Black + White Photography I268 2022_downmagaz.net

COOL, CREATIVE AND CONTEMPORARY

George Tice • Lillian Bassman • Jack Delano • Edouard Boubat • Ray K. Metzker • Esther Bubley • Norman Parkinson • Sid Avery • Sanford Roth • Dorothea Lange • William Klein • Roman Vishniac • Lewis Koch • Eadweard Muybridge • Jim Marshall • Peter Beard • Weegee • Sebastião Salgado • Melvin Sokolsky • Edward Weston • William Gottlieb • Leon Levinstein • Sally Mann • František Drtikol • Fred Zinnemann • Ralph Steiner • Joel Meyerowitz • Peter Stackpole • Frank Gohlke • Cindy Sherman • Sonya Noskowiak • Josef Sudek • Eliot Elisofon • Harry Callahan • Thurston Hopkins • Willy Ronis • Georges Dambier • Louis Stettner • Pentti Sammallahti • James Van Der Zee • Sarah Moon • Monica Denevan • Dennis Stock • Margaret Bourke-White • Inge Morath • John Dominis • O. Winston Link • Erwin Blumenfeld • Henri Cartier-Bresson • Don McCullin • Harry Gruyaert • Elliott Erwitt • Lawrie Brown • Jaromir Funke • Minor White • Gyorgy Kepes • Michael Kenna • Sabine Weiss • Garry Winogrand • William Garnett • Edward Steichen • Tina Modotti • Jock Sturges • Eugene Atget • Ruth Bernhard • Gordon Parks • George Hurrell • Kenro Izu • Robert Mapplethorpe • Ruth Orkin • Wolfgang Suschitzky • Graciela Iturbide • Paul Strand • Eikoh Hosoe • Robert Frank • Dr. Harold Edgerton • Wynn Bullock • Chris McCaw • Edward S. Curtis • Horace Bristol • Jacob Riis • Mary Ellen Mark • Robert Capa • Jack Welpott • Imogen Cunningham • Richard Prince • Paul Caponigro • Vilem Kriz • Ormond Gigli • Sheila Metzner • Kurt Fishback • Eliot Porter • Terry O’Neill • Keith Carter • Anne Brigman • Rondal Partridge • Tom Millea • Max Yavno • Flor Garduño • Brassaï • Martine Franck • Eve Arnold • Charles Harbutt • Horst P. Horst • Edmund Teske • Frank Paulin • Ralph Gibson • Edward Burtynsky • George Hoyningen-Huene • Cole Weston • Arthur Leipzig • Philip Hyde • Jacques-Henri Lartigue • Morris Engel • Judy Dater • Alfred Stieglitz • Bruce Davidson • Marion Post-Wolcott • Allen Ginsberg • Adolf Fassbender • John Sexton • David Goldblatt • Max Dupain • Joe Rosenthal • Bruce Bellas • Alfred Wertheimer • Lewis Hine • Barbara Morgan • Alan Ross • Mario Giacomelli • Berenice Abbott • Jeff Carter • Baron Wolman • Don Worth • Aaron Siskind • Irving Penn • Bernard Plossu • John Goodman • Dave Heath • Ben Shahn • Marc Riboud • Brett Weston • Danny Lyon • Clarence White • Miroslav Tichý • Chester Higgins Jr. • Pirkle Jones • Bert Hardy • Louis Faurer • Arnold Newman • Philipp Scholz Rittermann • Alfred Eisenstaedt • Russell Lee • Walker Evans • Martin Munkácsi • Nat Fein • Martin Elkort • Yousuf Karsh • André Kertész • Todd Webb • Steve McCurry • Lisette Model • Philippe Halsman • William Henry Jackson • Herman Leonard • Colin Jones • Carleton Watkins • August Sander • EtRobert Stivers • Wright Morris • Henry Horenstein • Mona Kuhn • Sid Grossman • Robert Doisneau • Cecil Beaton • Burt Glinn • David Seymour • Vivian Maier • W. Eugene Smith • Cornell Capa • Bill Burke • William Wegman • Bill Brandt • Etc DISCOVER YOUR NEXT PHOTOGRAPH TO COLLECT AT YourDailyPhotograph.com Unparalleled selection from four million vintage photographs in inventory.

BL ACK+ WHITE LIFE ON EASY STREET 01 PHOTOGRAPHY I t sounds so simple. Just point and shoot. Hold the camera, press the shutter. B+W There – you’ve taken a picture. Easy. Well, sometimes. Our cameras and phones EDITORIAL can certainly capture a sharp image. But taking a good picture, taking a really Mark Bentley, Claire Blow, Ben Hawkins good picture, is much harder. email: [email protected] There’s the pointing bit, for a start. That’s not always quite so quick and easy. Scott Teagle What we choose to shoot, how we frame it and when we decide to click the shutter email: [email protected] are key questions we must ask ourselves. The answers will determine not just the pictures we take, but the kind of photographer we want to be. Those answers will Designer Toby Haigh also change over time. As we grow more knowledgeable and experienced, and as our tastes and ambitions develop, so our choices will change too. ADVERTISING email: [email protected] Then there’s the shooting bit. As beginners, we might start with the camera tel: 01273 402855 set to automatic. But things become more interesting as we learn to adjust the settings so the pictures we take more accurately reflect the ideas in our head. PUBLISHING And after the shoot we can make further changes to the pictures in post- Publisher Jonathan Grogan production. Now learning the technical aspects of photography can be engrossing and will give us much more control over our pictures, but it’s rarely quick and easy. MARKETING Marketing Executive Anne Guillot Photography can be at once simple and complicated. Taking pictures and email: [email protected] making them available for others to see has never been easier. But creating good pictures, put together with thought and care, is as challenging, time-consuming, PRODUCTION frustrating, fascinating, exciting, expressive, life-affirming and hugely rewarding Production Manager Jim Bulley as ever. Origination and ad design GMC Repro Printer Buxton Press Ltd Enjoy the issue. Distribution Seymour Distribution Ltd Mark Bentley SUBSCRIPTIONS tel: 01273 488005 email: [email protected] website: gmcsubscriptions.com SUBSCRIPTION RATES Subscribe from £33 (including free P&P) Save 10% with 6 issues Save 15% with 12 issues Save 20% with 24 issues Plus UK subscribers can save an extra 10% by choosing direct debit. Cheques should be made payable to GMC Publications Ltd. Current subscribers will automatically receive a renewal notice (excludes direct debit subscribers) POST YOUR ORDER TO The Subscription Department GMC Publications Ltd, 166 High Street, Lewes, East Sussex, BN7 1XU, UK Black+White Photography (ISSN 1473-2467) is ON THE COVER published every four weeks by GMC Publications Ltd. Picture by Paul Sanders. See page 20. Black+White Photography will consider articles for publication, which should be sent via the website at blackandwhitephotographymag.co.uk. GMC Publications cannot accept liability for the loss or damage of unsolicited material, however caused. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of GMC Publications Ltd. With regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire. © Guild of Master Craftsman Publications Ltd. 2022 CONTACT US Web blackandwhitephotographymag.co.uk | Facebook facebook.com/blackandwhitephotog | Twitter @BWPMag | Instagram@bwphotomag

© Parisa Aminolahi © Giacomo Brunelli 10 26 © Adrian Ensor © Nic Salmon 36 42 02 B+W BLACK+WHITE PHOTOGRAPHY ISSUE 268 CONTENTS FEATURES 36 SYMPATICO and shares his insights into the 08 BOOKSHELF Poetry and history inspire Adrian photography legends he has Reviews of the latest photobooks, 10 MY MOTHER, MY SELF Ensor’s melancholic images worked with over many years including a how-to film guide Parisa Aminolahi adds of southern Spain for beginners brushstrokes to photos of her 72 MASTERS OF THE ART mother’s daily life in Tehran 42 35 YEARS ON Harry Burton spent a decade 20 ON SHOW Nic Salmon’s then and now documenting Tutankhamun’s Paul Sanders’ latest exhibition 26 SEARCHING FOR VENICE portraits prove that the more tomb and its artefacts encourages us all to forge Giacomo Brunelli presents an things change… deeper connections alternative neo-noir version of NEWS Italy’s tourist hotspot 48 THE POWER OF 22 IN THE FRAME PHOTOGRAPHY 06 NEWSROOM Find an inspiring photography 34 60-SECOND EXPOSURE Gallerist Peter Fetterman discusses Exhibitions, awards, festivals, exhibition near you, wherever Tif Hunter regales us with tales some of his favourite pictures books, auctions… it’s going to be you are in the UK from his epic career a busy month!

