Black White Photography 201806.pdf

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1、COOL, CREATIVE AND CONTEMPORARYBW_216_COVER_1.indd 2BW_216_COVER_1.indd 223/04/2018 11:0923/04/2018 11:09IFC_BW_216.indd 1IFC_BW_216.indd 118/04/2018 15:3118/04/2018 15:3101B+WFor some time now I have been photographing the sea with a specific idea of what I wanted to achieve. Unfortunately, in the

2、back of my mind, are those wonderful minimalist seascapes by Hiroshi Sugimoto. Now, without putting myself down, I can freely acknowledge that my skills and vision do not match up to those of this great photographer. So where does that leave me? Well, many months, many disappointments and some trium

3、phs later, I am still working on it. Whenever the weather is overcast and, ideally, misty, I head for the beach. Low tide, high tide, mid tide, I have tried them all. I tried rough seas but realised quite quickly that wasn t what I was looking for. And so I carry on. I think this has been, for me, o

4、ne of the most interesting photographic experiences because, having set out with the vision of Sugimoto s images, I realised that it would be pointless to try to replicate them. For a start, I couldn t achieve the finesse of these images and even if I did, what would be the point? They wouldn t be m

5、y images, they would be borrowed. So I had to start to really analyse not only what I wanted from the images, but why I wanted it. This has become quite a project for me, one that goes back into my childhood and looks forward to the future. It s strange that something so seemingly simple taking pict

6、ures of the sea could become so multi-layered and interesting. I have an outline idea of what I m going to do with the images and I have given myself a deadline for finishing the project but I m beginning to come round to the idea that while this first stage will come to completion, this might be so

7、mething that I carry on with for some time, discovering, I hope, more as I go. Photography will never be just about taking pictures. Like any art form it draws on so much more, some of which we are conscious of, and some that is quite unconscious. Maybe that is why it is so fascinating.BEYOND PHOTOG

8、RAPHY 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: 01273 402823 email: PUBLISHING Publisher Jonathan GroganMARKETING Marketing Executive Anne Guill

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15、Guild of Master Craftsman Publications Ltd. 2018BLACK+WHITE PHOTOGRAPHY us on twitter BWPMag bwphotomag EDITORS LETTER JUNE 2018Elizabeth Roberts, Editor So I had to start to really analyse not only what I wanted from the images, but why I wanted it. 01_EDS_LETTER_216 ER-MB.indd 101_EDS_LETTER_216

16、ER-MB.indd 112/04/2018 09:3112/04/2018 09:3102B+W Ekaterina SolovievaBLACK+WHITE PHOTOGRAPHY ISSUE 216 JUNE 2018 NEXT MONTHS ISSUE IS OUT ON 7 JUNECOVER Picture by Darren Ciolli-LeachFEATURES 08 A TRIBUTE Captivating pictures by Ekaterina Solovieva24 THE PHOTOGRAPHERS BANQUET Christine Fitzgeralds a

17、ppetising photographs34 STREET LIFEMario Carnicelli captures a changing America68 FACE TO FACE Horticulture at its finest by Paul CoghlinNEWS 04 NEWSROOM Your update on all things black thus, they are very rare and sought after by collectors.A photographer has succeeded in producing a print on concr

18、ete. Scottish photographer Mark Pearson collaborated with a sculptor to create the cyanotype print which is embedded into the surface of the concrete. It took three months of experiments before the print was successful. The finished piece is 1.2m in length and weighs 22kg.WELL DONE04-05_NEWS_216 E-M

19、B.indd 504-05_NEWS_216 E-MB.indd 518/04/2018 10:3218/04/2018 10:3206B+WDaniella Dangoor is a collector of samurai portraits. Her worldwide search for these rare prints has taken her on a discovery of Japan s fascinating history, which she hopes to share with you in a new London exhibition this sprin

20、g.B+W: The Last of the Samurai is made up of 40 prints from your personal collection. How did you choose which pictures to include in the display? Daniella Dangoor: Actually that is the whole collection, 40 prints. These photographs are extremely rare so the finds are few and far between, although I

