Amateur Photographer - 15 March 2022

On sale Tuesday 15 March 2022 £Dinot1on1’tA,f0morga0ette0tuoreoPnhtfeorptyoorguirrzabepeshtsebrlatocokf &tbhweehYitweeaproh2ont0o2s!2 PREMIUM EDITION Passionate about photography since 1884 MPaAsRsiCoHna2t0e2a2bout photography since 1884 INSIDE B&W 32-page Black & white special: bumper issue pull-out packed with mono tips and inspiration guide TESTED l SEEING IN B&W The art of pre-visualisation l SET UP FOR MONO The best settings to use l B&W CONVERSIONS using Adobe and DxO People in mono £4.99 The new OM-1 Three very different styles for portraits with impact OM System’s tribute to an B&W cityscapes old classic Streets and architecture are a perfect match for mono Google Pixel 6 Quality images, half the cost Captive audience Sublime portraits of animals photographed at4tfh8ee8zo0o7c-deee-4695-9947-12bfa4c06385 ia KELSEYmedia

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7days COVER PICTURE © TONY SELLEN Black & white photography one in seconds, but the best b&w photography is should not logically exist in a not done after the fact, but visualised that way world that is so colourful, and from the outset. This week we share the expertise where reproducing those colours of a wide variety of skilled b&w shooters working accurately is easier than it has in a variety of genres. Once you have absorbed the ever been. But not only does it advice and inspiration contained within these pages exist it remains hugely popular, and with good you’ll be ready to enter the B&W round of our reason. Done well, b&w has a purity and a graphic Amateur Photographer of the Year competition, power that colour can only envy. These days any where you could win £500 to spend at MPB. colour photo can be turned into a monochrome Details are on page 64. Nigel Atherton, Editor This week’s If you’d like to see your words or pictures published in Amateur Photographer, here’s how: cover image SOMETHING TO SAY? Write to us at [email protected] with your letters, opinion columns (max 500 words) or article suggestions. Our cover image this week PICTURES Send us a link to your website or gallery, or attach a set of low-res sample images (up to a total of 5MB) to [email protected]. is by Tony Sellen. Read his JOIN US ONLINE Post your pictures into our Flickr, Facebook, Twitter or Instagram communities. advice on shooting urban b&w on page 50 amateurphotographer.co.uk facebook.com/ flickr.com/groups/ @AP_Magazine @ap_magazine amateur.photographer.magazine amateurphotographer This week in 1939 In this issue TREASURES FROM THE HULTON ARCHIVE 3 7 days 14 Seeing in B&W 22 Inbox 24 Making strides 28 The heritage business 32 Behind the print 36 An inside job 40 Black & white portrait skills 46 Silver still-life 46 Sentient creatures 50 The shape of the city 54 Infrared: the right way 58 B&W tools you © GETTY IMAGES can trust 64 APOY launch: R2 68 Reader portfolio Model Soldiers by Gerti Deutsch 72 OM System OM-1 79 Google Pixel 6 Two members of the Society of Collectors of Model Deutsch, also known as Gertrude Hopkinson (she 82 Accessories Soldiers inspect each other’s handiwork at one of married Picture Post editor Tom Hopkinson) was an 84 Tech talk the society’s meetings at their HQ, the Mason’s Austrian-born British photographer. She produced a 87 Buying Guide: Arms public house in Maddox Street, London. This huge catalogue of photographic features over 30 image featured in a story in Picture Post entitled years, becoming the first female photographer Cameras ‘Hearth Rug Rearmament’. The photographer, Gerti (and staffer) on Picture Post. 98 Final analysis The Getty Images Hulton Archive is one of the world’s great cultural resources. Tracing its origins to the founding of the London Stereoscopic Company in 1854, today it houses over 80 million images spanning the birth of photography to the digital age. Explore it at www.gettyimages.com. 4f8e807c-deee-4695-9947-12bfa4c06385

*PLEASE ALLOW UP TO 28 DAYS FOR DELIVERY Our favourite photos posted by readers on our social media channels this week AP picture of the week Mother and Child by Kevin Mcguinness Sony A7II, 28-70mm, 1/80sec at f/10, ISO 320 ‘I started photography as a hobby and it soon became a passion,’ says Kevin. ‘No matter the weather, I’ll be outside shooting somewhere. On this day, I was out testing my new Sony A7 II, which I had just bought to try out and explore the world of mirrorless after using DSLR for so many years. I took this image close to where I live and I’ve walked this track many times, but on this day the mist was just right.The trees were bare, as it was mid January, and from this perspective and the way the trees were interacting, it looked like an adult and a child standing in the park. I shot handheld, then processed the image in Lightroom and DxO FilmPack 5 for the black & white conversion.’ Instagram @kmc_foto #appicoftheweek Win! Each week we choose our favourite picture on Facebook, Instagram, Flickr or Twitter using #appicoftheweek. PermaJet proudly supports the online picture of the week winner, who will receive a top-quality print of their image on the finest PermaJet paper*. It is important to bring images to life outside the digital sphere, so we encourage everyone to get printing today! Visit www.permajet.com to learn more. 4 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

Shore by Eduardo Vicente Caballero Nikon D5600, Sigma 17-50mm at 44mm, 1/400sec at f/8, ISO 100 Eduardo tells us, ‘I took this image when the sun was setting, but still allowed enough light to create shadows and a great range of grey tones. I recently started out in photography and am continuously learning.’ Visit www.flickr.com/photos/193830262@N07 www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 5

We also liked... Art of Fruit by Amitha AR Canon EOS 1200D, 18-55mm, 1/100sec at f/4.5, ISO 3200 India-based self-taught photographer Amitha says, ‘Most of my pictures are inspired by dark, raw food and their natural textures. Every image is a new lesson for me. This image is of the red banana. I took this at the start of the day in my home studio, the light made the banana look eye-catching.’ Instagram @official_amithaar 4f8e807c-deee-4695-9947-12bfa4c06385

Manali to Kaza by Anju Mishra Nikon D750, 24mm, 30sec at f/13, ISO 71, 10-stop ND filter ‘This image was made during a trip from Manali to Kaza in the Spiti Valley. The green hut under the blue sky created a beautiful drama which appealed to me.’ Visit cargocollective.com/ Anjumishra and @indiakalakaar on Instagram. Enjoy the Silence and the Free by Steffen John Fujifilm X-T2, 100-400mm with 1.4x teleconverter, 1/950sec at f/8, ISO 800 ‘I took this photograph on the island of Amrum in the North Sea. On the northern end of the island is a headland called Odde, where you can watch these seals. It is a safe rest place and you can view the seals from a safe distance. I’m a big fan of these animals,’ says Steffen. View more of Steffen’s work on Instagram @beginner17 Want to see your pictures here? Share them 7 with our Flickr, Instagram, Twitter, or Facebook communities using the hashtag #appicoftheweek. Or email your best shot to us at [email protected]. See page 3 for how to find us. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385

Cosina reveals prime lens quartet The Honor Magic4 Pro in cyan COSINA has unveiled four Voigtländer The Voigtländer Nokton D 23mm F1.2 manual-focus prime lenses. Along with an Aspherical lens is for Nikon Z-series APS-C Honor unveils Magic4 APS-C format 23mm in Nikon Z and Fujifilm X cameras. The 23mm lens delivers a roughly Pro phone mounts, there’s a 35mm and a 50mm for 35mm-equivalent focal length when shooting Nikon full-frame Z-series cameras. with the APS-C format. HONOR has unveiled its flagship The Voigtländer APO-Lanthar 35mm F2 Magic4 Pro smartphone with a 100x Aspherical lens for full-frame Nikon Z cameras Voigtländer’s second-ever X-mount lens, ‘digital zoom’ within its extensive camera has an apochromatic design, features 11 after 2021’s Nokton 35mm F1.2, is the specifications. The Honor Magic4 Pro’s elements in nine groups and includes a Nokton 23mm F1.2 Aspherical for Fujifilm X. camera set-up consists of a 50MP wide 12-bladed aperture diaphragm. Minimum It’s optically the same as the Nikon 23mm DX camera, a 50MP ultra-wideangle focus distance is 0.35m, resulting in a version but has a different cosmetic design. camera with an aperture of f/2.2, a 64MP maximum magnification ratio of 1:6.77. telephoto camera with 3.5x optical and The Voigtländer APO-Lanthar 50mm F2 Cosina has also launched the Voigtländer 100x digital zooms, plus a 12MP selfie Aspherical lens is also an apochromatic VM-E Close Focus Adapter II, which allows camera at the front of the phone. design. It promises to eliminate aberrations users to mount Voigtländer VM and Zeiss ZM The Honor Magic4 Pro will be £899 in and deliver clean, high-resolution images, lenses to full-frame Sony E-mount cameras. the UK on release. There’s also an Honor even when shooting wide open at f/2. Magic4 handset on the way, but exact Official UK pricing is yet to be announced, pricing for the regular Magic4 and UK but as a guide, the 35mm and 50mm each release dates for both handsets have cost £899 in their Sony E-mount incarnations. yet to be confirmed. The four Voigtländer lenses and close-focus adapter The QR11-L TPG to exhibit Deutsche Börse finalists 2.0 on a Fujifilm X-T4 camera 3 Legged Thing revamps THE PHOTOGRAPHER’S Gallery (TPG) in into climate peril in Florida that reveals the its QR-11 L-brackets London will exhibit the work of the four stark dissonance between idealised imagery finalists in the 2022 edition of the Deutsche and the reality of rising tides. THREE Legged Thing (3LT) has Börse Photography Foundation Prize, from revamped its QR11 Universal 25 March to 12 June. After being at TPG, the exhibition will then L-brackets, with design updates and The nominated projects from the 2022 tour to Deutsche Börse’s headquarters in improved features, to produce its QR11 2.0 shortlisted artists – Anastasia Samoylova, Eschborn/Frankfurt as of 30 June 2022. brackets. The new-style brackets have Jo Ractliffe, Deana Lawson and Gilles Peress been made in response to customer – will be in an exhibition over two floors of Flooded Garage, 2017, from the series feedback, mainly because of the large TPG. The overall winner of the £30,000 prize FloodZone © Anastasia Samoylova number of cameras launched since the will be announced at an evening award original QR11 in 2017. They are available ceremony on 12 May, with the other finalists as QR11-L 2.0 for standard mirrorless and each receiving £5,000. DSLR cameras or QR11-FB 2.0 for The nominated projects include installations ‘full-body’ and cameras with grips. The of Jo Ractliffe’s Photographs 1980s to now brackets have a refined shape and reduced (on post-Apartheid South Africa) and Gilles weight. Available in either 3LT’s signature Peress’ Whatever You Say, Say Nothing (shot Copper or Metallic Slate Grey, the QR11-L on the streets of Northern Ireland). 2.0 has an SRP of £49.99 and the In Centropy, Deana Lawson explores her QR11-FB 2.0’s SRP is £59.99. representation of Black experience. Anastasia Samoylova’s FloodZone is an investigation 8 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

