Black + White Photography I268 2022_downmagaz.net

© Martha Holmes/Courtesy Peter Fetterman Gallery © Estate of Eve Arnold/Courtesy Peter Fetterman Gallery Jackson Pollock painting in his studio, Springs, › 49 Long Island, NY, 1949 by Martha Holmes B+W I really love exceptional portraits of artists. I can only dream of owning a Modigliani, Seurat, Picasso, O’Keeffe, Cassatt etc, but a great artist portrait is the next best thing. Martha Holmes was an important Life magazine photographer and this image of Jackson Pollock deservedly made the front cover when it was first published. © 2022 Magnum Photos, Inc. and Bruce Davidson/Courtesy Peter Fetterman Gallery Malcolm X, 1961 By Eve Arnold Untitled (Stickball scene, Brooklyn gang, NY), 1959 Eve Arnold was the first woman photographer to join the Magnum photo agency. Her by Bruce Davidson drive, determination and prodigious talent enabled her to hold her own and excel at every story she covered. Her documentation of Malcolm X was one of her best. After Bruce Davidson’s Sunday morning ‘stickball’ establishing a unique rapport with the Muslim minister, Arnold was given unparalleled is like an elegant ballet. The cars have just access to photograph him as he fought for civil rights. been given their weekly wash and there is a wonderful leisurely feel after a frantic week, Arnold said: ‘I am always delighted by the manipulation that goes on between subject no doubt. It’s a classic image capturing a and photographer when the subject knows about the camera and how it can best be used community and spirit that we can only look to his or her advantage. Malcolm was brilliant at this silent collaboration. He knew his back on wistfully. So much has changed. needs, his wants, his best points and how to get me to give him what he required.’ On 21 February 1965, Malcolm X was assassinated at the Audubon Ballroom in New York City. He was 40 years old. This is one of the images that helped define his legacy.

© Len Prince Photography & Papers, Collection, Stuart A. Rose Library at Emory University. Ford Model VIII Bathing Cap, New York City, 1991/Courtesy Peter Fetterman Gallery 50 ›B+W Ford Model VIII bathing cap, New York City, 1991 by Len Prince I met Len Prince early on in my gallery career. I was impressed by his approach to photography and his attention to detail. A successful New York fashion photographer, Prince has a quiet, sensitive manner that contrasts sharply with the turbulence of the industry he worked in. We collaborated on some special platinum print projects, a medium we both admired. This is one of them. Sometimes art is generated from pure simplicity. A classic profile. A beautiful, scalloped bathing cap. Voila! Pure magic.

© Elliott Erwitt/Magnum Photos/Courtesy Peter Fetterman Gallery The occasion here is a Fourth of July parade in Texas in the summer of 1991. Earlie Hudnall Jr. has spent over 40 years quietly and selflessly documenting life in historically black communities in the Houston area with an insight and tenderness unparalleled in social documentary photography. He doesn’t force or judge or coerce. He truly understands and is a part of these communities. His mentor and teacher, John Biggers, instilled in Hudnall at an early age that art is life and that this belief should be the basis of his work. This, Hudnall has so eloquently done; as he says: ‘The camera is only a tool. It is up to the viewer to come to their own conclusion once they look at the picture, based on their experience.’ © Earlie Hudnall/Courtesy Peter Fetterman Gallery Valencia, Spain, 1952 by Elliott Erwitt 51 Elliott Erwitt – another all-time favourite B+W of mine. Intelligent, insightful, gracious and human. On temporary leave from army service, Erwitt was sleeping on the couch in an apartment shared by his friend Robert Frank and his wife, and captured this wonderfully joyful moment. © Weegee/International Center of Photography/ Courtesy Peter Fetterman Gallery Easter Sunday in Harlem, 1940 by Weegee Weegee – real name Arthur Fellig – is known for his gritty, violent urban crime scene work. But there was a real tender side to him, as evidenced by this image. A moment of joy, community, relief and hope. Exactly what we are all wishing for now. Girl with flag, 3rd ward, Houston, 1991 by Earlie Hucknall Jr.

© 2021 Henri Cartier-Bresson/Magnum Photos, courtesy Foundation Henri Cartier-Bresson, Paris/Courtesy Peter Fetterman Gallery Alfred Eisenstaedt spent over 40 years working for Life magazine. He was there from the beginning of the iconic publication and was probably the most celebrated and beloved photographer in the magazine’s history. I remember meeting him in Martha’s Vineyard a few years before he passed away at the age of 96 in 1995. He was so full of life and embraced a child-like enthusiasm, which really is the key to his longevity as a great photographer. I adore this image. It was taken at the celebrated Grand Hotel des Bains in St Moritz, where the famous ice-skating staff attended to the world’s upper echelon travellers, including such famed and illustrious guests as Alfred Hitchcock, Brigitte Bardot, Charlie Chaplin and Greta Garbo. Here, the hotel’s headwaiter, Renee Breguet, is immortalised in graceful action by Eisenstaedt’s lens. © Alfred Eisenstaedt/Courtesy Peter Fetterman Gallery ›52 B+W Queen Charlotte’s Ball, 1959 by Henri Cartier-Bresson I cannot think of anyone in the history of photography who lived Head waiter Renee Breguet serving drinks on Grand Hotel Ice Rink, a larger life than Henri Cartier-Bresson. There was hardly any St Moritz, 1932 by Alfred Eisenstadt corner of the Earth to which he did not travel to document its inhabitants and the political events of the day. Even the word The Power of Photography ‘epic’ does not adequately cover his far-ranging subject matter. is published in hardback by ACC Art Books, price £30. I came across this image and its variant by accident one day The Peter Fetterman Gallery while visiting him in Paris. I was immediately attracted to its is in Santa Monica, USA. dream-like quality. You just get swept up in the flow of the peterfetterman.com couples dancing, the sense of movement and romance in the air. I asked him why he had not previously made collector prints of the image. ‘Well Peter, no one ever asked,’ he replied. He graciously agreed to make some prints for us and during our long and wonderful collaboration, it subsequently became our most requested image. Queen Charlotte’s was a hospital in London and the ball was originally founded in 1780 by George III as a birthday celebration in honour of his wife Charlotte, and as a fundraiser for the hospital. Over the years it became a highlight of the social calendar that only the English upper classes knew how to orchestrate, and a hot ticket. Cartier-Bresson had been invited as he was visiting London at the time, and had reluctantly agreed to attend. He told me he was bored by the whole society thing and was about to leave when he noticed some stairs climbing up to the rafters. He climbed up there, leaned over the railing and, voila, captured the moment before his lens. I guess if you are alert and open, you find great subject matter in the most unexpected places.

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TECHNIQUE FILTERS FOR THE FAITHFUL TOP TIPS Contrary to what many photographers think, lens filters are as important in this digital age as they ever were. Lee Frost looks at the most useful All images filters to have for creating different effects by controlling the light. © Lee Frost W ho needs filters when you’ve got Photoshop? I’ve an ND filter by adding motion to an image, or boost contrast and either heard or read this proclamation more times deepen the sky like a polariser does. over the last decade than I care to remember, and each time it never fails to bring a smile to my face. But Photoshop/Lightroom can’t do everything filters can, and I agree that some of the latest digital cameras have a dynamic even if it could, would you rather be a photographer or a computer range that almost (but not totally) negates the need for a neutral geek? I personally prefer to spend as much time as possible on density (ND) grad filter. If yours doesn’t, you can take two shots location shooting images than chained to my Mac processing of the same scene, one exposing for the sky and another for the them, which means I like to get my shots as close to finished in landscape, and combine the two. You can also mimic the effect of camera so they require minimal editing. Filters help me to achieve that as much today as when I was shooting film, so I use them. 56 B+W 1 1 ND GRADS out. To prevent that happening, all you need to Venice, Italy do is pop an ND grad on your lens. An ND grad made it possible to record the drama The golden rule with digital photography is not in this fantastic sky, and also capture detail in to blow the highlights. Why? Because if you do, ND grads are grey on the top half – that’s the the buildings, with a single exposure. no detail or tone will be recorded in those areas, neutral density part – and clear on the bottom Canon EOS 5DS with 24-70mm lens, ISO 100, which means there’s nothing to rescue later. half. The idea is that you slide the filter down in its 1/4sec at f/16, 0.6 ND hard grad This is a common problem when you include sky holder so the grey part covers the sky and reduces in your shots because it’s often much brighter its brightness, so that when you expose for the than the landscape, so when you expose for the landscape, the sky is also correctly exposed. land, the sky is overexposed and parts of it blow