© Len Prince Photography & Papers, Collection, Stuart A. Rose Library at Emory University. © Tim Daly Ford Model VIII Bathing Cap, New York City, 1991/Courtesy Peter Fetterman Gallery 62 48 © Lee Frost © Matt Inwood 56 78 03 B+W FOR DETAILS OF HOW TO GET PUBLISHED IN B+W TURN TO PAGE 90 BLACKANDWHITEPHOTOGRAPHYMAG.CO.UK COMMENT Frost, who looks at the most INSPIRATION YOUR BLACK+WHITE useful digital-proof lens filters 24 AMERICAN CONNECTION and filter techniques 66 ONE-DAY 74 SMARTSHOTS Randi Lynn Beach documents the PHOTO PROJECTS Inspirational black & white images plight of traditional sheepherding 62 GROUP F/64 Eddie Ephraums challenges his in the US Tim Daly takes inspiration from own approach to development 80 SALON this fabled association of great Pictures that tell a story 70 A FORTNIGHT AT F/8 1930s photographers TESTS & PRODUCTS Tim Clinch always aims high, 90 HOW TO GET PUBLISHED but never forgets to enjoy the 78 EYE, PHONE, 84 B+W LOVES journey as well PHOTOGRAPHY Nikon, Leica and Profoto unveil 95 NEXT MONTH Tim Clinch interviews talented food their latest photo goodies B+W 269 is on sale 1 September TECHNIQUE photographer and iPhone fanatic Matt Inwood 86 CHECKOUT 96 LAST FRAME 56 TOP TIPS The six best retro chic cameras A prize-winning single image Brilliant ideas and tips from Lee for your money

FIRST From photography’s inception to the FRAME present day, women have played a pivotal role in the medium’s creative evolution, using the camera to push social boundaries, challenge gender roles and express their sexuality. Yet many of these pioneers have been overlooked and marginalised in the broader narrative. To redress the balance and celebrate photography’s global diversity, historians Luce Lebart and Marie Robert invited 160 women writers to offer fresh insights into more than 300 women photographers, the results of which can be seen in A World History of Women Photographers, a definitive book originally published in French and now available in English. Among the many supremely talented names featured are Helen Levitt, Carrie Mae Weems, Hannah Höch, Sarah Moon, Eve Arnold and Shirin Neshat. An English version of A World History of Women Photographers is now available, published in hardback 04 by Thames & Hudson, price £60. B+W Women on the Banks of the Lake, 1915 by Sigriður Zoëga

© The National Museum of Iceland, Reykjavik 05 B+W

NEWSROOM Edited by Kingsley Singleton The camera collection VINTAGE APPEAL © Krass Clement BELFAST JOURNEYGoing under the hammer soon via Modern Danish photographer Krass Clement travelled to featuring 114 previously unpublished images Decorative is what the company describes as a Ireland and Northern Ireland in 1991 and famously taken as he moved through the city as an outsider comprehensive snapshot shot his landmark book Drum in just one evening observing its people, landscape and rhythm. of 19th and 20th-century in a pub, using just three and a half rolls of film. The book is out now from RRB Photobooks in precision engineering from Returning to his archives and photographs a beautiful petrol-blue linen hardcover with 144 across the world. made in the same period, the result is Belfast, pages, price £50 or £275 with print. 06 Intended to be sold as a B+W single collection, it includes 402 antique and vintage AUGUST cameras collected over a lifetime, which together could STORIES be seen as a work of art in its own right, and which features some highly storied cameras Collier Schorr’s new book from Leica, Zeiss Ikon, August brings together Lubitel and more. atmospheric Polaroids made in the early 1990s. Created Head to moderndecorative. in Schwäbisch Gmünd, com for some great images of the set. southern Germany, it mixes OPEN FORMAT documentary and fiction through historical apparitions Format, the UK’s leading and sees the author mixing international contemporary the roles of war photographer, festival of photography, portraitist and family has announced Format23: historian, through memory, Open Call, an opportunity for nationalism, war and family. photographers to take part in its next event to be held in Alongside the images are Derby in March 2023. passages of text from Schorr, The selection panel is examining the work from a distance of over 30 years. currently curating content and inviting diverse and August, published by Mack imaginative proposals Books, comes in an embossed that represent the state of photography today with hardcover important, unseen and spanning undiscovered stories 104 pages, and projects. price £40. The deadline for proposals is 22 August, so head to formatfestival.com if you want to get involved. © Collier Schorr

© Lee Miller Archives, England 2022. All rights reserved. leemiller.co.uk © Fabio Germani Interior Spaces by Fabio Germani 07 SIENA THING B+W MILLER TIME Picasso in his studio, Paris, France, 1944 by Lee Miller YOU LIKE? A new exhibition will shine a light on the meeting in the south of France where Miller The Creative Photo Awards extraordinary lives of Lee Miller and Pablo photographed Picasso and their friends. The is the artistic portion of the Picasso, unravelling their personal life stories and exhibition also charts Miller’s growing reputation Siena Awards and includes unearthing the people behind the art. as a surrealist photographer and how the pair images from contemporary examined the same subjects artistically. photographers all over the world. With artefacts spread throughout 12 rooms, The brief is to use innovative and the collection is divided into six distinct time Lee Miller & Picasso opens on 10 September challenging approaches to create periods, taking viewers through some of Europe’s at Newlands House in Petworth, West Sussex. photography that’s both visually most tumultuous events, dating from their first Visit newlandshouse.gallery for details. and intellectually exciting. The contest features 17 categories, ranging from nature and landscape, portraiture, still life and nudes to abstract, experimental and conceptual. Within the category winners and shortlisted entries is a strong showing of monochrome work, including the image featured above. If you fancy seeing some of these great images in the flesh, many of the winning shots will be exhibited in Siena, Tuscany, from 1 October to 20 November, where images from the Siena International Photo Awards and Drone Photo Awards will also be on show. BEST BOOKS The winners and shortlisted publications in the Kraszna-Krausz Photography and Moving Image Book Awards have been announced. The competition celebrates outstanding and original publications from the past year. This term’s winner is What They Saw: Historical Photobooks by Women, 1843-1999, edited by Russet Lederman and Olga Yatskevich, which sheds light on photobooks created by women from diverse backgrounds.

N E WS BOOKSHELF Edited by This month’s trio of inspirational photobooks feature the life’s work Jonathan Harwood of an American legend, the glitz and glamour of the Cote d’Azur and a how-to guide for budding film photographers. LIFEWORK George Tice has amassed more master of his art. The images having been inspired by his than enough stunning images to encompass natural and urban father to take up photography George Tice justify such a project – and this landscapes, seascapes, still life, and buying his first camera – Veritas Editions monumental volume is testament abstracts, documentary, street a Kodak Pony – aged 14 and Hardback, £110 to his ability and work ethic. photography and portraiture. joining a local camera club. The rest, as they say, is history. L ifework might sound like an Tice’s 25th book contains Images of Amish and Shaker imposing, even grandiose more than 300 black & white communities sit alongside The book also features title for a collection, but images from all his major bodies pictures taken in and around texts from the late editor and over the course of a 60-year of work, as well as some that have New Jersey, where he built curator Michael Miller and the career, American photographer never before been published. his reputation as a fine art photographer himself, who takes photographer. There are also us through his tough upbringing To call it a weighty tome photographs from his time in and early part of his career. would be correct in more ways Eastern Europe and the UK, than one, for this beautifully intimate soft-focus portraits, The question this collection printed and presented collection plus the shot that kickstarted raises is what sort of could easily put the postman’s his career, Explosion Aboard photographer is Tice? But the back out, but it’s well worth the USS Wasp, 1959, which answer is obvious: a brilliant the effort in lifting. made the front page of the one, whose no-frills approach New York Times. lends his images a timeless Those unfamiliar with Tice’s quality and whose compositions work, or aware of only some of it, By then, Tice, who had been somehow always hit the mark, may be surprised by the breadth serving in the US Navy, knew and whose life’s work will leave of the subject matter. The what his life’s work would be, a lasting legacy. collection reveals Tice as a true 08 © George Tice B+W

© Liza Kanaeva-Hunsicker these questions and more. It’s LIGHT ON THE RIVIERA: artist Charles Nègre, who began 09 an easy-to-follow and well-laid- making pictures of the region in out guide to a long-established PHOTOGRAPHY OF the mid-19th century. B+W medium, that is honest about its SHOOTING FILM benefits and shortcomings. THE COTE D’AZUR Nègre played a key role in establishing the area’s reputation, Ben Hawkins It covers all the basics with Genevieve Janvrin but when he died in 1880, even he & Liza Kanaeva-Hunsicker guides to the different makes and & Sophie Wright could have had little idea of what models of film camera available, the future had in store. Ilex types of film, the techniques teNeues required to get the best out of Hardback, £50 In the 20th century, this Hardback, £20 them and even developing and colourful and seductive paradise printing your own pictures. O ver the past 150 years became the place to see and be T here was a time when the Cote d’Azur has seen, and a veritable who’s who it seemed the digital The explanations are become the ultimate of photographic greats make an camera, with all its bells clear and concise, with playground of the appearance in this book, which and whistles, would straightforward instructions rich and famous. Since it was charts not only the history sound the death knell for the (often with illustrations). ‘discovered’ in the 1800s, this of the Cote d’Azur, but also traditional, but now outdated, There are examples of shooting once-obscure and impoverished photography itself. film camera. But the old format techniques and a smattering of coastal region of south-eastern has refused to die, and it’s safe inspirational advice and quotes France has attracted artists, Lovingly put together by to say it is now experiencing a from masters of the art. writers, designers, intellectuals, Genevieve Janvrin and Sophie resurgence in popularity. aristocrats, bon vivants and, of Wright, whose texts illuminate And while the book is course, photographers. the images, Light on the Riviera So, how has an ‘imperfect obviously tailored towards the takes us on a chronological analogue format’ managed to budding film photographer, This fittingly opulent tome journey from the 1800s to the remain relevant in the digital there is a lot of common sense celebrates the region’s rich present day, with a glittering cast age? How does a photographer advice here as well, for example photographic heritage, beginning of photographers and subjects. reared on DSLR and mirrorless on exposure metering and on with the work of pioneering models step back into the buying secondhand gear, From Jacques-Henri Lartigue world of film canisters, limited which any photographer to László Moholy-Nagy, Henri exposures, darkrooms and could benefit from. Cartier-Bresson, Lee Miller sinister-sounding chemicals? and Man Ray to Elliott Erwitt, And why would they? Fine art and fashion Helmut Newton and Martin photographer Kanaeva- Parr, each new generation of This excellent guide from Hunsicker’s expert input is photographers has produced Ben Hawkins (a contributor to also illuminating, as she puts extraordinary images of the this title) and Liza Kanaeva- flesh on the bones and explains French Riviera and the beautiful Hunsicker seeks to answer all what she looks for in her people drawn to it. equipment and reveals her own photographic process. Pablo Picasso and Françoise Gilot, Golfe-Juan. August, 1948 by Robert Capa All in all, this is an ideal introduction for anyone looking © Robert Capa / International Center of Photography / to explore the medium of Magnum Photos / Agentur Focus film, but nervous about the challenges and their ability to get the best out of their kit – and an excellent primer on the basics of photography.

