《Black White Photography 201803.pdf》由会员分享，可在线阅读，更多相关《Black White Photography 201803.pdf（102页珍藏版）》请在taowenge.com淘文阁网|工程机械CAD图纸|机械工程制图|CAD装配图下载|SolidWorks_CaTia_CAD_UG_PROE_设计图分享下载上搜索。
1、COOL, CREATIVE AND CONTEMPORARYBW_213_COVER_2.indd 2BW_213_COVER_2.indd 219/01/2018 10:0419/01/2018 10:04TURNING IMAGES INTO ARTPRODUCING DIGITAL FINE ART PAPERS SUITABLE FOR ALL PHOTOGRAPHIC NEEDSMAKING PAPER SINCE 1584THE HAHNEMHLE PHOTO AND FINEART PAPER RANGE SUITABLE FOR GENERAL DAY TO DAY USAG
2、E TO ARCHIVAL EXHIBITION QUALITY.TRIAL PACKS AVAILABLE IN A4 AND A3+ FORMATSAndrzei Dragan 08453 300 129 #hahnemuehle_globalIFC_BW_213.indd 1IFC_BW_213.indd 124/01/2018 16:2124/01/2018 16:2101B+WI ve been asking myself lately if it wasn t for a deadline, would I ever get anything finished? The ans
3、wer, I m ashamed to admit, is probably no. There is something about a deadline that has a particular lure it hangs over you, threateningly, all the time you put off finishing whatever it is you have to do. This can be an extremely uncomfortable experience but it never seems to occur to people like m
4、e that the answer would be to get the work done quickly, well before the deadline, and then there would be no worry. However, that would miss out on the thrill. If you take yourself up to the wire the terror increases (as does the excitement) until at last you are forced into completing and the sens
5、e of achievement reaches heroic proportions. But what happens without a deadline? In my case, photographically, I start projects, full of ideas and great beginnings but the enthusiasm then tends to wane when I think of the next great idea. The result is (currently) four unfinished projects. I have t
6、ried merging them, but they are too disparate for that to work so, in my usual style, I have thought up a fifth. But completion is the only thing that matters. It s all very well to show a half finished project and explain how the rest will, in time, be created, but that means it s still in your min
7、d and few people are capable of reading minds. Showing a completed project means that you have given it your all and it is the best you can do. Something to be proud of. So what is the answer for us deadline addicts? Working in a group, I ve found quite productive the next meeting is something to wo
8、rk towards (or be terrified by); an open houses exhibition (perhaps twice yearly) is good; Instagram or other online social media is a perfect way of having to keep up; creating a photo-book; making a photographic present for a celebration. And just today a friend has asked me to do a joint exhibiti
9、on with her in the summer. That should do the trick Elizabeth Roberts, Editor THE LURE OF THE DEADLINE Anthony BaileyEDITORIAL Editor Elizabeth Roberts email: Deputy Editor Mark Bentley email: Features Editor Anna Bonita Evans email: Designer Toby HaighADVERTISING Advertising Sales Guy Stockton tel:
10、 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 Subscriptions Helen Johnston
11、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 only) 41.92 every
12、12 issues (UK only)Cheques should be made payable to GMC Publications Ltd. Current subscribers will automatically receive a renewal notice (excludes direct debit subscribers)POST YOUR ORDER TO The Subscription Department GMC Publications Ltd, 166 High Street, Lewes, East Sussex, BN7 1XU, UKTel +44(0
13、) 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 return envelope. GM
14、C 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 use by readers of
15、 information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of GMC Publications Ltd. With regret, promotio
16、nal 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 EDITORS LETTER MARCH 2018 it hangs over you, threateningly, all the time you put offfinishing whate
17、ver it is you have to do. 01_EDS_LETTER_213 ER-MB.indd 101_EDS_LETTER_213 ER-MB.indd 119/01/2018 10:0519/01/2018 10:0502B+W Szymon Barylski Ed van der Elsken Alan Schaller Katy Gomez Lpez/ Marina SersaleBLACK+WHITE PHOTOGRAPHY ISSUE 213 MARCH 2018 NEXT MONTHS ISSUE IS OUT ON 15 MARCHCOVER Picture by
18、 Lee Frost. See page 52.FEATURES 10 STORIES FROM THE UNHEARD Szymon Barylski documents the refugee crisis26 THE SOCIAL NETWORK Alan Schaller takes to the streets34 THE CLOSER THE BETTER Celebrating the work of the documentary photographer Ed van der Elsken44 TRAVEL PHOTOGRAPHER OF THE YEAR Two remar
