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1、COOL, CREATIVE AND CONTEMPORARYBW_214_COVER_2.indd 2BW_214_COVER_2.indd 226/02/2018 10:3326/02/2018 10:33IFC_BW_214.indd 1IFC_BW_214.indd 12/23/18 12:07 PM2/23/18 12:07 PM01B+WIn the last couple of weeks I have had two emails that have stood out from the many other emails I receive in that they were
2、, quite frankly, unpleasant. The first was a rant against one of our contributors and the other tore apart the winning images in the Black+White Photographer of the Year. Now, I have no objection to either opinion but I am saddened and disappointed that in a time of anonymity that the internet has c
3、reated, people feel they can be as abusive and unkind as they like without any comeback. I ask myself, would these two photographers say such things if they were to meet in person the people they are so rude about? Would they not draw on common courtesy and keep their opinions to themselves or word
4、their thoughts in a more appropriate manner? I hope so. Alternatively, suppose I were to invite them to our offices to show their work, and suppose I was feeling particularly spiteful that day, and gave them an unkind, negative and rude review would they not think me a despicable person? Again, I ho
5、pe so. I deal with photographers and writers every working day and always try to treat them with respect. I m not holding myself up as a paragon of virtue in this I am simply saying that this is a normal way of behaving. As photographers and artists I feel strongly that we should have the generosity
6、 of spirit to view others work with understanding, and if we feel the need to critique it, we should do that with politeness and courtesy. Would we not want to be treated in that way ourselves? And maybe we should have some humility when it comes to our own capabilities. Communication is the most im
7、portant thing in society and when it is done well it achieves great things, but when it is abusive and arrogant, it achieves nothing.COMMUNICATION Anthony BaileyEDITORIAL Editor Elizabeth Roberts email: Deputy Editor Mark Bentley email: Features Editor Anna Bonita Evans email: Designer Toby HaighADV
8、ERTISING Advertising 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 Lt
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11、et, Lewes, East Sussex, 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
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14、 GMC Publications Ltd. With regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire. Guild of Master Craftsman Publications Ltd. 2018BLACK+WHITE PHOTOGRAPHY us on twitter BWPMag bwphotomag As photographers and artists I feel strongly that we sh
15、ould have the generosity of spirit to view others work with understanding. EDITORS LETTER APRIL 2018Elizabeth Roberts, Editor 01_EDS_LETTER_214 ER-MB.indd 101_EDS_LETTER_214 ER-MB.indd 126/02/2018 16:1926/02/2018 16:1902B+W Fazal Sheikh Estate Brassa Succession, ParisBLACK+WHITE PHOTOGRAPHY ISSUE 21
16、4 APRIL 2018 NEXT MONTHS ISSUE IS OUT ON 12 APRILCOVER Picture by William Dore. See page 5.FEATURES 10 A PERSONAL JOURNEY Award-winning photographer Fazal Sheikh documents displaced people26 THE ARTIST A new exhibition celebrates the wonderful work of Brassa34 ARCHIVING OUR TIMES Magnum photographer
17、 David Hurns witty observations of everyday life44 PATHS OF ENLIGHTENMENT Caitriona Dunnett tracks forgotten pathways68 FACE TO FACE Josh K Lustig answers our questionsNEWS 04 NEWSROOM All the latest news06 ON SHOW The must-see photography show20 IN THE FRAME Your guide to photography exhibitions25
18、ON THE SHELF The best of the new photography booksCOMMENT 22 AMERICAN CONNECTION Susan Burnstine talks to Meghann Riepenhoff1026 Caitriona Dunnett Josh K Lustig4468 Meghann Riepenhoff 2202-03_CONTENTS_214 ER-MB.indd 202-03_CONTENTS_214 ER-MB.indd 222/02/2018 12:3222/02/2018 12:3203B+W66 A FORTNIGHT
19、AT F/8 Tim Clinch on the challenges of a new projectTECHNIQUE 52 PHOTOGRAPHING CITIES Brilliant tips and ideas from Lee Frost58 PROJECTS IN VISUAL STYLE Uncovering the power of the humble postcard70 SMART GUIDE TO PHOTOGRAPHY Using filters creatively in smartphone photographyINSPIRATION 48 THINKING
20、PHOTOGRAPHY Alex Schneideman on the enduring appeal of film62 TRY SOMETHING DIFFERENT Eddie Ephraums on stepping out of your comfort zoneTESTS npg.org.uk Victoria and Albert Museum, London06-09_ON_SHOW_214 ER-MB.indd 906-09_ON_SHOW_214 ER-MB.indd 920/02/2018 15:2220/02/2018 15:2210B+W There is somet
21、hing heartening about allowing for the possibility that though a person has passed, there is still some ray of them with us, says Fazal Sheikh, who discovered his deceased grandfather s ray among the Afghan exiles living in northern Pakistan. Donatella Montrone finds out more.A PERSONAL JOURNEYFEATU
