Black White Photography 201811.pdf

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1、COOL, CREATIVE AND CONTEMPORARYNEVER STOP THE JOURNEY.Capture every moment of your life with the new OM-D E-M10 Mark ?. Breathtaking landscapes, friends ? ? are all your own. At the touch of a button. With the OM-D E-M10 Mark ?, you have a lightweight, vintage-style camera that is ready for life eve

2、rywhere you go.Find out more at your local dealer or visit www.olympus.co.uk01B+WIwas asked recently: why do you take photographs? It was a simple enough question but the more I thought about it, the more complex was the answer. The first, and most obvious, reply would be: because I like doing it. B

3、ut that felt a little inadequate, so I asked fellow photographers why they took pictures. At first, they looked a bit puzzled why was I asking such a silly question? There were mumbles about being passionate about photography but, as I find this a little vague and clichd, I pressed them (and myself)

4、 further. The next response tended to be a little more focused and ranged from: I like showing my pictures, to: I think being creative is important. But really, when you think about all the knowledge you need to acquire, all the time you spend, not to mention the often quite huge sums of money you i

5、nvest in photography, there must be something more definite that drives us. So I pushed on. Because I am a writer as well as a photographer, and believe that the parallels between the two skills are very close, I thought about my writing instead of my photography. What I concluded was that, before I

6、 start to write, I have to think about what I want to say. And that was it. I realised that, without even asking them, that each of the photographers I had been questioning did most decidedly have something to say and that was clearly apparent in their work. But, because we, as photographers, are de

7、aling with images, what we have to say does not always easily translate to words. Of course, a documentary about a social situation or a war, has something quite obvious to say but for many of us, the images we create are more about our world view than anything else. Surely what we are attempting to

8、 communicate is how we see the world and that has profound meaning because no two world views are alike. What we are saying comes from deep inside ourselves and is totally individual. Sometimes I look at a photograph and I dont see that I have to question what the photographer is saying. Often, that

9、 is because the picture is a parody of other pictures it is not coming from that place inside the photographer that has something to say. And thats disappointing. Much better to see a picture that is the one picture that that photographer can take the one they felt the need to take, or the one they

10、took the most pleasure in, or the one that they take again and again. Thats the one from the heart. And it has something to say.Elizabeth Roberts, Editor SOMETHING TO SAYEDITORS LETTER NOVEMBER 2018Web blackandwhitephotographymag.co.uk | Facebook | Twitter BWPMag | InstagrambwphotomagCONTACT US Vic

11、ki PaintingEDITORIAL Editor Elizabeth Roberts email: Deputy Editor Mark Bentley email: Designer Toby HaighADVERTISING Advertising Sales Guy Stockton tel: 01273 402823 email: PUBLISHING Publisher Jonathan GroganMARKETING Marketing Executive Anne Guillot tel: 01273 402 871PRODUCTION Production Manager

12、 Jim Bulley Origination and ad design GMC Repro Printer Buxton Press Ltd Distribution Seymour Distribution LtdSUBSCRIPTIONS tel: 01273 488005 email: SUBSCRIPTION RATES Subscribe from 26.95 (including free P Windrush: Portrait of a Generation by Jim Grover; and Isle of Dogs: Before the Big Money by M

13、ike Seaborne. Bob Dawson06B+WINSPIRATIONOn board the Spanish trawler Rownlea, North Atlantic c.1998 Jean Gaumy / Magnum Photos07B+WThe entire story behind this picture is captured in the face of the fisherman in the foreground as he leans against a rough, barnacled wall, cigarette in hand. His downc

14、ast eyes and the heavy lines of his face reveal the unspeakable weariness that he is feeling. He is a man at the end of his limits. Almost too tired to lift the cigarette to his mouth, he stands, cold and wet, exhausted and dejected. It is the late 1990s and the fishing industry is in a bad state fo

15、llowing the drastic overfishing earlier in the decade. All the struggle and hopelessness of the time are drawn together in this lone figure. Our eyes focus on his face, unable to leave it, even though the lines of the photograph demand that we follow them out to the tiny corner of the open sea the e

16、nemy and the source for the fishermen. As soon as we reach it, we return again to his face, instinctively knowing that this is where we must be. The link is inevitable and impossible to break. His hood and clothing make the perfect frame. His eyes are downcast, his shoulders hunched again the cold.

