Black White

£3.99
B W110
April 2010
'It's about what you,
‘Itaswas like going back to
a photographer,
the roots
want of photography’
to say'

photography
Create your own The city that
digital never sleeps?
negatives
New York as you’ve
never seen it before

We show
you how

When a tripod
just won’t do –

6 of the best
monopods

How to take
top quality Canon’s
pictures Powershot
on your G11 camera
mobile given the
phone B+W test
 VitruvianTripod, true genius
Legs unfold 180°
to assemble tripod

Only 40cm long

when folded

Reverse
technology legs

Manufactured using carbon

or aluminium tubing
weighing from 1.28kg

Remove tripod leg Quick action

and centre column, twist leg locks
join to make monopod

YEAR
Inspired by da Vinci’s Vitruvian Man, the new Giotto’s VGR tripods are designed to offer photographers 5 WARRANTY
not only a truly lightweight and compact tripod, but a full function monopod and ball head.
Giotto’s have designed the tripod with “reverse technology” legs so that when collapsed they fold through 180° and
“surround” the tripod centre column and head – folding down into a unit that measures only 40cm long.
Two VGR models are available, both have a maximum operating height of 157cm and a weight capacity of up to
4kg. The VGR9255 is manufactured using aluminium tubing and weighs 1.5kg while the VGR8255 uses 6 layer
carbon tubing and weighs just 1.28kg.
The tripod castings are made from a forged aluminium alloy for strength and the quick action twist leg locks
require only 1/8 turn to lock and unlock. A compact ball+socket head with quick release system is supplied.
But it’s not just a tripod, simply unscrew the tripod leg, remove the centre column and head then join them
together to produce a monopod with a maximum height of 162cm. VGR tripods are supplied with a
carry bag.

Giotto’s Helpline 0845 250 0792 www.giottos-tripods.co.uk

IFC_BW_110.indd 1 24/2/10 08:59:44

 Welcome to

Rebecca Ray by
Roderick Field

B&W April 2010 1

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 BLACK WHITE
10
PHOTOGRAPHY
Contents
Issue 110 April 2010

ON THE COVER
Image by Tomek Jankawski courtesy of Sony
World Photography Awards 2010 see page 6

Features
10 The City Sleeps
Chistopher Thomas in a
New York devoid of people

30 A Night in Seville
Tim Clinch’s night off in his
favourite city

77 A-Z of the
National Media Museum
Colin Harding reflects on the history
of the humble snapshot

News
6 Newsroom
All the news and events from the
black & white world

18 In the Frame
Your guide to what’s on at galleries
around the UK

20 One Exhibition
not to be Missed
Our recommended must-see
photography exhibition

74 On the Shelf
and Web Review
Put your feet up with our guide to the
best in photography books. Plus – 30
Building a Classic Photography Library

2 April 2010 B&W

2-3 CONTENTS ER/MB.indd 2 3/3/10 12:07:19

 Tests & Products Win a Year’s
56 Canon Powershot G11
High end compact camera
Subscription
tested and rated 56 ‘It was like going
back to the roots WIN
of photography’
There’s a quote on our cover and above. Find the quote
and send us the page number and we’ll put your name in
a hat for a year’s free subscription to the magazine. Send
your entries by 23 April to [email protected]
or write to Black & White Photography, GMC Publications
Welcome

A
Ltd, 86 High Street, Lewes, East Sussex BN7 1XN. ll my life I’ve loved train journeys.
It might be something to do with
60 Test Case
How good is FibaPrint Ultra Smooth
6 Ways to having been brought up in a small
seaside town at the end of the
Gloss for black & white photographers? get Involved train line. There was something magical about
taking a train that began at home and took you
62 Window Shopping 4 B&W Photographer of anywhere you wanted. This morning a
Tasty gear in the camera shops the Year 2010 photographer friend called me to say she had
Your chance to enter – and win booked herself onto the sleeper that goes from
fantastic prizes! Paddington to St Ives. The track goes along the
coast and you arrive in the morning, looking
24 Readers’ Pictures down at the sea – how amazing is that? My
Send us your pictures and you could immediate reaction was to gasp, ‘Take me some
win up to £100 of photographic goods pictures’ – I didn’t care what she used – hi-end
SLR, mobile phone or Box Brownie – I just
36 Assignment Winner wanted the pictures so I could experience a little
Images that win £100 in cash bit of her journey. Ideally I wanted her to email
them to me right away but (particularly if she
39 Assignment was using the Brownie) I was prepared to wait.
64 Your mission, should you choose to The point of this story really is to say – isn’t
accept it . . . photography wonderful?

64 Epson 3880 72 Mailbag tor

Elizabeth Roberts, Editor
Darkroom printer David Illman puts Your thoughts on the world of b&w [email protected]
a top inkjet printer to the test
96 How to Submit
H
68 Checkout Send us your work and you might
NEXT MONotyTpes by
We assess six of the best monopods to see it published in the pages of g cyan
Intriguin bmann
give you a steady hand Black+White Photography Kati Lie
a
83
See page
Technique Contactt
Opinion EDITOR Elizabeth Robertsrts
email [email protected]
om
DEPUTY EDITOR Mark Bentley
43 Printer’s Art 22 American Connection email [email protected]
Two printers work separately on the Black & white photographers causing EDITORIAL ASSISTANT Heather Gregory
same neg. How will the pictures differ a stir Stateside email [email protected]
SUBSCRIPTIONS Sue Bennett
– and which one will you prefer? tel 01273 488005 email [email protected]
40 10 Steps to Taking ADVERTISING SALES MANAGER Dominique Langham
48 Making Digital Negatives Great Pictures tel 01273 402823 email [email protected]
ADVERTISEMENT SALES Mark Peacock
A hybrid monochrome process Harminder Singh explains tel 01234 273434 mob 07963 956221
explained by Tim Daly the importance of balance in email [email protected]
a good photograph CLASSIFIED SALES Melanie Beck
tel 01273 402825 email [email protected]
52 Mobile Monochromes PUBLISHER Simon McKeown
Lee Frost’s top tips for taking great 81 Sea Stories EDITORIAL DIRECTOR Keith Wilson
black & white pictures on your mobile It was a dark and stormy night . . . DESIGNER Toby Haigh

B&W April 2010 3

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 COMPETITION

BLACK & WHITE

PHOTOGRAPHER
OF THE YEAR 2010
Our search for the Black & White Photographer of the Year is on! Following on from last year’s
phenomenal success, we are delighted to reveal that this year not only is there a £1,000 cash
prize for the winner and fantastic prizes for the single image category winners – but the winning
images will be exhibited and for sale at a top London gallery. Read on for more exciting details

A
fter the judging of the 2009
Black & White Photographer
And here is the exciting list of categories and prizes
of the Year last year we set up
a mini exhibition in the board Black & White Photographer of the Year 2010
room at our offices because (A set of four prints)
the staff (which includes the teams of nine
magazines and a thriving book department) £1,000 in cash + £750 of prizes from John Freeman Photours
always clamour to see the winners. It was then
that it occurred to us that it would be terrific
to show the winning entries of future www.jfphotours.com
competitions in a gallery. Things snowballed
from there and we approached a top London Single image categories
gallery – Hoopers in Clerkenwell – who have
agreed to put on a show of this year's winning Portrait Travel Reportage
pictures from 2 to 9 September 2010 with the
work on sale to the general public. All framing £250 Silverprint John Freeman Photours Olympus voucher
and hanging costs will be covered by Black & voucher for £250 for £250
White Photography so there’s no extra voucher
expense to the winners and the proceeds from
any sales will be split equally between the
photographer, Hoopers Gallery (for their www. silverprint.co.uk www.jfphotours.com www.olympus.co.uk
exhibition space) and Black & White
Photography (to go towards costs of framing).
The work will be professionally valued by
Best Single Image Landscape Still Life
Hoopers who will set the price – and if the Hahnemühle Aspect2i Fotospeed
work does not sell the framed images will be voucher for £250
returned to the photographer at the expense voucher for £250 voucher for £250
of Black & White Photography. Winners and
two guests will be invited to the opening night
at the gallery.
www.hahnemuehle.com www.aspect2i.co.uk www.fotospeed.com
Sponsored by John Freeman Photours
www.jfphotours.com Under 25 Digital Printer Silver Printer
Canson voucher Ilford voucher AG Photographic
for £250 for £250 voucher for £250

www.canson-infinity.com www.ilford.com www.ag-photographic.co.uk

4 March 2010 B&W

4-5 BPOTY COMPETITION ER/MB/jc.indd 4 25/2/10 12:44:35

 ✃
Background pictures ©Mick Ryan

Don’t delay – start working on your entry today! Entry form

CLOSING DATE 30 JUNE! Mr/Mrs/Miss/Ms Surname

Forename
Terms & conditions Home address
EXHIBITION An entry into the Black & White handcoloured are acceptable. in the October 2010 issue of
The winning prints will be exhibited Photographer of the Year 2010 Entrants are not restricted by the Black & White Photography. No
at Hoopers Gallery in London from category must comprise four prints manufacturer of film, chemicals, correspondence will be entered into
2 to 9 September at no cost to the that are themed to work together. inks or paper. prior to notifying the winners and
winning entrant. Entrants may enter each category publishing the winning entries.
no more than three times.
The prints will be individually ENTRY FEE The prizes are as stated, and no
valued by Hoopers and will go on The same print may be entered There is a £7.50 fee for entry cash alternative is available. Postcode
sale to the public at this price. both in a single image category, into the BPOTY 2010 category
and as part of the BPOTY 2010 The organisers reserve the right
Proceeds from any sale will be and a £3.50 fee for each of the not to award a prize if the required Country
divided equally three ways, one- entry. If submitting the same single image categories. If you
image to more than one category, standard is deemed not to have
third to go to the photographer, are entering more than one been reached. Email
a separate print must be entered, submission to a category you
one-third to go to Hoopers Gallery
accompanied by a separate entry need only pay one fee.
and one-third to go to Black &
form, each time. RETURN OF ENTRIES
White Photography. The entry fee is payable by credit
If entering more than one category, card only. Call +44(0)1273 402817 Entries will only be returned if
If there are multiple sales of an
each entry must be accompanied by or email accounts@thegmcgroup. accompanied by a stamped, self- Telephone number
image the photographer
a separate entry form, in a separate com stating which categories you addressed envelope of the correct
receives two-thirds of the proceeds
envelope or box, which must be are entering and the total due. size, and sufficient postage. One
(with Hoopers Gallery receiving
marked clearly with the category
one-third) but the print will be return envelope may be supplied
being entered.
sold unframed. for multiple entries. Entries will be
All envelopes or boxes should be COPYRIGHT & returned as soon as possible after
Travel to and from the gallery CATEGORY ENTERED (Please tick box)
for the opening night by the
submitted in one package. REPRODUCTION the judging has taken place.
photographer and their guests Copyright of all entries remains Black & White Photographer of the Year 2010 (4 prints) ❏
Overseas entrants who wish to have
will be at their own expense. THE TECHNICALITIES with the photographer at all times.
their prints returned should include Portrait ❏ Travel ❏ Reportage ❏ Best Single Image ❏
The cost of all framing will All entries are open to silver prints, The entrant must be the sole author Landscape ❏ Still Life ❏ Under 25 ❏ Digital Printer ❏
sufficient International Reply
be covered by Black & White inkjet prints and prints made by and owner of copyright. It is the
alternative processes (cyanotype, responsibility of the entrant to
Coupons, or postal orders, with Silver Printer ❏
Photography magazine. their entry to cover return postage.
platinum palladium, etc). ensure they comply with ownership If you are entering more than one category, please photocopy this
The framed prints will be owned Please do not send cash to cover the
outright by the photographer after Silver print entries: Minimum and copyright requirements. It is entry form and include a separate copy with each submission
paper size 10x8in, maximum paper the responsibility of the entrant to cost of return postage.
the exhibition and will be returned
size 12x16in. All prints must be ensure they have the relevant
to them at the expense of Black &
model releases and licenses, PLEASE SIGN HERE TO CONFIRM THE FOLLOWING:
White Photography. unmounted. The image itself may GENERAL
be any dimension or position within where required. I have read and understood the terms and conditions of entry to
While every care will be taken with
the paper’s format. The organisers and sponsors of the Black & White Photographer of the Year 2010 competition.
entries, all prints are submitted
WHO CAN ENTER Inkjet print entries: Minimum the B&W Photographer of the Year at the entrant’s own risk. The
& CATEGORIES paper size A4, maximum paper size Competition reserve the right to
organisers cannot accept liability
The competition is open to both UK A3. All prints must be unmounted. free reproduction and publication
for any loss or damage of prints, Signature
and overseas readers. The image itself may be any of entered images, but only in
dimension or position within the connection with this competition. however caused.
Employees of GMC Publications Ltd
paper’s format. Entries must be sent to: Black &
and their families, are not eligible.
White Photographer of the Year
Amateur, student and professional Each print must carry the name, JUDGING Competition, GMC Publications Ltd, ❏ I have enclosed my £7.50/ £3.50 entry fee (see below)
photographers are eligible to enter. address and telephone number of Entries will be judged on style,
the entrant on its reverse. 86 High Street, Lewes, East Sussex
The categories are: Black & White creativity, originality, technical
Photographer of the Year 2010, Prints must not be sent in tubes. execution and presentation.
BN7 1XN. RETURN OF PRINTS (Please tick box)
Portrait, Travel, Reportage, Best Entries sent in this way will The winners of B&W Photographer Entries must arrive no later than ❏ I would like my prints to be returned, and have enclosed sufficient
Single Image, Landscape, Still Life, be returned. of the Year competition will be 30 June 2010. packaging and postage
Under 25, Digital Printer and Entries must be submitted as determined by the judges in Submitting entries to the ❏ I do not require my prints to be returned. By ticking this box you
Silver Printer. either silver/alternative process or accordance with the competition B&W Photographer of the Year
inkjet prints. CD submissions are authorise the organisers of the competition to dispose of your prints
All photographs must be the sole rules. The judges’ decision is final Competition constitutes acceptance
work of the entrant, although not acceptable. and no correspondence will be of these terms and conditions. once the judging procedure is complete
entries can be printed by a third Prints can be submitted on any type entered into. Entries that do not comply with
party (except for Digital Printer and of surface (glossy, matt, pearl etc). Judging will take place in July these terms and conditions will PHOTOCOPIES OF THE ENTRY FORM ARE ACCEPTABLE
Silver Printer). Prints that have been toned or 2010, with the winners announced be rejected. Send your completed entry form(s), print(s) and entry fee to:
Black & White Photographer of the Year 2010 Competition,
ALL SUBMISSIONS MUST BE IN PRINT GMC Publications Ltd, 86 High Street, Lewes, East Sussex BN7 1XN

FORM, WHETHER DIGITAL OR SILVER Guild of Master Craftsman Publications Ltd would like to ensure you
are kept up to date with information on other products and offers that
may be of interest to you. If you would prefer not to be kept informed
of future offers, please tick box ❒

HOW TO PAY
Payment is by credit card only. Call +44 (0) 1273 402817
or email [email protected] stating which categories you are
entering and the total due.

IMPORTANT!
When you enter the Black & White Photographer of the Year 2010
competition you retain full copyright of your pictures. They will only
ever be used in relation to the competition or its promotion.

ENTRY FEE
Hoopers Gallery in London will be the venue for the exhibition of the Black & White Photographer of the Year 2010 If you are entering a category several times you need only pay ONE
www.hoopersgallery.co.uk entry fee per category.

B&W March 2010 5

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 B&W NEWS & EVENTS

High
Newsroom
News from the B&W world

contrast edited by Mark Bentley email: [email protected]

Some of the first photographs ever taken of
snowflake crystals have been sold in New
York. The pictures were taken by Wilson
Bentley, an American farmer who lived from
1865 to 1931. Bentley used a bellows camera
and a microscope to take more than 5,000
images of snowflake crystals. No two of the
images are alike. Ten of the pictures have
just been sold at the American Folk Art
Museum in New York.

Nikon has announced a cashback deal

for people buying the D5000 and D90
DSLR cameras. Customers can claim up
to £60 cashback when they buy a D90
and £50 when buying a D5000. The deal
runs until 30 April. All claims must be
received by 31 May 2010.

Pinhole photographers are invited to take

a picture to celebrate the tenth World
Pinhole Day on 25 April. Photographers
can upload their images to the Pinhole Ren Rox © Ren Rox courtesy of Sony World Photography Awards 2010
Day website. Last year more than 3,000
pinhole photographers from 69 countries
uploaded their images. Users can also share
techniques and ideas with other enthusiasts
Black & white is thriving
around the world. Black & white photography is thriving in the Hungary and Julius Tjintjelaar from Holland.
pinholeday.org Sony World Photography Awards. The shortlist The judging committee comprises renowned
for the awards has just been announced and photographers, curators, photo agency
Congratulations to the winner of our features outstanding black & white work in representatives and picture editors. They met in
cover quote competition in issue 106. almost every category. London to make their selection from more than
The winner is James Waddell, who wins The categories range from photojournalism 80,000 professional and amateur submissions.
a year’s subscription to the magazine. and fashion to landscape, portraiture and The finalists will be announced on 22 April
natural history. The shortlist contains the names at the awards ceremony in Cannes. The 2010
Visitors to the LCE Southampton Pro Show of 190 top photographers from 48 different winner of Sony World Photographer of the
will be able to see, try and buy the latest countries. Black & white photographs feature in Year will receive $25,000 plus professional
DSLRs, lenses and accessories. Advice and almost every category, with particularly strong Sony camera equipment. The winning amateur
in-depth demos will be on offer from a host showings in photojournalism and portraiture. photographer will receive $5,000 plus Sony
of manufacturer experts. The show is at the Among the promising nominees are Adam camera equipment.
Novotel Hotel in Southampton on 1 April Dean, Kofi Paintsil and Ren Rox from Britain, The awards are part of the World Photography
from 11am until 7pm. Entrance is free. Marcus Bleasdale from Norway, Tomek Festival, which runs from 22 to 27 April and
Jankowski from Poland, Gergely Komoz from includes exhibitions, workshops and talks.
A spring and summer seminar
programme for photographers has been Julius Tjintjelaar Gergely Komoz
launched by Calumet. Photographers
keen to improve their skills can choose
from a range of subjects, including
image capture, landscape, child
photography, studio lighting, wedding
photography, artistic nude photography,
Photoshop techniques, Raw workflow,
shooting with strobes, and how to
improve sales, profits and business
admin. Venues range from Belfast and
Edinburgh to the Midlands, London and
Bristol. Costs start from £25.
calumetphoto.co.uk
© Julius Tjintjelaar courtesy of Sony World Photography Awards 2010 © Gergely Komoz courtesy of Sony World Photography Awards 2010

6 January 2010 B&W

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 Magnum archive sold Trade Talk
Each month we put questions to
Legendary photo agency Magnum has sold photographers taken between the 1930s and
archive pictures to a venture capital group set 1998. They include scenes from the someone in the photographic industry.
up by computer entrepreneur Michael Dell. Spanish Civil War and World War II This month it’s Rob Willes from
The collection of nearly 200,000 original plus portraits of Martin Luther King, Marilyn
press prints of images taken by Magnum Monroe and Che Guevara. Magnum will Process Supplies (London) Ltd
photographers will be loaned to the Harry retain the copyright and licensing rights to
Ransom Center at the University of Texas. The the collection.
images will be preserved, catalogued and made The price of the archive was not disclosed but
available to the public. the collection was reportedly insured for more
The images feature the work of more than 100 than $100 million.

Bigger How long have you been in business?

The business was started in 1928. My father joined
about a year later and was here for over 60 years. It’s
now owned by me and my two brothers, Neil and Paul.
I’ve been here for 48 years, Neil 34 years and Paul 26
years. We’ve got a wealth of experience between us!
What type of stock do you carry?
Everything for the digital and analogue photographer
– films, papers, chemicals. We’re particularly
strong in black & white photography and printing.
We do all the chemicals, all the black & white
papers and darkroom equipment. We sell more
inkjet paper than photographic paper.
What is your most popular product?
Print presentation boxes and archival storage pockets.
Which new products are you most
excited about?

the better?
There are new papers coming out all the time. We like to
keep a good stock of everything. There’s a massive choice.
What should a customer look for in a
photography product?
Hasselblad has launched a new camera the True Focus AF system and new Phocus For our customers it’s quality. Price is
designed to bring the advantages of medium 2.0 software. True Focus promises accurate important but quality is what counts.
format photography to high-end 35mm users. focusing throughout the image field when
The Hasselblad H4D-40 boasts a 33x44mm working at a shallow depth of field and at Who is the most famous person to come into
CCD sensor armed with 40 megapixels. Makers close range. your shop?
claim it provides almost twice the capture area The Hasselblad H4D-40 is expected to cost David Bailey is one of our nicest customers.
of the largest 35mm DSLR sensors. The camera about £12,995 for camera body, viewfinder and We’ve had John Swannell, Don McCullin, Nobby
offers up to four minute exposure times plus 80mm lens. Clark. All the old school photographers know us.
We’ve also had Prince Andrew for a visit.
‘If
If I ruled the world every child would be shown how light What is the thing you are most proud of about
your shop?
cch
changes the mundane into a marvel; the dawn not only The service that we offer. We’re friendly people with

I r ule d w
wa
warming but altering shape and form, allowing the ugly lots of knowledge. We supply a lot of students. We

If rld... to be
to b beautiful, lengthening shadows revealing another like the students. They are our next generation.

the wo
sid
de of life while a midday sun hides the truth; each
side What has been your strangest request?
Nothing’s strange. We like to think if no one else
pa of eyes seeing all time as now, a captured instant
pair
can get it – we can, or we’ve got it in stock.
in all of eternity, whether on sensor, film or sketch pad.’
Del Gaskin from South Woodham Ferrers Process Supplies (London) Ltd,
13-25 Mount Pleasant, London
If you ruled the world what would you change? Serious or silly, send your thoughts to [email protected] 020 7837 2179
or write to Black & White Photography, GMC Publications, Ltd, 86 High Street, Lewes, East Sussex BN7 1XN
process-supplies.co.uk

B&W January 2010 7

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 B&W NEWS & EVENTS

On course Widening the Aperture

Courses and workshops for
black & white photographers
DAVE BUTCHER
Black & white landscape courses
for film and digital users
davebutcher.co.uk 01663 733 771

JONATHAN CHRITCHLEY
Expert tuition at water
locations worldwide
oceancapture.com

DAWN 2 DUSK PHOTOGRAPHY

Landscape photography workshops led
by Mark Bauer and Ross Hoddinott
dawn2duskphotography.co.uk

RICHARD DUTKOWSKI
Courses for B&W film and digital users
of all abilities Apple have released Aperture 3, the latest and dropping photos on to a map or by using
dutkowski.co.uk 029 2062 1665 version of its photo editing and management information from GPS enabled cameras or
software. The package has more than 200 new tracking devices.
JOHN FREEMAN PHOTOURS features, including the ability to weave together The new Brushes feature allows you to
Customised black & white photos, audio, text and HD video. add effects to your images. The software has
photography workshops Other highlights are the Faces and 15 effects, including dodge, burn, polarise and
jfphotours.com 0800 298 8190 Places features. Faces, allows you to use blur. There are dozens of Adjustment Presets,
face recognition to organise your photos by which apply a specific look to your picture, or
LEE FROST the people who are in them. Places lets you you can create your own.
Workshops and holiday courses with explore your photos based on where they were Aperture 3 is £169. Existing users can upgrade
Black & White Photography contributor taken. You can assign locations by dragging for £79. A 30 day trial version is also available.
photoadventures.co.uk 01665 830523

PAUL GALLAGHER
Workshops and tours with excellent
landscape photographer
Mystery revealed
paulgallagher.co.uk The mysterious photographer behind a series handwriting on the cards where the photograph’s
of Victorian stereoscopic photographs has title had been written under each picture.
GOWER PHOTOGRAPHY been revealed. University of Derby forensic science expert
Weekend workshops and day courses Stereoscopic photographs were hugely Dr Ian Turner was called in to see if they
in the Gower peninsula of South Wales popular in Victorian times, with millions sold matched handwriting on cards known to be
gowerphotography.co.uk 07944 767343 every year. Photo historian John Bradley has by Seaman. He said: ‘The work we have done
thousands of them but one group of suggests that many of the photographs have
GARY GROUCUTT photographs remained unattributed because the same handwriting on them as the known
Landscape workshops with prizes the photographer had not printed his name Alfred Seaman images. This, along with stylistic
for best photograph on the cards. similarities between the two groups of photos
garygroucutt.com 07779 122034 This unknown group had similarities to has now made it possible to confidently claim
photographs taken by Derbyshire photographer that the majority of this outstanding pictorial
LIGHT PERSPECTIVE Alfred Seaman. There was also another clue – record of Victorian life was taken by Seaman.’
Range of workshops for digital
and film users
lightperspective.org 01890 850259

ANDREW SANDERSON
One day workshops with an Ilford
Master printer
andrewsanderson.com

SIMON WATKINSON
PHOTO TRAINING
Landscape, overseas, wedding, portrait
and digital imaging courses
swphototraining.co.uk 01298 687477 Alfred Seaman Matlock Bath by Alfred Seaman

8 January 2010 B&W

6-8 Newsroom ER/MB.indd 8 25/2/10 12:46:17

 KODAK Films Portfolio Boxes

Silverprint
MOERSCH CHEMISTRY • NEW •
We stock all available Kodak Wolfgang Moersch Our own archival
films inc the newly revised manufactures a range of qualitybrand, sized to
TMax 400. sophisticated black and white accept prints on their own
Tri-X 135-36 ............................. 3.96 chemistry, covering every or with sleeves.
Tri-X 120 .................................. 4.04 specialised requirement in film Portfolio Box 5 x 7” ..................... 27.73
Tri-X 220 5 pack ..................... 42.41 and paper processing. Portfolio Box 8 x 10” ................... 30.79
Tri-X 5x4” 50sh ........................ 70.11 Moersch 4812 Print Dev 270ml.... 5.64 Portfolio Box A4 .......................... 32.45
FOMA Fomatone FB KENTMERE Fineprint FB Moersch 4812 Print Dev 1l........... 16.92 Portfolio Box 9.5 x 12” ................ 36.32
The Czech made Fomatone is Now produced as Harman’s alternative Plus-X 135-36.......................... 4.85
Moersch Sepia Print Dev 1l.......... 14.22 Portfolio Box 11 x 14” ................. 42.79
the closest replacement for the budget-priced paper. GLOSSY, FG stipple Plus-X 120 5 pack.................... 21.36
Moersch SE2 Warm Print Dev 1l. 10.90 Portfolio Box 12 x 16” ................. 44.05
Forte range, very warm with 240g also available. TMax 100 / 400 135-36 ........... 3.81 Moersch SE4 Neutral Print Dev 1l. 13.04 Portfolio Box A3 .......................... 47.93
double weight base, and like the 5x7” ............. 100sh .................. 21.54 TMax 100 / 400 120 5 pack ..... 18.66 Moersch Separol NE 2l stock....... 13.80 Portfolio Box A3+ ........................ 54.51
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009_BW_110.indd 9 16/2/10 12:43:24

 INTERVIEW

All pictures © Christopher Thomas

‘It demands a stilling of the mind, a meditation of

Profile:
sorts, to imagine a city stripped of its flashing Christopher Thomas
lights and human occupants’ With a
background
in commercial
photography,
Christopher
Thomas has worked on car campaigns
for manufacturers such as BMW and
Mercedes, and celebrity portraits for
sitters including Alanis Morissette
and Boris Becker. Christopher was
born in Munich in 1961, and continues

The city
to live in his native city.

