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1、COOL, CREATIVE AND CONTEMPORARYBW_221_COVER ER-MB.indd 2BW_221_COVER ER-MB.indd 219/09/2018 12:5119/09/2018 12:51IFC_BW_221.indd 1IFC_BW_221.indd 106/09/2018 13:1206/09/2018 13:1201B+WIve been thinking lately about the amount of images we consume, and have come to the conclusion that if images had c
2、alories we would all be very fat. I think we over-consume so that we lose the ability to discern or even understand what we are looking at. In the past we looked at images in newspapers, on billboards, in magazines and books, and more specifically in exhibitions. There were also our own photographs,
3、 from simple family snaps to portraits, or pictures we had chosen with care to hang on our walls. Images were something we made an effort to engage with and maybe spent time looking at. It seems to me that we speed-look phone images are swiped at speed, Instagram is whizzed through, we flick from we
4、bsite to website, and even in exhibitions, Ive noticed how quickly people walk from one image to the next. This might all sound a bit reactionary, but its not meant to be. The internet has opened up access to knowledge that is free and accessible to everyone. We can educate ourselves, entertain ours
5、elves, research and communicate in a way we never could before. But when it comes to images in our daily lives, there is such a vast number of them and there is no quality control so we often find ourselves looking at pictures that are meaningless to us. Our threshold of boredom is quite low; we wea
6、ry of the multitudinous nature of images until they begin to blur. Or we see pictures that we feel weve seen before, replicas repeated over and over. My fear is that we are losing the sophisticated language of imagery and become monosyllabic. This train of thought began over a breakfast conversation
7、 with my husband who asked me which photographers were the real greats at the moment. I hesitated to answer, which is not surprising because there is so much photography about and, of course, greats generally emerge after they are dead; they surface after the rest fall by the wayside because they ar
8、e special. But the reason they are special is that they are original and they speak to us in a profound way; we understand what they are saying. So, how does this leave us who love to take pictures? For me, its going on an image diet, only spending time with pictures that have something to say to me
9、. It means not diving into a sea of pictures and feeling like I cant swim. It means going to exhibitions and taking a long time over them, it means printing my own work and showing it to a limited audience. You may agree with me and you may disagree but Id like to think you might consider what Ive s
10、aid. The world is changing so rapidly that we have to hold on to the important things before they are swallowed up in the tidal wave of change.Ive been thinking lately about the amount of images we consume, and have come to the conclusion that if images had calories we would all be very fat. Elizabe
11、th Roberts, Editor THE TIDAL WAVE OF CHANGEEDITORS LETTER OCTOBER 2018Web blackandwhitephotographymag.co.uk | Facebook | Twitter BWPMag | InstagrambwphotomagCONTACT US Vicki PaintingEDITORIAL Editor Elizabeth Roberts email: Deputy Editor Mark Bentley email: Designer Toby HaighADVERTISING Advertisin
12、g Sales 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 tel:
13、 01273 488005 email: SUBSCRIPTION RATES Subscribe from 26.95 (including free P Rons right hand seems to reach out to Glorias long hair that hangs down her back. Maybe there is a tenuous thread of intimacy here. And yet each of them hides their face with their hand, shielding themselves from the pryi
14、ng eye of the camera. And the photographer? What part is he playing here as he stands contemplating the scene, camera to his eye, watching every move? What is his interest in this quiet drama unfolding? Chien- Chi Changs work is driven largely by his fascination with the relationship between alienat
15、ion and connection and what could be a better example than what we have in front of us? The scene could well be a still from a film: a lazy, hot afternoon in small town America. We can almost hear the desultory dialogue between the three, the nonchalant to-ing and fro-ing of conversation. The sounds
16、 from the outside: cars passing, birdsong, a dog barking. Maybe even a soundtrack. It could be a scene from a Steinbeck novel. We see the weariness of the womans gesture as she holds the can of beer to her face, her back turned to her companions as though tired of their company. Both men appear self
