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1、BLACK+WHITE PHOTOGRAPHYMAY 2017DEVELOPING A PERSONAL PRACTICE + LOUIS FAURER + TAKING STILL LIFES + LEICA M10ISSUE NO.202BW_202_COVER.indd 216/03/2017 15:28IFC_BW_202.indd 13/24/17 2:51 PM01B+WT his morning over breakfast (a leisurely affair involving a large pot of coffee) my husband was, for some
2、reason, reading an introduction he d written for a book back in the 1980s. He commented that the language he had used was rather different from what he would use today. This set me off thinking about the way we use the language of photography (the parallels between written language and photographic
3、language are, to me, remarkably similar in many ways) and how we adapt and change it over a period of years, hardly without noticing. When we look at an image shot in say 1970, we know that we are not looking at a contemporary photograph. The clues come not only from the subject matter (styles in dr
4、ess, furnishing, cars) and the technical elements (film style) but from some less tangible element that is a little harder to define. In terms of language, this could be equated to the spoken language of the day the phrases and words that drift in and out of fashion (who says ace or fab these days?)
5、 and are tied specifically to a period of time. Which brings me on to a problem I ve been facing recently in that I am attempting to photograph the past. What I want to capture is a sense of the past without imitating the language of that period so sepia toning and 70s colour film, for instance, are
6、 out. Slowly and painfully I m getting there but it has involved me stepping (or should I say leaping) out of my comfort zone into all sorts of different experiments that I would never have got round to otherwise. I also know that I can t now go back to my old ways, I will have to continue to find a
7、 new language. But then, what is photography about if not communication?Elizabeth Roberts, Editor THE LANGUAGE OF PHOTOGRAPHY Anthony BaileyEDITORIAL Editor Elizabeth Roberts email: Deputy Editor Mark Bentley email: Features Editor Anna Bonita Evans email: Designer Toby HaighADVERTISING Advertising
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11、x, BN7 1XU, UKTel +44(0) 1273 488005, Fax: +44(0) 1273 402866 or visit Black+White Photography (ISSN 1473-2467) is published every four weeks by GMC Publications LtdBlack+White Photography will consider articles for publication, which should be sent to the editor together with a stamped self- addres
12、sed return envelope. GMC Publications cannot accept liability for the loss or damage of unsolicited material, however caused. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results o
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14、. With regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire. Guild of Master Craftsman Publications Ltd. 2017BLACK+WHITE PHOTOGRAPHYEDITORS LETTER MAY us on twitter BWPMag bwphotomag 01_EDS_LETTER_202 ER/MB.indd 116/03/2017 15:2902B+WCOVER
15、Picture by Martin BogrenFEATURES08 PARADISE LOST Mimi Mollica reconnects with his roots in Sicily24 LIFEBOAT Jack Lowe honours the RNLI32 ALONE IN THE CROWD Celebrating the work of Louis Faurer66 FACE TO FACE Tintype portraits by Kari OrvikNEWS04 NEWSROOM The latest in black Lacock Abbey in Wiltshir
16、e, where Fox Talbot lived; and the National Media Museum in Bradford, which holds many of Fox Talbot s pictures.04-05_NEWS_202 ER/MB.indd 416/03/2017 15:3205B+WSTEPPING OUTSUPPORTING PROJECTSGO WILDGARDEN PRIDEA black the Morris Minor s design and functionality typifies British culture and all the f
17、oibles that go with it a perfect subject for Parr. He searched the west coast of Ireland for deserted moggies to find many had taken on multiple uses or symbolised a time now past. Depicting seemingly ordinary scenes, Parr started to develop his style s keystone: gradually the picture unfolds into a
18、 milieu imbued with surrealism, contrasted with a sharp injection of satire. Co-curator Zelda Cheatle interprets the series in a more emotive way, she says: These photographs show a real affection for the landscape of Ireland. There is no mockery here, definitely some characteristic humour and (dare
19、 I say this about Martin) some poetry too. Of the series, Parr says: Those were some of my parting shots to B worldphoto.orgSeen by many as the chronicler of our age, Parr is known for pioneering a new tone in social documentary photography. After his early explorations in monochrome he moved to col