19、kable portfolios from the competition68 FACE TO FACE Photographer and perfumer Marina Sersale answers our questionsNEWS 04 NEWSROOM 06 ON SHOW Exhibition focusing on countercultures and subcultures20 IN THE FRAME Photography exhibitions around the country25 ON THE SHELF The best new photography book
20、sCOMMENT 22 AMERICAN CONNECTION Susan Burnstine on the intriguing 103426446802-03_CONTENTS_213 - MB.indd 202-03_CONTENTS_213 - MB.indd 224/01/2018 15:1724/01/2018 15:1703B+Wwork of photographer Steven Bollman66 A FORTNIGHT AT F/8 Tim Clinch on the importance of storytelling in picturesTECHNIQUE 52 T
21、OP TIPS Lee Frost on photographing markets around the world58 PROJECTS IN VISUAL STYLE Exploring the journal form70 SMART GUIDE TO PHOTOGRAPHY Tim Clinch tries the latest bells and whistlesINSPIRATION 48 THINKING PHOTOGRAPHY Alex Schneideman on pictures that ask questions62 INSIDE THE BOX Eddie Ephr
22、aums on restrictions and creative thinkingTESTS barbican.org.ukUnder 14s must be accompanied by an adult; there is one gallery of work (by Larry Clark) suitable for over 18s only.Placing the world s peripheral figures on centre stage, this ambitious exhibition promises to follow the same success as
23、the Barbican s other key shows, such as Constructing Worlds: Photography and Architecture in the Modern Age (2014) and Strange and Familiar: Britain as Revealed by International Photographers (2016). Speaking about the exhibition, Jane Alison, head of visual arts at the Barbican, said: Another Kind
24、of Life could not be more timely or relevant. A show that tells 20 stories by 20 photographers who all approach their subjects with a humanity and empathy that is both empowering and inclusive. Each photographer has gone beyond the traditional role of an outsider, or objective documenter, and contin
25、ued to be involved with their chosen subjects beyond ordinary expectations. The work highlights the photographers perseverance to tell the stories of those without a voice.Above From The Enchanted Wanderer, 1977 by Igor Palmin.Right Casa Susanna Collection, 1964-1969. Art Gallery of OntarioOpposite
26、From The Disquiet, 1977 by Igor Palmin. Another Kind of Life could not be more timely or relevant. A show that tells 20 stories by 20 photographers who all approach their subjects with a humanity and empathy that is both empowering and inclusive.06-09_ON_SHOW_213 ER-ABE-MB.indd 806-09_ON_SHOW_213 ER
27、-ABE-MB.indd 824/01/2018 10:5824/01/2018 10:5809B+W06-09_ON_SHOW_213 ER-ABE-MB.indd 906-09_ON_SHOW_213 ER-ABE-MB.indd 924/01/2018 10:5824/01/2018 10:5810B+W Families were separated, children were tired and hungry and sleeping in crowded tents, says Szymon Barylski of his time documenting refugees in
28、 Idomeni. Donatella Montrone finds out more from the photographer who hopes his pictures might help to bring about positive change in the world.STORIES FROM THE UNHEARDFEATUREAll images Szymon BarylskiSzymon Barylski is an award- winning storyteller: recipient of Magnum s single-image award in photo
29、journalism, first place in the Moscow International Photo Award s editorial category, Lumiere s Grand Prize, International Photographer of the Yearthe list seems endless. Photography is undoubtedly Barylski s passion, and he uses his craft not only to delve into the lives of others but to unearth th
30、ose stories that might otherwise go unheard. People are an inexhaustible source of inspiration, says Barylski, a self-taught documentary photographer. When I started taking pictures, I began with street photography and soon realised that photography is not just about a nice composition or a well-lit
31、 image. Photography allows me to document the lives of others and hopefully bring about change. Barylski, now based in Ireland, grew up in Poland, in a small village at the foot of a mountain. I have always liked winter and have many happy memories of being outdoors. As a child, my friend Pawe and I
32、 would go on adventures after school we d organise snowball battles with other kids, roll down hills and make sledges. We d eventually go home when it got dark three, four hours later hungry, wet and cold. I loved making bonfires as a teenager. I would sit in front of the fire for hours, in silence,
33、 just watching the embers glow. I was mesmerised, he says. He emerged as a serious image-maker gradually, and it was as much a journey of personal discovery as a calling. I had been trying to “find myself” all my life to find my purpose, and photography has helped me find my place, he says. He is dr