21、 can t help adding to it when I come across remarkable pieces.This is a very specific subject to collect, what is it about the samurai portraits that appeals? It all began with Japan. I saw a fantastic exhibition in Paris about Hokusai and his epoch, and I got completely hooked on Japanese art and d

22、esign. I had a demanding job and not much spare time or money. An interest in photography brought me to the first London Photo Fair at the Photographers Gallery some 30 years ago. A dealer there Terry Bennett had early Japanese photographs. I bought an image by Felice Beato and that was it, I began

23、collecting Japanese occupational photographs. Why the samurai? Japan had been mostly closed to the outside world for 250 years, an introspective feudal society with rigid castes and rituals. Then Admiral Perry s naval expedition forced it to open up in 1853. ON SHOWLeft above Portrait of Unidentifie

24、d Samurai in Armour, Yokohama, circa 1873-76. Suzuki ShinichiLeft below Southern Officers, circa 1867. Felice BeatoN E W S0607_ON_SHOW_216 ER-MB.indd 60607_ON_SHOW_216 ER-MB.indd 612/04/2018 09:3912/04/2018 09:3907B+WTHE LAST OF THE SAMURAIis on show from 19 to 20 May at the Great Hall, Kings Colleg

25、e LondonWestern powers, influence driven by commerce, treaty ports, science and industry poured in. The rate of change was extraordinary, a society convulsed, opposing clans fighting, masterless samurai rebelling, but an unrelenting modernisation took place all in just 20 years. It s such a fascinat

26、ing period. When I bought Suzuki s Portrait of an Unidentified Samurai in Armour at Paris Photo some 20 years ago, I wasn t just buying a samurai photograph but a remarkable image that spoke to me of such sadness. A young samurai, reflecting wistfully on the occupation and the role he had trained an

27、d prepared for since childhood was about to be rendered obsolete. For a while I was just buying individual images that appealed to me, then I discovered a pattern in my buying.Do you have a particular favourite print? I have a number of favourites. Firstly that young samurai I mentioned earlier, in

28、a way he is the icon of the show in that he represents the end of an era. Another image I love is Disdri s portrait of Tokugawa Akitake. The shogun sent his 14-year-old half-brother to France to represent him and to study. I love his dignity and his poise. He met Napoleon III and was received by Que

29、en Victoria at Windsor. The Queen found him and his retinue very ugly. I can t help thinking that it must have been hard to maintain that poise when assaulted by the smell of unwashed Western bodies, given the prevalence of the bathing culture in traditional Japanese life.Photography arrived in Japa

30、n in 1848, a time when the country was opening up to the world. How did Japanese artists first receive photography? Photography was initially taken up by high caste samurai (even the shogun) and a few artists and scholars like Shimooka Renjo and Ueno Hikoma. But really it was Felice Beato s photogra

31、phs which influenced several decades of photography in Japan. The success of photography also signalled, or coincided with, a slowing down in the popularity of the woodblock print, which then reinvented itself in the twentieth century.Youve been a collector for more than 20 years; did you source the

32、 prints from all over the world and what sustains your fascination with this genre of photography? Most of the prints were sourced in the UK and France, the birthplaces of photography. There s an excitement I feel when I find a photograph that lets me glimpse into another moment in the final history

33、 of the samurai culture. You never stop learning and discovering.Above Portrait of Tokugawa Akitake, Paris, 1867. Andr-Adolphe-Eugne Disdri 0607_ON_SHOW_216 ER-MB.indd 70607_ON_SHOW_216 ER-MB.indd 712/04/2018 09:3912/04/2018 09:398B+W08B+W08-16_Ekaterina_Solovieva_216 ER-MB.indd 808-16_Ekaterina_Sol

