepworthwakefield.org
huxleyparlour.com The images that were rejected by Roy E
PROUD Stryker from the Information Division MILLENNIUM GALLERY
MUSEUM OF LONDON To 12 August of the Farm Security Administration. To 23 September
To 11 November Jane Bown: The Observer 77-82 Whitechapel High Street E1 Victorian Giants:
London Nights Jane Bown’s remarkable work whitechapelgallery.org The Birth of Art Photography
Images that focus on the city after dark. and lasting legacy. The groundbreaking work of
150 London Wall EC2Y
museumoflondon.org.uk
32 John Adam Street WC2N
proud.co.uk NORTH Lewis Carroll, Julia Margaret Cameron,
Oscar Rejlander and Lady Clementina
Hawarden.
PHOTOGRAPHERS’ GALLERY TATE MODERN HEPWORTH WAKEFIELD Arundel Gate, Sheffield
To 14 October To 14 October To 7 October museums-sheffield.org.uk
TATE LIVERPOOL THE LIGHTBOX Black & white photographs of Sussex 1 Queen Street, Edinburgh
To 23 September To 7 October life in the 1960s and 70s by this nationalgalleries.org
Life in Motion: Egon Schiele/ Photographs around Woking: Sidney renowned photographer.
Francesca Woodman
Pictures that highlight the expressive
nature of the body.
Francis in the 1920s and 1930s
Prints from glass plate.
Chobham Road, Woking, Surrey
9 North Pallant, Chichester, West Sussex
pallant.org.uk WALES
NATIONAL MUSEUM CARDIFF
Albert Dock, Liverpool
tate.org.uk/Liverpool
thelightbox.org.uk

THE LINK GALLERY

SCOTLAND To 11 November
Women in Focus
YORK MUSEUM GARDENS To 31 August EAGLE FEET GALLERY The role of women in photography, both
To 7 August Recurring Dreams To 17 August as producers and subjects of images.
International Garden An exhibition by Bharat Patel. Aros Revisited: Photographs by Cathays Park, Cardiff
Photographer of the Year John Radcliffe Hospital, Oxford Sarah Darling museum.wales/cardiff
The best in plant life. An exploration of the timeless
Museum Gardens, York
yorkmuseumgardens.org.uk
LUCY BELL GALLERY
9 August to 13 September
David Bowie – Geoff MacCormack
nature of light, water and plant life
at Lochan a‘Ghurrabain, Aros on
the Isle of Mull.
ONLINE
SOUTH Collection
Pictures by childhood friend and member
of Bowie’s band, MacCormack.
An Tobar Arts Centre, Tobermory,
Isle of Mull comar.co.uk
ALBUMEN GALLERY
To 15 August
Forbidden Lives
BRIGHTON BEACH 46 Norman Road, St Leonards-on-Sea SCOTTISH NATIONAL Rosa Gauditano’s documentary
To end of September lucy-bell.com PORTRAIT GALLERY photographs of the margins of society.
An outdoor exhibition by Brighton To 13 January 2019 20 August to 29 September
and Hove Camera Club held PALLANT HOUSE GALLERY Planes, Trains and Automobiles HVA
on the beach. To 2 September Transportation photographs from Robert Conrad’s images of the
Opposite the Grand Hotel Sussex Days: Photographs the outstanding collection of the intelligence service offices of the GDR.
bhcc-online.org by Dorothy Bohm National Galleries of Scotland. albumen-gallery.com

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© Catwalking

CATWALKING: FASHION THROUGH THE LENS OF CHRIS MOORE

To 6 January 2019
Moore is one of the first photographers to capture live fashion when Parisian salons opened their doors in the late 1960s.

BOWES MUSEUM Newgate, Barnard Castle thebowesmuseum.org.uk

 COMMENT
AMERICAN CONNECTION
The Penumbra Foundation in New York City brings together the art and
science of photography through education and research. Geoffrey Berliner
susanburnstine.com
talks to Susan Burnstine about his portraits of artists who have visited there.
20
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2018, Jerry Uelsmann
or 10 years Geoffrey
F
Berliner has created
captivating tintype
portraits of artists
who have visited the
Penumbra Foundation
in New York City where
he’s worked as the executive
director. Berliner amassed an
impressive collection of portraits,
many of which feature some of
the most respected artists in
contemporary photography.
While it may seem
logical for a photographer
to make portraits of other
photographers, no one can
dispute we can be among the
most difficult subjects as we
typically dislike sitting in front
of the camera. But Berliner has
skilfully faced this challenge to
create a stunning ongoing
body of work.
As Penumbra has grown
over the years, artists and
photographers increasingly
visited the facility, which allowed
many opportunities for Berliner
to invite subjects to pose for
him. Additionally, he’s invited a
number of artists he admires to
sit for him, including a variety of
painters, writers, poets, dancers,
musicians, curators and gallery
owners. Berliner’s process also
becomes a vehicle to educate
subjects about the technique of
making tintypes. He regularly
invites his subjects into the
darkroom to witness the tintype
development process so they
can experience the magic first
hand. He also admits he enjoys
the process of making a portrait
more than the images themselves
and adds that one of his favourite
aspects is sharing the final image
with his subject.
In recent years Penumbra has
2017, Farrah Karapetian
been hosting a regular artist talk
series developed by programs
director Leandro Villaro so
Berliner has been taking
portraits of each invited artist
even if he’s unfamiliar with their
work. ‘The making of a portrait
is an opportunity to get to know
someone on a special level,’ he
says. ‘It also introduces me to
work I otherwise would have not
been exposed to.’
uring a recent trip to
D New York City I had
the great pleasure of
visiting the Penumbra
Foundation where I was able to
tour the impressive facility.
Perhaps the most memorable
part of the tour was getting the
chance to visit Berliner’s massive
vintage gear and lens collection
that he’s been housing there
for eight years.
‘I have an affinity for Petzvals
because they are useful for 19th
century photography, but I’ve
been collecting photographic
gear and lenses for over 30 years,’
he says. ‘My first love was lenses
for my Leica M cameras. From
there I went into medium format
with Rolleiflex and then on to
Graflexes. The Petzvals came
with my interest in the early
processes after I had already
ventured into large format.
As for imperfect renderings,
I was always interested in lenses
that offered unusual or
unpredictable characteristics.
The first lens I collected like this
was the Leica Thambar, a 1930s
soft focus lens used for
Hollywood photography.’
As an artist who makes her
own cameras and lenses, it was
truly breathtaking to be in the
room where Berliner stores

2015, Scott B. Davis
around 2,000 lenses that
represent every optical design
from the 1839 Achromat and
Petzval through the Pictorialist
2018, Lisa Elmaleh
All images © Geoffrey Berliner / Penumbra Foundation
soft focus era to our current
period of lenses. ‘Sadly there’s
not enough time to use all of
them but I use many primarily
EXHIBITIONS
USA
BALTIMORE
Baltimore Museum of Art
Until 25 November
Maren Hassinger: The Spirit of Things
artbma.org
BOCA RATON
Boca Raton Museum of Art
Until 21 October
Lisette Model: Photographs from
the Canadian Photography Institute
of the National Gallery
bocamuseum.org
CHICAGO
Art Institute of Chicago
Until 28 October
Never a Lovely so Real:
as they are needed for a Photography and Film in Chicago,
1950-1980
particular job, application or
format,’ he says. ‘I have lenses
artic.edu 21
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that will cover as large and
larger than 20x24 inches. Some CLEVELAND
of my prized lenses are soft Cleveland Museum of Art
Until 7 October
focus lenses such as Pinkham
Danny Lyon: The Destruction of
& Smith, Struss Pictorial, and
Lower Manhattan, 1966-67
Kalosat but also early New York clevelandart.org
City lenses by Henry Fitz,
CC Harrison, Charles Usener,
and Holmes, Booth & Haydens.
FORT WORTH
Amon Carter Museum
I also have a very comprehensive
Until 16 September
Globe collection and many Multitude, Solitude:
stereo pairs. There are too The Photographs of Dave Heath
many to mention. I enjoy cartermuseum.org
understanding the relation
these lenses have to one another HOUSTON
and how their formulas
Catherine Couturier Gallery
influenced photography.’ Until 13 October
Currently, Penumbra Libbie Masterson
Foundation co-founder Eric catherinecouturier.com
Taubman and Berliner are
planning to join forces to write LINCOLN
a book about the development of DeCordova Museum
the photographic lens from its Until 30 September
invention through to 1940. Next Lived Space:
month a selection of Berliner’s Humans and Architecture
work will be exhibited at decordova.org
Kingsborough Community
College in Brooklyn, New York NEW ORLEANS
City. The exhibition will continue A Gallery for Fine Photography
through the month of November. Until 27 September
instagram.com/geoffreyberliner Ben Depp: Bayou’s End
penumbrafoundation.org agallery.com
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 NEWS
MEXICO –
BETWEEN LIFE
AND DEATH
Harvey Stein
Kerlag
Hardback, £32
t is a brave decision for a
I
photographer to shoot a
country such as Mexico –
vibrant with colour – in black
& white, but Harvey Stein has
pulled it off with verve. His 14
trips to the country, between
1993 and 2010, have provided
him with enough material to
illustrate this extraordinary
society in all its richness and life.
Focusing largely on small
towns and villages, with an
emphasis on ritual and festival,
Stein’s photographs tell us not
only about the country, but
about Stein’s feelings towards it.
In his introduction he describes
how, as a teenager, he imagined
what Mexico would be like,
finally making his first trip there
in 1993. ‘I have never been
disappointed,’ he writes, it’s a
vibrant, friendly, emotionally
available, and sometimes raw
land where a stranger is looked
upon with curiosity and warmth.’
His pictures reflect his comment.
Very far from being a guide to
Mexico, this book is a personal
journey by one photographer
who clearly loves the place and
feels comfortable with it.
Elizabeth Roberts
ON THE SHELF
ICONS OF STYLE:
A CENTURY
OF FASHION
PHOTOGRAPHY
Paul Martineau
J Paul Getty Museum
Hardback, £50
curator in the Department of Photographs, Paul Martineau. Icons
of Style will be regarded in the future as a superb resource for the
history of fashion and fashion photography – as well as being the
most gorgeous book to browse through.
I
have long been fascinated by
the dual roles of photographer
and printer – roles that at
times have seemed highly
unequal, with printers rarely
receiving acknowledgement for
their skills in interpretation. In
analogue times, this relationship
was key to the success of a print,
and bonds were made between
photographer and printer that
lasted for many years.
In Analog Culture we are
introduced to the work of
printing team Gary Schneider
and John Erdman who worked
together in New York from
1981 to 2001, printing for some
of the most famous names in
photography. Here we learn
about their printing methods
and their close personal
relationships with their clients,
see examples of their work
and hear first hand how they
approached it.
This book is not only a fascinating insight into the now almost
obsolete world of photographic printing but it also gives us a glimpse
into the New York photographic culture in the late 20th century.
companion to the
A exhibition of the
same title, on show
at the J Paul Getty
Museum in Los Angeles from
26 June to 21 October, this
remarkable book goes a long
way to compensate those of us
who are not going to make it
to the exhibition.
Nearly a decade in the
planning, the exhibition (and
book) brings together the work
of more than 80 photographers,
from 1911 to 2011, that have
used the genre of fashion
photography to experiment,
explore and innovate.
Fashion photography has long
lagged behind other genres in
the fine art world, but the J Paul
Getty Museum has dedicated
time and resources to acquiring
such work, led by associate
Elizabeth Roberts
ANALOG CULTURE:
PRINTER’S PROOFS
FROM THE SCHNEIDER/
ERDMAN PHOTOGRAPHY
LAB, 1981-2001
Edited by Jennifer Quick
Yale University Press
Harback, £40
Elizabeth Roberts
THE CAMERA:
ESSENCE AND
APPARATUS
Victor Burgin
Mack
Softback, £17
highly regarded writer,
A
photographer and
philosopher, Victor
Burgin has been a
key figure in the development
of theory and practice in
photography since the late
1960s. In this collection of
essays, related specifically to the
camera, we discover his thinking
over nearly five decades and
see how image making and our
understanding of the language
of imagery have developed
over that period of time. Placed
chronologically from 1975 to
2017, the essay titles range from
Photography, Phantasy, Function
to Shadows, Time and Family 23
Pictures, with much in between. B+W
A writer of clarity and
intelligence, Burgin is both
accessible and complex as he
looks at representation, whether
on the wall of a gallery, on the
printed page, on the street or
online, and how this affects the
way in which we see ourselves
and the world around us.
A fairly dense but fascinating
read with few pictures to distract
from the meaning behind them.
Elizabeth Roberts
 F E AT U R E METAMORPHOSIS
Photographing his homeland destroyed by war, Shōmei Tōmatsu presents
a recovering Japan and the upheaval that went with it. A major retrospective
in Spain celebrates his groundbreaking work. Anna Bonita Evans reports.
All images © Shomei Tomatsu – INTERFACE / Courtesy of Taka Ishii Gallery Photography / Film