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Books & exhibitions The latest and best books and exhibitions from the world of photography Street Scene, Hulme, Manchester. A group of children standing by a sign in front of a ‘cleared’ row of houses, the shells of houses due for demolition behind, 1965. Shirley Baker Photography © Nan Levy for the Estate of Shirley Baker Iconic British photos in Portrait of Britain Volume 4 Barbican showcase £22.95, Hoxton Mini Press, Hardback, ICONIC British photographs feature the exhibition reveals the particular 336 pages, ISBN: 9781914314131 in the new exhibition, Postwar subjects that preoccupied artists in the Modern: New Art in Britain 1945- post-war period – the body, the post- Now in its fourth volume, the annual Portrait of 1965, at the Barbican Art Gallery in atomic condition, the Blitzed streetscape, Britain competition is a real treat for contemporary London, till 26 June 2022. private relationships and imagined portrait fans. The main photographers showcased future horizons. in the exhibition are Shirley Baker (1932- Bringing together 200 images that depict Britain 2014), Bill Brandt (1904-1983), Bert The exhibition puts together an array of during another tumultuous period, these gripping Hardy (1913-1995), Nigel Henderson artists in both expected and unexpected portraits are paired with insightful stories and (1917-1985), Roger Mayne (1929-2014) groupings. In ‘Post-Atomic Garden’, Bert comments which show off how diverse, and perhaps and Lee Miller (1907-1977). Hardy’s photographs of bombed-out more importantly how similar, we all are. This volume The exhibition showcases art Birmingham are found alongside the also includes an introduction by Jess Phillips MP to produced in Britain during the 20 years sculpture of Lynn Chadwick, the paintings set the portraits within their cultural context. after the end of the Second World War. of Prunella Clough and the collages of It brings together around 200 works of Nigel Henderson. As we see consistently from books by Hoxton Mini photography, painting and sculpture by Press, it’s been lovingly and beautifully designed, 48 artists, drawn from public and private Shirley Baker’s colour photography with the pages making the best use of its compact collections from around the world. Much is shown alongside the lesser-known size to reproduce the portraits well. of the work is little known, while other paintings of Eva Frankfurther. The works are exhibited for the first time. theme ‘Intimacy and Aura’ is explored You’ll find works from established photographers Divided into 14 thematic sections, by bringing together the photographs alongside those lesser known. Names include of Bill Brandt with paintings by artists Frederic Aranda, Joanne Coates, Robert Darch, Jillian Lucian Freud and Sylvia Sleigh.  Edelstein, Rory Lewis and Carolyn Mendelsohn – it’s a very worthy addition to your shelf. Journal of the Plague Year by Cold War Steve £16.99, Thames and Hudson, hardback, 128 pages, ISBN: 9780500025154 Leica unveils Q2 Monochrom Reporter Well-known satirist Cold War Steve puts together LEICA has launched the Q2 Leica’s 47MP Q2 Monochrom Reporter humorous photo montages Monochrom Reporter – an update alongside witty captions to of its robust, full-frame, 47MP The remaining areas of the camera are deliver his messages. monochrome-sensor reportage camera protected by a specialist, dark-green, and the latest incarnation of 2019’s Q2. paint with abrasion-resistant properties. Sometimes dubbed ‘the Leica claims the absence of a colour modern-day William filter array, ‘leads to an unparalleled Leica’s Q2 Monochrom Reporter is Hogarth’, Cold War Steve detail rendition and increased sensitivity.’ available now with an RRP of £5,250. takes a scathing look at The full-frame compact camera has the pandemic, the government’s dealings of it, the US a fixed Summilux 28mm f/1.7 lens and election, lockdown and myriad crises and scandals. an ISO range of 50-50,000. There’s Although not the sort of traditional photography also a 3.68m-dot OLED viewfinder and book we might usually feature in AP, it’s an interesting a 3in rear touchscreen. look at how photography can be used in different It is equipped with a ‘body armour’ ways for political commentary, satire and art. made of Kevlar – a synthetic fibre used A humorous book to have on the shelf as a in the production of protective clothing. document of extraordinary times – if you can get through it without shaking your head in disbelief, then you probably deserve some kind of prize. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 11

From the archive Nigel Atherton looks back at past AP issues Tales of photography in East Africa Wallace Heaton: endorsed by God, no less 16 March 1932 The 1932 Spring and Empire Number featured on its cover At the Harbour, by F.R Ratnagar of India. British-made Ensign Carbines at £243 a host of golden daffodils, and in colour, no less – a rarity From the Colonial and Overseas contest and £400 in today’s money for covers of the time. In the inter-war years AP published an annual Empire issue with contributions almost entirely Ads for the Leica Model II and Rolleiflex A round up of lenses and useful sundries from residents of the colonies – not all of whom enjoyed springtime in the month of March.‘For the lonely man of tropical countries there exists, perhaps, no more fascinating hobby than photography,’ wrote one correspondent using the nom de plume “African Amateur”. ‘The writer of these jottings, when in East Africa, found it a splendid pastime which, incidentally, brought him a fair financial return by taking photographs of natives. While professional photographers live 100 miles away in the big townships, the natives depend for portraits on the amateur; and a native simply loves to see his own face.’ Living 120 miles from the nearest shops he stressed the importance of maintaining supplies. ‘With petrol at three shillings a gallon I couldn’t just run over on my motorcycle to buy a shilling’s worth of developer.’ In Choosing the 1932 Camera, the choice was between roll-film cameras (ideally the folding type, rather than the ‘cheap boxform type’); the pocket plate camera (preferably with some ‘rise of front’) and the reflex (the most popular choice among ‘the leaders of photography’). Meanwhile an ad entitled Good Advice: the Reverend knows a good thing recounts a fictional encounter with the local vicar, who bought his camera from Wallace Heaton and advised readers to do the same. 12 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

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Technique Brian Lloyd Duckett Brian Lloyd Duckett is a pro documentary and street photographer and a Fujifilm ambassador. He’s the founder of StreetSnappers www.streetsnappers.com and runs workshops across the UK and in Europe. You can also find him on YouTube @streetsnappers. Black & white thinking How do you go about learning to see in black & white and decide which subjects work better without colour? Brian Lloyd Duckett shares some essential advice and techniques with Geoff Harris W hy choose to shoot in black & white? Because it looks cool? Because it was/is the medium of choice of legendary photographers such as Henri Cartier-Bresson, Mary Ellen Mark or Don McCullin? Because you like street photography or moody landscape work and feel it ought to be in monochrome? To succeed in black & white photography, you will usually need more compelling reasons than these for it to be creatively rewarding and grab the attention of other people. There is no easy answer or handy checklist, but as with everything, we can learn from experienced photographers who have worked successfully in this area for a long time. Brian Lloyd Duckett, the 14 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

principal and course tutor at street Above: Modern the decision to shoot in black & develop it myself – much to the photography specialists buildings, white should be made with intent, consternation of my parents, who Streetsnappers, has brought out a particularly those ideally before the shutter is pressed. could only take so much of the smell great new book, 52 Assignments: built in the ’60s The alternative is looking at a colour of fixer in the bathroom. So my first Black and White Photography (for a and ’70s, often image and thinking, afterwards, experiences of “seeing” in black & 25% discount, see page 18). We have a variety of “That looks a bit boring, I’ll see if it’s white were watching a print emerge asked Brian to share some of his richly textured any better if I convert it to black & in the developing tray under the advice and insights to help us all to surfaces, which white” – which is the wrong way glow of a red light.’ see more effectively in black & translate well to round. It’s far better to visualise a white so that we can better decide black & white black & white shot at the design Brian’s first job was doing work when to use it. stage. It should be a deliberate experience at the local paper in the Left: Great black aesthetic decision rather than an summer holidays and, rather How to decide on & white afterthought or an attempt to rescue morbidly, his first published picture black & white photographers are a boring image.’ was of a dead dog in a litter bin – in able to pre- black & white of course. ‘Colour ‘What was once a technical visualise how When Brian started out as a only really came into newspaper constraint – once you loaded black & colours will look. photographer, he didn’t have much photography in 1986 with the white film you were stuck with it – is The gradation in choice when it came to shooting in launch of the Today tabloid so, now a creative option and we have the sky’s tones black & white, and this proved to be prior to that, seeing in black & white the luxury of being able to make an can be easily helpful later on. ‘I started shooting was the norm – you had to informed choice either before or achieved by film as an impoverished student and instinctively feel how an image after the event,’ Brian explains. tweaking the couldn’t afford colour. Black & white would look on the page: the ‘However, I’ve always believed that colour sliders in film was cheaper to buy and I could tones, the contrast, the form your editing software www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 15

Technique SEEING IN BLACK & WHITE Brian’s top ten tips Brian has the following essential advice to help if you are struggling to see in black & white 1 Shoot some projects specifically in black & white to see how you get on – particularly projects with a documentary feel. Then ask for feedback, from your peers in a camera club for instance, or on online forums. 2 Shoot black & white by design rather than by accident. Never use it as a means to rescue poor colour images. 3 Set your viewfinder/LCD screen to monochrome to aid the ‘seeing in black & white’ process. 4 Work on your photographic style and find a way to integrate black & white shooting into that style. 5 Musicians use expression in their creations and so can we. So I’ll use black & white to add expression or feeling to an image – which could mean, for example, feelings of timelessness, nostalgia, mood, mystery or ambiguity. 6 Use black & white when the scene has strong graphical qualities and you want to emphasise form, lines, angles or areas of high contrast. 7 If you feel that the colours are too distracting and the frame needs simplifying, black & white may help viewers better understand the image. 8 Choose the subject carefully: not every scene will work well in black & white. Shooting raw and comparing the colour and black & white image side by side will help with this. 9 Shoot black & white if it’s part of a project which has a consistent monochrome aesthetic throughout – and for me this usually means a documentary rather than a purely street project. 1 0 Shoot film to help you Less is often more with black appreciate the nuances of & white: the brightness of the black & white. And if you do shoot snow masks out any film, don’t obsess about perfection distracting background detail – care more about mood and feel. 16 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