17、His hand that holds the cigarette, free of the glove that covers his other hand, is listless, swollen with cold and hard work. Hes had enough. We see from the wall and the deck that this is a hard working vessel that does daily battles with the sea. The man behind him, presumably a fellow fisherman,

18、 gazes impassively out of the frame. We dont know whether he is watching something or just staring at the sea. The indifference he exudes contrasts with the emotion of the other. Their eyes look in different directions, with no communication between them, even though they are physically close. There

19、 is no sense of them sharing their break, a companionable cigarette. Their aloneness becomes accentuated as we look. We have to wonder what has happened before and what will happen after, how their lives will go on. The use of black she is now happy that she has the freedom to focus completely on he

20、r work, but at the same time this compulsive need seems to weigh on her. De Blauwer has chosen to tell her story through her work in such a way that keeps us, the viewer, engaged but at just the right distance. She achieves this by drawing on an archive of vintage material from the mid 20th century,

21、 a period she is drawn to in terms of fashion and styling. A lack of personal connection to the women in these magazine and catalogue pages and it is overwhelmingly women who find their way into her work imbue the resulting images with a mixture of intimacy and detachment creating tension. Often pre

22、sent in the selection and combination of these elements is a sly humour that serves to deflect. She tells me that her role is neutral, that: I am an intermediary between my own story and these anonymous figures, but it feels more that she is actively translating her past and in doing so, giving mean

23、ing to the present. De Blauwer describes herself as a photographer without a camera. We discuss how her technique might align with photography as we search for similarities between the two processes. We explore the idea of the decisive moment, that instant when everything falls 9B+W10B+W11B+W12B+W13

24、B+W14B+W15B+W16B+Winto place, a fleeting moment which cant be recaptured when taking a picture. For de Blauwer the cut is the click of the camera and where she decides to make that cut into her material is all important, it is her decisive moment and she has only one chance to get it right. She is a

25、mused when I tell her I imagine that this might be a slow deliberate process and wonder if she agonises over the best spot to wield her scissors. If I think too much it doesnt workits spontaneity which drives the process, she reveals. This is a process which is fast and furious, pages are roughly to

26、rn from their source, and are then cut into pieces quickly and instinctively while being sorted as she goes along. The final part of the process or technique is the selection of the base on to which the cut pieces are glued, and these have to be papers which are in some way imperfect, stained, torn

27、or printed with fading text, showing traces of previous human contact. These elements are brought together, and in their re-contextualisation create a new narrative. De Blauwer has no interest in interacting with any personal archives, as this might disrupt her instinctive way of working. She prefer

28、s these neutral actors who allow for better emotional expression. She describes how this all comes together by chance but her nonchalance belies the complexity of the work. We are conscious that the power of the image comes as much from what has been left out and discarded as to what has been includ

29、ed, and the fact that these choices have been unconscious. De Blauwers most recent publication When I was a Boy offers up a number of clues about her background and her drive to create, should we, the reader, care to take notice. The books title, the use of the blue endpapers, the splashes of baby p

30、ink throughout all seem to point to gender fluidity. De Blauwer recounts to me how she grew up in a small, unremarkable village in Belgium. She talks of the tedium of her childhood there and how she dreamed of becoming a dancer and escaping. She tells me how she was raised by her grandmother who had

31、 lost her infant son to cot death and when de Blauwer came into her care sought to alleviate this loss by dressing her as a boy, cutting her hair short and denying her any form of female expression. Looking again at the book, the hint of what it contains before I became aware of this remarkable stor

32、y is clearly fleshed out in the subtle layering of de Blauwers images. Just before I leave, de Blauwer takes me into her studio and shows me the cupboards which are bursting with the many boxes containing her work. There are notebooks too, filled with exquisite mini collages which she hopes to find

