Black + White Photography

47 B+W© Andrés Pantoja © Constanza Isaza Martinez© Constanza Isaza Martinez LUX DARKROOM Based in London, Lux Darkroom offers workshops and private tuition in analogue and alternative photographic processes. Workshops are offered in kallitype, solarisation, inkjet negatives for alternative processes, photopolymer gravure, black & white darkroom, toning black & white prints, introduction to alternative processes, black & white fibre- based printing and lith printing. luxdarkroom.co.uk 07749 116 186 [email protected]

INSPIRATION THE BLACK & WHITE OF LANDSCAPE It wasn’t so long ago that landscape photography was a largely colour dominated domain, but in recent years photographers are rediscovering the charm of monochrome. The Landscape Photographer of the Year 2014 is a perfect illustration of this, with many prize winners across all categories shooting black & white. Here we show you some of our favourites. © Mirek Galagus48B+W Photographer: Mirek Galagus Award: Commended Adult Classic View Infralavender, Hitchin, Hertfordshire, England ‘Cadwell Farm is a very friendly place, where everyone can enjoy the beauty of the lavender fields. You can even pick your own flowers and take them home. I have been visiting it for the last three years and have taken numerous shots of the fields. One day, I thought of creating something different with the strong composition of leading lines. For this reason, I decided to use an infrared filter to extract a new spectrum, which cannot be seen with the naked eye.’ maglightscapes.com

© Mark LittlejohnPhotographer: Mark Littlejohn Award: Commended Adult Classic View Formation, Temple Sowerby, Cumbria, England‘I was out for dawn in the Eden Valley, chasing the mist. This lovely selection of trees was right on the edge of the mist which helped todefine the depth and create a bit of mood. I took some time to compose the image to emphasise the formation and space between the trees.The wee tree in the front almost became the leader in a way.’facebook.com/markljphotography © Russ Barnes 49 B+WPhotographer: Russ Barnes Award: Commended Adult Your View Refuge, Exmoor National Park, Devon, England‘I took a couple of days during June to do something I’ve wanted to do for a few years – take my time to discover the magnificentnatural wilderness of Exmoor across North Devon. I found this lone tree standing near one of the roads at the centre of this greatNational Park; literally the only shade available in a raw, unforgiving landscape. A couple of sheep had taken cover from the hotmidday sun and were unmoved by my presence. I wanted something which told the story of the harsh reality of survival in thisplace and the windswept old tree seemed to carry that off beautifully. Certainly one of my favourites from the trip.’russbarnes.co.uk

© Mark Helliwell50 Photographer: Mark Helliwell Award: Commended Adult Your View Reflections, Bottoms Reservoir, Cheshire, England ‘I was hoping to capture a wide vista and was waiting for the sun to set to the right. However, on studying the scene in front of me moreB+W carefully, I noticed the reflections of the trees and houses in the reservoir and the criss-cross pattern of trees bordering the fields in the distance. So I changed from wideangle lens to telephoto to emphasise the patterns in the landscape.’ markhelliwell.com © Giles McGarry Photographer: Giles McGarry Award: Commended Adult Urban View Sea of Fog, The Dome, London, England ‘An amazing day in December; the fog didn’t clear all day. This was taken mid afternoon with the sun bright overhead leaving a sea of fog. All I had with me was my phone but it was too good an opportunity to miss.’ kantryla.net

© Paul Shears 51 B+WPhotographer: Paul Shears Award: Commended Adult Your View Dark Light, London, England‘Taken in January 2014 during a period when London was for the most part covered in thick fog (during the early morning hours)for two or three days. I arrived at my office on the 30th floor in Canary Wharf only to find that I couldn’t see a thing through anyof the windows, the fog was that high and thick. However, after waiting a few minutes, as the sun started to rise, the fog beganto clear and these two buildings became visible as the light started to hit them.’paulshearsphotography.com

© Graham Eaton © Ian Mountford52B+W Photographer: Ian Mountford Photographer: Graham Eaton Award: Commended Adult Your View Award: Highly commended – Adult Your View Wayward, high tide at St Monans’ Breakwater, Dances with Waves, Llyn Peninsula, North Wales Fife, Scotland ‘I was photographing the huge waves that were battering Porth ‘I was returning from a photography workshop in the Cairngorms Ceiriad, during a storm in December 2013. I became fascinated with and had timed my journey to arrive for high tide at St Monans. This the way that the gulls were dancing around the waves in search of is not a safe place to photograph; you have to climb steep steps on to food, almost seeming to enjoy the danger. Using a long lens, I could the harbour wall and set up your tripod with quite a drop below you. stay well away from the cliffs but even so, the power of the sea on that This was my second visit here, as the first was so stormy you could day was awe-inspiring. I remember trying to ignore the cold, while not even reach the harbour wall. This time was better but strong trying to hold the big lens on a tripod, which the wind could have winds and spray always make it hard work. I was rewarded with blown over in an instant.’ a brief patch of glorious sunlight shimmering off the breakwater.’ eatonnature.co.uk ianmountfordphotography.com THE LANDSCAPE PHOTOGRAPER OF THE YEAR 2014 The Landscape Photographer of the Year exhibition can be seen on the Mezzanine level of London Waterloo station from 1 December 2014 until 31 January 2015. Admission is free. The accompanying book, Landscape Photographer of the Year: Collection 8, (AA Publishing) is available now. The awards are held in association with VisitBritain and the Countryside is GREAT campaign. For more information visit take-a-view.co.uk.

BLACK+WHITE PHOTOGRAPHY COOL, CREATIVE AND CONTEMPORARY iStockphoto.com/Olena Druzhynina SAVE UP TO 40% TODAY. Download the digital edition of Black+White Photography. Get the first issue from just £1.99 or subscribe from £14.99 for 6 issues. Available to download on your digital device or available online at www.pocketmags.com Download from Windows Store EXTRA PICTURES INTERNATIONAL EXHIBITION LISTINGS ENDLESS BACK ISSUES

INSPIRATION PHOTOBOOK WORKSHOP 5/112 In the final part of his series, 112 Ways to Make a Photobook, Eddie Ephraums ruminates on the breadth and depth of a long-term project and looks All pictures © Eddie Ephraums at how it can open up new boundaries in creative thinking. H ere we are, five books into the 112 Ways to Make a Photobook project, and I’m thinking about the lessons I’ve learned so far. I’m also wondering what else I will discover from making the remaining 107 books and how this might feed back into my photography. And I’m asking myself, why limit the project to 112?  If books are my thing, why not keep going?  The main lesson I’ve learned is the benefit of having a long-term project and the sense of focus it gives to my photography. It also54 seems to have captured the imagination of photographersB+W I’ve spoken to, although some see 112 books as a Herculean challenge – fraught with a fear of failure, perhaps? Yes, the project is challenging, but in all the right ways, and I’m finding the exercise is helping to get me photobook ‘fit’. In contrast, it can be harder to make a single book, on which I am far more likely to get hung up trying to get it ‘right’. Creating 112 different books offers incredible scope for exploration and experimentation, and to have fun making mistakes. Perhaps there is an art to making mistakes: to see them as opportunities for inventive problem solving. The fifth 112 Ways to Make a Photobook is a Japanese three- hole, side-sewn book. The images were made this summer while on holiday in Patmos and the book explores my notion of religion. The cover is adorned with a red, woven, Greek Orthodox pendant and the pages were printed four- up on A3+ double-sided, 225gsm, Fotospeed rag paper.

55 B+WIn addition to the three-hole sewn FIVE KEY QUESTIONS Thanks to the web, andbook (left), I also made a second photography being a universalfoldout version (above). This is 1 How would it be to work on a long-term project? language, there is no size-limitsingle-sided so it was easy to 2 Is photography the project or simply one of its tools? or boundary to this audience.print. The double-sided pages of 3 Does thinking creatively mean thinking entirely by ourselves? The art is to keep makingthe sewn book had to be carefully 4 What outside help or feedback can we invite for our project? books and find ways to makealigned on their second pass 5 What can we offer in return (we’re all good at something)? them relevant (ie interesting)through the printer, to prevent to other people.registration issues. And to prevent Then there are the people Here’s another lesson.marking, I printed the image side I would like to share the books Although I’ve always seen And talking of success, whatof each sheet last. with who might not be experts books as conversations, about the sense of achievement in book making, but who may and a way of speaking with that can be had from workingO ne of the other know more about each subject people, now I also see these on a long-term project? I wonder lessons I’ve learned than me. I’m intrigued by what conversations as the basis for how many of us put more value is that making we may both learn from these creating a community and on the price of our photographic these (or any) books book-inspired conversations. establishing an audience. equipment rather than valuingis an invitation for feedback. I’m what we are committed todrawing up an ever-growing list ‘Yes, the project is challenging, but in all the achieving with it?of creative people I want to right ways, and I’m finding the exercise isshow the books to, including helping to get me photobook ‘‘fit’’.’ What’s my final lesson? Theredesigners, typographers, isn’t a final one. I’m learning notbookbinders, product designers to make such judgments. I’mand, of course, fellow also learning not to pre-judgephotographers. I want to invitetheir thoughts and take on a book (or a collection of 112board their suggestions,perhaps re-making the books TIPthey have commented on. Starting a photography or photobook project is exciting, but with it comes the sense of the unknown and with that comes the fear of failure. The failure in question is not that we aren’t creative, but that we haven’t created a structure or a support network for our creativity. We understand the need for this in a day job, so why not in photography?