and the textures. Placing the head in the white part of the frame helps to emphasise the silhouette ‘I think I’ve always tried to look beyond the colour, almost blanking it out and visualising how the frame will look in monochrome. I remember some of the Gestalt principles we were taught when I did A level photography – one of them being “simplicity”, whereby we try to reduce an image to its simplest form; this works very well in helping to see in black & white and I use it when teaching my workshop students today. ‘If I were starting out again now, life would be much easier, especially with a mirrorless camera which would allow me to preview the world in black & white before pressing the shutter.’ Have a clear sense of purpose Contrast is key: punchy blacks and bright whites result in good tonal separation Digital cameras and indeed referred back to a famous quote by and which kind of disproves Grant’s smartphones have really opened up Canadian photographer Ted Grant: point. So I think it’s less about the photography but Brian believes it’s ‘With colour photography you see medium and more about the been a mixed blessing for black & the colour of somebody’s clothes, photographer’s ability to create an white photographers. ‘Digital has a with black & white you see the image which draws the viewer in lot to answer for as it’s removed colour of their soul.’ Does Brian and connects with them on an much of the thinking from subscribe to this? emotional level. Black & white and photography. It’s too easy to “spray colour can do this equally and pray” without giving too much ‘I’m not so sure… I think this effectively.’ thought either to the creative process quote is a bit overplayed these days. or to what’s happening technically.’ We live in a colourful world and our Don’t just default to mono eyes see in colour, so colour With street photography, however, photography is realism; black & There is a tendency for a lot of Brian believes that there is a white is an abstraction. Having said photographers to switch counter-argument. ‘If you look at that, there’s a grain of truth in Ted’s automatically to black & white for some of the great street quote. Black & white can help strip certain subjects – winter landscapes, photographers at work – Garry away the irrelevances and the gritty urban portraits and indeed a Winogrand, William Klein and Daido distractions of colour, taking the lot of street photography generally. Moriyama spring to mind – you can viewer’s eye, Exocet-like, to the heart Then people jump back to colour for see them shooting compulsively and of the image. macro images or sunny travel shots, instinctively, getting through dozens for instance. Does Brian think we of rolls of film in a single day. If they ‘However, there’s an alternative should all be more creative and slowed down to think too deeply take on this. Just look at the rich, think outside the box more when about ‘seeing in black & white’, then vibrant moods from Fred Herzog in deciding what and when to the spontaneity, the instinct, the his seminal book, Modern Colour, shoot in black & white? sense of moment and the energy which has “soul” in bucket loads would be missing from many of their notable images.’ For Brian, this whole question takes us back to his earlier point: everything needs to be done with a clear sense of purpose. ‘So if I’m planning to shoot in black & white, I’ll stick to that plan. Assuming I’m shooting digitally, I’ll shoot in raw and will set my viewfinder to monochrome. This means that I’m not only conceptualising the world in black & white, I’m physically visualising it that way too.’ Getting to the heart of the image When putting together AP’s obituary for documentary photographer Tom Stoddart, we www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 17

Shadows can form strong graphical patterns and on a sunny day there’s potential for them everywhere ‘Yes. I think a lot of people, To get an exclusive 25% & white photography as an art form would have done in colour. For this especially street photographers, discount on Brian’s new in itself. In fact, I know people project I’m shooting black & white think that certain types of image book, 52 Assignments: whose total output is in black & JPEGS, using the Acros film “should” be shot in black & white – Black & White white and in a way I’m quite envious simulation in my Fujifilm cameras.’ and often without good reason Photography (Ammonite of this approach – it removes all the (other than it looks more “street”). Press), simply visit angst over making the decision Apart from specific projects like I’ve never been sure why, although it giftstome.co.uk and about colour.’ this, Brian always shoots raw so he could be because the photographer apply the discount code has the flexibility to choose black & wants to associate their work with R2201. Or you can order Colour or mono: stay flexible white if he needs it. ‘Sure, there are some of the iconic black & white by phoning 01273 occasions when you won’t know street shots from the 1960s and ’70s. 488005 and quoting the Brian’s book does a great job of whether an image works best in Or perhaps it’s a throwback to the same discount code. ‘selling’ black & white photography, black & white or colour until you first half of the last century when Offer price £9.74 plus so much so that you’re left can see the two edited shots colour was seen as the work of the P&P. Offer closes wondering why not use it all the side-by-side. You may ask yourself devil by the photographic 03/06/22. time. It is therefore surprising to hear “which version helps me to better establishment!’ that most of Brian’s output is now in tell the story?” or “which one is Brian is very clear that we colour. What gives? going to look better as a 20x16 fine shouldn’t have generalised pre- art print?”’ conceptions about whether a ‘I tend to shoot black & white particular genre should be shot in mainly for specific projects rather The value of printing black & white or colour – least of all than random images. For example, street photography. ‘Photography I’m currently working on a project Staying on this subject, Brian is a needs to evolve and sometimes it called Soho Noir which is all shot huge fan of printing and believes it’s feels like we’re all stuck in a rut, after dark. The night-time streets of a real shame so many of us have doing the same stuff over and over Soho have been done to death in thousands of good images again – you can see plenty of colour and I thought I should break languishing on hard drives. ‘There’s evidence of this in some camera away and do something different. so much joy in having a lovely print club competitions. One approach I’m enjoying experimenting with in your hands – especially a black & I’ve always liked is to perceive black high contrast and lots of movement white one that’s been printed on and I seem to be able to generate decent paper. more energy in black & white than I ‘I’m pleased to say that darkroom 18 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

SEEING IN BLACK & WHITE Technique The woman’s white clothing pops against the black negative space, which, combined with her positioning towards the edge of the frame, helps create a feeling of insignificance or displacement When capturing patterns, try skills are actually still alive and particular qualities does black & different shooting angles to kicking – evidenced by the fact that white film bring to black & white create the effect you want the Analogue Zone at last year’s photography – there’s grain, Photography Show was one of the obviously, but what else? busiest areas. Schools, colleges and universities are now focusing more ‘I remember being overjoyed on these traditional skills to there’s a when vinyl started to make a big “ground up” movement to keep comeback in music and I feel the them going. same about film. For me, film has a lovely naturalness and a real-world ‘That said, I appreciate that not quality that is missing from digital. everyone wants to shoot film – or Digital is, of course, marvellous but has access to a darkroom – so editing sometimes it just too “good” – too software is the next best thing. Most sharp – too perfect. of what we do in the darkroom is based around dodging, burning, ‘Film is generally less harsh than cropping and changes to exposure digital, with more forgiving tones, and contrast, and software can do all and this is illustrated perfectly in that perfectly well. I think the black & white portraits, which can challenge is to just do what’s have beautifully even and flattering necessary and not to get carried skin tones. In fact, if I’m shooting away with effects – but maybe that’s black & white digitally, an important my documentary background telling part of my workflow is to dial down me to stick with “authenticity”!’ the clarity a little: this in itself can help give a softer, more filmic, look. Learn from film ‘However, the end result is only The film revival shows no sign of part of the story; whilst the slowing down, and Brian is very destination can be wonderful, it’s the much in favour of the current journey that matters and shooting interest in analogue. So what black & white film is something everyone should try.’ www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 19

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YOUR LETTERS Amateur Photographer Inbox see what you’re doing, use shop doorways, lean Email [email protected] on a lamppost at the corner of the street etc. Editorial But why? If you believe ‘street’ photography is Group Editor Nigel Atherton a legitimate practice, why the deception? Deputy Editor Geoff Harris I take lots of photos Technical Editor Andy Westlake of the built environment. I wear my camera openly. Features Editor Amy Davies I do get challenged at times (not everyone likes Technique Editor Hollie Latham Hucker having their property photographed) but I Online Editor Joshua Waller answer honestly and courteously, saying what Deputy Online Editor Jessica Miller I am doing and why. The result is often to be told of Production Editor Jacqueline Porter other interesting buildings and features I might like. Photo-Science Consultant Write to the Editor at [email protected] and include your full postal address. Please don’t send letters in the post as there is no one in the office to receive them. Replies are from the Editor unless otherwise stated I understand there may Professor Robert Newman be a certain schoolboy frisson in doing something Special thanks to The moderators of the AP secretive and getting away with it, but we do website: Andrew Robertson, lisadb, photography a disservice with this kind of behaviour. Nick Roberts, The Fat Controller If you can’t be up front, don’t do it. Advertisement sales & production LETTER OF THE WEEK Andrew Saunders Head of Market Liz Reid Your argument makes sense if you’re shooting Ad Production Neil Hepden (01233 220245, architecture, but street photography is more [email protected]) What’s in a name about people, and capturing unposed, candid Management moments of life and culture that form part of Chief Executive Steve Wright a record of the way we live. We can thank Chief Operating Officer Phil Weeden previous generations of street photographers and Managing Director Kevin McCormick I’ve been a fan of Dorothea Lange for photojournalists for our a long time, so I was interested in visual history of life over Subscription Marketing Director Gill Lambert Zelda Cheatle’s Final Analysis (11 the past 100-odd years. January issue). I have seen this When a subject is aware Publisher Liz Reid photograph in two exhibitions, so of the photographer, I can vouch for its emotional power. a picture ceases to be Retail Director Steve Brown The impact is almost physical, so candid and becomes a I can easily accept that the image posed shot. But there is Brand Marketing Manager reduced Dorothea to tears many certainly an increasing years after she took it. On this debate about some Rochelle Gyer-Smith occasion I found the title especially photographers’ behaviour interesting. Child living in Oklahoma and what is acceptable. Print Production Manager Georgina Harris City shacktown, 1936, is a factual, objective description, but it doesn’t Vito B Print Production Controller Hayley Brown tell the whole story, and it prompted me to ask, ‘What’s in a name?’ It was good to read about Subscriptions LETTER OF THE WEEK WINS A SAMSUNG 64GB EVO PLUS MICROSDXC CARD WITH SD ADAPTER. NOTE: PRIZE APPLIES TO UK AND EU RESIDENTS ONLY from the power of this image. They classic 35mm cameras At the Tate Modern exhibition of enable the viewer to move on to the in your recent issue, as 51 issues of Amateur Photographer are photographs from Elton John’s next picture without really considering I recently bought and had published per annum. collection, the picture was called The the message. serviced a Vito B camera. UK annual subscription price: £152.49 Damage is Already Done. Two years This is a superbly Europe annual subscription price: €199 later, at the Barbican exhibition of But The Damage is Already Done, engineered and tiny USA annual subscription price: $199 Dorothea’s work, the title was coupled with the child’s expression, camera, but yields Rest of World annual subscription price: £225 Damaged Child.  On neither occasion seems to point an accusing finger at was it suggested that the child in the viewer, and saying, ‘Where were UK subscription and back issue orderline question had learning difficulties, and you when I needed you?’  I do not 01959 543 747 whether or not this is factually correct know how this image came to have at I don’t think it has anything to do with least three different titles, but each Overseas subscription orderline what Dorothea was trying to say. affects its power in important ways. 0044 (0) 1959 543 747 This was an overtly political picture As a final thought, in April 2000, a Toll free USA subscription orderline from the outset. It formed part of copy of this image sold at Christie’s 1-888-777-0275 Dorothea’s Dust Bowl Era work, for US$70,500 – wealth unimaginable UK customer service team 01959 543 747 which, in collaboration with husband to the child, and even to disadvantaged Customer service email [email protected] Paul Taylor’s text, is credited with children today. What would Dorothea influencing Franklin D Roosevelt’s have made of that, I wonder? Customer service and subscription postal New Deal agencies. For me, both the address Amateur Photographer Customer AP and the Barbican titles detract I’d like to say thank you to Dorothea, Service Team, Kelsey Publishing Ltd, and to Zelda. You made me think, Kelsey Media, The Granary, Downs Court, and in the ‘Final Analysis’, isn’t that Yalding Hill, Yalding, Maidstone, what AP is all about? Kent ME18 6AL Alan Cox Find current subscription offers on our website shop.kelsey.co.uk/AMP Already a subscriber? Manage your subscription online at shop.kelsey.co.uk/site/loginForm Classifieds Win!The Samsung 64GB EVO Plus microSDXC memory card with SD adapter offers fast U1, Class 10 rated transfer Telephone 0906 802 0279 speeds of up to 130MB/s, offers 6x Multi Proof protection and a Limited Premium rate line, operated by Kelsey 10-year warranty. www.samsung.com/uk/memory-storage/ Publishing Ltd. 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YOUR LETTERS SPECIAL SUBSCRIPTION OFFER! Get 13 issues for £19.50 Andrew Redding’s picture taken on a Vito B using Ilford HP5 PLUS a free copy of Improve Your first-class results due to The original cameras Every mobile phone has Photography! its four-element Skopar were made for copy work, a simple and effective lens. I took the attached as mentioned, and the security code to keep its Save photo (above) using Ilford only movements owners’ phone and data HP5 and developed in incorporated in my secure even when the 57% Rodinal for 8 minutes. cameras were the front phone cost is less than I would even go so far as rise and fall. I have a few hundred pounds. 2 EASY WAYS to say it is as good as, if modified this camera to TO SUBSCRIBE not better than, a Leica of include front and rear Surely camera the same era. However, it swing and rear tilt to make manufacturers should Visit shop.kelsey.co.uk/ does have the limiting it more usable in the include a simple anti-theft AMP0322P factor of only having studio. I also modified the code system within all Call us on 01959 543 747 a fixed lens. front standard to take camera bodies, making Andrew Redding larger lens boards as I the camera useless to and quote AMP0322P use the camera with large pass on to others if stolen My Hunter Penrose and fast lenses. The one and impossible to trade in shown here is a 900mm the market place. I was interested to see f/4 on the standard 9in the picture of the 30x40in board, but I also use a I understand some Hunter Penrose and 1000mm f/3.5 Leitz Epis professional bodies in the background story lens which requires an US are already demanding contained in this week’s 11in lens board. action and I urge AP Letter of the Week. I’ve Tony Lovell readers to press for an bought and renovated a industry-wide agreement number of these cameras No security to build in some simple over the years and attach security to better protect a couple of shots of the I write to highlight the lack what is now a very current one I have and of any built-in security attractive item for thieves. use for wet plate codes for modern camera photography. This one systems. Like some of Your magazine has takes a 20x24in plate your readers I have had over the years influenced using a wet plate back my camera gear stolen photographic design I made myself (standing in recent times. Although and development, and against the radiator). insurance can cover a I believe you can call for loss, the real issue is to the industry to address reduce the incentive for this urgent issue to any theft. protect the assets of all photographers. Today you can easily Mr K J Mack spend £3,000 on a new camera and lens, and A very good point, Mr currently there is no Mack. It shouldn’t be too simple electronic security difficult to incorporate built into the cameras. such a feature as an option on new cameras. Tony Lovell with his Hunter YOUR FREE APOY ENTRY CODE *Offer available to new UK Direct Debit based subscribers, including print and digital editions, Penrose camera, fitted with available until 30th April 2022. You will pay £19.50 for 13 issues via Direct Debit – saving 57% off the a 1000mm Leitz Epis lens Enter the code below via Photocrowd to get usual shop price. You will then continue to pay £24.99 every 3 months. Discounts are calculated on one free entry to Round 2 – Black & White the full cover price and digital edition download fee. For overseas credit/debit card offers, visit our website at shop.kelsey.co.uk. For digital subscriptions, visit shop.kelsey.co.uk/amp. Calls charged at APOY29663242 your local network rate. Order lines open 8.30am-5.30pm, Monday-Friday. Full T&Cs can be found at shop.kelsey.co.uk/terms. Kelsey Publishing takes your privacy seriously and will only use your personal information to administer your account and to provide the products and services you have requested from us. We will only contact you about our special offers via the preferences you will indicate when ordering and you can update these at any time by emailing us at [email protected] or by calling us on 01959 543 747. **You can unsubscribe from the weekly newsletter at any time. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 23