F E AT U R E All images © Parisa Aminolahi MY MOTHER, MY SELF Parisa Aminolahi turned photos of her mother’s daily life in Tehran into intimate canvases, their every brushstroke an unbreakable bond between herself and home. Donatella Montrone reports. I10 n the year 2006-7, I left my country, I lost my father, I got married and I stopped writing in my B+W diary, writes Iranian photographer and filmmaker Parisa Aminolahi of her project Diary of a Self Portrait, a series of diffused self-portraits, overlaid on to photographs of a spiral notebook containing handwritten annotations in Persian script. The work is emotionally charged, reflecting the turmoil she was feeling at the time it was made. As a mixed-media artist whose oeuvre includes photography, film, animation and painting, much of Aminolahi’s work explores issues around migration, the bonds of familial love, childhood memories and notions of home. Cinematic references inform her aesthetics, and she draws inspiration from, among others, the films of Iranian director Sohrab Shahid Saless made during his time in Germany, and Mirror by Andrei Tarkovsky, a particular favourite. Explorations of Iranian diaspora feature prominently in her work. She creates visual representations of the visceral – longing, displacement, solitude – of existing somewhere in the in-between, when emotional connections to homeland and profound feelings of nostalgia often engulf the promise of new beginnings. She writes on her website: ‘Following the 1979 Islamic Revolution, large groups of young Iranians left the country… The self-imposed exile of Iranians created a new pattern for their families… many parents found the absence of their children difficult to deal with. It hasn’t been easy for the exiled generation either: not shouldering filial obligations, living in different time zones, and trying to provide support for elderly and frail parents means ›worrying every day about unforeseen situations.’

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12 B+W › Aminolahi and her siblings are among a connection to a time in the past that I was mother’s face, her hands, her bedroom yearning for – a reminder of my childhood and belongings brought her closer to her the millions of Iranians who’ve made a and everything familiar that I was missing. mother. ‘They became a living moment, life for themselves overseas. She started My mother was my muse. I was constantly capable of offering a three-dimensional documenting her mother’s life in 2012, taking pictures of her life, of her existence, setting for the world I was trying to create.’ and continued doing so for a number of and this became our routine whenever years, both while on trips home and when we were together.’ During an interview with Sabina Jaskot- her mother visited her in Amsterdam. She Gill, curator of photographs at the National photographed obsessively, stitching together F ive years later, while looking through Portrait Gallery in London, Aminolahi every fragment of her mother’s existence the hundreds of disparate images of discusses the process of overpainting, for what would become Tehran Diary, an her mother’s life, a collection with which for her was cathartic. ‘There was an award-winning series. Some of the images no discernible timeline or direction, interesting contrast in the act of adding reveal sparse settings, mere traces of daily Aminolahi felt there was something layers of paint to these photographs. activity – empty plates, an unmade bed – missing in them. ‘I wanted to enhance the While I was gazing at each image, I could while others capture the vibrancy of family atmosphere, to add something, to get the remember every single detail of the moment life. The most haunting, however, are the images closer to my sensitivity,’ she says. the photo was taken – like my mood at portraits of her mother. And so, the photographs became her canvas. the time, and even the smell of the place. Taking inspiration from Italian neorealist I was enjoying going back in time. But the ‘I initially started taking pictures of my cinema, she started to paint over them, added layers were also becoming a barrier mother during one of my regular trips texturing them with strokes of black and between me and nostalgia, distancing me to Tehran, just to make sure that when I white acrylic paint, steering the narrative she from melancholia and longing. I didn’t was back in my solitude in the Netherlands, was projecting on to the work. Reimagining want to keep feeling homesick, and this at least I’d have something of her with me the photographs enabled her to re-orient distancing was a peaceful achievement.’ – her portraits, photos of her belongings,’ them with every brushstroke. Tracing her explains Aminolahi. ‘In the photographs, Aesthetically, Tehran Diary has a haunting she represents more than just herself, she is ›quality, and its vibe is desolate and brooding.

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18 B+W › It’s as much a work about the artist herself The story of Tehran Diary came to a photography is sacred. ‘I feel a certain respect as it is about her mother. ‘Migration to the natural culmination in 2021, as a dummy for black & white photography. It takes Netherlands had a huge impact on me during photobook that was subsequently shortlisted the reality to a different level. It immerses those first few years. The death of my father, for the MACK First Book Award 2021. In me into a new world, parallel to the real me and my siblings leaving Iran, my mother the winter, on the very morning Aminolahi world but more surreal, yet sometimes alone in Tehran – the relative synchroneity was due to discuss its publication with a more real. Black & white photography is of these events left me feeling conflicted. publisher, she received a phone call from something deep and personal to me.’ In the absence of my roots, my family, my Tehran informing her that her mother had homeland, my mother, my mother tongue, been in an accident. ‘I don’t know how I Parisa Aminolahi has recently been and everything that defined me, and because managed to jump on a plane, landing in awarded Passepartout Photo Prize’s of my own feelings of isolation in a new Tehran 10 hours after that phone call. My Exhibition Prize and a selection of works from country, I felt the urge to recreate the past. I mother didn’t survive – she passed away a few Tehran Diary will be shown at 28 Piazza di wanted to hold on to it for as long as possible.’ weeks later, leaving me in immense agony.’  Pietra Fine Art Gallery in Rome in September. Suspended between cultures, Aminolahi Among her numerous international awards, struggled to find a sense of self in this Nearly two decades on from her first she is a recipient of the Firecracker in-between space. ‘I didn’t realise during arrival in the Netherlands, Aminolahi Photographic Grant, the Netherlands Film those early years that the fact that I could has grown as both a woman and a visual Fund and GUP New Dutch Photography Talent freely float between these two worlds gave artist, applying her background in theatre of the Year. Tehran Diary was also shortlisted me freedom.’ But this freedom has enabled stage design, animation and documentary for the BUP Book Award 2020 and PhMuseum her to create a narrative that transcends filmmaking to create a diverse oeuvre of 2019 Women Photographers Grant. boundaries and cultures, a narrative that mixed-media work that has been exhibited isn’t restricted by labels or geography, internationally, to much acclaim. While she To see more of Aminolahi’s work, and which resonates with humanity. has experimented with colour photography see parisaaminolahi.blogspot.com in recent years, to her, black & white



NEWS ON SHOW Following a year of mentorship, three photographers have joined forces with Paul Sanders to create an exhibition that encourages us to forge deeper connections with our immediate surroundings, as Tracy Calder discovers. © Susi Petherick © Susi Petherick 20 P aul Sanders is well known without the pressure of having to journey, a combination of technical example, has decided to create a B+W for his mindful approach show it or share it,’ he says. Paul’s skill and unique expression of a ‘love letter’ to friends that she has to photography and is a refreshing attitude and his belief moment experienced. For me, known for 45 years, celebrating firm believer that we can in the power of remaining present it is important to allow each her affection for them and their reach a greater understanding of make him a popular workshop photographer to openly express croft in north-west Scotland. ourselves, our thoughts and our leader, speaker and mentor. their individual awareness of ‘All of the small elements of feelings via image-making. He Three photographers who have beauty, in everything from the their life, captured in black & also believes that when we take recently benefitted from Paul’s mundane to the most exquisite white, express my feelings about the time to notice what’s around considered approach are Kate landscape. Learning that beauty our long, rich friendship and this us, we have the opportunity Somervell, Patrick Kaye and Susi has no rules, boundaries or formula place I call my second home,’ to reconnect with a world that Petherick, having embarked on a is one of the most important she explains. The pictures give we normally rush through. one-year mentorship with him. lessons a photographer can learn.’ a fantastic sense of place – feed ‘In essence, and put simply, The results have been turned into Looking at the work on display, sacks hang from hooks in a barn mindful photography is you, in a group exhibition at Joe Cornish it’s clear that Paul’s guidance while a weather barometer, a location, taking pictures of Galleries in Northallerton. has been taken to heart – the battered and bruised, points to anything that resonates with Discussing his approach photographic projects are rich rain. They are intimate studies you, for yourself, without fear to mentorship, Paul writes, in content, wonderfully diverse that provide a true flavour of life of judgement or criticism, and ‘Photography is a very personal and hugely personal. Susi, for in an extreme corner of the UK. © Kate Somervell © Kate Somervell