56B+W The printed A3+ sheets were cut into four pages, each with text on one side and an image on the reverse. The left hand white margin of the A3+ sheet wasn’t trimmed. It formed the edge binding strip for the Japanese-sewn book. The front and back covers are each made of doubled-over 250gsm pale buff card, while the red linen stitching matches the pendant.  books) before it’s made. the result, it’s the daily process Instead I’m committed and practice of thinking about to seeing the 112 Ways project and making these books that is through and allowing each of important. It keeps me in a the books to speak for photographic – mindful – themselves. No matter what frame of mind. ‘I wonder how many of us put more value on the price of our photographic equipment rather than valuing what we are committed to achieving with it?’ FUNDAMENTALS On Patmos there was a particularly beautiful chapel next to where we stayed. Although of a quite different religion, my wife – who is also a yoga Working on a project is an opportunity to really inhabit teacher – visited it most days to meditate. Although I’m not religious in something. It’s also an opportunity to grow out of a perhaps the traditional sense, I was moved by the experience and photographically all-too-familiar photographic skin. There is a balance to inspired by the candlelight. The book project grew from there. be achieved between our unique approach to photography and being receptive to new ways of seeing. These two approaches should work in harmony, the first grounds us, the second gives us wings. EDDIE EPHRAUMS To see more of Eddie work and services visit envisagebooks.co.uk

Develop your photographic ideas with Eddie Ephraums and Adrian Hollister on our annual ‘Creative Picture’ workshop.Photo: Adrian Hollister Develop your creativity… Small group mentored workshops with Eddie Ephraums & other renowned leaders Fully equipped Open Studio Workshop Centre on Scotland’s stunning NW coastAre you wanting to develop your photography? Explore the ideas – OPEN ST UDIO WOR KSHOPS –that underpin your image making? Work on a project with expertguidance? Make a photobook with professional support? Edit and OSWprint a beautiful portfolio? Curate a show? And so much more… Thenthere’s the panoramic sea-loch view from our spacious workshop SC O T L A NDcentre, where we can sit and discuss your work. Whatever yourphotographic needs, be inspired – we’re uniquely placed to help.To find out more about our approach to photography, visit:www.openstudioworkshops.com

TECHNIQUE WINTER LANDSCAPES All pictures © Lee Frost Winter’s the perfect season for black & white because often that’s all you get! The quality of light can be fantastic and landscapes can be beautiful. Lee Frost goes in search of stark simplicity.58B+W O f all the seasons, ALNMOUTH, NORTHUMBERLAND New Year’s Day morning 2010 saw Alnmouth beach at low tide winter has to be the covered in inches of snow. Despite a thumping hangover, I headed out and used shallow least favourite for most pools to break up the foreground. folk. But I can’t get enough of winter – it’s Canon EOS 1DS MKIII with 17-40mm lens, ISO 100, 1/10sec at f/16 an amazing time for landscape photography. of light is good throughout the day with even need to use an ND grad to darken the long, raking shadows adding depth to your sky because it’s already dark enough! A great benefit is that the days are short, images and revealing texture and form in so you can shoot from dawn to dusk the landscape. To make the most of the day I always without having to get up at some ungodly aim to be on location an hour before hour or stay out half the night. Also, winter Of course, there’s no guarantee you’ll sun-up. In winter that means setting out transforms the most mundane scenery, get sunshine, but it doesn’t really matter in total darkness and using a head torch so you needn’t head to a place of great because any type of weather can produce to find my way around, but it’s worth it natural beauty. A local park or farmland great black & white winter landscapes. because the eerie half-light of pre-dawn can be the source of successful images Grey, overcast days are ideal for producing can be just as magical as sunrise. – think of skeletal trees against the sky simple, graphic images where features or frost-filled furrows in a ploughed field. such as trees, buildings and mountains You may think it’s a waste of time Rivers, canals and lakes also look great stand out against the pale tones in the sky. heading out for sunrise when your aim is in winter, especially if the water freezes to produce black & white images, but the so you can shoot ice patterns or use the The dark skies that precede a snowstorm character of the light at this time of day cracks and crevices as lead-in lines in can also look incredibly dramatic and as the is just as important as its colour, plus the wideangle compositions. winter landscape is lighter in tone than the temperature is likely to rise through the day sky – especially after snowfall – you don’t Once the winter sun has risen, it doesn’t so if you want to catch delicate frost and climb very high in the sky before heading back down to the horizon, so the quality Opposite GRUNDAFJORDUR, ICELAND The cracks in snow-covered lake ice made perfect lead-in lines for this wideangle view of the magical Kirkjufell (Church Mountain). Canon EOS 5D MKIII with 17-40mm lens, ISO 100, 0.6sec at f/16

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STAY WARM If you want to enjoy your time in the winter landscape you need to stay warm and comfortable, so make sure you wrap up. I start out with a thermal base layer then add two or three further layers to my top half including a wind and waterproof outer shell. For my bottom half, I favour softshell trousers that are both wind and waterproof, though I often add Gore-Tex overtrousers as an extra barrier against the wind and cold. The extremities tend to feel the cold first so thick socks and stout boots are the order of the day for feet, a hat for the head (essential – 40% of body heat is lost through the head) and gloves for hands. If it’s really cold I wear a thin pair of inner gloves and a thicker pair of fleece outer gloves, removing the outer pair when I need to operate the camera but keeping the thinner pair on. correctly expose ‘average’ scenes. An NEAR SNAEFELLSNES, ICELAND This is what winter landscape photography is all about for me – average scene is one that contains a fairly60 stark simplicity. I love the contrast between the dark rocky hillside and the dusting of snow on even number of light and dark tones andB+W it while the stand of skeletal trees adds scale and balance. reflects approximately 18% of the light falling Canon EOS 5D MKIII with 70-200mm lens, ISO 800, 1/640sec at f/4 on it. Think green field under blue sky on  atmospheric mist, dawn is the time to be a sunny day and you won’t be far off. Even be extreme – especially when it’s covered easier, think mid-grey colour. If you point out there. The rising sun shining through in freshly-fallen snow – the odds of your your camera at a wall painted mid-grey, it mist above water or in woodland looks camera mucking up the exposure are will give you a perfectly exposed photograph amazing, but it doesn’t last for long. greater than ever. of it because that’s what it’s designed to do. I’m an obsessive weather forecast The problem is this: the metering system Unfortunately, winter scenes are different. checker. Landscape photography relies so in your digital camera is designed to They’re about as far from ‘average’ as much on the weather, and knowing how it’s likely to be will help steer you towards a particular type of location, or get you thinking about specific types of shot. I visit: metoffice.gov.uk xcweather.co.uk metcheck.com If a clear night is predicted that means temperatures will drop and there’s a good chance of mist and frost the next morning – which makes an early start worthwhile. If cloud is predicted and the temperature isn’t likely to drop below freezing then a frosty covering is less likely. WINTER EXPOSURE NEAR SNAEFELLSNES, ICELAND All the images here with ‘Near Snaefellsnes’ as their title were shot on the same afternoon. When conditions are good, you can produce a lot of great winter The key to shooting winter landscapes landscapes in a few hours – and that applies to anywhere, not just Iceland! is getting the exposure right. OK, we all know that exposure error can be corrected Canon EOS 5D MKIII with 70-200mm lens, ISO 800, 1/640sec at f/4 during post-production, but there’s a limit to how much error you can correct before image quality begins to suffer, and as the tonal range of the winter landscape can

GOT THE GEAR? 61You don’t need special B+Wequipment to shoot great winterlandscapes. No matter how low GLEN ETIVE, SCOTLAND Cloudy weather may not work so well in colour, but it’s perfect for dramaticthe temperature gets in the UK black & white landscapes. I used an ultra-wide lens here, so that I could get close to theyour regular camera should work foreground rocks but still include the silhouetted trees and stormy sky.fine, though batteries do tend todrain faster in cold weather so Canon EOS 1D MKIII with 21mm lens, ISO 100, 0.6sec at f/22it’s worth carrying one or twofully-charged spares. you can get, and this confuses your poor images immediately, so we can identify and camera because it doesn’t know what to correct any error to ensure we never miss When you arrive home after do. It’s programmed to see everything as a great shot.a shoot it’s also a good idea to ‘average’ so if a scene isn’t, it tries to forceleave your cameras and lenses it to be. Point your camera at a field covered What I do is this. I mount my camera onzipped up in your backpack in snow and even though it’s almost pure a tripod, compose the scene, then attachuntil they warm back up to room white, your camera thinks, ‘Nah, I’m having and align any filters I intend to use – usuallytemperature. Take them out of the none of this – that field should be grey’. So just an ND grad to tone down the sky. Next,bag when they’re freezing cold it underexposes and the white snow comes with the exposure mode set to Apertureand they’ll instantly be covered out grey! Fortunately, we get to see our Priority and the lens stopped down to thein condensation, which shouldn’tcause any problems but is a pain! desired aperture, I take a shot with no In terms of lenses, I tend to ‘A local park or farmland can be the source of successfulcarry three zooms – 16-35mm,24-70mm and 70-300mm. I’m images – think of skeletal trees against the sky ora wideangle photographer atheart as I love big compositions frost-filled furrows in a ploughed field.’with bold foreground. But thatapproach doesn’t necessarilywork when you’re shootingwinter landscapes, especiallyif the foreground interest iscovered in snow! All need not belost. Tracks or footprints in thesnow, or natural undulations,can be used to lead the eye intothe scene. Cracks in ice workwell too, or dark pools of watersurrounded by snow. I find myself reaching for the70-300mm more in winter thanany other season as it’s idealfor creating simple, graphiccompositions – trees appearingto float in the snowy landscape ora church spire peeping throughmorning mist. A telezoom helpsyou achieve success by limitingwhat you can include in the frame. If light levels are low I oftenmount my DSLR on a tripod toavoid camera shake, but as all myzooms have image stabilisationI find myself taking handheldshots more and more these days.If light levels are low, I increasethe ISO – at 400 or even 800image quality is still fantastic,and I don’t mind if the imagesstart to look a little grainy as itgives them a filmic quality. Filters aren’t as useful in winteras they are at other times of year.I mainly use an ND grad for thesky and occasionally a 10-stop NDfor long exposures, but that’s it.