DORIS DERBY Making strides Documenting the civil rights movement in 1960s Mississippi, Doris Derby’s work came right from the heart of the action. Amy Davies discovers more Anew book (A Civil Rights motivated to move south in August Right: Civil rights Journey) celebrates the work 1963 after participating in the activist Fannie of Doris Derby, known March on Washington for Jobs and Lou Hamer, after for – among other things – Freedom. Her intention was to speaking at the her images which documented the carry out activism among the poor National civil rights movement in Mississippi farmers and sharecroppers. By Democratic during the 1960s and ’70s. As then, she had a background in Convention, somebody actively involved and education and the church, and she Chicago, Illinois, present herself, her photographs would go on to work in and with 1968 are at once more ordinary, more various programmes that intimate, more relatable and encompassed political, economic, All pictures © arguably therefore more powerful arts and social justice innovation Doris Derby than those captured by other and development. contemporaries. Right: Southern As an activist she was involved in Christian Not only a photographer and civil securing voting rights and voter Leadership rights campaigner, Doris has had a registration, she worked to develop Conference leader long and multifaceted career. A literacy programmes and worked Dorothy Cotton working member of the Student intensively on the development of (seen wearing Nonviolent Coordinating pre-school education. Throughout glasses) at Committee (SNCC), she also all of this she had her camera with Morehouse co-founded the Free Southern her, carefully documenting those at College, Congress Theater. Later, she was the director the centre of change, often working of Afrikan People of Georgia State University’s Office with Southern Media Inc, a (CAP) Convention, of African American Student documentary photography and Atlanta, 1970 Services and Programs and was film-making organisation. also an adjunct associate professor of anthropology. Electing to move to the South at a time when there was widespread Doris has a long-standing familial poverty, segregation and regular connection to the civil rights violent tactics from the Klan – movement. Her grandmother was a helped by what Doris refers to in the founding member of the NAACP book as the ‘activities of complicit (National Association for the state and local government officials’ Advancement of Colored People), must have been extraordinarily while her father was a civil rights difficult – and complex. As she activist who was forced out of his points out, ‘The system was set up career in engineering due to bigotry. to monitor and oversee the slaves, He died shortly before Doris’s move even though slavery had been down to Mississippi in 1963. outlawed. The system had evolved, but the mindset was the same.’ Having grown up in Williamsbridge, on the outskirts of Also writing in the book Doris tells the Bronx, New York, Doris was of the threatening situation after 24 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

DORIS DERBY Above: xxxx xxxx xxxx xxx xxxxx xx xx arriving in 1963. ‘There was a really show up as documentary significant danger of being harmed evidence in her photographs. or killed by whites who did not want the civil rights initiatives to Attributing her political succeed, so we had to have meetings involvement to being ‘part of the at an individual’s house or a team’, Doris was not involved in the Freedom House in a Black political process before she arrived neighbourhood, or on a Black in Mississippi. All of that changed as independent landowner’s property. she became more and more I was housed with a family who had embedded, culminating in her donated the land for an education coverage of the 1968 National project who received threats from Convention where she was both a white vigilantes. At night, the father production assistant and and sons kept watch with guns. photographer. As part of Southern Rifles were kept at the Head Start Media, she would also provide Center in case of an attack.’ photographic services for local campaigns and elections, taking Doris stayed in Mississippi for pictures for free. almost ten years, getting to know the ordinary citizens as well as the In 1972 Doris decided to leave activists, leaders and those in power Mississippi, feeling that after such a extremely well. Forming close long time there, she had done much connections with people such as LC of what she set out to achieve. She Dorsey and Fannie Lou Hamer gave was invited to apply to study her access and connections which anthropology at the University of Illinois by Southern Media www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 25

DORIS DERBY founder Bill Peltz, who was by something else. Sometimes Black Top: Southern interview for this piece. Instead, then teaching. It was clear people stop supporting the progress Media staff I was able to speak to Hannah then, just as it is now, that there is that was made because viable, member Larry Collins, the artist and curator who still work to do however. As she forward-looking alternatives are Rand and civil worked with Doris on her book after writes towards the end of her book, challenged by economic and social rights workers at curating the exhibition ‘We Will ‘We are seeing repeats today of what realities. The circumstances are such the Erwin Family Walk – Art and Resistance in the we saw back then, like voter that young people need to continue Farm, Tougaloo, American South’ at Margate’s Turner suppression and police brutality. what was done because history can Mississippi, 1969 Contemporary back in 2020. When you make strides, the enemy revert at any time.’ takes steps to block your Bottom: The book was a collaboration achievements and you must do Now in her 80s and suffering from Independent farm between Hannah, Gregory Harris, ill health, she wasn’t available for workers, curator at the High Museum in Louisiana, 1968 Atlanta, and of course, Doris herself. The process involved digitising and ALL PICTURES © DORIS DERBY contextualising some 5,000 negatives, many of which hadn’t been seen for decades – if ever. Amazingly, the process from archive digitisation to book completion took just four months – it seeming like a more pressing and urgent time than ever to get a book and project like this out into the world. In order to create the narrative in the book, Hannah conducted several weekly Zoom calls with Doris. Discussions between the three working on the book about what to include – and indeed what to leave out – were quite intense. Hannah explains, ‘She [Doris] had quite strong opinions almost entirely motivated by politics, and by social activism – or by social activism and therefore politics. My interest I think had a lot to do with human 26 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