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Opposite A bottle melted and deformed by atomic bomb heat, radiation, and fire, Nagasaki, 1961.
Above Hibakusha Tsuyo Kataoka, Motoharamachi, Nagasaki, 1961.
uspended and placed centre
S
frame, at first glance it looks
like a hanging piece of meat –
perhaps a scorched pig’s leg.
Giving imagination free reign
it could be a rotting mutated
creature from a science experiment gone
wrong. Looking closer doesn’t make it any
clearer; whatever the subject matter is it’s
unpleasant, strange and lifeless.
Startlingly surreal, A Bottle Melted and
Deformed by Atomic Bomb is one of Shōmei
Tōmatsu’s most revered photographs.
Hugely powerful in context, the Japanese
photographer captured the deformed object
while visiting a museum of remembrance in
Nagasaki 16 years after the atomic bombs
were detonated.
Obscure and impactful, the picture is a
metaphor for the cataclysm of war and is as
powerful today as it was when it was first
taken almost 60 years ago. It’s also one of the
first images on show in a major retrospective
‘Photographing his country’s
upheaval, Tōmatsu was more
concerned with interpreting his
surroundings than providing
a realist depiction.’
of the late photographer in Barcelona
this summer.
Surprisingly, this is the first exhibition in
Spain of the giant of Japanese photography.
Put together by the Mapfre Foundation in
collaboration with the Tokyo Photographic
Art Museum, Shōmei Tōmatsu celebrates
a visionary whose ever-changing style
paralleled his country’s own metamorphosis.
With loans from the prestigious galleries
across the world, the display is curated by
Juan Vicente Aliaga, professor at Universitat
Politècnica de València, who traces key
events in Japan’s recent history through
Tōmatsu’s vast oeuvre.
25
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icking up a camera in the shadows
P of the Second World War,
Tōmatsu started taking pictures
while studying economics at
Aichi University. With his brother’s
encouragement he pursued the art
and in 1952 had images published in
Camera magazine’s monthly photography
competitions. Photojournalist Ken Domon
recognised Tōmatsu’s talent and a lifelong
creative collaboration between the two was
born. Photographing up to his death in
2012, Tōmatsu documented his country’s
transformation from a broken nation to
a global power.
In less than 30 years Japan went from
an isolated empire to a country under
occupation to a democratised, economically
thriving state that joined the United Nations
in 1956 and hosted the Olympic games
in 1964. Rebuilding and redefining itself
at such a rapid rate didn’t come without
trouble: the radical change created tension
26
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Above Chindon, Tokyo, 1961. Below Oh Shinjuku, 1963.

Above Eiko Oshima, Actress in the Film Shiiku (Prize Stock), 1961. Below Blood and Roses, Shinjuku, Tokyo, 1962.

27
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 Above Kadena, Okinawa, 1969. Below Yokosuka, Kanagawa, 1966 Opposite Cultivation, Nagoya, 1966.
28
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30
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Protest, Shinjuku, Tokyo, 1969.
 and Japan’s identity was divided between
holding on to an ancient, cultural heritage
while embracing modernity and the West.
Photographing his country’s upheaval,
Tōmatsu was more concerned with
interpreting his surroundings than providing
a realist depiction. Abandoning pictorialism,
the popular aesthetic before 1945, he
responded to his country’s turbulence in
exciting and creative ways with odd camera
angles, radical cropping and experiments in
the darkroom.
His visual treatment takes us beyond the
limitations of documentary photography to
a place far more real. A compelling record
of the nation’s psyche, Tōmatsu’s approach
to documentary was subjective and
expressive, searching and immediate.
A major influence on the Provoke
generation of the 1970s with their rough,
blurry, out of focus style, Tōmatsu paved the
way for Takuma Nakahira, Yutaka Takanashi
and Daidō Moriyama.
he exhibition consists of 180 images
T spanning Tōmatsu’s 60-year career
and is divided into 11 sections in
chronological order. Starting with
the aftermath of war (1940s to 50s), the
display leads on to a nation of social unrest
and protest (60s and 70s). A clear shift
in subject matter highlights Tōmatsu’s
changing creative concerns. From the 1980s
onwards the photographer largely focused
on the effect Japan’s reconstruction had on
the environment. He links conservation with
ideas he first explored in his 1962 project at
Nagasaki where his photographs of everyday
objects take on double-edged meanings.
Among these later series is Asphalt,
which depicts small objects that have
fallen on to the pavement pointing towards
our throwaway society. Plastics presents
where the natural and artificial strangely
co-exist: we see bottles, clothing and other
man-made items alongside shells and dead
animals on the beach. While his nation’s
psyche remained at the core of his practice,
it’s interesting to see how Tōmatsu became
focused on the impact his society had on the
land rather than their actions and behaviour.
Another topic of interest is the slight
departure to his usual work in Afghanistan,
1963. Sent by Taiyo magazine to photograph
the day to day life of a then monarchical
country, this is a rare glimpse of Tōmatsu
photographing outside his home country.
Seeing his work en masse reinforces how
Shōmei Tōmatsu transformed photography
in Japan. He was a man who took risks,
believed in his ideas and stayed receptive to
the continual transformation of his home
country. Looking at life and capturing all
its contradictions, Tōmatsu’s photographic
vision shocks, enthrals and endures.
SHŌMEI TŌMATSU
is on show until 16 September 2018
at Casa Nogués exhibition hall,
Barcelona; fundacionmapfre.org
 F E AT U R E VIEW FROM THE HILL
Working on a collaborative project takes co-operation and a shared vision, and
All images when five artists get together the result could be a fascinating multi-layered
© Kate Bellis
book – which is just what Kate Bellis and her compatriots achieved.

32
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Above Shearing the tups, Griffe Walk Farm. Opposite top John Bowler milking the Griffe Walk Herd.
Opposite below Ian Swinging a lamb to release fluid from its lungs, watched by his nephew, Josh.

t was in March 2016 that five artists came together to explore economy, the communities that exist in the area, and the features

I
an area in the south-east corner of the White Peak limestone
plateau. Poet Lucy Peacock, film-maker Gavin Repton, songwriter
and performer Carol Fieldhouse, sculptor Sally Mathews and
photographer Kate Bellis collaborated in their exploration of the
people, industry and landscape of the area – and produced
a book entitled HILL.
Divided into four parts, HILL looks at the farming families who
earn their living rearing sheep and cattle, the network of disused
mines and quarries which are still an important part of the local
of the hill itself. In the process of this exploration, they say:
‘We descended a 300m shaft on a bit of rope in order to explore
Galconda Mine, walked into the bowels of the earth at Gook Luck
Mine, watched explosions at Longcliffe Quarry, chanted at the winter
solstice at the cave at Harborough Rocks, and measured cows.’
Here we show a small selection of Bellis’ images from the
project. To buy HILL, published by Green Feather Books
at £20, go to hillproject.uk/shop.

ON SHOW
HILL will be on show at the Copeland Gallery in Peckham, London, from 21 February to 3 March, 2019.
See the website for more tour dates and details. hillproject.uk.
33
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Opposite Kevin Beacham, face excavator driver, Longcliffe Quarry.
Above Arthur Wheeldon Listening to Radio Derby, Moor Cottage Farm, Wirksworth Moor. Below Jim Wain with the bull, Little Broadgate Farm.
35
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 Above Margaret Wain looking out of her back door, Little Broadgate Farm.
36 Below Boys in the Druid’s Chair at Harboro Rocks.
B+W
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 COMMENT
REFLECTIVE PRACTICE
The idea of losing thousands of photographs from your phone could bring
you out in a cold sweat. But when it happened to Vicki Painting
@vickipaintingphoto
she discovered a great weight lifted from her shoulders.
38
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lowly, the icy feeling travelled
S
up from the soles of my feet and
formed itself into a knot in the
pit of my stomach. I had lost my
phone, and my most immediate
concern (aside from all the ensuing
inconvenience) was the loss of approximately
20,000 photographs that had gathered in the
phone over the course of six years.
About 20,000 photographs? How could
there have been so many? And no, they
weren’t backed-up. Of course, the answer is
that it is far too easy to amass such a collection
and there has been much discussion about
why we feel the need to record everything
around us as if this is some form of validation.
Another explanation points to a kind of
apathy, a lack of focus. Yet still, I couldn’t get
over the shock of losing this vast stock with so
many moments wiped out and gone forever.
The strange thing, however, is that out of
all of these pictures of family, friends and
places visited, and what I thought was vital
information recorded, I can perhaps bring to
mind only 20 of these images. I realised the
pictures had been my safety blanket –
I had been reluctant to delete any, even as
this monstrous collection took up ever more
storage and the images were rarely viewed.
After the initial shock wore off I began to
feel what I can only describe as something like
relief, a new lightness took hold, as if I had just
shed a huge weight. This in itself induced a
kind of guilt. Surely, I should feel slightly more
bereft than this? It has been well documented
that for people whose homes have been
destroyed it is often the loss of their personal
items, and particularly photographs, which
they find the most devastating because these
are the things that have meaning. The sheer
volume that had been weighing heavily on my
phone attests to a lack of focus and meaning.
ayanita Singh’s 2016 exhibition
D Museum of Shedding at the Frith
Street Gallery in London put
forward the notion of being in a
museum where all the images are packed away.
The 73 photographs could be put on the walls
as we might expect to see them in a traditional
gallery setting or we could imagine them
stacked into the storage units and boxes which
were displayed alongside. We viewers were
offered the chance to consider a number of
ways these pictures could be sequenced, edited
or simply put away out of sight.
The idea of shedding or casting off by
natural process has become pertinent to me
as a result of this recent loss. In the natural
world shedding means something is cast off
in a natural process, revealing a new layer
underneath, often for the cycle to start up all
over again. The key for me is to try to halt this
process of accumulation. I intend to do this on
my new phone by rigorously auditing my
images – scrutinising, appraising and deleting
redundant shots. This isn’t proving easy but
I’m feeling the need to manage with much
less in all areas of my life, including my
photographic practice. So far I have noticed
that there are fewer pictures and that these
are quieter and simpler. I can see these new
qualities reflected back at me in a more
pared down aesthetic. Sometimes it can
be good to start from scratch.
 All images © Vicki Painting

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Quarry at Fuencaliente de La Palma, Canaries. The seemingly sparse volcanic landscape slowly reveals small details illuminated by the late afternoon sun.
BLACK+ WHITE PHOTOGRAPHY
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2018
 INSPIRATION

All images © Chris Gatcum

STRAIGHT
TALKING
In the first of a new series,
Chris Gatcum questions the
validity of current trends in
photography to favour art over
craft and rules over instinct. Here
he celebrates individuality, creativity
and learning through practice.
have been ‘doing’ photography for a while