By contrast, Patrick embarked © Patrick Kaye trees seem to dance on water. © Patrick Kaye 21 on a project closer to home, ‘Far from seeking images, an exploring the allotments he that form most of his portfolio. depth and a stronger emotional B+W passed on his daily walks during With Paul’s encouragement, open mind, increased awareness connection to my work in respect the pandemic. ‘Each patch Patrick has clearly found a way of and slower approach has allowed of my chosen landscape.’ invited speculation about the expressing his deep connection me to discover images,’ she owners and what the land meant with his immediate surroundings. explains. ‘This has been a truly Finally, we come to Paul’s to them. In one small area of inspirational year. Paul has work – flower studies that he suburbia, a relationship of chaos Looking at Kate’s work, there’s encouraged me to slow down, admits ‘come from a much deeper and order existed between Man a sense of receptiveness – as be present and more deeply place than anything I have made and Nature,’ he suggests. though she has been sitting in connected to the landscape, as well before’. There is a gentleness to the landscape waiting to receive as to experiment with different the work, but also a clear strength Patrick has been creating images a picture. A patch of light reveals genres and techniques. This new and confidence. Coiled teasel for more than 60 years and enjoys the detail of some ferns, for approach has resulted in more stalks almost touch in a yin and being playful and experimental example, while shapes created yang arrangement. Set against a in his work. Even so, these black by light breaking through the white background, they have an & white studies are still a far cry air of Karl Blossfeldt about them. from the colourful landscapes, SEE THE PICTURES Similarly, the picture of a fritillary wildlife and architecture studies seems to communicate the fine A Sense of Place is on show at Joe Cornish Galleries in Northallerton, balance between strength and North Yorkshire, from 3 September to 26 November. fragility that we find in nature. joecornishgallery.co.uk. © Paul Sanders © Paul Sanders

NEWS IN THE FRAME If you would like an exhibition included in our listing, please email Mark Bentley at [email protected] at least 10 weeks in advance. Edited by Tracy Calder. LONDON WIENER HOLOCAUST LIBRARY To 9 September Fighting Antisemitism APERTURE GALLERY from Dreyfus to Today To 27 August History of the fight against Adrian Ensor: antisemitism over the last century Master Printer’s Eye in France, Britain and Germany. One of Britain’s finest black & 29 Russell Square WC1B white printers, Ensor has been wienerholocaustlibrary.org working in the darkroom for more than 50 years. MIDLANDS 17 A&B Riding House Street W1W apertureuk.com HERBERT ART GALLERY FOUR CORNERS & MUSEUM To 10 September To 12 February 2023 Brick Lane 1978: Grown Up in Britain – The Turning Point 100 Years of Teenage Kicks Celebrating East London’s Bengali A century of teenage life told activists of 1978 via the images ATLAS GALLERY Kate Moss photographed in London on the 6 May, 1988 through photographs, of Paul Trevor. To 20 August objects and stories. 121 Roman Road E2 © Tony McGee Jordan Well, Coventry fourcornersfilm.co.uk Style: Photography of Life and Fashion theherbert.org Portraits featuring the likes of Twiggy, Brigitte Bardot and Kate Moss LEICA GALLERY LONDON taken by classic and contemporary masters including Terry O’Neill, MK GALLERY To 28 August Barry Lategan and Horst P Horst. To 25 September 49 Dorset Street W1U atlasgallery.com Vivian Maier: Anthology 22 Bruce Gilden: B+W Wall Portraits (Colombia) Maier’s images capture the highs Body of work reflecting Gilden’s and lows of everyday life. interest in vibrant out-of-the- initiative developed for Soho TATE MODERN 900 Midsummer Blvd, Milton Keynes, mainstream characters. Photography Quarter. To 29 August Buckinghamshire mkgallery.org 64-66 Duke Street W1K 16-18 Ramillies Street W1F Surrealism Beyond Borders store.leica-camera.com thephotographersgallery.org.uk Ground-breaking exhibition NORTH illustrating how surrealism MAGNUM GALLERY ROYAL GEOGRAPHICAL SOCIETY inspired and united artists To 30 September To 26 August around the globe. BRADFORD INDUSTRIAL Magical Realism Earth Photo 2022 Bankside SE1 tate.org.uk MUSEUM Joint exhibition featuring the work A selection of shortlisted To 2 October of Yael Martínez alongside Cristina entries from this international VICTORIA & ALBERT MUSEUM Angel Pavement: de Middel and Bruno Morais. photography competition. To 6 November Exhibition of Photographs 63 Gee Street EC1V 1 Kensington Gore SW7 rgs.org Maurice Broomfield: by Cath Muldowney magnumphotos.com Industrial Sublime Part of an ongoing project SOUTHBANK CENTRE Dramatic images of mid-century celebrating life up north. THE PHOTOGRAPHERS’ To 18 September British factories and their workers Moorside Mills, Moorside Road, GALLERY Summer: In the Black Fantastic in an era of rapid transition. Eccleshill, Bradford To 25 September Exhibition of contemporary artists To 6 November bradfordmuseums.org How to Win at Photography from the African diaspora who Known and Strange: Multimedia exhibition exploring the draw on science fiction, myth Photographs from the Collection INSPIRED BY… GALLERY relationships between photography, and Afrofuturism to question Highlighting photography’s power To 12 September image-making and play. Featuring our knowledge of the world. to transform the familiar into A Woodland Sanctuary more than 30 international artists. Hayward Gallery, Belvedere Road SE1 the unfamiliar. Simon Baxter and Joe Cornish To 25 September southbankcentre.co.uk Cromwell Road SW7 vam.ac.uk celebrate the woodlands of the The Partisan Coffee House: North York Moors National Park. Radical Soho and the New Left TATE BRITAIN WHITECHAPEL GALLERY Danby Lodge National Park Centre, Celebrating the life and legacy To 16 October To 4 September Danby northyorkmoors.org.uk of one of Soho’s radical venues Cornelia Parker The London Open 2022 of the 1960s and 70s First major survey of Parker’s work Group show featuring works made JOE CORNISH GALLERIES To 30 November in London, featuring more than since 2018 in all media including To 26 November Christian Thompson AO: 90 artworks including installations, painting, sculpture, print, film, A Sense of Place Being Human Human Being sculptures, film, photography sound and photography. Black & white photography by Site-specific installation at Open and drawings. 77-82 Whitechapel High Street E1 Paul Sanders, Kate Somervell, Space, an augmented reality Millbank SW1P tate.org.uk whitechapelgallery.org Patrick Kaye and Susi Petherick.