22、REAll images Fazal SheikhHumanity has a long history of vilifying those perceived as other . Indeed, marginalised communities have crossed borders fleeing persecution in their homelands since the notion of territories first came into existence. And with each wave of forced displacement of people com
23、es a wave of antipathy from the host community on whom the displaced are forced. The narrative that surrounds each migrant crisis, certainly in modern times, is constructed by media coverage, and the generalisations made about refugees don t represent who they are. Award-winning photographer Fazal S
24、heikh has been documenting displaced people for nearly three decades, looking beyond the politics that cause humanitarian crises. Above Said Ali holding a photograph of his brother Abdul Abdi. Opposite Sisters, Sima and Shahima, Nasir Bagh, Pakistan.10-18_FAZAL_SHEIKH_214 ER-MB.indd 1010-18_FAZAL_SH
25、EIKH_214 ER-MB.indd 1015/02/2018 16:5715/02/2018 16:5711B+W10-18_FAZAL_SHEIKH_214 ER-MB.indd 1110-18_FAZAL_SHEIKH_214 ER-MB.indd 1115/02/2018 16:5715/02/2018 16:5712B+WRather than simply chronicle the plight of the refugee, documenting tales of despair and devastation, he immerses himself in settlem
26、ents and makes work that challenges widely held misconceptions. His approach is thoughtful and intimate the fruit of the connections he makes with individuals and the relationships that grow from them. He seeks to capture their essence, that which unites us all as living beings. The media seems preo
27、ccupied with encapsulating refugee communities and paring them down to myopic taglines, says Fazal. But being a refugee is only one facet of who they are as human beings. Some of Fazal s early work documents refugees in camps along the eastern border in Kenya women and children fleeing war in Ethiop
28、ia, Sudan and Somalia. He has lived among refugees in Malawi escaping war in Mozambique, and has documented Rwandan refugees in Tanzania. It was during his years spent in east Africa that he noticed the fleeting visits of international photojournalists who would descend on the camps, snap a few shot
29、s, and return to their homes abroad. There is nothing heroic about going to a war zone, visiting people who ve lived in those circumstances for decades, taking some pictures and organising a story filtered through you as the maker, explains Fazal. I think that s probably why I was never interested i
30、n photojournalism. I am much more interested in a long, considered look at a place and trying to represent it in a way that confounds preconceptions rather than reinforces them.Above Abdul Rahman, Khairabad, North Pakistan. Opposite Rohullah, Badabare, Pakistan.10-18_FAZAL_SHEIKH_214 ER-MB.indd 1210
31、-18_FAZAL_SHEIKH_214 ER-MB.indd 1215/02/2018 16:5715/02/2018 16:5713B+W10-18_FAZAL_SHEIKH_214 ER-MB.indd 1310-18_FAZAL_SHEIKH_214 ER-MB.indd 1315/02/2018 16:5715/02/2018 16:5714B+W10-18_FAZAL_SHEIKH_214 ER-MB.indd 1410-18_FAZAL_SHEIKH_214 ER-MB.indd 1415/02/2018 16:5815/02/2018 16:5815B+WHe has docu
32、mented widows living in exile in India, the stigma so great they ve been discarded by their families, and spent five years making the Erasure Trilogy, which kept him busy in Palestine and Israel until about two years ago. But it is The Victor Weeps that is the focus of this feature. Not only is it a
33、 testament of the Afghan refugees living in settlements along northern Pakistan, it is also a paean to Fazal s grandfather, Sheikh Fazal Ilahi, who was born in northern India, what is now Pakistan, in the early 1900s, and who emigrated to Kenya, becoming a respected entrepreneur-philanthropist. He d
34、ied 10 years before Fazal s birth in the United States, but his legacy permeated every aspect of his childhood growing up in Manhattan. I am my grandfather s namesake, writes Fazal, and I search for part of him to call my own. He is in the Pakistani folk songs my stepmother sang, and in her father s
35、 Urdu songs set to music. In his desire to know more about his legacy, Fazal traced his grandfather s roots back to northern Pakistan. By visiting the land of my fathers, moving through the space linking the present to the past, I hoped to gain an insight into who he was. Fazal embarked on this pers
36、onal journey in 1996 and discovered that the land of his fathers had been settled by hundreds of thousands of Afghans who had fled their homeland and crossed the border to northern Pakistan in the aftermath of the Soviet invasion in 1979. Many had been living in refugee settlements for two decades.