42
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I now and, as I draw close to celebrating my
third decade ‘with camera’, I am, like most
people would be, fairly confident that I know
my aperture from my elbow. I have even written
a few books that I would like to think go some
small way towards proving that. When I was
asked to contribute to B+W it felt as though I
had been invited to move up an echelon. This
is not a magazine with the word ‘amateur’ in
its masthead, or a book with ‘beginner’ in the
title; it is a publication devoted to the oldest
and perhaps purest form of photography, with
contributors who I viewed as gods when I was
learning to print in a darkroom.
Unfortunately, no sooner had I acknowledged
those few facts, self-doubt crept in: was I
worthy of a magazine that is slightly more
highbrow than the populist arena I usually
perform in? The problem is, the Art of
photography (with that capital A) is something
I have happily sidestepped at every opportunity,
and so I don’t consider myself ‘educated’ in
that respect. On my degree course I attended
my contextual studies lectures only when my
absence could no longer be overlooked, and
even when I was there I allowed the background
noise of Kant, Gombrich, Sontag et al, to wash
over me as I planned my next shoot. 
Right I photographed these gulls for maybe 15
minutes on and off while they attempted to steal
my chips. Although I had plenty of shots showing
the birds in full, I much prefer this serendipitous
frame where the focus is the eye at the extreme
right edge and the birds are cut off.
43
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Top Minimalism is not something I’ve studied in a formal sense, but
simple compositions naturally appeal to me, such as this tiled dome
photographed against a bright, but overcast sky in Eastbourne. A central,
symmetrical composition just felt ‘right’ in this instance; an instinctive
rather than ‘educated’ decision.
Above The De La Warr Pavilion in Bexhill, East Sussex, is known for its art
deco styling, but for this shot I turned my lens on the building’s simpler
front facade. To include both the signage and the roofline meant pushing
the minimal detail to the extreme top and bottom edges of the frame,
leaving a broad central band of...nothing.
 At the time, I firmly believed that practising
the craft of photography was the only thing
that would help me improve, not some
arty-farty discussion on the nature of beauty.
However, now faced with the unstoppable
juggernaut of a magazine deadline l found
myself questioning whether not being au fait
with the writings of an 18th-century German
philosopher, or intimate with the number
sequence attributed to a 12th-century Italian
mathematician meant that somehow I wasn’t
credible enough to write here.
ut just how much can the philosophies
B of Kant or the maths of Fibonacci truly
improve our photography? They might
encourage us to construct and dissect
images in a slightly different way, but could
taking a dip in the murky pool of aesthetics,
philosophy and critical appreciation also prove
counterproductive? Is it possible to know too
much, and in doing so start to stifle our
creativity? Even with a rudimentary knowledge
of composition it is quite easy to find yourself
looking for specific criteria in a scene, be it
three objects to satisfy the ‘rule of odds’, strong
leading lines or ‘dynamic diagonals’, or that
perennial favourite that involves overlaying an
imaginary grid to divide the image into thirds.
If you’re thinking to yourself, ‘I’m better than
that’, I guarantee that these mores still creep
into your work subconsciously, or that you
actively try to set aside these visual crutches
(‘I will place my subject centrally and thumb
my nose at the rule of thirds, ha!’).
My fear is that if I immersed myself in
deeper art theory I would simply be giving
myself more of these crutches to lean on. Not
only would I be expanding the mental
checklist of boxes that could be ticked in
order to place an image on the altar of Art,
but in doing so I might risk limiting myself in
terms of both the photographs I take and the
ones that I accept as a viewer; on a conscious
or subconscious level, images would be ‘right’
or they would be ‘wrong’, depending on how
many of these accepted criteria they met.
Of course, there’s the age-old belief that you
have to know the rules before you can break
them, but that is also something that requires
intent. Once you know something, perverting
it becomes a considered action, which can
perhaps start to impose its own set of rules.
Just look at the number of contemporary
images where the horizon or subject is
centred, neutral expressions are employed to
deny the viewer connection, and flat lighting
and low (or no) saturation conspire to suck
joy from the frame. In trying so singularly to
throw the rulebook out of the window a new
set of inverse rules is created, as formulaic
and predictable as their opposites.
I am not saying that we should ignore the
opportunity to learn, and return to daubing
our cave walls with smears representing
things we have seen, but I am questioning
whether it is something we necessarily need
to worry about as much as we sometimes do.
Simply being asked to fill these pages caused
me to have a crisis of confidence because
there’s a void in my knowledge that could be
filled. But that doesn’t necessarily mean that it
needs to be. This might sound like ignorance
– possibly arrogance – but I think I would
prefer to improve my photography by
continuing to learn from my mistakes and
finding my own path. Of course, I can’t undo
what I already know, but I can at least control
the flow of knowledge, and while I might
unwittingly find a Fibonacci sequence
manifesting itself in a shot I take, I’m not
going to seek it out: I would rather call upon
that nebulous ‘something’ that innately tells
us whether a photograph is ‘right’ or not.
But for now at least I will be neither
swimming with the tide, nor against it. I shall
simply splash in the water. And surely that is
more in tune with art than any mathematical
formula or treatise on the sublime?
Below Construction workers had put up wooden
boards on the sidewalk in New York City, creating
a dark tunnel. At a corner in the tunnel a security
mirror threw what little light there was on to the
painted notice. I snatched an underexposed frame
using my Olympus Trip 35 at its widest aperture.
It wasn’t until I saw my negatives that I noticed the
text at the bottom right creates a classic ‘triangle
composition’ with the other two elements.
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 INSPIRATION SEA CHANGE
When a photographer, known for his insightful reportage, announces
that he has turned to nature for inspiration, you don’t know quite what
All images to expect, so imagine our delight when Alexis Maryon revealed
© Alexis Maryon
these delicate but sensual images from the natural world…

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alexismaryonphotography.com
 TECHNIQUE
TOP TIPS
SHOOTING MOVING SUBJECTS
From panning and freezing, to intentional camera movement and zooming
your lens, there are more ways to shoot a moving subject than there are
All images © Lee Frost
to skin the proverbial cat. Lee Frost offers his top tips.

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
HAVANA, CUBA
Panning is my favourite technique for capturing moving subjects. It’s hit and miss, but the sense of motion it creates is hard to beat.
Canon EOS 5D MkIII with 24-70mm zoom lens, 1/15sec at f/16, ISO 100

lthough we usually turn to fast Once your panning skills improve you  FREEZE THE ACTION

A shutter speeds when shooting

moving subjects to stop the
action in its tracks, there are no
rules that say you have to! Movement
comes in many forms, and freezing it isn’t
always the best solution. Fortunately, there’s
a whole host of creative techniques out
there designed to help you embrace and
emphasise motion. Prepare to be inspired.
 PANNING THE CAMERA
A great way to capture a sense of motion
is by using a technique known as panning.
This involves taking photographs at a slow
shutter speed while tracking the subject
with your camera, so your subject comes
out relatively sharp while the background
blurs. The key is to set a shutter speed
that’s slow enough to produce sufficient
blur in the background, but not so slow
that everything blurs.
can experiment with slower shutter speeds,
but in the beginning try these as a guide:
1/250sec or 1/500sec for motorsport;
1/125sec for cyclists, sprinters and horses;
1/60sec for joggers and 1/30sec for people
walking briskly. As your subject approaches,
pick it up in the viewfinder and track it. Just
before your subject is opposite you, start
shooting while moving the camera and
continue panning as your subject passes.
Good panning is tricky, so you’ll probably
need a lot of practice before you get it just
right. You need to pan smoothly, so adopt
a stable stance with your elbows tucked
into your side, and swing your whole
upper body from the hips rather than just
moving the camera. Don’t worry if your first
attempts are a little blurred and jerky – you
can produce great panning shots even
when your subject is blurred as well as
the background.
Nothing beats a good action shot where
the drama of an event is frozen in time.
Achieving that takes a combination of
factors, from knowing your camera gear
inside out so you can use it instinctively,
to lightning-fast reaction and perfect timing
so you can capture the decisive moment.
The shutter speed you need to use to
freeze action is crucial and depends on how
fast your subject is moving, how far away
it is from the camera, and the direction
it’s travelling in relation to the camera.
For example, a cyclist or sprinter can be
frozen using 1/250sec if they’re head-on
to you, but you’ll need at least 1/500sec if
they’re crossing your path. For a galloping
horse it’s 1/500sec head-on or 1/1000sec
across your path and for a racing car that
increases to 1/1000sec or 1/2000sec.
Practise makes perfect when it comes
to shooting great action images.
 51
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
CIENFUEGOS, CUBA
This budding basketball star seemed to spend more time in the air than on the ground, so the only way
to capture the moment was by setting a high shutter speed and capturing him in suspended animation.
Canon EOS 5D MkIII with 70-200mm zoom lens, 1/800sec at f/4, ISO 400

HAVANA, CUBA
There are no rules where ICM is concerned, so throw caution to the wind, wave your camera around
like a madman (or woman) and see what happens. You may be pleasantly surprised by the results.
Canon EOS 5D MkIII with 24-70mm zoom lens, 1/5sec at f/11, ISO 200
 INTENTIONAL CAMERA MOVEMENT (ICM)
If your subject isn’t moving you can still
take photographs that are full of motion
– by moving the camera instead. This
technique, known as ICM, is becoming
increasingly popular among photographers
as a means of producing unusual and
52 unique fine art images.
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In woodland, for example, you can
create streaky abstracts by panning the

 down to several seconds in low light.
camera vertically while shooting on a
slow shutter speed, so the tree trunks
are stretched and blurred. This technique
also works well with buildings, people and
anything that consists of strong vertical
lines. Alternatively, you can move the
camera randomly and see what happens.
The shutter speed you use depends
how much blur you want to record.
Experiment with anything from 1/15sec
 CAPTURE TRAFFIC TRAILS
Traffic moving along busy roads at dusk
is ideal for traffic trail shots. All you do is
mount your camera on a tripod, compose
the scene, then trip the shutter and use an
exposure of 20-30 seconds so the head and
tail lights of passing vehicles record as light
trails. Ideally, shoot when there’s still some
light in the sky and include other features
such as floodlit buildings to add interest.
Autumn and winter are great seasons for
traffic trails because dusk coincides with
rush hour. Looking down on a busy road or
roundabout from a bridge, car park or tall
building works well, but standing by the side
of a busy road can produced great results –
just remember to take great care.
‘Autumn and winter
are great seasons for
traffic trails because dusk
coincides with rush hour.’
HAVANA, CUBA
When you’re shooting urban scenes at night,
traffic trails are unavoidable due to the need for
long exposures to record the low light levels – but
they make a great addition to the composition.
Canon EOS 5Ds MkIII with 70-200mm zoom lens,
25secs at f/11, ISO 100
 USE SLOW SYNC FLASH
If you combine a slow shutter speed with
a burst of flash you get frozen and blurred
images of your subject at the same time.
This technique, known as slow-sync flash,
can be used to capture a strong sense of
motion in all manner of low-light moving
subjects, from sporting events to your kids
having fun on fairground rides.
A flash to ambient light ratio of 1:2 or 1:4
tends to be the most effective as you don’t
want the flash to dominate the image.
With a dedicated flash unit, set the power
output to ½ or ¼ or, alternatively, set the
flash exposure compensation on your
DSLR to -1 or -2 to achieve this ratio. Your
camera should also be set to aperture
priority so it selects a shutter speed to
correctly expose the ambient light – any
speed from 1/30sec down to ½sec will
give a good effect, depending on how fast
your subject is moving. Finally, for the best
effect, set your camera/flash to rear curtain
sync or second curtain sync so the flash
fires at the end of the exposure.

‘If you combine a slow

shutter speed with a burst
of flash you get frozen and
blurred images of your
subject at the same time.’  53
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ALNWICK, NORTHUMBERLAND
The blurred/sharp effect you get by using
slow-sync flash is ideal for capturing a sense of
motion in close range moving subjects – especially
when ambient light levels are low and you’re
forced to use a slow shutter speed.
Canon EOS 5Ds MkIII with 24-70mm zoom lens,
1/2sec at f/4, ISO 400

 MOTION IN
THE LANDSCAPE
Although we think of the landscape as a
static entity, it’s actually full of movement,
such as the swaying of grass or the rustle
of trees in the breeze. So why not slow
the shutter speed down and make that
movement an integral part of your images
instead of freezing it? Mount your camera on
a tripod and experiment with different shutter
speeds. If a strong wind is blowing you may
only need ½-1 second to record lots of blur,
but in a gentle breeze you may need to keep
the shutter open for 20 seconds or more.