Register House, Zetland Street, Magazine and music press covers Northallerton showing The Jam throughout their career. joecornishgallery.co.uk Royal Pavilion Gardens, Brighton, East Sussex brightonmuseums.org.uk SCIENCE AND INDUSTRY MUSEUM FOX TALBOT MUSEUM To 14 August To 23 April 2023 Amazônia Plastic Soup Images celebrating the indigenous Mandy Barker works with scientists people and breathtaking to raise awareness of marine landscapes of the Brazilian plastic pollution. rainforest by Sebastião Salgado. Lacock, near Chippenham, Wiltshire Liverpool Road, Manchester nationaltrust.org.uk scienceandindustrymuseum.org.uk EAST LACOCK ABBEY Black and White Poppy Triptych, 2022 To 31 August NATIONAL HORSERACING Janus Rising HAMILTONS GALLERY © Richard Learoyd, Courtesy Hamiltons Gallery MUSEUM An exploration of time passing To 4 December by Sal Taylor Kydd. To 10 September Time and Motion: Capturing Lacock, near Chippenham, Wiltshire the Lifeblood of a Racing Yard Richard Learoyd & Irving Penn: Flowers Jayne Odell’s images convey nationaltrust.org.uk the unique rhythm of a town Flower studies that show an innate understanding devoted to horseracing. TURNER CONTEMPORARY Palace Street, Newmarket, Suffolk To 25 September of colour, form, tone and pattern. Ingrid Pollard: nhrm.co.u Carbon Slowly Turning 13 Carlos Gallery, London W1K hamiltonsgallery.com Mid-career survey, featuring film, SOUTH photography, sculpture Solo exhibition by Welsh artist photographer. 23 and installation. John Paul Evans exploring the 13 High Street, Newport on Tay BRIGHTON MUSEUM Rendezvous, Margate, Kent autoethnographic process of B+W To 2 October weaving one’s personal history no13gallery.co.uk The Jam: Cover Stars turnercontemporary.org into a visual dialogue. The Old Sunday School, Fanny Street, SCOTTISH NATIONAL Coronation procession returns after WEST Cathays, Cardiff ffotogallery.org PORTRAIT GALLERY Queen’s crowning, 2 June 1953 To 25 September MARTIN PARR FOUNDATION NATIONAL MUSEUM Counted: © Daily Herald Archive, National To 25 September CARDIFF Scotland’s Census 2022 Science and Media Museum, SSPL Made Out of Orchards To 29 August Inspired by questions asked in the by Tessa Bunney David Hurn: Swaps census, this exhibition considers NATIONAL SCIENCE Work exploring the cider industry, Highlights from the David Hurn the complex notion of identity. AND MEDIA MUSEUM from wassailing events to the collection, focusing on exchanges 1 Queen Street, Edinburgh 12 September to 16 October pruning process. with his Magnum colleagues. Herald the Queen 316 Paintworks, Arnos Vale, Bristol To 29 August nationalgalleries.org Behind-the-scenes images Wildlife Photographer from the Daily Herald Archive martinparrfoundation.org of the Year SCOTTISH PARLIAMENT showing preparations to televise Images that ignite curiosity by To 27 August Queen Elizabeth II’s coronation. RPS GALLERY showcasing Earth’s diversity and World Press Photo Bradford To 21 August the fragility of the natural world. Exhibition 2022 International Photography Cathays Park, Cardiff museum.wales Stories that matter from the 65th scienceandmediamuseum.org.uk Exhibition 163 annual World Press Photo Contest. Images from IPE 163, with themes SCOTLAND Holyrood, Edinburgh ranging from cultural heritage and gender politics to mental health LIME TREE AN EALDHAIN worldpressphoto.org and the natural world. GALLERY To 18 September From 1 to 27 August SCOTTISH SEABIRD CENTRE This is Not a Moment Society of Scottish To 20 August by Khali Ackford Landscape Photographers Our Plastic Ocean The journey of the Black Lives Post-pandemic showcase of Mandy Barker collects debris Matter Movement, focusing on the group’s best fine art from shorelines and transforms the events in Bristol following the photography. them into powerful and murder of George Floyd in 2020. Achintore Road, Fort William captivating images. RPS House, 337-340 Paintworks, Bristol North Berwick, East Lothian soslp.com rps.org seabird.org NO 13 GALLERY WALES To 30 September STILLS: CENTRE FOR A Life in Focus PHOTOGRAPHY FFOTOGALLERY Retrospective exhibition of prints To 8 October To 3 September by the late Malcolm J Thomson, Ishiuchi Miyako What is lost… what has been a Dundee-based professional Selection of work from influential post-war Japanese photographer Miyako. 23 Cockburn Street, Edinburgh stills.org

COMMENT AMERICAN CONNECTION susanburnstine.com In telling the story of Hank, a 73-year-old sheepherder from central Nevada, Randi Lynn Beach is not only highlighting the plight of a tradition that began in the 19th century, All images she’s also documenting the issues facing modern farming. Susan Burnstine reports. © Randi Lynn Beach 24 Hank, I was transfixed by was no escaping photography Volvo,’ she says. ‘I figured her images and his story. in such a cramped setting, so Albuquerque would be a more B+W photography hung in the air like humane place to live than the Growing up, Beach’s father second-hand smoke,’ she says. untenable apartments I had A fter participating was a professional wedding found in New York City.’ in competitive photographer and she recalls After taking a beginner’s sheepherding following in his footsteps by photography class at NYU, Early on in her career, for many years taking pictures at a young age. Beach earned a bachelor’s degree Beach landed a job working with my beloved Australian Event photography did not in pre-med and psychology, but for the Beaver County Times kelpie, Raven, I have an inspire, but she loved perusing decided to pursue photography in Pennsylvania and the immense amount of respect through countless collected as a career. ‘Without money, Herald Journal in Logan, Utah. for anyone who masters the books of the greats in their small friends or a place to live, Afterwards, she moved to the art of sheep husbandry. So, one-bedroom apartment in I packed a suitcase and hit Bay Area to be with her fiancé when I happened upon Randi East Flatbush, New York. ‘There Route 66 with my old rusty and started working freelance Lynn Beach’s photographs for the Associated Press bureau of a remarkable American in San Francisco, where her Basque sheepherder named most notable breakthrough happened. She gained considerable exposure and began working consistently for a group of editors who continued to assign her freelance gigs for many years. Beach specifically credits the LA Times with assigning her to some inspiring stories and ideas that would later be part of her first book, Westlands: A Water Story. F or years Beach yearned to photograph an American Basque sheepherder. Having family in Basque Country, she attempted to photograph farmers in Spain, but never had sufficient time during her visits to complete the project. But when a colleague from the LA Times invited her to photograph Hank, the

photographs were published in EXHIBITIONS John Glionna’s book, Outback Nevada: Real Stories from the USA Silver State, and she continued to work with him afterwards. ANDOVER 25 Hank has been herding Addison Gallery B+W sheep for nearly 40 years in of American Art central Nevada. At 73, he is a is a subject she also focused on Currently, Beach is working 1 September to 31 December pancreatic cancer survivor who in her previous monograph, on a Portuguese cookbook Rosamond Purcell: Nature Stands Aside Beach describes as ‘an aging Westlands: A Water Story. That in addition to regular ambassador to a complicated book documents California’s editorial assignments. addison.andover.edu 140-year-old tradition that Central Valley and examines the began in his state in the 1880s’. dangers that drought and water @sonoma_sonora_trail ARIZONA policies represent to farming. randilynnbeach.com Hank is the grandson of an Art Intersection Oregon ranching heir and at the 10 September to 22 October young age of 15 he purchased Midnight La Frontera: the family ranch from his Images by Ken Light grandfather. Afterwards, he put himself through school artintersection.com to learn how to ranch and in 1971 graduated from the ASHEVILLE University of Nevada, Reno, with a degree in agriculture. Asheville Art Museum Until 10 October During the mid-1980s Hank Draped and Veiled: 20x24 Polaroid began taking over grazing Photographs by Joyce Tenneson permits from people who were looking for a way out of the ashevilleart.org sheep business. ‘It’s like buying a straw hat in the middle of DENVER winter – when other people get out, I get in,’ he explains. Denver Art Museum ‘Maybe it’s my contrary nature. Until 6 November A lot of people in my family Georgia O’Keeffe, Photographer had a competition to see who could stay the drunkest. I denverartmuseum.org went down another path.’ FORT WORTH The industry has experienced a sharp drop in numbers, from Amon Carter Museum approximately one million of American Art sheep to fewer than 75,000 30 October to 22 January 2023 today. There are a number of Speaking with Light: key reasons for this decrease. Contemporary Indigenous Photography In addition to coyotes afflicting Hank’s flocks, he fights against cartermuseum.org threats to the business from government officials and wildlife NEW YORK CITY activists. Furthermore, there are widespread issues among Morgan Library & Museum healthy domestic sheep who Until 2 October carry strains of respiratory-tract Please Send to Real Life: bacteria that can cause fatal Ray Johnson Photographs pneumonia in wild bighorn sheep, whose numbers are themorgan.org also in decline. Lastly, big-city water officials plan to drain TAMPA Nevada’s rural aquifers to build more housing tracts around Florida Museum of Las Vegas, creating additional Photographic Arts difficulties in raising sheep. Until 25 September Suzanne Camp Crosby: The Art of Life Beach began to document Hank’s story right before the fmopa.org pandemic. The series remains ongoing and has evolved into a WASHINGTON DC larger project focusing on water issues and climate change, which National Gallery of Art Until 2 October American Silence: The Photographs of Robert Adams nga.gov

FEATURE SEARCHING FOR VENICE All images Giacomo Brunelli’s neo-noir photography recasts a tourist’s paradise © Giacomo Brunelli as an altogether stranger and lonelier place. He talks to Jon Stapley about shooting the streets of Venice. 26 B+W F or photographers and in and around the continuing Covid-19 shoe-leather-abusing street photographer.  lovers of photography, pandemic, are displayed on these pages.  He’s self-publishing the book of his some cities will always be associated with the ‘I pick cities because they fascinate Venetian images, and the photographs people who have captured me,’ Brunelli says, and Venice has long bear all his hallmarks. Noirish and full them. Tokyo always been a fascination for him. Born in of mystery, they take one of the planet’s makes me think of the Perugia, a small, walled city that sits most tourist-crowded cities and recast it grungy dreamscapes of almost in the precise centre of the Italian as an altogether stranger place. Venetian Daidō Moriyama, while countryside, Brunelli remembers being iconography such as the famous gondolas the streets of Chicago captivated by Venice from a young age.  tends to fade further into the background, call to mind the relentless, hawk-like and we find ourselves drawn to the gaze of Vivian Maier. And no matter how Brunelli has achieved much over a storied shapes and textures of the city’s classical much the city changes as the years grind career. He won a Sony World Photography architecture, following anonymous on, I like to think that a part of Paris will Award in 2008 for his image of a snarling silhouetted people as they draw us into always belong to Henri Cartier-Bresson.  dog, and has had his work exhibited at the its quiet corners and overlooked spaces.  Some photographers spend their Barbican Centre and the Photographers’ lives in one city; others visit hundreds. Gallery in London, and as far afield as I spoke to Brunelli shortly after he’d Italian photographer Giacomo Brunelli the Kiyosato Museum of Photographic completed his last trip to Venice. With has to date brought his lens to bear on Arts in Japan. His stylish images are final selections made and the book’s three: London, New York and, in his immediately distinctive, and he seems to publication looming, there was nothing latest work, Venice. The results, shot capture with incredible regularity the kind left to do but pour a cup of coffee and of ephemeral, once-in-a-lifetime moments settle in to talk about how he brought that are the province of the dedicated, ›his distinctive gaze to the floating city.