20、our, which he used in all its intensity by combining it with daylight flash. The startling results secured his distinct visual language; his curiosity with how our peculiarities manifest through tourism, leisure and consumption also became central to his work. What some might call Parr s wry observa
21、tion others may label cruel mockery, yet there s no doubt we re asked to look again at the familiar and see the humour lying within it. Although Parr s work leaves the public divided, his presence in the photography world has been fundamental to its development during the second half of the 20th cen
22、tury. A prolific photobook collector, he is one of the most knowledgeable figures (along with Gerry Badger) on the subject and has published 40 of his own titles. He s a key member of Magnum Photos since 1988 and in 2014 was voted the president of Magnum Photos International. His work has been shown
23、 in more than 80 exhibitions worldwide and last year he curated the major show Strange and Familiar: Britain as revealed by international photographers at London s Barbican. Recognising his achievements, World Photography Organisation (WPO) awarded Parr with its most distinguished title, which in pr
24、evious years was given to seminal figures Eve Arnold, William Eggelston and Elliott Erwitt. Scott Grey, WPO S CEO says: Great integrity and commitment to the medium of photography is the common thread that links each of our previous Outstanding Contribution to Photography Awards recipients. These ar
25、e qualities that Martin Parr has consistently displayed throughout his career and why we are so proud to present him this title in the 10th anniversary of the Sony World Photography Awards.06-07_ON_SHOW_202/ABE/ER/MB.indd 716/03/2017 15:338B+W08B+WFE ATU R EPARADISE LOSTDonatella Montrone interviews
26、 Mimi Mollica about his series Terra Nostra, a labour of love and longing, in which the Sicilian photojournalist returns to his homeland to document the scars left behind by decades of Mafia stranglehold.All images Mimi Mollica08-16_MIMI_MOLLICA_202 ER/MB.indd 816/03/2017 15:359B+W09B+WThere were mo
27、ments when the distance between him and his homeland felt like a chasm and he was overwhelmed with thoughts of home and kin and patria. I felt that I was losing something intimate and precious within me, says London-based photojournalist Mimi Mollica of his urge to reconnect with his homeland of Sic
28、ily after more than a decade living in England. I often felt consumed by moments of longing. I felt this pull and wanted to reconnect with my roots. Mollica moved to London on 1 January 1996, partly because of a need for change, partly as an act of artistic survival. He had outgrown the streets of P
29、alermo and so, at the start of a new year, walked away from his life in Sicily and made his way to London, where he eventually studied photography, perfected his craft, and carved a place for himself as a respected image-maker. I was 20 years old when I left Palermo. I wasn t sure I wanted to be a p
30、hotographer at the time. I wasn t sure of anything, really. I was enrolled in university, but I didn t want to study. I wanted to mess about, find girls, go partying. So instead of doing nothing and chasing girls in Palermo, I chose to do nothing and chase girls in London. Mollica grew up in the thi
31、ck of a Palermo plagued by corruption and organised crime, its influence reaching the highest levels of government. Generations of corruption operating under a cloak of respectability enabled the proliferation of Mafia activity that would taint the very core of Italian society, while giving rise to
32、the notion of men of valour hardmen disposed to mete out their special brand of righteousness for perceived slights by factions of other Mafia families.Above A couple embrace in the middle of a busy street.Opposite A man waits for the bus at a vandalised bus stop in Palermo.08-16_MIMI_MOLLICA_202 ER
33、/MB.indd 916/03/2017 15:3510B+W My mother is a retired university professor; she taught philosophy of law and is fiercely and openly opposed to the Mafia, says Mollica. She has a strong sense of duty: it was my mother who taught me about Mafia mentality and the damage that kind of corruption does to