TORRIDON, SCOTLAND
This shot was taken on a very windy day. After
numerous failed attempts to freeze the blowing
trees, I decided to do the opposite and emphasise
their movement with a long exposure.
Canon EOS 1Ds MkIII with 70-200mm zoom lens,
10secs at f/32, ISO 50


GULLFOSS, ICELAND
I experimented with different shutter speeds when taking this shot, and decided the most effective
one was 1/2sec as it recorded motion in the water without it being a mass of textureless white.
Canon EOS 5D MkIII with 70-200mm zoom lens, 1/2sec at f/22, ISO 100
 MOVING WATER
Water is one of the most common moving
subjects, simply because it’s all around
us in so many forms – rivers, streams,
waterfalls, the sea, fountains, and falling
54
rain. The effect you get is all down to how
fast the water is flowing and the shutter
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speed you use to shoot it. If you want to
record a sense of natural motion, where
there’s some blurring in the water but you
can still detect plenty of texture, you won’t
need to keep the shutter open for very long
– for a waterfall maybe 1/15 or 1/8sec,
for a river or the sea 1/4-1/2sec.
 exploding out from the centre of the frame,
 as the Lee Filter ProGlass IR ND10 or
If you want that gaseous milky effect
that so many love, you need to slow the
speed right down. For gentle waterfalls
where the volume of water is modest, try a
shutter speed of 1-10 seconds. For bigger
waterfalls or any waterfall after heavy rain,
1/2-2 seconds should do the trick. The key
is to keep slowing the shutter speed down
until areas of the waterfall start to blow out
(overexpose). Once that starts to happen
you know you’ve gone as slow as you can.
 EXTREME ND FILTER
One of the most popular techniques these
days is using neutral density filters – such
Hitech Pro Stop ND10 – to slow exposures
right down to several minutes in broad
daylight and record the passing of time.
Drifting clouds turn into streaks of tone
rushing across the sky, water loses its
surface texture and smooths out, while
stationary elements stand out in stark
3D. Coastal scenes work particularly
well because you have two ever-moving
elements in the sea and sky to contrast with
static features such as piers and jetties. The
effect can look amazing.
These filters are so dense that you can’t
actually see through them – though live
view in the latest DSLRs usually can. You’ll
need to mount your camera on a tripod
to keep it steady, use the bulb setting so
you can lock the shutter open for as long
as necessary, and focus the lens manually
before fitting the filter. To calculate the
exposure, take a meter reading without the
ND on the lens them multiply it by 1000
(for a 10-stop ND) – 1/30sec becomes
33 seconds, 1/15sec becomes a minute,
1/8sec becomes two minutes, and so on.
You can also download an app such as the
Lee Stopper to your smartphone and use
that to calculate correct exposure.
 ZOOM YOUR LENS
Another great way to introduce a sense
of motion into your images – even if the
subject isn’t actually moving – is to use the
zooming technique. All you do is set your
camera to a slow shutter speed – anything
from 1/15sec or slower – then as you trip
the shutter, zoom the lens through its focal
length range from one end to the other. This
turns your subject into a series of streaks
and the effect looks stunning.
You need to zoom the lens smoothly
and evenly through the exposure so the
zoom-burst effect is also smooth and even,
rather than jerky. It’s a good idea to have
a few practise runs, to gauge how fast or
slow you need to zoom the lens so you
don’t reach the end of the focal length
range before the shutter closes to end the
exposure. Then it’s a case of experimenting
until you get a shot you’re happy with.

 LET YOUR SUBJECT BLUR

If you keep your camera perfectly still –
ideally by mounting it on a tripod – and
shooting on a slow shutter speed, anything
moving through the scene will blur but the
background will remain sharp. Try this with
a cyclist or a person crossing your path so
VENICE, ITALY they record as a streak in the image. Again,
The contrast between static and moving elements is easily emphasised using a 10-stop experiment with different shutter speeds
or similar ND filter to extend the exposure into minutes rather than seconds. to vary the degree of blur, from 1/60sec to
Canon EOS 5Ds with 24-70mm zoom lens, 4mins at f/14, ISO 100 several seconds, depending on the subject.
 
HAVANA, CUBA
Zooming is a fun technique to try and can be used to turn everyday subjects – in this case a mural painted on a wall – into eye-catching abstracts.
Canon EOS 5D MkIII with 24-70mm zoom, 1/13sec at f/22, ISO 50

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
MERZOUGA, MOROCCO
These dancers moved quickly around the room at various stages during their routine, so with my
camera on a tripod, I used a slow shutter speed to record them as ghost-like figures.
Canon EOS 5D MkIII with 16-35mm zoom lens, 1.3secs at f/10, ISO 100
 timdaly.com All images ©Tim Daly

TECHNIQUE
PROJECTS
GRIT AND GRAIN
If you’re not inspired by the clean, sleek lines of digital photography
IN VISUAL
why not consider the punk aesthetic of grain? Tim Daly turns up
STYLE 14
the ISO and shows you how to get messy.

rain is a wonderful, creative element that’s Photographers like William Klein and Daidō Moriyama used

G
sadly been overlooked in today’s largely digital
era, yet for many photographers in the recent
past it was part and parcel of their creative
or signature look.
While most digital tools have been developed
to minimise noise, it’s rare that we encounter images that
have been broken up into visible dots or grain. Like a pointillist
painting, grainy photographs do seem to belong to a different era,
but their creative potential is massively overlooked today.
grain to create an edgy, punk aesthetic that went against the cool,
detached European style so dominant from the 1960s onwards.
The creative control of grain in the analogue world of shooting
film and darkroom printing is still possible to do with the minimum
of kit. For DSLR users, there are some very convincing software
tools that do a good job too.
For this project we’ll be exploring different ways of creating
and enhancing grain in your black & white images using both
analogue and digital techniques.

SECTION 1: APPROACHES TO CONSIDER

Grain is most definitely a visual style, but it can also be used to enhance your project
concept or narrative style. Explore one or more of the following ideas.

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1 2

1 SHOOT WITH A SMALL FORMAT 2 THINK OUTSIDE THE BOX

If you really want to explore and experiment with grain you need to
shoot using a small format device. For film photographers, try getting
hold of a vintage 35mm half-frame camera such as the Olympus
Pen EE. This accepts regular 35mm film but crams 72 frames on to
a 36-exposure roll of film. It does this, of course, by making smaller
24x18mm negatives. Once enlarged to 10x8 or A4 size, images from
half-frame negatives will look gloriously grainy even if you’ve used
normal ISO 400 film, as this example shows. For digital shooters, try
working with a similar small-format sensor camera or camera phone
with the highest ISO possible.
Through looking at books and exhibitions of photography we
become accustomed to accepted ways of working. Landscape
photography, for instance, is usually undertaken with high-resolution
cameras, and is tonally delicate and printed with an Ansel Adams
level of control. Yet what if you chose to do the exact opposite,
such as this example?
Look at Japanese Provoke-era photographers, such as Takuma
Nakahira and Yutaka Takanashi, who use a gritty, grainy style that
perfectly expresses their frantic urban reportage projects. Closer to
home, check out the high contrast grainy work of Bill Brandt.

INSPIRATIONAL QUOTE
‘The kinetic quality of New York, the kids, dirt, madness – I tried to find a photographic style that would come close to it.
I’d crop, blur, play with the negatives. I could imagine my pictures lying in the gutter like the New York Daily News.’
William Klein

3 TRY A SPECIAL FILM
For those photographers interested in trying something new, this
project is the perfect time to experiment with a different type of film.
Although the famous Kodak infrared film is no longer available, there
are other infrared style films that you can try, including Ilford SFX and
4 5
4 ENLARGE A SMALL AREA OF YOUR IMAGE
While we mostly visualise our images as full-frame and uncropped,
under the influence of Cartier-Bresson’s philosophy, there’s nothing
stopping you from using a smaller portion of the image. Rather than
print everything full-frame, consider enlarging a tiny part of the image
and printing it out. Once you’ve accepted this is a valid way of working,
you may well spot new or better images within your existing archive.
Think how a drastic crop can enhance and change the image by
exclusion, like this very grainy enlargement from an infrared negative.
3
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Rollei Infrared 400. Used together with a deep red filter (or black for true
infrared recording), infrared film can create wonderful ethereal effects,
as this example shows. Look out for bright patches of sunlight that can
actually overspill into adjacent shapes, causing creative burn or flare.
5 ENHANCE IN THE PRINT PROCESS
While film grain is entirely created during film development, you can also
introduce an additional gritty texture in the printing process. Called lith
printing, the process involves using a special two-part paper developer
that works in a totally different way to the norm. Lith development
simultaneously creates a creamy, low-contrast base in the print, then
a gritty high contrast effect in the mid tones and shadows. Spreading
like an infection, gritty contrast can be tricky to control at first, but
eventually can create wonderfully tactile results, like this example.
 SECTION 2: USING FILM
For many years, film manufacturers have sought to minimise grain effects,
but many photographers still produce grain-enhanced prints for creative effect.

1
1 FAST FILM
There are many different types of black & white film you can use to
create enhanced grain and print effects. Best of all, these are easy to
process at home with a basic developing tank, as shown. Fast speed
black & white film produces coarse, grainy photographic prints. Grain is
caused by the crystals of light-sensitive silver becoming visible when
enlarged in the print. Fast film is designed to be exposed on low light
conditions and is still available to buy nowadays – look out for Ilford Delta
ISO 3200 or Kodak Tri-X Pan. At ISO 400, Tri-X is a versatile film much
used by press and sports photographers for capturing moving subjects,
but it can be used for its atmospheric qualities too. If you don’t want to
try home processing you can also have Tri-X and most other black &
white film developed by a specialist mail order lab such as Harman Lab.
2
2 PUSH-PROCESSING
Conventional film can be rated at a different ISO than
recommended in order to gain extra sensitivity. Pushing film
involves increasing the ISO speed of a film (for example from 400
to 1600), which is then compensated by an extended development
time. Pushing film is a good alternative to using flash and essential
when a subject is too far away to be lit with artificial light anyway.
Sports photographers frequently pushed film when light levels
are low, but as an effect it must be applied to an entire roll of film.
Pushing increases the amount of visible grain and will also increase
film contrast. How long you extend the development time is
determined by the type of film and developer you use.

58 3 WARM DEVELOPMENT
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For a really experimental effect, try developing your film in a warmer than usual developer solution. Instead of processing
at the usual 20 degrees, increase the temperature of the developer and water mix, while reducing your development
time to compensate. Most black & white film developers will have instructions on how to modify development time in
relation to temperature. The quicker and warmer your development, the bigger the grain will become. However, avoid
times under three minutes as the developer solution won’t have enough time to cover the entire film evenly.

3
SECTION 3: USING DIGITAL TOOLS
Digital sensors create noise rather than grain but there are plenty
of ways to enhance the grittiness of your file with software trickery.

1 WORKING WITH A HIGH ISO ORIGINAL

As digital technology has advanced in recent years, the fine picture
quality of high ISO files is still surprising for photographers who were
brought up using film. With today’s DSLRs it is rare to see digital noise
at ISO 1600, but the same speed in film would produce noticeably 2
granular results. You’ll get more noise using smaller sensor devices
(especially camera phones) than you will shooting at the same ISO on
an FX-sensor camera. In this example, shot at ISO 1600 on a camera
phone, you can see how both detail and tone is much coarser than
59
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it would be if shot with a DSLR.

2 USING CLARITY TO ENHANCE STRUCTURE

The Clarity tool in both Photoshop and Lightroom provides a useful
way to enhance noise in your digital image file. Clarity provides a
combination of edge sharpening with an increase in contrast, so works
by making each clump of noise more visible. In this example, I’ve used
Clarity in Lightroom together with an additional edit using the Detail
tools. Unlike regular sharpening, try increasing the Radius value to 2.0 or
even 3.0, as this will help to emphasise the noise into a grain-like effect.

3 USING SILVEREFEX TO MIMIC FILM GRAIN

For the most creative control, try using the Silver Efex plug-in with
either Lightroom or Photoshop. As grain is mostly visible in the light
greys and mid tones, I’ve used the Full Contrast preset in Silver Efex
as a starting point. This does a good job of lowering highlights and
raising shadows before we take the creative steps. To add grain,
simply select the Film Types panel and choose one of the branded
film simulators from the pop-up menu. For this image, I’ve chosen
the Kodak P3200 film that produces a really convincing result.
4
4 FINAL OUTCOME
For my project I’ve worked with a set of images of sculpture shot
in the Boboli Gardens in Florence. To create this look, I’ve used
the Silver Efex process as shown in the last step.
 INSPIRATION FROM A TINY ACORN
However much we claim to love trees we might not find it so easy
All images when it comes to identifying species. Eddie Ephraums focuses
© Eddie Ephraums
his lens on the local woodland, determined to learn all about it.