17、 contained, one with his cat and one looking intently out of the window as though dreaming of another life. The cat lies sensuously on Rons bare chest perhaps a hint of what could be, or a portent of what is lost. The story has endless possibilities. Its open-ended nature allows us to be drawn in, o
18、pening us up to engage our imagination with the scene. We linger over the story, react to it, acquiesce to its tantalising connotations and nuanced undertones. Chang is a storyteller, but one driven by his own story. On the Magnum Photos website it says: Changs investigation of the ties that bind on
19、e person to another draws on his own deeply divided immigrant experience. One man telling his story through the stories of others.Black+White Photography has been invited by Magnum Photos to choose one picture each month from their archive to discuss, dissect, examine and consider. This month Elizab
20、eth Roberts has singled out a picture by Chien-Chi Chang.INSPIRATIONMAGNUM OPUS06-07_MAGNUM_OPUS ER-MB.indd 605/09/2018 10:3007B+WCHIEN-CHI CHANGS WORK IS DRIVEN LARGELY BY HIS FASCINATION WITH THE RELATIONSHIP BETWEEN ALIENATION AND CONNECTION. Chien-Chi Chang / Magnum Photos06-07_MAGNUM_OPUS ER-MB
21、.indd 705/09/2018 10:308B+WINTERVIEWFor Hengki Koentjoro it is the photographers state of mind that is as important to the final image as any other aspect of the process. Kathrine Anker talks to him about meditation, nature and self-expression.THE MINDS EYEAll images Hengki Koentjoro08-16_HENGKI_KOE
22、NTJORO_221 ER-MB.indd 805/09/2018 10:459B+W08-16_HENGKI_KOENTJORO_221 ER-MB.indd 905/09/2018 10:4510B+WKATHRINE ANKER: Tell me about your series Detach what is it about? HENGKI KOENTJORO: Detach is a series of photographs that depict alienation from reality, to be free, to disengage from everyday li
23、fe in order to find balance and bring sanity back. Detach is a state of mind that illustrates the solitary, and loneliness.KA: How did you get the idea? HK: I believe that the photographer requires some form of isolation to perform. Total concentration is the name of the game; it is the practice of
24、a kind of meditation when you separate yourself in order to express whats inside your psyche. The soul is free at last. Living in a big city is the main source of stress; traffic jams, pollution and confinement to name but a few of the things that contribute to it.KA: Where did you go to take the ph
25、otographs? HK: Mother Nature offers a world without borders and walls; it is the only place where the horizon line still exists. I try to single out my subjects and get a sense of their smallness by positioning them in the vast space of nature, like the ocean or highlands.KA: Can you tell me about y
26、our method when you shot this series?08-16_HENGKI_KOENTJORO_221 ER-MB.indd 1005/09/2018 10:4511B+WHK: I wanted to have the atmosphere of a dream in this series. Dream is a state of mind where one is disengaged from reality. I like to use a wideangle lens to accentuate this feeling of disconnectednes
27、s.KA: Which equipment did you use, and how did you go about it? HK: I have a regular DSLR, and like to use a long exposure to achieve a sense of surrealism. This technique has the look and feel of ethereal beauty.KA: What was the biggest challenge you encountered while photographing this series, and
28、 how did you overcome it? HK: There was no challenge as I was doing what I feel passionate about. I never have a target when hunting for photographs what you get is what you expose, and there will always be another time. The most important thing for me is to be at one with my surroundings or to be m
29、indful with the environment.KA: Who are the people in the photographs? HK: They are total strangers. Most of the pictures are candid shots that need no setting or directing.KA: On your website you talk about exploring the borderline between light 08-16_HENGKI_KOENTJORO_221 ER-MB.indd 1105/09/2018 10
30、:4512B+WThe most important thing for me is to be at one with my surroundings or to be mindful with the environment. 08-16_HENGKI_KOENTJORO_221 ER-MB.indd 1205/09/2018 10:4613B+WMother Nature offers a world without borders and walls; it is the only place where the horizon line still exists. 08-16_HEN
31、GKI_KOENTJORO_221 ER-MB.indd 1305/09/2018 10:4614B+Wand shadow, yin and yang. Can you tell me a bit more about how yin and yang is important in your work? HK: I love high contrast photography to reveal the blackest black and the whitest white. High contrast attracts the eyes and also the soul. Anoth
32、er yin yang is sharpness and softness. Sharpness I attain from the lens, while softness I get in post-production using software such as Lightroom and NIK Silver Efex Pro. Other elements like small against big and dark against bright are also powerful yin yang I include in the same photograph.KA: You