New York is a colourful city, with a raw energy generated by its Christopher Thomas has in abundance.
Christopher began work on the New York
inhabitants. So what happens when you take the colour, the raw Sleeps series in 2001, but was unable to give
energy and the people out of the picture? Tracy Hallett talks to the project his full attention until 2008.
Living in Munich and working in commercial
Christopher Thomas about his latest book, New York Sleeps photography, he had little time to indulge in
personal projects so far from home. In order to
make the most of any spare moments, he took to

W
the streets of his native city, seeking quiet corners
ith more than eight million painters and photographers for decades. and empty spaces in a bid to relax and enjoy a
residents, New York is the By contrast, surprisingly few artists have sense of creative freedom. ‘It was like going back
most densely populated attempted to capture the quieter, more placid to the roots of photography,’ he recalls. ‘It was
city in the US. There are side of this centre of industry. Part of the just me, my large format camera and traditional
more than 400 people to every square mile. problem lies in seeing past the distractions: printing processes. The assigned work can be
On average, it takes a New Yorker 30 minutes the traffic, tourists, shoppers and advertising more about organising than taking pictures.’
to get to work. These are the facts of a modern billboards. It demands a stilling of the mind, The resulting images were enthusiastically
megalopolis. While these statistics offer a crude a meditation of sorts, to imagine a city stripped received in Germany, and led to an exhibition
sketch of NYC, they do little to describe of its flashing lights and human occupants. and accompanying book entitled Münchner
a location so full of frenetic energy that it is often Moreover, it requires patience, perseverance Elegien Munich Elegies in 2005. Some time later,
referred to as the city that never sleeps. This and technical excellence to register that vision while visiting his studio, curator Ira Stehmann
intangible spirit has inspired filmmakers, writers, on film – skills that German photographer came across several of Christopher’s early New

10 April 2010 B&W

10-16 THE CITY SLEEPS ER/MB.indd 10 25/2/10 12:46:59

 
Flatiron Building, 2001

B&W April 2010 11

10-16 THE CITY SLEEPS ER/MB.indd 11 25/2/10 12:47:02

 INTERVIEW

Cyclone Rollercoaster, Coney Island, 2008

York images, and urged him to resume his of promising locations in a notebook. Having looking at it in an aware, more interested way.’
stateside project. ‘Ira took the pictures to the Art previously lived in NYC, he was familiar with This mindfulness led Thomas to shoot some
Basel fair in Miami,’ he explains. ‘I had a lot of many of the major areas, but soon found himself of New York’s most celebrated landmarks,
good feedback, and several publishers became viewing regular haunts with renewed enthusiasm. including the Statue of Liberty, Times Square and
interested as a result.’ Encouraged by the response, ‘It was similar to the Munich series,’ he explains. Central Park, in a groundbreaking fashion. He
Christopher decided to take an apartment in New ‘I would find myself standing in places I had resolved to shoot these colourful, crowded areas
York and continue with the series. passed a hundred times, only now I was noticing in black & white, and free of human inhabitants.
From 2008-9 Christopher explored the city, new elements. It’s like studying a subject close ‘I wanted to take away the life, the people, the
often on foot or by bicycle, recording details up or from a great height – you find yourself cars and the colour,’ he recalls. ‘I didn’t want

12 April 2010 B&W

10-16 THE CITY SLEEPS ER/MB.indd 12 25/2/10 12:47:08

 
Radio City Music Hall, 2009

B&W April 2010 13

10-16 THE CITY SLEEPS ER/MB.indd 13 25/2/10 12:47:13

 INTERVIEW

Union Square, 2009

anything distracting from the architecture. very sad that it is not being produced anymore. beginning: everything is upside down, you have
I wanted everything reduced and quiet.’ In my advertising work we used Polaroid 55 to a dark cloth and a very slow work process.’ This
Adopting a deceptively simple approach, check the lighting, and then we just threw it steady, considered approach is reflected in the
Christopher would rise before dawn, load his away! It’s so sad!’ final photographs: roads, bridges and pavements
Linhof Technika with Polaroid 55, and take to By the same token, Christopher decided direct the viewer expertly around the frame,
the streets. His choice of film helped to reinforce to use a large format camera to simplify the while apartments rise skywards in clean, straight
his vision of a graphic, pared down New York. picture-making process – compared to his lines. Everything is exact and intentional.
‘I used black & white because it’s an additional assignment set up. ‘I use a digital Hasselblad for With dogged determination, Christopher
reduction,’ he explains, ‘Polaroid 55 has been one my commercial work, but I still love the analogue stripped the city of its colour and removed its
of my favourite materials to work with, and I am camera,’ he enthuses. ‘It’s like going back to the inhabitants via a mixture of stringent planning

14 April 2010 B&W

10-16 THE CITY SLEEPS ER/MB.indd 14 25/2/10 12:47:20

 Central Park, The Mall II, 2009

and technical mastery. ‘Saturday and Sunday walking they were gone.’ The result is a silent deduce, is merely asleep. Thrown into abstraction,
mornings, preferably after a public holiday, were city: an empty stage waiting for eight million the city is stripped of its raw energy, its brash
the best,’ he reveals. ‘Even in a city like New York, people to arrive and act out their daily lives. colour and the activity of its residents. What we
it is quiet and empty.’ However, despite his best At first these pictures seem eerie, unsettling, are left with is the bare bones: the architecture,
efforts, there were occasions when Christopher as though human life has been erased through the building blocks of industry and commerce.
could not avoid human company entirely. ‘There some apocalyptic disaster. We scan the pictures, Surprisingly, this is not a bleak vision; on the
are places like Times Square where people looking for a likeness, only to be met with shop contrary, this is a celebration of the ordinary,
are constantly walking through,’ he explains, mannequins and ghostly reflections. But slowly, seen in an extraordinary way. In contemplating
‘on these occasions I used long exposures – slowly, comfort returns: footsteps in the snow, these pictures we are forced to slow down, and to

anything over half a minute and if they were a plume of smoke, a cable car – New York, we look upon this famous city anew.

B&W April 2010 15

10-16 THE CITY SLEEPS ER/MB.indd 15 25/2/10 12:47:25

 INTERVIEW

 Ice Cream Parlor, Brooklyn, 2008

Reader offer
Readers of Black & White Photography can
purchase New York Sleeps by Christopher
Thomas, RRP £40, published by Prestel (ISBN
978-3-7913-4234-4) for £36 including p&p. To
take advantage of this offer call 01256 302699
and quote the code 3QE. This offer is subject
to availability and expires on 1 May 2010.

‘I didn’t want anything distracting

from the architecture. I wanted
everything reduced and quiet.’

To see more of Christopher’s work visit www.christopher-thomas.de B&W

16 April 2010 B&W

10-16 THE CITY SLEEPS ER/MB.indd 16 25/2/10 12:47:32

 CALUMET
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017_BW_110.indd 17 18/2/10 14:41:33
 In the frame edited by Elizabeth Roberts
If you would like an exhibition to be included in our listings, please email Elizabeth Roberts at [email protected] at least 10 weeks
in advance. You can also send information to Black & White Photography, GMC Publications Ltd, 86 High Street, Lewes, East Sussex BN7 1XN

London Chalk Farm Road NW1; 020 7482 3867;

proud.co.uk
The prestigious annual award
To 18 April
Indre Serpytyte
HOOPERS GALLERY
To 30 April
Bryn Campbell
LICHFIELD STUDIOS ANNROY GALLERY A thoughtful investigation into the Work by the renowned photojournalist
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To 6 April Oxo Tower Wharf, Bargehouse Street,
A Positive View London SE1; 020 7021 1600
Vintage works alongside images by
contemporary artists PROUD CHELSEA
Strand, London WCR; 020 7845 4600 31 March to 16 May
Unseen Portaits 1968-2009
BONHAMS Photographs by Paul Joyce of today’s
To 7 April foremost filmakers, writers and artists
Pure Sixties: Pure Bailey 161 Kings’s Road, London SW1;
A selling exhibition of 020 7349 0822; proud.co.uk
David Bailey’s iconic images
101 New Bond Street, London W15; RKB GALLERY
020 7393 3900; bonhams.com 9 to 23 April
Hahnemühle Anniversary
HOTSHOE GALLERY Collection
To 9 April Stunning imagery from around the
Torsten Lauschmann, David world in the Hahnemühle Photo
Birkin & Benjamin de Burca Award competetion
Work by three artists 57 Union Street, London SE1;
29-31 Saffron Hill, Farringdon, 020 7407 6474
London EC1N; 020 7421 6009;
hotshoegallery.com

MICHAEL HOPPEN GALLERY

To 10 April
North
Yoshihiko Ueda GOOLE MUSEUM
Japanese photographer, Ueda, focuses To 31 March
on an ancient woodland Yorkshire: A Land Painted Silver
3 Jubilee Place, London SW3; 020 7352 Traditional silver prints by Daren
3649; michaelhoppengallery.com Smith portraying Yorkshire
Carlisle Street, Goole; 01405 768 963
THE LITTLE BLACK GALLERY
To 10 April THE LOWRY
Masterpieces To 11 April
Iconic pictures by Norman Circus: Anderson and Low
Parkinson, Terence Donovan and Studies of the relationship between
Patrick Lichfield ©Keith Cardwell the body, costume, performance
13A Park Walk, London SW10; LE CHARDON RESTAURANT and identity
020 7349 9332 To 31 August Pier 8, Salford Quays, Salford;
0870 787 5780; thelowry.com
PROUD CAMDEN Keith Cardwell
To 11 April Superb images by this renowned photographer NATIONAL COAL MINING
Hopped Up – from the Bolshoi ballet to Cuba MUSEUM FOR ENGLAND
The European Hot Rod scene as To 25 April
documented by David Biene 32 Abbeville Road, Clapham, London; 020 8673 9300; lechardon.co.uk Northern Soul
The Horse Hospital, The Stables Market, Work that goes back to the 1960s by

18 April 2010 B&W

18-19 In the frame ER/MB.indd 18 5/3/10 11:26:00

 Index to exhibition pages
Exhibition of the month 20-21 American Connection 22-23

Richmond & Twickenham 13 Red House Yard, Thornham Magna,

Photographic Society Eye, Suffolk;
The society’s annual exhibition. 01508 480 477;
Admission £1.50. Open noon to beyondtheimgae.co.uk
6.30pm weekdays, 10.30am to
6.30pm weekends. IMPERIAL WAR MUSEUM
Ferry Road, Teddington; DUXFORD
020 8977 7558; rtps.org.uk To 31 March
Duxford Goes to War
STABLES GALLERY Photographs reveal how the airfield
10 April to 9 May prepared for WWII
Photo Mirage Cambridgeshire;
Work by the Mirage Group 01223 835 000
of Photographers
Hall Place, Bourne Road, Bexley; OCTAGON GALLERY
01322 526 574 To 30 June
Beyond the Group
WINDSOR CASTLE A group of 15 East Anglian
24 April to 6 February 2011 photographers holds its first
Marcus Adams: members’ print exhibition.
Royal Photographer Open 9am to 9pm every day
Adams created a unique record of 27 Middleborough, Colchester;
two generations of the royal children 01206 578 014;
between 1926 and 1956 beyondgroup.info
Windsor, Berkshire; 01753 743 900;
Windsor.gov.uk

LUCY BELL FINE ART

©Ken Russell
West
To 30 April

Ken Russell
East FOX TALBOT MUSEUM
To 27 June
For more than 40 years, Ken Russell has directed some BEYOND THE Icons of the Highway
of the most controversial films in British cinema, but IMAGE GALLERY Images by Tony and Eva Worobiec
lesser known is his life as a photographer that spanned To 25 April of the fading American dream
three intense years at the beginning of his film career Yummy Scrummy Lacock, nr Chippenham, Wiltshire;
An exhibition of new project work 01249 730 459;
46 Norman Road, St Leonards on Sea; 01424 4340828; Lucy-Bell.com by the members of Beyond the Image nationaltrust.org.uk

renowned photojournalist John Bulmer Simon Roberts’ large format

Caphouse Colliery, Overton, Wakefield; photographs of the English at leisure
01924 848 806; ncm.org.uk Bradford, West Yorkshire; 0870 7010 200;
nationalmediamuseum.org.uk
THE MANOR HOUSE
ART GALLERY INTERNATIONAL
To 9 May SLAVERY MUSEUM
Ilkley Camera Club To 12 September
2010 Exhibition Cricket and Beyond
Work by members covering a wide Photographs that explore cricket
range of genres as a legacy of British imperialism
Castle Yard, Ilkley; 01943 600066; Albert Dock, Liverpool; 0151 478 4499;
bradfordmuseums.org liverpoolmuseums.org.uk

IMPERIAL WAR THE DUKES GALLERY

MUSEUM NORTH 27 April to 20 May
To 13 June Pleasureland
Shaped by War: Darren Andrews reveals the underbelly
Photographs of Don McCullin of English seaside resorts in b&w © Jonathan Kerry
The largest ever UK exhibition about Lancaster, Lancashire PLAYHOUSE THEATRE GALLERY
the life and work of the great McCullin 1 to 30 April
The Quays, Trafford Wharf Road,
Trafford Park, Manchester;
0161 836 4000; iwm.org.uk South Jonathan Kerry
Beautifully conceived landscape work from Arizona,
Utah and Southern California
NATIONAL MEDIA MUSEUM THE LANDMARK
To 5 September ARTS CENTRE 42-58 George Street, Norwich; 01603 672 580
We English 31 March to 11 April
B&W

B&W April 2010 19

18-19 In the frame ER/MB.indd 19 5/3/10 11:26:03

 One
Exhibition
All pictures © Paul Joyce
not to miss

Bill Brandt, Brassai and Ansel Adams, London, July 1976

Unseen Portraits: 1968-2009

Across a span of forty years photographer and documentarian
Paul Joyce has captured the faces of some of the greatest figures of our time

H
aving decided early in life that galleries in the US and Europe. He is also a film way, it is only now that Joyce has decided to
his role was very much behind maker, painter and writer. show many portraits that have previously been
the camera instead of in front Over the years he has met and photographed unseen. Each image, taken in the sitters’ natural
of the lens, Paul Joyce is not a such influential people as Sam Beckett, Henry environment, shows Joyce’s ability to put
household name – but his work has earned Moore, Eartha Kitt, Bill Brandt and Ansel Adams people at their ease, consequently achieving
him an international reputation and he has – the list could continue. His career has spanned superb portraiture. This exhibition reveals the
had exhibitions at the National Portrait Gallery four decades and he now has 52 portraits inspiration of the man behind the camera as
in London, the Biblioteque Nationale in Paris, in the National Portrait Gallery’s permanent much as it tells us about the famous faces
the Witkin Gallery in New York and many other collection. But, with his naturally self-effacing in the pictures.

20 April 2010 B&W

20-21 EXHBTN NOT MISS ER/MB.indd 20 3/3/10 10:25:20

 Gus Van Sant, New York 1993 Dennis Hopper, Venice 1994

Unseen Portraits: 1968-2009

Photographs by Paul Joyce
…is on at Proud Chelsea, 161 King’s Road,
London SW1 from 31 March to 16 May;
020 7349 0822;
[email protected];
www.proud.co.uk

Bill Brandt

B&W April 2010 21

20-21 EXHBTN NOT MISS ER/MB.indd 21 3/3/10 10:25:24

 OPINION

L
ast December I
attended the fourth
Susan Burnstine reports on black these two enduring wartimes.
Susan has completed 45
annual festival & white photographers in the USA starkly compelling portraits to
of photography, date. She uses an 8x10 Century
PhotoNola, hosted by the New studio camera for which she has
Orleans Photo Alliance. I was taught herself the technique, give them much thought.’ a wet plate adapter, a smaller
impressed by the talent this year which she’s continued to practice In 2007, Susan began making reproduction wet plate camera
and decided to highlight two of for the past five years. portraits of active duty members that shoots plates up to 6x6in,
the photographers that caught In the autumn of 2006, Susan in the United States Army using and she recently acquired an
my eye. moved from New Jersey to the the wet plate process, which antique 14x17 camera which
Savannah based photographer southern town of Savannah, she notes, was the primary she hopes to have adapted in the
Ellen Susan was always attracted Georgia, which is located near photographic process of the Civil near future.
to the look of hard cased 19th two major army installations. War era. Using the wet plate The Columbus Museum in
century images, but hadn’t She had never met a soldier process for portraiture created Georgia has invited Susan to be a
considered practicing the wet prior to living in Savannah, but a number of technical resident artist for a week in 2011,
plate process as she assumed the began to encounter them on a challenges, as it’s a slow, during which she will photograph
equipment was obsolete and the regular basis and was intrigued. cumbersome practice that soldiers from Fort Benning. This
methods had been lost or too Consequently, her idea for requires exposures from 5 to 60 will culminate in a show at the
difficult to decipher. But after the series, Soldier Portraits, seconds. Despite the challenges, museum, which she expects will
she became familiar with several emerged ‘both as a way of Susan loved the results and mark the end of the project.
contemporary photographers connecting with the soldiers,’ remained committed to shooting Soldier Portraits will be on
who used the process, most Susan explains, ‘and as a way wet plates for various reasons, exhibit at the Telfair Museum of
notably Mark Osterman, France of humanising them for other including the implication of Art in Savannah, Georgia, from
Scully and Sally Mann, she people who may not really underlying contrasts within April 10 to July 25.

PFC William Burnett SPC Melvin Moore

©Ellen Susan ©Ellen Susan

telfair.org soldierportraits.com ellensusan.com

22 April
22 February
2010 B&W
2010 B&W

22-23 USA CONNECT ER/MB.indd 22 25/2/10 12:50:18

 EXHIBITIONS
IN THE USA
NEW YORK
Foley Gallery
Animal Logic: Richard Barnes
April – May
foleygallery.com

SAN ANTONIO
San McNay Art Museum
TruthBeauty: Pictorialism and the
Photograph as Art, 1845-1945
Until May 9
mcnayart.org

LOS ANGELES
DNJ Gallery
Night Lights: Helen Garber,
Bill Sosin and Ginny Mangrum
Until April 24
dnjgallery.net
Getty Museum
Urban Panoramas: Opie, Liao, Kim
Until June 6
getty.edu

CHICAGO
Catherine Edelman Gallery
Keith Carter
Until May 1
edelamangallery.com
Art Institute of Chicago
In The Vernacular: Photographs
by Walker Evans, Andy Warhol,
Lee Friedlander, Cindy Sherman,

Captivating imagery
Martin Parr, Nikki S. Lee and others
©Michael Donnor Until May 31
Dreaming Tree artic.edu

T
he runner-up for them. The fragile truth that is through the enlarger and his find beautiful.’ The idea that there
the 2009 PhotoNola covered up can be many things: silver gelatin prints are toned in is perfection in imperfection is
review prize, a secret best not shared, an event selenium and tea. To complete the the basis of the Japanese aesthetic
Michael Donnor, best forgotten, a failure best process, edges of the prints are wabi sabi, which, Donnor explains,
is a fine art and commercial not remembered, or perhaps a burned and encaustic is applied in aided in the evolution of this work
photographer based in Buffalo, dead dream that will not rest. layers, making each unique. by reminding him to guard against
New York. Donnor’s memorable Whichever the case, they are all The decision to write on his perfection. ‘Before, a piece of dust
series, Silent Moan, works on a part of us that we will carry; prints in his own hand transpired drove me crazy! Now I can say
many levels, including a unique the past that is a silent moan.’ because he felt there was more he wabi sabi and see what comes of it.’
process and captivating imagery. Donnor’s distinctive printing could do to complete his imagery Donnor uses a Hasselblad and
Donnor explains, ‘This project process always begins with the than just making straight prints. a 80mm lens, Tri-X film, Xtol
is my exploration from behind negative, which he intentionally ‘It seems photographers feel film developer and Ilford paper
the stage of the greatest show destroys and decays using various very confined to their boxes, as developer. He prints on Ilford
of all – us. It is my view of false techniques including freezing, opposed to painters or sculptors. FB Warmtone and tones his
projections, fortresses of a facade melting, scratching and cutting. A sculptor’s world is limitless. The prints heavily in selenium and
and the egos that stand upon Depth of field is completed ink has its own imperfect life that I stains in tea. B&W

michaeldonnorphotography.com

B&W February
B&W April
20102010
23 23

22-23 USA CONNECT ER/MB.indd 23 3/3/10 10:26:43

 WE PRINT
YOUR BEST
BLACK & WHITE
IMAGES

Readers’ Pictures
Want to see your pictures on the pages of Black & White Photography?
Send in your best shots and if we publish them you’ll also receive £50-£100 worth
of photographic goods from sponsors The Imaging Warehouse! Details on page 96

Paul Sidle
PAUL’S KIT
Canon EOS 400D
Sigma 10-20mm lens,
Canon 50mm lens
Feisol tripod
Website: thiswayoflight.
wordpress.com

WINNER!
£100
Storm 1 All pictures © Paul Sidle

www.novadarkroom.com
24-29 Readers Pics ER/.indd 24 5/3/10 11:44:51
 Storm 3

Storm 2

www.novadarkroom.com 

24-29 Readers Pics ER/.indd 25 5/3/10 11:44:53

 YOUR WORK

Hoodoos All pictures ©Ian Cox-Leigh

Ian Cox-Leigh
RUNNER-UP
IAN’S KIT
Nikon D300 and D80 cameras
Tokina 12-24mm and Tamron 17-50mm lenses
Induro tripod
£50

www.novadigital.co.uk
24-29 Readers Pics ER/.indd 26 25/2/10 12:51:04
 Enveloped

Climb

www.novadigital.co.uk 

24-29 Readers Pics ER/.indd 27 25/2/10 12:51:11

 YOUR WORK

www.novadarkroom.com
24-29 Readers Pics ER/.indd 28 3/3/10 10:34:23
 All pictures © Tim West

Tim West RUNNER-UP

TIM’S KIT
£50
Canon A-1 with Canon lens
Kodak Gold 200, Agfa HDC 200, HP5 films
Negatives scanned in with Nikon film
scanner and tidied up in Photoshop
TAKE PART
For full details on how
to submit your pictures to
this or other features
turn to page 96

THE IMAGING WAREHOUSE

Imaging Warehouse supplies everything you need for both darkroom and digital printing. It’s the umbrella company for Nova Darkroom, Nova Digital and PermaJet.
Nova Darkroom (est. 1983) sells the complete darkroom package Permajet is all about the best brands of paper Nova Digital supplies printers, scanners, cartridges and other peripherals
Visit in person at The Imaging Warehouse: Unit 1A, Harris Road, Wedgnock Industrial Estate, Warwick CV34 5JU; tel. 01926 403090

24-29 Readers Pics ER/.indd 29 3/3/10 10:34:30

 INTERVIEW

Seville
A Night in

What does a busy professional photographer do on his night off?

