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(%2% )3 3/-%4().' VERY SPECIAL ABOUT A WELL PREPARED PRIVATEER RALLY CAR 72# MACHINERY ALTHOUGH PUSHING FORWARD TECHNOLOGICAL BOUNDARIES AND MAKING MILLIONAIRES OF THEIR DRIVERS ARE ESSENTIALLY CORPORATE BUCKETS WHICH THOUGH RAPID ARE LARGELY FACELESS 0RIVATEER CARS BY COMPARISON REmECT THEIR DRIVERS PERSONALITIES AND INDIVIDUALITY AND THEIR DETERMINATION TO WORK TO BOTH LIMITED TIME PRIVATEERS ALL HAVE DAY JOBS DON T FORGET AND AN EVEN STRICTER BUDGET .EVER MORE SO THAN THIS GORGEOUS LITTLE '4) BELONGING TO DRIVER 2ICHARD #LEWS 2ICHARD IS NO STRANGER TO RALLYING HAVING BRILLIANTLY CAMPAIGNED A -INI #OOPER IN THE -3! !SPHALT CHAMPIONSHIP FOR A COUPLE OF SEASONS "UT WHEN THE BELOVED -INI lNALLY LOST ITS &)! HOMOLOGATION AT THE END OF IT WAS TIME TO LOOK FOR A NEW SET OF WHEELS

AND AFTER RESEARCHING THE MOST COMPETITIVE OPTIONS 2ICHARD DECIDED ON THIS 0EUGEOT )T WAS TO PROVE A GOOD CHOICE AS LAST YEAR HE WON HIS CLASS IN THE -3! .ATIONAL !SPHALT #HAMPIONSHIP AND IS SET TO REPEAT HIS VICTORIES THIS SEASON "UT AS 2ICHARD KNOWS BEHIND EVERY GOOD DRIVER IS A DEDICATE TEAM KEEPING HIM GOING !ND IN HIS CASE THE DEDICATED SPANNERMEN COME IN THE FORM OF WELL RENOWNED RALLY EXPERTS #OVENTRY !UTOMOTIVE FRONTED BY 4REVOR 'ODWIN HIMSELF NO STRANGER TO COMPETITION HAVING AN ILLUSTRIOUS RALLYING RECORD IN A VARIETY OF "-# CARS FROM THE S TO PRESENT DAY h) OWE EVERYTHING TO 4REVOR AND HIS TEAM v DECLARES 2ICHARD h7ITHOUT THEM MY SPONSORS AND MY FATHER THERE WOULD BE NO 2ICHARD #LEWS THE RALLY DRIVER 4HE WHOLE TEAM IS A VERY TIGHTLY KNIT FAMILY AND WE EACH KNOW THE CAR INCREDIBLE WELL HAVING RElNED IT AND TWEAKED IT TO SUIT THE CONDITIONS AND MY DRIVING

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ETAL POLISHER 2ICARDO .ALDO LIKES HIS ANGLE GRINDERS 4HEY PROVIDE THE IDEAL ANTIDOTE TO A HARD DAY S POLISHING -AKING BEAUTIFUL THINGS FROM CHUNKS OF TARNISHED ALLOY IS AN ARDUOUS BUSINESS SO THE KNARLED EDGES OF A GRINDER WITH SPARKS A mYING GIVES 2ICARDO A KIND OF INNER PEACE !ND FROM THAT KARMIC STATE GREAT THINGS ARE POSSIBLE ,IKE THIS A THAT SAYS MORE ABOUT 2ICARDO S ATTENTION TO DETAIL THAN ANY POLISHED MANIFOLD EVER COULD ,OOK CAREFULLY AT THIS CAR AND IT WON T BE LONG BEFORE YOUR EYES GLIDE OVER THE GLEAMING PAINTWORK TO THE REAR ARCHES 4HEY ARE BEAUTIFULLY BLENDED INTO THE S BODY AND COME STRAIGHT FROM THE MIND OF A MAN FOR WHO SECOND RATE IS NEVER GOOD ENOUGH -AKING A PERSONAL STATEMENT IS WHAT THIS CAR IS ALL ABOUT AND TO GET TO THE BOTTOM OF 2ICARDO S MOTIVES IT S IMPORTANT TO UNDERSTAND THE BACKGROUND