DORIS DERBY Left: Voting at the polls, Hinds County, Mississippi, 1971 concerns and trying to find that Doris Derby: A Civil about what made her go and do that people she actually knows. It’s really narrative. With Gregory, he had a Rights Journey is work, and what was the point of it. I different to see a picture taken by more aesthetic viewpoint. It’s also published by MACK and think it’s a really important time for somebody who’s intimately true that Gregory and I are white, is available to buy now. it to come out. I knew I’d maybe get involved with somebody – it’s one Doris is a person of colour. You have RRP £30. ISBN: criticised for being somebody white of the great forces in the pictures.’ to be very careful that what was 9781913620448. working on something that is not being organised was something that from my own history. However, Being a woman potentially also didn’t follow a narrative that through my own work I find it quite adds to the perspective Doris somebody else would prefer – it all interesting to look at things brought. Hannah explains, ‘She was had to come from the pictures. tangentially – I think she found that really interested in children and quite useful too.’ education as well, and had been ‘I think Doris found it quite hard brought up looking after younger to hand over because she hasn’t ever It’s the feeling of being very much children. As a result, there’s lots of had the opportunity to do that – to an active member of the community pictures of children – especially very let somebody else take the strain.’ that Hannah feels makes Doris’s poor children. I think she The experience has led to Hannah work stand out. ‘A lot of civil rights understood the challenges they were becoming good friends with Doris. photography of that era facing. I think somebody who ‘Things that you have in common concentrates on civic action events, wasn’t as intimately involved – and aren’t necessarily the things you’d so things like Martin Luther King Jr maybe who wasn’t a woman think you might have, they come being jailed, or the march from actually – probably wouldn’t have at odd angles. What we shared was Selma to Montgomery, for example. focused on those things. the sense of making the things that It may have human interest but it’s were hidden away visible, and how very much the big event and you ‘There’s a lot to say on that angle. to do that. I learned a lot from often have the feeling that the Similarly, if you look at the pictures working with her. photographer came and left. What’s of the marches from Selma to very interesting about Doris is that Montgomery [taken by other ‘I thought it was going to be she didn’t leave – she was there for photographers], there are very few impossible to do the book as quickly ten years. A lot of the pictures that pictures of women. It always struck as we did. We had to make lots of she took were the first of something me about her photographs that in a decisions that weren’t always easy – but at a much more community group exhibition they’d often be the and find a structure for the book. level, such as literacy and medical only pictures of women who weren’t We wanted, for example, to find a programmes. I think she knew that just “wife of” a male subject. One of way of showcasing the most nobody otherwise would document the things going through the important themes right at the it. I think she was very aware that pictures and choosing them was beginning. The result is that within she was an active part of a very real there was a lot of opportunity to the first five or six pictures there’s a history, so I think the fact that they find the strength in them.’ picture of a colonial home – so a knew that meant that concentrated picture of the oppressor’s home on making sure things got noticed. Echoing what Doris herself says at basically – there’s a picture of voting, the end of the book, Hannah sees there’s a picture of rural poverty and ‘It was such a privilege to look at a the book as being inspirational to there’s pictures of people carrying a period of time in a small area like the current generation. ‘From my banner in protest. We wanted to that and seeing what happened. point of view, there’s definitely a sum it up before you even get to the Then later when she’s involved in message to be got out, and that’s title page of the book. bigger events, such as at the that there’s lots of work still to do. conventions, she’s photographing This [book] is a really good guide, in ‘We then decided we needed a important people, but it’s still a way, about how to approach foreword, which is where Doris talks something.’ www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 27

The heritage business For the latest in our series celebrating the UK’s photographic heritage, Mike Crawford tells the storied history of Ilford Film I find it difficult to believe I first absorbed and conglomerated several Above: HP5 Plus used Ilford photographic paper smaller photographic manufacturers. is a classic, in the school darkroom 45 The company name was changed to fine- grain, years ago. In the UK, the name Ilford Limited in 1902, by which high-speed black is synonymous with black & white time Harman had sold his shares in & white film. photography, and there have been the company. Expansion followed Harman Ilford films, papers and chemicals in over the decades and while a Technologies production for over 130 years. The complete history of Ilford is perhaps produces 11 brand’s origins date back to 1879, too involved to cover in detail, it different Ilford when Alfred H Harman, who ran an should be noted that by the 1970s, black & white early photographic printing business Ilford was a global company, with films in London, started to manufacture bases in the UK, Switzerland and dry plate film, having moved to the France with over 6,000 employees. Right: Alfred H Essex town of Ilford. Harman, 1841- There have been several different 1913, founder of From Britannia Works to Ilford owners of the company since the company Harman’s death in 1913. These were sold under the name Throughout that time, Ilford has effectively saved the factory and Britannia Works and in just two continued to innovate and produce Ilford’s film, paper and chemical years, Harman had built up his world-renowned black & white products, with a new company company, opened several factories materials. By 1983, its factory and formed named Harman Technology and extended the range of products HQ had moved to Mobberley, Ltd. While reduced in size, it has to include photographic papers, Cheshire, in the grounds of the old prospered with the growing interest registering his business as a limited Rajar factory, a smaller company in analogue photography over the company in 1881. In 1886, following acquired in 1928. past ten years and now exports to legal disputes, his products were over 90 countries. renamed Ilford, two years before the Management buyout trade name Kodak was registered, The company was sold to making it one of the oldest One of the most pivotal moments in Pemberstone Ventures Ltd in 2015, photographic brands in constant its recent history was in 2005. Forced and continues to operate from its production. (Tetenal in Germany with the prospect of liquidation, due manufacturing base in Mobberley, dates back further to 1847.) to the rise of digital and falling sales, producing both Ilford, Kentmere and a group of six Ilford managers took more recently Harman products. I For more than 100 years, Ilford the bold step of buying out the recently had the opportunity to speak continued to expand, having company from the receivers. This online to Michelle Parr and Matt Parry from their marketing department on the continued success 28 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

BRITISH HERITAGE SERIES Ilford Logo and Branding When the brand name Ilford was chosen in 1886, its first recognisable logo, or trademark of a paddle steamer, soon appeared on packaging. The simplified version shown here was its last iteration used from 1930. This was replaced by the Sunburst symbol in 1964, along with colour coding for different film speeds, while the familiar, bold lettering, still in use today, first appeared in the 1970s. Below: The first growth of social media platforms and Ilford Multigrade the ability for people to share paper was information and knowledge within a produced in 1940. like-minded community. This has Subsequent become an integral part of Harman versions followed, and Ilford Photo’s marketing and with the fifth communications. ‘Using social generations of media, and our website, which papers being everything is linked to, gives us a introduced in global reach and audience for our 2013 for Fibre products,’ confirmed Matt. ‘This is Based (FB the difference between now and 15 Classic) and 2020 years ago. In doing so we have two for Resin Coated main aims: to educate and to inspire. (RC Deluxe). We try to give the basics, then more Other Ilford papers advanced, but also offer inspiration include Warmtone in what other people are doing and FB and RC, how they use our film and paper to Cooltone FB and create something unique.’ RC and Art 300 Michelle mentioned that they are very active on all main outlets – Instagram, Facebook, YouTube and Twitter – and added the importance of communicating with their customers. ‘The most popular video on our YouTube channel of the Ilford brand and the challenges faced during the past few years. The modern operation 29 ‘Our company name is Harman Technology though we trade under Ilford Photo and our products are mostly Ilford brands,’ Matt told me. ‘One of the reasons we survived and other larger companies did not, was that we were able to make our operation more scalable and flexible so we could adjust and adapt to different volumes. We have had consistent growth now for seven years or more, driven by sales of film.’ The renewed interest in film and analogue photography has been aided and complemented by the www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385

BRITISH HERITAGE SERIES for the past eight months has not just the teaching of skills but also © MIKE CRAWFORD consistently been “Making your sharing the enthusiasm,’ Michelle first darkroom print.” We talk to our emphasised. ‘We see that with our customers as there is no point in us student competition. We get entries just saying what people want. We from all over and the best work have really good relationships with comes from where the lecturers and film shooters and printers in the technicians are really involved. It’s community and ask them what they not just a job for them but a passion. want to see. We are very They enjoy being in the darkroom approachable through social media and sharing their knowledge.’ and people feel that they know us. I use the word a lot, but I really think ‘Colleges and universities are big there is a community of film shooters users of our paper,’ added Matt. ‘It out there and generally they’re a was a challenge during the pandemic friendly bunch. They are welcoming as schools, college, university and and happy to give advice and to help community darkrooms were all shut. out someone new asking questions.’ While film stayed very consistent to 2019 figures, which was our best year Getting started with printing for many years, paper took a hit with darkrooms being closed.’ Inevitably Without good instruction, the first our conversation changed to the steps into printing may seem problems faced during Covid-19. daunting. ‘There is a perception of the learning curve required when Working through the pandemic starting to print,’ agreed Matt. ‘Anyone can pick up a film camera ‘When it started, no community and shoot but there is an idea that darkrooms were open so there was a printing is somehow less accessible, definite need to learn online,’ but it’s quite straightforward to make Michelle told me. ‘We were luckier a darkroom at home from basic than a lot of businesses as our materials. One struggle is access to products were still accessible. Before affordable enlargers, though shutting down for two months, we something like the Intrepid Enlarger ensured there was plenty of stock is a good stepping stone.’ and that dealers were supplied. We were very proactive during this time, This is particularly relevant to such as Matt filming a YouTube video further education in universities and at home with his son. People were colleges. Indeed, after the looking for things to do and management buyout in 2005, I was shooting film and processing it was involved, with other printers, giving ideal. So many processed their first Ilford workshops around the country. film during lockdown.’ ‘Education is very important, but it’s ‘We were told by our dealers and 30 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

BRITISH HERITAGE SERIES Behind the Film documentary Ilford Photo’s YouTube channel has many inspirational videos to watch. Notable is the work by Sarah Reyes and Daniel Driensky of Exploredinary, (exploredinary.com), who have made several short films on Ilford, including Behind the Film. This takes the viewer on a tour of the Mobberley factory, meeting some of the engineers, technicians and other employees involved in producing Ilford products, plus visiting the emulsion making, R&D, quality control and other departments. youtube.com/Ilfordphoto. Sylvia Clarke, Lab technician. From the video, Behind the Film © EXPLOREDINARY distributors that during Covid we Above left: I’ve sure we have the right people to were consistent,’ Matt said. ‘Film as a used Ilford films make the products consistently.’ product is relatively low value but for as long as I high volume. Film sustained a lot of can remember. As usual, there are plans for new the photographic retail and My main choice of products and initiatives. ‘We always distribution networks in the films are HP5 have more ideas than we could ever marketplace. Many said if it hadn’t Plus, FP4 Plus and do,’ Michelle said. ‘Over recent years been for our products and those Delta, 3200 we have launched things like the from other film makers, their firms Berlin, 1998, Rolleiflex 2.8E, Harman reusable cameras, our might not be here today, which Ilford HP5 Plus fifth-generation Multigrade RC shows the popularity of analogue papers, our Ortho film and our new and processing at home.’ Far left: The Pop-Up Darkroom. We’ve also original Britannia produced a Film Processing Starter Both Michelle and Matt Works factory at Kit with Paterson and are soon emphasised and credited the skill Ilford, Essex, launching the Darkroom Starter Kit.’ and dedication of their workforce taken from an For myself, it is reassuring and and the importance of recruiting 1888 engraving important to know that the classic new staff. ‘They have a lot of originally Ilford brand of papers and films, knowledge,’ Matt remarked. ‘There published in the with such an impressive history and are scientists, graduates and British Journal of heritage, continue to be produced, apprentices working in R&D and Photography having spent so many years using we’re actively looking at the next them and with the intention of generation of engineers to continue Left: All Ilford many more to come. making the products. New people films and papers are needed to learn from those with are produced at ilfordphoto.com 30 years or more experience, making its factory and HQ at Mobberley, Instagram, Facebook, YouTube, Twitter: @ilfordphoto Cheshire www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 31