2 2 WHICH ND GRAD DENSITY? Grads come in three main densities – 0.3, 0.6 0.9 grads. The 0.3 is actually too weak in most Isle of Harris, Scotland I find 0.6 and 0.9 ND grads to be the most useful. and 0.9 – which reduce the brightness of the situations, but you can always use it with a It’s rare to need anything stronger than 0.9, especially when using hard ND grads. sky by 1, 2 and 3 stops respectively. Some 0.9 when contrast is really high, so you get Canon EOS 5DS R with 24-70mm lens, ISO 400, 57 1/50sec at f/11, 0.6 ND hard grad manufacturers also produce 1.2 and 1.5 ND a 4-stop reduction. A 0.9 tends to be used B+W It doesn’t matter if the sky’s a little light grads, which tone down the sky by 4 and 5 mainly at dawn and dusk or when shooting into providing you haven’t blown the brighter areas, because you can select and darken it later. stops respectively, and intermediate grads with the light, while the 0.6 is ideal for general use. densities of 0.45 and 0.75, which darken the If you’re not sure which one you need, take sky by 1.5 and 2.5 stops respectively. a test shot with a 0.6, check the image on your You can manage without the intermediate camera’s LCD and switch to either a 0.3 or, strengths, but it’s worth buying 0.3, 0.6 and more likely, a 0.9 if the effect isn’t right. 3 HARD OR SOFT GRADS? 3 ND grads come in hard and soft versions, Stokksnes, Iceland and in some cases, medium and very hard. When features in a scene break into the sky, like these mountains, a soft ND grad is more forgiving. This refers to how the neutral density part Canon EOS 5DS R with 16-35mm lens, ISO 100, 1.6sec at f/14, 0.9 ND soft grad and 0.9 ND of the filter graduates down to clear – with harder grads, the change is quite sudden, whereas with softer grads, it’s gentle. Hard grads are better when the horizon is clear as they give a more consistent effect, whereas soft grads are more forgiving when the horizon is broken by hills or buildings. I shoot with full-frame DSLRs and favour hard grads most of the time, especially when shooting landscape and coastal scenes. I also carry 0.6 and 0.9 medium grads and 0.6, 0.9 and 1.2 soft grads to use in situations where a hard grad might leave telltale signs of its use. To align an ND grad, slide it down into the holder while looking through your camera’s viewfinder or LCD – you should see it darken the sky. When the effect reaches the horizon, stop. You can do all this before you take a meter reading. Modern digital cameras use sophisticated multi-zone metering patterns, so they’re not fooled by the grad.

4 REVERSE ND GRADS When you’re shooting landscapes at sunrise or sunset, the brightest part of the sky is the band just above the horizon, where the sun is. It’s usually several stops brighter than not only the landscape, but the sky above it. Annoyingly, normal ND grad filters are at their least effective close to the horizon due to the way the ND area fades from the top of the filter towards the centre. To overcome this, you can buy reverse ND grads, where the ND area is at its darkest in the centre of the filter and graduates upwards, instead of the other way around. I do have one or two reverse ND grads in my filter kit, and they are actually quite useful, but I managed for decades with normal grads so I wouldn’t say you need to rush out and buy any. Bamburgh, Northumberland A reverse grad filter is handy when shooting at sunrise and sunset, as it does a better job of balancing the sky than a conventional grad. 4 Canon EOS 5D MkIII with 16-35mm lens, ISO 100, 2sec at f/16, 0.9 reverse ND grad 5 NEUTRAL DENSITY (ND) FILTERS ND filters reduce the amount of light reaching blur, but they can be used to record motion 0.6 and 0.9 NDs and you can use them your camera’s sensor so you need to use in any moving subject, whether natural or together to create a 1.5 ND, which requires a longer exposure. Whereas ND grads only man-made – commuters rushing off a train, 5 stops of exposure increase. 58 affect part of the image, ‘solid’ NDs have a animals running, grass blowing in the wind, B+W uniform effect across the entire image area. clouds moving on a windy day... Trebarwith Strand, Cornwall ND filters are mainly used so you can set The amount of exposure increase required I used a 0.9 ND filter for this shot, to slow the shutter a slower shutter speed to record motion in depends on the density of the ND filter. A speed down by 3 stops and record motion in the waves a scene or subject. The classic situation 0.3 requires a 1-stop increase, 0.6 a 2-stop as they washed over the rocks. where they’re used is on waterfalls or waves, increase, 0.9 a 3-stop increase, 1.2 a 4-stop Canon EOS 5DS with 24-70mm lens, ISO 100, to record the moving water as a graceful increase and so on. It’s worth investing in 2sec at f/11, 0.9 ND and 0.6 ND hard grad 5

with filter 6 6 EXTREME ND FILTERS can look amazing – moving water turns to Lizard point, Cornwall 59 milk, drifting clouds record as delicate streaks You can clearly see the effect an extreme ND filter In recent years, the use of more extreme ND of tone. The effect has become very popular has when you compare it to an unfiltered version B+W filters has become popular, especially the 10- among fine art black & white photographers for of the same scene. stop NDs made by Nisi, Kase and others. landscapes, seascapes and architecture. Canon EOS 5DS with 24-70mm lens, ISO 200, 180sec at f/8, 10-stop ND These filters are so dense that you can In situations where 10 stops are too much, barely see through them and they reduce the you can use a 6-stop ND. In brighter conditions, its own. I own and use all three – 6, 10 and 15 exposure a thousand times, so even in broad or when you want to make exposures several stops – as I love the effect they create. daylight you may find yourself using exposures minutes long, a 15 or 16-stop ND comes into of two or three minutes to record the passing of no filter 6 time instead of freezing it. The resulting images

7 POLARISING FILTERS colour saturation and deepen blue skies, the in black & white photography. If you shoot effects they produce can also be of benefit in colour and convert to black & white, the Although we mainly associate polarising filters enhanced sky a polariser creates will look with colour photography, because they boost stronger in black & white because the blue will convert to a darker tone so the clouds 7 stand out. Polarisers also eliminate glare and reflections, which improves clarity and boosts contrast, another useful characteristic in black & white as well as colour. There are two types of polarising filter: linear and circular. Both do exactly the same job, but for digital cameras, and all autofocus cameras, you need a circular polariser, as they’re made differently to avoid fooling the camera’s metering system and causing exposure error. Valencia, Spain The blue sky has been darkened significantly in this shot, and contrast increased, so the building stands out starkly to create a stark, graphic image. Canon EOS 5DS R with 24-70mm lens, ISO 200, 1/100sec at f/11, polariser 8 MAKE THE MOST OF YOUR POLARISER To use a polariser, simply rotate it slowly in focal length wider than 24mm (16mm You can use a polariser with both ND its mount or holder on your lens while looking on APS-C sensors), as the sky may end grads and solid NDs, as they all do different through the viewfinder and you’ll see the up darker on one side of the shot than the jobs, so don’t be afraid to combine them. effect come and go. Stop rotating when you other and the effect looks odd. This can That said, keep the number of filters you 60 like what you see. be corrected in Photoshop, but it’s tricky. use to a minimum, as they will degrade image quality. B+W Sunny weather gives the best results and Glare is reduced on non-metallic the sun needs to be at 90° to the camera or surfaces, which makes colours cleaner overhead (which is still at 90°, but vertically) and more deeply saturated – and which Tuscany, Italy to show the biggest improvement in the sky. gives you richer tones when you convert to A polariser tends to have the greatest effect on If the sun is behind you, or you shoot into the black & white. This again works well in skies, especially when there are white clouds sun, you won’t see much of a difference. sunny conditions, but polarisers can also against a blue backdrop. Polarisation is uneven across the sky, so be used in dull, overcast weather to Canon EOS 5DS R with 24-70mm lens, be careful with wideangle lenses that have a remove glare. ISO 100, 1/40sec at f/11, polariser 8

9 INFRARED- 61 TRANSMITTING FILTER B+W Although it’s by no means essential, if you like infrared images, why not buy an IR- 9 transmitting filter and create your own? The 10 Hoya R72 and B+W 093 are both popular infrared filters, although you can buy cheaper ones if you search on Amazon. The majority of unmodified digital cameras are sensitive to infrared light. By placing an IR-transmitting filter on the lens, you block out most of the visible light, so the image is formed using light at the red and near- infrared end of the spectrum. IR filters are visually opaque, so you need to mount your camera on a tripod and compose the shot before fitting the filter. Focus the lens manually too. Exposure times can be quite long and getting the exposure right is tricky, so bracket until you get it right. Shoot in sunny weather for the best results and include foliage in your shots, which comes out white and wispy. The images will have weird colour casts, but convert to black & white and they’ll look stunning. Alnwick, Northumberland The exposure for this IR shot was so long that movement in the clouds has been recorded. Canon EOS 5D MkIII with 16-35mm lens, ISO 1600, 10sec at f/8, Hoya R72 IR filter 10 SKYLIGHT AND UV FILTERS Skylight and UV filters block out some ultraviolet light, which is common on sunny days and also at high altitude, so the clarity of your images is improved. UV light can also cause a slight blue cast. Skylight filters have a pink tint that balances it out, although the auto white balance (AWB) setting on your camera will get rid of it. The main use for these filters is as lens protection – many photographers buy screw- on UV filters for each lens and leave them in place permanently. It’s safer to wipe clean a filter than the front element of the lens, and cheaper to replace a scratched filter than to get a lens repaired. If you do decide to use UV filters, make sure you buy good-quality ones from Hoya, B+W or Tiffen, so the optical quality of your lenses isn’t reduced, and buy slimline filters so that when you attach a filter holder to them, vignetting with wideangle lenses is less likely. Senja, Norway A UV or skylight filter is ideal for protecting the front element of your lens from sea spray when you’re shooting on the coast in bad weather. Canon EOS 5DS R with 24-70mm lens, ISO 100, 2sec at f/22

