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1、BLACK+WHITE PHOTOGRAPHY DECEMBER 2017 NELLI PALOMKI + SHOOTING IN BAD WEATHER + CREATE YOUR OWN PHOTOBOOK + INSIDE THE BOX ISSUE NO.209 COOL, CREATIVE AND CONTEMPORARYBW_209_COVER.indd 2BW_209_COVER.indd 228/09/2017 16:4228/09/2017 16:42IFC_BW_209.indd 1IFC_BW_209.indd 110/6/17 3:28 PM10/6/17 3:28 P
2、M01B+WThe other day, someone asked me why photography was such a struggle. I didn t have a simple answer but I said that if she was struggling it was a good sign, it meant that she was really engaged with what she was doing. But I m not sure I know what I m doing, she said. That s another good sign,
3、 I told her. By this time she was looking perplexed and it was clearly time to sit down and talk. I explained that so often I had seen photographers embark with enthusiasm on a project but, once the initial excitement had started to drain away, they were left with a feeling of confusion a deep sense
4、 of muddle. I know this from my own experience what seemed so clear when talked about begins to have a sense of pointlessness when the hard work of editing and developing a coherent narrative is in progress. The clear vision begins to slip and we allow other ideas to impose themselves on it until, e
5、ventually, we have no idea what we are doing. At this point it is very tempting to start on a new project. The alternative is much harder to stick with it and see what happens. Take more pictures, confuse the situation even moreuntil, at last, something emerges. It might not be what you imagined whe
6、n you started out, and it might not be what you thought you wanted to say with it, but it will be what you need to say. I recently went to an opening night at the studio of an artist friend. Looking round the walls at all her paintings which I like very much what impressed me most was that every sin
7、gle one of them was finished. They were complete in themselves, they had frames and titles and they were hung with care and attention. Finishing is a wonderful thing but it s also a very hard thing to achieve. Here in the office we have a number of visual reminders pinned up on the wall. One of them
8、 announces that Finishing is better than perfect and I m inclined to agree.Elizabeth Roberts, Editor THE FINISHING LINE Anthony BaileyEDITORIAL Editor Elizabeth Roberts email: Deputy Editor Mark Bentley email: Features Editor Anna Bonita Evans email: Designer Toby HaighADVERTISING Advertising Sales
9、Guy Stockton tel: 01273 402823 email: PUBLISHING Publisher Jonathan GroganMARKETING Marketing Executive Anne Guillot tel: 01273 402 871PRODUCTION Production Manager Jim Bulley Origination and ad design GMC Repro Printer Buxton Press Ltd Distribution Seymour Distribution LtdSUBSCRIPTIONS Subscription
10、s Helen Johnston tel: 01273 488005 fax: 01273 402866 email: SUBSCRIPTION RATES (includes postage and packing) 12 issues - Save 10%: 53.89 (UK) 67.37 (Europe) 75.45 (Rest of world)24 issues - Save 20%: 95.81 (UK) 119.76 (Europe) 134.13 (Rest of world)Direct Debit - Save 30%: 20.96 ever 6 issues (UK o
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12、 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- addressed re
13、turn 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 of the
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15、 regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire. Guild of Master Craftsman Publications Ltd. 2017BLACK+WHITE PHOTOGRAPHY bwphotomag EDITORS LETTER DECEMBER 2017 Finishing is better than perfect01_EDS_LETTER_209 ER-MB.indd 101_EDS_LETTE
16、R_209 ER-MB.indd 110/10/2017 11:1510/10/2017 11:1502B+WBLACK+WHITE PHOTOGRAPHY ISSUE 209 DECEMBER 2017 NEXT MONTHS ISSUE IS OUT ON 23 NOVEMBER Nelli PalomkiFEATURES 10 THE EMBRACE AND THE WRESTLE Compelling portraits by Nelli Palomki26 PICTURES WITHIN PICTURES David Saxe photographs the quiet side o
17、f America34 ONE MELANCHOLY MORNING Evocative platinum palladium prints by Trevor Crone70 FACE TO FACE We talk to social documentary photographer Mrio MacilauNEWS 04 NEWSROOM The latest in black Nominee Landscape/Nature Category, Felix Schoeller Photo Award 2017.Serdar BilgiliChris Goddards picture i
18、s among the work on show at Waterloo. Chris GoddardOne of the pictures from the collection Gateshead, 1973 by Graham Smith. Graham Smith, courtesy Augusta Edwards Fine ArtLOOKS GOOD Fujifilm has unveiled a light and stylish new camera. The Fujifilm X-E3 is a mirrorless camera with a rangefinder-styl