34、awn to social issues and exposing human rights abuses, and recently completed Iquitos- Belen, a fascinating colour series about the Belen district in Iquitos, a port city in the Peruvian Amazon. Belen is a floating slum , where 65,000 inhabitants live in makeshift homes built atop platforms on stilt
35、s to protect against the Itaya river when it floods. Warehouse, a black I think the black some writing is personal, others pensive, some passages show Wenders contemplating how technology and photography have changed, making the book almost an elergy for Polaroid. Take for example these poetic few s
36、entences: What a unique thing Polaroids were! Once almost science fiction, now definitely from the past, they occupy a very special place in our relationship to imagery and to photography, certainly in mine. He used the medium to test out frames and ideas for his films, giving us insight into his cr
37、eative thinking. More of a storybook than just a photo book, engaging with this book is a real pleasure. Anna Bonita EvansMERRIE ALBION: LANDSCAPE STUDIES OF A SMALL ISLANDSimon RobertsDewi Lewis Hardback, 45INSTANT STORIESWim WendersThames the viewer must raise questions of their own relationship w
38、ith the world. If you re British then you will consider the images against your own experience of the people you know and the country you live in. If you are foreign to British culture, when it is set so lyrically as it is in this great book, you will be forced to consider your own.Saul Leiter, on t
39、he other hand raises questions of universality which do not seek to represent any particular culture or formal organisation. Through the use of colour and form, Leiter queries what it means to live in a world which is abstract, until we impose meaning on it. For Leiter there is no objective meaning
40、to be found in his work. We understand that he is feeling his way, navigating the world image by image. It is futile for artists and documenters to co-opt photography to provide confirmation of their discovery of a certain truth. It is only possible to capture the sense of a thing, to offer composit
41、ions to which it is impossible to append a full stop.AGREE OR DISAGREE? Let me know at schneideman331 or email me at THE IMAGES These pictures were shot in the Marlborough Sound, which is the expanse of water connecting the North and South islands of New Zealand. There is no way of defining this pla
42、ce (or any other) so the best I can do is to break the whole into tiny pieces. I focus on some of them and hope that, in presenting them together, I can raise enough questions in the minds of the viewers that provoke an instinctive reaction and through this a connection with the place depicted.NEXT
43、MONTH I shall be exploring the enduring value of film in a digital world.48-51_THINKING_PHOTOGRAPHY_213 ER-MB.indd 5148-51_THINKING_PHOTOGRAPHY_213 ER-MB.indd 5124/01/2018 12:0324/01/2018 12:0352B+WWhether you are at home or abroad, markets are full of fascinating subjects and are a great place to h
44、ead if you re looking for inspiration. Lee Frost offers some advice on what to shoot. Igrew up near the south Yorkshire town of Barnsley, and one of my abiding memories of childhood is being carted around Barnsley market every Saturday while my mother bought the weekly meat and veg. For years I hate
45、d it, but eventually hate turned to fascination when I realised the place was a veritable Aladdins cave, full of treasures, tat and hilarious old characters trying to out-shout each other in a battle to win customers. My love for markets was born, and though I havent been back to Barnsley in decades
46、, wherever I travel in the world I make a point of seeking out the markets, souks and bazaars. Nowhere else will you get a better introduction to the culture and character of a country and its people the clothes they wear, the foods they eat, the traditions and customs or discover so many photo oppo
47、rtunities in one place. From portraits and candids to details and abstracts, everything is there for the taking.TECHNIQUE TOP TIPSAll images Lee FrostPHOTOGRAPHING MARKETS. CROWD CONTROL. FOOD FOR THOUGHTMarkets tend to be busy bustling places with crowds of people ebbing and flowing in an ever-moving sea of humanity. This is especially so in the developing world, where markets still play a vitally important role. Its where the locals flock to buy pretty muc