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 any of my favourite possessions are made of wood.
M There is the delicately turned oak vase that my wife
gave me, and the model schooner that a prisoner
of war patient gave my doctor-grandfather as a
thank you present. And I have an intricately drilled
wooden block with a heavy rope loop (whose purpose I have never
determined) that I found in a previous home when I lived in France.
I kept it as both a symbol and a reminder of that time. Yet, despite my
love of wood, I realise I have a surprisingly poor knowledge of trees.
I can identify most of our major native species: ash, oak, beech,
birch and so on. And, yes, I know the basics of which types of wood
are best used for what. Medieval London Bridge was built on elm
piles, Venice on alder. Ash logs can be burned freshly cut without
seasoning, while ash’s strength and slight springiness make it ideal
for tool handles. But walking through Hampstead Heath, our local
park, I have been surprised by how many native species I am unable
to identify. Then there are also those ancient trees that may be foreign
imports from when the grounds of nearby Kenwood House were
landscaped by Capability Brown’s successor –Humphry Repton.
So, I have set myself a challenge: to identify the types of trees on the
heath, find out their uses and learn about their place in history and
folklore. And – of course – I’ve begun to photograph them, to make
an A-Z notebook that contains pressed leaves, photographic prints
and notes. But my aim is also to make a photobook and prints for a
local audience. I’m not sure yet what style the book or photographs
will take, but rather than overthink things, and instead of giving
myself too much of a challenge all at once, I have started by focusing
on just one species of tree: the mighty oak.
here are plenty of oaks to photograph, young, mature and
T decaying, while on the edge of the heath is the Hill Garden
and its oak pergola. It is an extraordinary example of how oak
has been used for building (I’m also building a second garden
studio out of recycled oak). The Hill Garden pergola is as long as
Canary Wharf tower is tall. Yet, despite its impressive credentials,
the garden is something of a local secret and rarely do I see more
than a handful of visitors at any one time. Yesterday was an exception
and, unusually, I wasn’t the only photographer there.
As I sat on an oak bench (with a lovely inscription to a much-loved
mother who enjoyed ‘this secret garden’), a young Chinese woman
came up to me and in a very un-English way introduced herself and
61
shook my hand. Who was I, she asked? Then I noticed her Meetup  B+W
Left Starting with the oak: the challenge is to learn
about and photograph trees.
The limbs of the oak tree characteristically grow in a contorted manner,
making its wood perfect for a variety of building needs, whether the curved
braces of a barn or the sharply rounded lodging knees that stiffen a ship’s
beams. The oak makes a beautiful and very challenging photographic subject,
especially when trying to show the random complexity of one of nature’s most
beautiful living structures.
Above Photography is a wonderful tool of enquiry
Local to me is London’s Hill Garden pergola, with its highly complex and intricate
design that echoes many of the oaks in the surrounding heath. Whether using
an ultra wideangle lens to show a complete section of the enormous pergola or
a long lens to explore its many details, photography is undoubtedly a great way
of developing our understanding of the world around us.
62
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Photography as a tool of contemplation

In my tree project, photography is a tool of enquiry, but it will also be a means of contemplation, to focus on and enjoy nature’s beauty – here the
naturally occurring burr of an oak tree. Burrs produce wood that is dense and rich in colour, with a highly irregular grain pattern. This makes their
wood popular with furniture makers wanting to produce highly figured, unique decorative pieces, or lathe workers looking for a rounded source
material to turn into naturally styled, highly individual bowls, whose patterned magic only becomes visible as the chisel does its work.

 badge and realised she thought I was one of their group. We got
chatting about photography and soon her very friendly fellow Meetup
friends joined us. It now seems I am one of their group and a date is
being fixed to get together. Would I show them how to make photo
books, they wondered? Well, that was an unexpected start to my tree
project! What next, I wonder?
I’m curious to see the group’s pergola photographs and how they
might differ, to share my images and the idea for my project – and to
exchange feedback. The group was made up of an extraordinary mix
of nationalities, whose cultural differences will doubtless affect their
way of seeing (how does my Englishness affect mine?). Their images
will likely be as diverse and individual as the trees on the heath and
I am looking forward to getting to know both.
envisagebooks.com
 B+W APP
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 COMMENT
A FORTNIGHT AT F/8
If we want to improve as photographers, it’s helpful to think clearly about
timclinchphotography.com
what we want to achieve. Tim Clinch shares his ideas and experiences
@clinchpics
on how to hit your photographic targets.
n the workshops
O I run, one of the
questions I always
ask is: ‘Where would
you like to see your photography
in three years’ time?’ It’s worth
asking yourself that question too.
The answers on my workshops
are many and varied, but I’d like
to address a few of the responses
I hear the most.
1 ‘I’d just like my
photography to be better.’
Fair enough. I’d like mine to be
better! But you need to be more
specific. Which areas would
you like to improve? How do
you think you can go about
improving? Who would you like
to make it better for – yourself
or your viewers?
66
The most important thing is
to shoot. And then shoot some
B+W
more. And keep on shooting
and shooting. Keep excited.
Keep your passion going. Find
someone you can talk to about
photography, someone who
will share your enthusiasm.
Go on workshops, there are
some amazing ones out there
at the moment. Do whatever it
takes to get out of your comfort
zone and shake things up.
2 ‘I’d like to get a bit
of recognition in one
of the awards.’
The phrase you’ve got to be in
it to win it leaps instantly to
mind. I well remember sitting in
my agent’s office with a couple
of professional photographer
colleagues one afternoon many
moons ago, berating some of
‘Do whatever it takes to get out of your
comfort zone and shake things up.’
the winners of a well known
photography competition:
‘What’s that? Strewth! Even
I could do that. And that
won first prize?’
These were some of the
politer comments being
bandied about. At one point our
agent fixed us with her steely
gaze (in my experience, agents
and editors always have a
steely gaze) and asked the
three of us how many
competitions we actually
bothered to enter. The answer
will surprise none of you.
These days I regularly enter
one competition (the Pink Lady
Food Photographer of the Year
if you’re interested, which
despite its name has just as
many categories for portraits
and travel as food) and have
had a small degree of success.
The most important thing that
entering these awards does for
me is to take a yearly gaze at
what I’ve been doing, which
pictures of mine I really like and
where I think I can progress
with various projects I have
embarked on. And, although
it is relatively small, having to
pay a fee for each picture
you enter concentrates the
mind wonderfully.
3 ‘I’d like to organise
my work on a website.’
Doh! The answer to this one is
really not difficult. Go online,
Google best website design for
photographers, buy one and get
on with it. As the rodent in the
dinner jacket says: ‘Simples.’

4 ‘I’d like to see some
of my work exhibited
somewhere.’
Great answer! But get yourself
organised beforehand. Do
some research in your local
area. Are there any galleries?
Are there any restaurants or
cafés that show pictures? Do
you know anybody that has had
an exhibition themselves? If so,
quiz them about where and
how they went about it. And
remember, rather than being
some scruffy Herbert wandering
in off the street and asking if
you can hang some of your
pictures on their walls, you will
get a much more favourable
response by being professional,
handing them a business card
with a link to your website and
explaining that you would be
very interested in showing them
some of your work for future
inclusion in one of their shows.
5 ‘I’d like to get some
of my pictures printed
and hung on my walls.’
I’m always amazed at how
many people don’t do this. It’s
so easy these days. But before
you embark on purchasing a
billy-whizz new printer and
All images © Tim Clinch
stacks of heavy duty photo-rag
paper, pause.
Printing your own pictures can
be a very expensive business.
Printer ink works out around the
same price as top quality caviar,
and that paper, although
undoubtedly lovely, costs a small
fortune. Why not try getting your
pictures printed by one of the
many online printing houses to
see if you like them? I’ve just
been commissioned to fill three
entire holiday-let houses in Spain
with my pictures. Some of them
were printed on to high quality
paper and framed in smart black
WHAT TIM
DID THIS
MONTH
As I mentioned in the main
text, I was commissioned to fill
three houses in Spain with my
photographs. The only restriction
was the pictures had to be Spanish-
themed. It was a fascinating
experience going through my archive
looking for images that could be
used as decoration, and it meant
becoming very un-precious and
looking at them in a completely
different way. The images this month
were shot around 30 years ago on
Polaroid 55 neg on my 5x4 Gandolfi.
They are the amazing jackets
worn by bullfighters at the tailor’s
workshop in Madrid. We had them
printed 1m tall on canvas and put
them in the entrance hall and they
look fantastic.
When selling prints, here’s a 67
clever if slightly cynical trick that B+W
I learned from these three pictures.
Make triptychs – then they have
to buy all three!
This month’s photographer is
Alfred Eisenstaedt (1898 – 1995), a
German-born American photographer
and photojournalist. Truly one
of the greats, he photographed
everybody who was anybody during
his amazing career, from Marilyn
Monroe to Albert Einstein. His
terrifying picture of Joseph Goebbels
glaring at him when he was told that
he was Jewish is one of the iconic
pictures of the evils of Nazism.
He will be remembered for many
famous pictures, but my favourite
will always be that of the skating
waiter in full tails delivering a tray of
drinks at the Grand Hotel St. Moritz in
1932. Just Google ‘skating waiter’.
frames from our favourite
Swedish interiors mega-store,
and the rest were printed on to
canvas using one of the many
options on the internet.
Beautifully done, impeccably
mounted and delivered in five
days. Give it a go!
I shall be watching your
careers with interest.
 FEATURE FACE TO FACE
For Nathan Wake a life in photography was destined from
All images his early childhood. Today his personal work runs parallel to
© Nathan Wake
his day job at Fujifilm, as Steve Pill discovers.
What are your first memories of deeper tonal contrasts. Has your style
experimenting with photography? or interests shifted more recently?
I was bought an 80 Series Polaroid camera I guess it is because I live in a town and
and a couple of packs of film by a relative spend a lot of time visiting towns and cities
when I was about nine years old, which now. There are a number of photographers
I used until the film ran out. A few years whose work has caught my eye recently and
later I started using my mum’s Pentax ME they predominantly shoot in cities, I guess
Super with a 50mm f/1.7 lens. I really started they have had an influence on what I shoot
experimenting when I was 18 and got my too. I still love the coast, but don’t get to visit
first job in a camera shop and they had a it as much as I did a few years ago.
darkroom that I could use on my day off.
You’ve won a number of awards for your
The recent photos on your Instagram photographs. Is there a particular one
seem quite different to other photographs that you are most proud of?
of yours online: they are more urban with It is always fantastic to receive recognition
for an image. I was very proud to be a finalist
in the Society of Wedding and Portrait
Photographers’ Landscape Photographer of
the Year category two years running. But one
of my favourite shots has to be an abstract
of a light fitting I took during a meal, on an
infrared-converted X-T1.
You are a Technical Product Specialist for
Fujifilm. What does that role entail? And
how did you get into it?
This is my 20th year at Fujifilm UK.
I worked with professional labs for most
of that time, but always took images in
my spare time. I have always worked

68
B+W
closely with the digital team and when
the GFX was announced, there was an
opportunity to apply for the role as
Technical Product Specialist. I started
just over a year ago and the role is quite
varied, from offering technical support to
X photographers and end users, training
my colleagues on new products, working
on workshops to demonstrate the GFX
and Pro products to universities and
B2B customers.

What’s your philosophy for these

workshops? Are there key things you
are always keen to get across?
Yes, I am involved in numerous workshops
and have been working with Light and Land
on a series of workshops concentrating on
using Fujifilm cameras and lenses. I think it
is very important to listen to what a person
is looking for in a camera or a new lens and
to work from there, looking at the options
available to them and discussing and trying
different products, along with looking at
how Fujifilm products can integrate into
someone’s existing system. I believe that
workshops and demonstrations are a great
way to get to test cameras and lenses. I think
being honest with people is always best.