HAUKARDALUR VALLEY, ICELAND This is steam rising from geothermal ALNMOUTH, NORTHUMBERLAND It may appear flat and featureless in dull pools on a freezing morning. The couple happened to walk by and made weather, but when the winter sun shines on fresh snow its texture is the shot. Mist gives a similar effect during winter. revealed beautifully. Canon EOS 5D MKIII with 17-40mm lens, ISO 400, 1/640sec at f/8 Canon EOS 1DS MKIII with 17-40mm lens, 0.6ND hard grad, ISO 100, 1/8sec at f/11  exposure adjustment applied. This is my The key is to pay attention to the because, with a winter scene, where the histogram tends to be fairly condensed, exposure test shot – a digital Polaroid if you histogram because as you increase like – to see how the camera’s coping. the exposure the tones in the histogram this can be catastrophic. I always expect a degree of shift gradually to the right. What you Clip the highlights in a normal scene and underexposure, so after looking at the don’t want to do is to move it so far to you may get a few tiny areas where no preview image and its histogram I dial-in the right that the highlights start to blow detail records. Clip them in a snow scene extra exposure using the camera’s exposure and half the image ends up pure white. You compensation facility. I may start with as little ‘The rising sun shining through don’t want that because, while snow is as +1/3 stop or as much as +1 stop and white, it’s not pure white and it does have mist rising above water or in texture, which you need to retain. I increase I may end up going to +2 or even +3 stops to get the effect I want. The level of exposure woodland looks amazing, the exposure in 1/3-stop increments as much as I can before the highlights touch62 compensation required varies from scene to but it doesn’t last for long.’ the right side of the histogram and highlight scene, but on average it’s probably +2 stops.B+W NEAR SNAEFELLSNES, ICELAND Snowfall reduces the winter landscape to stark tones and simple shapes that work brilliantly in black & white. Canon EOS 5D MKIII with 70-200mm lens, ISO 800, 1/400sec at f/5.6

LAKE ULLSWATER, CUMBRIA The quality of light during winter can be truly wonderful, so it’s worth heading out for dawn even if the weather forecast 63isn’t brilliant. I took this shot on the way back to my hotel after breakfast and it proved to be the best of the morning.Canon EOS 5D MKIII with 70-200mm lens, ISO 100, 1/320sec at f/6.3 B+W warnings flash on the preview image. captured, it will require very little work it’s quick and does a great job. That gives me a Raw file where texture in post-production before you’re The High Structure presets are and detail are recorded in the lighter/higher admiring another perfectly exposed tones – the snow, ice and frost – but winter masterpiece. particularly effective on stark winter shadow detail has also been recorded. scenes as they help to bring out texture All that remains then is to convert the in snow and emphasise the drama in theB y working in this way, you should image to black & white – a process I enjoy sky. Sometimes the presets can be over never mess up the exposure of a immensely as it allows me to bring out the the top, in which case I use the Structure winter shot, and if you choose the true character of the image. I use Silver slider to achieve the desired look. The right Raw files from the sequence Efex Pro from the Nik Collection by Google Contrast slider can also be very useful for this job (google.com/nikcollection) as when you want a simple, bold effect.NEAR SNAEFELLSNES, ICELAND Water always seems so much darker when RANNOCH MOOR, SCOTLAND Wherever you find ice there’s the potentialit’s juxtaposed against snow and can be used to break up what could for some fantastic detail shots. The freeze-thaw action on waterotherwise be a rather featureless foreground. In this scene the dark creates fascinating patterns while melting ice is transformedpool echoes the mountain and adds balance to the composition. into webs of glassy fingers.Canon EOS 5D MKIII with 24-70mm lens, ISO 1600, 1/100sec at f/10 Canon EOS 1DS MKIII with 70-200mm lens, ISO 800, 1/100sec at f/10

TECHNIQUE PHOTO PROJECT 17: MEMORY AND THE FAMILY ARCHIVE If you are drawn in by the texture of vintage photographs, why not explore the rich potential of working with archive material? Tim Daly helps you link the present to the past. N owadays, the archive has become a rich modify and overlay new ideas around existing material. source of interest for visual artists and Without really knowing it, many photographers are also photographers reworking historical, family highly sophisticated picture editors with a sharp eye for and vernacular images into their work. a great image. Archives can be as modest as a shoebox of family snaps or an unseen collection in For this project, I’m tasking you to sift through vintage a local library, yet all provide an opportunity to adapt, collections of family photographs and to make a new piece of work incorporating the old with the new.64B+W SECTION 1: THEME IDEAS Tom Wood’s Biscuit Tin Photo Archive at Oriel Mostyn, Llandudno. For this project you’ll be exploring how existing images or albums can be reworked into new forms. Technology isn’t the most important element at this stage, so focus all your efforts on developing an intriguing concept. Choose from one of the following themes: 1 VISUAL BIOGRAPHY Mari Mahr’s photographs mix together elements from her past ‘recalling vague and hazy memories as well as those with great vividness and clarity’. Frequently, she shoots personal artefacts lying over or above photographic prints to create an unusual perspective. For this project, source a range of objects that have a biographical link to a family member and create a series of still-life images. These could contain handwritten letters, old photographs or keepsakes, as shown. Think carefully about placement and the combination of props, background and composition. Remember, there’s no need to have lots of items crammed into a tiny set, as fewer rather than many will create a clearer story.

All pictures © Tim Daly2 REWORKED ALBUMPeter Beard’s poignant book End of the Game (1965) mixedarchive photographs and diary entries with his own words andphotographs to create a unique take on the ecological disasterunfolding in Africa’s Rift Valley. Beard’s seminal book was lightyears ahead when published, mixing historical and contemporaryimages to illustrate then and now. For this project, take a family photograph album and reworkit to include your own images and text. In this example, usea simple family album as a starting point, asking yourself thefollowing questions: Where were the pictures taken? Whatdoes the place look like now? Who are the people? What hashappened in the interim? INSPIRATIONAL QUOTE 3 RESTORING YOUR FAMILY HISTORY 65‘I cannot claim that my photographs represent anything Many of our fondest family photographs exist outside albums as B+Wother than a few wisps teased from some of the countless dog-eared prints left in drawers, or scattered across our wider family. Yet a more complete family history could be achieved by threads that form the intricate tapestry of our lives.’ restoring vintage photographs to a single album. – Shirley Read Although simple post and screw photo albums are simple to make, there are plenty of ready-made albums from high street suppliers such as Paperchase – those with thick black pages being the best to display vintage prints. Organise your material into groups, then subsets that are small enough to fill a single or double page spread. Use self-adhesive photo corners to fix the prints into the album without causing further damage to the originals. Invite family members to write captions too.4 POSTCARDS AND PHOTO-SOUVENIRS 5 VINTAGE PRINT DISPLAYVernacular photography – the type of photography that doesn’t Photography can be about collecting, editing and sequencing too,present itself as art – is all around us and can be as inspirational especially when it comes to exploring vintage material that hasn’tas the most highbrow artwork in a national museum. Tourist seen the light of day for years.postcards and photo-souvenirs mass-produced by companiessuch as Valentine’s and John Hinde can still be collected at fairs In this example shown alongside Tom Wood’s recent exhibitionand online auction sites for next to nothing. of landscape photographs at Oriel Mostyn in Llandudno, Wood and curator Mark Durden created a parallel display called the Valentine’s Real Photographs series, as shown, was a small Biscuit Tin Photo Archive. By asking local residents to bring in theirpacket of real darkroom prints capturing the most popular tourist old family photographs, which were scanned then reprinted on tolocations across the UK. Find a similar souvenir set or postcard thick cotton inkjet paper, the gallery was able to make a thought-and see if you can reshoot, remake or revisit the same location. provoking display from crowdsourced material, as shown. Find, scan and reprint examples of your own family images and arrange the prints into sympathetic groupings. Use lengths of picture moulding fixed directly to the wall to provide a shallow shelf to rest your prints upon.

SECTION 2: REMAKING A FAMILY ALBUM Digital photobook printers such as Blurb provide an ideal service for remaking a family album in multiple copies, useful if there are family tensions surrounding ownership of the original prints. ENHANCEMENT AND RESTORATION The dilemma in handling vintage material is knowing how far to Use your Clone Stamp tool sparingly to restore only the parts restore age-related damage. Old prints often have a visible quality of the image that you can achieve realistically. Keep rough edges that marks them out as aged, so you don’t want to strip this away as they make the image look more like a fragile object. in your scanning or editing. Many have a unique tonal range, an In this example, a near-faded print was restored simply using66 unusual colour or sometimes a highly visible texture. the highlight and shadow points in Levels.B+W SCAN THE ORIGINAL MATERIAL RECOLOURING Start your project by scanning the vintage prints on a flatbed When faced with a box of different vintage prints, it can be easier scanner, or multi-purpose print and scanning device. Small prints to recolour them as a set rather than try to match them individually. rarely look better when enlarged, so consider reproducing your Lightroom’s Split Toning function allows you to create a vintage vintage prints at their original size. Scan at 100% and at 300ppi style tint by mixing two separate colours together. using the RGB colour mode, even if the prints are monochrome. Save as Tiffs. In this example, Yellow (Hue 75) was chosen as the Highlight colour with a Saturation value of 15, followed by Red (Hue 0) as the Shadow colour set to the same Saturation value. By mixing the two colours together, you can achieve the look of a warm-toned darkroom print.