34、 society. At one point she was also involved in the administration of a local institution, and when she came home from work she would tell us how crazy the board meetings were how corrupt. The board ended up doing a lot of dirty things and my mother didn t want to be a part of an institution where s
35、hady decisions were taken for individual profit, and she found herself in the minority. As a young boy, hearing that your mother encounters Mafia activity in the most squalid way put everything into perspective. It s not like the scenes depicted in Hollywood films involving guns and bosses and gold
36、rings but instead involving terrible, despicable people who would do anything to steal money from the state. Mafiosi are really miserable people because all they are doing, really, is taking money without working for it, he explains. Imust have been 12 years old when I realised just how much the Maf
37、ia permeated every aspect of society, which is another reason why I left Palermo. I didn t want to build a career in a place where a person s fundamental rights are turned into a favour; where you are indebted to someone corrupt in return for access to something that is your right. I thought it woul
38、d be better to go somewhere else. Sicily is the birthplace of Cosa Nostra, the motherland that gave rise to the Above A wedding guest enjoys a cigarette outside the church.Opposite A newly married couple embrace as they leave St Francis church in the historical centre of Palermo.08-16_MIMI_MOLLICA_2
39、02 ER/MB.indd 1016/03/2017 15:3511B+W You feel the effects of so much corruption an entire society lost. Sicily has become existentially orphaned of democracy.08-16_MIMI_MOLLICA_202 ER/MB.indd 1116/03/2017 15:3512B+W It s not like the scenes depicted in Hollywood films involving guns and bosses and
40、gold rings but instead involving terrible, despicable people who would do anything to steal money from the state.08-16_MIMI_MOLLICA_202 ER/MB.indd 1216/03/2017 15:3513B+Wmob s narrative, its ideology, its rhetoric. Throughout its history, internal conflicts have varied in scale and intensity. I was
41、born in 1975, in the middle of the second Mafia war, when the island was gripped with terror, explains Mollica. The early 1980s was a brutal period resulting in the assassinations of politicians, police chiefs and magistrates who sought convictions for several hundred Mafiosi in what was known as th
42、e Maxi Trial. When the convictions of prominent Mafia bosses were announced in 1992, the mob took revenge and killed two formidable, high-profile prosecutors Giovanni Falcone and Paolo Borsellino. Today, the kind of gratuitous violence committed by mob families no longer dominates the streets of Pal
43、ermo, but the extent to which their presence has wounded the Sicilian psyche is undeniable. Those types of killings are no longer recurring every day, says Mollica. The Mafia is not relevant at all any more, but what they ve created, the corrupt system they have put in place, is absolutely terrifyin
44、g. So I started thinking about Sicily, about the reasons why I left, why I miss it, and had all these contrasting and conflicting feelings about my home. Mollica started working on Terra Nostra, his love letter to Palermo, in 2009 in an effort to reconnect to his homeland and show the reality of Cos
45、a Nostra s destructive legacy on the island. You don t see the presence of the Mafia, but you perceive it. You feel the effects of so much corruption an entire Above Sunbathers in front of a hotel on which the bank foreclosed in Trapani periphery.Opposite Pizzo Sellas abandoned residential developme
46、nt, better known as Michele Grecos Christmas Tree for its pyramidal shape, is the symbol of the Sack of Palermo, when former Mayor Salvo Lima and Mafia member and council assessor Vito Ciancimino unlawfully authorised about three thousand building licences in one night, destroying for good the liber
47、ty heritage of Palermos centre and outskirts.08-16_MIMI_MOLLICA_202 ER/MB.indd 1316/03/2017 15:3614B+Wsociety lost. Sicily has become existentially orphaned of democracy, he says. The island s sun-drenched pavements, lemon groves and glistening waters belie its tainted heart: beautiful stretches of sandy beaches, now a cement-filled coastline, ruined by illegal building speculation; a shop window riddled with bullets; the mob s stranglehold on local tradesmen forced to pay extortion. I wanted