On the product and camera side, are

there certain features or developments
69
B+W
we can expect to see more of in the
next few years?
I could tell you but I would have to kill you...

‘I believe that workshops

and demonstrations are
a great way to get to
test cameras and lenses.
I think being honest with
people is always best.’

PROFILE
Kent-based Nathan Wake is a fine art
landscape photographer and Technical
Product Specialist for Fujifilm. He hosts
workshops and courses with Light and
Land and is a member of both the Society
of Wedding and Portrait Photographers
(SWPP) and the Society of International
Nature and Wildlife Photographers (SINWP).
pixelrights.com/nathan-wake
 TECHNIQUE SMART GUIDE TO PHOTOGRAPHY
There are plenty of stories out there of photographers who have had their
timclinchphotography.com pictures used without permission. But just occasionally those stories have
@clinchpics | clinchpics
a happy ending. Tim Clinch shares what happened to him.
h the perils and woes of the

O internet. Hardly a day goes by

without another tale of gloom
from some poor, unfortunate
individual whose picture has been stolen
by a big, faceless corporation and used for
advertising. I’m not making light of this, as it
can definitely occur, but would like to tell you
a story about what has happened with my
mobile photography over recent months.
So there I was a while back, idly looking
at some of the amazing photography I follow
on Instagram. Those of you who follow me,
or read these columns, will know I’m quite
fond of wine – both drinking it and
photographing it – and there, to my surprise
and annoyance, was one of the wine people
I follow using one of my pictures and not
crediting me. Being re-posted by people is
fine as your credit will stay with the picture,
but this was not a re-post, it was a blatant
use of my image by a manufacturer. As a
matter of course I do not watermark my
70 images or add any form of signature or
B+W
copyright symbol, simply because they
look horrible and distract from my images.
So, in one of my regular fits of pique,
I added a very sarcastic quote saying
something along the lines of ‘shame you steal
pictures and use them for your own ends
and don’t bother to credit the hardworking
and impoverished photographer who is
having a hard enough time as it is these days
without people nicking their pictures…blah,
blah, blah.’ The response came pretty quickly
and I must say completely surprised me. The
charming woman who runs the organisation
emailed me and explained she was extremely
sorry, and they genuinely had no idea the
picture was mine and presumed the picture
was copyrighted to the manufacturer with
whom they had an agreement that they
could use their pictures to promote the
wines of the region – as this is their job.
All well and good, properly and
professionally handled, I thought. She then
went on to say they loved the picture and the
pictures of the wines and the region I had
been shooting so much they wondered if I
would be interested in being commissioned
by them, for a very reasonable fee, to shoot
a series of pictures for all their social media.
You could have knocked me down with a
feather! I have since gone on to do a couple
of very enjoyable shoots with them in
southern Spain. And it all started with
having one of my pictures pinched.
 All images © Tim Clinch

o how does this affect you, dear

S readers? Well, most importantly,

it should give you an idea about
the power of Instagram. It should
also stand as a salutary lesson for all of
us not to let our mobile photography sit
71
B+W

in our phones not doing anything.

These days you simply never know
where your pictures are being looked at
and by whom. This can have downsides,
but also positive experiences like mine.
Whether we like it or not, more people
are looking at Instagram than anything else
for photography – both for enjoyment and
for commissioning purposes. I strongly
believe the days of the blog are fading fast,
and sites like Flickr have had their day other
than as a holding page for your images.

THE PICTURES
This month’s pictures are all from the
commission I have been talking about.
Because the pictures are to be used on
social media I was able to shoot the whole
thing on my phone (an iPhone 8 Plus)
and during the shoot I became aware of
something to be very careful about.
I love the portrait mode on my iPhone,
but shooting any form of glass with it
switched on can cause massive problems.
It is very clever indeed, but because the
shallow depth of field look (I can’t stand
the word bokeh) is created digitally, rather
than with a lens and an f-stop, it often
cannot cope with glass – which sometimes
simply disappears. You have been warned.
 SMARTSHOTS
The one camera you always have with you is on your phone, and we want to
see the pictures you take when the moment is right. We have three Class 10
32GB Micro SDHC EVO Plus cards to give away each month. With a transfer
speed of 95Mb/s, each MicroSD card also comes with an SD adapter – meaning
it’s compatible with both your smartphone and digital camera.

72
B+W

© ROBERT DONALDSON

© NEIL JOHANSSON

© FREDERICK PIRONE © MARTIN BRUNTNELL

© LAURA ELLIS

WINNER © DALE TURNER

73
B+W

WINNER © RICHARD BARBARA WINNER © IAN TAYLOR

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
 YOUR B+W SALON
In our search for some of the best work by black & white aficionados,
All images we discovered Ashley Good working in the subdued light of
© Ashley Good
a museum among the bones of animals from long ago…

74
B+W
 75
B+W

‘Osseous is an ongoing project exploring the skeletons, skulls and bones that form part of the collection
at the Oxford University Museum of Natural History. These stark, almost bleached forms are shot on
Polaroid Originals B&W 600, a high contrast black & white instant film. The deep blacks and crisp
whites highlight the contrast between the subjects and the background. The frames of each Polaroid
are removed, revealing the skeletal structure of the image itself, thematically linking the image
and the medium. Excess negative is displayed, lending the images a decayed, distressed feel.’
76
B+W
77
B+W
78
B+W

SUBMIT YOUR WORK TO SALON

We are looking for stories told entirely in pictures. If you think you have just that, submit a well
edited set of between 10-15 images online at blackandwhitephotographymag.co.uk.
Turn to page 86 to see how you can submit your work.
THE DARKROOM UK
LTD
www.the-darkroom.co.uk
PRINTS FROM OUR EPSON PRINTERS
Ɣ Photo equivalent papers: gloss, pearl, matt
Ɣ Cotton Rag - heavyweight cotton rich paper
Ɣ Specialist papers - metallic, baryta, plain canvas
Ɣ Canvas prints, ClearShield protected on 36mm wooden stretchers
Ɣ Epson K3 Ultrachrome inks for archival permanence
Ɣ Supplied with 2” white border at no extra cost
Ɣ Online or in reception
CREATE A GIFT WITH YOUR IMAGE Ɣ From digital media or
Ɣ From digital, or print originals Ɣ Digital with a recommended
Ɣ Machine wash safe minimum 200dpi
Ɣ Order online Ɣ Cropping and minor corrections
Ɣ Perfect for a unique gift included

...and PRINTS
What is supplied
Ɣ Matched to the original artwork
Ɣ Printed on Silk 300gsm card
Ɣ Artist’s name, details printed on reverse
Ɣ Supplied creased, with matching white envelope and cello bag

visit our website for a full list of services

Develop only 35mm 120 4x5 5x7 8x10
C41 & BW £5.25 £5.25 £3.45 BW only n/a n/a
E6 £6.25 £5.30 £3.45 £6.50 £8.45
Mounted £8.80 Films returned in sleeving pages

4.5Mb +£5.25 ‡ Charged extra to each and at the time of developing

18Mb +£12.75 ‡ Scan sizes approx when is open, not as stored on disk
‡ All images are optimised for density and contrast
48+Mb +£25.50

Gloss or Semi-matt prints, priced at time of developing in addition to cost of developing

Set of prints per 35mm 120 4”x5” 5”x5” or 5”x7” 6”x6” or 6”x8”
6”x4” +£7.15 6x45 +£7.00 +£13.25 +£15.25
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6”x9” +£15.00 6x7 +£5.65 +£10.00 +£14.65

FREEPOST, The Darkroom UK Ltd, 15 Berkeley Mews, High Street, Cheltenham GL50 1DY Tel. 01242 239031
www.the-darkroom.co.uk Prices shown are postal only and include Vat at 20%. Payment online or cheque with order.
 TESTS AND
PRODUCTS
CHECKOUT
Tablets have become a useful tool in the photographer’s kit bag as they
double up as a portfolio, studio tool, photo editor and storage device.
Daniel Calder rounds up six of the best.
NEW IPAD (9.7IN)
The Benchmark
80 The new iPad (2018) is the
B+W
definitive tablet. It sports Apple’s
9.7in Retina display and plays
host to more than 1.3 million
apps built specifically for the
iOS operating system. It works
intuitively and is a pleasure to
use. It’s also now the cheapest
iPad in the current range.
Although it shares much
of the same design and
technology found in the 2017
model, the new iPad includes
some important enhancements.
Firstly, the A10 Fusion chip
improves processing speed,
making light work of demanding
apps such as Lightroom CC,
Affinity Photo, Snapseed and
Polarr. Secondly, the new iPad
is compatible with the Apple
Pencil — a pressure sensitive
stylus used for precise image
TECHNICAL SPECIFICATIONS
Display
Storage
Operating system
Connectors
Size
Weight
Guide price
Contact
editing, writing and sketching.
But you’ll have to pay £89 to
get hold of it, and more again
if you want a keyboard or case.
Another issue for some
photographers will be the
lightning port and the limited
storage, which may require
an alteration in workflow
to a cloud-based system.
Alternatively, you’ll have to buy
a variety of dongles to shunt
images between devices.
LIKES
Over 10 hours of battery life
Supports the Apple Pencil
Excellent value
DISLIKES
Limited to 128Gb storage
The Pencil, keyboard and
case all cost extra
9.7in, 2048 x 1536 pixels
32Gb or 128Gb
iOS 11
Lightning, 3.5mm headphone jack
240 x 169.5 x 7.5mm
469g
From £319
apple.com
IPAD PRO (10.5IN)
The Pinnacle
If the new iPad is the definitive
tablet, then the iPad Pro is
the pinnacle. It offers greater
processing power, a better
display and extra storage, while
matching the smaller model for
weight and battery life. The only
problem is it costs £300 more.
The A10X chip provides
impressive processing speed,
especially when dealing
with graphic rendering. This
couples nicely with the Apple
Pencil, which transforms
complex image editing into
LIKES
Impressive processing power
Supports the Apple Pencil
Large storage capacity
DISLIKES
Very expensive
Lack of ports
TECHNICAL SPECIFICATIONS
Display
Storage
Operating system
Connectors
Size
Weight
Guide price
Contact
something tactile, fluent and
more precise. Although the
new iPad shares this facility,
it’s not to the same standard.
The iPad Pro offers a faster
refresh rate, meaning there’s
less lag between touching the
screen and making a mark.
The 10.5in Retina screen also
offers a 20% larger display
with an anti-reflective coating,
a wider colour gamut and
TrueTone technology to adapt
the screen’s output to the
surrounding light. In addition,
a Smart connector allows the
attachment of a keyboard,
so you don’t have to rely
on Bluetooth.
The increased storage
capacity is welcome, but the
price rises considerably. The
256Gb model costs £769,
while the 512Gb model is £969.
10.5in, 2224 x 1668 pixels
64Gb, 256Gb or 512Gb
iOS 11
Lightning, Smart, 3.5mm headphone jack
250.6 x 174.1 x 6.1mm
469g
From £619
apple.com