33、a way of exhibiting at some stage. One wall is covered with an expansive mood board, an eclectic selection of inspirational scraps. She tells me that her work often surprises her. We agree that it is like she is engaged in a dialogue with it, in the way she comes back to it, to revisit ideas and fin

34、d something fresh that will ultimately inspire something new. It is like learning a language and becoming fluent, she says. The work is telling me something, it is becoming clearer.Katrien de Blauwer Retrospective is on at Ffotogallery, Turner House Gallery, Plymouth Road, Penarth from 26 October to

35、 8 December.Bring the beauty of the darkroom into the digital world with the award-winning FB Mono Gloss Baryta 320, a paper that will enhance your monochrome images with rich blacks, sparkling whites and a beautifully glazed gloss finish.Try it today at Image Paul Hassell01789 739200 18B+WBrick Lan

36、eBrick LaneEstablished in 2014, the Martin Parr Foundation found a permanent home in a live- work factory conversion in south-east Bristol last year. Parr spent 18 months looking for a suitable location for the studio, gallery, library and archive, and partly funded the project through the sale of 1

37、2,000 photobooks to Tate earlier in the year. (The collection was part gifted to Tate by Parr). The Foundation aims to support and promote photography from the British Isles, whether created by British and Irish photographers or shot by international artists. On a personal note, Parr hopes to use th

38、e Foundation to champion overlooked bodies of work such as Paul Trevors In Your Face, which will be displayed at the gallery this autumn. Paul Trevor took up photography at the age of 25, having quit his job as an accountant. As a teenager he excelled at table tennis and suggests the rapid hand-eye

39、coordination he developed translated well to his photography. The young photographer was a storyteller at heart, with a keen interest in social issues in the UK. Eager to pursue projects that mattered to him, he co-founded the Exit Photography Group in 1972 alongside Nicholas Battye, Diane Olson and

40、 Alex Slotzkin (Magnum photographer Chris Steele-Perkins became a member shortly afterwards). Over the following decade with various changes to the ON SHOW A storyteller with a keen interest in social issues and collaboration, Paul Trevor was not afraid to reveal the less palatable side of the UK in

41、 the 1970s and 80s, as Tracy Calder discovers.NEWSAll images Paul TrevorThe City19B+WBrick LaneIN YOUR FACE is on show until 22 December at the Martin Parr Foundation, 316 Paintworks, Arnos Vale, Bristol, BS4 3AR. The Foundation is open to the public from Wednesday to Saturday, 11am to 6pm, martinpa

42、rrfoundation.orgoriginal line-up the group produced two excellent documentary books: Down Wapping and Survival Programmes: In Britains Inner Cities, as well as various exhibitions of their work. The pictures that the Exit Photography Group created revealed the shocking extent of inner-city poverty a

43、cross Britain during the 1970s. Each of the artists made images in London and Glasgow, as well as a city of their choosing Paul Trevor opted for Liverpool. In an article for Photoworks, Chris Steele-Perkins remembers the time with some fondness. There was a different relationship that people had to

44、photography then, compared to now, he suggests. People welcomed us into their homes, litres of tea were drunk. We slept on floors, friends sofas, cheap B their strength of character and power shines out. Of course, these women who are powerful in their own right were being used to front advertising

45、campaigns, so our celebration of them is perhaps tainted by their placement to sell expensive clothes clothes aimed at a younger audience.The hinterland of late middle age seems not to be as compassionate or frankly cutting the same slack afforded to these celebrated septuagenarian and octogenarians

46、. For those in their middle years the media instructs that this is the time when women should really be making their last ditch attempts to stay young as this is their only hope of remaining visible. The women I have photographed attest to this fear, their worry being that I will make them look old

47、and there can be no worse crime. I can understand, I prefer to stay firmly behind the camera myself, the few forays in front of it recently do nothing to reassure me that I am not turning into my mother. In making these pictures, I feel a responsibility towards the subjects of my gaze, aware that it has been formed unconsciously through decades of stereotyping and however hard I try not to fall into familiar traps Im afraid that I might. My goal is for a kind of honesty on both sides, so I will sit it out and wait for th