GROUP F/64TECHNIQUE All Images If you’re inspired by perfection in photography then why not try our latest practical ©Tim Daly assignment? Tim Daly introduces this short-lived and visionary movement. I n 1932, 11 photographers including Ansel lens – f/64 – used to create maximum using razor-sharp technique to create Adams, Imogen Cunningham and Edward depth of field, to illustrate their intent. prints with a hyperreal quality. Although Weston announced themselves as Group Group f/64 dissolved after a mere three f/64. This loose association of like minds Dissatisfied with photography’s pictorial years, they captured the very essence became a significant founding movement aesthetic derived entirely from the world of the time and their direct approach in the history of photography and one of the of painting and printmaking, Group f/64 remains an enduring influence today. For most enduring remnants of Modernism’s chose instead to elevate photography’s this month’s assignment, we’re going to big bang. The group took its name from the own fundamental strengths – to record the explore some of the techniques and ideas smallest available aperture on a camera world as it really is. A wide range of subjects developed by Group f/64. was explored by the group, each member PREPARING FOR YOUR ASSIGNMENT While we mostly associate the work of Ansel Adams with epic landscapes, Group f/64 actually explored a much broader range of subjects and topics. A recurring theme across the group was the wider agrarian landscape, including the natural world in a fast-disappearing rural setting. Exquisite plant studies and textured studies of wood were supplemented by photographs of very ordinary, everyday objects too. For this assignment, we’re going to explore Group f/64 themes within our home and nearby environments. 1 62 B+W SECTION 1: THEMES TO CONSIDER Explore one of these as a starting point. 1 AESTHETIC TEXTURES shape, form and texture into expressive, detailed can spot interesting textural combinations that prints rendered pin-sharp from corner to corner. can be enhanced by your shooting and editing One of Group f/64’s abiding strengths was its Looking at such work today, it’s as if we are being skills. Although shot with a basic smartphone, ability to identify and amplify the visual qualities presented with a defining essence and the very this close-up study was further amplified using of the natural world. Unlike our own human visual thing itself. In your local environment, see if you Lightroom’s texture and clarity tools. field, the group developed a way of isolating

23 INSPIRATIONAL QUOTE ‘The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh’ – Edward Weston 2 INFINITE PATTERNS IN NATURE Cunningham went in search of the exquisite than casual observation style, Weston and 63 and her best-known images of lilies and cacti others created heightened and evocative If you’ve not had the inclination to look at the are sculptural studies of light and shape – a records of the land. Today, our rural landscapes B+W work of Edward Weston before, his legacy is clear precursor of the later and more graphic are still highly contested spaces across a treasure trove of heightened visual studies. imagery of Robert Mapplethorpe. While some political and environmental debates, and as Captured with an unmistakable directness, of Cunningham’s f/64 images use the same such provide a rich subject for a photography Weston sought out rare examples of natural reductive framing as Weston, many others project, like my example of an island farmstead. forms including seashells, sand dunes, use a still life setting to further emphasise peppers that looked like nudes and nudes exquisite botanical specimens. From your 5 WEATHERED MATERIALS that looked like undulating sand dunes. own garden or with a supermarket bouquet, Weston’s undoubted skill was finding the see if you can isolate a perfect flower with Just like the sculptor Barbara Hepworth, the subjects in the first place, but also in his deep depth of field and careful framing. Don’t group were also inspired to make evocative tight framing and camera work. Not afraid be afraid to cut or shape your subjects into a images of natural, found materials. In the vast to crop tightly, Weston favoured elemental, scene, like this example. expanse of the West, Ansel Adams and Willard concentrated compositions where nothing was Van Dyke in particular made captivating left to chance. At your local beach or riverside 4 THE AGRARIAN LANDSCAPE studies of tree forms, weathered wood and estuary, look for natural patterns and shapes textural rocks. If you’re a fan of the natural left by the retreating tide and see if you can At the outset, Group f/64 wanted to shine world and like collecting driftwood or wood conjure up your own compositions. In this a light on the American West, rejecting the craft, then consider developing a project on example, I’ve used tight framing in my visual European-inspired machine-age modernism textural materials. Keep a look out for unusual study of sand patterns. of New York and the eastern seaboard. With and interesting pieces of wood on the beach a determination to record the realities of rural or forest walk, using deep depth of field to 3 BOTANICAL STUDIES existence in the hard times of the 1930s, the capture every aspect of the form. Don’t just group were drawn to the broader agrarian shoot one frame, but try shooting above and The flower and plant studies of Imogen landscapes of the West. Using a large-format below your usual eye line. This oddly shaped Cunningham are a less well-known part of plate camera together with a deliberate rather tree stump really caught my attention. the Group f/64 back catalogue. Like Weston, 45

SECTION 2: THE SHORELINE Wherever you are based, a trip to the sea blows the cobwebs away and provides plenty of subject matter. 12 1 OUT OF PLACE 2 TRACES OF THE PAST something out of the ordinary or unexplained, If you like walking and shooting, a trip to your Look long and hard enough and you can find don’t hesitate to shoot it and follow it up with nearest coast can be a great way of refreshing really unusual shapes, forms and textures some research when you get back home. your practice. that can be difficult to comprehend. Baffling I’ve been visiting one such location rock markings and unusual stuff washed up 3 GRAPHIC CONTRASTS each month for the past two years by high tide together with plain old flotsam Sometimes we can find unexpected visual and steadily building up a story. and jetsam can turn you into an amateur collisions when two different zones or Despite making the same three-hour walk, sleuth and archaeologist. Fascinated as I materials run side by side. Look for rough I’m always amazed at how it changes am by Marilyn Bridges’ aerial photographs of against smooth or dark against light. Using each time. There are a few things I’ve sacred desert markings, I was spooked to find your viewfinder, frame up small sections of shot repeatedly – this weird rock for these seemingly Celtic symbols scratched materials so we can see the improbable join 64 instance, which looks like it’s from outer into a sand dune in the middle of nowhere. and use your editing application to enhance Of course, they could have been made by a each half of the image differently. This space. Angular, slightly glassy and tourist the day before or by an entirely natural example, for instance, looks like a physical B+W looking like nothing else on the beach, I’m still wondering where it came from. phenomenon. If your attention is piqued by collage of two different ripped prints. 3

SECTION 3: THE GREAT PLAINS 2 Perhaps the most enduring symbol of the Group f/64 is the vast landscapes of the American West. 1 1 SCOPING YOUR TERRAIN 3 If you’re inspired by Ansel Adams’ work, 65 you don’t need to visit Yosemite to make great landscape images – there are plenty B+W of evocative sites closer to home. Look for open tracts of land across a wide area – you’ll 4 find these closer to the coast, within National Parks and, of course, in agricultural settings. Equipped with a wideangle lens, I was able to capture the enormous sky above the boggy landscape in the west of Ireland. 2 VISUALISATION Rather than adopt historical pictorial visual styles, Group f/64 advocated visualisation – that is, when the photographer envisages the finished print before pressing the shutter. Nowadays, instead of ground-glass focusing screens, we use LCD screens on our digital cameras, so it’s never been easier to explore this concept. Slow down your shooting routine and check your LCD preview before committing to a frame, as I’ve done in this example. 3 THE STRAIGHT EDIT Many Group f/64 photographers made contact prints from large-format negatives in a deliberate attempt to distance their practice from the Pictorialists and their paintbrushes. Arguably though, Adams and others used just as much darkroom alchemy in the production of their exquisite and unforgettable prints. Nowadays, we too are faced with a similar post-production dilemma, with a wide range of editing styles and printing papers to choose from. In your next assignment, try making minimal edits to your files, like this example, and combine this with more heavyweight inkjet paper with a traditional feel, such as a baryta. Enhanced rather than overcooked. 4 FINAL OUTCOME I’ve been visiting a small island off the west coast of Ireland and trying to capture its extraordinary character and atmosphere.

INSPIRATION HOW TO SEE THINGS DIFFERENTLY ONE-DAY PHOTO If a photographer’s worst sin is to plateau out and stop asking for feedback, PROJECTS how do we realign our approach and recommit to always moving forward, asks Eddie Ephraums. The answer probably isn’t where you’d expect it to be. All images © Eddie Ephraums 66 B+W A s any child will testify, group pictures of us with Glancing through my what she might see. There was parents can be a others. At some point, she will Lightroom catalogue, I am even a phase when she took little embarrassing. realise the camera is too close intrigued by how many images pictures looking through her Me taking up the or too far from us. Rather than I have of my wife Maxine taking legs. She said she found it easier ukulele this year and practising taking a step back or forward pictures, not just leaning at to decipher the world upside when friends are in the house – as an ordinary mum would gravity-defying angles, but down. Thankfully, our daughter is a classic example. As for my – she will lean at a seemingly holding her camera phone was too young to remember this, wife, she is likely to embarrass impossible angle to frame the inquisitively up high or right and despite the embarrassment, our daughter when she takes image. Well, she is a yoga teacher. down on the ground to discover ›she admits to loving her parents.