&2/- 2!7 "%')..).'3 2ICARDO CAME TO THE 5+ FROM HIS NATIVE 0ORTUGAL FOUR YEARS AGO AND STARTED WORKING FOR A METAL POLISHER IN THE %AST -IDLANDS LEARNING HIS TRADE AND SPENDING HOURS UNDERSTANDING THE COMPLEXITIES OF VARIOUS METALS AND ALLOYS 'RADUALLY AS HIS UNDERSTANDING DEEPENED SO DID HIS COMMITMENT TO GETTING THE ABSOLUTE BEST FROM HIS MATERIALS 4HIS PASSION SOON lLTERED ACROSS THE WORKSHOP OUT THE DOOR AND ONTO THE STREET WHERE HIS CAR SAT ! ONCE STANDARD AND SLIGHTLY TIRED '4) WAS TO UNDERTAKE A #INDERELLA LIKE TRANSFORMATION OVER THE NEXT TWO YEARS AS 2ICARDO SET ABOUT SHOWING OFF HIS POLISHING PROWESS WITH GUSTO h4HE lRST THING ) DID WAS TO SORT THE WHEELS OUT v HE REMEMBERS h-Y GIRLFRIEND THOUGHT IT WAS A BIT OF A LADY S CAR WITH ITS STANDARD ALLOYS AND ) AGREED "UT ) KNEW THAT IT COULD LOOK REALLY NICE AFTER ) HAD PUT MY IDEAS INTO ACTION ) HAD A VISION IN MY HEAD STRAIGHT AWAY OF WHAT ) WANTED AND AFTER THE WHEELS HAD BEEN CHANGED THE ARCHES REALLY STOOD OUT AS AREAS

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THAT COULD BE IMPROVED v 2ICARDO EXPLAINS .OT ONE TO DO THING BY HALVES HE DECIDED THAT THE BEST LOOK FOR HIS WOULD BE A HOME BREWED WIDE ARCH LOOK A KIND OF NOD TO THE 'ROUP " RALLY CARS OF THE DAY BUT WITH A STREET LOOK THROWN IN FOR GOOD MEASURE 7ITH NO DECENT KITS TO BUY OFF THE SHELF THAT REALLY APPEALED TO HIM THERE WAS ONLY ONE WAY FORWARD OUT WITH THE ANGLE GRINDER AND ATTACK A .ISSAN 3UNNY IN SCRAPYARD .O ) M NOT JOKING ,OOK VERY CAREFULLY AND YOU LL SEE THAT THE REARS OF 2ICARDO S ARE ACTUALLY THE FRONT WINGS OFF A CAR YOUR GRANDAD WOULD DRIVE 2ICARDO EXPLAINS h7E BANGED THE OLD WINGS OUT AND WITH A BIT OF WELDING GOT THE .ISSAN WINGS TO lT PRETTY EASILY v HE SMILES !ND THE OLD CAR BITS DON T END THERE EITHER ,OOK CLOSELY AND YOU MIGHT SPOT THAT THE FRONT SPOILER IS THAT OF A -ITSUBISHI %VO 4HERE S NOT A HINT OF BODGE ABOUT ALL THIS DETAILING THOUGH n 2ICARDO S WORKMANSHIP IS lRST CLASS h)T S NICE TO MAKE A CAR THAT IS SPECIAL A ONE OFF ) LIKE THESE PROJECTS BECAUSE ) CONSIDER IT A KIND OF ARTISTRY 0AINTERS USE PAINT ) USE METAL v HE MUSES

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Above: Cover and main feature commisisoned by Kelsey Publishing for Modern MINI magazine, October 2008