Take pictures of course. Elizabeth Roberts talks to Tim Clinch
about one of his favourite cities
30 April 2010 B&W

30-34 TIM CLINCH INTERVIEW ER/MB.indd 30 3/3/10 10:47:59

 

Los Claueles, one of Tim’s 

favourite haunts in Seville
B&W April 2010 31

30-34 TIM CLINCH INTERVIEW ER/MB.indd 31 3/3/10 10:48:09

 INTERVIEW

The picturesque side of fast food

‘Ten years ago I used to turn up with an

assistant, five metal cases and loads of lights
and people were dead impressed. Nowadays,
I’m just a fat old bloke with a bag – which is
slightly less impressive’ The waiters write your order on the bar in chalk

I
t’s comforting to know that a to turn up with an assistant, five metal
Profile: Tim Clinch

photographer who has spent the best cases and loads of lights and people were
Tim Clinch has over 30 years part of his life taking pictures for a dead impressed. Nowadays, I’m just a fat
experience of photographing living, still finds time to take pictures old bloke with a bag – which is slightly less
interiors, lifestyle, travel for pleasure. For Tim Clinch it seems natural, impressive.’ The change has come about
and food for some of the ‘I enjoy it,’ he says, ‘it’s as simple as that.’ through technology, he goes on to explain.
top publications, including Tim’s working life takes him all over ‘It’s so much easier with digital – and more
House & Garden, Tatler, Harpers & Queen, the Europe, and sometimes further afield, to fun. In a way, I’ve fallen back in love with
Telegraph magazine and many others. He some of the most beautiful locations. ‘I’m photography through it. It’s so quick – no
has also published numerous books. He very lucky in that professionally I go to very more having to go to labs and waiting, and
spends his time between South West France, nice places – luxury interiors and hotels the cost is so much less. And you don’t have
Bulgaria, where he has a house, and the UK. and all that,’ he says. ‘Ten years ago I used that disappointment of taking six rolls of film

32 April 2010 B&W

30-34 TIM CLINCH INTERVIEW ER/MB.indd 32 3/3/10 10:48:15

 Good food and wine – what more could a photographer
want on his night off?

‘It’s so much easier with digital –

and more fun. In a way, I’ve fallen
back in love with photography
through it’
It’s a bar for locals rather than tourists

to the lab and having to wait a day, and then it about 15 years before and the house had trouble getting into conversation with the
realising they were a load of rubbish – you been done up again – it was a great story. But locals – and he of course has his favourite
just download them and see what you’ve got.’ they had people coming so they had to take bars – one of which is the Los Claueles. ‘It’s
Tim currently uses a Canon EOS 5D me down to Seville the night before my flight a bar I’ve been going to for years. It’s big and
MkII for his work, hiring a Hasselblad if he out. I used to live nearby, in Cadiz, so I know bustly and they write your order on the bar
needs to for an advertising job. ‘The Canon the city really well. I just love it. It’s one of with chalk. It’s not at all touristy – a great
is fantastic – and when I have a night off I my all time favourite cities – it’s so exciting place,’ he says. ‘Sometimes you can’t get to
just take it with me and play around with it,’ and different. It was about the third week the bar because it’s so packed and then half
he says. Which is how he came to make the in November and just fabulous weather. All an hour later it’s empty – and then it fills up
photographs shown here. ‘I was shooting a the oranges were out and you could wander again. It’s good fun.’
house outside Seville, in the mountains,’ he about at night with just a shirt.’ Tim shot these images in the course of

explains. ‘It was actually a re-shoot. I’d shot Tim speaks fluent Spanish so has no an evening, watching what was going on

B&W April 2010 33

30-34 TIM CLINCH INTERVIEW ER/MB.indd 33 3/3/10 10:48:32

 INTERVIEW

One minute the bar is crowded out and the next it’s empty

‘I love Spain. I can never make up my mind

which is my favourite city – it’s either Seville,
Cadiz or St Sebastian. But Seville’s definitely
up there with the best.’’ A balmy night in November, ideal for strolling in the streets

 around him – even photographing the food fantastic, beautiful city I’ve ever been to. It’s But his love of Spain is always at the
on his plate and the wine he was drinking incredible. When we first went there I was forefront, having lived there for a number
– building a picture not only of the place he prepared for it to be beautiful because it’s of years. ‘I’m re-opening my Spanish
was in but the atmosphere that permeated it. Austro-Hungarian, right on the border of connections again,’ he explains. ‘A friend
Tim’s love of travelling means there are Poland – but I wasn’t prepared for it to be so of mine recently started being my agent
few cities in Europe that he hasn’t visited sophisticated. But it’s quite old fashioned – if in Madrid so I’m spending a lot more time
and photographed, but there is one that you’re over 40 the women wear dresses and there. I love Spain. I can never make up my
he would like to explore more. ‘It’s a city high heels and the men wear trilby hats and mind which is my favourite city – it’s either
in the Ukraine called Lviv, which my belted raincoats. All the streets are cobbled Seville, Cadiz or St Sebastian. But Seville’s
girlfriend told me about. It’s just the most and the food is wonderful.’ definitely up there with the best.’ B&W

To see more of Tim Clinch’s work visit www.timclinchphotography.com

34 April 2010 B&W

30-34 TIM CLINCH INTERVIEW ER/MB.indd 34 3/3/10 10:48:50

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035_BW_110.indd 35 1/3/10 14:36:27

 YOUR WORK

Winner of our
Reader Assignment!
Name: Rory Cobbe
Assignment: Workplace
Time taken: One evening
Equipment: Nikon D300
with Nikon 50mm AF
f/1.4 lens

R
ory Cobbe works as a TV
director for RTE Cork in Ireland
and has recently been making
food shows, which is how these
pictures came to be taken.
He explains, ‘The shots were taken during a
shoot in the Fishy Fishy restaurant in Kinsale
in County Cork. The owner is the star of the
new series, Martin’s Mad About Fish, and we
had to get some pick-ups of Martin in the
kitchen for the opening of the series. I took
the opportunity to take some shots on a
Nikon D300 with a 50mm lens.’
Rory has had two exhibitions of his pictures.
One was called SecondhandCulture, which was
a photo installation about second-hand shops
in Cork and ran at the Triskel Arts Centre in
Cork. The second is running at the Pavilion
bar and venue in Cork. It’s the culmination of
a year of gigs at the venue and includes shots
of Candi Staton, BellX1, Imelda May and the
Hypnotic Brass Ensemble.
Rory is also the curator of an exhibition
about public transport at the Triskel Arts
Centre in April which will feature a host of
international photographers.

WINNER!
£100
Eileen All pictures ©Rory Cobbe

36 April 2010 B&W

36-37 ASS WINNER ER/MB.indd 36 3/3/10 10:53:59

 Knives

‘The shots were taken during

a shoot in the Fishy Fishy
restaurant in Kinsale
in County Cork’

Inspired
Turn to ?
pag
for this m e 39
onth
assignme ’s
nt
Oyster

B&W
John

B&W April 2010 37

36-37 ASS WINNER ER/MB.indd 37 3/3/10 10:54:02

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 YOUR WORK

© Tim Clinch

Your Assignment: Short term

Take a train into town and spend
the evening with your camera, firing
off shots and having fun. Aim to

Cities at night WIN

produce three or four pictures that
capture the atmosphere of the city.

Medium term
Inspired by Tim Clinch’s pictures (see page 30), we £100 You have several weeks or even a
few months to build up a collection
challenge you to come up with a series of pictures of of images. Use the time to plan
ahead and experiment. Aim to
a city (or cities) at night. Choose to do the project over produce at least six images.
either short, medium or long term and send your images
to us when you’re finished Long term
You have the luxury of building a
sequence of images across a whole
year. Experiment with viewpoint.

ASSIGNMENT TIPS Aim to have a theme running

through your series of pictures.
Use a high ISO –1600 or higher. Be discreet. Practice being comfortable
When holding the camera, try leaning with your camera. People will relax if you
your elbows on the table (or bar!) to give
yourself more support.
are relaxed.
Edit carefully. Look for a consistency
HOW TO
Don’t intrude. If someone indicates
they don’t want their picture taken then
or a narrative in your series of pictures.
What unites your images? What do they
SUBMIT
See page 96
respect their request. say about the city at night? for full details
B&W

B&W April 2010 39

39 Your Assignment ER/MB.indd 39 3/3/10 10:56:04

 OPINION

10 STEPS TO TAKING
GREAT PICTURES:
8 Balance
attribute to a metaphor – i.e. happens when it is absent, such
balance. In using a metaphor as when parts of a photograph
to describe something real it are totally without tone, or
can rapidly become confusing, conversely where there is so
Harminder Singh discusses the importance especially when the photograph much tone there is a block of
is described with lines, squiggles black. One of the first things
of balance in a good photograph and geometric shapes that just we learn in photography is to
seem to mystify. This loose ensure that exposure provides
A photograph Our eyes want and expect to see way of using balance has come to detail in the shadows and detail
is composed of information across the entire represent some mystical in the highlights. Where there
grains or dots canvas of the photograph and sense of rightness in a is a constant tone of black or
which build up this is what the term balance has photograph, but who is to say white the body’s exquisite sense
to an image. As come to mean. what is right? By using balance of conserving energy means the
each drop of ink or developing However, this is perhaps in the more fundamental way, eye will not fire the neurons
silver turns the base white of not how you have come to of information that covers the until there is a difference in tone.
paper into something visible it understand the word balance. whole frame, it provides interest Photographers have intuited the
provides information to our eyes. Generally it is used to describe to our brains and the judgement underlying principle through the
This information stimulates the how different elements in of whether the photograph is practice of photography, as we
neurons which fire a signal to the photograph produce a balanced or not returns to you, recognise that areas of any single
our brain which turns each of static or dynamic image and the photographer. tone do not provide information,
these small bits of information perhaps induce feelings which, To appreciate this sense of with blown out highlights
into something we recognise. being difficult to describe, we balance it can help to see what and loss of shadow detail

All pictures ©Harminder Singh

Graffiti art at the South Bank, London

A panoramic picture which has graffiti across the whole image. There is the complexity of the environment while providing a consistent theme Fuji S5 with Tokina 12-24mm lens, ISO 400

1 2 3 4 5 6 7 8 9 10
40 April 2010 B&W

40-41 TEN STEPS ER/MB.indd 40 25/2/10 14:12:56

 Snow flowers
The large areas of white still cover the white of the paper base and
there is enough detail or texture for us to know that it is snow
Fuji S5 with Tokina 12-24mm lens, ISO 400

Window Flowers
The almost black background acts to frame the flowers, however it is the broken
window which provides information which is essential to the photograph as it
tells us that we are looking into a building
Contax Aria with 50mm Contax T lens

being rather disconcerting. be just the faintest tone (often and it is this: film grain. Even what other detail it reveals. This
The exceptions are specular photographers talk about in the world of digital there above all else is the reason I give
highlights of white or the ensuring the lightest tone is are products which emulate for the continuing popularity
deepest blacks which provide a darker than the white of the the grain of film. Digital’s of large format photography
sense of depth, and they work paper it is printed on) as it current technological problem and why there will always be a
because they are so small that provides cohesion and separates is that it produces such smooth demand for it.
our neurons continue to fire very the photograph from the frame. tones it can give the image a This view of balance moves
rapidly as our eyes move over, However, high contrast and stylised feel – the mind finds us away from simplifying the
say, the speck of light. larger areas of deep black and continuous tone in subjects picture and perhaps we should
Such information is not pristine white can work, so somewhat unnatural, as these be more cautious in cropping
about filling the frame with what is happening here? There do not exist in nature – and the image and look to use the
subjects and objects, as it can is, in my view, one key reason then we have to introduce film whole of the negative or digital
grain to create information that file. By including more in the
the mind desires. scene we may need to order the
Detail is also a form of scene, which is the subject of
information: and large format the next article.
cameras enable us to capture Using balance does not need
a huge amount of information, a mystical third eye, just simply
whereby we can make out each your own judgement. If you do
blade of grass, each pore on the want to experiment by including
skin or the subtle gradations large areas of black or white,
of tone. This large amount of then this understanding of
information is thrilling and we balance turns it into a deliberate
scan the whole image to see and creative act.

YOUR NEXT PHOTOGRAPH

Move out from the subject and include more of the view – think that
you are going to use the whole frame in your printing, and make
the creative decisions at the point of making the photograph.

SUMMING UP
Rain revealed Shadow and highlight detail provide balance
The surface of the lake may initially appear empty, however the rain reveals Avoid blocks of black and wasted areas of white
itself when it hits the water and produces ripples which combine with the Each photograph should contain the deepest
water, providing information across the image blacks and specular highlights
Konica Hexar with 900mm Hexar lens, Ilford Delta 100

Next month Harminder will look at Order Visit Harminder’s website at: www.timespresent.com B&W

B&W April 2010 41

40-41 TEN STEPS ER/MB.indd 41 25/2/10 14:13:03

042_BW_110.indd 42 23/2/10 12:39:20
 TECHNIQUE

Printer’s Art
We asked two experienced darkroom printers to develop a picture from the same
negative. First Leon Taylor printed his image of a white stag then he gave the
negative to Trevor Crone to print. How will the two pictures differ?

Leon’s negative
Mamiya 6 with 80mm lens, Ilford SFX film (with no filter)
developed in Pyrocatechol High Definition developer

Leon Taylor Trevor Crone

This shot was taken in September last year at Knowle It was a delight to receive Leon’s
Park in Sevenoaks, Kent. It’s a great place to visit and negative to print up. Leon and I have
wander around with a camera, whether it’s landscape, teamed up twice before for Printer’s Art
architectural or people photography you are into. but on both occasions it was from my
On this occasion I wanted to get some pictures of negative that prints were made. So this
the tame deer that harass visitors to the medieval park. was a refreshing change.
I spent some time stalking deer who were more than happy to be The 6x6cm negative Leon chose was of a white deer
approached by me until I put the camera to my face, at which point which stood out sharply against a backdrop of softly
they ran off as fast as possible. Then this white male appeared around focused trees. I felt the deer had just the right amount of
a corner and started to pose. I managed to get a few shots, although space around it to set it nicely in its surroundings. There
I would have liked to get closer to him. I was just on the limits of his was no need to crop, so I decided to print it full frame.
personal space boundary – one step closer and he ran off. Looking at the negative on my light box I thought
I have been an admirer of Nick Brandt’s pictorial style of animal it would make an effective image printed on a warm
photography for some time. I was aware he uses medium format tone chlorobromide paper and then lightly toned in
film cameras and prefers a standard or portrait lens to a telephoto. dilute selenium.
I also know he spends a lot of effort in Photoshop to realise his Having put the negative in the negative carrier
masterpieces, and I suspect there might be a fair amount of blur I cranked up the enlarger head until I reached the
added to recreate the pictorial style and give a feeling of selective required print size. Initially I made 8x10 prints on Ilford’s
focus and shallow depth of field. Multigrade Warmtone resin coated paper.
This shot was made at f/8 because in bright but overcast light any
larger aperture would have taken the camera to its fastest shutter
speed and over exposed the film. This wasn’t enough to get the
shallow depth I was thinking of, so I knew I’d have to pull out the stops
See over for both
in the darkroom to realise the picture as I felt it should be. interpretations of Leon’s neg


B&W April 2010 43

43-46 Printers Art ER/MB.indd 43 3/3/10 11:09:57

 TECHNIQUE

 Leon prints his own neg

Test print 1 on silver proof paper, then final prints made on Ilford Multigrade fibre based developed in Agfa Neutol 1:8

Print 1 Print 2
This is a test print made on resin coated paper at grade 1 (16.4 seconds). I was I now switched to Ilford Multigrade fibre based paper. I wanted to ensure the
after a soft rendition to show me the full range of tones possible from the stag’s white coat was emphasised in the final print so I decided to use split
negative. I had already cropped all four edges slightly as I wanted the stag to grade printing to maximise my control of the highlights. This print is the test
look closer to the camera. I also gave a +1/3 stop to the sky as I knew it would strip from the hard grade exposure, after having already decided upon a soft
need some burning in to keep the drama there. The background trees have grade exposure of 7.93 seconds. I opted here for the second step (5.82 seconds).
blocked up, but I wasn’t sure if I minded that too much.

Print 3 Print 4
Here I exposed the soft exposure (grade 0) for 7.93 seconds and burned the This is the print I was almost happy with. I had reduced the crop to bring the
sky in at this grade for 1/3 stop. The hard (grade 5) exposure was 5.82 seconds stag further forward and reduced the sky and foreground burns (at grade 5)
with a 1 stop burn to the sky and the foreground received a 1½ stop burn to to 1 stop and 2/3 stop respectively. The picture was almost there, but it just
the foreground to draw the eye towards the main subject. I felt that both the didn’t convey the pictorial style I wanted. Also, I wanted to retain a small
foreground and sky hard grade burns were overdone. amount of detail in the background trees.

44 April 2010 B&W

43-46 Printers Art ER/MB.indd 44 3/3/10 11:10:00

 Trevor’s interpretation of Leon’s neg

Print 1 Print 2
This straight print clearly indicated I would need to darken the sky area
I set my Rodenstock Rodagon lens at f/11 and the Multigrade head at grade 2 and also darken along the deer’s back to bring out some detail.
and produced a full frame test print from 7 seconds to 15 seconds in 2 second
increments (7, 9, 11, 13, 15). From the test print I liked the tones of the 11 second
interval so from this I produced a straight full frame print, 11 seconds at grade 2.

Trevor’s print plan

Print 3 Printing plan: base exposure 10 seconds at grade 2

I stayed with the base exposure of 11 seconds at grade 2 as this rendered the trees and foreground grasses with just
the right amount of detail and tonality. However, for this print I darkened the sky, using a flexible piece of card, by an
extra 3 seconds plus an additional 1 second to the top. For this I set the Multigrade head to grade 0. Using the softer
grade 0 setting put more detail into this area than if I had stayed with grade 2. I also used grade 0 to add an extra 2
seconds along the deer’s back. For this I used a card with an oval cut in it. The card must be kept moving at all times
during the extra exposure time otherwise the hard edge of the card will start to show in the print.


B&W April 2010 45

43-46 Printers Art ER/MB.indd 45 3/3/10 11:10:03

 TECHNIQUE


Leon’s Final Print
First, I have reduced the overall exposure times by 9% to
compensate for dry-down darkening. I have also dodged
around the background trees during the hard grade
exposure to bring out some detail there. However, the
biggest departure is I have opened up the enlarger lens
to its largest aperture (and adjusted exposure times
accordingly), then tilted the lens board and placed the
focus upon the stag’s face to try to replicate the effect of
a shallow depth of field from the camera lens. The effect
is more subtle than I hoped, but I still think it goes some
way to achieve what I had imagined for the print.

Trevor’s Final Print

For my final print I enlarged the image a little and
printed on 9½ x 12in fibre based paper – Foma’s superb
Fomatone MG Classic, glossy surface. This paper is capable
of rich warm tones. Because of the enlarged image and
slower emulsion I opened up the lens to f/8.
Base exposure was 10 seconds at grade 2 plus 4 seconds
to the sky and a further 2 seconds to the top at grade 0.
I also gave an extra 3 seconds along the deer’s back
again at grade 0.
Looking at the washed print, I felt it did not need any
further treatment, so I decided not to tone it as originally
intended. It has warmth and richness that for me is just
what is required.
All prints, both resin coated and fibre based, were
developed in a mixture of Adox liquid WA and Ilford’s
Cooltone at a 9:1 ratio diluted to 1200ml with water for
a working solution and developed for 1½ minutes.

Leon’s verdict
Trevor has given the print a respectful treatment. I really like the way he has retained a fine detail throughout the
tonal range, especially in the sky and trees – a style I very much enjoy and associate with Trevor’s own work. I also
find it interesting that both Trevor and I have opted to leave the print either un-toned or not obviously toned. I
think this is a case where the content and subject need to speak for themselves rather than being overly enhanced.

B&W

46 April 2010 B&W

43-46 Printers Art ER/MB.indd 46 3/3/10 11:10:07

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047_BW_110.indd 47 1/3/10 10:40:12

 Making
DIGITAL NEGATIVES

Tim Daly
d into
gets pulle ybrid
ah
the lure of me
monochro
process

WHAT IT’S ALL ABOUT allow it to dry ready for use.

The media is prepared with a
For this hybrid printing project, digital images can be printed out with an inkjet printer single corner clipped off, so you
on to transparent media, which is then contact printed on to conventional black & white can tell which side is coated
photographic paper in the darkroom. The benefits of the process are twofold: first you
when loading in your inkjet
have all the convenience of image preparation in Photoshop and secondly, you can
printer. However, it’s very simple
make a handmade darkroom print from your resulting (new) negative.
to tell if you have printed on
to the wrong side, as the ink
plenty of ink, thereby creating a has a specially prepared ink puddles into small globules if
MEDIA TYPES negative dense enough to use in receiving layer made from fine you are printing on the non-
For this project, I used Permajet’s the darkroom. With other glossy ceramic particles, essentially absorbent side. Although the
OHP Transfer film media, which film media, especially overhead designed to create pores on media emerges from the printer
provides excellent results with transparency type, the coating is the surface of the normally relatively dry, it’s best to leave
most inkjet printers. The media not equipped to hold enough ink impervious media. These pores your digital negatives an hour
is coated on one side and allows for this kind of printing project. allow the ink to be absorbed before using in the darkroom,
very fine detail together with Permajet’s OHP Transfer film evenly and, most importantly, to be on the safe side.

48 April 2010 B&W

48-51 DIGITAL NEGATIVES ER/MB.indd 48 3/3/10 11:10:58

 USING PRINTER SOFTWARE
Permajet recommend using helped to provide a subtle tonal
the highest specification range on the negative that
media settings in your printer would otherwise be difficult
software dialog box, either the with a single black ink printer.
Photo Quality glossy film or
the Glossy Paper Photo weight
types. These media options
command the printer to drop
the finer 1440 dots per inch of
ink on the media. The media can
be used with both dye based
and pigment inksets, but best
results were gained when using
the Epson 4800 equipped with
Black, Light Black and Light To get the best results out of the OHP Once applied, the Invert adjustment layer transforms the image into a negative
Light Black inkset configuration. Media, select the colour ink option version, ready for further adjusting. In its current state, the negative would
The presence of these three with the highest grade of media print like an underexposed film negative
different values of black really together with 1440dpi output

PREPARING FILES FOR OUTPUT

The inkjet negatives will never of detail it is also a good idea to
provide the same level of sharp sharpen the image slightly more
detail compared to a 5x4 sheet of than you would do normally
monochrome film contact printed for a positive inkjet print. These
on to photographic paper, so it is examples were sharpened with
wise to accept the compromise a 150 amount, to create clear
from the outset. For this project, edges to the shapes within the
the image files were originally individual images. Like shooting
colour, but were converted to on transparency film, these
monochrome using the highly negatives were destined for
effective Black and White controls direct printing, so all creative
found in Photoshop CS3’s burning and holding back has
Adjustments menu. to be done in Photoshop, rather
To counteract the slight loss than in the darkroom.
The image file is first prepared as normal, using Photoshop’s Black and
White function. To flip the image into a negative version, simply click on the
Adjustment Layer pop-up menu, as found on the base of the Layers palette. USING LIQUID EMULSION
For this project, several sheets of artist’s cotton
printmaking paper were used, each coated in Silverprint’s
PRINTER CONFIGURATION SE1 liquid emulsion. This kind of emulsion provides a rich
Despite the monochrome printer software, thereby using tonal depth and is very simple to use. The emulsion arrives
nature of the project (tri-colour the printer’s maximum resolution in a gel form, which needs to be first warmed gently in a
separations would be an to make your negative for contact water bath to change it into a liquid, usable form. Under
altogether different proposition), printing. Output using eight safelighting, the emulsion was painted on to the paper with
a range of results was gained individual colours, rather than a soft brush, leaving some scratchy edges around the sides.
when trying different printer three, the negatives created with The coated paper was dried using a hairdryer and then
settings. By opting to print with colour ink showed more fine stored in an empty black & white paper box until ready
black ink only, the negatives detail and a softer contrast range for use. A good idea at this stage is to coat several thin
appeared granular and gritty, just overall. The film did emerge strips of paper to use as test strips, so as not to waste the
like making a paper print with the with an overall sepia colour, but full sheets. After drying the emulsion becomes invisible,
black ink only setting. This kind of this was not judged to be an so it’s essential to mark up the coated side of the paper
negative was high in contrast too. issue when printing back on to with a pencil so you can tell which side to print on.
A softer alternative is to use monochrome paper (imagine Suppliers: silverprint.co.uk
the colour ink setting on your XP2 negatives). 