67 B+W Opposite The Inspiration Above The Idea Looking at images of my wife taking pictures, I am struck by her sense of inquisitiveness. It’s good to turn the camera on ourselves, to hold a mirror up to our photography, to see the Rarely, if ever, does she appear to simply point her camera phone at the subject. Instead, she way we see when we are making pictures. A regular workshop participant sends images he’s seems totally engaged with it, both mentally and physically, treating the photographic process as taken of me while on each residential course. They are insightful, often laugh-out funny, and a whole-body thing. In the early days of her picture making, she even took pictures upside down they can be almost painfully revealing. I really value what they tell me about me, how the to help clarify her view. I like how these images of her challenge my own approach to seeing. teacher should also be the student – one of the reasons I’ve taken up the ukulele.

› Children are special – mine is takes me to the core, to question Now imagine the difference a And, of course, we are always actually very encouraging of my the very way I see. I ask myself if magic wand could make to the very grateful for it. ukulele playing. perhaps I see things in a familiar way you or I see. But there is I love looking at these or formulated way? How far do no magic, so how do you even One way we limit ourselves images of my wife and how her I reach out with my camera in recognise and then overcome is to overthink. Having a music approach to photography makes order to see things differently? visually limited photographic teacher and belonging to a me question my own way of thinking? One of the many supportive music group has looking. I’ve often said these I think of that classic self-help rewards of having children is prevented me overthinking my monthly features are intended quote: ‘Imagine having a magic they point out what limits ukulele playing and they don’t to challenge me and this month wand that could make your their parents’ thinking. let me get away with simply limiting thoughts disappear.’ playing what I already know. Each week, I’m encouraged, 68 gently prodded or poked to rise to the next seemingly B+W impossible challenge. As someone who had never played an instrument, I am proud of what I’ve so far achieved with their support. But what about my photography? Who or what inspires, encourages and cajoles me in the same way? Do I have any teachers? Yes, but only occasional ones. I should commit to them. Do I belong to some kind of photo support group? Yes, but we don’t meet nearly as often as my music group. Why not? And who or what challenges my critical thinking while my wonderful university student mentoring group is on their long summer holiday? To help, I’ve started reading the 400+ pages of the Aperture Magazine Anthology, a provocative collection of essays from when Minor White was editor. In brief, I ask myself this question: do I see an ongoing progression in my photography and a commitment to always move it forward akin to that of my ukulele playing, going from complete novice to playing progressively harder tunes each week? I don’t think I need to look through my legs to realise the answer. envisagebooks.com The Realisation What keeps us on our photographic toes? This month, I’ve thought about who or what challenges my approach to photography. I’ve questioned just how committed I am to those who could offer really objective feedback and guidance – of a critically constructive kind. And I realise I could be far more committed to asking them for their input and offering them mine. The alternative is for our photography to plateau out. Who wants to stand easy?

Supporting you and your photography how do you see the world? How do you see the world? Open Studio Workshops WHY WORK ON YOUR PHOTOGRAPHY ALONE? – OPEN STNothing matches the KSHOPS – creative buzz and Our workshops offer ongoing mentorship, to provide you and your photography collective experience with the inspiration, the sharing of ideas and the insights we believe every of a small group OSW photographer can benefit from. residential workshop JOIN US ON A FORTHCOMING WORKSHOP Set up by EDDIE EPHRAUMS and ADRIAN HOLLISTER, our THE ARDNAMURCHAN PENINSULA unique range of outcome- THE CONTACT SHEET based workshops cover the PHOTOBOOK MAKING & DESIGN practical, creative and aesthetic ASSYNT & THE NORTH WEST considerations of being a photographer. You will be inspired, Visit our website for further information and other workshops motivated, encouraged and pleasantly challenged. www.openstudioworkshops.com [email protected] UDIO WOR OSW SC O T L A ND

COMMENT A FORTNIGHT AT F/8 All images We may never be as talented as the likes of Irving Penn, but we can certainly try © Tim Clinch to be, and we can certainly take pleasure in our efforts to achieve such greatness. So, by all means aim high, but don’t forget to enjoy the journey, says Tim Clinch. My dear old but it is something that has Morocco and all over Europe and I wasn’t disappointed. Maybe Mum loved been a feature of my life as a the UK. It was my very first book, the printing wasn’t as good as I’d a good quip. photographer and, I believe, with my credit on the cover! hoped. Maybe the layout wasn’t She had a something that we can all use in what I’d imagined. Maybe the saying or a our photographic development. Shooting the book itself was choice of cover picture wasn’t the motto for a dream. The writer and I got one I would have chosen. Maybe pretty much every occasion I distinctly remember the on well (she has since become a the colour balance (this was back and one of her favourites was: first time I was commissioned firm friend and we have worked in the days of film when endless ‘It is better to travel hopefully to shoot a book around 30 years together many times since), complicated permutations of than to arrive.’ She used it with ago. It was to be a big, glossy, we went to amazing locations filters were needed to cope with me at any opportunity and, coffee-table book about interiors. and, once the final shots were mixed lighting) was all over the although I hate to admit it, she I was ludicrously excited. The done and dusted and delivered place. But I wasn’t disappointed. was right more often than not. publishers were one of the very to the book designers, there If, as a youngster, I was off best in the UK, the author was was nothing to do but wait. The book went on to sell on a hot date arranged by a very prestigious interiors and well, no one apart from me school friends, an hour-long antiques expert who I had wanted And then came the phone noticed what I considered to cycle ride with all my fishing to work with for a long time call from the publishers, ringing be the flaws, the publishers gear to a breakwater where I and the shooting schedule was to say that they’d got the first were happy-ish and I got paid, had been assured that the sea amazing, taking us to New York copy of the book and were so all done and dusted. And was always teeming with fish, and Chicago, several locations in couriering copies to me and I’m still not disappointed. or the interminable trek up to the writer later that morning. London on the train to see some So many people I work with unheard-of band who all my THE PICTURES these days on the mentoring programmes I run don’t 70 mates assured me were the next This month’s visuals are all from a shoot at the beautiful Chateau take advantage of my Mum’s d’Ampuis headquarters of the Domaine Guigal winery in the Côte somewhat irritating but sage Led Zeppelin, my Mum’s words Rôtie region of southern France. Although it is a breathtakingly advice. Many people look at sumptuous place, there is something I love about the austerity their photographic challenges B+W of the shapes and lines there and it was a joy to photograph. as a mountain (and believe See what I mean about enjoying the journey! were never far from my head. It’s a very annoying saying, timclinchphotography.com | @clinchpics | clinchpics

71 B+W ‘Many people look at their photographic challenges as a mountain, but all they see is the summit.’ me, trying to make a living Irving Penn. I won’t be, of course dangerous bends along the way. getting out there on the open at it can seem like a bloody – no one ever will be – but I Yes, the car has broken down a road of photography, a tank big mountain these days), but am absolutely determined to few times on the way and run full of gas, roof down and all they see is the summit. enjoy the journey. I will, in my out of petrol more times than I sunglasses on, have made every Mum’s words, ‘travel hopefully’. care to admit and the potholes last minute of it worthwhile. Now, there is nothing wrong And you know what? It’s been have resulted in many, many with aiming high and it’s a long and eventful journey. punctures. But the views! So, aim high, and if you never something I positively encourage. Yes, it’s been a bit bumpy at reach the summit, it doesn’t really For example, I will go to my times. Yes, there have been a few The memories, the friendships matter, just keep going and make grave trying to be as good as I’ve made and the sheer joy of damn sure you enjoy the journey.

MASTERS HARRY BURTON: OF THE ART THE PHARAOH’S PHOTOGRAPHER The creators A key player in the Egyptomania craze that swept the world in the 1920s, and innovators that archaeological photographer Harry Burton is best remembered for his work made B+W history at Tutankhamun’s tomb. Nick Smith reports. A ny appraisal of Harry skill of the highest order’. output, the archaeological Burton’s images on the grounds Burton will centre Upon realising that Harry academic establishment in of being ‘staged’ or ‘posed’. As on his black & white Burton, official photographer the 21st century is taking a modern photographer Harry plate photography of on the Metropolitan Museum more cautious view. In his Cory Wright, who recreated the discovery of Tutankhamun’s of Art’s Egyptian Expedition, superb reappraisal of Burton’s Burton’s shots on historical tomb. While opinion varies over was working in nearby Luxor, work, Excavating the Archive: equipment for a Channel 4 whether Burton’s legacy rests on Carter requested a loan of Tutankhamun, Professor of documentary, reminds us, the a lucky break in which a decent Burton’s services for the British Egyptology at the University of technology of the time did not photographer happened to be in expedition. Taking his first Oxford Richard Bruce Parkinson allow for reportage photography, the right place at the right time, pictures on 27 December 1922, notes that Burton’s images leaving Burton with few options this is to miss an important Burton, ‘the finest photographer reinforce the stereotype of ‘a for spontaneity. Back in the point made by the British of antiquities of his day’, was sensationalist adventure … with day, says Cory Wright, ‘there archaeologist Howard Carter, to spend a further decade all the glamour and gold from wasn’t such a thing as candid whose expedition to the Valley of photographing Tutankhamun’s an exotic world’ by heroic white photography’, adding that the the Kings uncovered the resting tomb and its artefacts, with an men. Seeking to correct what he photographer ‘must have had fun place of an obscure 18th Dynasty estimated 3,400 photographs calls a ‘wrong’, Parkinson states: representing his sense of wonder’. boy king who was to become a thought to still exist. There ‘Workers on the project included He goes on to say that the ‘big household name the world over. is no consensus on what a few women such as Harry story’ is that of ‘recognition of Carter realised that ‘the camera Burton used, but Burton’s wife Minnie (1875- the power of what a photograph first and pressing need was for most commentators assume 1957). Above all, Egyptians were could do’. Cory Wright is also photography, for nothing could it was a Gandolfi large-format central to the discovery.’ impressed by Burton’s technical be touched until a complete plate instrument. Parkinson is perhaps on less prowess and meticulous process: 72 photographic record had been While photographers have steady ground when he takes ‘It still beggars belief how he managed to do it without getting B+W made, a task involving technical always openly admired Burton’s issue with the authenticity of Middle coffin inside outer coffin and sarcophagus. Dismantling the outer shrine.