Technique 1 The Straighten tool 2 The B&W Mixer helps ensure the image lightens and darkens Michael Topham is perfectly level specific colours Michael is based in the south east of England, and enjoys documentary and railway photography. He also shoots weddings and can be found on Instagram @michaeltophamphotography Behind the print Michael Topham reveals how he 3 Grain is applied to give 4 A vignette draws the creatively edits his images to give the image an aesthetic eye to the centre of them a black & white film aesthetic quality that replicates the the image and away from look of film distractions at the edge A few years ago, I was asked by a magazine to photograph the first steam locomotive to be made in Great Britain for almost 50 years. I wasn’t given much of a brief. All I was told was that the photograph had to be striking and taken in the portrait format, as it was to be a pull-out poster in a forthcoming issue. The mix of natural and fluorescent lighting inside the engine shed, combined with the bright vermilion red buffer beam, made shooting in colour tricky. Converting the image to black & white before applying a few other basic adjustments in Adobe Camera Raw transformed the photograph to one that could have been taken in the heyday of steam on a film camera. To my relief, it got the thumbs up from the editor and I still get great satisfaction from seeing it pinned up or framed on other railway enthusiasts’ walls. PREPARING FOR PRINTING 1 Correct distortion 2 Use the B&W Mixer 3 Add grain After loading a raw file into Camera Raw, Hitting the keyboard shortcut E is the To quickly compare the current settings with one of the first things I do is enable lens quickest way of returning to the editing the default settings and see how the black profile corrections which, in the case of this area of Camera Raw. From the list of & white edit is advancing, I like to use the image, removed the barrel distortion that Profiles, I selected Adobe Monochrome Backslash keyboard shortcut (\\). In the stage arose from shooting close to my subject at before making subtle tweaks to the Exposure above, the image was too clinical for my the wide end of the zoom. Next, I selected (+0.35), Contrast (+40), Highlights (-60), liking. To replicate the film look I was after, the Straighten Tool (A) and drew a straight Shadows (+90), Blacks (+15) and Clarity I entered the Effects tab and added Grain line across the buffer beam of the loco to (+45) sliders. Next, I used the B&W Mixer (55) before setting the Size and Roughness get the image perfectly straight. to specifically darken the red tones in the to 30 and 50 respectively. image. The red slider is set to -20. 32 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

IN ASSOCIATION WITH Michael’s top tips Michael reveals a few top tips to try when using Adobe Camera Raw to edit your images 1 Enlarge the edit window Ever tried entering full screen mode in ACR? Hit the letter F on your keyboard and you’ll find the interface instantly fills your screen – handy if you’re editing on a laptop with a small screen. 2 Learn the shortcuts Hover your mouse or cursor over the tools in the toolbar and you’ll be able to view the name of each tool and the shortcut key, which is revealed in brackets. Learning the shortcuts is a great way of speeding up your workflow. 3 Refer to the histogram Remember to keep a close eye on the histogram up at the top right of the interface at all times. Turning the Shadow (U) and Highlight (O) Clipping Warnings on is a good idea if you want to check areas where you think you might lose detail. 4 The original Adobe Camera Raw offers some great tools for checking images before and after changes have been made. They’re found at the bottom right of the preview window and can be toggled through by hitting the keyboard shortcut, which is the letter Q. 5 Reset the dialog If you’d like to reset the image back to its original state and dismiss any changes you’ve made, simply hold the Option/Alt key on your keyboard, which will turn the Cancel button to a Reset button. 4 Apply a vignette WhiteWall recommends To draw the eye to the centre of the image and away from the distractions either side of For this impressive black the locomotive, I applied a Vignette (-45) from & white photograph, I would the Effects tab, with the Midpoint set to 65 recommend our Solid Wood and the Feather to 70. Before opening and frame in matt black with saving the image prior to printing, I finished Passe-Partout. The Passe- off by making a few localised adjustments Partout in natural white using the Masking Tools to emphasise the transforms this photograph into an steam rising from the chimney. authentic gallery piece. When it comes to black & white photo prints, baryta paper is the best choice. This heavy black & white photo paper has a glossy surface and the baryta texture gives it a silky shimmer. Jan-Ole Schmidt, Product Manager, WhiteWall.com www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 33

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Mono 32pagesof advice and specialMini Guide inspiration to pull out and keep Setting up for B&W success How to optimise your camera for great b&w shots Mono people Three people photographers on their approach to b&w Infrared PLUS David Clapp explains how Urban to do it the right way B&W Architecture and street Still life Peter Eleveld’s wet plate photos Animal BSCiolvn&evreEWrsfeioxnaseninddPFihilmottPioans4chkofgp8, e807c-deee-4695-9947-12bfa4c06385b&wFizeoJomohpaoanrtsgreaniitc’ss

This scene called for a very graphic treatment so I used the Graphite Picture Control on the Nikon Z 7II and increased the contrast An inside job Angela Nicholson has 12 steps to help you to get great black & white images without even starting up a computer – everything can be done in-camera 1 Use the Picture Controls 2 Check out the Filter effects Whether they are called Picture Controls, Picture Styles, Film Simulation modes Along with the Picture Controls, there are or some other combination of those words, these are the settings that give you sometimes a few filter effects that are worth control over the colour, sharpness, contrast, toning and filter effect that’s applied to checking out when you’re looking to create your JPEG images. They are the go-to controls for switching from capturing colour b&w images in-camera. Olympus’s (now OM images to creating black & white images in-camera. At the very least there will be a System models) Art Filters are particularly Monochrome setting, but there are also often variations on that theme to enable good and the Grainy Film I and II filters work you to produce more interesting results. With Canon and Nikon cameras, the well for some monochrome shots. They also manufacturers offer free-to-download software that enables you to create your own have additional ‘Pin Hole’, ‘White Edge’ and Picture Styles/Controls and upload them to your camera for future use. They’re ‘Frame’ effects that can be applied to give perfect for creating a bespoke monochrome look. your image another look. 36 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

Technique 6 Boost the contrast Although there are some monochrome modes that produce superb images without any intervention, others benefit from a tweak to the contrast. If your camera offers a Clarity control, that should be your first port of call as boosting it usually gives black & white images a bit more ‘bite’ thanks to the increased local contrast. Alternatively, or possibly additionally, you can adjust the Picture Control’s contrast setting to give an image a global contrast boost. 7 Shoot in live view mode Mirrorless cameras give you an advantage when you’re shooting in monochrome mode because you can see the black & white image in the viewfinder with any filter effects, toning or contrast adjustments applied. You can get close to this with a DSLR by shooting in live view mode but it means the image has to be composed on the screen on the back of the camera rather than in the viewfinder. 3 Try the B&W 4 Use traditional filters Fujifilm Acros Filters Rather than using your camera’s digital filter effects, consider using traditional yellow, Fujifilm has a long history of film manufacturing Many of the monochrome orange, red, or green filters on the end of your and the expertise that it has built up over the Picture Controls offer a lens when you’re shooting in monochrome years has been utilised in the creation of the Film different sort of filter effect mode. You could also consider adding a Simulation modes in its digital cameras. The Acros to the one in point 2, left. polarising filter to really accentuate the white Film Simulation mode is designed to replicate the These are designed to clouds in a blue sky, while graduated and plain look of Fujifilm Neopan Acros film and it does an replicate the impact of using neutral density filters are just as effective for excellent job, imparting a different look to the grain a traditional coloured filter monochrome photography as they are for colour. in the shadows and highlights for images with over the lens when using greater depth. black & white film. Typically, 5 Be subtle with the there are yellow, orange, red toning effects In Fujifilm cameras like the X-T4 and X-S10, the and green filter effects and Acros Film Simulation mode can be used in its they brighten their own Many cameras offer toning effects that you default settings or with a yellow, red or green filter colour while darkening their can apply to your images when you’re shooting effect, and with or without adjustments to the Tone opposite colour in the colour in the monochrome Picture Control. These can Curve, Sharpness, Clarity and Grain Effect settings wheel. Using the orange give your images a sepia or other colour-toned to produce a bespoke look to your images. filter effect, for example, appearance but the default settings are often makes blue skies appear rather strong. Thankfully, it’s usually possible dark grey or black in a to turn down the strength of the effect so it’s monochrome image while a subtler. It’s well worth taking a few red filter effect makes green experimental shots to find out which level foliage darker and red works for you. objects light grey. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 37

Technique IN-CAMERA B&W Above: Sometimes the basic Monochrome Picture Control delivers the result you want 8 Use in-camera raw conversion 9 Turn off Many cameras have a raw editing or the vignette conversion tool on-board that allows you to adjust control images without firing up your computer. This is a nice way to while away a bit of time while you wait Monochrome images are for your tea and cake to arrive in a cafe or you’re all about light and shade. on the train home from a day out with your One way that you can add camera. You’ll usually find that you’re able to a bit more shade to your select an alternative Picture Control if you wish shot is to turn off the and also adjust aspects such as the Clarity, in-camera vignette control Contrast, Filter effects and Toning. to introduce some corner shading. The degree of corner darkening depends on your lens and the aperture that you use (there’s usually more at wide apertures) but it can be a very effective way of putting more emphasis on the subject. 10 Use the aspect ratio controls Aspect ratio is an important consideration with any image, but when a scene is reduced to a series of white, greys and black, it seems even more important. Most cameras offer a selection of aspect ratios that you can apply at the shooting stage. These are particularly useful with mirrorless cameras or when you’re shooting in live view mode on a DSLR as you can see the cropped image before you shoot. Many, but not all cameras, don’t apply the crop permanently to raw files, so if you set an aspect ratio of 1:1 and you realise that the image would look better using the full width of the sensor, you can ‘uncrop’ the raw file. Nikon’s Z-series cameras are a notable exception. 38 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

The Leica M10 Monochrom uses the M-mount Leica Monochrom If you’re really serious about getting the very best monochrome images then it might be time to consider investing in a Leica camera that’s dedicated to the genre. Unlike most cameras that record colour images, the full-frame sensors in Leica’s Monochrom cameras don’t have the usual RGGB coloured filter array over them. This means that they cannot reproduce colour, only brightness. It also means that there’s no interpolation of the pixels to create the colours of a scene, so the images have more detail. The M10 Monochrom is a 40MP rangefinder camera based on the Leica M10, so it accepts Leica M-mount lenses. The 47.MP Leica Q2 Monochrom, however, is a full-frame compact camera with a fixed Summilux 28mm f/1.7 ASPH lens with autofocusing and a 3.68MP OLED viewfinder on board. At £7,200 for the M10 Monochrom and £5,050 for the Q2 Monochrom you have to be dedicated to black & white photography to buy one, but they come as close to the experience of shooting on black & white film as is currently possible with a digital camera. The Q2 Monochrom, a full-frame compact camera 11 Experiment with exposure Above: The aspect 12 Shoot Raw & JPEG files With colour images we often want to be careful ratio controls can help Ultimately, the aim here is to to protect the highlights and avoid making shadows to remove distractions produce perfect black & white images very dark, but many monochrome images look better from your image in-camera, but occasionally you may with some true blacks and whites. This can mean capture an image that you later realise is pushing the exposure further in one direction or the crying out to be seen in colour. If you shoot other than we would with a colour image. Depending raw images you have the luxury of upon the scene, a bright overcast sky may look better capturing the full colour information so you white rather than light grey, for example. Backlit can create a colour image while still having subjects can also make very effective silhouettes. your monochrome JPEG. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 39