B&W April 2010 49

48-51 DIGITAL NEGATIVES ER/MB.indd 49 26/2/10 11:59:04

  from an underexposed negative.
As much as a +30 change in the
Levels mid-tone values will be
needed to provide this additional
density, but this will vary with
your individual image files.
As important to the overall
density of your specially
prepared film is the thorny
issue of contrast. To manage
the transition from negative to
print effectively when printing
on to fixed grade emulsion
(as is found with the liquid
Th different
Three diff t variations
i ti in i density
d it Thi ti was produced
This negative d d using
i th
the Thi id ti l negative
This identical ti was made d emulsion used for this project),
were produced using Photoshop’s Permajet OHP film and is now ready for with a black border to create a crisp it may be necessary to return
Levels controls. The darkest variation contact printing in the darkroom. The white edge when printed out on from test printing to make a
was the easiest to print from film has a slightly opaque base photographic paper different negative at lower
contrast. Rather than alter

TESTING DIFFERENT DENSITIES the contrast of your printing

paper to suit the negative, the
Like conventional monochrome positive state) or darker versions detail or collapsing highlight process is the opposite way
film, your inkjet negatives are (in the inverted state). areas into solid white. round. My experience in using
best prepared with their eventual Additional density, or depth To judge the ideal kind of the Silverprint emulsion was a
use in mind. Rather than create of black, will provide you with a negative, a test image file was positive one; the material has
a straight print as you would slightly longer exposure time in prepared with three densities, an excellent tonal range and
for output as a positive print, the darkroom, perhaps buying each one created by moving creates deep blacks similar to
it’s a good idea to experiment you enough time to make a 10 the Levels mid-tone slider to grade 2 to 2½. If you need to
with different densities of the second contact print exposure create the difference. In use, the alter the overall contrast of your
negative image. The best way to and a little burning-in if needed. denser variants proved much digital file, do this by using the
do this is by using Photoshop’s The trick in this process is to easier to print with and the Output sliders in your Levels
Levels commands to create make your negative as dense as uncorrected negatives were palette to clip away the bright
gradually lighter versions (in the possible without ruining sharp much the same as trying to print whites and deep blacks.

INVERSE OR NEGATIVE OPTION

There are two ways of preparing will notice that the printer will
a digital negative for output to a make the non-printing area of
desktop printer: either inverting the media black, enclosing your
the image in Photoshop or image. While this is desirable
using the output as negative if you want to achieve a crisp
option. To create a negative in white edge around your print,
Photoshop, ensure that your it could also waste a lot of ink. A
file is in the greyscale image better method is to output on to
mode, then apply an Invert cut A5 sheets and leave about a
Adjustment layer. The tonal centimetre between your image
values of your image are simply edge and the media edge.
changed over, ready to output Inverting your image in An alternative to using the Invert Adjustment method, you can flip positive into
as usual on your desktop inkjet. Photoshop with an Adjustment negative in the Print dialog. Simply select the Output menu, then click on the
The second alternative is to layer will create a negative Negative option, as shown. This will also produce a black border on your film
prepare your file as described, printout on your clear media,
then in the Output section of surrounded by a transparent create a black edge around Adjustment layer option to show
Photoshop’s Print dialog box, border. Like a conventional your image. For this project, a black edge around the image
select the Negative option. clear film base, if this is included used in conjunction with liquid and bring into play the brushy
With this latter choice, you in your darkroom print it will emulsion, I chose the Invert liquid emulsion edge.

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 which works by clamping
the print paper and
negatives together.
Like making a simple
contact print, lay your inkjet
on top of your printing paper
negative ink side uppermost,
then lay or clamp the glass on
top. For these simple prints,
the enlarger lens was stopped
right down and exposure tests
of three seconds were made
on a sample strip of emulsion-
coated paper. Unlike older liquid
emulsions, the SE1 brand is
pretty fast and requires a similar
length of exposure to standard
multigrade printing paper.

MAKING CONTACT PRINTS These examples were printed on

Once dry, the individual importance of a weighty sheet the exposure is being made. to deckled edged paper using SE1
negatives were attached to of glass is to provide sufficient A good alternative is to use a emulsion and show two negatives,
a thick 10x8 plate of clean, pressure to keep the negative clean contact printing frame which were scratched and modified
unscratched plate glass. The in contact with the paper while (without film strip holders), before contact printing

JUDGING THE RESULTS

The process is not as to output. Permajet offers the
complicated or time-consuming OHP film product in boxes of
as it first seems and is an ideal 10 sheets and while this is more
way to prepare negatives for a expensive than your average
range of very different outputs. quality inkjet paper, you can
The unique quality of the easily output several images on
print is unlike that from a film to a single A4 sheet at a time.
original, perhaps the gritty and The media is an ideal support
grainy texture reflects the inkjet for making a range of negatives
printer’s ability to spray fine for contact printing out on to
particles of ink. cyanotype, salted paper and
Enhanced grain is achieved other vintage processes.
when images are output using
the black ink only options, with This example shows the image
less coarse images resulting contact printed on to a piece
from using the colour inkset of cream artist’s paper

WORKING THE NEGATIVE

Unlike precious film originals, the inkjet negative is not
unique and can be easily reproduced again. This allows you
free reign to modify the ink receiving side of the media by
scraping or scratching to create a unique surface texture. The
ink won’t respond to re-wetting, so you can’t brush around
the edge of your negative, but you can easily texturize it with
a scalpel or sandpaper (not for the fainthearted) to create
that Joel-Peter Witkin or Deborah Turbeville look!

Tim Daly www.timdaly.com B&W

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 TECHNIQUE

Mobile
Monochromes
Mobile phones not only help us stay in touch – in creative hands they can also be used to
take great photographs. Lee Frost swaps his EOS for an iPhone – with surprising results
All pictures © Lee Frost

The key to making successful images with a mobile phone is accepting its
limitations and working within them. Here I kept the sky to a minimum and
concentrated on the strong diagonal created by the snow and murky water

everyone who owns one into an I’m overcome by a warm, smug feeling
‘To the people who’ve got annoying techno bore may have whenever I slip it from its leather
iPhones: you just bought one, been intended as a joke, but as the holster, slide an index finger across its
you didn’t invent it!’ old saying goes: many a true word is screen and watch it burst into life.
spoken in jest! It makes me feel young, hip and

M
arcus Brigstocke’s I should know. I’m one of the completely on-trend. I have an iPhone
comedic observation estimated 21 million to have therefore I am, and I want the whole
at last year’s Edinburgh succumbed to the iPhone’s dubious world to know. It’s the Leica of the
Festival about how charms, and though I barely scratch phone world – owning one is enough
the latest must-have gadget turns the surface of its potential, I have to say to make you the envy of every other

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 mobile phone owner, even if make 20x30in prints that are still
you never use it! as sharp as a pin, small can also be
Anyway, I do use my iPhone. beautiful. Monochrome master
I make phone calls, I send Michael Kenna is living proof
occasional texts and it wakes of that – his silver gelatin prints
me up every morning. I even are all printed to just 7½ x 7½in
take photographs with it. because he feels that smaller
Take photographs with it? prints create a more intimate
Yes, I even take photographs relationship with the viewer. As
with it. those viewers are happy to spend
It all started during a recent thousands on one of his prints,
walk along Alnmouth Beach. maybe he’s right.
Rounding a bend in the estuary,
I noticed some amazing shapes Get creative
carved by the receding tide and At 300dpi, an image from my
accentuated by the low winter Keep things simple and look for bold lines or shapes – in this case the shadows iPhone will output at around
sun. I cursed at myself for not of a row of trees cast across a snowy field by the low winter sun 5x4in. But that can easily be
having a camera with me. ‘Call increased by reducing the
yourself a photographer Frost? expecting them to be rubbish, digital SLR with all the whistles print resolution to 240dpi or
Pah, you’re a joke.’ A great, but better than nothing. and bells. even 180dpi – or by
never-to-be-repeated photo As it turned out, they were But as I’d discovered through interpolating the image file to
opportunity was about to be surprisingly good, and left me my adventures with Holgas increase its output size.
missed. But then I realised I had feeling inspired and curious. and pinhole cameras, low-tech That said, 2Mp is quite low
my iPhone with me, so to avoid Okay, I admit that a 2Mp phone definitely has its place in the for a phone camera these
losing face completely I decided camera with no controls is never world of fine art photography. days – 5 or 6Mp is common
to take a few quick shots, going to be a match for a 21Mp And while it’s nice to be able to and some phones even go as 

New Year’s Day morning on a snow covered Alnmouth Beach. Just as well there This was the first iPhone image I shot that inspired me to explore its potential.
were a few puddles to break up the foreground and surprisingly my iPhone I noticed the shapes in the sand while walking along Alnmouth Beach, wished
coped well with the exposure I had brought a camera along to record the scene then realised I had my phone!

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 TECHNIQUE

Mono, Fisheye and Infrared.

IPHONE APPS
The one thing that sets the
You can make all these changes
to photographs as you take
iPhone apart from most them, or choose images from
mobile phones is that there photo albums on the phone
are thousands of apps and it’s all done in-phone. The
available to download that three images here will give
do everything from keep you as it lets you crop, rotate, want to send an image as part you an idea what to expect –
informed about train times adjust exposure, contrast of a text message straight first the colour portrait was
to keeping you entertained and levels, sharpen, convert from the phone, you can make converted to mono and a copy
while you’re sat on one. to black & white, sepia tone sure it looks OK first. saved (the original image
Among them are dozens of and so on – all for £1.19! Another popular app is remained unchanged). I then
apps for photographers, and The exposure adjustment is Camera Bag (£1.19), which took the mono version and
while most are a bit gimmicky, especially useful because the allows you to apply various applied the Helga preset to it
some are really useful. camera often struggles to get presets to an image such as in Camera Bag.
My favourite is Photogene the exposure right and if you Helga (same as Holga!), Instant, Clever stuff.

I mainly use my iPhone camera to

take photographs when I’m walking
on the beach close to my home – it’s
ideal for capturing patterns and
details in the ever changing sand

These bubbles were left in the sand by a retreating wave and made an interesting pattern – ideal phone camera fodder

high as 10Mp, so chances are great, I can’t change the to be viewed at relatively New Year’s Day morning was
you wouldn’t need to resort exposure or use filters, but if I small sizes, I also steer clear of especially memorable because
to either tactic. In practice, embrace these limitations and subjects or scenes that rely on heavy snowfall coincided with
though, it doesn’t matter how work with them, they add to fine detail and instead look for low tide and the beach was
many pixels you have at your the creative experience rather simple shapes or strong lines – transformed into a seemingly
disposal – it’s what you record than take away from it. abstracts if you like. endless white blanket. But
with them that matters, and Including the sky is usually Living by the sea, interesting even the simplest things, like
what you do to the images a problem because the camera subject matter is never in ripples in the sand or the lines
afterwards. I like to think of my can’t cope with the contrast, short supply – the beach is created by receding waves, can
iPhone as a cheap instamatic so I avoid it. Knowing the an ever-changing canvas and make interesting images. And
camera – image quality isn’t images are only ever going no two days are the same. you don’t need to be beside

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 Original image Converted to black & white Holga preset applied

There are no controls on the iPhone so it’s simple a case of pointing and shooting

the seaside either – the urban iTunes on my Mac computer & White) in more recent lab to be machine-printed. But
landscape is full of fodder for then copy images on to the versions of Photoshop – I use I have to say, Silver Efex Pro
your camera phone. desktop that I want to work on. CS3 – is also worth trying. does work a treat and the
There are many ways to By far my favourite, however, presets – especially High
Going monochrome convert a colour digital file is Nik Software Silver Efex Pro, Structure – can save a lot of
Getting from the original colour to black & white. Sometimes I which I reviewed last year fiddling around. In fact, every
Jpeg to the final monochrome simply desaturate in Photoshop for this esteemed organ. I’ve image here was converted to
image is the fun bit – just like (Image> Adjustments> never been a big fan of letting black & white using the High
making a print from a black & Desaturate), then tweak levels software do all the work – it’s Structure preset, and I don’t
white negative. I download the and curves. The Black & White a bit like sending your black & know about you, but I reckon
images from my phone into tool (Image>Adjustments>Black white films off to a high street they’re really rather good!
B&W

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 CAMERA TEST ADVANCED DIGITAL COMPACT

Canon
Tracy Hallett has co-written camera guides on the
Canon EOS 300X, 350D and 400D. Her work has been
PowerShot G11
featured in over 20 consumer titles including the
Independent on Sunday magazine and the Guardian.
Her images have been exhibited at the National Portrait
Gallery and the Photographers’ Gallery in London.

With full manual controls

and Raw capabilities,
the Canon PowerShot
G11 is sure to appeal
to serious enthusiasts
and semi-professional
photographers. But with
fewer pixels than its
predecessor, this clever
compact needs to put
in quite a performance
to please the crowds, as
Tracy Hallett finds out £599

U
ntil fairly megapixels or more, and the price new market, Canon has continued (when combined with the DIGIC 4
recently serious of entry-level DSLRs falling. As a to add pro-spec features to its G processor). It was a brave move,
photographers result, consumers are now series models. In 2008, the and one that assumed consumers
reserved demanding more for their money, PowerShot G10 arrived, sporting value performance over pixels.
compact and compact manufacturers have a 14.7-megapixel sensor, Exposure
cameras for holidays and family been forced to raise their game. Compensation and ISO dials. A What’s new?
snapshots. These automated While all of the automatic year later the PowerShot G11 was On first impressions, the G11 is
machines offered little in the way functions remain, manual controls launched, with 10 megapixels – somewhat bulky for a compact.
of creative control and were now appear on many high-end substantially less than its Measuring 112.1x76.2x48.3mm
designed to allow the user to compacts. These advanced predecessor. The science behind and weighing 355g (without
simply point and shoot. Over the features have attracted serious this reduction was simple enough: battery) it’s marginally wider and
last few years the competition has enthusiasts and semi-professionals fewer pixels on the same 1/1.7in heavier than its predecessor, the
heated up, with mobile phones looking for a lightweight back up sensor would result in improved G10. This increase is mainly due to
now sporting cameras of five to their DSLR. In recognition of this sensitivity to light and less noise the addition of a tilt and swivel

WHAT THE MAKERS CLAIM CONTACT www.canon.co.uk

Images taken at high ISOs show The 2.8in PureColor II VA LCD For total creative control, the Discover a world of extra shooting
exceptionally low noise levels (461K dots) lets you frame and shoot camera features Full Manual mode possibilities with extra accessories
and a wide dynamic range comfortably from any angle The amount of manual controls (including The PowerShot G11 accommodates Canon
Noise levels are impressively low up to The tilt and swivel LCD screen adds extra bulk separate ISO and Exposure Dials) is Speedlite flashes. You can also use a remote
ISO 400, and acceptable up to ISO 800 (an to the camera body, but it’s suitably bright impressive, but making aperture and shutter switch, tele-converter, or waterproof case
improvement on many entry-level DSLRs). and ideal for shooting over crowds or close speed adjustments using the Light Metering with the camera.
Beyond ISO 800 detail starts to disappear. to the ground. Button is confusing.

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 LIKES MAIN DIFFERENCES AT A GLANCE
Canon PowerShot G10 vs Canon PowerShot G11
Low-light performance
Raw capabilities
Tilt and swivel LCD screen

G10 G11
Pixels 14.7 megapixels 10 megapixels
i l
LCD screen 3in fixed 2.8in (tilt and swivel)
Flash range 30cm-4.6m (wideangle) 50cm-7m (wideangle)
DISLIKES ISO range
Low-light mode
80-1600
No
80-3200
Yes
Optical viewfinder coverage, approx 77% Burst rate 1.3fps 1.1fps
Barrel distortion at extreme wideangle end of lens Dimensions 109.1x77.7x45.9mm 112.1x76.2x48.3mm
Tricky to swap between aperture and shutter speed in manual mode Weight 350g (without battery) 355g (without battery)

LCD screen. Although slightly and the reach of the flash has allowing your index finger to fall
smaller than the fixed version been extended (50cm-7m at the over the shutter release button.
found on the G10 (2.8in compared wide end, compared to 30cm- Everything on the body is within
to 3in), the versatility and 100% 4.6m on the G10). These easy reach. The top plate features
coverage of the screen make it a innovations, together with the a raised Mode Dial, surrounded by
welcome inclusion. Unfortunately, improved pixel/sensor ratio and a ridged ISO Dial. These are a little
the optical viewfinder retains its enhanced DIGIC 4 processor, stiff to rotate, but I imagine they
disappointing 77% coverage, and result in an attractive package for will ease over time. To the right of
shows no display information. photographers shooting in these sits the Shutter Release
While the LCD screen may add low-light conditions. Button, surrounded by the Zoom
extra bulk, it’s bright (461,000 Lever. This lever allows you to move
dots) and ideal for shooting over How does it handle from the wideangle to the
crowds or close to the ground. and perform? telephoto end of the lens. The lever
The Sepia mode is a little heavy-handed, Inside the G11, there have been Straight out of the box, the G11 is responsive, but it’s hard to make
but it works well on architectural subjects some significant changes. The ISO feels good to hold. A contoured fine adjustments due to its
Canon PowerShot G11 with 28-140mm lens (35mm range has been expanded grip encourages the camera to diminutive size. As you watch the

equivalent), ISO 400, 1/200sec at f/4 (80-3200 compared to 80-1600) nestle into your palm, while effects on the LCD screen a white

All pictures ©Tracy Hallett

WHY USE A CANON

POWERSHOT G11 FOR BLACK
& WHITE PHOTOGRAPHY?
The compact dimensions (112.1x76.2x48.3mm)
and relative low weight (compared to a DSLR)
make it ideal for candid street photography
Low-light performance has been improved by
fewer pixels on the sensor and a Dual Anti-Noise
System – perfect for shooting indoors
Raw image capture and full manual controls
offer maximum flexibility for serious enthusiasts
and semi-professionals

RIGHT The G11 performs well in low light, even at the long end of the
optical zoom
Canon PowerShot G11 with 28-140mm lens (35mm equivalent), ISO 800, 1/60sec at f/5

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 CAMERA TEST ADVANCED DIGITAL COMPACT

Images can be recorded in black &

white using the My Colors function, but
the results are a little on the grey side
Canon PowerShot G11 with 28-140mm lens
(35mm equivalent), ISO 100, 1/1250sec at f/4


bar appears, turning blue where positioned to the right of the LCD,
the optical zoom ends and the SHOOTING IN BLACK & WHITE and serves a multitude of
digital version kicks in. At this point, It is possible to shoot black & white or sepia-toned images functions from accessing Manual
the zoom halts, forcing you to using the My Colors function on the G11. Accessing the Focus (MF) to enabling macro
squeeze the lever again to move relevant icon is a little fiddly, but it gets easier with time. shooting and activating the flash.
on. This warning is well justified as This is a rather fun feature, but the end product will be too Although the three rings are raised
image quality falls off rapidly from heavy handed for most tastes. As ever, the best results are one above the other, it’s hard to
this point onwards. To the left of obtained by shooting in colour with image quality set to select one without accidentally
the top plate (on the opposite side Raw, and adjusting the Channels individually using pressing the central FUNC/ SET
of the hotshoe) lies the Exposure Photoshop or similar software. button at the same time. Just
Compensation Dial, which offers above the Control Dial, a small
adjustments of +/- 2 stops. The clear indication that the G11 is more Turning to the back of the body, button allows you to access the
prominent position of this dial is a than just a point and shoot camera. a three-tiered Control Dial is Light Metering modes. When the

THE COMPETITION

Ricoh GXR Sigma DP2 Olympus Pen E-P2 Leica X1 Nikon COOLPIX Panasonic Lumix
Interchangeable unit 14.6 megapixels, 41mm 12.3 megapixels, 12.2 megapixels, 24mm P6000 DMC-LX3
camera system with lens, (35mm equivalent) lens, interchangeable lenses, (35mm equivalent) lens, 13.5 megapixels, 28-112mm 10.1 megapixels,
sensor and processor in Raw capabilities, FOVEON Raw capabilities, Four Raw capabilities, APS-C (35mm equivalent) lens, 24-60mm (35mm
separate units. Megapixels x3 sensor. Thirds sensor. sensor. Raw capabilities, built-in equivalent) lens, CCD
vary between units, Raw GPS unit. sensor.
capabilities.

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 At ISO 1600 image quality begins to suffer,
but it still beats many entry-level DSLRs TECHNICAL SPECIFICATIONS
Canon PowerShot G11 with 28-140mm (35mm
Price £599
equivalent) lens, ISO 1600, 1/40sec at f/5
Camera type Digital compact camera
Effective pixels 10 million
Sensor 1/1.7in CCD
Lens 28-140mm (35mm equivalent) f/2.8-f/4.5
Digital zoom Approx 4x (up to approx 20x in combination with optical zoom)
Viewfinder Coverage approx 77%
LCD monitor 2.8in TFT, 100% coverage, tilt and swivel
File types Jpeg, Raw, Mov (movie)
AF Frame Mode Face AiAF/Centre/FlexiZone
Shutter speeds 1-1/4000sec
Image stabilisation Lens-shift type
Metering system Evaluative, Centre-weighted average, Spot
Exposure compensation +/-2 stops in 1/3-stop increments
ISO speed Auto, ISO 80-3200
White balance Auto, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent, H,
Flash, Underwater, Custom 1, Custom 2
Built-in flash Auto, On, Slow synchro, Off
Movie recording (MOV) 640x480 pixels (30 frames/sec), 320x240 pixels
(30 frames/sec)
Power source Battery Pack NB-7L (rechargeable lithium-ion battery),
AC adapter kit ACK-DC50
Dimensions 112.1x76.2x48.3mm
Weight (body only) 355g
Contact www.canon.co.uk
Nestling in a groove close to the
top plate, the Playback button is
positioned handily close to the
VERDICT
shutter release button. On the The PowerShot G11 enters the market at a similar price
subject of image review, there is a point to many entry-level DSLRs, and borrows significant
noticeable delay between pressing technology from its high-spec cousins. The lack of
the shutter and the picture interchangeable lenses will undoubtedly dissuade some
appearing on the LCD screen. photographers from splashing out £599 (although the G11
does offer the option of extending the focal range using an
What about low- optional tele-converter) but what you lose in flexibility you
light performance? gain in portability. Would I upgrade from a G10? No. Would
The number of manual and I buy the G11 as a reliable back-up camera to an entry-level
semi-automated settings on the DSLR? Definitely. Should I wait for further advances in
G11 is impressive, but it’s the way sensor technology? Perhaps. The pixel race may be over,
that the camera performs in low but the competition to improve sensors and processors
Thanks to the reduced pixel count light that will win it admirers. may have legs yet.
and DIGIC 4 processor, noise levels Running through all nine of the
are acceptable at ISO 800 ISO settings (eight on the Mode Handling 87%
Canon PowerShot G11 with 28-140mm
(35mm equivalent) lens, ISO 800, 1/50sec at f/5
Dial and one in Low-light Mode)
I found the level of noise
Performance
Specification
95%
98% 91%
Overall
acceptable right up to ISO 800 Value for money 85%
camera is set to Manual, the same although, predictably, the
button is used to select either smoothest results were to be
aperture or shutter speed – you found at settings of ISO 400 and Shooting Mode is a nice addition part, with a light gathering
can then make alterations to each below. I uploaded two images (offering an extended ISO of f/2.8-f/4.5 aperture, and optical
with the Control Dial. Toggling shot at ISO 400 to a stock library 12800) but files produced using image stabilisation (IS) facilitating
between the three functions is (after interpolation) and they both this setting are restricted in size to handheld shots in dim conditions.
confusing – it would be good to passed Quality Control. Beyond 1824x1368 pixels, limiting their The lens is a solid performer, but
see them accessed via separate ISO 800 images showed a loss of end use. Finally, the 28-140mm produces notable barrel distortion
buttons on future models. fine detail. The Low-light (35mm equivalent) lens plays its at the extreme wideangle end. B&W

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 Test Case
This month Tony Worobiec puts
What the makers claim
It is easy to get lost in the science and it might take years to
determine whether the claims for archival permanence are
truly justified, but Innova have certainly nailed their colours to
the mast by producing a paper so clearly aimed at the serious
Innova’s FibaPrint Ultra Smooth monochrome user. Having printed several black & white prints,
I really feel I am handling a quality material reminiscent of the
Gloss to the BLACK+WHITE test best darkroom papers.