Pictures © Griffith Institute, University of Oxford, 2022 Harry Burton Howard Carter and an Egyptian colleague examining the middle coffin. HARRY BURTON (1879-1940) any grains of dust or scratches of Art’s Egyptian Expedition. achievements with Carter and 73 on them.’ During this time, he worked on both men died shortly after Best known for numerous excavations, while their moment of fame with little Photographing Howard Carter’s B+W Outside of this cardinal event, his photographs were often of note to follow. Carter was excavation of Tutankhamun’s surprisingly little is known of published in the Metropolitan first to go in 1939, and as an tomb from 1922 to 1932. the cabinet maker’s son from Museum of Art Bulletin. When executor of his will, Burton was Lincolnshire. Clearly, Burton the Tutankhamun dig came to an to discover that his former boss INFLUENCE was something of a self-starter, end in 1932, Burton remained in had stolen at least 18 artefacts for while still in his teens he Egypt, transferring his allegiance from Tutankhamun’s tomb. Burton set the benchmark relocated to Florence, where back to the Metropolitan Realising the risk of an Anglo- for future archaeological he developed a reputation as a Museum’s archaeological Egyptian diplomatic incident photographers. fine art photographer. This was concession further down the should this become public where he met Theodore M Davis, Nile. When, in the mid-1930s, knowledge, Burton saw to it LEGACY a wealthy American lawyer this project wrapped up too, that the objects were discretely who sponsored excavations of Burton stayed on to fulfil yet placed in various museums Principal photographic artist ancient tombs in Egypt. This in more photographic contracts. (including the Metropolitan in the Egyptomania craze turn led to Burton being taken Museum of Art) before of the 1920s. on as official photographer But his heyday was over. eventually making their way to by the Metropolitan Museum Nothing could top his the Egyptian Museum in Cairo. FURTHER INFO Burton died in 1940. View of the west side of the antechamber with objects. Excavating the Archive: In their essay for the Tutankhamun by Richard Met entitled Harry Burton Bruce Parkinson (Bodleian (1879-1940): The Pharaoh’s Library Publishing / The Griffith Photographer, Catharine Institute), £30. Roehrig and Malcolm Daniel capture the essence of Burton’s ‘I do not know how work: ‘Far more than dry to praise his work scientific records, Burton’s sufficiently.’ photographs also inspire a sense of wonder because of his ability Howard Carter on Harry Burton to tell a story – to convey the atmosphere of a tomb unopened for more than three millennia, the poignancy of a floral offering left at the foot of a coffin, or the anticipation of an excavator confronted by a sealed door.’

SMARTSHOTS OPEN TO ALL PHOTOGRAPHERS Whatever camera you have, we want to see the pictures you take when the moment is right. For our winners we have three Samsung 64GB EVO Plus microSDXC memory cards with SD Adapters which offer superfast U1, Class 10 rated transfer speeds of up to 130MB/s to give away each month. 74 B+W WINNER © CHRISTOS TRACHILIS ©MALCOLM RENDLE ©SHUO HUANG

©YARRY BENO WINNER © AVINASH SINGH CHAUHAN 75 B+W ©JANET SALMON

WINNER © CARL MASON ©ROBBI LAMMING 76 B+W ©TREVOR DAVIS

©KATE SEYMOUR ©LAWRENCE BUTLER PERKS 77 B+W ©CHRIS PROBERT 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 and your image is chosen, we will contact you for hi-res copies. samsung.com/uk/memory-storage

TECHNIQUE EYE, PHONE, PHOTOGRAPHY All images Combining his love of iPhone photography with the problem-solving smoothness © Matt Inwood of monochrome, Matt Inwood produces mouthwatering food photography for national restaurants and specialist publishers. Tim Clinch asks the questions. I t’s always difficult to describe my friend Matt Inwood. opportunity to work with some of the most talented people working He is, among other things, a photographer, a great cook in food and food publishing, from world-renowned chefs such as (important, as his work is very much food related), a designer, Tom Kerridge, Jason Atherton, Claire Clark and Philip Howard, to an art director, a stylist, a writer and a successful teacher and some of the most well-respected and talented food writers around. conductor of excellent mobile photography and Instagram workshops. So, I guess we’ll just settle on ‘talented’. His photography has been commissioned by a number of national Matt spent the first 20 years of his career in publishing, working restaurants, hotel groups and food businesses. His first book as as a designer and art director for a small independent publisher, photographer, Tapas y Copas, was published towards the end of focused on creating high-end food and drink books. It gave him the 2021, with the team behind the Bar 44 group of restaurants in the UK, with two future book commissions in the pipeline for 2022. 78 B+W Tim Clinch: Matt, how did you about using, the iPhone as a know what I was talking about; and Twitter and so I just became camera. He loved everything I’d better take pictures and the default person who took the get started as a photographer about it and had completely I’d better publish pictures. pictures. Looking back, of course embraced it as a tool and they were embarrassingly bad, and, most importantly for this loved the publishing platform TC: So, your first pictures but I like to think I’ve improved (Instagram) at the end of it. So, were all food related? a bit since then. column, how did you fall in love I started shooting on a very MI: Yes. The publishing company early iPhone (4 or 5) and very I was working for published TC: You’re mainly a food with mobile photography? quickly got the bug. I decided mainly cookery books and photographer and, as a there and then that I’d better needed a presence on Instagram generalisation, I don’t think that Matt Inwood: I’d always enjoyed cooked food works that well in photography, but my real THE PICTURES black & white, but I notice that in interest started nine years ago a lot of your portraits you shoot when we had our first child and The first two are images of a craftsman jeweller whose powerful hands in monochrome. Why is this? my wife insisted that I needed gently cradle the delicate pearls. The rest of the images are from MI: For me, all photography is a smartphone so I could be Matt’s work in restaurants and professional kitchens and perfectly about the light and how it works contacted. I was working with illustrate the difference between the cool, slick front of house and so often, especially in slightly photographer David Loftus and the hard, often backbreaking work behind the scenes. on a book for Masterchef and David was one of the very few photographers back then who was using, and was passionate timclinchphotography.com | @clinchpics | clinchpics

79 B+W pressurised kitchen situations, someone’s red nose or the colour TC: How do you think shooting MI: Of course, I’ve come up it’s almost impossible to balance cast from a fluorescent tube and with a phone influences you and, against a few slightly sniffy all the elements in a portrait concentrate on the eye contact perhaps more importantly, the attitudes about this, but during the small amount of time and intimacy required. attitude of your clients? realistically a lot of the stuff you have. For me, monochrome I shoot for restaurants is to smooths those problems out and MATT’S WORKSHOPS be delivered directly to social enables me as the photographer media and I’m genuinely not to concentrate fully on my subject Even if you are not a food photographer, Matt’s workshops are not to convinced that there is a without having to worry about be missed (I know because he was kind enough to invite me to one). better camera for this. You can find details at mattinwood.com.

SALONYOUR B+W In our search for some of the best work by Black+White aficionados, we discovered Diarmuid Doran’s images. His most resonant series is one that steps outside of photographic norms and embraces the distortion of extreme ISOs and low light. Diarmuid Doran is a photographer living number of series exploring beauty as a ‘The equivalent in sound would be and working in Dublin. He graduated theme. This series, At Night, speaks the most distortion, which is technically wrong, from Technological University Dublin in to me. The night scenes were something but the imperfection produces something 1999 and began his career as an assistant I had been developing for a while and interesting and becomes a creative tool. in commercial and fashion. In 2004 he eventually came together late one night in You just have to be OK with working outside transferred his photography skills and now Dunmore East, County Waterford. The idea photographic norms, which means capturing works as a television lighting director. is to push the camera and processing as all the noise digital cameras bring with low- far as possible and to experiment with and light photography, something photographers ‘Looking for a new perspective and accentuate the imperfections and limitations. are told to avoid.’ approach to my photography, I began a 80 B+W 1 All images © Diarmuid Doran | diarmuiddoranphotographer.com

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83 B+W 8 Previous pages 2 Golf course at night. 3 Backlit tree at night. 4 Trees lit by lamp posts at night. 1 Light in laneway at night. The sky was the attraction here – to the eye, Backlighting really makes a subject pop I love the texture here – the grain gives the A dramatically lit scene, there was plenty there wasn’t much drama, but I knew with and severe processing distorts to the point effect of a graphite pencil drawing. I like to of streetlight here, but I processed it the correct exposure I could reveal the of looking like a painting. experiment and create photos that don’t darker to increase the drama. volume of the clouds with the ambient light. look like photos. These pages 6 A house at night. 7 Vessels at night, floating in space. 8 House light and trees at night. 5 On the harbour at night. Dunmore East, 2021. This first success One of my favourites, taken in the rain at The window light created a mysterious There’s a stillness at night you can’t in my At Night series was motivation to the end of a night shooting the boats. mood here like a scene from a horror movie. find during daylight. explore further. The series was shot at ISO 512,000 with long exposures. 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 90 to see how you can submit your work.