19、e look. Its small (121 x 74 x 43mm), weighs about 337g and sports a 24.3Mp sensor and an X-Processor Pro image processing engine. Price: 849 (body only). The company also announced an 80mm macro lens for X-series cameras and a 45mm lens for the GFX series. More details in next months issue. fujifilm
20、.euIN THE FIELD Hasselblad has announced the new X1D Field Kit. The kit consists of a top camera plus lenses, accessories and a rugged bag to keep everything safe. The camera is the Hasselblad X1D-50c, a medium format digital camera sporting a 50Mp CMOS sensor. Alongside it are three XCD lenses (a 3
21、0mm, 45mm and 90mm) plus two camera batteries, a shoulder and wrist strap, USB cable and a Pelican carrying case. Price: 15,900. FINDING PEACE Nigerian-born photographer Cletus Nelson Nwadike has won the Alfred Fried Photography Award. The competition aims to find the worlds best picture on the them
22、e of peace. Cletus Nelson Nwadike, who is based in Sweden, won a prize of 10,000 euros. The winning pictures are displayed at the Austrian Parliament for a year and will be included in the permanent art collection of the Austrian Parliament. Cletus Nelson Nwadike / Alfred Fried Photography Award04-0
23、5_NEWS_209 ER-MB.indd 504-05_NEWS_209 ER-MB.indd 528/09/2017 17:0328/09/2017 17:036B+WBLACK+WHITE PHOTOGRAPHY INNOVATIVE MODERN MONOCHROMEBLACK+WHITE PHOTOGRAPHER OF THE YEAR 2018WIN ONE OF WIN ONE OF THREE FANTASTICTHREE FANTASTIC FUJIFILM CAMERASFUJIFILM CAMERASFIND OUT MORE AT BPOTY.COMClosing da
24、te for entries midnight 30 October 201706-07_BPOTY_DPS_209 ER-MB.indd 606-07_BPOTY_DPS_209 ER-MB.indd 629/09/2017 09:1829/09/2017 09:187B+WMAIN IMAGE PAULO MONTEIRO. BLACK+WHITE PHOTOGRAPHER OF THE YEAR 2015 DOCUMENTARY CATEGORY WINNERIN PARTNERSHIP WITH06-07_BPOTY_DPS_209 ER-MB.indd 706-07_BPOTY_DP
25、S_209 ER-MB.indd 729/09/2017 09:1829/09/2017 09:1808B+WON SHOWTo celebrate Hull being awarded the UK City of Culture for 2017, Magnum photographers Olivia Arthur and Martin Parr were invited to create their own interpretations of the city. Their intriguing approaches go on show this winter. Anna Bon
26、ita Evans reports.NEWSNew pictures by Magnum photographers Olivia Arthur and Martin Parr are currently on show at Hull s Humber Street Gallery until the last day of 2017. The exhibition is part of the northern city s year-long tenure in 2017 as the UK s City of Culture. The city together with the Ci
27、ty of Culture initiative commissioned Arthur and Parr to capture a portrait of what its people, streets and culture look like today. Synthesising works by two influential documentary photographers, this dual exhibition spotlights Arthur and Parr s differing curiosities with Hull s identity. While Pa
28、rr looked at how food is central to the social life, identity and heritage of the place, Arthur explored the creativity and interests of its children and adolescents. Contrasting even more, aesthetically Parr decided to stick to his signature of images saturated with gaudy colour, whereas Arthur div
29、erged from her customary, muted colour palette to black humberstreetgallery.co.ukRight Alfie Pearson, Hull, 2017. Olivia Arthur/Magnum PhotosBelow Stack it High, Hessle Road, Hull 2017. Martin Parr/Magnum Photos08-09_ON_SHOW_209_ABE ER-MB.indd 908-09_ON_SHOW_209_ABE ER-MB.indd 904/10/2017 09:4504/10
30、/2017 09:4510B+WNelli Palomki is known for her compelling pictures, especially of children. She talks to Anna Bonita Evans about her new series and the keystone to her work: the intensity of the shared moment when creating an insightful portrait.THE EMBRACE AND THE WRESTLEFEATUREAll images Nelli Pal
31、omkiAnna Bonita Evans: For your new series Shared you concentrate on siblings in childhood and adolescence. You have older siblings and are a mother of two; how have these experiences influenced this project? Nelli Palomki: The fact that I have an older sibling has definitely affected the work. I sh
32、are a great and loving relationship with my sister but we lack any physical closeness. Im surprised and fascinated when I do see sisters and brothers being close to each other for long periods of time without any discomfort. It felt essential for this project to place the sitters side by side and th
33、ey almost always have some sort of physical contact in the picture. As a mother I see siblinghood differently. The bond between my children is so strong, even now in their early years. Ive also realised how much my actions and words (no matter how little they seem to me) do affect my children and th