About David Corfield

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(%2% !2% WIND TURBINES ON TOP OF /VENDEN -OOR AND TOGETHER THEY GENERATE MEGAWATTS OF ELECTRICITY ENOUGH TO BOIL KETTLES IN OVER HOMES "UT RIGHT NOW ) DON T GIVE A RAT S ASS BECAUSE THERE S A BLACK AS NIGHT 3AXO IN FRONT OF MY CAMERA THAT S DOING MORE TO m ICK MY SWITCH THAN ANYTHING % /. COULD EVER MUSTER #RAIG !RMSTRONG IS THE MAN RESPONSIBLE FOR THIS ASSAULT ON MY SENSES AND HIS 3AXO HAS BEEN RAISING MORE THAN A FEW EYEBROWS AT THE SHOWS THIS YEAR PICKING UP "EST 3AXO AWARD AT THE &RENCH #AR 3HOW AND ALSO WINNING THE 3AXPERIENCE 3HOW @N 3HINE AT 4RAX (E S IMMEDIATELY LIKEABLE IS #RAIG WITH AN INFECTIOUS ENTHUSIASM (E S BEEN DOWN THE STYLING ROAD IN THE PAST WITH A VARIETY OF CARS INCLUDING A 6AUXHALL 68 AND A &ORD %SCORT 23 BUT HAS RETURNED TO THE 3AXO SCENE BECAUSE AS HE PUTS IT h) HAVE ALWAYS LOVED THE WAY THEY LOOK AND HANDLE EVEN IN STANDARD FORM 4HEY ARE SO EASY TO TUNE AND PERSONALISE .OTHING BEATS THE FEELING YOU GET WHEN GIVING A 3AXO A DRIVE AROUND THE TWISTIES v ) PRESUME HE S TALKING ABOUT THE ABUNDANT " ROADS IN THIS PART OF THE WORLD RATHER THAN SOMETHING MORE ANATOMICAL 4HERE IS NO DOUBT THOUGH THAT HE S CERTAINLY GIVEN THIS 3AXO A MIGHTY PAIR OF BOLLOCKS h4HE CAR WAS ALREADY PRETTY WELL SPECCED UP WHEN ) BOUGHT IT v HE REVEALS h)T HAD HAD A LOAD OF MONEY SPENT ON IT BY THE PREVIOUS OWNER THE BUMPERS RUBBING STRIPS AND MIRRORS HAD BEEN COLOUR CODED IT HAD BEEN LOWERED ON 3PAX SUSPENSION ,EXUS REAR LIGHTS HAD BEEN l TTED AND THE FRONTS HAD BEEN SMOKED AS WELL PLUS IT WAS RIDING ON IN /: (YDRAS WITH #ONTINENTAL TYRES v !S IF THAT WASN T ENOUGH INSIDE WAS A TASTY SET OF 3PARCO 4ORINO FRONT SEATS h"UT THE 0IECE DE 2ÏSISTANCE n AND THE REASON ) BOUGHT THE CAR WITHOUT EVEN CONSIDERING ANOTHER 643 n WAS THE ENGINE SPECIl CATIONv HE WINKS h)T HAD HAD AN ,!$ %VO CONVERSION WHICH WAS GOOD FOR BHP

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have been a photographer for 25 years and have worked in magazine publishing for the last 15. My principle areas of interest have always been motoring and photography and I have successfully launched and relaunched magazines in both markets. “I have a deep love affair with photography and have forged lasting relationships with camera manufacturers over the last 12 years in the photographic industry. As a former editor of Pixel, the weekly industry magazine for the photographic trade, I have further strengthened my links with manufacturers and distributors and as an independent consultant I have written brochures, press releases and advised on marketing strategies and product launches for several camera manufacturers and highprofile photofinishers. “David Corfield Communications is the name of my company and I work with a close collective of designers, photographers and journalists who assist me in providing flexible and cost-effective solutions to PR and marketing challenges. “We have low overheads but high aspirations and work closely with our clients to not only meet their expectations, but to exceed them.”

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WIN! A superb Sekonic L-758 lightmeter worth ÂŁ350

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One lens, one chance?

Is it possible to photograph the character of a town in under an hour? It is when the lens you use is Tamron’s new 28-300mm zoom

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oom lenses have come a long way since the first one was made way back in 1902. In the 196 years since the first one was revealed to the world, improvements have been so steady and progressive that we reached a point several years ago where the standard lens became a standard zoom, bringing creativity and flexibility within the reach of every photographer. In general terms the world has come to accept that bigger is better - but how true is that of a telezoom? The longer the focal length, the more prone you are to camera shake ruining your shot. Not so with this Tamron, which now

boasts image stabilisation - a most useful feature. The proprietary VC (Vibration Compensation) mechanism developed by Tamron features a triaxial configuration using three pairs of driving coils and slide balls around the compensator group of the lens’ optical system. Since the compensator lenses are supported with rolling friction of the balls, the response performance is enhanced and the construction is simple, which results in the compactness of the lens. The lens incorporates a highly accurate gyro sensor for detecting shake which, combined with a 32-bit CPU ‘brain’, offers anti-vibration effective up to 4 stops.