33、 studied at Brooks Institute of Photography in Santa Barbara. How did your time there affect your approach to photography? HK: It taught me to be disciplined. I loved getting lost in the library, submerging myself in inspiration by great masters of photography. Hands on practices and guidance from p
34、rofessional faculties were of upmost importance; they showed me the way to the destination much faster than doing it alone. It is the best way for a student to learn.KA: And what were the most important things you learned there? HK: I learned the Zone System; the art of Ansel Adams. The Zone system
35、taught me to see in black it is a way to reveal my emotion and soul. Photography is the best instrument to show your character, which is uniquely yours.KA: Tell me about your day-to-day work as a videographer. What kind of work do you do, for what type of clients? HK: Videography is my nine to five
36、job; it is the source of my income to support my family and my passion, photography. I do mostly corporate video that needs visual narrative to sell their products. I cater for companies that need to go public.KA: What is your next photographic project about? HK: More publications and exhibitions ar
37、e on my agenda each year. At this stage of my career exposure is the main objective, to spread the word of fine art photography. I would love to have my own photography gallery one day. It would be a place where other photographers could exhibit their work, that I hope could inspire the new generati
38、on of young artists.08-16_HENGKI_KOENTJORO_221 ER-MB.indd 1505/09/2018 10:4616B+WHengki Koentjoro has been appointed a Hasselblad Ambassador for 2018-2019. To see more of his work visit hengki-08-16_HENGKI_KOENTJORO_221 ER-MB.indd 1605/09/2018 10:46017_BW_221.indd 17017_BW_221.indd 1730/08/2018 14:3
39、630/08/2018 14:3618B+WThe V Victoria and Albert Museum Mark Cohen perhaps on the theme of landscape and home. This led me to further think about the people who would have walked on these carpets over the years and the lives they might have lived. These textiles were decorated with typical floral pat
40、terns and were not incongruent in their natural setting; some were so worn and caked in mud that they were being reclaimed by the forest. Just at that moment when I felt that I was beginning to find an answer to the puzzle of this strange landscape I was reliably informed by a passer-by that what I
41、was looking at, but had failed to work out, was in fact a series of dirt jumps used by mountain bikers, allowing riders to become airborne as they fly off the take-off ramps and land on the slope of the opposite jump. Of course, on closer inspection I could see the tyre marks which had gouged their
42、way into the textiles, and the reason why carpets had been placed over the mounds was to form a barrier to stop the fragile sandy soil from being worn away. I had got it completely wrong. This was a playground. I am interested in how we sense a particular landscape and how that might translate aesth
43、etically, so as a result of my all-consuming interest, I had perceived this particular landscape as I had wanted to see it, blind to the clues which would have revealed its actual function. Perception is not about seeing reality, it has more to do with what we generate, from the schemas that we have
44、 built up to help us organise and interpret information and prevent us from being overwhelmed when presented with something new. The downside of this safeguard is that they may serve to confirm our pre-existing biases. In practice, falling back on what is familiar to us can prevent us from seeing ne
45、w things and stop us moving forward. Alternatively, and more positively, how we go about making pictures is the result of our own way of perceiving, which isnt a passive process as we generate from within ourselves our own unique vision.COMMENTThe way we understand what we see can sometimes be misle
46、ading, as Vicki Painting discovered when a walk through a forest turned into a mind game. But with a leap of the imagination the puzzle was solvedREFLECTIVE PRACTICEvickipaintingphotoAll images Vicki Painting40-41_REFLECT_221 ER-MB.indd 4005/09/2018 11:1241B+WIT WAS ODDLY REMINISCENT OF IMAGES I HAD
47、 SEEN OF THE ANCIENT MAYAN CIVILISATIONS OF BELIZE, BUT THE PLACING OF THE CARPETS CLEARLY DIDNT FIT.40-41_REFLECT_221 ER-MB.indd 4105/09/2018 11:1242-43 BW221_SUBS_DPS MB.indd 4230/08/2018 12:59SUBSCRIBE TO THE DIGITAL EDITIONSUBSCRIPTION OFFERBLACK+WHITE PHOTOGRAPHYSAVE UP TO 30% NEVER MISS AN ISS
48、UE HAVE B+W DELIVERED TO YOUR DOORVisit blackandwhitephotographymag.co.uk Or call +44 01273 488005Visit BLACK+WHITE PHOTOGRAPHY COOL, CREATIVE AND CONTEMPORARYB+W 201842-43 BW221_SUBS_DPS MB.indd 4330/08/2018 12:5944B+WINSPIRATIONOur opinion of other photographers work can sometimes be a little sweeping,