BLACK+WHITE NIK COLLECTION 5 LOVES The fifth edition of DxO’s Nik Collection includes eight powerful plug-ins, several of which are of great interest to black & white photographers. Nik Collection can be used as a standalone package, or as a plug-in to Photoshop or TESTS AND Lightroom, and its Silver Efex module has long been a favourite for mono. It uses darkroom- inspired controls, a refined interface and digital PRODUCTS reproductions of 20 legendary emulsions such as Kodak Tri-X 400, Ilford Delta 100 and Fuji Neopan. Nik Analog Efex lets you add film grain MAGNUM PHOTOS: and light leaks, plus plenty more besides. Nik 100 POSTCARDS Collection 5 is available now with a free trial option, and users of Nik Collection 3 and 4 Available from the Magnum Photos shop, this can get a £69 upgrade. postcard collection would make a great gift or £135 dxo.com some very stylish missives for your photography friends. There are 100 cards in the presentation box, each measuring a standard 4.12x5.88in. GITZO Each postcard is different and the collection LÉGENDE features some of the most striking images from the Magnum archives, with blank reverse sides Best known for its tripods, Gitzo also makes for writing personal notes. excellent backpacks. The Légende is a £25 magnumphotos.com/shop beautifully crafted two-section bag made from polyester canvas and eco-friendly synthetic leather, which fits larger bodies with lenses attached in the lower compartment. The roll-top section can be used for other accessories, plus there’s a 15in laptop sleeve, and side access lets you get to gear with ease. SecureLock 84 zips and an RFID pocket add up to safety in the city, and there are expandable side pockets B+W for accessories such as tripods, stands and a water bottle. Externally, it measures 400x190x470mm and weighs 1.7kg unloaded. £152 gitzo.com PROFOTO A2 The latest in Profoto’s line of small, light, location flashes, the A2 is actually the company’s most diminutive monolight yet, weighing 773g and measuring 126x79mm. With a 100Ws output across 10 stops, it sits between the speedlight- styled A10 (76Ws) and larger B10 (250Ws), and it’s compatible with Profoto’s AirX system, so you can trigger it with other Profoto lights and existing remotes, including the new Connect Pro and the existing Connect. With recycle times of 0.1- 1.6sec, it can give up to 400 full-power flashes. £849 profoto.com LEICA M-A TITAN The M-A Titan is Leica’s sixth limited-edition camera made from titanium, the first being the M6 TTL Titanium in 2001. With a classic analogue design, the M-A comes with a Summicron-M 50mm f/2 ASPH lens, which has components milled from the same metal. As you’d expect from a limited edition, it all comes in a lovely silk-lined presentation box and each model is engraved with a unique special-edition serial number. There are only 250 editions worldwide, so alert your bank manager and form an orderly queue now. £18,000 store.leica-camera.com/uk

TAMRON 17-70MM NIKON Z 30 85 F/2.8 DI III-A VC RXD Bolstering the entry-level end of Nikon’s excellent Z Series, the Z 30 is the first model to dispense B+W with an electronic viewfinder. This makes it the smallest and lightest Z camera so far, measuring Expanding its range of Fujifilm X Mount lenses, 128x73.5x59.5mm and weighing 350g, and although it inherits most of the features of its Z 50 Tamron’s 17-70mm f/2.8 Di III-A VC RXD features sibling, such as the 20.9MP APS-C sensor, there are other changes, including a 3in vari-angle a useful 26-105mm equivalent focal-length range touchscreen. The camera is mainly aimed at vloggers and content creators, but given its size and with a constant maximum aperture. Already features – ISO 100-51,200, 11fps burst mode and subject-recognition AF – there’s plenty to like for available for Sony APS-C bodies, this lens is a proper photographers too, especially if you mount a suitably small lens such as the Z 40mm f/2. great all-in-one solution and, with its f/2.8 aperture Now all it needs is a leather half case. and Vibration Compensation feature, one you can expect to use in low light too. Fast and quiet £639 body only nikon.co.uk focusing is promised and, at the wide end, it’ll focus down to 190mm. It measures 120mm in length, weighs 530g and takes 67mm filters. £829 tamron.eu KODAK EKTAR H35 NANLITE FORZA 150B Fancy some retro fun? The Kodak Ektar H35 is Although it’s primarily aimed at filmmakers, a new half-frame film camera that captures 72 photographers wanting to work with photos on a standard 36-exposure roll of 35mm continuous light on location should check film. This effect can be used simply to stretch out Nanlite’s new Forza 150B. Compact and out a roll, or creatively in making diptychs with lightweight at 247x133x115mm and 1.56kg, it linked themes. The H35 has a built-in flash outputs 23,130lux at 1m, which is equivalent activated by turning the silver ring on the 22mm to a 170W bulb. Plus, even though you’ll f/9.5 lens, and the camera is available in black, be thinking in mono, as a bi-colour light, brown, sage or sand colour schemes. its ability to move between temperatures of 2700-6500K means you can alter the £50 analoguewonderland.co.uk tonality or match available light. Everything can be controlled directly from the Nanlink app for easier shooting too. £563 en.nanlite.com

TESTS AND CHECKOUT PRODUCTS If retro chic is just as important to you as image quality and features, these classically styled digital cameras may be right up your street. Don’t throw away those old leather camera straps just yet… OLYMPUS E-P7 Budget retro for Pen connoisseurs Few series of cameras look as good as the Olympus Pen range CANON EOS M6 MKII and although most of the recent headlines have rightly been about the newer OM-1, the E-P7 is still well worth a look, especially as Huge resolution in a compact package it’s become one of the most affordable retro-styled cameras out there. Built around a 20MP micro four-thirds sensor, the tiny E-P7 could easily be mistaken for a film camera from the 1960s, yet offers cutting-edge features such as a five-axis IBIS system that will help keep shots steady. Incredibly, the E-P7 tips the scales at 337g, which is only a tiny bit heavier than most of today’s bigger smartphones, and offers a vast ISO range of 200-25,600. Portraits are made easy thanks to Face Detection Autofocus, there’s a 121 AF-point system and a touch-sensitive LCD, and there’s even a speedy burst rate of 8.7fps. Of course, E-P7 users need to contend with that 2x crop factor that effectively doubles focal lengths, but the flip side is that micro four-thirds lenses are incredibly affordable, with plenty of choice on the market. Plus, those mechanical dials are the chef’s kiss to this retro beauty. Long before the R5 or R6 came on the scene, the M6 MkII was 86 Canon’s coolest mirrorless camera. Even three years after its launch, this APS-C model still packs a big punch. One for those B+W who desire big resolutions, the M6 MkII serves up 32.5MP, enabling photographers to make bigger prints or crop in on frames without compromising quality. Decked out in a black/silver colour design, the M6 MkII is the closest Canon gets to retro design (especially when the optional EVF attachment is added) and the compact build of this camera makes for an excellent travel set-up, with the body tipping the scales at 408g. Despite its small size, this Canon mirrorless is packed with features, including a rapid burst rate of 14fps and a tilting, touch-sensitive LCD. While many may be concerned about the number of lenses out there for Canon’s EF-M mount, it’s worth remembering that third-party lens manufacturers such as Samyang and Sigma also make a number of compatible optics. LIKES LIKES Compact and lightweight Lightweight Face detection Big resolution IBIS Fast burst rate DISLIKES DISLIKES No viewfinder Limited lenses TECH SPECS 20MP TECH SPECS 32.5MP Resolution MFT Resolution EF-M Lens mount Lens mount ISO range 200-25,600 ISO range 100-25,600 (extendable to 51,200) Card slots 1x SD Card slots 1x SD IBIS Yes IBIS No AF points 121 AF points 143 Weight 337g Weight 408g Guide price £729 Guide price £799 Contact Contact olympus.co.uk canon.co.uk