37、He found an entire generation born in exile, for whom Afghanistan existed only in their imagination. In speaking to one young lad, Fazal noticed the cadence of longing in his voicea child s desire to inhabit a place that only exists in stories brought to him in the flickering evening light . The Afg
38、hans welcomed him they shared their lives, their food and their stories. Over two years he returned to the settlements for months at a time and immersed himself among the elders, listening to stories of lost loved ones returning to them in their dreams. He saw how much they longed for their homeland
39、 and felt their unshakable spirit. And so became The Victor Weeps, a series of portraits and landscapes, accompanied by personal narratives, first-hand accounts of Mujahideen fighters, poems and pictures drawn by children, completed in 1998 and published as a book.Opposite Osman and Farid, blind qar
40、i (one who knows the Koran by heart) brothers, Nasir Bagh, Pakistan. Above Rohgul, Nasir Bagh, Pakistan. Below MADRASS TRYPTICH Abdul Rahman, Khairabad, North Pakistan.10-18_FAZAL_SHEIKH_214 ER-MB.indd 1510-18_FAZAL_SHEIKH_214 ER-MB.indd 1515/02/2018 16:5815/02/2018 16:5816B+WTop left Salim, Badabar
41、e, Pakistan.Below left Afghan fighting dog, Nasir Bagh, Pakistan.Opposite Jalalabad Photo Studio images given to Fazal Sheikh in defiance of the Taliban edict against representations of the human form, Afghanistan.Like much of his work, The Victor Weeps has a dual aspect that which resonates persona
42、lly, with the trajectory of my family history, and then looking in a more concerted fashion at people who have been abandoned, he explains. Through portraiture, he is able to present their individual voices. I did things really naturally with this series, presenting to them the idea that I was looki
43、ng for this ray of my grandfather, and that I was curious to learn and interested to listen to their perspective rather than put some overlay on their sense of things. As a photographer, you establish a rapport, but you don t do it wilfully, it happens naturally. I think my own sensibilities, the th
44、ings that I was interested in looking at and listening to, perhaps resonated with the same kind of things they wanted to speak about loss, dreams and endurance. The series is multifaceted, weaving together images of women, children and elders with personal accounts, letters and poems. One image, for
45、 example, depicts an elder named Said Ali holding a portrait of his brother, Abdul Abdi. Said recalls being visited by Abdul in his dreams. He was only 19 when he was martyred He had been dead for four years when I dreamed of him. He was sitting beside a lamp. He told me I should be patient, that th
46、e kindness of Allah will solve our problems. Another image, that of Abdul Rahman, stoic, eyes fixed on Fazal s lens, is accompanied by the following: I watched from the top of the mountain as the communists destroyed my home. I said aloud, Alhamdu li llah! Praise be to Allah! They cannot break your
47、spirit.For portraiture, Fazal only works in black submerging cyanotypes in lakes, rivers, ephemeral streams and seas including the mercurial waters and thermal hot springs near Mono Lake in California. She doesn t consider her practice exclusively photographic and admits she enjoys blurring boundaries across genres. While her current work is deeply rooted in photography, she says she is pushing back against the mass proliferation of digital images by creating prints that are hyper- literal, un