It’s a funny yet now all of them appear to commitment is clearly evident neutral monochrome images,
old world. You be falling over themselves to in the tasteful image they have which is why I was keen to try out
wait for a bus produce high quality inkjet chosen to use on the cover of the the Ultra Smooth Gloss. If you
and nothing papers that mimic traditional packaging, which I am sure has want a warm-toned picture, this
arrives, then darkroom ones, Innova being been carefully selected to appeal can easily be done individually,
three come no exception. to the monochrome market. print by print.
one after the This British company has They offer seven alternatives,
other. It was produced an impressive series of ranging from Warm Tone Gloss to Technical details
rather like waiting for a decent open fibre based papers, which White Matt. But for me, if you are In common with various papers
inkjet paper designed specifically they call their FibaPrint range, going to produce an inkjet paper I have recently reviewed, as soon
for monochrome enthusiasts. At and readily acknowledge their that best simulates a traditional as I took out a sheet, there was a
first, all manufacturers seemed desire to manufacture products darkroom one, it should have palpable feeling of quality. A tad
only interested in producing that parallel conventional the D-Max of a gloss paper yet lighter than some of the others,
papers for colour workers, darkroom papers. That be capable of producing truly at just 285gsm and a thickness

Ventilation Pipes
By way of contrast I tried a low key image
which also printed extremely well. Rather
than buying the entire box of Warm Tone
Gloss, I find toning each individual print
more sensible. In this example I used
Curves in Photoshop

All pictures ©Tony Worobiec

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 Verdict
While Innova have set out quite purposefully to manufacture a product
that mimics traditional fibred based darkroom papers, they have done
this by replacing the barite sulphate barrier (which they see as ‘legacy
technology’) with titanium dioxide, so in that sense it is no longer a
baryta paper. However, when handling this paper, and in terms of
outcome, this is a high quality fibre based inkjet paper that appears
to be genuinely addressing the needs of black & white workers.

of 285 microns, it still felt to improve photographic

substantial. There was no need reproduction. They have also
to make any printer adjustments added an acid-inhibiting crystal
when putting this one through, layer which aims to give their
which will undoubtedly be a papers better longevity.
comfort to some. In fact, all the This product has been
papers from this range are back- optimised for both black & white
coated, which not only increases and colour and is compatible
permanence but actually aids with Epson K3, HP and Canon
the feed through. The base is a inks. It will also receive dye
bright white, measuring 270 CIE. inks. With an impressive colour
This is not a true baryta paper, gamut and a D-max rating
as Innova have elected to use of 2.7, I was certainly looking
titanium dioxide as the barrier forward to trying out FibaPrint
layer (rather than the more Ultra Smooth Gloss. Innova’s Still Life
traditional barite sulphate), claim that it ‘represents not the A measure of any good inkjet
arguing that this is a true 21st death, but the re-birth of the paper is how well it copes with
century material. Innova have darkroom’ is possibly a little over delicate high key images, and in
developed a special micro the top, but it is a sentiment this example it excelled, showing
near perfect tonal separation
porous gloss coating in order that suggests a genuine desire

Beach Structure to accommodate the needs of

The sky in this image serious monochrome workers.
should reveal very delicate
tonal gradation, which this
paper clearly illustrates
How did it perform?
When judging the quality of a
print, it is important not just to
compare it with what is on
screen, but to match it against
the information from the
histogram. So once again I
selected an image that showed
a long tonal range, and then
looked at a moderately low key
and high key image by way of
comparison. This proved to be
another excellent paper. I was
impressed by the overall
sharpness of the printed images
and by the smoothness of the
tonal gradation. The separation
in the shadows and highlights
were all you would expect of a
quality inkjet paper, and in
conclusion I would certainly
consider using this again.

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 NEW GEAR

NEW GEAR IN THE SHOPS FOR PHOTOGRAPHERS

Window
shopping

ACTION Level Cross

The new Action Level Cross is a compact digital levelling device for
any camera with a hot shoe fitting. It shows horizontal level and
vertical alignment. It comes with seven coloured LEDs for each axis
in a traffic light sequence showing level information. Adjustments
can be made for brightness, sensitivity and calibration.

£54.99 INTRO2020.CO.UK
ZEISS Distagon T 2/28 ZE
This wideangle lens with EF bayonet is suitable for all analogue and
digital EOS cameras. With an initial aperture opening of 1:2, makers
describe it as among the most light-intense of its kind in its focal
length. From landscape photography at dawn to interior shots with
weak lighting, the lens offers photographers room for creativity when
a tripod is not used. The anti-reflective coating means the lens should
have no problems with reflections and stray light.

£865.62 ZEISS.COM

CANON EOS 550D

LECIA D
D-Lux
Lux 4 Limited
Li it d edition case Canon’s latest DSLR is the 18Mp EOS 550D. It features a Digic 4
Made of calfskin leather in a mocha shade, this case is designed to image processor, has ISO settings of 100 to 6400 and supports
hold the D-Lux 4 with its accessories (handgrip and viewfinder). continuous shooting at 3.7 frames per second. The camera inherits
The camera can be securely mounted into the case with a small the metering system first launched in the EOS 7D and will shoot
screw. There is also a mini leather case specifically for the viewfinder full HD movies. The 3in screen has a 1,040k dot resolution and the
attached to the shoulder strap. Used together, the mocha case camera also features a 9-point AF system with one extra-sensitive
provides a contrast to the black Lecia D-Lux 4 camera. cross–type point at the centre for f/2.8 or faster lenses.

£160 LECIA-STOREMAYFAIR.CO.UK £799.99.00 (BODY ONLY) CANON.CO.UK

62 April 2010 B&W

62-63 WINDOW SHOPPING ER/MB.indd 62 25/2/10 14:23:35

 JESSOPS
8in and 10.4in
photo frames
These frames come with 2Gb internal memory, allowing storage
for hundreds of photos. An auto rotate function allows you to
PANASONIC Lumix DMC-GF1 see portraits the right way round and a magic window enables
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with built-in flash. It’s part of Panasonic’s series of interchangeable lens MP3 function, video playback, clock, calendar and alarm.
cameras and is based on the micro four-thirds system. The 12.1Mp camera Both frames have multi card slots.
boasts a 3in LCD with a wide viewing angle. The camera offers seven
preset effects: expressive, retro, pure, elegant, monochrome, dynamic art £99 AND £139 JESSOPS.COM
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This is the new version of the acclaimed AT-X 124 PRO DX. The optical for wedding albums, portfolios
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helps reduce reflections that can cause flare and ghosting. It also features in A4, A3+ and 12x12in sizes.
a built-in AF motor drive that operates quietly. Like its predecessor, the
lens also has a one-touch focus clutch mechanism.

£724.50 KENRO.CO.UK FROM £19.99 FOR 25 SHEETS ILFORD.COM

B&W April 2010 63

62-63 WINDOW SHOPPING ER/MB.indd 63 25/2/10 14:23:42

 PRINTER TEST EPSON 3880

Epson 3880

£1,169

T
hose of you familiar In the first of a special two-part article, we put Rather cleverly, the printer
with the features I automatically switches between
write for Black & White the Epson 3880 printer to the test. This month photo black and matte black,
Photography may be darkroom printer David Illman tries it out. It’s depending on the paper type
surprised to see my name you select. There are three
associated with a digital printer
his first digital printer – what will he think? different ways to feed the paper
test. Well you are not as surprised into the printer: front, back and
as me. In the past I have used a top. Different media types
De Vere digital enlarger, which is
KEY FEATURES require a different feed path,
an amalgamation of digital and Nine ink system, three of which are black depending on their thickness.
analogue. However, I have never Auto ink switching between photo and matte black Connection is via a USB 2.0
made a truly digital print. Borderless prints up to 17in cable, which rather annoyingly is
When the printer arrived I was Compact design not included. I would have
pleasantly surprised as I was Supports a wide range of cut-sheet media up to 1.5mm thick thought if you are spending this
expecting something much larger. Quiet and fast performance amount of money on a printer
In fact, it is only 2cm wider than then the least they could do is
Canon’s A3+ printer, the Pixma throw in a cable. The printer
Pro 9500 Mark II (issue 101, August than the Canon. The Epson 3880 K3 inks: cyan, vivid magenta, driver interface is very logical
2009), but produces prints 8cm is an A2 printer capable of yellow, light cyan, vivid light and easy to use. One point of
bigger. It does tip the scales at a producing 17 x 37.4in prints. It magenta, light black, light light interest is that Mac users have
sturdy 19.8kg, which is 4kg more uses nine of Epson’s UltraChrome black, photo black, matte black. access to an extra printing

64 April 2010 B&W

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 PROS & CONS ADVANCED BLACK & WHITE PHOTO SETTING
The Epson Stylus Pro 3880 editing software. I found then they are going to know
PROS incorporates a special driver this printing option their way around Photoshop.
Stunning print quality
mode that allows users to surplus to requirements, Perhaps it has more
Great tonal range and
sharpness create bespoke black & white and rather gimmicky. applications for graphic
Compact size prints without first If a photographer is going designers but it seems
Economical ink usage converting the files in photo to invest £1,000 in a printer pointless for photographers.
Low noise level

CONS This image displays the subtle

tones the 3880 produces.
Expensive for an Although not the exact same
amateur user
colour as my monitor, with
Needs calibration with some calibration this print
your monitor would be wonderful

option: a 16-bit colour output,

which apparently gives better
colour fidelity and smoother
tones. I must admit, I did not
notice any vast improvements
when I printed with or without it.

In use
Excitement got the better of me
and I skimmed through the
comprehensive PDF instructions
and was making my first print
within an hour of opening the
box. My first digital print was
breathtaking, although lighter
and a little colder than the
image on my screen. This may
be more of a calibration issue
than a performance issue. The
tonal range is just superb, with
the graduation between tones
very smooth. The image was
pin sharp.
After my hurried first print
I went on to make an array of
different sized prints on a
TECHNICAL SPECIFICATIONS
selection of Epson media. I am Printing Method A2+ 17in colour inkjet photo printer
not a huge fan of the Epson Nozzle Configuration 1440 print nozzles, 180 nozzles per colour (x8)
glossy paper, but then I do not Ink Cartridges 9 x 80ml
like glossy paper generally. I can Media Weight Cut Sheet From 64-90 g/m2 for plain paper
see where using their Velvet (Premium Glossy Photo Paper = 255 g/m2)
Fine Art paper would be Print resolution 2880 x 1440dpi
appropriate, but the Premium Operating Systems Windows 2000/XP/XP x64/Vista,
Lustre paper is a revelation. An Mac OS X 10.3.9/10.4.x/10.5.x
A2 black & white print on this Dimensions 257 x 684 x 376mm
Weight 19.8 kg with AC cable and ink cartridges
paper was astounding.
Noise Level 39dB(A)
An important factor I had
Price £1,169.13
never considered before 

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 PRINTER TEST EPSON 3880

This shows the Epson’s The Epson 3880 is capable of producing prints that have exquisite
capacity for printing fine detail. This image is a perfect example. Taken with a narrow depth
detail. It also illustrates of field, the bees that are in focus are pin sharp
the stunning tonal range
it is capable of producing

IMAGE CONVERSION
The images featured here are all digital files converted to presets, including push and cross processing, an infrared
black & white with Alien Skin Exposure 2. This is a Photoshop simulator and colour to black & white conversion.
plug-in that gives digital images the look and feel of film. It is easy to use and without doubt saves time, so you can
There are a wide variety of films that can be simulated. You concentrate on the most important element: taking the
can match the look of popular film stocks such as Portra, photograph. Be warned though, some of the presets can look
Velvia, Kodachrome, Polaroid and Tri-X. terrible. But if you stick to the basics, you cannot go wrong.
Exposure 2 allows you to control sharpness, colour For an in depth review see Black & White Photography
variation and intensity of your image. It has more than 300 issue 103, October 2009.


I started working with this Aside from the beautiful a lot more expensive to run. If Large cartridges combined
printer was the potential noise prints this printer is capable of you are like me, your first print, with the three levels of black,
of the machine. I sit in a rather producing, the main selling and probably your second print, plus the printer’s ability to switch
small office, with the printer point for the 3880 is the 80ml will not be up to scratch and you automatically between photo
directly to my right. However, ink cartridges it uses. Epson’s will need a couple to choose and matte black, really does
after a while I forgot it was even A3+ printer, the 7880, uses from before you are happy. make the 3880 ideal for
there as it chugged nicely along 11.4ml cartridges, tiny in Therefore the larger capacity photographers, especially for
churning out print after print. comparison, making that printer cartridges make financial sense. black & white enthusiasts.

VERDICT
I will be honest, I did not want to like this printer. I wanted to be spend a couple of days in the darkroom. My film cameras sit idle,
able to say the black & white prints were poor. But I am astounded collecting dust. My darkroom is too hot and smelly in the summer
by the 3880’s performance; both the colour and the black & white and far too cold and damp in the winter. I can sit here in the spare
prints are beautiful. The whole package works: the inks, paper room and produce stunning A2 prints that the vast majority of
and the printer. It will need calibrating with your monitor, but so people would not know were digital.
will any printer if you want to get the most out of it. After 18 years of working in various darkrooms, I thought it
My personal photography is a compromise between family would be more of a wrench but I think it is time to call it a day in
and commissioned work. I do not have the time any more to the dark. My future is here, and it lies in an Epson 3880.

Next month experienced digital printer Tony Worobiec puts the Epson 3880 to the test.
Will he agree with David Illman? B&W

66 April 2010 B&W

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 BLACK WHITE &DSWXUH\RXUPRPHQW
PHOTOGRAPHY
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email [email protected]
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© Guild of Master Craftsman Publications Ltd. 2010

67 FLANNEL PANEL ER-MB.indd 67 3/3/10 11:21:28

 CHECKOUT

Six of the best

Tracy Hallett is partway
through a project to explore
and photograph the islands of
Great Britain with her partner
Dan. When a tripod proves
too cumbersome, she enjoys
the freedom of a monopod.
MONOPODS
There are occasions when using a tripod is simply not possible. In such
instances, the risk of camera shake is high. Thankfully, support is available
in the form of a one-legged ‘stick’, says Tracy Hallett

L
et’s make one thing their three-legged cousins, premieres, and concerts, which also feature a spiked tip for extra
clear: a monopod is no regardless of the material used in is why they grace the kit bags stability on rough or uneven
substitute for a well- their construction. Plus, they can of professional press and sports surfaces. In a few instances, the
built tripod. However, be extended and ready for action photographers. Many models can bottom of the monopod even
in terms of stability, this one- in a matter of seconds. accommodate a ball head, while splays out to create a three-legged
legged support can offer anything Due to their compact footprint some offer the option of attaching base, mimicking a tripod. As a
up to a four-stop advantage (the area they cover on the a pan-and-tilt head with a built result of these benefits, travel and
over handholding. In addition, ground) monopods are also in spirit level. The bottom of the street photographers, in particular,
monopods are considerably perfect for crowded situations, leg is commonly fitted with a are joining their press and sports
lighter and more compact than such as football stadiums, film rubber foot, but some monopods comrades in praise of the pole.

SLIK PRO POD 600 FEATURES AT A GLANCE

Number of leg sections 4
VELBON GEO FEATURES AT A GLANCE
Number of leg sections 4
Maximum height 160cm POD E44 Maximum height 148cm
Collapsed size 53.5mm Collapsed size 48.2cm
Screw head 1/4in Screw head 1/4in
Maximum load 5.5kg Maximum load 2.5kg
Weight 600g
Perfect for Weight 314g
travelling
Great for
LIKES light LIKES
heavy DLSRs
and lenses ✔ Supports heavy DSLRs and lenses ✔ Weight (314g)
Light and compact, the Velbon Geo Pod E44
✔ Adjustments can be made with ✔ Collapsed size (48.2cm)
one hand weighs a mere 314g and collapses down to ✔ Adjustments can be made with
One of seven monopods in the Slik range, the ✔ Soft rubber hand grip just 48.2cm. Constructed from a carbon fibre one hand
PRO Pod 600 has four leg sections made of AMT and basalt composite material, the four leg ✔ Handy pouch supplied
(aluminium, magnesium, titanium) alloy. This DISLIKES sections can support a rather modest 2.5kg.
clever mix provides support for equipment up to ✘ Weight (600g) Height alterations can be made with a single DISLIKES
5.5kg. In order to bear the weight of such hefty ✘ Girth of leg sections hand, using the three flip levers, but the lower ✘ Only suitable for lighter loads (2.5kg)
gear, the poles have a rather large girth and the ✘ No spiked tip sections were a fraction stiff when addressed ✘ Extended height too short for
total package weighs a portly 600g. However, in one at a time. At full height (148cm) the some users (148cm)
VERDICT
its compressed state the monopod is only 53.5cm
long. Extending the sections is easy thanks to
Ease of use 90%
Value for money 85%
88%
Overall
monopod is a touch short, but it remained
secure when subjected to downward pressure.
VERDICT
Ease of use 90% 88%
three large flip locks, and fine adjustments can Performance 90% Collapsing the pole was swift, fast and smooth. Value for money 85%
be made with just one hand. With the clips The Velbon Geo Pod E44 is supplied with an
Overall
Performance 90%
secured, there was no sign of slippage. PRICE Allen key for tightening the screws in the leg
At its full height (160cm) the PRO Pod 600 RRP £70.50 locks, should they become loose over time. This PRICE
raised my DSLR a few inches above eye-level, lightweight contender also comes with a handy RRP £81.75
which is ideal when adopting the ‘human tripod’ CONTACT pouch, offering an alternative way of stabilising
position (detailed above). The soft, rubber grip Slik, sliktripod.co.uk (UK distributor the product. Having partially extended the CONTACT
Intro 2020 Ltd, intro2020.co.uk) Velbon, velbon.co.uk (UK distributor
on the top section was a blessing in cold monopod, I was able to slip the foot into the
Intro 2020 Ltd, intro2020.co.uk)
weather, and prevented my hand from slipping pouch and enjoy an extra stop compared to
down the leg. The wrist strap offered further but it would have been nice to see the option of hand holding the camera. To make the most of in-breath or an out-breath, and fire the shutter
security, and even helped to stabilise the a spiked tip. Slik recommends using the PRO Pod this feature, it’s worth paying attention to your accordingly. Generally speaking, keeping the
monopod when it was fully extended. The 600 with a ball head, and I would have to agree. breathing when you press the shutter release camera level was an issue, but Velbon produces
rubber leg tip prevented the pole from slipping, Without one it’s tricky to keep the camera level. – observe whether you are steadier on an a range of heads to solve the problem.

68 April 2010 B&W

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 Ingenious FEATURES AT A GLANCE Foot FEATURES AT A GLANCE
Number of leg sections 5 with ball Number of leg sections 4
screw-thread
Maximum height 188cm Maximum height 176cm
design adapter
Collapsed size 51cm Collapsed size 60cm
Screw head 1/4in and 3/8in Maximum load 12kg
Maximum load 15kg Screw head 1/4in and 3/8in
GIOTTOS Weight 670g Weight 720g

MML 3290B LIKES VANGUARDELITE

VANGUARD ELITE LIKES
Monopods made from aluminium will never be
✔ Supports heavy DSLRs and lenses
✔ Adjustable wrist strap
CP-364 MONOPOD ✔ Supports heavy DSLRs and lenses
✔ Adjustable wrist strap
the lightest on the market, and the Giottos MML ✔ 1/4 in and 3/8in screw thread options Measuring 60cm in its collapsed state, the ✔ 1/4 in and 3/8in screw thread options
3290B is no exception. Weighing 670g, this ✔ Collapsed size (51cm) Vanguard Elite CP-364 Monopod is the least ✔ Swivel and spike foot
five-section support is a little too heavy, but it’s compact of the six on test, but with a maximum
loaded with thoughtful features. The Quick Easy DISLIKES height of 176cm and a weight bearing capacity DISLIKES
Lever Locking (QEL) system works well, although ✘ Weight (670g) of 12kg it’s a reasonable trade off. Perhaps ✘ Weight (720g)
I found the final two levers a little tough to open. in recognition of its slight awkwardness, the ✘ Collapsed size (60cm)
VERDICT
The lever screws can be tightened or loosened
with the supplied Allen key, which is also put to a
second, more inventive, use. In order to be
Ease of use 90%
Value for money 90%
92%
Overall
monopod comes with a karabiner to attach it to a
backpack or a belt. Despite being made of carbon
fibre, this four-section support weighs 720g.
VERDICT
Ease of use 85% 88%
screwed directly on to a monopod platform,
Performance 95%
While this figure might seem excessive, the build
Value for money 85% Overall
Performance 95%
most cameras require a 1/4in male thread. PRICE quality is hard to fault. The camera platform is
Frustratingly, most ball heads depend on a 3/8in No official RRP available wide and solid, and offers 1/4in and 3/8in screw PRICE
male thread. The Giottos MML 3290B caters for (street price £40) thread options. Using the supplied driver, you RRP £129.99
both. The standard 3/8in thread is spring-loaded, simply detach the 3/8in adapter from its position,
and with gentle pressure the larger thread CONTACT turn it over, and fasten it on top of the 1/4in CONTACT
recedes to reveal a 1/4in version. Once a head is Giottos, giottos.com (UK distributor thread. Once a head has been attached, it can be Vanguard, vanguardgb.com
attached, the Allen key can be used to secure it to Daymen International Ltd, daymen.co.uk) secured using three screws and an Allen key (all
the monopod via screws on the underside of the provided). Underneath the camera platform, the require a surprisingly small turn to release or
platform. Other notable features include an considerable width of the poles – comes in Vanguard Elite CP-364 Monopod sports a hand tighten. Once secured, the pole refused to slip
adjustable wrist strap, which provides a handy when you look at the type of loads the grip made of ergonomic foam, and an adjustable or collapse, even under significant pressure.
surprising amount of extra stability. Of course, monopod can bear. Supporting cameras and wrist strap. The leg sections are extended via The bottom of the monopod features an

the weight of the Giottos MML 3290B – and the lenses up to 15kg is no mean feat. twist leg locks, which are generously sized and articulated foot, and the option of a spiked tip.

©Daniel Calder ©Daniel Calder

WHAT TO HOW TO USE A MONOPOD Six of th

e
LOOK FOR MONOPO est
b

continu DS
e
overlea s
f

MAXIMUM HEIGHT When fully extended the monopod should comfortably Attach the monopod via the tripod mount on the camera body. Extend and
reach your eye-level, or preferably a few inches higher. secure the leg sections, from the top downwards, to achieve the desired height.
MINIMUM SIZE (when collapsed) If portability is your main requirement, look Place the foot of the monopod on the ground, a little in front of you. Bring the
at the diameter of the largest section, as well as the length of the poles. camera in towards you. Try to create a tripod-style base by placing your feet
MAXIMUM LOAD Add the weight of your heaviest camera body to that of your shoulder-width apart and using the monopod as the third leg. Slip your left
longest lens and multiply the result by two. Look for a monopod that can bear hand through the wrist strap, and hold the monopod using the grip at the top.
the total load. Press down gently to prevent the foot from slipping out of position. If you are
HEAD AND FOOT OPTIONS If you shoot a lot of portrait-format shots consider using a ball head you can now adjust the angle of the camera. Use your right
investing in a ball head. Similarly, if you regularly shoot on rough or uneven hand to press the shutter. Alternatively, if you are using a monopod without a
terrain then look for a spiked tip to the foot. head, you can keep the camera relatively level by bending your knees slightly
MATERIALS AND WEIGHT Carbon fibre monopods are lighter than aluminium and positioning the monopod between your legs, towards the back of your left
but this advantage is reflected in the price. Before choosing one material over heel and close to your left thigh. Move your right foot back slightly if you are
another, consider how well each absorbs vibration, and how durable it is. struggling to balance.