Technique PEOPLE PHOTOGRAPHY Black & white portrait skills Monochrome strips back distractions and reveals so much about a person. Claire Gillo gets inspirational tips from three eminent b&w portrait photographers This image is called ‘Push’. From Marjorie’s collection, Ice Marjorie MARJORIE Salvaterra’s work is communicate her ideas she however that doesn’t seem to Salvaterra intriguing, witty, personable replies, ‘I see things in black & stop her getting picturesque and relatable all in one breath. white. I’ve always loved black and striking results with her Marjorie Salvaterra is an artist You could spend hours looking & white photography. I think Sony Alpha 7R II. who lives in Los Angeles, through all of her images and it’s just what I’m drawn to. California, with her children still discover new meaning as I think it’s amazing for To find the perfect locations and husband. Her work focuses her concepts are layered and storytelling, because it leaves for her photo shoots Marjorie predominantly on women and interpretable. things more open for uses what is available on her their role and experiences in interpretation.’ doorstep and luckily for her she society. Find out more about Marjorie uses the art of black lives in a beautiful part of the her and her projects at & white photography to Born to shoot world. ‘Because I’m a full-time www.marjoriesalvaterra.com, predominantly shoot portraits mom I use places close to me,’ follow on Instagram of women (these are often close Despite not picking up a camera she says. ‘Although I have @marjoriesalvaterra and on friends) dressed in costumes until her 30s Marjorie found travelled a little, like six hours Twitter @HerSalvaterra and wigs. Marjorie’s work she had a natural affinity for up to Mammoth Mountain for resonates with those who are the medium and has always the trees and to Death Valley drawn to artists like Cindy been a storyteller. ‘I was writing for the salt flats.’ Unfortunately Sherman and Sally Mann, and before I was doing Marjorie suffers from travel her concepts mostly focus on photography, and it’s sort of the sickness and so finds car women and the experiences same world to me,’ she says. journeys to be rather and pressures they encounter in Marjorie admits she is not a unpleasant. ‘I’ve got to confess life. When asked why she uses technical photographer I’m not a huge outdoorsy the black & white medium to (although learning all the time), person but I love the salt flats. It’s just magnificent what the ocean left behind at one point.’ When it comes to creating a series Marjorie does the majority of her work in her 40 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

‘When The Universe Has A Bigger Plan For Your Life’. Taken from Marjorie’s series, Her head. ‘I usually try to work This image has been taken image at bit.ly/3rL6Bm4). Marjorie’s from the inside out waiting for from Marjorie’s series, Her. When asked if humour is an top tips the images to come to me,’ she The image is called ‘Him’ important element to her tells us. Authenticity is also images she replies, ‘Yes, because 1 Wait for the moment. important for Marjorie and she has pubic hair any more?!” To when things get so crazy, we Don’t click click click click. will abandon a series of work if create a tongue-and-cheek have to laugh. Laughter is Shoot as if you’re using film it doesn’t feel right. ‘I call it my image from this encounter relaxation, and then you can and it’s expensive. B side when that happens,’ she Marjorie gets all the ladies to tell the other parts of the story. jokes. ‘The teacher I learnt from remove their big fake bushy You can draw people in.’ 2 See the world differently. worked with Berenice Abbott wigs from their heads and place Whether you have to – she was her apprentice and them over their lower private stand on your head, be up Berenice used to say, “You have parts. The image is called ‘The against it or a thousand feet to always be working on a Politics of Being Real’ (see away, you want to see it project that you’re excited differently from everybody about, that gets you out of bed else. in the morning.”’ Marjorie finds this a good ethos to follow. 3 Know your backgrounds. Because you don’t want Although Marjorie has a to have this great shot with a planned idea for what she tree coming out of wants to achieve before each somebody’s head. The photo shoot, she also leaves background is as important room for spontaneity. For as the subject. example on her project ‘Her’ Marjorie was setting up a group nude scene. ‘First, everybody gets naked, and I say, ‘Wait, is that like a thing now – nobody www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 41

Technique Iko-Ojo Mercy Haruna Iko-Ojo Mercy Haruna, known as Mercy, is a Kent-based visual artist and documentary photographer dedicated to capturing the fleeting moments of family life as well as those that dive into the deeper conversations about the realities of motherhood. Find out more at www.imharuna.com and follow on Twitter and Instagram @ immeiko Below: Mercy captures everyday moments like this shot of her children brushing their teeth MERCY started her project ‘This past year, it’s getting harder to is Home’ to simply document photograph us the way I used her family’s daily life in and to. My eight-year-old doesn’t around their home in Kent. enjoy being photographed as ‘I’m inspired by the kinds of much and our lives are busier,’ photos I wish I had of my own she explains. ‘Maybe over time childhood if my parents had the project will evolve into owned personal cameras,’ she something else, but I will tells us. ‘I capture the fleeting, definitely need to continue to everyday moments between the be intentional about making milestones we’re accustomed to the images, printing and recording.’ Mercy began this archiving them.’ project when her children were three and one – they are now In her kit bag she has the five and eight. ‘My intention Sony Alpha 7R II and a Sony FE was to continue for as long as 50mm f/1.8 50mm and lately, I can but I’ve noticed in the she’s also been using the Zeiss-Batis 25mm f/2 to get 42 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

Mercy’s top tips 1 Shoot with black & white in mind. Practice seeing in monochrome by using the black & white profile on your camera, if it has one. 2 Focus on the story and interesting light. 3 Don’t worry about perfection! Low light and grain is part of the charm of black & white portrait images. Above: Foggy conditions create the atmosphere to capture her children walking down the road Left: This image is one of Mercy’s favourite images from her collection and is of her daughter sleeping on her husband’s chest Right: Mercy features herself in this image doing her son’s hair more of the environment into has been a transition from I like to tell! It also helps to explains. ‘I am also drawn to her portraits. ‘I also always have when her photography journey keep the series coherent, interesting light – a balance of my Canon EOS 300X and a roll started on black & white film. considering I use different kinds highlights and shadows and of Ilford HP5+ in my bag,’ she ‘It just stuck with me,’ she says. of cameras.’ artful illumination of the reveals, however Mercy is not ‘It has really defined how I see subject. That could be light bound by worrying about what the world. It also appeals to the Mercy’s documentary streaming through a window, device she uses. She will grab minimalist in me, and helps me approach to family portraiture a spotlight from a mobile whatever is closest to hand distil the focus down to the means she doesn’t pose or device or lamp, harsh sunlight (DSLR, mirrorless, analogue or exact moment or story I’m direct the scene. ‘The first casting striking shadows, or a phone) freeing herself of trying to tell. element I look for is the foggy scene.’ limitations as she describes it, moment or story unfolding. and ensuring she can capture ‘Unless colour is significant to I love to capture what makes Mercy’s images from her This the moments as they unfold. Mercy’s story, she almost always every family unique.’ Mercy is Home project are currently prefers to see photographs in confesses there is nothing better being shown at the Moments It just works for me black & white. ‘I also love black than real life and even in Time exhibition at Free & white for the simple and moments like a child throwing Space Project until 30 May For Mercy, capturing her family nostalgic feeling it creates. It a tantrum is perfectly fine, ‘it’s 2022. Find out more at in the black & white medium just works for the kind of stories all part of the unique story’, she www.freespaceproject.org. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 43

Technique PEOPLE PHOTOGRAPHY Damien Textured gloss painted Lovegrove backgrounds like this garage door make an excellent setting for a Damien Lovegrove is a monochrome location portrait photographer best known for his location and studio portraits of women. He finished taking on client commissions in 2018 and now concentrates on personal work, workshops, books and teaching videos. You can learn more from Damien on his YouTube channel at www.youtube.com/c/ LovegroveTraining and follow on Instagram @damienlovegrove. www.lovegrove photography.com PHOTOGRAPHER Damien medium format Fujifilm GFX two lenses and they are equally the right locations for his Lovegrove has much experience 50S II although he states what important. Some of my work is monochrome portraits Damien when it comes to shooting camera you use is irrelevant. ‘A placing the person in the is full of sound advice. Take for portraits in the studio, however good lens is more important environment, so I use my wider example his image of the girl in it is when he is out and about than your camera; however lens to reveal the narrative,’ he front of the textured chevron on location that he feels most even more important than that continues. ‘But then to focus on doors. ‘Black glossy paint on a inspired. ‘The world is my is your eye.’ the beauty in more intimate surface looks great,’ he says. studio!’ he jokes. ‘I’d rather be pictures I use my short Damien carries on to describe out in the real world, and Simplicity is the key telephoto lens.’ He explains how the gloss paint flicks back photography has given me the that with his short telephoto the flash to the camera to create opportunity to do that.’ In his kit bag Damien likes to lens he is able to capture more the intense effect. ‘You have to keep things simple. ‘I have a flattering facial features. get the camera down quite low Damien is an advocate of the short telephoto and a wide so the hotspot of the flash is black & white medium and angle,’ he says. ‘I need those When it comes to choosing directly behind the person. And explains why. ‘I find it really that’s partly the reason for the useful for making punchy Look for elements in a scene such as these hot air vents in an urban central position of the model in pictures,’ he states. ‘But I also environment to make your monochrome portraits pop this image.’ like the opportunity to remove distractions and to simplify the Damien has further advice picture. It’s one step closer to when it comes to finding art in a lot of people’s eyes. That locations and advises in the can be useful when you want a urban environment to hunt picture to be considered a around the back of modern piece of art as opposed to a office buildings for elements in record of a scene. We see the the scene such as air vents. ‘This world in colour, and so black & type of location is great because white is a big distortion, but first it is not monitored with because black & white CCTV, so you’re not seen as a photography has existed for so security risk, and there is no long we have accepted it. We one around to get in the way.’ think it looks natural.’ In his image of the man resting his head against the vents For the previous five years Damien confesses to not having Damien has been shooting on a 44 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