SECTION 3: THINK ABOUT LAYOUT AND DESIGNCrusty old vintage images can look very stark against the brilliant white paper of a digital photobook,so consider making your book design a little more accommodating than usual.PAGE COLOUR FRAMES AND EDGESBlurb’s two best software tools for making photobooks are the Razor sharp edges around your vintage images won’t look good,free BookSmart and the Book module within Lightroom and both so consider using a decorative border or frame to place yourof these tools allow you to set a custom background colour of the image within.page using simple RGB colour values. If you have a page torn froman old photo album, scan this and use it as a colour reference. In this example, I’ve chosen a thick white border to try to mimic the edge of a vintage print. Be careful to avoid the kind of clip art In this example I scanned a page from an old postcard album, edges available in BookSmart, as these may make your layoutopened it in Photoshop and used the Color Picker to sample the look a little fake. If you’d rather specify a precise width and colour,colour as R:112, G:97 and B:74, to create a mid-tone brown to you could achieve this in Photoshop by using the Canvas Sizelook like thick sugar paper. It’s much better to start with a physical adjustment, or in Lightroom by using Fine Art Mat template in thesample rather than make one up. For this album, I used the mid- Print module, followed by Print Job> Print to: Jpeg File rathertone brown to colour the right hand side of the spreads. than an export. 67 B+WTHE COVER PROJECT OUTCOMEPerhaps the hardest part of any book project is the cover design, Aim to produce a book or album based on your familyas this largely confirms the reader’s expectations from the outset. photographs, but try to maintain the texture and quality ofTry to choose an image that has some space within it for a text the originals. This example used old Polaroid prints takenbox, so you can incorporate the title into the actual image. from a holiday snapshot album from the 1970s. In this example, there was an empty space on the upper right INSPIRATIONAL BOOKShand side that seemed ideal. The size and space will help youdecide on the size of text too. To complete the design, I sampled Tom Wood’s Landscapes (2014) are drawn from thecolour from the original print to provide colour for the rear cover photographer’s extensive archive of landscape workand the text box on the front too. interspersed with fragile family photographs. Mari Mahr’s A Few Days in Geneva and Between Ourselves SEND US YOUR PICTURES are two excellent collections of the artist’s idiosyncratic work. The original 1965 edition of Peter Beard’s End of the Game: If you have been inspired by this photo project, then we The Last Word From Paradise is highly sought after, but recent want to see your pictures. You could win £100 voucher versions such as Taschen’s 2008 edition are very good too. from Hahnemühle. Verna Posever Curtis’ Photographic Memory: The Album in the Age of Photography (2011) is well worth a look, featuring little Send them to: Photo Projects, Black+White Photography, known albums by Walker Evans, Jim Goldberg, Danny Lyon GMC Publications Ltd, 86 High Street, Lewes, East Sussex and many more. BN7 1XN. Full submission details on page 2. timdaly.com

TESTS AND PRODUCTS All pictures © Lee Frost The 645Z replaces Pentax’s earlier foray into medium-format digital, the 645D, and though it looks very similar, it boasts a whole array of upgrades and improvements. At its core is a 51.4Mp Sony CMOS sensor, the same one used by the Hasselblad H5D- 50c and Phase One IQ250 (though that doesn’t necessarily £6,799 mean image quality from all three cameras is the same as body only there’s more to it than that). The sensor measures 44x33mm, PENTAX 645Zwhich makes it 1.7x bigger than a full-frame DSLR sensor, and it has a crop factor of 0.8x (so Ever fancied a medium-format digital camera but were put off by the68 a 100mm lens on the Pentax price? The new Pentax 645Z could be just what you’ve been waiting for.B+W is the same as an 80mm on a full-frame DSLR). This is the Lee Frost puts it to the test. first medium-format CMOS sensor and it not only gives having to search through menus I n the hand, the 645Z feels responsive and fast enough the Pentax a faster shoot rate on the rear screen, you can quite big and bulky (it weighs for the subjects you’re likely (3fps), but much better live view access pretty much everything 1.4Kg body-only) but also to shoot with a medium- and a massive ISO range from using visible buttons and dials. well-balanced. It’s more of format camera. The metering 100-204800 – that’s more than I like that. It gives the camera a a tripod camera really, due to is also accurate in all lighting most DSLRs! more traditional feel and makes it the size and weight, but it can conditions, with exposure Because the 645Z’s body is quicker to use – I didn’t need to be used handheld with ease if compensation as back-up physically bigger than a 35mm- refer to the owner’s manual once you have a steady hand. The when needed, and the optical type DSLR there’s more space and was able to use it straight 27-point AF isn’t as fast as a viewfinder is big and bright. for controls. Therefore, instead of from the box. top-end DSLR but it’s quiet, On a tripod the 645Z really Even when the light is contrasty, Raw files from the 645Z are packed If you shoot landscapes or architecture, and want the highest possible with detail and take little work to produce the final image. quality for sensible money, the Pentax 645Z could be the answer. Pentax 645Z with 55mm f/2.8 lens, ISO 100, 1/5sec at f/16 Pentax 645Z with 55mm f/2.8 lens, ISO 100, 1/40sec at f/11

comes into its own. It boasts an LIKES TECHNICAL SPECIFICATIONSexcellent 3.2in tiltable screenso you can angle it as required Image quality Price £6,799 (body only), £7,699 (with 55mm f/2.8 lens)to see what you’re doing and High ISO performancethe live view for composition, Optical viewfinder Sensor CMOS with primary colour filterfocusing and filter alignment is Control layoutas good as it gets in a medium- Articulated LCD Sensor size 44 x 33mmformat digital camera. If you Price (relatively speaking!)use a suitable SD FLU card you Effective resolution 51.4mpcan also use wireless live view DISLIKESshooting via your smartphone LCD tiltable 3.2in, 1037000 dotsor tablet. The reflex mirror Preview image slow to appearis bigger than a 35mm-type Lens choice limited at the moment Focusing TTL phase-matching 27-point AF and manualDSLR and there is noticeable No lenses with leaf shutterrecoil when it flips up prior Lens cost Shutter speed range 30sec – 1/4000sec plus bulbto exposure, but if you usethe mirror lock-up, the risk of double that quite easily and big Shooting rate 3fpscamera shake is reduced. panoramic prints can be made from a single cropped image Exp modes program, sensitivity priority, aperture priority, shutter priority, manual The body is fashioned from rather than having to stitchmagnesium alloy, which makes images together. ISO sensitivity 100-204800it robust enough to withstandthe knocks of regular use. It The 645Z uses Pentax’s File type Raw/Dng, Jpeg, Tiffalso has over 70 weather seals own Raw format (PEF) whichto prevent moisture ingress, so the latest version of Adobe Storage dual slot sd, sdhc, sdxc and flu sd (wi-fi enabled)you can use it outdoors in harsh Camera Raw in Photoshopconditions without worrying. and Lightroom can open. I also Video capability 1920 x 1080 hdSome of the latest lenses for the found the Raw files require little645Z are also all-weather – the work if you get the exposure Dimensions (wxhxd) 156 x 117 x 123mm55mm f/2.8, the 90mm f/2.8 right in-camera and keep anand the 25mm f/4. eye on the histogram. The Weight 1470g (body only) camera’s processor is also Image quality is superb more sophisticated and the useable at ISO 51200 if you 69thanks to the size of the sensor, high-resolution LCD accurate, apply noise reduction duringthe 51.1Mp packed into it and so the images you see on it post-processing. I’m not sure B+Wthe lack of an anti-aliasing (AA) look the same when you how often you’d use suchfilter – though it does have an download them to a computer. a camera at ISOs that high,AA filter simulator if you have but I can see the benefits forproblems with moiré patterns A surprising feature of the wedding, portrait and fashionthat can occur when shooting 645Z is the massive ISO photography in available light.detailed subjects. If big, range, up to 204800, and the If you want to get the best fromdetailed prints are your bag image quality at high ISO. Up the 645Z, stick to ISO 100then the 645Z won’t disappoint. to ISO 3200 it’s fantastic and where the dynamic range isThe standard output size is though noise starts to appear a massive 13 stops.over 27x20in at 300dpi, though from ISO 6400, images are stillwith interpolation you could VERDICT The Pentax 645Z is the best medium-format digital camera I’ve used and the first that I could see myself actually owning. Considering what rival cameras and backs from the likes of Hasselblad and Phase One cost, it’s not that expensive and if I was primarily a landscape photographer, rather than a jack of all trades, I’d seriously consider trading my Canon kit in for one! Build quality is high, the camera handles really well given its bulk, the autofocusing is quick for a medium-format camera and the metering is very accurate. It’s just like an oversized DSLR really, with all the latest features and technology that make it so user-friendly. The best bit for me though is the image quality – it’s simply stunning and reason enough to start saving!Image quality from the 645Z is truly superb – when you see the results RATINGS 8990%it’s immediately obvious that they were from a sensor bigger than afull-frame 35mm. HANDLING %92% PERFORMANCE Pentax 645Z with 55mm f/2.8 lens, ISO 100, 1/6sec at f/16 SPECIFICATION 90% VALUE FOR MONEY 84% OVERALL