Mimicking the size, design
language and premium
materials of the iPad, the Asus
ZenPad 3S 10 aims high but
falls a little short in engineering
quality and the user interface.
The best thing about the
ZenPad 3S 10 is the screen,
with its vivid, saturated
colours and strong contrast.
It’s superb for photos and
movies, if not quite matching
the intensity of Samsung’s
Super AMOLED display.
Another useful feature for
photographers is the MicroSD
card slot that bumps up the
meagre 32Gb storage of the
device by another 128Gb. It
also creates the possibility
for physical file transfers from
compatible cameras using an
SD card adapter.
The battery life leaves
something to be desired, but
it can at least be charged
quickly thanks to the USB-C
connector that allows the use
TECHNICAL SPECIFICATIONS
Display
Storage
Operating system
Connectors
Size
Weight
Guide price
Contact
ASUS ZENPAD 3S 10 HUAWEI MEDIAPAD M5 10.8IN
Android option
of Qualcomm’s Quick Charge
3.0, as long as you buy a
certified 18W power supply.
In the end the ZenPad
3S 10 can only really be
recommended if you want to
buy an iPad lookalike that runs
Android and you don’t want to
spend the extra £200 on the
Samsung Galaxy Tab S3.
‘The best thing about
the ZenPad 3S 10 is the
screen, with its vivid,
saturated colours and
strong contrast.’
LIKES
Excellent display
Superb audio
MicroSD card slot increases
storage by 128Gb
DISLIKES
An over-complicated
user interface
Poor battery life
9.7in, 2048 x 1536 pixels
32Gb + Up to 128Gb MicroSD card slot
Android 6 Marshmallow
USB-C, 3.5mm headphone jack
240.5 x 163.7 x 7.15mm
430g
£300
asus.com
Widescreen
The 10.8in version of the
Huawei MediaPad M5 fills
the market gap for a large
screen Android tablet that can
compete against the iPad Pro.
This model is not compatible
with a stylus, but the M5 Pro
version is, and there’s also
an 8.4in model if you’d like
something smaller.
Huawei has chosen a
16:9 aspect ratio for the
screen, giving it a widescreen
appearance that is ideal for
movies, rather than the 4:3
ratio that Samsung and Apple
have decided upon. The
display is excellent, though not
quite as bright as the iPad or
Galaxy Tab S3.
The build quality could be
better and it’s disappointing
to see there’s no headphone
jack – instead you’ll have to
use an adapter plugged into
the USB-C port. There is,
LIKES
Excellent display
MicroSD card slot increases
storage by 256Gb
Fast charger included
in the package
DISLIKES
No headphone jack
Build quality could be better
TECHNICAL SPECIFICATIONS
Display
Storage
Operating system
Connectors
Size
Weight
Guide price
Contact
however, a MicroSD card slot,
which enables the storage to
be significantly increased at
relatively low cost.
Battery life is strong, and a
fast charging plug included
in the package enables the
tablet to be fully charged
within a few hours. The
processor is pretty quick too,
outperforming the Galaxy Tab
S3, but falling short of the
iPad Pro.
‘The 10.8in version of
the Huawei MediaPad 81
B+W
M5 fills the market
gap for a large screen
Android tablet that
can compete against
the iPad Pro.’
10.8in, 2560 x 1600 pixels
32Gb or 64Gb + Up to 256Gb MicroSD card slot
Android 8 Oreo
USB-C
258.7 x 171.8 x 7.3mm
498g
£355
consumer.huawei.com
 Converters & Docks
1.4 x Tele Converter EX DG 199.00
2.0 x Tele Converter EX DG 229.00
1.4 x TC-1401 Tele Converter DG 249.00
2.0 x TC-2001 Tele Converter DG 299.00
SIGMA Lenses For Canon, Nikon, Sigma, Sony A*, Pentax*
USB Dock For A, S & C Series Lenses 39.99
4.5mm f2.8 EX DC HSM Fisheye 699.00
Lenses For Micro Four Thirds & Sony NEX
8mm f3.5 EX DG Fisheye 699.00
16mm F1.4 DN Black "C" Series 449.99
10mm f2.8 EX DC HSM Fisheye 599.00
19mm f2.8 DN Black "A" Series 149.00
14mm F1.8 DG HSM "A" Series 1399.00
19mm f2.8 DN Silver "A" Series 149.00
15mm f2.8 EX DG Fisheye 599.00
30mm F1.4 DN "C" Series 269.00
20mm F1.4 DG HSM "A" Series 699.00
30mm f2.8 DN Black "A" Series 149.00
24mm F1.4 DG HSM "A" Series 649.00
30mm f2.8 DN Silver "A" Series 149.00
30mm f1.4 EX DC "A" Series 359.00
60mm f2.8 DN Black "A" Series 149.00
35mm f 1.4 EX DG HSM "A" Series 649.00
60mm f2.8 DN Silver "A" Series 149.00
50mm F1.4 DG HSM "A" Series 599.00
Lens Mount Converter
85mm F1.4 DG HSM "A" Series 999.00
MC-11 Mount Converter Sigma or Canon Fit 199.00
105mm f2.8 EX DG HSM OS Macro 359.00
Flashguns
135mm F1.8 DG HSM "A" Series 1239.00
EF-630 Flashgun GN 63 299.00
150mm f2.8 EX DG Macro HSM OS 779.00
EF-630 Flashgun USB Dock FD-11 59.99
180mm f2.8 EX DG Macro HSM OS 1239.00
EF-610 DG ST Flashgun 109.00
300mm f2.8 APO EX DG HSM 2599.00
EF-610 DG Super Flashgun 169.00
500mm F4 APO DG HSM "S" Series 4999.00
EM-140 Macro Flash 329.00
800mm f5.6 APO EX DG HSM 4999.00
8-16mm f4.5-5.6 DC HSM 599.00
10-20-mm f3.5 EX DC HSM 339.00
12-24mm F4.5-5.6 EX DG HSM MK2 Discontinued, Limited
Stock Available 649.00
12-24mm F4 DG HSM "A" Series 1399.00
14-24mm F2.8 DG HSM "A" Series ( NEW ) 1399.99
17-50mm f2.8 EX DC HSM OS 329.00
17-70mm f2.8-4 DC Macro OS HSM "C" Series 349.00
18-35mm F1.8 DC HSM "A" series 649.00
18-200mm F3-3-6.3 DC Macro OS HSM "C: Series 289.00
18-250mm f3.5-6.3 DC OS HSM MK2 349.00
18-300mm F3.5-6.3 DC OS HSM Macro "C" Series 369.00
24-35mm F2 DG HSM "A" Series 759.00
24-70mm F2.8 OS HSM "A" Series 1299.00
24-105mm F4 DG HSM OS "A" Series 599.00
50-100mm F1.8 DC HSM "C" Series 949.00
70-200mm f2.8 APO DG OS 899.00
70-300mm f4-5.6 APO DG 179.00
70-300mm f4-5.6 DG 129.00
100-400mm F5-6.3 DG OS HSM "Contemporary" Series 699.00
120-300mm f2.8 APO EX DG HSM OS "Sports" Series 2699.00
150-600mm F5-6.3 APO DG OS HSM "Contempor" Series 799.00
150-600mm "Contemporary" Series Kit+TC-1401 Converter 899.00
150-600mm F5-6.3 APO DG OS HSM "Sports" Series 1329.00
150-600mm "Sports" Series Kit + TC-1401 Converter 1429.00
200-500mm f2.8 APO DG HSM + 2x EX Converter 14999.0
300-800mm f5.6 APO EX DG HSM 6499.00

*Sony A & Pentax only available in selected lenses

IPAD MINI 4
Portable power
At first glance the iPad Mini 4
may not appear to be a good
choice for photographers with
its diminutive 7.9in display.
But aside from the obvious
portability benefits of travelling
with a device far smaller and
lighter than a laptop, the Retina
display is fantastic. By having
a smaller screen, the pixel
density is increased and photos
appear super sharp, punchy
and altogether amazing. This
is helped further by the fully
laminated screen and anti-
reflective coating – the same
technology found on the iPad
Pro, but not the new iPad. This
makes the iPad Mini 4 a great
device for showing your portfolio.
Raw photo editing is possible
too as it supports Lightroom
CC, although it should be
TECHNICAL SPECIFICATIONS
Display
Storage
Operating system
Connectors
Size
Weight
Guide price
Contact
LIKES
Small, lightweight, portable
Over 10 hours of battery life
Outstanding display
DISLIKES
Small size is not ideal for
image editing
Not as good value as the new iPad
mentioned the A8 chip is less
powerful than those in the
newer iPads. Other handy
uses for the iPad Mini 4 include
garnering and organising model
release forms and by tethering
it to your camera for operation
and instant file transfers.
The build quality is
exceptional and the 128Gb of
storage is substantial, but it
seems a touch overpriced when
compared with the new iPad.
7.9in, 2048 x 1536 pixels
128Gb
iOS 11
Lightning, 3.5mm headphone jack
203.2 x 134.8 x 6.1mm
298.8g
£399
apple.com
SAMSUNG GALAXY TAB S3
Stunning screen
The Samsung Galaxy Tab S3 battery charging through the
is the best tablet available if USB 3.1 connector, which is
you don’t want to purchase an considerably quicker than the
iPad. It matches the iPads on new iPad, and slightly faster
a technological level but the than the iPad Pro.
Android operating system on a
tablet is nowhere near as slick LIKES
as iOS, and it can’t compete Outstanding Super AMOLED display
with the wealth of fully optimised MicroSD card slot increases
apps that Apple markets. storage by 256Gb
That said, you can download S Pen included in the price
Lightroom CC, Snapseed and
Polarr for image editing. DISLIKES
The Super AMOLED display More expensive than the new iPad
is the outstanding feature of The glass back attracts fingerprints
this tablet, producing richly
saturated colours and deep
blacks, although the highly
reflective glass becomes
an issue in bright sunlight.
The Tab S3 comes with
a stylus called the S Pen,
which offers more levels
of pressure than the Apple
Pencil, doesn’t need
charging and is included
in the price. The modest
32Gb of storage can be
enlarged by 256Gb with the use
83
‘The Samsung Galaxy B+W
of a MicroSD card, while also
allowing photos to be directly
Tab S3 is the best tablet
transferred from some cameras. available if you don’t
One other bonus is the fast want to purchase an iPad.’
TECHNICAL SPECIFICATIONS
Display 9.7in, 2048 x 1536 pixels
Storage 32Gb + Up to 256Gb MicroSD card slot
Operating system Android 7 Nougat
Connectors USB 3.1, 3.5mm headphone jack
Size 237.3 x 169 x 6mm
Weight 429g
Guide price £499
Contact samsung.com
 SONY RX100 VI
Powerful compact camera with a Zeiss
Vario-Sonnar 24-200mm f/2.8 – f/4.5
lens – making it good for everything
from cityscapes and portraiture to sport
and wildlife. The 20.1Mp camera offers
continuous shooting at up to 24fps and
has an optical image stabilisation system
equivalent to a 4-stop faster shutter speed.
£1,149 sony.co.uk
LEICA SF 60 FLASH UNIT
Designed for Leica S, SL and M systems,
the SF 60 flash unit offers TTL-flash, HSS
to 1/8000sec, flash head with tilt and swivel
function, zoom reflector, integrated diffuser
and reflector card.
£450 leica-camera.com

TESTS AND PRODUCTS

BLACK+WHITE
LOUPEDECK +

84
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New enhanced version of the photo editing
console for Lightroom that uses buttons, dials
and scrolling wheels instead of a mouse. The
console connects to PCs and Macs via USB.
£199 loupedeck.com
LOVES CANON EF
70-200MM LENSES
Canon has announced upgrades to two
of its most popular L-series lenses. The EF
70-200mm f/4L IS II USM has a maximum
NEW PHOTOGRAPHY aperture of f/4 and offers a 5-stop image
stabiliser. The EF 70-200mm f/2.8L IS III USM
GEAR IN THE SHOPS (pictured) has a maximum aperture of f/2.8
and a 3.5-stop image stabiliser.
AND ONLINE EF 7-200mm f/4L IS II USM – £1,299.99
EF 70-200mm f/2.8L IS III USM – £2,149.99
canon.co.uk

IMAGO DIRECT FUJIFILM INSTAX

FUJINON
GF250MM F/4
New high performance lens for Fujifilm’s
G-series medium format cameras. Dust and
weather resistant plus cold resistant to -10°C.
£2,899 fujifilm.com
POSITIVE PAPER
Silver gelatin photo paper that enables prints
to be generated without a negative. Suitable
for pinhole and large-format cameras and
now available in new designs and pack sizes.
From £31.49 (5x7in x 25)
firstcall-photographic.co.uk
SQUARE SQ6
This latest in the popular Instax range is
compatible with square format film and has
modes for landscape, macro and double
exposure. It has a timer for group pictures
and is available in three colours.
£124.99 fujifilm.eu
 Lowepro
Trekker
SH 150

