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
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