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BLACK WHITE
‘Eventually
I bought a
camera with
knobs on’
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EDITOR’S LETTER
B
+
W150 MAY 2013
© Tim Clinch
Welcome to
BLACK WHITE
PHOTOGRAPHY
I
t’s funny how you notice something
vision or interpretation of what is in front of
them and far less about the actual subject
matter. It’s interesting isn’t it?
Those photographers who have this gift
can choose the most mundane subjects and
breathe life into them – in the same way that
a good writer can take the simplest of topics
(the most remarkable I know of is Robert
Musil’s
Fly Paper
) and turn it into something
quite else.
I have the feeling that this ability is innate.
It’s how the photographer (or writer)
understands his or her world – it’s as though
they can’t help themselves, they simply
include themselves in the pictures they take.
I’m fascinated by this whole thing – it’s not a
question of a distinctive style or signature in
a photograph, it’s more to do with an
unconscious element that creeps in. I can
think of a number of well known
photographers whose presence is palpable in
their work – Francesca Woodman (who was
literally present), Bill Brandt, and more
recently, Nelli Palomaki, but there are others,
unknown photographers whose work I come
across now and then and recognise this trait.
What it comes down to when you really
start thinking about it is this – why do we
take pictures? What is photography to you
as an individual? Actually, that’s quite a
complex question to really answer honestly.
I think I’ll have to give this some more
thought. What’s your take on it?
about one photographer and then you
keep coming across other photographers
who have similar qualities. Just lately I’ve
been looking at work from the point of view
of the subject matter – the importance of it,
or its irrelevance. Coming from a
background of creative writing, I often
compare this with the plot-driven narrative
compared to the narrative in which the plot
is of little importance.
Take, for instance, a landscape or even a
portrait. The meaning of the photograph can
be totally about that landscape, its beauty, its
rugged charm, or it can be about the person,
their character, their looks or their situation.
But these pictures could tell another story,
they could be about the photographer’s
Elizabeth Roberts, Editor
elizabethr@thegmcgroup.com
OUR CONTRIBUTORS
Eddie Ephraums
Eddie Ephraums is a photographer,
photobook maker, publisher and
mentor. He has written a number of
bestselling books and runs photobook
workshops and project-related
workshops in London and Scotland.
Tracy Hallett
Writer and photographer Tracy Hallett
is part way through a project to visit
and document all of Britain’s 7,747
islands. She has written three books,
most recently
Close-up and Macro
Photography
, published by Ammonite
Press in 2011.
Lee Frost
A highly regarded photographer and
journalist, Lee Frost specialises in
landscape and travel photography,
with many years of experience and
a vast number of publications to his
name. For the past 10 years he has
been leading workshop tours with his
company Photo Adventures.
Andy Luck
Andy Luck is an award-winning
wildlife short programme producer
and an environmental photojournalist
with a passion for cameras and
photography.
COVER IMAGE
This month’s cover image is by Ron van Dongen
B&W
May 2013
1
 Issue 150 May 2013
CONTENTS
NEWS
COMMENT
FEATURES
8
WHEN WE USED
4
NEWSROOM
20
AMERICAN
GET IN TOUCH
Black+White Photography
GMC Publications Ltd,
86 High Street, Lewes,
East Sussex BN7 1XN
Tel 01273 477374
Email
EDITOR
Elizabeth Roberts
at elizabethr@thegmcgroup.com
DEPUTY EDITOR
Mark Bentley
at markbe@thegmcgroup.com
ASSISTANT EDITOR
Jemima Greaves
at jemimag@thegmcgroup.com
www.facebook.com/
blackandwhitephotographymagazine
twitter.com
/BWPMag
TO DANCE
Time stands still in the intriguing
portrature of Terry Hulf
28
THE THEATRE
CONNECTION
Susan Burnstine on a photograper
who combines aesthetic and
environmental issues
74
THE NATIONAL
What’s happening in the
B&W world
16
IN THE FRAME
Your guide to the best
photography exhibitions
18
ONE EXHIBITION
COMPANY
Mike Tattersall’s pictures of the
team at his day job – in a
hospital surgery
34
INTO THE
MEDIA MUSEUM
Colin Harding charts the career
of the father of art photography
78
A FORTNIGHT AT F/8
NOT TO MISS
Our recommended show
80
BUILDING A
DARKROOM
We invite readers to a day of
film photography
40
THE F-STOPS HERE
Tim Clinch on the
comedy of creativity
82
60-SECOND
CLASSIC LIBRARY
Celebrating the work of
Eugene Atget
EXPOSURE
Street photographer Tany Kely
answers our quick-fire questions
Jemima Greaves on
how to get composition right
© TERRY HULF
© MIKE TATTERSALL
28
8
© NIGEL CLARK
34
2
May 2013
B&W
 TESTS AND
PRODUCTS
YOUR
BLACK
+
WHITE
WIN A
SUBSCRIPTION
TECHNIQUE
44
MANY WAYS
62
BOOK REVIEWS
22
READERS’ PICTURES
WIN A SUBSCRIPTION
Find the quote and send us the
page number – and you could
win a year’s free subscription!
Send your entries by 8 July
to markbe@thegmcgroup.com
OF SEEING
Eddie Ephraums looks
at the challenge of choice
for photographers
51
DISCOVERING
Our pick of the best
photography books
The winning images
65
ASSIGNMENT
66
CAMERA TEST
We set you a challenge
76
SUBSCRIPTION
The Panasonic GH3
put to the
B+W
test
68
WINDOW SHOPPING
LIGHTROOM
Tim Clinch turns down the noise
52
FUNDAMENTALS: ALL
OFFER
Have
B+W
delivered to your door
85
NEXT MONTH
‘
Eventually
I bought a
camera with
knobs on
Cool new gear
70
CHECKOUT
ABOUT EXPOSURE
Lee Frost’s essential guide to
the basics of photography
58
VAN DYKE BROWN
What’s coming up in June
87
HOW TO SUBMIT
The six best
ultra wideangle
lenses
All the details
96
LAST FRAME
PRINTING
Step by step using inexpensive
chemicals and a few basic tools
’
66
A great single image
© EDDIE EPHRAUMS
© LEE FROST
44
52
© GEORGE JOHNSON
22
© MALCOLM ANDREW
96
B&W
May 2013
3
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