OLYMPUS PEN E-PL9

New special edition of the Olympus Pen in
blue. The 16Mp compact system camera has
121 AF points, a Truepic VIII processor plus
Bluetooth and Wi-Fi connectivity. The special
edition is available only from John Lewis stores.
£649.99 (with 14-42mm lens)
olympus.co.uk
LOWEPRO BAGS Lowepro
Lowepro has announced a number of new PhotoStream
camera bags. The Lowepro PhotoStream SP SP 200
200 is a lightweight photography bag designed
for airline travel. There is space for cameras,
lenses, tripod, laptop and accessories.
The wheels offer 360° range of motion.
The Lowepro Trekker BP 150 provides
body-side access to the main compartment
to protect against theft. Inside there’s space
for a mirrorless camera plus laptop.
The Lowepro Trekker HP 120 will keep
your mirrorless camera secure. It can be worn
as a waist pack or cross body and includes
secure front flap opening with zipper
back zip pocket.
The Lowepro Trekker SH 150 is designed
85
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to be low profile, protective and comfortable.
It provides space for a smaller mirrorless
camera plus accessories.
PhotoStream SP 200 – £269.95
Trekker BP 150 – £109.95
Trekker HP 120 – £44.95 Lowepro
Trekker SH 150 – £64.95 Trekker
lowepro.co.uk HP 120

TAMRON 70-210MM F/4 LENS Lowepro

Compact telephoto lens for full-frame DSLRs. Trekker BP
Provides constant maximum aperture 150
of f/4 throughout the zoom range.
£699 tamron.eu

LEICA C-LUX
New compact camera loaded with a 20Mp
sensor and 15x zoom. It boasts a 3in
touchscreen display and offers continuous
shooting at up to 10fps.
£875 leica-camera.com
 HOW TO GET PUBLISHED IN
BLACK+WHITE PHOTOGRAPHY

Visit our website

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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

like printed big and hung on your wall?
Send the file to us and you could
win just that.
Shoot with your smartphone and send in your pictures – you could be one of three
lucky winners each month who wins a Samsung Class 10 EVO 32GB MicroSD card.
Upload your pictures to our website, via Twitter by tagging us @BWPMag and using
the hashtag #smartshots. If you are successful we will request high-res files.
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ONLINE COMMUNITY SALON

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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.
 Bring the beauty of the darkroom into the digital world with
the award-winning FB Mono Gloss Baryta 320, a paper that
will enhance your monochrome images with rich blacks,
Image © Paul Hassell

sparkling whites and a beautifully glazed gloss finish.

Try it today at www.permajet.com

01789 739200 sales@permajet.com

 NEXT MONTH
B + W ISSUE 220 AUTUMN ON SALE 30 AUGUST

ANTONY CAIRNS ON THE UNIVERSAL CITY

VIETNAMESE ROCKERS WITH NEIL MASSEY

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© Antony Cairns

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 91
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© Neil Massey
 27 Rathbone Place London W1T 1JE
Tel: 020 7436 1015
www.apertureuk.com
Pre-owned Leica N i k o n Film Cameras
CW Sonderoptic Leica SL-PL Mount Adapter (boxed) Mint £490 Nikon F with Eye Level Finder New Mirror Foam Exc+++ £450
Leica M-Monochom with Charger 11800 Actuations Exc+ £2850 Nikon F2 with DE-1 Chrome #8027xxx Exc+ £370
Leica M (240) Black (Complete; boxed with spare battery) Exc+++ £2750 Nikon F2 Photomic AS Chrome #8021xxx User £320
Leica M (240) Black (Complete; boxed) Exc £2490 Nikon F2 Photomic AS Chrome New Mirror Foam #8029xxx Exc+ £420
Leica M240 Black Paint + Charger User £2290 Nikon F2 Photomic SB Black New Mirror Foam #7727xxx Exc+ £450
Exc+++ £590
Leica M240 Silver with Charger (Complete; boxed) Mint- £2890 Nikon F2 Photomic SB Chrome New Mirror Foam #7547xxx
Leica M8/M9 Hand Grip Steel Grey Exc+ £50 Medium / Large & Other Format
Leica MP 0.72 Hammertone LHSA (Body only) Mint £3690
Mamiya 50mm f4G + hood for Mamiya 6 Moderate paint wear on the barrel Exc £450
Leica M6 Chrome #2168xxx (boxed) Exc £1190
Mamiya 150mm f4.5G + hood for Mamiya 6 (boxed) Mint- £190
Leica M4-2 (boxed) Outstanding Condition Mint- £950 Mamiya 150mm f4.5G (Mamiya 6) Exc++ £150
Leica KE-7A with 50mm f2 Elcan in Original Case Exc+++ £12900 Mamiya 43mm f4.5L + V/finder Mint- £790
Leica CL with Ever Ready Case Mint- £450 Mamiya 50mm f4.5L + V/finder Mint £790
Leica IIIg just carried out CLA and recoverd leatherette by us Exc+++ £750 Mamiya 150mm f4.5L + hood Mint £350
Leica IIIc Converted to IIIf Black Dial with Delay Action Exc+ £320 Mamiya 150mm f4.5L Mint- £290
Leica 16-18-21mm f4 Tri-Elmar-M ASPH + hood & filter holder (no v/f)
Mint £2590 Mamiya 210mm f8N + V/finder Mint- £350
Leica 18mm f3.8 Super-Elmar-M + hood 6 bit #2849xxx (boxed) Mint £1590 Mamiya ZE-702 Polarising filter Mint- £70
Leica 21mm f1.4 Summilux-M ASPH + hood Exc++ £2990
Leica 21mm f2.8 Elmarit-M ASPH + hood #3885xxx Mint- Rolleiflex 6008 Integral + 80mm f2.8 Planar PQS + RFH Exc+++ £850
£1450
Zeiss 60mm f3.5 Distagon HFT PQ Exc £550
Leica 28mm f2.8 Elmarit-M + hood 3rd Version #3439xxx Exc++ £750
Schneider 180mm f2.8 HFT PQ + hood Exc+++ £890
Leica 28mm f2.8 Elmarit-M + hood 3rd Version Exc+++ £790
Horseman 6x9 RFH Exc++ £90
Leica 28mm f2.8 Elmarit-M ASPH + hood 6 bit #4043xxx Mint £1150
Leica 35mm f1.4 Summilux-M ASPH + hood (light dent on filter rim) Exc £1890 Horseman SW617 Professional + 72mm f5.6 Super-Angulon XL with
Zeiss 35mm f1.4 Distagon ZMT* Mint- £1090 V/finder & Centre filter (boxed) Mint- £2990
Leica 35mm f2 Summicron-M + hood 4th Version Mint- £1450 Cambo Wide 650 + Schneider 65mm f5.6 + Schneider 90mm f8 Exc+++ £1690
Leica 50mm f0.95 Noctilux-M ASPH + hood (boxed) Mint- £6290 Schneider 47mm f5.6 Super-Angulon (Compur 0) Mint- £350
Leica 50mm f0.95 Noctilux-M ASPH + hood Silver (boxed) As new £6490 Schneider 90mm f8 Super-Angulon (Compur 0) on recessed Linhof size board Exc+++ £250
Leica 50mm f2 Apo-Summicron-M ASPH (boxed) Mint £4890 Nikon 600mm f9 Nikkor-T ED (Copal 3) Mint £1090
Leica 50mm f2 Summicron-M Built in hood Exc++ £1050
We offer an on-site developing and printing service at Aperture Rathbone Place.
Leica 50mm f2 Summicron-M Built in hood Exc £950 We also provide a mail order service. Please send your film(s) packed securely to the P.O Box address
Leica 50mm f2 Summicron-M Silver Built in hood (boxed) Mint £1250 below and make sure to include your name; address and contact details for return postage.
An order form is availible to download from our website on the Film Developing Page.
Leica 90mm f2 Summicron-M Heavy paint wear but excellent optics User £490
Postage for Process and Print
Please send your order to: 1 - 2 rolls.............................................£3
Leica 90mm f2.8 Elmarit-M Built in hood with Pouch #3780xxx Mint £790 Aperture 3 - 5 rolls.............................................£6
6 - 10 rolls...........................................£9
Leica 90mm f4 Elmar-C + hood Mint £270 PO Box 7045 11 rolls or more................................Free
London Process only
1 - 10 rolls...........................................£3
Leica 135mm f3.4 Apo-Telyt-M #3842xxx (boxed) User £1390 W1A 1PB 10 - 30 rolls.........................................£5
21rolls or more................................Free
Leica 13.5cm f4.5 Hektor Black Paint Hazy Optics but usable User £90
Processing Prices (C41 Colour Negative Film)
Leica 50mm f1.4 Summilux-R 3rd Cam Heavy Paint wear ; excellent optics
Use £750
35mm develop only £6.00
Leica 80-200mm f4 Vario-Elmar-R ROM Mint- £890 35mm develop + print £12.00
Leica SF-26 Flash (boxed) Mint £230 35mm develop + print + scan £14.00
35mm develop + scan £10.00
Leica SF-40 Flash (boxed) Exc++ £230
Leica M10 Half Case Black (boxed) As new £150 120 develop only £7.00
120 develop + print £15.00
Leica M8/M9 Hand Grip Steel Grey Exc+ £50 120 develop + print + scan £17.00
Leica Handgrip M for M240 (boxed) Exc+++ £120 120 develop + scan £11.00
Leica EVF-2 Electronic Finder (M240) Mint £190 Extra set of prints (order within 7 days) £5.00
Olympus VF-2 Electronic Finder (M240) Mint- £120 Negative scan to CD or digital media (Per roll) £8.00
Leica 9cm Metal Bright Line Viewfinder Chrome (Leitz Wetzlar) Exc+++ £70 Xpan develop + scan £18
Leica 13.5cm Metal Viewfinder Chrome Mint- £80 Xpan develop + scan + print (5” x 13.5”) £24
Leica Lens Hood for 50mm f1.4 Summilux-SL ASPH Mint- £70 We also process Black and White Film!
Voigtlander 25mm f4 Snapshot-Skopar Silver L39 Exc+++ £220 Please check our website for details and pricing. E6 also available on request.
All of our Leica, Nikon, Canon, Medium & Large Format and compact cameras are£550
located at Aperture Rathbone Place Tel: 020 7436 1015 Email: 27@apertureuk.com
For all Hasselblad equipment enquiries please contact Camera Museum; located at 44 Museum Street, London WC1A 1LY Tel: 020 7242 8681 www. cameramuseum.uk
 27 Rathbone Place London W1T 1JE For Hasselblad please contact Camera Museum
Tel: 020 7436 1015 44 Museum Street London WC1A 1LY
www.apertureuk.com Tel: 020 7242 8681

Cambo Wide 650 with Schneider 65mm f5.6 + (Wide 900) Schneider 90mm f8 Exc+++ £1690

Nikon F2S Black with MD-2 + MB-1 + MK-1 Rather beautiful £590

Rolleiflex 2.8GX Expression 94 (boxed with soft case & rubber lens hood) Mint- £2290

Horseman SW617 Professional + 72mm f5.6 Super-Angulon XL with V/finder & Centre filter (boxed) Mint- £2990

Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint
M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment couldn’t be any easier at Aperture.
We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bank
account (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate
is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses;
you’ll be amazed how quickly we can turn your equipment into cash!!
Please contact us on 020 7436 1015 if you require any assistance or further information
Aperture Camera Repairs
Aperture offers an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica,
Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week.
All repair work carries a guarantee of six months.
Please contact us on 0207 436 1015 or 27@apertureuk.com
 To advertise on these pages please call the Photography team
B W CLASSIFIEDS
+ on 01273 402823 or email advertising@thegmcgroup.com

Adrian Ensor
MASTER PRINTER

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
Dedicated to the monochrome photographer

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

Buy or sell at Manchester’s largest selection of

The Real Camera Co.

B+W PHOTOGRAPHY BINDERS used photographic equipment

Having trouble finding what you want? We’ve got nearly everything under one
Keep your magazines in order with roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.
these stylish and durable binders.
Got a question about photography? We can answer it.
Price: £8.99 (p&p not included). Starting a college course? Want to set up a darkroom?
Baffled by digital? We can help.

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Photographic retailing like it used to be.

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(Entrance on Lever Street), Manchester M1 1JA

Tel/Fax: 0161 907 3236

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94 B+W CLASSIFIED SEPTEMBER 2018

 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
© Martin Hudak
state of the art printing service, theprintspace – it could be you!

96
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This month’s winner is Martin Hudak who wins a 20x24in print dry-mounted on to Foamex,
an exceptional quality and highly rigid foamboard. Martin can choose from a range
of four digital C-type and seven fine art inkjet papers for printing.

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