Damien’s top tips 1 Take portraits for yourself. If you like them, that’s all that matters. Damien only shoots images for himself now. 2 Planning pays off. Explore and find locations before your shoot. Keep the GPS switched on when snapping recce images (do these on your phone) to easily locate locations again. 3 Keep it simple and your bag light. Damien switches between two lenses – a wide and tight angle and that’s it. Left:This image was taken at the edge of a wood where a gap in the trees created the perfect natural light Below: Damien rearranged the hay bales in the scene to create a more pleasing composition what he would call the ideal 45 light conditions. ‘The light is coming up predominantly from the ground and normally that’s a real no-no because it makes people look scary, but here it feels right. So just bear in mind that sometimes the rules are there to be broken!’ Although Damien is highly experienced when it comes to shooting with artificial lighting, he states that you don’t need to have lots of fancy kit in order to get great results. In his close-up portrait of the girl he tells us that it was taken on the edge of a woodland. ‘When you get to the edge of the woods, you get this lovely horizontal letterbox of light,’ he reveals. ‘In this picture, there was a small clearing where one tree had collapsed and left a hole in the canopy. That clearing just gives a little bit of light at the back. This style of light is available in the real world – you’ve just got to know what to look for.’ www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385

Photo Stories Silver still life Peter Eleveld gave up a commercial studio in London to concentrate on perfecting the wet-plate collodion process. Benedict Brain finds out more D utch photographer Peter Eleveld for his wet-plate work. Peter advises that was first seduced by the magic of daylight is really the best light source as the the wet-plate collodion process in process works well with ultraviolet light, but 2015. He was stuck in an artistic he will also use LED lights when natural light slump after years of managing a photo studio is scarce, especially in the winter. for Amazon in the UK and was searching for something new to revitalise his creative spirit The process itself is delicate, fiddly, after returning to the Netherlands. expensive and frustrating. However, when it comes together and works, the results can be It was while viewing a creative show on the simply stunning and worth all the effort. Peter outdoors that Peter first became aware of and explains a little about the process. ‘First, you entranced by the wet-plate collodion process. take the glass plate and hold it in your There was a segment in the show that fingers, you throw the collodion on in the revealed the magical world of mobile middle and move the plate slowly to create darkrooms, large, unwieldy wooden plate an even coat on the glass. The bigger the cameras, and the alchemy of the collodion plate, the harder it becomes. process. This process could, it seemed, be the perfect antidote to the sterile digital world ‘Other ingredients can be added to the which had stifled his art. collodion, such as ethanol, ether, cadmium bromide and ammonium iodide – I have ‘I felt the need to return to the roots of different recipes for different effects. Once photography,’ explains Peter. ‘I was coated with collodion, you dip the plate into a immediately seduced by the wet-plate silver-nitrate bath for 3-4 minutes, and this collodion process. I loved the idea that you settles into the collodion. This is all done in never know exactly what’s going to happen, the red darkroom light. After removing the and the unexpected variables that are very plate and letting the excess silver nitrate drip hard to control were a refreshing alternative off, it is ready to be loaded into the cassette to the predictability of studio-based digital while still wet. It’s very important to ensure photography. The wet-plate collodion process your camera is set up, composed, lit and has a really special look, especially if you can focused. You then remove the darkslide, find the right kind of objects to photograph. remove the lens cap and start making the The intensity of the silver creates a beautiful exposure, which is somewhere between 30 to richness with a lovely depth.’ 60 seconds. Remove the plate and in the dark use the developer to process the image He adds, ‘The process did lift me up again in much the same way as you coated the – it is such a great process, although plate with collodion. This is the magical part sometimes it can also be disappointing.’ of the process. Stop the developing with water using your judgement, then fix in a The wet-plate collodion process is not for regular tray, wash for 20 minutes and air dry. the faint-hearted, though, and it took Peter a You also need to be very mindful that silver year or so to gather all the necessary nitrate is dangerous and will stain everything. equipment, tools and chemicals, and to learn But once you have everything in order, it is a a whole new set of processes and skills. very rewarding process.’ ‘First, I needed a large-format camera,’ he explains. ‘I tend to use an old wooden Choosing the right subject matter is vital, 18x18cm camera, and I had to adapt and Peter has gravitated towards still life. At cassettes to hold the glass plates. Finding first, he thought subjects such as sunflowers the right lens is important, too. I like the would be ideal, but he soon realised the characteristics of the old Petzval lenses, process didn’t take well to rendering yellows although an old projection lens is a good, and greens. Other surfaces such as glass cheap way to get started. You also need to and metal can render beautifully. ‘I am always take a darkroom with you and this is usually on the lookout for objects,’ says Peter. ‘I often in a tent – which can attract attention from don’t really know exactly what I am looking passers-by and even the police.’ for. I just wait for a feeling and connection with an object that I intuitively sense will For this reason, and having moved house, work with the process.’ Peter now makes most of his work in a studio and darkroom space he created specifically 46 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

Peter Eleveld Netherlands-based photographer and artist Peter Eleveld has been working in the professional photography industry for many years, with both film and digital photography. Now he works exclusively with the wet-plate collodion process using large wooden cameras and concentrating mainly on still life. In 2021, Peter won the still-life category of the Sony World Photo Awards. Visit eleveld.net/blog Clockwise from top left: Hydrangea, 47 Money Plant, Just Hogweed, Black Tulips, Glass in Glass www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385

Photo Stories Sentient creatures Photographer Fie Johansen spent two years photographing animals at Copenhagen Zoo. Amy Davies discovers more about these beautiful monochrome results B eautiful. Extraordinary. Different. All Fie didn’t work strictly, however, without words that can easily be applied to checklists or structures. ‘I worked alone, the images found in All The Things intuitively, with the belief and hope that I had You Are, a series of images that chosen the right time and the right place for has recently been published as a book by special moments to reveal themselves.’ Danish photographer Fie Johansen. A good selection of lenses was used The collection aims to reflect on who we are throughout the project. As the Leica TL2 uses – as humans – by taking a closer look at an APS-C sensor, the crop factor gave her other species. Fie attempts to show that extra reach with her full-frame M-series these are sensitive and sentient beings, lenses. The kit bag included the Leica aware of their surroundings and able to feel Macro-Elmar-M 90mm f/4 (135mm just as we might do. equivalent) and the Leica Elmar-R 180mm f/4 with a Novoflex adapter (270mm equivalent). Starting on somewhat of a whim – as many Manual-focus lenses such as these are excellent photography projects do – a probably not the first choice for the average two-year period of photographing at animal photographer. As such, she also used Copenhagen Zoo started when Fie needed a couple of TL lenses in order to capture somewhere to test out her new camera. That speedy moments. Those included the choice might not necessarily be what most APO-Macro-Elmarit TL 60mm f/2.8 and the would immediately land on when searching APO-Vario-Elmar-TL 55-135mm f/3.5-4.5 for a suitable camera for wildlife either. lenses (90mm and c80-200mm equivalent). She explains, ‘In 2018, I came across a It’s also fairly unusual to select review of the Leica TL2. The pictures showed monochrome for pictures of animals. Vibrant a fun, retro-looking and minimalistic camera colours, textures and patterns are what – something NASA might have thought up. I characterises many of them. But for Fie, black went to the Leica store to try it out – since it’s & white allows the true character to come to so close to Copenhagen Zoo, I thought I’d go the fore without distraction. She considers there to test it out. the digital darkroom to be akin to the traditional one. ‘My intention with the ‘Having mixed feelings about restrained photographs is to show files pretty much as animals, it was my first visit to the zoo in 20 they are – without other manipulation other years. The camera turned out to be an than converting them, just as I would have inspiration, and so was Copenhagen Zoo done had I made them as prints in my where much had changed since my last visit. analogue darkroom.’ To meet her aims and A new elephant house had been designed by shoot with intentionality, Fie also sets her Sir Norman Foster, and the lighting there was camera to display the preview image on the extraordinary. Covered by an impressively screen and through the EVF in black & white. large dome, the space where elephants wandered about was lit by the sky, creating a Zoos are a much more accessible place to constant change in light. The patterns falling photograph animals for the vast majority of upon the animals were so magnificent that us. But much of the technique for capturing I felt like I wanted to go and live there.’ great shots is similar to if you were out in the wild. Fie’s advice is, ‘Be patient, work and Swapping her Leica M9 for the TL2 move quietly and with respect for your (mounted with the Leica M-Adapter to allow subject. Take the time to observe and feel her to use her existing M-series lenses), Fie connected to your subject. Be comfortable – regularly visited the zoo over the next couple don’t carry a lot of heavy and clanging of years to create her images. Over that time, gear, work alone and concentrate.’ she estimates she took around 9,000 images, with just 71 making the cut. 48 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk

Fie Johansen Prizewinning photographer Fie Johansen is considered one of the pioneers of digital photography and printing in Denmark. She is also known for her analogue work with non-silver and historic printing processes. She has been exhibited internationally. Visit fiejohansen.com Clockwise from top left: Sclater’s crowned pigeon; Asian elephant; Southern white rhinocerous; Hamadryas baboon; Reticulated giraffe All The Things You Are is available to buy now. Published by Kehrer Verlag. ISBN: 9783969000403. www.amateurphotographer.co.u4k f8e807c-deee-4695-9947-12bfa4c06385 49

Technique Tony Sellen Award-winning photographer Tony Sellen is passionate about fine art, long exposures and London, the city he calls home. He loves to travel, capturing architecture, seascapes, landscapes and street images. Tony runs 1:2:1 workshops, licenses images and accepts commissions. To find out more visit www.londonfineartphotography.co.uk shThaepe of the city Buildings are designed for people, so including a human element in your pictures can help you to tell a story. Tony Sellen talks to Tracy Calder about his skilful black & white technique W hen Tony Sellen walks into a ‘I would go months without touching doing the workshop made me realise that building, his brain perceives the camera, but then I’d learn something you don’t really need to know that much!’ a mix of lines, shapes, light new every time I did pick it up,’ he and shadow. ‘Everything is recalls. To hone his skills, he took up bird Find a style a picture to me,’ he reveals. ‘When I walk photography, experimenting with depth into a hotel lobby, I notice the design and of field to get ‘a nice, blurry background’, Capturing wildlife remains a great passion the thought process behind the seating before deciding to attend a workshop for Tony and he believes that if he’d picked arrangement.’ But it hasn’t always been focusing on long exposures. ‘At first I didn’t up a camera earlier (or lived ‘in the middle that way. In fact, Tony only decided to take really understand what long exposures of nowhere’) he might have made it his his photography seriously in 2014; before were or how to use them, and I couldn’t get focus. But living in London he felt his then it was more of an on/off hobby. my head around the maths,’ he recalls, ‘but options were limited. ‘What was I going to shoot? An urban fox, a sparrow, some KIT LIST ▲ Nikon D810 ▲ 50 Prime lenses The Nikon D810 is Tony’s main camera. When you’re Prime lenses force you to work shooting in low-light harder when it comes to conditions, you need a composition, but the results are camera that handles noise worth it. Tony will sometimes well – the D810 has an shoot with a 24-70mm zoom and ISO range of 64-12,800, return later with one of his which makes it ideal. favourite primes such as the Zeiss Makro-Planar T* 50mm ZF.2. 4f8e807c-deee-4695-9947-12bfa4c06385www.amateurphotographer.co.uk