TECHNIQUE THE SMART GUIDE timclinchphotography.com TO PHOTOGRAPHY Learning how to use an app takes time and experience – but it’s worth the trouble, says Tim Clinch. Experiment, adapt and learn from your mistakes – and you’ll soon find your own style that stands out from the rest. I once, probably in one of my many fits I processed when first using Lightroom, for good think about what to use it for. of pique, called Instagram ‘the home of example, they were dreadful. I was like a kid So I suggest that, like me, you think the lazy photographer’. At its inception in a candy store, over-using all the tweaks this was often the case. Too many and tricks like there was no tomorrow. again about Instagram and check out the people lazily slapping a filter on their feeds of, among others, these famous picture and uploading it to Instagram T ake the very clever new app photographers: fashion divas Ellen without too much thought. from those smarty-pants folk at von Unwerth and Nick Knight; official Now that Instagram has been around Hipstamatic, TinType ( hipstamatic. White House photographer Pete Souza; for a while and we’ve all got used to it, com/tintype). As I write, TinType top travel photographers Ami Vitale, it has become a really interesting platform, portraits are all over Instagram like a rash. David Hagerman, Ira Block, Michael especially for mobile photography. Everyone has been out there taking their Christopher Brown and Brendan van Son; It has ‘grown up’ and there are some very mean and moody self-portraits. photojournalists Richard Koci Hernandez interesting feeds to follow. and David Maialetti; landscape As is often the case with something new, HOWEVER, a careful perusal of my photographer Scott Rankin and artist we over use it, or use it badly, before we Instagram feed sorts out the men from the Laura E Pritchett – to name but a few. settle down and get the hang of things. boys pretty quickly. When I look back at some of the pictures Oh, and should you wish to see any of You can tell who has been using TinType my mobile photography – my Instagram for a while and who has been having a feed is @clinchpics.70B+W All images © Tim Clinch

71 B+WTHREE APPS TOP TIP manufacturers suggest. Shake things up a bit. For example, all the picturesWell, TinType by Hipstamatic, fairly By all means get a new app as soon as this week were shot using Hipstamatic’sobviously, as I’ve talked about it so it appears, but I have two suggestions TinType. The manufacturers suggestmuch! Like most of what Hipstamatic for you. First, wait a while. Have a little that using this app you can ‘createdo, it’s beautifully designed and well patience and check out via the internet stunning portraits’. And in many cases,thought through. You can shoot what other people are doing with it you can. But try doing some other stuffdirectly with the app, or modify before you start posting pictures as well: still life, landscapes etc. And aspictures from your camera roll as you shot with it yourself. It’s always it’s an app dedicated to making thingswell. Good stuff. Still stubbornly good learning from our mistakes, look slightly ethereal and old fashioned,Mac only, however, and only useable but never underestimate the power try shooting some stuff from modern lifeif you have the latest IOS 8. of learning from other people’s with it, like the picture from seat 21A mistakes as well. That way you will on the flight I took to Seville recently! Koloid. A tad gimmiky, but aims to be able to avoid the clichés.let you ‘develop’ your pictures bytipping your phone as if you were Secondly, don’t do what theswirling chemicals around in adeveloping dish. Mimicking the lookof wet plate collodion, it’s not anactual simulation of the process, butit’s a cute novelty that promises toproduce unique imagery with everyuse. Again, Mac only. Avaliable fromthe app store, price £1.49. If you like the idea of tintypes,but don’t want to use theHipstamatic version, there area couple of other options availablefrom the app store – Tintype byMichael Newton (which, at the timeof writing, is free) and TintypeCamera by Pixell Industries (£0.69).

TESTS AND CHECKOUTPRODUCTS Dust specks and grimy streaks ruin photographs. While automatic sensor cleaning systems banish most of the offending marks, those that remain need a little extra attention. Daniel Calder and Tracy Hallett look at the options. KINETRONICS SPECKGRABBER PRO STICKY STICK K inetronics sensor and lifted straight up. Speckgrabber Pro Any sweeping action could uses the simplest of drag a particle across the methods to clean the sensor, causing a scratch. sensor. A small adhesive Identifying the dust requires square, made from a good eyesight and strong copolymer plastic, is attached lighting, while removing the to a flexible tube on a rubber dust needs a steady hand. handle. The sticky square is The tip must be cleaned then lightly pressed on to any after each particle is collected debris found on the sensor. too. Although this is time VISIBLE DUST ARCTIC BUTTERFLY Using the tool requires a consuming, it guarantees 724 (SUPER BRIGHT) you’re not replacing the dust bit of practice to get the best results. The edge, rather you just removed. In fact, SPINNING BRUSH than the flat surface, of the the device can be cleaned72 adhesive tip should be applied as many times as you want he Arctic Butterfly 724 helping to illuminate the sensor TLIKES is one of many blowers, and spot any impurities.B+W as lightly as possible to the without losing its adhesive brushes, swabs and Though effective, some caution quality. It can either be loupes produced by must be shown when using washed in soap and water Can be washed and re-used before drying or with the Visible Dust. Shaped like a the Arctic Butterfly. Sweeping over and over again accuracy is paramount, as you Kinetronics Precision Cleaning screwdriver with a brush on Minimal contact with sensor Solution and Tiger Cloth. the end, the tool cleans the don’t want to drag the bristles if used correctly sensor without any need for into oily areas in and around Compatible with all DSLRs DETAILS liquids or swabs. But this is no the camera body. If this does DISLIKES Guide price simple brush, as the device happen, fear not, as it can be Speckgrabber Pro £13 uses two AAA batteries to cleaned with the Visible Dust Cleaning is required after each Kinetronics Precision Cleaning spin the bristles like a turbo- Sensor Brush Cleaner (£13) speck is removed Solution 30ml £8 charged toothbrush. This or isopropyl alcohol. Strong light, good eyesight and Kinetronics Small Tiger Cloth £7 action positively charges the DETAILS a steady hand are required Contact kinetronics.com fine bristles while throwing off any dust already on the brush. Guide price Once charged, and no longer Visible Dust Arctic Butterfly 724 spinning, the brush is dragged (Super Bright) £99.95 lightly across the sensor, Visible Dust Sensor Brush attracting dust as it goes. Cleaner 8ml £13 The Super Bright version of Contact visibledust.eu the Arctic Butterfly benefits Two LEDs mounted on from two LEDs on the handle, the Arctic Butterfly 724 LIKES (Super Bright) illuminate the camera chamber Small and portable as you clean. No liquid cleaner or swabs required Great for photographers with multiple cameras The sticky tip of the DISLIKES Speckgrabber Pro gently Expensive Cannot remove fused-on dirt adheres any loose dust to its surface.

DUST-AID PLATINUMAND DUST-WAND KIT WET AND DRY CLEANINGT he Dust-Aid Platinum The adhesive silicone square of the and Dust-Wand Kit offer Dust-Aid Platinum tool lifts loose two relatively cheap dust from the sensor. ways to clean yoursensor. On first impression, and cloth. It’s quite fiddly to DELKIN SENSORSCOPEboth methods appear to be wrap the cloth around the SENSOR CLEANING SYSTEMrather unsophisticated. The applicator, but once doneDust-Aid Platinum comprises it’s held in place with a small COMPLETE SYSTEMa small red box containing a plastic clip. After applying aplastic cleaning wand and six few drops of cleaning solution Using a four-step cleaning liquid is applied to 73cleaning strips. you’re free to gently wipe process, the one end and wiped across away. Fifty cloths are included Sensorscope System the sensor, before being B+W Shaped like a Subbuteo in the kit, so they should last from Delkin tackles flipped and wiped with thecorner flag, the wand boasts a quite a while. each level of grime from dry, dry end. Three sizes ofplatinum cured silicone square loose dust to wet particles, wand are included in the kitat its base. This silicone Both methods certainly using a loupe, vacuum (6x small, 3x medium andsquare is pressed lightly on to save money, but you need to cleaner, cleaning wand and 3x large) but replacementsthe sensor and lifted straight be careful using and storing polishing pen – in that order. are quite expensive.up to remove static dust and the products to ensure theyfibres. For re-use, the wand is remain completely clean. The first job is to assess the Finally, a triangularcleaned on the accompanying sensor with the Sensorscope polishing pen completes thesticky strips. DETAILS loupe – a process made easy process, but this step seems by four bright LEDs. If dust superfluous and means more For welded-on dust, you Guide price is spotted, the Sensorvac is contact with the sensor.need the Dust-Wand Kit. Dust-Aid Platinum £20 called into play. Powered by aThis wet cleaning method Dust-Wand Kit £24 battery pack or USB port, the DETAILSuses the Dust-Aid cleaning Replacement Cleaning Strips £9.99 vacuum sucks loose debrissolution with a plastic spatula (pack of 12) off the sensor and out of the Guide price Replacement Dust-Cloth £9 (pack of 50) chamber. The tool features a Delkin Sensorscope System £79.99 LIKES Contact dust-aid.com static-free brush on its tip and Digitalduster Refill Kit with dual-speed motor, but the 15 wands £29.99 Small enough to fit in your pocket bristles are quite firm and the Contact delkin.com Cheap to use device feels underpowered. Three sizes of applicator to suit The wet cleaning stage usesall sensors a sealed plastic wand with two ends. The Sensorsolution DISLIKES Risk of contamination throughhandling and re-using Complicated folding systemfor swabs LIKES Compatible with all DSLRs Built-in light on vacuum, plus USB power option Sturdy carry case for the kitThe Dust-Wand Kit is a wet cleaning solution for gummed on dirt. DISLIKES The Delkin Sensorscope System includes a loupe with four LEDs to Bristles on vacuum cleaner brush help locate any particles for removal. a little too hard Wands are expensive to replace