Of course let’s not forget that Tamron also has a legendary reputation for first-class optics and this updated 28-300mm f/3.5-6.3 zoom with macro capability steers it into the 35mm SLR equivalent of a 44-460mm lens: that’s a remarkable 10.7x zoom range. It’s a Di optic and that, for those unfamiliar with modern lens terminology, stands for ‘Digitally integrated’. Thanks to a special coating on the rear element that helps to cut down the reflective problems associated with digital sensors the lens is more than capable of putting in a good performance either on a film SLR or a digital one.

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DECEMBER 2007

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/5 #!. '/ OFF PEOPLE SOMETIMES 7E RE SAT IN THE CORNER OF ,ONDON S (OLBORN 3TUDIOS WATCHING 3TEPHEN 0ERRY SHOOT MODEL +ATIE $OWNS IN VARIOUS STAGES OF UNDRESS /N A CHALK BOARD HANGING LOOSELY FROM THE STUDIO DOOR IS WRITTEN SIMPLY @3TEPHEN 0ERRY n .UTS

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7E RE TALKING ABOUT THE MAGAZINE YOU UNDERSTAND NOT HIS STATE OF MIND "UT YOU D BE FORGIVEN FOR THINKING OTHERWISE )N THE l CKLE FRANTIC WORLD OF PROFESSIONAL PHOTOGRAPHY YOU D THINK THAT RIGHT HERE RIGHT NOW 3TEPHEN 0ERRY HAS THE BEST JOB IN THE WORLD AND YOU D BE RIGHTx TO A POINT )T S EASY TO LOSE A GRIP ON REALITY AND 0ERRY HAS LOOKED OVER THE PRECIPICE MANY TIMES !FTER TWO AND A HALF YEARS ASSISTING ONE OF PHOTOGRAPHY S HARDEST TASKMASTERS THE LATE GREAT 4ERENCE $ONOVAN 0ERRY S APPROACH TO HIS CRAFT HAS ALWAYS BEEN DOWN TO EARTH AND METICULOUS $ESPITE THE DISTRACTIONS OF BEAUTIFUL WOMEN AND GORGEOUS CARS HE REMAINS FOCUSED ON HIS ART WITH A REAL DETERMINATION TO SUCCEED IN A PROFESSION KNOWN FOR BURNOUT 0ERRY STARTED LATE IN PHOTOGRAPHY AND WITHIN A FEW MONTHS OF l NDING HIS FEET AS AN ASSISTANT HE WAS OFFERED THE CHANCE TO WORK FOR $ONOVAN &OR A YEAR OLD WITH BIG AMBITIONS IT WAS THE OPPORTUNITY OF A LIFETIME h) CAME INTO HIS STUDIO AT THE TIME HE WAS DIRECTING 2OBERT 0ALMER S 3IMPLY IRRESISTIBLE POP VIDEO 4HIS WAS A VIDEO WHICH CAPTURED THE WORLD S IMAGINATION AND FOLLOWED THE EVEN BETTER KNOWN !DDICTED TO LOVE VIDEO WHICH HAD A LOAD OF STUNNING GIRLS STANDING BEHIND 0ALMER ALL WEARING THE SAME