B&W April 2010 69

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 CHECKOUT

FACTS
For the ultimate strength and support, always extend the
sections of the monopod from the top down, and compress
it from the bottom up.
In some instances – inside churches, stately homes – the
use of a tripod is prohibited. While monopods cause less of
an obstruction, never assume that the rule is restricted to
three-legged supports. If in doubt, seek advice.
©Daniel Calder

FEATURES AT A GLANCE FEATURES AT A GLANCE

Three-in-one Number of leg sections 4 Number of leg sections 4
Maximum height 158.8cm
Spring-loaded
flexibility fixing screw
Maximum height 154cm
Collapsed size 58.4cm x 10.2cm x Collapsed size 51cm
6.3cm (in travel case) Maximum load 10kg
Maximum load 6kg Screw head 1/4in and 3/8in
Screw head 1/4in Weight 830g
Weight 480g (including MagMount)
LIKES
LIKES ✔ Supports heavy DSLRs and lenses
✔ Adjustable wrist strap ✔ Adjustable wrist strap
✔ Three-in-one-flexibility ✔ 1/4 in and 3/8in screw thread options
✔ Weight (480g) MANFROTTO
DISLIKES
TREK-TECH DISLIKES
✘ Twist leg locks
680B
B MONOPOD ✘ Girth of leg sections
Due to its aluminium construction, the ✘ No spiked tip
 TREKPOD XL ✘ Poles separate Manfrotto 680B Monopod weighs a substantial ✘ Weight (830g)
A monopod that also serves as a hiking staff and 830g and is the heaviest of the six on test.
VERDICT VERDICT
a tripod sounds too good to be true, and in some
ways it is. The Trek-Tech TrekPod XL (the XL
stands for Extra Light) is an innovative product,
Ease of use 75%
Value for money 75% 80%
Overall
However, the advantage of this statistic can be
seen in its impressive weight-bearing capacity
(10kg). When fully extended the monopod
Ease of use 85%
Value for money 95%
90%
Overall
Performance 90% Performance 90%
but this ingenuity has come at a price. While the reaches 154cm, just about level with my nose,
four-section carbon fibre tubes are strong and PRICE which might prove too short for some. A little PRICE
rigid, they are supplied separately and must be RRP £289.99 extra height can be achieved by purchasing a RRP £49.95
fastened together, and adjusted, via twist legs ball head – Manfrotto offers a comprehensive
rather than lever locks. As a result, the monopod CONTACT range. Attaching a head will also allow you to CONTACT
trek-tech.com (UK distributor Johnsons Manfrotto, manfrotto.com
is less portable than others on the market, and position the camera completely level.
Photopia Ltd, johnsons-photopia.co.uk) (UK distributor Manfrotto Distribution,
requires a carry case (supplied) to keep Despite its surprising girth, the monopod
manfrottodistribution.co.uk)
everything together. measures just 51cm long when fully collapsed.
On the plus side, the package includes a with a lever. Rest assured, it’s surprisingly The leg sections are released and secured via
MagMount ball head which employs a special effective. In fact, the connection is so strong that three flip locks, although the first of these took features are useful in the field, the real magic
Earth Neodymium Magnet to allow instant anyone fitted with a pacemaker is advised to quite some effort to close. Once locked, the happens further up. Using the same technology
attachment and detachment of cameras, keep well clear. The final section of the Trek-Tech telescopic pole provided a solid, secure base. as the Giottos MML 3290B, the Manfrotto 680B
spotting scopes and binoculars. To use this TrekPod XL opens up to reveal three tripod-like The upper section features a rubber grip and Monopod sports a spring-loaded fixing screw
feature you simply screw an adapter into the legs. While they might look a little flimsy, they an adjustable wrist strap. The grip could do with 1/4in and 3/8in thread options. Lower
tripod mount of your SLR, connect the adapter to perform well. Unfortunately, this level of with a little extra cushioning, but the strap down the leg, the rubber foot is nicely broad,
the magnet on the monopod, and secure the join functionality comes with a hefty price tag. was comfortable and easy to alter. While these but a spiked tip would offer extra stability.

CAMLINK CMP3 MONOPOD

LIKES DISLIKES PRICE CONTACT
BEST ✔ Price, foot rest, flip locks ,
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✘ Only holds up to 2.8kg of gear RRP £19.99 camlink.eu.com

OF THE BENBO TREKKER MONOPOD

REST LIKES
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landscape and portrait format shots
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RRP £36.26
CONTACT
patersonphotographic.com

without a ball head.

70 April 2010 B&W B&W

68-70 CHECKOUT ER/MB.indd 70 8/3/10 10:46:04

 NEW
FILTERS
SCREW IN FILTERS
STOCK UP ON FILM
ANY 3- FOR £18 ALL SIZES - ALL TYPES
43MM YELLOW/GREEN, 81B, 82A,
82B, 85A, OR 85B
COLOUR OR B&W
46MM DUAL COLOR R/B, 80A, 82B,
85A, 85B, OR CIRCULAR POLARISER
E6 OR C41 SLIDE OR NEG
48MM GREEN, UV, DIFFUSER, ND2 Rollei R3 135-36 Exp Varie Speed 05/08 £4
Rollei R3 120mm Roll Varie Speed 05/08 £4
YELLOW/GREEN, ORANGE, ND4, 80A,
80B, 82B, 85, 85A, 85B, SKY, CLOSE
UP +1, +2, +3, +4, CENTRE SPOT,
CROSS SCREEN, OR DUAL COLOUR
Lucky B&W 120mm Roll 100asa 12/09 £1
A COMPANY BIG ENOUGH TO DELIVER R/B Lucky B&W 35mm 36 Exp 100asa 07/10 £1
BUT SMALL ENOUGH TO CARE 49MM POLARISER, YELLOW, SOFT
SPOT, GREEN X1, UV, ORANGE,
Agfa Vista C41 35mm 24Exp 200asa 06/08 £1
FOG B, SKYLIGHT, RED, FLDAY, Rollei ATP II 35mm 36 Exp 32asa 02/11 £4
Rollei Infrared 5x4 25 Sheets 01/10 £23
CROSS SCREEN, FOG A, 82C, 85A

MULTIBLITZ TUNGSTEN LIGHTING SPLITFIELD, 80A, 80B, 81A, CENTRE

SPOT, FLW, STAR 6, 3 FACE PRISM, Konica Centuria 35mm 24Exp 200asa 02/10 £2
WITH 3 YEAR GUARANTEE CONTINUOUS LIGHTING FOR DIGITAL + VIDEO ND2, 81B, 82A, 85B, LIGHT GREEN
OR RUBBER LENSHOOD Tudor 110mm 24 Exp 200asa 04/06 £1
52MM 80A, 80B, 82A, 82B, 85A,
85B, BI COLOUR, FLD, NEBULA,
Tudor 35mm 24Exp 200asa 01/04 2 for £1
PRO X 2 Head KIT DIGI X 2 Head KIT PULSATOR, GRAD GREY, MIRAGE Fuji Nexia APS 200asa 40Exp 08/05 £1
Fuji Nexia APS 400asa 40Exp 10/04 £1
6P, LT GREEN
INC 2x 1000W HEADS, INC 2x 250W HEADS, ANDROMEDA,SPLIT FIELD,
2x STANDS, 2x STANDS, MIRAGE3R,
SPECTRAL CROSS, TRICOLOR,
Kodak Colour 35mm 24Exp 200asa 08/10 £2
2x BARN DOOR SETS,
GLASS PROTECTION FILTERS
1x REFLECTOR 2x LAMPS
ALL IN A FITTED CASE FAN
OR 3 FACE PRISM. Kodak Elitechrome 35mm36 100asa 07/09 £2
2x LAMPS COOLED
55MM ND2, GREEN X1, 80B, 82A,
82B, 85A, 85B, SKYLIGHT, NEBULA,
Fuji Velvia 100F 35mm 36Exp 01/06 £2
FAN COOLED ALL IN A FITTED CASE STAR 8, SPLITFIELD, YELLOW, 85C, Fuji Sensia 100 35mm 36 Exp 09/08 £2
£399 CLOSE UP +2, FOG A, FOG B, FOG1
Fuji Sensia 200 35mm 36 Exp 03/05 £1
£499 GRADBLUE, PULSATOR, ORANGE,
CROSS SCREEN VIII, C/SPOT GREY, EFKA 21/2 X 31/2 PL25 25 Sheets 07/08 £8
3/4 OR 5 FACE PRISM, VARIO
CROSS, EFKA 21/2 X 31/2 PL50 25 Sheets 07/08 £8
THE ALL NEW PROFILUX PLUS EFKA 5x7 PL25 25 Sheets 07/08 £20
YELLOW/GREEN, CENTRE SPOT,
SPECTRALSTAR ANDROMEDA,
STAR6, EFKA 5x7 PL100 25 Sheets 12/07 £20

Plus PACK 2 3 YEARS GUARANTEED EFKA 1/2 PLATE PL25 25 Sheets 07/08 £20
SOFTNER A OR B, INTENSIFIER,
RAINBOW SPOT, COLOUR SPOT
YELLOW OR HALF COLOUR BLUE EFKA 1/2 PLATE PL50 25 Sheets 07/08 £20
THE TRULY PORTABLE
58MM CLOSE UP +2, +4, 82A, 82B,
OR HALF COLOUR BLUE POLAROID FILM
62MM CIRCULAR POLARISER, UV, POLAROID 600 CLASSIC CAMERA+ FILM £49.99

FLASH SYSTEM
YELLOW/GREEN, 80B, 85A, IMAGE 1200 FILM DATED 05/2009 £17 EACH
YELLOW, GREEN, 85B OR UV
SX70 FILM DATED 09/2009 £19 EACH
67MM SKYLIGHT 1B, YELLOW
600 FILM DATED 10/2009 £16.60 EACH
100 - 250 WORLDWIDE VOLTAGE
SPOT, CLEAR CENTRE SPOT,
POLARISER, 85C GREY SPOT, DUAL POLAROID INSTANT 125 PRO TWIN PACKS
COLOUR R/B, UV, COLOUR BURST,

1600/6400 FLASHES PER CHARGE YELLOW, 85A, 85B, OR 82C 11 SHOTS PER FILM DATED 08/08
72MM 80A, RED OR GREEN £18 EACH FOR 2 FILMS 4 FILMS FOR £34
77MM GREEN X1 OR RUBBER £64 FOR 8 FILMS
FUJI INSTANT FP100C SINGLES
LENSHOOD

PROFILUX KITS CONSIST OF: 2 ADD A RUBBER LENS HOOD

MATT or GLOSSY DATED 09/07
HEADS, STANDS, REFLECTORS, ALL CABLES ,
AT THE TIME FOR £3
48MM, 49MM, 52MM OR 55MM
3 PACKS FOR £20 EACH PACK £7
CARRY CASE + MODELLING LAMP 1/2 PRICE HOYA 55mm
NEW FILTERS FUJI 5X4 QUICKLOAD 20 SHEET BOXES
PACK 2 KIT CONSISTS OF: BATTERY PACK, Yellow, Red 25A, Green, Yellow/
Green, Orange, 80A, 80C, 81A, 81B,
VELVIA 100F DATED 09/2009
BUY 5 BOXES FOR £170 BUY 3 BOXES FOR £108
CABLE, PYREX DOMES AND 82B, 85A OR 85C £9.50 Each
Skylight or Skylight 1B Each £7
BUY ANY 2 BOXES FOR £80 EACH BOX £43
RTP 64 TUNGSTEN DATED 08/2008
WORLD WIDE BATTERY CHARGER
Neutral Density
Polariser OR Circular Polariser £14 BUY 5 BOXES FOR £100 BUY 3 BOXES FOR £66
Close Up +1, +2, +3 OR +4 £10 Each
ALL READY TO GO ANYWHERE Star 8 £10
BUY 2 BOXES FOR £46 EACH BOX £24
Soft Spot, Centre Spot or Cross
FUJI 10X8 10 SHEET BOXES

MULTIBLITZ
Screen
Each £14 PROVIA 100F DATED 09/2009
VELVIA RVP 50 DATED 03/2009
Close Up +10 £26
HMC Super Skylight 1B £16

PROFILUX PROPLUS 2 + PROPAC 2

HMC Super UV £16 ANY 5 BOXES FOR £170 ANY 3 BOXES FOR £111
Circular Polariser Pro 1 Super £41 BUY ANY 2 BOXES FOR £80 EACH BOX £42
PROXAR SETS
WITH ACCESSORY KIT £1959 49/52/55/58/62MM
HOLGA CAMERA’S
Both heads working at full power - 3200 Flashes CLOSE UP +1, +2 AND +3
£17 EACH SET
120 WITH PLASTIC LENSES
120N - NO FLASH £28
PROFILUX PROPLUS 4 + PROPAC 2 WRATTEN GEL’S
ALL SIZES ALL COLOURS
120FN WITH FLASH £38
120CFN WITH COLOURED FLASH £44
WITH ACCESSORY KIT £2299 YOUR CHOICE 5 FOR £20
120mm TWIN LENS REFLEX £59
COKIN FILTER’S
Both heads working at full power - 1600 Flashes SIZE A FILTERS
120 WITH GLASS LENSES
120GN - NO FLASH £33
PROFILUX PROPLUS 6 + PROPAC 2
ANY 3 FOR £10
SIZE P FILTERS 120GFN WITH FLASH £42
ANY 3 FOR £15
WITH ACCESSORY KIT £2579 COKIN A RINGS £4
120GCFN BUILT IN COLOURED FLASH £48
120 TWIN LENS REFLEX £64
Both heads working at full power - 800 Flashes
COKIN P RINGS £5 EACH
120PC 120 PIN HOLE £39
HIGLIDE FOR STUDIOS 120WPC 120mm WIDE PIN HOLE £49
NEW AND USED 120 STEREO PIN HOLE £79
PAPER DEALS EXPERIMENT WITH
DIFFERENT BASES &
MACO AT HALF PRICE 120 STEREO CAMERA £119
ILFORD FINISHES BUY 1 GET 1 FREE 16ft Chrome Rails Each £70
14ft Chrome Rails Each £60 35MM BASIC CAMERA £42
M/G IV R/C MACO TRIAL PACK 1 16X20 EXPO AG SILVER £45
12ft Chrome Rails Each £50 35PC 35mm PIN HOLE £44
10X8 240 SHEETS 10X8 15 SHEETS FIBRE 16X20 EXPO DISPLAY £45 BW2620 Double Carriage with Brake £25
MACO TRIAL PACK 2 16X20 STRUCTURA LUX £45 BW2603 Double Carriage £20 K200 35mm Camera WITH FISHEYE LENS
£52 10X8 15 SHEETS RESIN 12X16 MULTISPEED N £26 BW2619 Safety Cable £4 AND FISHEYE FINDER £63
6 1/2 X 8 1/2 BUY 5 PACKS FOR £20 12X16 EXPO RF 4 £26
BW2648 6 Wheel Carriage with Brake£20
3D SLIDE VIEWER £15
ILFORD 24 X 30
BW2660 ADDA Carriage £25
250 SHEETS £40 12X16 STRUCTURA LUX £26 BW2607 New Cable Runners x5 £6 12X STEREO MOUNTS £6
AGFA M/CONTRAST IS4 44M BOX 50 11X14 MULTIBRON WA £28 BW2633 New 21cm Rail Joining Plates £15
FISHEYE LENS FOR 35MM £30
GLOSSY PREMIUM GRADE 4 MATT 91/2X12 EXPO RN3 £15
BW2625 New Cable Fixing Kit £3
BW2632 New Back/Back Rail Clamp £12 30CM S/RELEASE + CONNECTER £18
BOXES OF 50 OUTDATED 91/2X12 STRUCTURA LUX £15 BW2620 New Fixed Light Spigot LENS FILTER HOLDER 120 £2
91/2 X 12 £24 £20 PER BOX 91/2X12 MULTISPEED N £15 Rail Clamp £11
SPLIT IMAGE LENS SET 120 £11
12 X 16 £29 8X10 EXPO RF £15 BW2614 New Removal Key £5
3 BOXES £50 8X10 EXPO DISPLAY £15
BW2620 New Double CarriageWith Brake £30 COLOUR FILTER SET 120 £10
Single Hook Background Paper Carrier £60
SOFT SURROUND FILTER SET £10

68 WINDMILL ROAD, CROYDON, SURREY CR0 2XP ENGLAND

Tel: 020 8684 8282 Fax: 020 8684 8835 Email: [email protected] Web: www.mrcad.co.uk

071_BW_110.indd 71 3/3/10 13:54:56

 Mailbag
Send your letters by email to [email protected]
or by post to Elizabeth Roberts, Black & White Photography,
GMC Publications Ltd, 86 High Street, Lewes, East Sussex BN7 1XN

©Alfred Hoole

WORD OF WARNING

I
Morning Mist,
Rivington enjoyed Lee Frost’s options: surface mail (3-4 weeks
article on publishing delivery time and untraceable),
your own calendar or pay in excess of £50 for
(issue 105, December traceable postage. Either option
2009) and decided I would added significant expense to
have a go. Unfortunately, on the project. We had spent quite
the recommendation of friends a bit of time on it, so we took
(not Lee) we used Lulu.com. We a chance on surface mail and,
followed the suggestion to go as the proof copy came within
for higher paper quality and three weeks and was very
uploaded the project. It was not attractive, we ordered more.
clear before the payment stage These have not arrived six
that these would be printed in weeks later. An email enquiry to
IMPRESSIVE RESULTS the USA. Lulu elicited a less than helpful

I
There were two shipping response: ‘We printed them, we
write to complain about the sent them, we can’t
excellent article Sensor Sizes
Mail tell where they are.’

of the
Explained (issue 107, January Geraldine
2010). My two friends and McGowan
I have compact cameras for easy
carrying, along with full frame DSLRs
month by email

for the more serious stuff. I have been Editor replies:

looking for a lightweight and compact We hear they did
camera capable of producing A3-A2 prints for exhibition. arrive eventually!
Studying your article I realised that a four-thirds compact
might be the answer, having a sensor at least five times
KEEPING GOOD COMPANY

M
the area of the sensor in the typical compact. In the past I
dismissed the idea of such a camera as a bit of a gimmick as any thanks to I have subscribed to Black
we are already well supplied with alternative formats. you and your & White Photography since
My two friends were so impressed with my new camera and colleagues for number one. The complete
the results I was getting from it that they both went out within giving me such set is still with me. With best
the week and bought similar outfits. prominence in your magazine wishes for your journal’s future.
My complaint is, please don’t do this sort of thing too often as (issue 107, January 2010), in Wolf Suschitzky, London
between us we have had to spend almost £6,000! It needs a lot of particular for opening with my
finding from your pension! zebra picture. This is one of my
Alfred Hoole favourite animal pictures out of
hundreds in my files.
Also, I must tell you that
TALES OF THE SEA

J
I am honoured to be in the
ust a short note to say same issue with Jane Bown,
how much my camera whose work I have admired for
club colleagues and I are a very long time. I have some
enjoying the monthly books of hers. In my opinion
Sea Stories articles by Jonathan she is among the very best
Chritchley. Witty, articulate and portrait photographers ever.
well written, with wonderfully I have met Jane on several
illustrative and atmospheric occasions. She is among the
photographs; we really can’t wait nicest ladies to meet, friendly Editor replies: Believe me,
to see what he’s been up to next! and modest, just as you the honour is all ours. Thank
Fantastic stuff! describe her. you for your kind words.
Graham Taylor, by email

72 April 2010 B&W

72-73 LETTERS ER/MB.indd 72 8/3/10 10:41:03

 WIN A FABULOUS BOOK WORTH £24.99!
Write in with your views and opinions – and one of your best and shows how these ideas work in practice when photographing
b&w pictures – and you might be the lucky winner of a superb landscapes, wildlife, portraits and abstracts – beautifully illustrated
book entitled Understanding Composition: The Compete with Steve Mulligan’s photographs.
Photographer’s Guide by acclaimed photographer and author Understanding Composition: The Complete
Steve Mulligan – worth £24.99! Photographers’ Guide is published by the Photographers’
This excellent book explains the key ideas behind composition Institute Press, ISBN 978 1 86108 534 4, at £24.95.

CROSSING MAKING
THE LINE THE GRADE

I R
am sorry to read of your eader Dennis
experience with one Low’s letter (issue
of your readers in the 107, January
Mail bag (Tony Clarke!). 2010) is the
It must be heartbreaking when perfect example of why good
you receive letters like his, photographers today struggle
especially when it goes to show to get work. Anyone with a
the man has no understanding camera nowadays can call
of what photography, let alone themselves a photographer,
black & white photography is but just because they can take
Daren Smith’s image inspired macro shot
all about. The content of Black a pretty picture does not make
& White Photography magazine them so. Comments like Mr
has to rank as the highest in Low’s completely disregard
THE ROT SETS IN

I
both inspiration and education. the incredible amount of hard
Please find attatched an image write in reaction to the letter from Mr Clarke in your work that goes into any course,
that I gained inspiration for March issue. What an amazing lady and how lucky whichever level it may be. It’s
from the ignorance that is you were to spend time with her. I have to report what one gains from these
Clarke. This was crafted from that my world didn’t stop spinning because of the courses in skill and knowledge
the anger and thought process lack of technical information in the interview. Being slightly that helps a person go from
that went through my head obsessive I checked how far this rot had infected me and was being a keen amateur to a
after reading the letter! For distraught to discover that Don McCullin’s Open Skies does proper photographer. That’s
his benefit, it was taken with a not contain any equipment infomation – and some of my not to say one can’t become a
Nikon D200 60mm macro lens favourite photography books are the same! photographer without the aid
and converted in Nikon Capture Please don’t think I’m ‘fawning’, but I thorougly enjoy your of such courses, but I would
NX. I was wearing green wellies magazine and its quality and consistency makes it apparent like people such as Mr Low to
and a Goretex jacket. Keep up to anyone capable of reading beyond an f-stop that there’s bear in mind that there is a
the great work Liz! a hard working team in the background. You keep it up. distinct difference between
Daren Smith, by email David Gray, by email amateur and professional.
Jenni Boyle, Doncaster
Editor replies: I’m glad Editor replies: Thank you for your support – I’ve been
something so good came overwhelmed with emails on the subject! Editor replies: I’m inclined to
out of it! agree with you!

WHAT IT TAKES

A
s always, I’ve issue appears to be advising
found the people not to use profiles for
technical advice printing mono.
in Black + White I wonder if either or both of
Photography topical and useful. them could try to clarify matters
But I’m left confused on the for us?
subject of monochrome printing Chris Poole, by email
with profiles. Tim Daly’s excellent
feature in the January issue was
full of helpful guidance which
Editor replies: Yes, Chris, it is
confusing! The fact is, there are
COVER LINE FREE!
If you subscribe to Black & White Photography not only
included the importance of two schools of thought on the do you get a great deal (see page 84) but you have a
using profiles for monochrome matter – and so far there are no collectable cover without text – how can you resist?
work. Ian Windebank, on the absolute rules. Next month we’ll
other hand, writing in the same hear more from Ian.
Call +44 (0) 1273 488 005
B&W

B&W April 2010 73

72-73 LETTERS ER/MB.indd 73 10/3/10 16:14:09

 On the shelf
We bring you the latest from the media world
Shaped by War
His new book, Shaped by War, is the frontline does to somebody. most moving, thought provoking
published to accompany a After I finished reading, I could and upsetting you will ever
major new exhibition at the not stop thinking what it must see. But despite this, I would
Imperial War Museum North be like to witness what he has definitely recommend this book.
in Manchester. seen. As readers, we are lucky You really must see these images,
The book contains images that we get to close the book for how can you appreciate the
many people will be familiar and walk away. beauty in the world if you do not
with, as well as previously The photographs contained first see the horror of humanity?
unseen colour material. within this book are some of the David Illman
Interspersed with images
of personal artifacts and
reproductions of the original
publications that featured
McCullin’s photo essays, the
accompanying powerful text is
taken from interviews recorded
Don McCullin for the exhibition project.
£25, hardback McCullin’s life reads more
Vintage like a Hollywood script than
ISBN: 9780224090261 that of a man from humble
origins in North London.
For those of you not familiar This is a fascinating book,
with Don McCullin’s work, he beautifully presented, and gives
can be simply summed up as one an insight into McCullin’s
of the greatest photojournalists thoughts as he strives to come
ever to have picked up a camera. to terms with what 20 years on

Lenses for Digital SLRs Street Seen: The Psychological Gesture

White Photography contributor
in American Photography, 1940-1959
Ross Hoddinott (and published Lisa Hostetler Among my favourites are
by our parent company), the £35, hardback Saul Leiter’s unique and
book is a comprehensive guide Milwaukee Art Museum and DelMonico mysterious Canopy and Robert
to the magical and sometimes Books – Prestel Publishing Frank’s New York City, which
mystical world of lenses. ISBN 978-3-7913-5034-9 shows a train in motion and the
It begins with an explanation face of a single passenger framed
of how lenses work and what Street Scene celebrates the work in a window.
the key terms mean. Separate of six photographers: Lisette Additional pictures by Robert
sections are allocated to the Model, Louis Faurer, Ted Capa, Henri Cartier-Bresson,
different lens types (wideangle, Croner, Saul Leiter, William Walker Evans and W. Eugene
standard, telephoto plus Klein and Robert Frank. Each of Smith add to the range and
specialist lenses such as fisheye them was prominent during quality of the book.
and macro) and there are useful and immediately after World Mark Bentley
sections on lens accessories War II and together their work
and filters. A chapter on the reflects a pivotal moment in
Ross Hoddinott digital darkroom explains how American photographic history.
£16.99, paperback your computer can correct lens Writer Lisa Hostetler shows
Ammonite Press problems such as vignetting, how these photographers
ISBN 978-1-906672-76-8 converging verticals and broke the rules of conventional
chromatic aberration. technique to show the world in
If you are confused by the sheer As fans of Ross will expect, a new light. The iconic pictures
variety of lenses out there, what the book is beautifully they took depict the horrors
they do, how they work and illustrated and packed with of war and the strange and
which one will best suit your advice and tips on how the sometimes lonely world of urban
photography – then this book right choice of lens can improve American life. The book’s large
should provide the answers. your photography. size (22.5x31cm) ensures the
Written by regular Black & Mark Bentley images have maximum impact.