LENSPEN SENSORKLEAR LOUPE KIT The Green Clean System usesMAGNIFIED CLEANING a pump to vacuum up debris from the sensor.T he Lenspen Sensorklear Loupe Kit allows you to see the dust on your sensor close up andclean it at the same time. Thisgenius idea is facilitated bya magnificent loupe, fittedwith eight LEDs to illuminatethe camera chamber. Itslots on to the lens mount tooffer a magnified view of thesensor, allowing you to targeteach speck of dust with theSensorklear II pen through theaccess window at the side ofthe loupe. As a result, there’s The Lenspen loupe allows you tono need to clean the whole spy any dust specks for removalof the sensor or for any wet with the Sensorklear II pen. GREEN CLEAN SENSORswabs, unless there’s some provides a bit of leverage. CLEANING SYSTEMparticularly sticky grime. The pen features an anti- Although it’s good at winkling VACUUM CLEANERstatic nib finished with a off the dust, it doesn’t alwayscarbon compound to help remove it from the chamber. T he Green Clean Sensor These swabs (three of eachremove oils. An articulated This is where the third tool in Cleaning System uses are included) are hygienicallyneck helps you reach every the kit, the Hurricane Blower, a two-phase process sealed and can only be usedcorner of the sensor, while comes into its own and puffs to completely clean the once. The wet swabs are74 the three-cornered shape any loose debris clear. sensor. The first step relies on pre-soaked, ensuring the ideal DETAILS an aerosol vacuum cleaner to amount of cleaning solutionB+W LIKES remove dust and debris from is used. The dry sweeper Watch close-up as you clean Guide price the sensor without touching the then removes the liquid and Sensorklear Loupe Kit £45 surface. By using the flexible dissolves grime with a few Tools go on and on without the tube attached to the vacuum strokes. There are two sizesneed to replace parts Contact lenspen.com Loupe’s height adjustment makes you can suck up debris of the Green Clean Sensor from the lens mount before Cleaning System available:‘The Lenspenit compatible with all DSLRs Excellent value kit Sensorklear Loupe attaching the disposable ‘pick SC-4000 for full-frame Kit allows you to up’ tube for the sensor. sensors and SC-4200 forDISLIKES see the dust on non full-frame models. Hard to remove the dust entirely Should you touch the sensor, the soft trumpet-from the chamber shaped attachment ensures no your sensor close damage is done. However, you only get three ‘pick up’ tubes up and clean it at in the kit and a replacement the same time.’ pack costs around £13. Once you’ve vacuumed the sensor, any stubborn marks can be addressed with the wet and dry swab system. LIKES DETAILS Vacuum effective at removing Guide price isolated particles Full-frame sensor kit SC-4200 £59 Non full-size sensor kit SC-4000 £50 Hygienically sealed wet and dry Replacement Pick Up tubes £13 swab sachets (pack of 3) Replacement Wet and Dry swabs No need to fuss with cleaning £16 (pack of 3) solutions Contact green-clean.at Full-frame sensor swabs available DISLIKES Applicators can only be used once

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COMMENT A FORTNIGHT AT F/8 timclinchphotography.com Turning his attention to what makes a photographer an artist, Tim Clinch scuppers the idea that taking commissions disqualifies you from this elevated status. In fact, he says, it can be very educational… A n article by Grant his living from photography BUT… please don’t kid yourself, O n the workshops Scott in his excellent his entire life, I find this or anyone else, that after your I run, I always have a blog The United attitude as baffling as it is first exhibition of 20 prints you day set aside for still Nations of patronising. I’m a great believer are the finished article. life photography. Photography has got me in the democratisation of Still life photography (along with thinking. The article explores photography. However, many of The greatest thing I’ve painting) is one of my favourite the slightly holier-than-thou the innumerable photo festivals learned in my professional life genres. I love it and find it attitude, pervasive in certain that are springing up all over is that you won’t improve at a constant challenge and elevated circles, towards the country these days seem anything by always doing the inspiration. It’s what I turn commissioned photography. full of work by people who take thing you like and are good to in times of the dreaded How some people seem to think themselves FAR too seriously. at. I have always learned more photographer’s block. that any photographer who Please take pictures. Please take from difficult challenges. accepts paid work has somehow lots of pictures, and please get Commissions that may at first What’s interesting though, is sold their soul and is not worthy them printed. Please exhibit have seemed to be stultifyingly that when I announce that, ‘today of the title of ‘artist’. them. Please show them to other boring and brain-achingly is still life day’, the frisson of people and be proud of them… difficult have usually repaid me nervousness that grips the group As someone who has earned in spades with what I’ve learnt. is palpable. The slight feeling of76B+W All images © Tim Clinch

WHAT TIM DID THIS MONTH Have mentioned him 77 before, but when it comes to still life influences, look no B+W further than Giorgio Morandi.‘The greatest thing I’ve learned in my professional life is that you won’t Not a photographer, but aimprove at anything by always doing the thing you like and are good at.’ painter. He is the master, and my still life hero.panic as I show the participants thunderstorm to add impact. commissioned to takethe selection of objects I have No punk rocker with a scarlet photographs is a lot of people’s Realising that nearly allchosen for them to shoot. Yet, mohican is going to wander dream, and I mustn’t take it the photographers I reallyinvariably, at the end of the day through your picture to make for granted and don’t. But try admire are hard working,everyone is delighted with the it more interesting. YOU ARE putting yourself in the position of regularly commissionedresults and feels elated that they IN CONTROL. The things a professional photographer and professionals, this month’shave taken some pictures they not you choose to photograph, the setting yourself some exercises photographer is theonly love, but also have stretched background, the direction of the that are maybe not right at the brilliant Jessica Antola.them as photographers. lighting, it’s all your decision. top of your list. Like still life. Working regularly for some There is nowhere to hide. of the world’s best travel The thing about still life Believe me, getting magazines and doing somephotography is that it’s all down Not the same thing, but it’s a commissioned is the one, beautiful advertising workto you. What’s in front of your bit like being given a slightly sure-fire way to find out if you’re along the way, Jessica’slens is not going to change, daunting commission. How am I any good. And also, believe me, work is a joy. Her websitenothing will happen unless going to do this? Will I be able to when I tell you that you have to (antolaphoto.com) is theYOU make it happen. Unlike do it? What elements do I need in be right at the top of your game perfect mix of commercialstreet photography, or landscape order to complete it successfully? to do some of the rubbish that work and personal projects.photography, there will be no What background etc, etc… I’ve been commissioned to Particularly the entrancingspectacular sunset or passing shoot over the years! Ethiopian Portraits. OK, I realise that getting My pictures this month are some still life shots of odds & ends I found while clearing out the cellar of my house in Bulgaria a while back – the result of a day trying to clear my mind. The photographic equivalent of pottering around in the shed. Realising that, as there are bills to pay, I need to get out there hustling for a few new commissions!

COMMENT BEHIND THE SCENES AT THE NATIONAL MEDIA MUSEUM All pictures © National Media Museum/SSPL William Downey started life as a carpenter and boat builder, but went on to photograph Queen Victoria and a host of other royals and celebrities. Colin Harding tells his remarkable story. T oday, we are bombarded a carpenter and boat builder mechanism fell into the pit shaft, Downey first photographed with photographs of but in about 1855 he set up trapping them underground. a member of the royal family. celebrities and royalty. a photographic studio in South Queen Victoria, who had been Many years later, in 1907, he This month I shall be Shields with his brother, Daniel. widowed just a few weeks earlier, recalled the event for the British looking back at the work of one The studio was a success and the was greatly affected by the tragic Journal of Photography: of the finest and most successful brothers soon set up branches in event. Downey sent the Queen ‘The first royal photograph studio portrait photographers of Blyth and Morpeth. a series of photographs showing I ever took was one of the the 19th century, a man who In 1862, Downey’s work first the colliery after the accident. present Queen (Alexandra), captured generations of the came to the attention of Queen This was the start of a royal more than 40 years ago, at the royal family and hundreds of Victoria following a local disaster association that was to last more York agricultural show. This was famous people of the time – that caught the imagination of than 50 years. followed by the then Prince of William Downey. the public. In January of that year The following year the Wales’ command to go to William Downey was born more than 200 miners died at brothers opened another studio, Abergeldie, and the photographs in South Shields in 1829. He Hartley Colliery near Newcastle in Eldon Square, Newcastle. It taken there were so successful started out his working life as when part of the pumping was around this time that that the late Queen sent for me to go to Balmoral, and gave me her first sitting. Since then I have been taking royal photographs78 nearly all the time.’ Downey became theB+W photographer of choice not just for the British royal family but also for many of the crowned heads of Europe. In 1885 the Photographic News reported that, ‘He has photographed nearly every living crowned head in Europe – three sultans of Turkey, two emperors of Russia, and the whole of the English royal family down to Prince Henry of Battenberg.’ Downey felt that much of his Adelina Patti, c.1875. success with royal portraiture was due to his relaxed way of working: ‘I think that I can attribute a great deal of success with royalty to my being perfectly natural, and by avoiding all undue fuss.’ Queen Victoria, c.1887. Henry Irving, 1893. B y this time, William Downey was based in London, having opened a studio in Ebury Street, a short walk from Buckingham Palace, in 1872, leaving his brother to manage the Newcastle branch. In 1883, H Baden Pritchard described Downey’s studio in his book, The Photographic Studios of Europe,