NIKON DF FUJIFILM X-T4 The cult camera Cutting-edge features, superior image quality with pro spec Although it’s no longer the brand’s flagship APS-C model, When it was released in having been overtaken by the newer X-HS2, the X-T4 remains a 2013, the Df was seen hugely impressive camera and one that boasts some gorgeous as something of a retro chic features. Built around an X-Trans sensor that delivers misadventure by Nikon, 26MP of resolution, the X-T4 delivers top specifications across but in the years since, the board, including a fast burst rate of 15fps, an advanced the Df has grown a cult AF system and a fully articulated LCD (improved from the tilting following and is now seen version on the X-T3). Weighing in at 607g, the X-T4 battery is by many as a purist’s camera. also improved over previous versions, with 500 shots possible Built around a 16.2MP full-frame sensor (the same sensor found from a single charge (the X-T3 offered 390). in Nikon’s pro-level D4), the Df is adorned with classic analogue- style mechanical dials and design, and came in an all-black or A weather-sealed body provides protection against the black/silver colourway. Tipping the scales at 765g, the Df included elements and the X-T4 features a five-axis IBIS system that a vast ISO range for its time, offering a native range of 100- offers photographers up to 6.5 stops of compensation to 12,800 that was extendable to 204,800. Inspired by film SLRs help keep shots steady. Plus, the X-T4 will even operate in of yesteryear, the Df also features a robust build with extensive temperatures down to -10ºC. The camera features all the film weather sealing and alloy magnesium construction, along with simulation modes that enable photographers to get creative a tough shutter mechanism rated for 150,000 actuations. in camera without the need to process images in Photoshop. Lastly, with two Images can be reviewed via the huge 3.2in LCD, and a quiet SD card slots, release mode was well received by photographers shooting street photographers and wedding photography. On the downside, the Df is a slow have the ability to camera, with a maximum burst rate of 6fps, and only boasts create an instant 39 AF points, but it’s a good backup of their files all-day camera, with a to the second card. battery that offers up to 1,400 shots on a single charge. 87 B+W LIKES LIKES Mechanical dials Fast burst rate Efficient battery Impressive features Big LCD Premium image quality DISLIKES DISLIKES No IBIS Pricey lenses TECH SPECS 16.2MP TECH SPECS 26MP Resolution F Resolution X Lens mount Lens mount ISO range 100-12,800 (extendable to 204,800) ISO range 160-12,800 (extendable to 51,200) Card slots 1x SD Card slots 2x SD IBIS No IBIS Yes AF points 39 AF points 91 Weight 765g Weight 607g Guide price £1,100 Guide price £1,600 Contact Contact nikon.co.uk fujifilm-x.com

Join us and begin • Connect with regional © Honey Walker ARPS your photography hubs and international journey today forums to share your work more widely At the RPS, we want everyone to enjoy photography. Whether you use a smartphone • Join one of our specialist camera, or have an arsenal of sophisticated groups to focus your equipment, we can help you develop your interests and take part in practical and creative photography skills. competitions, workshops, exhibitions, field trips and The RPS will support you on your journey residencies in photography through our courses, workshops, talks and opportunities. From • Be the first to hear about basic skills to our acclaimed Distinctions our awards, bursaries, qualifications, we will help you take your industry discounts and photography forwards at every stage. exhibition opportunities Learn more: rps.org/membership • Receive exclusive access to our award-winning #PhotographyforEveryone bimonthly RPS Journal magazine KARL Do you want to advertise HOWARD’S in the definitive guide to Black+White Photography? Professional B/W and Colour Call now on processing and printing service - 01273 402855 from 35m - 5x4 negatives or films Or email [email protected] Develop and contact sheet @ £7.00 per film 2 or more films @ £6.00 each Develop and 6x4 prints @ £12.00 per film Develop and 5x7 prints @ £15.00 per film Any orders over £30 - you will receive a FREE film! All work printed on genuine B/W, colour papers Send cheque + £3.00 P&P Karl Howard, 16 Chalfont Close, Hemel Hempstead, Herts HP2 7JR 01442 231993 www.khwp.co.uk

NIKON Z FC SONY A7C Mirrorless supermodel for street and travel Full-frame power in pocket-sized body Dripping with nods to its heritage, Sony doesn’t tend to do retro design. On the whole, the brand’s the Nikon Z fc is one of the cameras are functional and fairly discreet, which is why the A7C best-styled cameras on breaks the mould. With its compact dimensions, middled dials the market and offers and silver/black colour design, this full-frame mirrorless camera something different to oozes retro chic. Beyond its looks, the A7C is also a powerhouse, Nikon mirrorless users. featuring a 24MP sensor, 3in touch-sensitive, fully articulating Despite being very similar LCD and an ISO range that stretches to 204,800. to the Z 50 – Nikon’s other APS-C mirrorless Despite being full-frame, the A7C is no slouch and can offer a camera – the Z fc looks 10fps burst rate to capture the action. The body is tiny, tipping the miles better and has far more character. Built around a 21MP BSI scales at 509g, which is incredible for a full-frame sensor, and CMOS sensor that features no optical low-pass filter, the Z fc is Sony’s E-mount means there’s a huge selection of optics available. well placed to attract street and travel photographers thanks to its premium image quality and speedy burst rate of 11fps. As you’d expect from Sony, the AF system is jaw-dropping, offering 693 AF points and all The body is weather sealed, meaning you don’t have to stop the Real Time Tracking shooting when the rain starts to fall, and features a small display options the brand has panel on the top plate that displays the aperture – 1980s vibes become famous for. Lastly, anyone? The retro feel continues with the electronic viewfinder, there’s an efficient battery that which boasts a circular surround reminiscent of the Nikon FM2 offers 680 shots on a single and activates when the camera is placed up to your eye. The tough charge, and an advanced five- body is made with magnesium alloy and all this tech is wrapped axis IBIS system that helps up in a shell that tips the scales at 445g, making it one of the keep shots steady, particularly lightest cameras in its class. in low-light conditions where camera shake can become a problem. 89 B+W LIKES LIKES Classy weather-sealed design Compact and lightweight Mechanical dials Advanced autofocus Fast burst rate Full-frame sensor DISLIKES DISLIKES No IBIS Only one SD card slot TECH SPECS 21MP TECH SPECS 26MP Resolution Z Resolution E Lens mount Lens mount ISO range 100-51,200 (extendable to 204,800) ISO range 100-51,200 (extendable to 204,800) Card slots 1x SD Card slots 1x SD IBIS No IBIS Yes AF points 209 AF points 693 Weight 445g Weight 509g Guide price Guide price Contact £1,200 Contact £1,700 nikon.co.uk sony.co.uk

HOW TO GET PUBLISHED IN BLACK+WHITE PHOTOGRAPHY Visit our website 90 B+W SUBMIT YOUR IMAGES ONLINE AT www.blackandwhitephotographymag.co.uk BL ACK+WHITE PHOTOGR APHY COOL, CRE ATIVE AND CONTEMPOR ARY

LAST FRAME SMARTSHOTS YOUR B+W LAST FRAME SMARTSHOTS OPEN TO ALL PHOTOGRAPHERS © Pamela Aminou Here at B+W we’re looking out for some really stunning single images that Whatever camera you have, we want to see the pictures you take when the just lend themselves to printing and mounting large scale. Each month one talented winner will have their picture given this treatment by moment is right. For our winners we have three Samsung 64GB EVO Plus Spectrum Photographic – it could be you! microSDXC memory cards with SD Adapters which offer superfast U1, Class 10 rated transfer speeds of up to 130MB/s to give away each month. ©YARRY BENO WINNER © AVINASH SINGH CHAUHAN 96 74 75 B+W B+W B+W WINNER © CHRISTOS TRACHILIS This month’s winner is Pamela Aminou from London who wins a 20x24in giclee print courtesy of Spectrum Photographic. Spectrum Photographic specialise in high quality photographic printing, as well as archival mounting. They offer a range of museum quality services. HOW TO ENTER FIND OUT MORE AT Go to our website: blackandwhitephotographymag.co.uk ©MALCOLM RENDLE ©SHUO HUANG ©JANET SALMON TERMS AND CONDITIONS Black+White Photography magazine competitions are open to entrants worldwide unless otherwise stated. No cash alternatives will be offered for any prize. The judges’ decision is final and no correspondence can be entered into. Employees of GMC Publications and sponsors, their associated companies and their families are not eligible to enter. Duties and taxes charged by Customs in the destination country are to be paid by the winner (if outside of UK). By entering a competition, you agree that details may be used in future marketing by GMC Publications unless you state otherwise. You can unsubscribe to email newsletters at any time. Do you have a single image that you Shoot with any camera and send in your pictures – you could be one of three lucky winners would like printed big and hung on your each month who wins a Samsung EVO Plus 64GB MicroSDXC card. Upload your pictures to wall? Send the file to us and you could our website, via Twitter by tagging us @BWPMag and using the hashtag #smartshots. If you win just that. are successful we will request high-res files. 91 B+W ONLINE COMMUNITY SALON FOR ALL CONTACT DETAILS SALONYOUR B+W blackandwhitephotographymag.co.uk In our search for some of the best work by Black+White aficionados, we discovered Diarmuid Doran’s work. His most resonant series is one that steps outside of FOLLOW US ON FACEBOOK photographic norms and embraces the distortion of extreme ISOs and low light. facebook.com/blackandwhitephotog Diarmuid Doran is a photographer living number of series exploring beauty as a ‘The equivalent in sound would be and working in Dublin. He graduated theme. This series, At Night, speaks the most distortion, which is technically wrong, FOLLOW US ON TWITTER from Technological University Dublin in to me. The night scenes were something but the imperfection produces something 1999 and began his career as an assistant I had been developing for a while and interesting and becomes a creative tool. @BWPMag in commercial and fashion. In 2004 he eventually came together late one night in You just have to be OK with working outside transferred his photography skills and now Dunmore East, County Waterford. The idea photographic norms, which means capturing FOLLOW US ON INSTAGRAM works as a television lighting director. is to push the camera and processing as all the noise digital cameras bring with low- far as possible and to experiment with and light photography, something photographers @bwphotomag ‘Looking for a new perspective and accentuate the imperfections and limitations. are told to avoid.’ approach to my photography, I began a 80 81 B+W B+W 2 PRIVACY 1 3 All images © Diarmuid Doran | diarmuiddoranphotographer.com 4 If you win a prize (Last Frame or Smartshots) you agree we can give We are looking for contemporary black & white pictures your contact details (address, email that tell a story about the world as you see it. Send us and telephone number) to the prize a well-edited set of around 10 pictures. sponsor so they can contact you about sending you your prize. They will not use your details for any other purpose or pass them on to a third party.