34、eir relationship to each other. Sadly, reaching perfect equality in the family is impossible; its a constant rebalancing of the power dynamic the embrace and the wrestle.ABE: What was the catalyst for photographing children? NP: Im interested in challenging the way we see ourselves, be that in the m
35、irror, the photograph or in our mind. At a certain age children start seeing themselves differently, they become more aware and pose for the camera. I dont mean posing as smiling, but posing as trying to present themselves at their best. I choose children that are at a particular age, when they are
36、about to take enormous steps in their physical and mental development. Family often plays a crucial Opposite Inkeri and AnnikkiVera, Dora and Antonio10-18_Nelli Palomki_209_ABE ER-MB.indd 1010-18_Nelli Palomki_209_ABE ER-MB.indd 1029/09/2017 09:2329/09/2017 09:2311B+W10-18_Nelli Palomki_209_ABE ER-M
37、B.indd 1110-18_Nelli Palomki_209_ABE ER-MB.indd 1129/09/2017 09:2329/09/2017 09:2312B+WOpposite Anton and JoelZane and Augustrole at that point in the childs life, especially siblings. As I have been working with children and young adults for many years, I have watched how different siblings act tog
38、ether, so working around this theme of siblinghood felt natural even necessary.ABE: Your previous work is largely portraits taken indoors whereas here the images have been taken outside, was there a creative or logistical reason for this? NP: I simply wanted a change. When I started the series it wa
39、s a perfect time for shooting outdoors: the trees were dark green, nights were long and the light was beautiful. In Finland these seasonal conditions dont last too long. I felt using nature for the backdrop would create a feeling of darkness both in the aesthetic and thematic sense. Trees and leaves
40、 are somewhat abstract yet they draw an image of danger too.ABE: Youre known for staying very quiet during a shoot. How much do you direct your sitters? NP: I hate talking while a picture is being taken, so I direct my sitters beforehand. Each portrait is planned, even though the plan might radicall
41、y change during a shoot. When everything feels right I ask the sitter to stay still. I never worry about if they feel uncomfortable as I dont feel comfortable, for me the portrait shoot should not be a comfortable environment. Theres a type of intensity you only reach through silence.ABE: How do you
42、 approach your subjects in each stage of the process, from finding them (and asking if theyd like to collaborate) to during the shoot? NP: Ive worked with strangers on and off for the past 10 years but am doing so more and more in recent times. I use photography as a For me the portrait shoot should
43、 not be a comfortable environment. Th ere s a type of intensity you only reach through silence. 10-18_Nelli Palomki_209_ABE ER-MB.indd 1210-18_Nelli Palomki_209_ABE ER-MB.indd 1229/09/2017 09:2329/09/2017 09:2313B+W10-18_Nelli Palomki_209_ABE ER-MB.indd 1310-18_Nelli Palomki_209_ABE ER-MB.indd 1329/
44、09/2017 09:2329/09/2017 09:2314B+W10-18_Nelli Palomki_209_ABE ER-MB.indd 1410-18_Nelli Palomki_209_ABE ER-MB.indd 1429/09/2017 09:2329/09/2017 09:2315B+WOpposite Maria and Sofia Above Aino and Saimatype of escapism and working with strangers allows me to live outside my everyday routines. As I like
45、to photograph children I always ask their parents permission. We exchange a few words and I give them my contact details. Usually I get an email from them after weve met, but not every time. During the shoot I tend to be very nervous but with children you dont have much time until they become restle
46、ss so I have to focus. When the mood is right I ask everyone to stay still. At that point I normally walk up to them and fix their hair, move their hands or change any detail thats not quite right. I never ask them to do this as when an image is nearly there you dont want to break the intensity.ABE:
47、 Youve spoken about how photography has helped you combat anxiety and panic attacks. How much of you is present in your pictures? NP: Theres probably a lot more of me in my work than I wish! As a photographer Im a little different to my everyday self, I might be more brave and Im definitely more likeable. I have more time, Im a better listener (in my everyday life Im a terrible listener) and Im genuinely interested in these children and their stories. Im usually qu