79 B+WSarah Bernhardt, 1890. George Bernard Shaw, 1893.‘The new glass room is a very fine and the soft illumination thus involved in the family business for Cover of The Cabinet Portrait Gallery.building. It faces, or rather its secured is simply delightful.’ many years, having accompaniedentire length does, due north. One his father to Balmoral to take THE NATIONALside is a blank wall with a single Daniel Downey died in 1883 a photograph of Queen Victoria MEDIA MUSEUMwindow; the other three sides and and the business was then when he was just 12 years old.roof may be described as entirely managed by William, assisted by The National Media Museum isof glass. But it is all ground glass, his son, also, confusingly, named While best known for their home to over 3.5 million items of William. Young William had been royal portraits, the Downeys historical significance. It looksQueen Victoria, 1892. also photographed many after the National Photography, Oscar Wilde, 1891. celebrities of the time. Nearly National Cinematography, 200 of these portraits were National Television and National published in the early 1890s in New Media collections. a series of volumes entitled The Cabinet Portrait Gallery. National Media Museum, Bradford, West Yorkshire Sadly, William Downey junior died in 1908, aged just 54. 0844 856 3797 His father, naturally, was nationalmediamuseum.org.uk grief-stricken. However, he carried on working, supervising sittings at the London studio for a few more years. William Downey died in July 1915, aged 86. In his obituary, the British Journal of Photography described him simply as: ‘the doyen of British professional portrait photographers’.

FEATURE 60-SECOND EXPOSURE All images © Luis Beltrán Having left his job as an economist, Luis Beltrán followed his dream to become a professional photographer. Here he talks to B+W about saying ‘no’ to clients, reading the camera manual and peaceful childhood holidays in the mountains. Edited by Tracy Hallett.80B+W Life Goes Vaiven I took up photography because… ‘Listen to your heart, and don’t be of classic films, add filters, Some years ago I came across a afraid to follow your dreams.’ experiment with black & white, book that changed everything for adjust colour, reduce noise and me – it was a photo-essay about sharpen images. the Arab-Israeli conflict entitled Shadows in Combat by Javier What’s the biggest risk you have Bauluz. As I flicked through the taken as a photographer? pages I lost track of time. I was I left my job as an economist to amazed at just how many become a photographer – that emotions Bauluz could convey was pretty risky! through his work. Ever since then photography has played a vital Do you have a photographic habit role in my life. that you wish you could shake? Sometimes it’s hard to say ‘no’ to Tell us about your favourite clients, but I need to do it more photographic themes. often. If the job doesn’t appeal I enjoy shooting landscapes, to you then it’s better for both portraits, anything that allows parties if you don’t take it on. me to communicate my emotions. My work covers many genres. Who has been the greatest influence on your photography? Name one item that every The Big Trip There are so many artists out photographer should own. there with genuine talent and There are several Photoshop an ability to express their ideas plug-ins that encourage and emotions. I am influenced creativity, but I particularly like by anyone who has these skills. the Nik Software Collection. Using the advanced editing Tell us about a photographic tools you can mimic the effects opportunity you have missed.

I was recently asked to shoot afashion campaign in Shanghai,but the client changed their mindat the last minute. I hope to visitthe city in the near future though.What has been your mostembarrassing moment asa photographer?Occasionally, when I’m workingon a fashion or commercialshoot, there are moments of highstress and tension. You need tobe able to understand what theclient wants, or the result canbe embarrassing.Tell us your favourite quote.A photographer’s vision is moreimportant than the equipmenthe or she uses.What, in your opinion, is the 81greatest photographic discoveryof all time? B+WDigital photography. It offersso many creative possibilities.When I started out 10 yearsago I had an analogue camera,and developed my film in adarkroom. The process wasmagical, but today my workflowis much faster and more efficient.I can do things that I only dreamtabout a few years ago.What would you say to Do Not Leave Meyour younger self?Listen to your heart, and Which characteristics do You need to have the ability to If you hadn’t become adon’t be afraid to follow you think you need to express your own personal photographer, what wouldyour dreams. become a photographer? point of view. you be doing right now? I’d like to think I would still be Tell us one thing that most people working in a creative industry don’t know about you. of some kind. When I was a boy I spent my holidays in a small town in the PROFILE mountains. I remember the light coming in through the window Spanish storyteller Luis and the sound of the birds singing. Beltrán uses advanced Those were some of the most post-processing techniques peaceful times of my life, and I try to express his daydreams to find the same sense of harmony via photography. every day through my work. His work is represented by What is your dream project? galleries in Madrid, Gijón, There are several projects I hope New York and Valencia, and to start over the next few months has appeared in various – all of them involve telling books and magazines stories via photography. including Middle Eastern title Soura, which named What single thing would improve him Photographer of the your photography? Month in December 2010. Reading the camera manual. Most people don’t know how their Luis lives in Valencia, Spain. equipment works and the infinite possibilities it can offer. To see more of his work visit luisbeltran.es or luisbeltran.euBefore the Storm

YOUR B+W SMARTSHOTS The one camera you always have with you is on your phone, and we want to see the pictures you take when the moment is right and you can’t resist a shot. We have three Class 10 EVO 16GB MicroSD cards to give away each month. With a grade 1 transfer speed of up to 48Mbs, each MicroSD card also comes with an SD adapter – meaning it’s compatible with both your smartphone and digital camera.82 © MARIO MESILIO © MARIO MESILIOB+W © TREVOR DEADMAN WINNER© ROB KNIGHT © CHAITANYA DESHPANDE

© GAGAN SADANA WINNER © BRIAN WOODS 83 B+WSEND IN YOUR PICTURES © MARTIN SNELLING WINNER We look forward toBy post on a CD to Black+White Photography, GMC Publications Ltd, seeing your work!86 High St, Lewes BN7 1XN; by email to [email protected];by Twitter at twitter.com/BWPMag. Please send hi-res images – if you www.samsung.com/memorycardare submitting via Twitter we will contact you for hi-res.

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TESTS ANDPRODUCTSB+WLOVES ZEISS OTUS 1.4/85 LEE FILTERSCool photography kit in LANDSCAPE POLARISER An 85mm lens for portraiture, fashion,the shops and online architecture or studio work. It has a robust New slimline 105mm polariser all-metal barrel and makers promise with slightly warm bias. Removes top-notch image quality. glare from shiny surfaces. €3,360.50 zeiss.co.uk £174 leefilters.com 85 B+WMANFROTTO ADVANCED IMPOSSIBLE INSTANT FILMS CANON EF 24-105MMTRAVEL BACKPACK F/3.5-5.6 IS STM Two new films for the Polaroid 600 cameraDesigned to carry photo gear and personal and Impossible Instant Lab. Images are Versatile standard zoom lens for full-framebelongings. Features internal protections rendered in a single colour within a square photography. Includes near-silent auto focuswith removable dividers and a side zip to white frame – either vibrant pink (Magenta and a 4-stop optical image stabiliser.access camera gear. 600) or electric blue (Cyan 600). £479 canon.co.uk £109.95 manfrotto.co.uk £17 the-impossible-project.comCERAMIC CAMERA BENRO COMBINATION PENTAX K-S1LENS CUP SERIES TRIPOD RANGE SWEETS COLLECTIONCeramic mug designed to look like a camera Updated tripod series designed for holding Brighten up your life with this special editionlens. At 14cm high and 8.3cm in diameter, heavy equipment, such as long lenses or of the K-S1. It’s available in three colours:it should provide the perfect refreshment. medium or large format cameras. Features Strawberry Cake, Blue Cream Soda and multi-adjustable twist-lock legs. Lime Pie. The 20Mp camera offers ISO up to £20 urbanoutfitters.com 51200 and a top shutter speed of 1/6000sec. From £431.40 kenro.co.uk £599.99 (with 18-55mm lens) ricoh-imaging.co.uk

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To advertise on these pages please call Raphael on 01273 402825 B+W CLASSIFIEDS or email [email protected], COURSES AND TUITION Dedicated to the monochrome photographer JANUARY 2015 B+W CLASSIFIED 89