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›B runelli is a devotee of 35mm film, but only while he’s working. ‘When I’m not working on a project, I just don’t shoot at all,’ he says. ‘I never carry my camera. So, between 2018 and 2020, between two of my projects, I probably shot maybe five rolls in total.’ That average would shoot up just a tad in 2020, when Brunelli began the Venice project that would go on to span the following two years. ‘For Venice, I did four trips,’ he recalls. ‘So, January, February, September, and just now I came back literally 20 days ago. I stayed probably fewer days than I did in New York, but it was the same way of working, returning to the same places, the same areas of a city, looking for inspiration.’ Brunelli is, of course, not alone in his admiration for Venice, but as is evident in the images he captured, he found himself drawn to the quieter times, and quieter areas within the city. ‘When I frame, I always keep an eye on the background, and for that, Venice is just amazing. You have Byzantine architecture, and you have the classic Palladian influence – you have all sorts of architecture in one place.’ Brunelli was keen for Venice to take his image-making in a new direction. ‘I wanted to work on different things, to have a different take on my approach. I wanted to 28 depart from my approach on projects such as Eternal London – people seen from the B+W back, quite gloomy, quite dark – to something more experimental. I wanted to play with light, reflections and different things.’ It took a while to feel out this new groove. Brunelli spent the first few trips reacquainting himself with the city, finding his favourite spots to shoot and visiting and revisiting them. All this legwork left little room for experimentation, and two years down the line from when he first embarked on the project, he found himself mulling over the idea of heading back to Venice one more time. ‘When I came back from my third trip, I was pretty sure that the project had been completed. I could have done the book already with the maybe 30 images that I had selected,’ he says. ‘But I decided to do another trip because I wanted a challenge – to be as free as I could, and push more in terms of experimentation.’ It paid off. There are several images from that final, more experimental trip that made it into the book. In one, the balustrades of the Rialto Bridge are thrust into the foreground, while beyond, softly out of focus, is a more typical Venetian scene of gondolas on the water. In another, an anonymous woman’s shadow is cast over a canvas painting. They’re unusual images, requiring a little concentration to parse, and a huge part of what gives the ›collection its strange, captivating magic.

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33 B+W › ‘These seven or eight images from that ‘Noirish and full of mystery, challenge myself, and shooting Venice Brunelli’s images take one is a challenge, because you have in your last trip really helped me define the whole of the planet’s most tourist- mind so many images of the city. And project, and the book,’ says Brunelli. crowded cities and recast it as you want to have your own word on it.’ an altogether stranger place.’ A lthough he may be finished Venice is one of the most photographed exploring the streets of 150, and then the third and final selection cities in the world, a list on which it’s Venice – for now – Brunelli is about 30 images. I worked with the rubbing shoulders with London and New is embarking upon a whole Photographers’ Gallery, and they helped York, Brunelli’s previous projects. It’s new adventure with self-publishing his me a lot in terms of this editing.’ quite an achievement, I think, to have work. He describes how he has relished found such a distinctive spin on such a being able to control the entirety of the Clearly, he has to be quite ruthless with well-documented city not once, not twice, process, including the scanning, the his own work. ‘Yes, it’s very hard,’ Brunelli but three times. ‘The more you go, the printing, even picking the type of paper says. ‘You need to step back and say, “OK, more you are fascinated by the magical on which the book will be produced. let’s look at this work with different eyes”.’ little corners where you can appreciate Referring to the images that don’t make the a city’s authenticity,’ he says. ‘Which However, this means he has had to cut, he says, ‘I’ll always believe the single in Venice is still very, very strong.’ face the unfortunate reality of creating images are great. When I’m carrying the and publishing a photobook, which camera, I’ll look for the perfect shots, but Venice by Giacomo Brunelli is published means that once you’ve shot the images, the narrative of the book and the project is by TantoPress, price £38. you’re not done, not even close. It’s all far more important. You select your story It's available to purchase at very well having reams of negatives and through the images, and the sequencing.’ giacomobrunelli.com. stacks of prints, but someone has to go about the business of cutting them into So, what is the story of the project? a coherent selection – and when you’re ‘The story, of course, is the story of love self-publishing, that someone is you. for the city, and being fascinated by Venice. Given that, I would say I wanted ‘I shot 69 rolls for New York,’ says it to be a little bit romantic, a celebration Brunelli. ‘For this one, I shot 34. In the of its beauty. I’d always wanted to darkroom, I’ve probably printed smaller 5x7 versions of maybe 500 images. From those 500, I’ve selected down to about

FEATURE 60-SECOND EXPOSURE All images Believing in his own vision and loving what he does has led Tif Hunter to produce © Tif Hunter beautiful, award-winning work. Here he tells Tracy Calder about his passion for analogue, love of collaborations and a job with a jumbo jet that almost went horribly wrong. What role does photography begin to see things you had I’ve enjoyed working with stylists, What has been your most play in your life? never paid any attention to. sculptors, painters, dancers and embarrassing moment as Photography is my way of And as you photograph, one of model makers to name but a few. a photographer? expressing the way I see and feel. the benefits is that the world I’ve been an admirer of the work I was working on a commission becomes a much richer, juicier, of artist and set designer Nicola for a big airline company many Describe your style visual place. Sometimes it is Yeoman for some time now and years ago – it involved a jumbo in three words. almost unbearable – it is too I’d love to collaborate on a set of jet and a cast of 50+ models. Depicting perfect imperfection. interesting. And it isn’t always images with her. My camera position was on top just the photos you take that of a hangar at Gatwick airport on What is your favourite matters. It is looking at the Name one item (aside from a very cold December day. We photographic book? world and seeing things that you a camera) that every shot 50 or 60 sheets of 10x8 film There are too many to mention, never photograph that could be photographer should own. and when I processed it, only two but if I had to choose just one it photographs if you had the energy Maybe a tripod. sheets had been exposed. The would be Passage by Irving Penn. to keep taking pictures every shutter had apparently seized second of your life’ – Saul Leiter What is your worst due to the freezing temperature. I Tell us about a photographic photographic habit? presented just one sheet of film to opportunity you have missed. What’s the biggest risk you have Not shooting all the ideas the agency, who were absolutely We’ve all experienced a taken as a photographer? I have in my head. delighted and thankfully never significant moment and wished Perhaps my love affair with all asked for alternatives! we had the camera with us things analogue when most of the Tell us one thing most people but didn’t. I’ve learnt that it’s photography profession is digital. don’t know about you. Who would join you in your ultimate OK to just enjoy it rather than I don’t have any formal camera club (dead or alive)? feel the need to record it. Who would you most like photographic or art qualifications. What an exciting idea: to collaborate with? Edward Weston, Sally Mann, 34 Tell us your favourite Collaborations are always joyful. What would you say to Irving Penn, Saul Leiter, Sarah They produce more than the sum your younger self? Moon, Dayanita Singh, Bernd and photographic quote. of their parts. Even making a Believe in your vision – Hilla Becher, William Eggleston B+W ‘Photography allows you to learn to look and see. You portrait is a collaboration. don’t follow trends. and many more. Bruno Charlie

Ostrich egg Celeriac Which exhibition could you 35 have spent a month in? The Irving Penn show at the B+W Grand Palais, Paris, in 2017 – to stand by one of his canvas backdrops was such a pleasure. What single thing would improve your photography? More hours in the day. Which Instagram/social media accounts inspire you? Sally Mann (@sallymannofficial), Nicola Yeoman (@nicolayeoman), Robin Bell (@robinbell27) and Joni Sternbach (@jstersurf). Which characteristics do you think you need to become a photographer? Patience and rigour. You need patience to understand the right moment to make an exposure. You need rigour to have considered as many variables as possible to make a good exposure. The worst thing about being Vessels 1 a professional photographer is… I can’t really think of any On the back of a successful 25-year career working on advertising and editorial briefs – winning awards downsides – I get up every for commercial work for the likes of BMW, Nike, Boddingtons, Sony and British Airways – Tif Hunter took day with the opportunity to do a sabbatical in 2010 to learn wet-plate collodion techniques with photographer Joni Sternbach in New York. something that I love. So began a love affair with alternative analogue photography. tifhunter.com @tifhunter

FEATURE SYMPATICO All images Whether it was through reading the work of García Lorca or walking the streets © Adrian Ensor of Fuente Vaqueros, Adrian Ensor came to make a body of work that speaks of authenticity and a quiet melancholy. Elizabeth McClair Roberts reports. O ne of the most important has long understood this and has frequently Lorca grew up. It was late September and things I have learnt over travelled and photographed having had his I was astounded by the light there – it was the years is that history imagination sparked by reading or hearing absolutely beautiful,’ he tells me. ‘I knew plays a vital role in what about a person or place. When he came I had to come back and photograph.’ we do and how we think across Ian Gibson’s biography of the Spanish about the world. When we poet Federico García Lorca, he knew he In fact, it wasn’t García Lorca’s writing read about the past, we can discover all kind had to discover more about the man and that initially inspired Adrian, it was his life. of things and people that interest or inspire the landscape that inspired him. ‘I went He knew about Lorca’s left-wing politics us. Photographer and printer Adrian Ensor to Fuente Vaqueros near Granada, where and murder by Franco’s soldiers, but it was ›when he began reading Lorca’s poetry that 36 B+W

37 B+W ‘It was late September and I was astounded by the light there – it was absolutely beautiful.’

38 B+W ‘It’s just how I see things. There must be a melancholic side of me – I don’t see it in myself, but I see it in my work.’