34、ovieva_216 ER-MB.indd 812/04/2018 09:4512/04/2018 09:459B+W09B+WDonatella Montrone interviews Ekaterina Solovieva about her captivating book on life in the wilds of northern Russia, centred on a shaggy titan of a cleric who found peace in the simplicity of village life.A TRIBUTEF E A T U R EAll imag

35、es Ekaterina Solovieva08-16_Ekaterina_Solovieva_216 ER-MB.indd 908-16_Ekaterina_Solovieva_216 ER-MB.indd 912/04/2018 09:4512/04/2018 09:4510B+WArkady Shlykov is unlike anyone Ekaterina Solovieva has ever met. He is a colossus, in every respect. Stories of the brawny, ginger- bearded cleric are legen

36、dary, but in Kolodozero, concealed in the wilderness of the Russian region of Karelia, he s simply Father Arkady, the beloved priest who turned up one day and garnered the help of locals to build a new church in the remote village to replace the one that had burnt down in 1977. The first time Solovi

37、eva met Father Arkady, she was inside the church, sitting at a table opposite the village oddity, a very drunken man called Yurka, who was wielding a knife while regaling Solovieva and her companions with stories about the village. We were basically held hostage we couldn t get away, says the docume

38、ntary photographer. Suddenly Father Arkady flung open the door, stormed over to Yurka, slung him over his shoulders and carried him out, both figures disappearing into the fog. I knew immediately that I had come to the right place, and that meeting Father Arkady would change my life, says Solovieva,

39、 whose ongoing series on village life in northern Russia has recently been published as a photobook, The Earth s Circle: Kolodozero. It s a relatively small village, consisting of a handful of hamlets, where boathouses and cabins are scattered along picturesque lakes. Everyone who comes to Kolodozer

40、o is running away from something from urban noise or weariness, from the absurdity of life, from their wrongdoings or sins, from themselves, says Solovieva. Leaving Kolodozero is something only the strong are able to do, but they always return when their strength is on the wane. Solovieva grew up in

41、 the suburbs of Moscow, and had what she describes as a free, late Soviet childhood. The daughter of a writer and a news agency editor, life at home was rich with books and art. At the age of 12, she and her friends enrolled in a photography class at the local Young Pioneers organisation. Arkady is

42、the central figure in Kolodozero. He is its core, the centre of the Earth s circle. 08-16_Ekaterina_Solovieva_216 ER-MB.indd 1008-16_Ekaterina_Solovieva_216 ER-MB.indd 1012/04/2018 09:4512/04/2018 09:4511B+W08-16_Ekaterina_Solovieva_216 ER-MB.indd 1108-16_Ekaterina_Solovieva_216 ER-MB.indd 1112/04/2

43、018 09:4512/04/2018 09:4512B+WFor as long as Solovieva can remember, there was an old religious icon on the wall at home. My father found it in an abandoned chapel in northern Russia when he was young. My father s stories about his travels made me dream of faraway lands. I first travelled to north R

44、ussia when I was 18 and came back with some sketchy photos. My father looked at them and said I should write about the villagers, that I should take their pictures and tell their stories. So, 10 years later, I went to Kolodozero on the Karelia and Arkhangelsk Oblast border. I could feel the ambiance

45、 and I remembered my father s words. Solovieva has returned to Karelia many times since and her work on the region is prolific, capturing the hardships and pleasures of village life. Karelia is very beautiful. It has endless forests and crystal clear lakes. But life in the north is quite hard. Many

46、villages are abandoned because people move to the cities looking for a better life, and those who stay have to work hard. They hunt, butcher pigs, keep vegetable gardens, cut firewood, and collect mushrooms and berries. Hardship brings people closer. They watch the sunset together and philosophise,

47、and have many stories to share. And they re always ready to receive guests. I really wanted to show this in my work: their spirit, their warmth, their passions, the things that hold them together. The arrival of Father Arkady in Kolodozero reawakened parochial life in the village, which had been extinguished along with the destruction of the former church, and Solovieva started to realise that all points led to him. Arkady is the core of Kolodozero, the centre of the Earth s circle. And so