+ 27 Rathbone Place London W1T 1JE B W CLASSIFwIEwDw.Sapertureuk.comTel: 020 7436 1015 To advertise on these pages 4p4leMasuesecuamll RSatrpeheateLl oonnd0o1n2W73C41A0218L2Y5 or email [email protected] Tel: 020 7242 8681 SPECIALISTS AND EQUIPMENT Pre-owned Leica Medium / Large & Other FormatDedicated to the monochrome photographerLeica M Monochrom Black under 1800Actuations Exc++ £4590 Hasselblad PCP-80 Projector with 150mm f3.5 lens (Boxed) Mint £990 Leica M7 0.85 Japan Edition Chrome #2886xxx (boxed) Mint £1490 Fujica 65mm f8 Fujinon-SW + Viewfinder Exc £590 Leica M7 0.72 Silver #2946xxx Nr. Mint £1390 Mamiya 150mm f4.5G + hood for Mamiya 6 Exc++ £260 Leica M7 0.58 Black #2850xxx Exc++ £1250 Mamiya 7 II + 80mm f4L Mint- £1290 Leica MP 0.72 SIlver #2999xxx Exc+++ £2050 Mamiya 43mm f4.5L + hood & V/finder Mint- £790 Leica M6 0.72 TTLTitanium #2754xxx Mint- £1590 Mamiya 50mm f4.5L + hood + V/finder Mint £790 Leica M6 Classic Titanium #2331xxx Mint £1190 Mamiya 150mm f4.5L + hood (boxed) Mint £370 Leica M6 Black #1780xxx User £750 Mamiya 210mm f8L As New £390 Leica M6 Chrome (Panda) #1774xxx Exc+ £890 Mamiya Polarising Filter ZE-702 Mint- £70 Leica M4 Black Chrome 50 yearsAnniversary Edition 298L Exc+ £1850 Mamiya 80mm f2.8AF LS + hoodfor( 645AF-D designed by Schneider) As new £1190 Leica M4 Chrome #1184xxx Serviced by us recently Exc+ £650 Tele-Rollei (135mm f4) Exc+ £890 Leica M3 Chrome D/W #755xxx User £450 Schneider 180mm f5.6Apo-Symmar L with V/finder for SW617 (boxed) Mint £1890 Leica M1 Chrome #980xxx Exc £390 Schneider 250mm f5.6 Tele-Xenar with V/finder for SW617 (boxed) Mint £1890 Linhof Master Technika with Schneider 150mm f5.6APO-Symmar Mint- £2990 Leica 21mm f2.8 Elmarit-M #3576660 Exc+ £950 Ebony 45S Mint- £1490 £990 Schneider 72mm f5.6 Super-Angulon XL (Copal 0) Exc++ £650 Leica 21mm f3.4 Super-Angulon + hood #2672xxx (boxed) Exc++ £1250 Schneider 90mm f5.6 Super-Angulon XL (Copal 0) on Linhof board Exc+++ £690 £1490 Rodenstock 90mm f6.8 Grandagon-N Latest (Copal 0) (boxed) As New £490 Leica 24mm f2.8 Elmarit-MASPH #3809xxx Exc++ £1190 Rodenstock 100mm f5.6 Sironar (Copal 0) on Linhof size board Mint- £220 £2290 Schneider 135mm f5.6 Symmar-S (Compur 1) Linhof Selected Mint £290 Leica 24mm f2.8 Elmarit-MASPH + hood #3844xxx Mint £2250 Schneider 180mm f5.6 Symmar-S (Copal 1) on Toyo Board Mint- £270 £450 Nikon 180mm f5.6 Nikkor-W (Sinar DB Mount) Mint- £270 Leica 28mm f2.8 Elmarit-MASPH + hood 6 bit #3997xxx (boxed) As New £2150 Schneider 210mm f5.6Apo-Symmar-L Linhof Select (Copal 1) (boxed) Mint £690 £750 Schneider 210mm f5.6 Symmar-S (Compur 1) Linhof Selected Mint £320 Leica 35mm f1.4 Summilux with Specs (M3 type; steel filter rim) #1730xxx Exc++ £790 Schneider 240mm f5.5 Tele-Arton Exc £170 £550 Rodenstock 240mm f5.6 Sironar-N MC (Copal 3) on Toyo style board Mint £390 Leica 35mm f1.4 Summilux-MASPH 6-bit coded + hood #3811xxx Exc+++ £750 £290 Nikon 3.5cm f2.5 W-Nikkor.C (L39; chrome) Exc++ £890 £1990 Leica 50mm f1.4 Summilux-MASPH 6 bit #4117xxx (boxed) As New £1890 Leica 50mm f2 Summicron C/F with Specs #1950xxx Mint- Leica 50mm f2 Summicron + hood #2331xxx Exc+++ Leica 50mm f2 Summicron Chrome Rigid #1952xxx Exc+++ Leica 50mm f2.5 Summarit-M 6 bit #4050xxx (boxed) As New Leica 5cm f3.5 Elmar Red Scale + hood #1047xxx (L39) Mint- We offer an on-site processing and printing service at Aperture Rathbone Place. Our C41 colour film processing service for 135 and 120 film with 24 hour turnaround. We also process Leica 90mm f2 Summicron #3458xxx (boxed) Nr Mint black and white film, please refer to our website for prices. Leica 90mm f4 Macro-Elmar-M with hood; Complete Kit (boxed) Exc++ We also accept mail order at the following address, and will return your photographs within 4-5 working Leica 90mm f2APO-Summicron-MASPH 6-bit coded #3856xxx (boxed) Exc+++ days. Send your film(s) packed securely to the P.O Box below and make sure to include your name; address and contact details for return postage. An order form is availible to download from our website on the Film Developing Page. Leica R6 Black #1748xxx (boxed) Exc+ £370 Please send your order to: Postage for Process and Print Leica 28-90mm f2.8-4.5 Vario-ElmarASPH ROM #3989xxx (boxed) As New £3390 1 - 2 rolls.............................................£3 Leica 50mm f2 Summicron-R 3 Cam #2865xxx Mint- £420 Aperture Photographic 3 - 5 rolls.............................................£6 Leica 50mm f2 Summicron-R 3 Cam #2926xxx Exc++ £390 PO Box 7045 6 - 10 rolls...........................................£9 Leica 60mm f2.8 Macro-Elmarit-R 3rd Cam #3655xxx Mint £550 London 11 rolls or more................................Free Leica 90mm f2.8 Elmarit-R 3 Cam #3346xxx Mint- £420 W1A 1PB 1 - 10 rolls....P...r.o..c..e..s..s...o...n..l.y..................£3 Leica 135mm f2.8 Elmarit-R 2 Cam #2530xxx Mint- £170 10 - 30 rolls.........................................£5 Angenieux 35-70mm f2.5-3.3 R Mount Exc++ £490 21rolls or more................................Free We accept payment by postal order or credit & Debit cards (Except American Express/Diners Club) Please send us your order with your payment details or phone us for further details. Processing Prices (C41 Only) 24~48 hours Leica SF 24D Flash Black (boxed) Exc+++ £150 35mm develop only £5.00 Leica 55mm Polarising filter Mint £80 35mm develop + print £10.00 Leica 21-24-28mm Viewfinder Mint- £270 35mm develop + print + CD £12.00 Leica 24mm Bright Line Viewfinder Black Exc £190 35mm develop + CD £8.00 Leica 35mm Metal Bright Line Viewfinder Chrome Exc+++ £270 Extra set of prints (order within 7 days) £4.00 Voigtlander 90mm Metal Viewfinder Black Mint- £90 Film scan to CD or digital media £7.00 Leica Televid 77 with 32x Eyepiece Exc+++ £750 Leica Motor M Mint- £190 120 develop only £6.00 120 develop + print £12.00 120 develop + print + CD £15.00 120 develop + CD £9.00 Extra set of prints (order within 7 days) £5.00 Film scan to CD or digital media £7.00 Voigtlander 50mm f1.5 S Nokton + hood (Nikon/Contax RF mount) Mint- £350 We also process Black and White Film! Please check our website or phone us for prices and turn around time For Leica, Nikon (Manual Focus), Medium & Large Format Please contact Aperture Rathbone Place Tel: 020 7436 1015 Email: [email protected] Tel: 020 7242 8681 Email: [email protected] For Ca9n0onBA+WutoCfoLcAuSsS, INFIikEoDnJAAuNtoUfoAcuRsY, H2a0s1se5lblad and other cameras Please contact Aperture Museum Street

To advertise on th2e7sRe aptahgbeosneplPelaascee cLaollnRdoanphWa1eTl o1nJE01273 402825+ w w w. a p e r t u r e uBk . cWo m CLASSIFIEDSTel:[email protected] 44 Museum Street London WC1A 1LY Tel: 020 7242 8681SPECIALISTS AND EQUIPMENTLeica 35mm f1.4 Summilux-M ASPH + hood 6-bit coded #3811xxx (boxed), Mint-, £2250Leica 50mm f1 Noctilux-M built in hood #3978xxx (boxed), Nr. Mint, £3990 Dedicated to the monochrome photographerLeica M6 Classic Titanium #2331xxx , Mint, £1190 Zeiss 18mm f3.5 Distagon ZF.2 T* + hood (boxed), Nr. Mint, £790 Aperture is keen to acquire your quality Leica equipment. We are always looking for sought after cameras and lenses such as black paint M2, M3 and MP, 50mm f1 and f1.2 Noctilux, 35mm f1.4 Summilux, etc...! Selling your Leica equipment cannot be any easier at Aperture.We can give a very close estimate over the phone or an immediate fair offer on the spot. Payment is by BACS Transfer directly into your bankaccount (ID Required). We can also offer a commission sales service for higher value items of £1000 and above, for which the commission rate is 20%. For items of £2000 or higher, the rate is 17%. We constantly have customers waiting for top quality Leica cameras and lenses; you’ll be amazed how quickly we can turn your equipment into cash!! Please contact us on 020 7436 1015 if you require any assistance or further information Aperture Camera Repairs Aperture is now offering an in-house repair service for film cameras and lenses. We specialise in repairs to classic marques, such as Leica, Hasselblad , Rolleiflex and Nikon. We aim to provide a service with a rapid turnaround, usually within a week. All repair work carries a guarantee of six months. P l e a s e c o n t a c t u s o n 0 2 0 7 4 3 6 1 0 1 5 o r 2 7 @ a p e r t u r e uJAkN.UcAoRmY 2015 B+W CLASSIFIED 91

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