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› he realised what a happy childhood Lorca must have had in the beautiful, verdant landscape of southern Spain. ‘Lorca talked about how everything went from gold to green – and that wonderful line where he says, “Isn’t that so, poplar, master of the breeze”. I saw that for myself; this valley is so irrigated by the moors and it’s so fertile. When I read these lines, I realised that I was sympatico with him.’ It’s interesting to observe that just as Lorca attempted to write about Andalucian culture without falling back on the clichéd or the picturesque, this is exactly what Adrian has done with his imagery. His depictions are intimate, mysterious and melancholy. T his summer, Adrian is exhibiting the work at the Centro de Estudios Lorquianos in Fuente Vaqueros from June to the end of December. I spoke with him via Zoom on the day the exhibition opened. On the screen, I see him sitting outside in the sun at a table with a glass of red wine. I hear the murmur of people chatting in the background – the opening of the show has clearly gone down well. ‘We’ve had the mayor here and several government dignitaries, and a lot of 40 local people too,’ he says. ‘The exhibition might go on tour because they are keen B+W to promote the area.’ He seems relaxed and delighted with the result of what must have been a lot of work, and he is also openly emotional about what all this has meant to him. ‘I’ve had the happiest time of my life wandering around this beautiful place taking photographs.’ It is moving to see how much this project has affected a man who has been in the business of printing and photographing for over 50 years, with a highly successful darkroom in central London. During his career, his reputation as a printer has become renowned and he has won many awards for his work. As a gifted photographer, he has shown at the Photographers’ Gallery in London, and his photographs of London are part of the Eric Frank collection, which was recently gifted to Tate Britain. Adrian is known for printing his own work, characterised by darkness and deep shadows that create a cinematic feel to the images. In the Andalucian work, this enhances the sense of intimacy and mystery that are inherent in the images. ‘I always track the light and maybe I interpret it in a melancholy way,’ he says. ‘It’s just how I see things. There must be a melancholic side of me – I don’t see it in myself, but I see it in my work. Lorca was quite melancholic in his work too.’

41 B+W ‘There comes a point in your life when you harvest all your work.’ T he exhibition now being shown brought all the prints down here in March or something to enhance his reputation would not have existed were it not to have them framed, but I wasn’t totally – it goes much deeper than that. ‘I hope for Adrian deciding to make a book happy with about five of them, so I printed the townspeople will love the work,’ he of the work just for himself. ‘There them again and I’m happy now. I’m a printer says. His connection with the place and the comes a point in your life when you harvest and I always know what I want from a community is palpable – and Federico García all your work, and when I made that book, negative – I’m my best client in the world for Lorca is always there in the background. I realised I had an exhibition – the images me. The printing side is really important.’ came together off the pages,’ he says. Adrian Ensor's pictures are on show at But as I see him on the screen, sitting in Museo Casa Natal Federico García Lorca in Adrian doesn’t describe himself as a the Spanish sunlight, I feel there are perhaps Fuente Vaqueros, Spain, until late December. perfectionist, but there are aspects of this other things that are even more important to in the way he approaches his work. ‘We him. This hasn’t been a commercial project

FEATURE 35 YEARS ON All images Serious ‘though never professional’ photographer Nic Salmon presents a series of © Nic Salmon then and now portraits of the same individuals, each separated by over three decades. Despite the differences in fashions and hairstyles, many attitudes and interests remain intact. In 1984, Scunthorpe native Nic Salmon negatives were unearthed in a garage biographies of those involved – ‘Such borrowed a medium-format camera and belonging to Nic’s brother during a clear interesting stories,’ says Nic. A more lavish started shooting portraits that reflected out, rekindling an interest that led to Nic exhibition, titled 35 Years On, at Scunthorpe’s local youth culture. Black eyeliner, attempting to track down the people he’d 20-21 Visual Arts Centre followed, which fishnet gloves and punk t-shirts were photographed via social media. By early included the 38 ‘proper’ portraits, a collection all the rage. The next year, around half 2019, he’d made contact with 19 of them, of original 1985 prints of those he’d been of the 80 shots were showcased in an and met up with them during a short holiday unable to track down, and ‘a little dedication exhibition at Scunthorpe Museum. Soon to the UK later that year. As news of his to a couple of guys who died far too young’. after, Nic waved goodbye to Scunthorpe then and now project spread, more people and ‘moved around a lot’, eventually settling got in touch, but Covid put paid to any ‘When I undertook my street portrait down in Thailand. His negatives were boxed plans of returning in 2020. project in 1984, I never thought I would up, stored and forgotten. be tramping the streets of Scunthorpe, Fast-forward 25 years and these same The resulting portraits were first shared on Lincolnshire, 35 years later, revisiting Nic’s blog, Notes in Passing, alongside short those I photographed…’ To see more of Nic Salmon’s work, visit notesinpassing.home.blog. FINCH 42 B+W Finch was a popular guy and still is. He struck me as good so much so that we went there and made some photographs. humoured, with a realistic outlook on life. He gets on with stuff. Finch is a practical guy – a trait inherited, he says, from his father Back in the day, Finch was a very active and innovative member of the local music scene; he still makes music and ascribes most of his – and currently spends some of his spare time making improvements meaningful friendships to it. His fond recollection of a popular local to his home; he tackles painting and decorating, plumbing and venue, the Crosby – now closed down – was particularly poignant, carpentry with a high level of skill. He explained to me that all is done ‘out of necessity, really’. HAYLEY At some stage of her life, Hayley felt she needed a break and After meeting a guy and marrying him, she moved north and spent decided on a six-week trip to visit her uncle in Cape Cod, the following 10 years in Rhode Island. Massachusetts. This sojourn was to lead to a vastly extended stay in the States. After meeting up with a travelling companion, Hayley Hayley is now back in her home town. She works as a community took off for the city and lived in both New York and New Jersey. mental health nurse and for the NHS in the Memory Assessment and Therapy Service.

MARTIN ‘In 1984, I was in a local Scunthorpe band and working at an years later, I’m back living in a quiet Lincolnshire village and married agricultural supplies establishment. In my spare time, I worked with two children. at the Baths Hall (and other venues) for a local PA company as a sound engineer,’ recalls Martin. ‘Chance meetings while working at ‘I’m thankful for an amazing career that has taken me all over the Scunthorpe’s Free Rock Festival gave me the opportunity to begin world, working for multi-million-selling artists. I’ve visited places working nationally and internationally as a sound engineer and tour/ that in 1984 I would never have dreamed of and experienced life production manager. So, I made a career move and began living in in a way I never thought possible. My work has introduced me to Leicester and joined a team of like-minded people there. Thirty-five musicians and comedians, TV and film celebrities, and hundreds of other roadies, a lot of whom remain close friends.’ ANITA 43 B+W Since 1984, Anita has worked in a London hotel and in a had turned to this work because she had wanted a car. Scunthorpe sewing factory, where she had a hand in providing Very mobile now, she works as a hairdresser covering the Marks & Spencer with a finished article. She explained that she Scunthorpe area. JONATHAN Jonathan has been married for 27 years – his wife works at London’s Luckily, Jonathan provided some details by email: ‘My life is Royal Free Hospital – and has a daughter who is studying film and divided between London and Burton (a village near Scunthorpe). media at university. I knew him quite well in the 80s – we played Bought a flat in Hampstead some years ago, so I spend my free time in a band together – and it was great to catch up after 30-odd years. propping up bars in and around Camden and going to gigs. But it’s I remembered him as being a highly animated, enthusiastic and great to catch up with family and friends in Scunthorpe too. unconventional young man. Nothing much has changed and our conversations ran at such a pace that it was difficult to make notes. ‘I have worked as a machinist/tool maker – it’s paid for the house, but never really fulfilled the arty side of my personality.’