74 April 2010 B&W

74 BOOK REVIEWS ER/MB.indd 74 3/3/10 11:39:04

 Building a classic
photography library
Examples: The Making of 40 Photographs by Ansel Adams
In 1974 Ansel Describing the thought each photograph. Everything
Adams visited processes and technical from luminance values to film

No.8 the Camargue

during the Arles
Festival of the
Arts. ‘I found it
considerations behind 40
of Adams’ most celebrated
photographs, the book is
refreshing in its honesty.
speeds and developer dilutions
is explained. This information
offers an insight into the
mind of a master craftsman.
despairingly drab and While considering his most However, as Adams is keen
photographically uninviting,’ he popular single image, Moonrise: to point out, no amount of
recalls. ‘Fortunately, the catered Hernandez, New Mexico, 1941, technical wizardry can replace
lunch was marvellous.’ While for example, Adams explains the need for creative vision.
the location may have proved how he developed an ‘anti-date ‘Physical procedures and
uninspiring, Adams came complex’ leading him to forget techniques may be thoroughly
away with a striking portrait of when the picture was taken. discussed,’ he admits, ‘but
Jacques Henri Lartigue, ‘I have caused considerable these are of little value
‘A magnificent gentleman on dismay among photographic unless a compelling reason
all counts.’ The image shows a historians, students and for being exists.’ Each of the
silvery-haired Lartigue sitting museums,’ he explains. All of a sudden, he finds 40 photographs in this book
against the textured wood of a (Dr David Elmore of the High inspiration in the roots of a displays a convincing reason
cattle stockade. His smile seems Altitude Observatory later used large eucalyptus tree that he for being.
genuine, but Adams berates the position of the moon, lunar had previously dismissed. ‘I was Tracy Hallett
himself for making the gesture azimuth tables and data taken at very excited and fumbled my
look like a grimace. His self- the location to determine that meter, dropped my focusing FIND ROOM ON THE
criticism does not end there. the picture was, in fact, made at cloth and inadvertently kicked
‘As the camera was handheld 4.05pm on 31 October, 1941). my tripod leg,’ he recalls. As a SHELF BECAUSE ...
and the subject lively, all the On another occasion, Adams result, the portrait has a relaxed
negatives I made are not crisp,’ paid a visit to Edward Weston air, as though the two friends Examples: The Making of
he confesses. This level of and his wife Charis in have recently exchanged a joke. 40 Photographs allows you
frankness continues throughout California. Having decided to Alongside the anecdotes,
Examples: The Making of take Weston’s portrait, Adams Adams describes the technical
to enter the mind of a
40 Photographs. searches for a suitable backdrop. details behind the creation of master craftsman.
To order a copy of Examples: The Making of 40 Photographs (ISBN 978-0-82121-750-4) visit amazon.co.uk

simonparkerphotography.com
Passionate about photography, Simon Parker’s website focuses
on his recent interest in British black & white landscapes and
showcases 13 portfolios from around the country.
Viewing options in a gallery are a must have, and Simon’s website
has a great slideshow feature that once clicked on, pops up in a new
window; giving you pure sit back and relax browsing pleasure.
Another viewing feature Simon has used, and one I believe
should be incorporated more often, is when the cursor hovers over
a portfolio thumbnail and a selection of images flash up, giving
WEB
you a mini preview of that album. This is great when looking for
something specific or when strapped for time when browsing.
REVIEW
However, design wise, a bolder typography choice and
re-evaluation of font shades could make many sections clearer to
read, as well as using the same font consistently throughout.
Have you got a website showing
Consistency is key and I was confused about why Simon your photographic work?
only watermarked a few photographs when all of them can be
downloaded, low-res without a water margin. If you would like your website reviewed then email
Heather Gregory the web address to: [email protected]

B&W April 2010 75

75 ON THE SHELF ER/MB.indd 75 25/2/10 14:37:36

076_BW_110.indd 76 23/2/10 12:40:48
 AZ OF THE NATIONAL MEDIA MUSEUM

Colin, wearing his new school uniform,

photographed by his mother in 1970.
‘She must have liked it . . . she’s kept if for
forty years.’

Colin Harding
reflects on the history
of the humble
snapshot

S is for...
Snapshot
B
efore it acquired its current The fundamental characteristic of the can all read. Together, they form a record of
photographic meaning, the word snapshot is that it is a ‘naive’ document, the complex relationships and social rituals
snapshot was originally a hunting motivated solely by a personal desire that shape our lives.
or shooting term describing a to create a photographic record of a Family snaps are an essentially private
shot taken quickly, without careful aim. In person, place, or event and with no artistic medium in which we invest all the weight of
1860, writing in the Photographic News, the pretensions or commercial considerations. our personal experience and memory. No
distinguished scientist Sir John Herschel Since snapshots are taken by people matter how technically poor they might be,
referred to ‘the possibility of taking a with little or no technical knowledge of snapshots are enriched by the many layers of
photograph, as it were, by a snap-shot – of photography or the rules of composition meaning that we are able to bring to them.
securing a picture in a tenth of a second of – often with predictable and unfortunate Snapshots are primarily personal records.
time.’ On the basis of this remark, Herschel results—the word has also acquired a Once removed from this context, their
is usually credited with coining the term pejorative association. Photographs meaning inevitably changes. They may, of
snapshot to describe a photograph taken considered to be without particular value course, be viewed objectively, but the context
with a very brief exposure. or merit are dismissed as snapshots or, in is then that of social history, sociology or the
Today, it is the intent of the photographer, the abbreviated and even more damning- history of photography.
rather than the exposure time, that best sounding form of the word, snaps. Whether in colour or black & white, silver-
serves to define the snapshot. While the Most families have a hoard of snapshots, based or digital, the subjects that people
majority of snapshots are taken with hidden away in wardrobes and shoeboxes. choose to photograph and the ways in which
comparatively brief exposures, some are Accumulated over the years, they are a they photograph them have changed little
not. While the word also implies a degree of treasured part of the domestic clutter with over the years. Whether taken with a Box
spontaneity, many snapshots are the result of which we surround ourselves. Familiar, Brownie or a digital camera, the syntax of the
considerable preparation and arrangement of comfortable, and often predictable images, snapshot has remained remarkably consistent
the subject. they conform to a visual language that we for more than one hundred years.

B&W April 2010 77

77 A-Z ER/MB.indd 77 3/3/10 11:41:02

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Issue 91 November 2008 Issue 92 December 2008 Issue 93 Winter 2008 Issue 94 January 2009 Issue 95 February 2009
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078_BW_110.indd 78 3/3/10 09:39:19

 ADVERTORIAL

Foma Variant 123

– Rediscovering Stipple
Martin Reed from Silverprint looks at the characteristics of stipple

A
t one time there was manufacturer, offer several choices.
an almost unlimited It’s maybe time to take a new look
palette of traditional at this old printing resource. But
photographic paper why should there be any interest in
tints and surfaces, but with reviving what clearly seems to be
rationalisation in the 1970s and an outmoded medium?
80s it was quickly reduced down Having spent a little time with the
to a limited choice, mainly glossy, Foma Variant 123 paper, it seems
semi-matt, or matt. to offer a number of interesting
It doesn’t seem to be a topic that things aside from the norm. The
has created much debate down semi-matt fine grain stipple finish
the years. has an unusual nature, in that it
Ansel Adams in The Print gets his delivers a good maximum density
views out of the way quickly, saying while still remaining resolutely matt.
he uses glossy papers, and by citing Lit evenly, the texture becomes
the higher image brightness invisible, and you look straight into
obtainable with these papers the image. Generally, with other
implies there is little else worth finishes you mentally block out the
using. He does, however, let his surface characteristics. At the same
guard down by stating, ‘I have time the graininess of the image is
occasionally used Kodak’s G surface softened, and the effect is like
©Shane Gilliver
enlarging paper; it has a slight a process such as platinum, where
‘tooth’ and a natural white (not The print was scanned on a flatbed scanner, which is clearly picking up highlights the image is within the pores of the
buff!) base, which can make it a from the texture of the paper. Rather than clean it up, it has been left as is – paper itself.
good choice for very large prints hopefully illustrating the surface character The base colour of the Variant
(20x30 inches and larger).’ 123 is warm, as is the emulsion,
Kodak G was one of many papers supercoating the final result can be in Kodak Ektalure, which finished but without the more chocolate
manufactured in stipple, another quite matt, or given a sheen with production about 10 years ago. colours of a full-blown chloro-
famous one being Agfa Portriga extra gelatin. Unopened boxes of Ektalure still bromide paper. It could be a good
118 (filigree semi-matt). The The heyday of the surface after change hands for high prices, and retro paper if you want to turn
dictionary defines stipple as a verb World War II was probably due to the material ages well. Ilford Ltd, in a nostalgic 1950s image, or it
meaning to give a rough grainy the ascent of 35mm film – in the before the Harman days, had their could be equally at home with
texture, or to mark something early days film emulsion technology own velvet stipple which was culled many modern projects. It is also
with dots. It’s close enough to the had a long way to go, and the in the 1980s, and while Kentmere very interesting when lithed, but
photographic interpretation, where stipple finish was very sympathetic were offering stipple finishes until that’s another story. Sizes are from
the paper has a fine random texture to grainy images. However, long the Harman takeover, there are no 9.5x12in up to 20x24in – and if
embossed into it prior to coating, after fine grain film had become longer any Kentmere brand options anyone is seriously in the market
rather resembling the finish of the norm, matt stipple finishes in this surface. But other suppliers for 20x30in and larger, a 40in roll
leather. Depending on subsequent had a place, especially that G finish do remain, and Foma, the Czech size is obtainable.

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Mail order from the site, or come and visit us in Waterloo.
Silverprint Ltd, 12 Valentine Place, London SE1 8QH
Tel 020 7620 0844

B&W April 2010 79

79 SILVERPRINT ER/MB.indd 79 25/2/10 14:39:50

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080_BW_110.indd 80 10/3/10 16:23:08

 JONATHAN CHRITCHLEY

Sea Stories
When I was a us all to get in position and
small boy I start pulling. There must
went to spend have been 40 men there
a week with an that night, 20 on each rope,
aunt and uncle straining against the
at their home in a small immense weight of the
fishing village in South Jonathan Critchley reminisces about a childhood boat, pulling in unison as
Devon. It was a period of slowly she started to move.
severe weather, with storm
adventure by the sea which had lasting effects… I remember the smells; of
fronts from the Atlantic wet wool, tobacco and beer.
persistently lashing the I remember the voices of
coast. One particularly wet the men singing, deep and
and windy evening, my resonant over the roar of
uncle, a retired merchant the wind and rain, guiding
navy officer, had been and encouraging us. And
entertaining me with stories most of all I remember the
of the sea, animated with sense of community in the
old photo albums crammed little village pub much later,
full of dog-eared sepia and when the job was done and
black & white photographs the boat was safe. The relief
of ancient fishing boats and and gratitude on the faces
seafaring folk. of the young owners of the
As we were just about to boat made me feel proud to
settle down to dinner, the be part of what had been
telephone rang. My uncle achieved; proud to be, for
got up and walked into the this night, one of these
narrow hallway of their people, who like most small
1950s clifftop bungalow to fishing communities at that
answer it, muttering that it time pulled together in the
was ‘a fine time for face of adversity.
someone to be phoning’. I have no doubt, looking
After a series of muffled back, that the events of that
grunts he hung up and day have been a huge
came back into the living influence on my
room. ‘There’s trouble photography over the years.
down at the harbour,’ he Fishing harbours make me
said gravely to my aunt. feel like that wide-eyed
‘Boat got itself stuck near child all over again and
the rocks.’ Old rowing boat, Beer, Devon © Jonathan Chritchley provide me with such rich
He looked at me and his subject matter to capture:
expression softened. ‘Come Jonathan’s top three fishing harbours to photograph: nets, rusty chains, wooden
on boy,’ he said, ‘let’s go give rowing boats with peeling
them a hand.’ After Beer, Devon, England (where this story is set) paint, old anchors and oars
donning our weather gear – a conspicuous collection
we ran through the
Pittenweem, Scotland of sumptuous textures and
horizontal rain to his old Biarritz, France tones lining up to be
Land Rover, climbed in and photographed. And
set off down the cliff road yellow oilskins who seemed from its moorings and was away from danger. The sometimes, when I’m deep
towards the village. to be in charge. He and my being forced by the wind yellow giant finished his into my art and the outside
The small harbour was uncle greeted each other and tide along the beach briefing, then, grabbing two world is but a blur, I swear
already a hive of activity by with a handshake then the towards the black rocks at enormous coils of rope that there are moments
the time we arrived. We giant proceeded to bark the end of the bay. The only thicker than my leg, he when I can feel the
parked the car and made instructions to the way to stop her from being headed off into the enormous calloused hand
our way through the gathering crowd. smashed to smithereens darkness and towards the of that giant fisherman
crowds of serious looking A 30 foot sailing boat was to attach a couple of floundering yacht. ruffling my hair, and hear
men and stopped next to belonging to a young local ropes and manually haul Five long minutes later he those voices raised in song
a huge bearded figure in couple had come adrift her back up the beach and was back and bellowing at over the raging storm. B&W

B&W April 2010 81

81 SEA STORIES ER/MB.indd 81 3/3/10 11:46:20

 Richards of Hull Photographic
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082_BW_110.indd 82 4/3/10 09:26:16

 Next month in

BLACK WHITE B+W111

May 2010 on sale
M l
PHOTOGRAPHY 22 April

©Katia Liebmann

The fine cyanotypes of

Katia Liebmann
Prime V zooms lenses
Making digital cyanotypes
Canon EOS 7D tested for B+W
The very best portfolios chosen for you

B&W April 2010 83

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Classified

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 Dedicated to the monochrome photographer
Mark Bauer Ross Hoddinott
t: (01929) 426541 Holidays, Courses and Tuition t: (01288) 321328
[email protected] [email protected]
Classified

Landscape photography workshops

in the South West of England with
award winning photographers
Mark Bauer & Ross Hoddinott
To advertise on these pages please call Melanie on 01273 402825

88
www.dawn2duskphotography.co.uk
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 Dedicated to the monochrome photographer

Holidays, Courses and Tuition

IMPROVE YOUR PHOTOGRAPHY WITH LEE FROST

Join one of the UK’s top landscape

7/6;6

To advertise on these pages please call Melanie on 01273 402825

photographers on location in 2010
DESTINATION DATES COST
Cuba* SORRY, SOLD OUT!
Northumberland Castles and Coast
14th-25th March 2010
23rd-25th April 2010
£2100
£395
(+=,5;<9,:
Tuscany 22nd-28th May 2010 £1250
Isle of Harris (Co-led by Duncan McEwan) 11th-16th June 2010 £720
Santorini 22nd-29th June 2010 £1395
Northumberland Castles and Coast 10th-12th September 2010 £395
North Cornwall Coast 23rd-26th September 2010 £625
Morocco (Marrakech to the Sahara) 3rd-14th October 2010 £1950 “Thank you for the great workshop you just offered in the Lake District, your
Torridon SORRY, SOLD OUT! 1st-6th November 2010 £975 dedication, generosity and love of photography have made it an unforgettable event.
Cuba* ONLY 5 PLACES LEFT! 14th-25th November 2010 £2100
Glencoe in Winter ** 7th-11th February 2011 £650 I would also like to thank you for letting me use some of your ‘equipment’ over the
s /NE DAY WORKSHOPS WITH ,EE ON THE .ORTHUMBERLAND COAST ARE ALSO AVAILABLE MAX  PEOPLE FOR a weekend; it really made a difference as to what I was able to capture.
- email us for more information.
* Cuba trip price includes return direct flights with Virgin Atlantic from Gatwick to Havana.
0LACES ON THIS TRIP LIMITED TO  MAXIMUM Again this is a mark of generosity and trust.
There is no doubt that our paths will cross again in the future.”
email: [email protected] Tel: 01665 830523 www.photoadventures.co.uk Lake District Workshop , February 2010, Jean-Louis Cornez - Belgium

Gower Photography Weekend workshops and day

courses on the Gower Peninsula,
South Wales, the first area designated an
‘Area of Outstanding Natural Beauty’
in the UK
Tel: 07944 767343
www.gowerphotography.co.uk
Email: [email protected]
‘2010 COURSE DATES AVAILABLE’

Lake District Spring Workshops 2010

Do you want to reach a committed and Lake District Spring Workshop Saturday 24th-26th April £425.00
Price includes 2 nights Dinner Bed & Breakfast at the Red Lion Hotel in Grasmere
enthusiastic photographic community? Lake District Spring Workshop Tuesday 4th-8th May £725.00 2 SPACES LEFT
Mountains Lakes and Bluebells Including in Hotel Photoshop Training and Printing
4 nights Dinner Bed & Breakfast Take away Print course
Then contact Melanie now on 01273 402825
Lake District Autumn 5 Day Workshop Tuesday 26th-30th October £725.00
or email [email protected] Includes In Hotel Photoshop Training and Printing
4 nights Dinner Bed & Breakfast Take away Print course
Glencoe and Rannoch Moor Workshop
Glencoe and Rannoch Moor Gateway to the Highlands Workshop
Tuesday 9th-13th November £625.00 incl. 4 nights Dinner, Bed & Breakfast
Northumberland Workshop
Northumberland Workshop Friday 16th to Sunday 18thApril £395.00
Sea Scapes and Historic Castles
Price includes 2 nights Dinner, Bed & Breakfast at the Victoria Hotel in Bamburgh
Dorset Jurassic Coast Workshop
Friday June 11th- Sunday 13th £425.00
includes 2 nights dinner bed and breakfast
Workshop highlights, Jurassic Coast, Corfe Castle and Weymouth Harbour at night.

ALL SINGLE ROOMS - NO SUPPLEMENT

Maximum 5 Photographers • Small groups = More time
Post Workshop Email and Telephone Support.
All Workshops include Long Exposure Techniques using B+W Ten Stop Filters

All Workshop participants are welcome to arrange an afternoon at

my Studio for Post Production Training on the images in Photoshop.
Includes one full colour print up to 18” x 24”.
Please see the website www.garygroucutt.com for full details of the workshop itinerary.

www.garygroucutt.com
Classified

t: 07779 122034 e: [email protected]

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 Dedicated to the monochrome photographer

Printing & Processing

B L AC K & W H I T E
Classified

Professional film processing & printing by Professional

P h o t o g r a p h e r w i t h 2 5 ye a r s d a rk r o o m e x p e r i e n c e
35mm, 645, 6x6, 6x7, 6x9 for mats catered for

Dev & Contact £7.00 36 exp 6x4 £11.00 36 exp 7x5 £17.00
All our prices include First Class retur n post
M i c h a e l W h i t e , P O B ox 5 4 1 , G R I M S B Y, D N 3 1 9 AY
01472-345607 07944-083368

w w w. b l a c k a n d w h i t e p i c s . c o . u k

THE DARKROOM UK
LTD Cheshire Photo Lab
¥ Traditional hand processing of 35mm / 120mm B&W and Colour Films
FREEPOST, 15 Berkeley Mews, Upper High Street
Cheltenham GL50 1DY 01242 239031 ¥ B&W hand printing up to 20Ó x 16Ó in traditional darkroom
Colour or B&W digital printing s Slides and negatives scanned to CD
E6 Film 36 exp 120 4x5 B/W and Colour Neg E6
Visit www.cheshirephotolab.co.uk
Mounted £7.25 - - 120/15 4x5 £10.95 prints
120/15 5x7 £15.95 (add to for full details of prices and services or request catalogue by post.
Sleeved £5.50 £4.50 £2.70
Cheshire Photo Lab, PO Box 487, Crewe, Cheshire CW1 9FP
10% discount for 10 or more E6 films 120/12 5x5 £10.50 process
120/10 5x7 £13.25 cost)
CD appx Neg E6
36exp 6x4 £10.95 £8.99
MONOPRINT
To advertise on these pages please call Melanie on 01273 402825

per 18Mb £12.00 £12.00 Plus QUALITY BLACK & WHITE HANDPRINTING
dev 36exp 71/2x5 £14.25 £11.99
film 4.5Mb £3.50 £5.00 cost
CD storage at time of processing 36exp 6x9 £18.95 £15.99 DEV & CONTACT £6.00 Add £1 for C41/Uprate
File size when open with film format Process only £4.50 - Package deal - 36 exposure Dev & 7x5prints - £18
RESIN PRINTS - GLOSSY OR PEARL - NEG SIZES 35mm to 5x4. Fibre prints/sepia
PANORAMIC 35mm 4 X 12 £10.95 toning + 100%. Send cheque with order plus £1.75 p&p to -
prints from negatives 5 X 14 £14.25 MONOPRINT Applegarth House, Tumbledown Hill,Cumnor, Oxford OX2 9QE
POSTAL ONLY - CWO - Prices inc VAT and Post, Cheque only Mobile: 07989 777359 email: [email protected]
Gloss or Matt - Print border optional www.the-darkroom.co.uk www.monoprint.co.uk

Printing & Processing Dealers & Specialists

Buy or sell at Manchester’s largest selection of
The Real Camera Co.

used photographic equipment

Having trouble finding what you want? We’ve got nearly everything under one
roof, from Agfa to Zeiss, through books, cine, darkroom,
a gallery, lighting, projection, and video.

Got a question about photography? We can answer it.

Starting a college course? Want to set up a darkroom?
Baffled by digital? We can help.

The Real Camera Company. Run by enthusiasts.

Photographic retailing like it used to be.

