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1、BLACK+WHITE PHOTOGRAPHYJANUARY 2017SHOOT MINIMALIST LANDSCAPES + GILI YAARI + CANON EOS M5 + COMPOSITION TIPSISSUE NO.198 COOL, CREATIVE AND CONTEMPORARYB+W198_COVER.indd 224/11/2016 10:58Photograph and words by student Sarah-Jane FieldIFC_BW_198.indd 111/23/16 12:03 PM01B+WWe ve had some pretty sto
2、rmy weather down in the south of England lately. I m living close to the sea, near the place I grew up, and am particularly fond of these storms that hit the coast because they remind me of my childhood. Last Sunday I woke up to hear the wind raging outside and a look out the window told me it was a
3、 pretty wild sea out there I d been waiting for this as I wanted some pictures of rough sea for a project I m working on. So off I went. When I got to the beach I could hardly stand up, the wind was blowing so hard. I couldn t hear anything because of the sound of the waves crashing on the shingle a
4、nd the salt spray had coated my glasses so that my vision was blurred. All this I am familiar with and love. However, it s not ideal for photography. My first 10 or so pictures were out of focus. Using a rangefinder is usually quite good in these conditions as you can focus by feel (no autofocus rem
5、ember) but when you are trying to keep your balance and not be blown off your feet you can nudge the lens by accident, which is what I must have done. I soon put this right and took another 30-odd pictures before climbing back up the beach. And that s when it occurred to me that I hadn t really expe
6、rienced something that has always been precious to me fighting the wind, feeling the power of the sea, yelling out loud with the sheer joy of it I d been too occupied with getting the picture. Back home, I downloaded the images and, in the warm comfort of indoors, felt very satisfied with what I had
7、 caught a stray bird sailing on the wind, a wave breaking on the shingle, the surface of the sea boiling. But there was still this lingering wish that I d given myself over to it entirely so that it had remained a memory, an experience of the body, rather than an image. I m still not sure which I wo
8、uld have preferred, but I know I could only have one. A paradox of life, I suppose.Elizabeth Roberts, Editor A PARADOX OF LIFE 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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12、 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- addresse
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15、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 JANUARY us on twitter BWPMag bwphotomag 01_EDS_LETTER_198 ER/MB.indd 106/12/2016 11:1202B+WCOVE
16、RThis months cover is by Pentti Sammallahti.FEATURES 08 STRANDED IN GREECE Gili Yaari documents the plight of asylum seekers24 WHEN THE PAST SPEAKS Resonant wet plate collodion portraits by Mark Luscombe-Whyte32 THE GIFT OF THE PRESENT Exploring the work of Peter Hujar66 FACE TO FACE Steve Koss on p
17、hotographing his home town of DetroitNEWS 04 NEWSROOM The latest from the world of monochrome06 ON SHOW The photography exhibition to see18 ON THE SHELF Our pick of the best photography books20 IN THE FRAME Your guide to exhibitionsCOMMENT 22 AMERICAN CONNECTION Susan Burnstine talks to acclaimed ph
18、otographer Julia Dean42 A MODERN EYE Shoair Mavlian on Ren BurriBLACK+WHITE PHOTOGRAPHY ISSUE 198 JANUARY 2017 NEXT MONTHS ISSUE IS OUT ON 19 JANUARY Gili Yaari Mark Luscombe-Whyte The Peter Hujar Archive, LLC. Courtesy the Pace Macgill Gallery, New York and the Fraenkel Gallery, San Francisco. Ren
19、Burri/Magnum Photos 0824324202-03_CONTENTS_198 ER/MB.indd 230/11/2016 11:5203B+W64 A FORTNIGHT AT F/8 Tim Clinch puts the fun back into photographyTECHNIQUE 50 TOP TIPS Shoot minimalist landscapes with Lee Frost56 PHOTO PROJECTS Master the skills of composition68 SMART GUIDE TO PHOTOGRAPHY Keeping s
20、martphone shooting simpleINSPIRATION 41 INSIGHT Seeing the world through a lens46 THINKING PHOTOGRAPHY The unique satisfaction of the print60 GET CURATING Preparing for an exhibitionTESTS jewishmuseum.org.uk.dramatic. Deceptively simple on first look, the images are imbued with symbolism and storyte
21、lling. This project is essentially an exercise in photojournalism, says Passow. I tried to put together a set of photographs that explored where tradition and identity meet. Looking for and capturing those moments, Passow shows people expressing who they are and how they give their life meaning thro
22、ugh their faith. He says: One of the more fascinating aspects of the project was to see how much of a hold on tradition people have in the more remote quarters of Scotland.Be it the Scottish Highlands sheep farmer attending to her flock with the Star of David around her neck (below left), or the man
23、 during Shabbat dinner using candlesticks brought over by his immigrant mother 80 years before (below), the images highlight how the community embraces Scottish culture and religious traditions in tandem. The initial premise of this project was that I would be documenting a group in decline. In fact
24、, I discovered Scotland s Jewish community is anything but, he says. Regardless of how many people there are, the community is vibrant, alive and aware of its history. It acknowledges the traditions of the past but has a firm eye on both the present and the future. Showing a proud sector of society
25、retaining its identity from the populace, this compelling series celebrates how, as Passow eloquently puts it: The Jewish community has become so tightly woven in the national fabric.06-07_EOTM_198/ABE/ER/MB.indd 724/11/2016 10:318B+W08B+WA refugee girl stands alone on the rails near a fire used for
26、 heating water at Idomeni refugee camp.All images Gili YaariF E AT U R E08-16_GILI_YAARI_198 ER/MB.indd 824/11/2016 10:329B+W09B+W08-16_GILI_YAARI_198 ER/MB.indd 924/11/2016 10:3210B+WWar, desperation, famine it s what drives entire populations to flee their homelands in search of asylum in a welcom
27、ing nation. And such is the case with the migrant crisis on the Mediterranean coastline, arguably the greatest humanitarian crisis in a century. The sheer scale of it has engulfed the European Union, and where some member states have rejected the EU s relocation schemes, refusing to adopt migrant qu