Aperture UK 17a&b Riding House Street, London, W1W 7DT. 020 7436 9844 Leica M11 - £7500 Inc. VAT (Lens not included) Available in Black or Silver Chrome * 60 Megapixel CMOS M-Sensor * ISO 100 to ISO 50000 * Multi-field metering in rangefinder mode * 64 GB internal memory * Electronic shutter featuring a shutter speed of up to 1/16000 of a second Leica M6 0.58 TTL (Die letzten 999) £4990 We are an official Leica stockist. Please call or visit our website for your requirements and availabilities. We are also keen to purchase your pre-owned cameras and lenses either outright or through part-exchange. www.apertureuk.com Tel: 020 7436 9844 Email: [email protected]

Aperture UK 17a&b Riding House Street, London, W1W 7DT. 020 7436 9844 Quality Pre-owned Leica Cameras Exc+++ £3590 Lenses M Mount cont. Exc+ £470 Leica S (typ 007) body with extra battery Mint- £1990 Zeiss 35mm f2 Biogon ZM T* Mint £6390 Leica S-E (Typ 006) Grey Leica 50mm f0.95 Noctilux-M ASPH Black Leica 35mm f2.5 Summarit-S CS + hood (boxed) Mint- £2290 Leica 5cm f2.8 Elmar Chrome Exc++ £370 Leica 70mm f2.5 Summarit-S + hood (boxed) MS-Optics 73mm f1.5 Sonnetar F.MC Leica 120mm f2.5 Apo-Macro-Summarit-S + hood Exc+++ £1290 Leica 90mm f2.8 Elmarit-M Black Built in hood Mint- £850 Leica 180mm f3.5 Apo-Elmar-S CS + hood (boxed) Leica 90mm f2 Apo-Summicron-M ASPH Leica Multifunction Handgrip S with Battery Mint £1990 Leica 90mm f2 Summicron-M Exc+ £850 Leica SL (Typ 601) Leica 90mm f2.8 Elmarit Chrorme Leica 35mm f2 Apo-Summarit-SL + hood (boxed) Mint- £2390 Leica Angle Finder M Exc £1690 Sigma 45mm f2.8 DG DN (L-Mount) boxed Leica Motor M Leica 90-280mm f2.8-4 Apo-Vario-Elmarit-SL Exc £320 Leica Visoflex (Tpe 020) (Boxed) Exc++ £850 Leica T (Typ 701) Black (boxed) Leica EVF-2 Leica CL Black (boxed) Exc+ £1650 Leica 21-24-28mm Multi Viewfinder Mint- £450 Leica 18mm f2.8 Elmarit-TLASPH (boxed) Leica 24mm Bright Line Viewfinder + pouch Leica 60mm f2.8 Apo-Macro-Elmarit-TLASPH Silver As new £1590 Leica SF-64 Flash (Brand New) Mint- £180 Leica M10-R Silver (boxed) Leica M10-R Black (boxed) Mint £290 Lenses Screw and R Mount Exc++ £220 Leica M10 Monochrom with M10 Protector Leica M9 Steel Grey 12500 Actuations Mint- £3690 Leica IIIg Mint- £270 Leica M8 Black 21500 Actuations Leica 2.8cm f6.3 Hektor L38 Leica M6 0.58 TTL (Die letzten 999) 396/999 Exc+++ £390 Leica 3.5cm f3.5 Summaron L39 Mint- £170 Leica M6 Black Leica 3.5cm f3.5 Elmar Nickel Leica M4-P 70 yrs Anniversary Edition (1913-1983) Exc++ £1250 Leica 5cm f2 Summitar L39 Exc+++ £250 Leica M2 Chrome Leica 5cm f2 Summitar L39 scratch glass but useable Leica Motor-M Mint- £690 Leica R7 Black with Leica half case Mint £190 Leica 2X Extender Lenses M Mount Mint- £1450 Unused £390 Others Leica 16-18-21mm f4 Tri-Elmar-M + Finder (boxed) Exc+++ £5390 Leica 18mm f3.8 Super-Elmar-M ASPH + hood Canon FD7.5mm f5.6 Fisheye SSC Leica 21mm f2.8 Elmarit-M ASPH + hood 6 bit Exc++ £5190 Canon FD100mm f2.8 S.S.C. Exc++ £790 Leica 21mm f3.4 Super-Angulon Noblex Pro 6 / 150E Exc+ 790 Leica 24mm f2.8 Elmar-M ASPH + hood Chrome Exc+++ £6390 Rodenstock 35mm f4.5 Apo-Grandagon -Alpa fit Mount Exc+++ Leica 24mm 2.8 Elmarit-M ASPH + hood (boxed) Mamiya 43mm f4.5L + hood & v/finder £390 Zeiss 25mm f2.8 Biogon ZMT* User £1990 Mamiya 150mm f4.5L + hood Exc+ £490 Leica 35mm f1.4 Summilux-M + hood (boxed) Rolleiflex T (75 Tessar) with ERC Exc++ £390 Light Lens Lab 35mm f2 V1LC Silver Exc+ £1150 Rolleiflex 6008AF+80mmf2.8AF-XenotarPQS+RHF User £190 Ebony 45 SU with Wide Angle Bellows Exc+++ £450 Mint- £4990 Linhof Master Technika Mint £120 Exc £2090 Mint- £2390 Exc £1090 Mint £250 Mint- £490 Mint £3290 Exc++ £170 Mint- £1450 Exc+++ £1290 Mint- £1790 Exc++ £990 Exc+++ £890 Mint- £850 Mint £2990 Mint £350 Mint- £1490 Exc++ £490 Exc+ £490 Exc+++ £2490 Mint- £2390 Exc+++ £2850 Mint £950 Exc+++ £1490 We are always keen to purchase your pre-owned cameras and lenses either outright or through part-exchange www.apertureuk.com Tel: 020 7436 9844 Email: [email protected]

CHOOSING GREAT LOCATIONS + PHOTOGRAPHING LOCAL WILDLIFE + BEAUTIFUL HUMMINGBIRDS ART OF CAMERA TRAPS + MOUNTAIN PHOTOGRAPHY + VINCENT MUNIER LONG EXPOSURE LANDSCAPES + NIKON Z 9 + BEST HIKING BOOTS landscape | wildlife | nature | adventure landscape | wildlife | nature | adventure landscape | wildlife | nature | adventure SPRING WILDLIFE + FABULOUS LANDSCAPES + QUIET PLACES ART WOLFE + PHOTOGRAPH SPRING COLOUR + BEAUTIFUL GARDEN PICTURES HOLISTIC PHOTOGRAPHY + PEREGRINE FALCONS + FABULOUS ADVENTURE PICTURES landscape | wildlife | nature | adventure landscape | wildlife | nature | adventure landscape | wildlife | nature | adventure £4.99 • ISSUE 279 Subscribe from only £26.95 2022 The magazine dedicated to landscape, wildlife, nature and adventure gmcsubscriptions.com/outdoor-photography

NEXT MONTH B+W ISSUE 269 – ON SALE 1 SEPTEMBER © Alys Tomlinson 95 B+W Maschere a Gattu, Sarule, Sardinia by Alys Tomlinson ALYS TOMLINSON ON FESTIVALS, RITUALS AND COSTUMES NELLI PALOMÄKI – DRIVEN BY LIGHT AND DARK SUSAN BURNSTINE TALKS TO NADEZDA NIKOLOVA ANGÈLE ETOUNDI ESSAMBA ON EXPLORING BLACK WOMANHOOD CONTACT US Web blackandwhitephotographymag.co.uk Facebook facebook.com/blackandwhitephotog Twitter @BWPMag Instagram @bwphotomag

YOUR B+W LAST FRAME © Pamela Aminou 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 Spectrum Photographic – it could be you! 96 B+W This month’s winner is Pamela Aminou from London who wins a 20x24in giclee print courtesy of Spectrum Photographic. Spectrum Photographic specialise in high quality photographic printing, as well as archival mounting. They offer a range of museum quality services. HOW TO ENTER FIND OUT MORE AT Go to our website: blackandwhitephotographymag.co.uk TERMS AND CONDITIONS Black+White Photography magazine competitions are open to entrants worldwide unless otherwise stated. No cash alternatives will be offered for any prize. The judges’ decision is final and no correspondence can be entered into. Employees of GMC Publications and sponsors, their associated companies and their families are not eligible to enter. Duties and taxes charged by Customs in the destination country are to be paid by the winner (if outside of UK). By entering a competition, you agree that details may be used in future marketing by GMC Publications unless you state otherwise. You can unsubscribe to email newsletters at any time.

Photography can MPB puts cameras and the lenses into more hands, bigger more sustainably. picture MPB. The platform to buy and sell used photo and video kit. mpb.com #ChangeGear