JILL Jill is still as enthusiastic about life – always delivered with good Curiously, Jill explained to me that she had once made the humour and accompanied by an infectious smile – as I remember headlines of a local newspaper when she ‘stole the Queen’s dog’. she was back in 1984. Her consuming interest nowadays is centred The sensational nature of that headline was a little misleading, on steampunk, a style of design and fashion that combines historical although the dog she ‘liberated’ from conditions she felt were less elements with anachronistic technological features inspired by than satisfactory was indeed from the same stock as the science fiction. royal hounds. SIMON 44 B+W I didn’t know that so many books had been written on bridge – a impressed) called Punk Precision. Fair play to him. He has played popular card game of which I know little about, save that the bridge at county level for both Wiltshire and Lincolnshire and likes four players involved are assigned the major compass points – to be assigned north or east. but Simon has a lot of them. Hundreds, it seemed, glancing at a loaded bookcase. Simon lives in a part of Scunthorpe much developed since the 80s – indeed, I could hardly recognise it – and enjoys family life. He has, in collaboration with another bridge expert, designed He is a draughtsman, a career he embarked upon 40 years ago another language of bidding (I was quite lost at this point, but and which he still pursues. SUE Since 1984, Sue has led a well-travelled life – she spent around a health farm in Brighton and lifeguarding in Bognor Regis seven years in Amsterdam before busking her way through France, among them – and currently works in the care industry. Portugal and Spain – where she tried her hand at fire juggling – living and working as she went. Since her return to the UK, Sue has Sue studied metalwork and jewellery in Sheffield and is a keen held a variety of interesting and diverse jobs – manageress of silversmith – she wore some excellent examples of her work for the recent photograph.

BRUCE Bruce has always worked in the construction industry. He moved ‘some guys with whom I’m still good friends with and still play with’. to south London in 1987, after Big Red Gun, a band he played bass Bruce moved back to Scunthorpe in 2006, and bought a couple of for, split up. He auditioned with a couple of bands that didn’t really go anywhere, bought a house in Caterham in 1990, and didn’t really properties that he rents out. He is still involved in the local music play for a couple of years. scene and plays bass with Pointblank. He tells me that he also does ‘a fair bit of “depping”, still get the occasional call from the guys down In 1994, Bruce started playing in a covers band and got to know south to cover a gig, always a good catch up’. TINA 45 B+W I found the conversations I had with the people I photographed career as first mate. She returned to her home town of Scunthorpe, absolutely fascinating – they all had interesting stories to tell – and where she gained employment as a heavy forklift driver and Tina’s life story since 1984 was one of them. subsequently a gantry crane driver for a firm of steel fabricators. After 10 years as a childminder, Tina recently began casual work in a school Tina joined the Danish Merchant Navy as a cook and, over a span kitchen, working around her commitments to her two sons and dogs. of 16 years, worked her way up the ladder and finished her maritime GARRY I always felt, remembering him in 1984 as the front man of a Garry’s first taste of employment was as a welder for British popular local band, Harry the Spider’s Coming Out Party, that Steel at Scunthorpe. He then studied mechanical engineering at Garry was something of an entrepreneur. Speaking to him university and embarked upon a career in that field. He is currently in a Scunthorpe pub recently – he had made the trip down to the commercial director of an instrumentation company. Lincolnshire from his home in North Yorkshire – I believe he still has that air about him. Certainly, he has not lost that gift of the gab We never got around to talking about music, so I guess his days he had back in the old days. as an excellent frontman were his finest hours. Married with three sons, Garry maintains a lifelong love of football.

PAUL Paul – who enjoys family life – says he has spent the majority of Paul enjoys restoring classic motorbikes from the 70s and 80s. the past 35 years ‘mostly bothering my wife’ who he met in south He works voluntarily for the Forge Project – a charity offering London in 1987, and with whom he has three children. Paul began support for homeless and vulnerable people – in Scunthorpe, is a a career in the electrical industry as an apprentice at the steelworks qualified football referee and took part in the Great North Run – in Scunthorpe and is now sales director for a long-established the largest half marathon in the world, which runs from Newcastle electrical firm. to South Shields and which attracts over 50,000 participants – over 10 successive years. He admits that now his knees are worn out, Paul is a percussionist who has ‘never not had a drum kit’ and he has to take his exercise a little easier. he still plays regularly with a popular local band. In his spare time, HELEN 46 B+W Helen studied nursing at Nottingham, returned to the Scunthorpe keen gardener and, during my visit to her home, I managed a tour area and continues to work in that field. Married with a daughter, of the beautiful garden she had cultivated. Helen enjoys family life and travelling with her husband, Jon – they have both done many of the UK music festivals. Helen is a Helen also enjoys the company of her dog and this relationship provided me with my photograph. DAVE Dave’s passion for all things punk has never diminished; he still goes I’d say ‘happy go lucky’. I chose to make his photograph in a to many concerts featuring the heroes of the late 70s and early 80s, room that housed a vast number of vinyl records, CDs and other manages (as a quick glance at his Facebook page will show) to be collectibles from the punk era. photographed alongside many of them and is an avid collector of records and memorabilia. He is truly a fan. Then I noticed the T-shirt he was wearing – it appears that his allegiance to his favourite band, the Damned, has not faltered He’s a thoroughly amiable guy – if I had to describe him now, throughout the years.

CAROL When I asked Carol – who I remember made all her own going out It would be fair to say that Carol is an academic: she has taught and clothes back in 1984 (including those in the photograph) – for her lectured on English literature in Scunthorpe and marks papers for the reflections on the past 35 years, she answered: ‘I have worked hard Cambridge Board of Examinations. She works in a loft in her home – and earned nothing.’ accessed by a ladder – and this provided the setting for my photograph. SEAN 47 B+W In 1984, Sean was studying teaching at Nottingham. He was an name taken from an early 80s advert for chocolate – which he early years teacher for a number of years – focused eventually on formed with his brother, Garry. They famously appeared at the first special needs – before setting off to broaden his horizons at schools Scunthorpe Free Rock concert, an all-day annual event put on for in Hungary, Kenya, Brunei and the United Arab Emirates. free by the local council and which ran for four years. Music is very important to him still and he writes and records his own material. Sean is well known for his part, during the 80s, as bassist in a Sean is currently teaching in Scunthorpe. popular local band, Harry the Spider’s Coming Out Party – the LISA On 22 August 2009, I received a message from someone I had met – In 2009, I photographed the prints, posted them on Facebook and, for barely an hour – 25 years previously: ‘Wow… I totally remember through friends of friends, the post reached the United States. this! I just had my 40th birthday party in America (where I live) and had the actual picture out on display. Everyone loved it! I love it too!’ Although Lisa studied jewellery and clothing at Grimsby Art College, she works as a financial planner in Milwaukee, Wisconsin. The message was from Lisa and the picture she was referring to is the one above. I still have 27 of the original 36 prints I exhibited Lisa has lived in the United States for 22 years now, having first – mounted on card and fixed, in sixes, on large sheets of hardboard gone over when her then partner got relocated from the UK. She covered with blackboard paint – at Scunthorpe Museum in 1985. now lives above the recording studios of her fiancé, Brad (in a rather splendid building).

FEATURE THE POWER OF PHOTOGRAPHY Gallerist Peter Fetterman’s new book, The Power of Photography, showcases 120 classic pictures he has collected over the last 30 years. Here he shares his insights into some of the pictures and the great photographers he has worked with. © Sebastião Salgado/Amazonas images/Courtesy Peter Fetterman Gallery In the early 1960s Lisa Law and her husband Tom (road manager for Peter, Paul and Mary) purchased a house opposite Frank Lloyd Wright’s Ennis House in the Los Feliz neighbourhood of Los Angeles. Nicknamed the Castle because of its enormous size, musicians would rent huge rooms where they could stay and work while visiting the hub of the music scene in southern California. With three storeys, it had a basement, a ballroom, a huge dining room, a solarium and giant bedrooms on all three floors. It became the hangout for such notables as Lenny Bruce, Alan Ginsberg and Andy Warhol. Lisa Law was the in-house Earth Mother and resident photographer. Bob Dylan rented the master bedroom on the second floor and could be heard working away on his small typewriter, writing some of the most profound songs of the 60s. This image was captured by Law in the solarium of the Castle. Here is Dylan in all his coolness, mystery and uniqueness. To my eye, this is one of the best portraits ever taken of him. © Lisa Law/Courtesy Peter Fetterman Gallery 48 B+W Ashaninka, State of Acre, Brazil, 2016 by Sebastião Salgado Bob Dylan, the Castle Solarium, Los Angeles, California, 1966 by Lisa Law My longest and most intense professional collaboration has been with Sebastião Salgado. We first started working together over 30 years ago, when Henri Cartier-Bresson and his wife Martine Franck first introduced us. It has been an amazing journey as I have watched him develop his epic photo projects with such passion and dedication, and execute them to the highest professional and ethical standards. This journey has been shared with his equally amazing wife and artistic partner Lélia Wanick. I have never seen two people so professionally in sync. They have been such an inspiration to me and continue to be a big, big part of my life. I sincerely believe Salgado is the greatest living photographer and his position in the history of this medium is unassailable. With the founding of their remarkable non-profit rainforest project Instituto Terra and the planting of four million trees to date, to say he and his wife are both forces of nature is a vast understatement. This beautiful and haunting image is part of their stunning project, Amazonia.