28、otas, others have been on the frontline, bearing the brunt and struggling to cope with the vast numbers of refugees arriving on their shores. Italy and Greece are chief among them. Documentation of this crisis has great importance and not just because it brings to light the humanitarian tragedy as i
29、t s happening, so all the world can see. It s important for the future, because it s a record of events and will have historical importance in years to come, says Israeli photojournalist Gili Yaari, whose series Stranded in Greece captures life in the makeshift refugee camps scattered throughout the
30、 nation. Greece has become a flashpoint for the migrant crisis in Europe, he says. Many of the migrants are coming from Syria, Afghanistan and IraqThey are fleeing wars and violence in their home countries in the hope of a better future. But when the northern Greek-Macedonian border was closed, and
31、refugees kept coming in from Turkey, it created a bottleneck of people, particularly along the border in Idomeni, but also in many other places. Makeshift refugee camps appeared all over the country in Piraeus Port, at gas stations, in abandoned buildings. So, the story changed from people on the mo
32、ve, trying to make their way to richer European STRANDED IN GREECE They are running for their lives. They have nothing, says Israeli photojournalist Gili Yaari of the asylum seekers living rough in Greece. Donatella Montrone finds out why he was moved to document their lives.Refugees tents are locat
33、ed right next to the gas pumps at the petrol station of Hotel Hara in the village of Evzoni, seven kilometres south of the Greek-Macedonian border.Opposite top A refugee women, carrying a baby, walks on the rails as other women sit on the dock and people light fires for cooking at Idomeni refugee ca
34、mp.Opposite below Tents are placed on the docks and on the rails in the old train station of Idomeni. As of the end of April 2016 there were around 12,000 migrants in the camp.08-16_GILI_YAARI_198 ER/MB.indd 1024/11/2016 10:3211B+W08-16_GILI_YAARI_198 ER/MB.indd 1124/11/2016 10:3212B+WPakistani refu
35、gees in an abandoned building, where they live, in the village of Evzoni, near the Greek-Macedonian border.countries, to static refugees, living their daily lives in the camps, with no home to return to, and no place to go. That s why I called my project Stranded in Greece. Yaari believes it s impor
36、tant to document the plight of refugees because it helps put a face to the crisis. It helps give refugees a voice . By looking beyond the political aspects of the crisis, you see families, children and elders who have lost everything, he says. They are running for their lives. They have nothing and
37、have to start from zero. And somehow it makes you reflect on your own life, on the most obvious things like having dinner with your family, the fact that you have a family, that your children go to school, that you go to work It makes you see your own life differently. As the son of a Holocaust surv
38、ivor, and raised in a loving home where he says joy was illegitimate , Yaari is especially sensitive to the emotional condition of others be it happiness, pain or despair. My parents emigrated to Israel from Hungary, and they integrated into society, worked for their living and managed to raise a fa
39、mily. But it was only when I grew up that I understood I was actually raised in a house where there was no happiness, where fear and survival were a driving force, he says of his upbringing in Beit-Shmesh, a suburb of Jerusalem. This has become one of my most important tools as a photographer for su
40、re, it s the most important driver for me to focus on photographing people. Refugee children are the most vulnerable. They are the ones paying the biggest price. Their experiences will probably impact them for the rest of their lives. One of the hardest things to see is so many sad and desperate chi
41、ldren. It s been said the migrant crisis is one of the most photographed events in living memory, but where Yaari s series differs from many other images of the crisis is that, while it strings together an evocative narrative of the displaced, each image, independent of one another, captures their d
42、esolation. One image in particular stands out, that of a small child, alone on the railway tracks, stoking a makeshift fire in a tin can. It was a rainy day, and the men and Opposite top A Syrian refugee child looks through a bus window as a man reaches his hand towards him, in Piraeus Port. The man
43、 is waiting to be transferred with his family to Skaramangas camp.Opposite below Syrian refugees carry firewood at a distribution point in Idomeni refugee camp. Firewood is a valuable resource for heating and cooking, especially during cold rainy days. Th ey are running for their lives. Th ey have n
44、othing and have to start from zero.08-16_GILI_YAARI_198 ER/MB.indd 1224/11/2016 10:3313B+W08-16_GILI_YAARI_198 ER/MB.indd 1324/11/2016 10:3314B+W08-16_GILI_YAARI_198 ER/MB.indd 1424/11/2016 10:3315B+WA Syrian refugee child stands in a field next to the Idomeni refugee camp at sunset. According to st
45、atistics provided by UNHCR, nearly 40% of migrants arriving into Greece in 2016 were children.women were fixing their tents and looking for firewood. I saw this young Syrian girl near her family tent. She was there with some other children who later left. I was surprised to see such a young girl han
46、dling the fire. Her clothes were quite dirty and she looked sad. She was staring in the distance, ignoring my presence, and didn t communicate. Her condition touched me very deeply, he says. Yaari shot the series using a handheld digital camera so as to remain unobtrusive, choosing black hundreds of
47、 horns and hides entangle in grainy wideangle shots of their brutal migration, crashing down sheer slopes into crocodile-infested rivers, bolstering their number by journeying the plains with zebra. Elephant seals roar and vultures swoop on carcasses. A silent Attenborough documentary, without the nice bits, its production on large-format, black matt paper is impeccable. Simon FrostON THE SHELFBOOK REVIEWS Tate Modern s current photography exhibition, The Radical Eye, has garnered five-star reviews in the press