Sevendale House, 7 Dale Street

(Entrance on Lever Street), Manchester M1 1JA

Tel/Fax: 0161 907 3236

www.realcamera.co.uk

Do you want your business

to reach a committed
and enthusiastic
photographic community?
Then contact Melanie
now on 01273 402825 or email
[email protected]
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 Dedicated to the monochrome photographer

Holidays, Courses and Tuition

To advertise on these pages please call Melanie on 01273 402825

Classified

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 Dedicated to the monochrome photographer

Printing & Processing

A P E R T U R E
Classified

Nikon F Nikon F F F F F F F Pre-owned Nikon Lens AI ~ AIS Pre-owned Nikon Autofocus

Nikon S2 + 5cm f1.4 Nikkor-S.C. Sold Exc £490 Brand New 24mm f2.8 AIS (Price includes VAT) NEW £390 Nikon D3 with Charger Under 200 actuations As new £3950

Nikon F + Eye-Level Finder Chrome #6452xxx Exc+ £350 Brand New 28mm f3.5 PC (Price includes VAT) NEW £950 Nikon D3 (complete; boxed) 79000 actuations Sold £2190

Nikon F + Eye-Level Finder & F-36 Motor #6503xxx Exc++ £550 Brand New 35mm f1.4 AIS (Price includes VAT) NEW £690 Nikon D2X (Complete; boxed) 8700 Actuations Mint- £750

Nikon F + Eye-Level Finder Chrome #6840xxx Exc+++ £450 Brand New 50mm f1.4 AIS (Price includes VAT) NEW £320 Nikon F5 Rough Cheap £220

Nikon F + Eye-Level Finder Chrome #7059xxx Exc £230 8mm f8 Nippon Kogaku with v/finder #883xx Exc+ £850 Nikon F5 #3205xxx Exc+++ £320

Nippon Kogaku Waist Level Finder Exc++ £80 15mm f3.5 AIS #180xxx Exc++ £750 Nikon F4 #2415xxx Exc+ £220

Nikon F2 Nikon F2 F2 F2 F2 F2 F2 F2 18mm f4 AI Exc+ £390 Nikon F100 Mint- £190

Nikon F2 with DE-1 Chrome #7672xxx Exc+++ £450 20mm f3.5 Nikkokr-UD AI Converted #187xxx Exc++ £350 Nikon F90X with MB-10 #2677xxx Exc++ £120

Nikon F2 with DE-1 Chrome #8003xxx Sold Exc+++ £450 24mm f2 AI #181xxx Sold Mint- £420 Nikon 35Ti Exc+++ £290

Nikon F2AS Black #7782xxx Sold Exc £270 24mm f2.8 AIS #824xxx Sold Exc++ £170 10.5mm f2.8G AF-S DX Fisheye Mint- £350

Nikon F2AS Chrome #7862xxx Exc £290 Zeiss 25mm f2.8 ZF Distagon T* (boxed) Exc+++ £590 Sigma 14mm f2.8D EX HSM Exc+++ £420

Nikon F2AS Chrome #8049xxx Exc++ £390 Vivitar 28mm f2 AI Exc++ £130 Sigma 14mm f3.5 AF Exc+++ £290
To advertise on these pages please call Melanie on 01273 402825

Nikon F2AS Black #7937 Brassy Sold User £220 28mm f2 AI #345xxx Exc++ £350 14mm f2.8 AF-D ED (boxed) Mint £790

Nikkormat Nikkormat Nikkormat Nikkor rmat 28mm f2 AIS #580xxx Exc+++ £390 60mm f2.8 AF Macro Sold Mint- £190

Nikkormat FT Black New mirror foam #3822xxx Exc++ £120 28mm f3.5 Perspective Control #183xxx Mint- £490 60mm f2.8 AF-D Macro Sold Mint- £220

Nikkormat FT2 Chrome #5099xxx Sold Exc+++ £130 28mm f4 Perspective Control Mint- £550 105mm f2 AF-D DC Sold Exc+ £550

Nikkormat EL Black #5591xxx Exc+ £130 35mm f1.4 AIS #454xxx Exc+++ £430 180mm f2.8 AF ED Sold Mint- £350

FM FM2 FA F3 FE2 FM2n F3 FE FM3A FM2 Zeiss 50mm f2 ZF Makro-Planar + hood (boxed) Exc+++ £690 200mmm f2G AF-S VR + hood (boxed) Mint £2350

Nikon FM2T #T9003xxx Exc £390 55mm f2.8 AIS Macro #248xxx Exc+++ £150 300mm f2.8 AF ED + hood & Flight Case Mint- £1590

Nikon FM2T #T9015xxx Exc++ £470 55mm f2.8 AIS Macro #272xxx Mint- £180 300mm f2.8G AF-S II + hood & Soft pouch Special

Nikon FM2n Chrome #7457xxx Exc £210 55mm f2.8 AIS Macro #554xxx Exc+ £130 Light Grey Finish Sold Mint £2850

Nikon FM2n Chrome #7488xxx Exc++ £250 105mm f2.5 AI + hood #893xxx Mint- £230 300mm f4G AF-S ED (boxed) Sold Mint £770

Nikon FM2n Chrome #7873xxx Exc+ £230 105mm f4 AI Macro #204xxxx Exc++ £250 12-24mm f4G AF-S DX + hood Mint- £550

Nikon FM2n Chrome #8510xxx Exc+++ £270 105mm f4 AIS Macro #204xxxx Exc+++ £290 Tokina 12-24mm f4 AT-X Pro + hood Exc+ £270

Nikon FM2n Chrome #8517xxx Exc+++ £270 135mm f2.8 AIS #958xxx User £80 Sigma 17-35mm f2.8-4 EX Mint- £150

Nikon FM2n Chrome #8694xxx Exc+++ £270 135mm f3.5 Nikkor-Q AI Converted #968xxx Exc++ £70 Tamron 17-50mm f2.8 XR Di II + hood (boxed) Mint £250

Nikon FM2n Black #7320xxx Exc+ £220 135mm f3.5 AI #226xxx Exc++ £70 18-135mm f3.5-5.6G AF-S DX + hood Mint £210

Nikon FM2n Black #7515xxx User £160 180mm f2.8 Nikkor-P AI Converted #322xxx Sold Exc+ £170 18-200mm f3.5-5.6G AF-S DX VR + hood Mint- £370

Nikon FM2n Black #7541xxx Sold Exc+ £230 Angenieux 200mm f2.8 ED (boxed) Sold Mint £650 24-85mm f2.8-4 AF-D Sold Exc++ £250

Nikon FM2n Black #7754xxx Sold Exc £210 200mm f4 Nikkor-Q.C AI Converted #628xxx Exc+ £80 24-85mm f2.8-4 AF-D + hood (boxed) Sold Mint- £290

Nikon FE Chrome #3862xxx Exc+ £150 200mm f4 AI #683xxx Exc++ £110 24-120mm f3.5-5.6 AF-D Mint- £220

Nikon FE Chrome #4076xxx Sold Exc+ £150 200mm f4 AIS Macro #192xxx Exc++ £450 24-120mm f3.5-5.6G AF-S VR + hood Sold Mint- £290

Nikon FE Black #3135xxx Sold Exc £130 200mm f4 AIS Macro #205xxx Exc+ £390 28-70mm f2.8 AF-S ED + hood Exc++ £750

Nikon FE Black #3576xxx Sold Exc++ £180 300mm f2 AIS EDwith fligh case Exc++ £7900 28-105mm f3.5-4.5 AF-D Mint £190

Nikon FE2 Chrome #2080xxx Exc+ £210 300mm f4.5 AI Scatchy outside; very clean optics User £220 35-70mm f2.8 AF-D Mint £450

Nikon FE2 Black #2538xxx New mirror foam Sold Ugly £150 300mm f4.5 AIS Exc++ £270 Sigma 50-500mm f4-6.3 APO DG HSM + hood Mint £690

Nikon FA Black #5172xxx User £130 500mm f8 Reflex Nikkor-C #583xxx Mint- £250 70-200mm f2.8G AF-S VR + hood (boxed) Sold Mint £1150

Nikon F3 Titanium Champaigne with MD-4 Mint- £790 35-70mm f3.5 AIS #967xxx Exc++ £250 70-300mm f4-5.6 AF-D ED Mint- £190

Nikon F3 Titanium Champaigne #8216xxx Exc £450 35-105mm f3.5-4.5 AIS #2149xxx Mint- £170 70-300mm f4-5.6 AF-D ED + hood Sold Mint £220

Nikon F3 #1455xxx Beautiful condition Sold Nr. mint £290 35-105mm f3.5-4.5 AIS #2162xxx Mint £190 80-200mm f2.8 AF-D ED 1st Version Rough £250

Nikon F3P with MD-4 & MF-18 Simply Beautiful Nr. mint £750 35-135mm f3.5-4.5 AIS #250xxx Mint- £210 80-200mm f2.8 AF-D + Brand new hood 2 Touch Mint- £590

Nikon F3P with MD-4 & MF-6 also Beautiful Mint- £650 35-135mm f3.5-4.5 AIS #251xxx Exc+++ £190 80-200mm f2.8 AF-S ED missing tripod collar Exc++ £750

Tel: 020 7242 8681 Fax: 020 7242 8680 44 Museum S treet London WC1A 1LY
MASTERCARD/ VISA/ AMEX/ SWITCH Accepted Monday to Friday 11:00am - 7:00pm Saturday 12:00pm-7:00pm
*Mail Order Welcome
Welcome * We
We always use Royal Mail Special
Special Delivery *Place your order before 4:30pm *It will arrive next morning before noon
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 Dedicated to the monochrome photographer

www.apertureuk.com Tel: 020 7242 8681 Fax: 020 7242 8680

To advertise on these pages please call Melanie on 01273 402825

Pre-owned Leica Pre-owned Canon Pre-owned Hasselblad
Leica M7 0.72 Black #2854xxx (boxed) Sold Exc+ £1250 EOS-1Ds + Charger Under 20000 Actuations Exc++ £690 H3DII-39 with 80mm HC + 39mp Digital Back MKII
Leica M7 0.72 Black #2885xxx (boxed) Sold Exc+++ £1390 EOS-5D (Complete; boxed) Exc+++ £790 Camera 18300 Actuations, Lens 3500 Actuations Mint- £9500

Leica M6 0.85 Black #2424xxx Rare Pre-TTL 0.85 Body Exc+ £850 EOS-5D (Complete; boxed) Mint £890 XPAN with 45mm f4 + hood & Centre Filter Exc++ £1190

Leica M6 Black #1705xxx Wetzlar Exc £790 EOS-3 Exc++ £170 XPAN II with 45mm f4 + hood & Centre Filter Exc+++ £1650
Hasselblad 30mm f5.6 + hood; V/F & Centre Filter Mint- £1750
EF20mm f2.8 USM + hood Exc+ £270
Leica M6 Chrome #1706xxx Wetzlar Exc+++ £890
Hasselblad 90mm f4for XPAN Mint £450
EF50mm f1.0L USMSold Exc++ £2090
Leica M6 Black #1794xxx Sold Exc+++ £950 Hasselblad 90mm f4 for XPAN Exc+++ £390
EF-S 60mm f2.8 USM Macro Mint- £240
Leica M6 Black #1906xxx lightly dented baseplate Exc £690 Hasselblad ArcBody with Rodenstck 35mm &
EF200mm f1.8L USM + hood Exc+ £2290
Leica M6 Black #2279xxx Exc++ £850 45mm f4.5 Apo-Grandagon; center filters + Accs Mint £4500
EF300mm f2.8L USM IS + hood & Flight case Sold Exc+++ £2750
Hasselblad SWC/M with v/finder (38mm CT*) Exc+ £1350
Leica M6 Black #2414xxx Sold Exc++ £890
EF400mm f2.8L USM + hood Exc+ £2750 Hasselblad 553 ELX + A12 Acute Matte ( AA batt) £450 Exc+
Leica SF-20 (boxed) Mint- £90
EF400mm f4L USM DO IS + hood with flight case As new £3750 503CW + 80mm f2.8 CFET* + A12 Acute Matte D Mint £1690
Leica Hand Grip for M8 Chrome (boxed) Sold Mint £100 EF500mm f4L USM IS + hood & Flight case Sold Exc+++ £3750
503CXi + 150mm f4 CFT* + A16 Acute Matte Exc++ £1150
Leica M4-P #1550xxx Exc+ £590 Sigma 500mm f4.5 APO DG HSM + hood (boxed) Mint- £2390 501CM + 80mm f2.8 CBT* + A12 6x6 Acute Matte Exc+++ £950
Leica M4-2 #1469xxx Exc+++ £690 EF600mm f4L USM + hood Exc++ £3450 500CM + 60mm 3.5 CT* + A12 #RH1266xxx Exc++ £850
Leica M3 #912xxx S/W Exc £550 EF600mm f4L USM IS + hood Exc+ £4390 40mm f4 Distagon CFT* FLE + hood #6669xxx Exc++ £990

Leica M2 #1050xxx Exc £430 EF600mm f4L USM IS + hood & Flight case Sold Nr. mint £4790 40mm f4 Distagon CFT* FLE + hood Sold Nr. mint £1250
40mm f4 Distagon CFT* FLE + hood Sold Mint- £1190
Leica M2 #1051xxx User £390 FD800mm f5.6L + hood (EOS mount) Flight case Exc++ £1750
50mm f4 Distagon CT* #6188xxx Sold Exc++ £390
Leica MD Exc++ £390 EF17-40mm f4L USM Mint £450
50mm f4 Distagon CFT* FLE + hood Sold Exc+ £650
EF20-35mm f2.8L + hood Exc+++ £450
Reid II with Taylor Hobson 2inch f2 in Original Box Rare Exc++ £1790 60mm f3.5 Distagon CBT* #8171xxx Mint- £450
EF20-35mm f3.5-4.5 USM Mint £210
Reid III with Taylor Hobson 2inch f2 & Original ERC Sold Exc++ £950 100mm f3.5 Planar CFiT* + hood #8908xxx Sold Mint £1090
EF24-105mm f4L USM IS + hood Mint £690 120mm f4 Makro-Planar CFT* #6964xxx (boxed) Mint- £850
Leica IIIg #827xxx Mint- £990
EF28-105mm f3.5-4.5 USM II Mint £170 120mm f4 Makro-Planar CFT* #7177xxx Exc+ £650
Leica IIIg #981xxx Sold Exc+++ £890
EF70-200mm f2.8L USM IS + hood Exc+++ £950 120mm f4 Makro-Planar CFT* #7125xxx Exc++ £690
21mm f2.8 Elmarit-M + V/finder #33633xx Sold Mint- £1150
EF70-300mm f4.5-5.6 DO USM IS + hood Sold Mint £750 150mm f4 Sonnar CFT*#6759xxx Exc £390
21mm f2.8 Elmarit-M + hood & V/finder #33636xx Mint- £1250
EF100-400mm f4.5-5.6L USM IS + hood Exc++ £850 150mm f4 Sonnar CFT* #6966xxx Exc+ £430
21mm f4 Super-Angulon #1676xxx Rare Exc+++ £850 220EX (boxed) Mint £70 150mm f4 Sonnar CFT* #7035xxx Mint- £490
24mm f2.8 Elmarit-M + hood #3871xxx Nr. Mint £1750 Other Medium / Large Format 150mm f4 Sonnar CFT* #7275xxx Exc+++ £450
28mm f2.8 Elmarit + hood #2523xxx (boxed) Mint £890 Fuji GA645 Zi Zoom (boxed) Mint- £550 150mm f4 Sonnar CFi T* #8807xxx Exc+++ £850
160mm f4.8 Tessarr CBT*#8129xx Mint £450
28mm f2.8 Elmarit-M + hood #3206xxx Sold Exc+++ £750 Fuji GW670 III (90mm) Film Counter: 98 Nr. mint £650
Fuji GSW690 III (65mm) Film Counter: 242 Exc++ £590 250mm f5.6 Sonnar C #4352xxx User £150
Voigtlander 50mm f1.1 Nokton (Ex-Demo; VAT included) Mint- £890
Fuji G617 with 105mm f8 V/finder & Center Filter Exc+++ £1590 Hasselblad Polaroid 100 Exc+ £90
50mm f1.4 Summilux Chrome #1927xxx Sold Exc+ £790 Mamiya 55mm f2.8 N Sekor C + hood for 645 Mint £170 Pre-owned Contax
50mm f1.4 Summilux-M Black Paint #4011xxx Exc+++ £1650 Mamiya 210mm f4 N Sekor C (boxed) for 645 As new £130 Contax TVS (boxed) Mint- £270
90mm f2 APO-Summicron-M ASPH #3893xxxx Sold Mint- £1290 Mamiya 7II + 80mm f4L Kit (Price includes VAT) NEW £1690 Contax 28mm f2.8 Biogon T*#7860xxx Mint £180
Mamiya 6 + 75mm f3.5G Exc++ £850 Contax 35-70mm f3.5-5.6 Vario-Sonnar T* Black Exc++ £270
90mm f4 Elmar-C #2602xxx Exc+ £170
Mamiya 7 Body Only Exc+++ £490 Contax 90mm f2.8 Sonnar T* Black #7909xxx Mint- £170
9cm f4 Elmar (Collapsible) Chrome #1492xxx User £190
Mamiya 7II + 80mm f4L + Hood Mint- £1150
Contax 90mm f2.8 Sonnar T* #7619xxx Mint- £130
135mm f4 Tele-Elmar Exc+ £250 Mamiya 7II + 80mm f4L + Hood (boxed) As new £1250
Contax 90mm f2.8 Sonnar T* with hood #7921xxx Mint £150
135mm f4.5 Hektor #1384xxx Exc+ £140 Mamiya 7 + 65mm f4L Exc+++ £1090
Contax N1 with 24-85mm f3.5-4.5 Vario-Sonnar T* Mint £650
Leica R6.2 Black User £490 Mamiya 50mm f4.5L + hood & V/finder Mint £850
Mamiya 65mm f4L + hood Mint- £590 28-70mm f3.5-4.5 Vario-Sonnar T* MM + hood Mint- £250
Leica R6 Chrome Mint- £490
Mamiya 150mm f4.5L + hood Mint- £450 80-200mm f4 Vario-Sonnar T* MM (boxed) Exc++ £320
Leica SL2 Black Exc+ £390 Mamiya 150mm f4.5L + hood Mint £490 21mm f2.8 Distagon T* MM + hood Mint- £1690
24mm f2.8 Elmarit-R ROM Exc £390 Pentax 165mm f4 SMC Leaf Shutter Latest Mint- £320 28mm f2.8 Distagon T* MM #7446xxx Mint £250
Classified

12mm f5.6 Wider-Heliar + hood Sold Mint- £470 Cambo Master with 90; 120; 150; 180 & 210mm 135mm f2 Planar T* AE West Germany Exc++ £750
plus other accessories. Very good value!! Mint- £1790
35mm f1.2 Nokton + hood (boxed) Sold Mint- £690 200mm f2 Aposonnar T* with flight case Rare Mint £2900
Horseman SW612P with Rodenstosk 75mm f4.5
35mm f2.5 Color-Skoper + hood (boxed) Mint- £250 200mm f3.5 tele-Tessar T* AE West Germany Mint- £290
APO-Grandagon + Horseman 6x12 & 6x9 RFH Exc+++ £1950
50mm f1.5 Nokton + hood Silver (L-39) Sold Mint £350 Linhof Technorama 612 PC + Schneider 65mm f5.6 Brand New Sekonic Meter
75mm f2.5 Color-Heliar + hood Silver (boxed) Sold Mint £270 Super-Angulon &135mm f5.6 APO-Symmar & V/F Sekonic L-758D Digital Master ................................£370
BRAND NEW 50mm f1.1 Nokton (VAT included) NEW £990 Camera slightly used; both lenses are immaculate) Exc+ £2450 Sekonic L-358 Flash master ....................................£190
Sekonic L-308s Flashmate.......................................£140

We give a 12 months parts & labour guarantee for our used Leica; 6months for the others
Uncompromised Quality & Service www.apertureuk.com
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 Dedicated to the monochrome photographer

Printing & Processing Dealers & Specialists

Classified
To advertise on these pages please call Melanie on 01273 402825

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 Dedicated to the monochrome photographer

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for only £35 p.a.
Clikpic is an easy-to-use service for photographers who want
a website without the cost and hassle of setting one up.
With minimal technical expertise required, you can use our
online admin system and a wide choice of template designs
to create and edit your own web site quickly, easily and
very cost-effectively.

• Update or change your site whenever you want.

• Dozens ofmany
Have as pages as you like, in a variety of formats.
• give it yourstyle features and options to customise your site and
own look, including adding your logo.
• you
Link up to PayPal or Google Checkout to sell your prints online –
can even have a shopping basket facility.
• you
Opt to have your own domain name for an extra £6 p.a. (or if
already have one, link it up to your Clikpic site).
• Add a slideshow; guest book; calendar; blog; an events diary.
• Image watermarking facility.

With many more features available and more to come!

Don’t just take our word for it!

Not only did we win the ‘Best in Test’ with
Black & White Photography magazine, but
we also won a prestigious Gold Award
from the UK’s best-selling photo magazine,
Digital Photo. Here’s what they said about us:

“The Winner: Clikpic”

“Clikpic impressed us with 10 attractive templates and a fine array of
options in the Admin area. Building the website was uncomplicated
and completely hassle-free. For the standard £35 fee you’ll be able to
upload 100 of your finest shots and there’s masses of options that let
Classified

you control how they’re organised in the gallery. Choose your ideal
domain name (budget £6-12 for this) and you’ll own a professional
looking photo website in no time at all!”

Price list: £35 pa allows up to 100 images; £50 pa up to 200; £80 pa up to 500;
£180 pa up to 2,000. Discounts available for longer-term subscriptions.
Please see the Prices section on www.clikpic.com for full details.

Visit www.clikpic.com for a FREE 14 day trial

95

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 HOW TO SUBMIT

Your chance to Submission

take part!
Send your submissions to Black & White Photography,
form
I would like to take part in the following section(s): please ✔

1. READERS’ PICTURES ❑
Please tell us a little about your pictures:

GMC Publications, 86 High Street, Lewes, East Sussex BN7 1XN

Camera, lenses, other equipment:

MAILBAG
Send us your views on the Exposure details if recorded:
wonderful world of black &
white. Do include a picture
if you wish. The best letter 2. ASSIGNMENT ❑
of the month wins a copy Name of assignment:
of Steve Mulligan’s book
Understanding Composition Time taken:

Please tell us a little about your pictures:

READERS’ PICTURES Camera, lenses, other equipment:

Send in your pictures – and you could
win £50 to £100 worth of Imaging Exposure details if recorded:
Warehouse vouchers

Name
ASSIGNMENT Address
Accept our monthly
photography challenge
and you could win £100 cash Postcode

Daytime telephone number

Please
n SAE
include a Email
uld like
if you wo
mission
your sub
Website
returned Photocopies of this form are acceptable

DIGITAL SUBMISSIONS PRINT SUBMISSIONS

When burning your CD, create two folders: one containing CMYK Tiff files, EMAIL ENTRIES Prints should have a minimum paper size of 10x8in
saved at 300dpi and Mac compatible, and a second with low-res files saved We are currently unable to receive and a maximum size of 12x16in for silver prints.
at 72dpi. In addition, a contact sheet is always useful. Please ensure your submissions via email so please For inkjet prints they should be a minimum of A4
CD is labelled with your contact details. If you would like your CD to be don’t send work this way. and a maximum of A3. All prints must be
returned, please include an SAE. All CDs received without an SAE will be Also, please do not send website unmounted. Prints must not be sent in tubes,
recycled. If you do not hear from us within 10 weeks of your submission, links as speculative submissions. entries sent in this way will be returned. Please
your images have been unsuccessful, on this occasion. include an SAE if you want your prints returned.

PLEASE NOTE
Due to the many submissions we receive each month, no individual correspondence can be entered into. If you would like us to
acknowledge the safe receipt of your work, please enclose a postcard with the correct postage and your address clearly marked on the front.
Send your submissions to: Black & White Photography, GMC Publications, 86 High Street, Lewes, East Sussex BN7 1XN

96 YOUR CHANCE ER/MB.indd 96 25/2/10 14:42:37

 18 dio ite
st lim
u
M se d -
ZE CH p ll n
AR t c

IS - wit ow
S try h t
O t m o
u a

PE h od re
N e fu el gis
D ll - te
The Professional’s Choice Since 1982

AY ra pl r!
ng ac
e, es
cool as
High quality lenses for
Nikon, Canon, Leica and
Zeiss ZM Lenses:
(For Leica M-fit cameras Panasonic Cameras
including Panasonic Lumix 4/3 models)
15mm f/2.8 Distagon £3,248 Zeiss SLR Lenses:
18mm f/4.0 Distagon £1,069 (Note, prices vary between Nikon ZF.2, Canon ZE 2 Cool! New Zeiss ZF.2 CPU
21mm f/2.8 Biogon £1,069 and Pentax ZK versions) lenses for Nikon SLRS...
21mm f/4.5C Biogon £893 18mm f/3.5 Distagon £1,071 Zeiss have released the first of their
25mm f/2.8 Biogon £893 21mm f/2.8 Distagon £1,410
new ZF.2 lenses that feature full CPU
28mm f/2.8 Biogon £805 25mm f/2.8 Distagon £799
technology. SLR users can now enjoy
35mm f/2 Biogon £805 28mm f/2 Distagon £982
35mm f/2.8 Planar £628 35mm f/2 Distagon £759 full auto exposure settings such as
50mm f/1.5 Sonnar £893 50mm f/1.4 Planar £535 aperture priority and will not need to
50mm f/2 Planar £629 50mm f/2 Makro Planar £982 change manual lens settings in the
85mm f/2 Sonnar £2,355 85mm f/1.4 Planar £982 cameraʼs menu setup.
85mm f/4 Tele-Tessar £722 100mm f/2 Makro Planar £1,428

use ZM
lenses with
a special
adaptor!

Nikon D3X Canon EOS-1 Mk3 Leica M9 Lumix GF-1

£5,046 (body only) £5,722 (body only) £4,955 (body only) £454

WE ALSO SELL NIKON, CANON, HASSELBLAD, LEICA, ZEISS, EPSON, FUJI,

SCHNEIDER, VOIGTLANDER, MAMIYA, ARCA, LINHOF, EBONY, TOYO, SHEN HAO,
AND MANY MORE... NOTE. ALL PRICES SHOWN INCLUDE VAT. E&OE

01202 723046 | [email protected] | www.robertwhite.co.uk

IBC_BW_110.indd 1 17/2/10 14:36:52
OBC_BW_110.indd 1 15/2/10 16:30:33