MAKE UP ALL PLAYING DRUMS AND GUITAR AND STUFF $ONOVAN LIT IT BEAUTIFULLY AND IT WAS A JOY TO WATCH IT HAPPEN IN REAL TIME )T WAS THE S AND MONEY WAS EVERYWHERE ) FELT ) WAS PRETTY LUCKY TO ASSIST SUCH A BIG NAME AND ) REMEMBER THINKING @)F ) DON T STICK THIS OUT ) M GOING TO LOOK LIKE A RIGHT TIT !ND FUNNILY ENOUGH WITH $ONOVAN WHEN ) l NALLY DID l GHT BACK AFTER A PARTICULARLY CLOSE ENCOUNTER WHEN ) THOUGHT HE WAS ACTUALLY GOING TO HIT ME FOR PUTTING ONE OF HIS CAMERAS DOWN TOO HARD ON THE TABLE $ONOVAN WAS KNOWN FOR HIS PREOCCUPATION FOR BEING NICER TO CAMERAS THAN SOME PEOPLE HE RESPECTED ME A WHOLE LOT MORE v 2ESPECT IS SOMETHING YOU EARN IN ANY BUSINESS AND NOWHERE IS THIS MORE APT THAN IN PHOTOGRAPHY 7HEN 0ERRY l NALLY WALKED OUT OF $ONOVAN S STUDIO FOR THE VERY LAST TIME HE FELT HE COULD TAKE ON ANYTHING (E D EARNED THE RESPECT OF HIS OVERBEARING BOSS AND TO HIM THAT WAS ENOUGH h)T WAS CATHARTIC LIKE A REAL RELEASE v 0ERRY RECALLS hIF A LITTLE NERVE WRACKING "UT ) WAS FORTUNATE IN THAT ) D BUILT UP SOME SOLID CONTACTS IN THE TWO AND A HALF YEARS ) D WORKED FOR HIM AND ) WAS SOON SHOOTING TESTS FOR MODELS AND BUILDING UP A GOOD PORTFOLIO v 'OING FROM ASSISTANT TO PHOTOGRAPHER IS A HUGE LEAP OF FAITH FROM BOTH A NEW PHOTOGRAPHER S AND A CLIENT S POINT OF VIEW 0ERRY EVEN NOW ADMITS TO A FEW NERVES h)T S A GOOD THING TO HAVE THEM v HE SMILES h%VEN $ONOVAN USED TO GET VERY WOUND UP BEFORE A SHOOT ) DON T THINK CREATIVELY WHEN ) GET STRESSED THOUGH )F ) DO ) GO TO PIECES

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Life on the road for The Police was hardly what you would call dull. for Summers (seen on the right) a camera was never far away to record the sights.

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42 $ 9 Christmas 2007

ISSUE NO.79

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MEMORY MODE

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“This was a classic backlit situation where an incamera meter would have been fooled into underexposure,� Perry told me. “Kylie is standing in a doorway and I wanted the light outside to be totally overexposed to give the shot a sort of dreamy effect. I used the meter with lumisphere retracted and took a reading from her back. It’s dead accurate and means that I could leave the meter to calculate perfectly the required amount of flash to light the subject but not kill the mood. This is a classic situation where most other meters would calculate too much flash.�

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“The shadowy nature of this shot was something I wanted to exploit and to get the perfect exposure in this instance I took a few different readings from around the scene, which the meter then averaged out for me. “Taking multiple readings is a good idea and easy to do with a meter like this. All I had to do was set it to ‘Multi’ mode and the meter stored individual readings for me, averaging them out once I’d finished. Absolutely brilliant.�

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Haunting images from Tom Stoddart

Your pictures published

Mono magic from readers!

The art of seeing

Eastern promise

Japan’s photo pedigree

Think your way to better Black & white!

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Above: GMC Publications Ltd contracted David Corfield to edit Black & White Photography magazine and oversee a relaunch in 2007/8.

ALL WEATHER DESIGN #NN DWVVQPU UYKVEJGU CPF EQORCTVOGPVU CTG UGCNGF CPF VJG OGVGT JQWUKPI JCU DGGP EQPUVTWEVGF YKVJ FWTCDNG TWIIGF EQPFKVKQPU KP OKPF +FGCN HQT UJQQVKPI KP UCPF[ TCKP[ QT JWOKF EQPFKVKQPU

OPTIONAL RADIO TRANSMITTER 'NGEVTQPKE HNCUJ WPKVU CPF QT ECOGTCU ECP DG VTKIIGTGF YKTGNGUUN[ HTQO GKVJGT VJG . OGVGT²U QRVKQPCN RNWI KP OWNVK EJCPPGN FKIKVCN TCFKQ VTCPUOKVVGT 6JKU OGCPU PQ OQTG VTKRRKPI QXGT U[PE EQTFU QT HWODNKPI YKVJ 2% EQPPGEVQTU 6JG VTCPUOKVVGT KU HWNN[ EQORCVKDNG YKVJ CNN 2QEMGV9K\CTF &KIKVCN 4CFKQ 4GEGKXGTU RNWU VJGUG OGVGTU ECP UKOWNVCPGQWUN[ VTKIIGT CPF OGCUWTG [QWT GNGEVTQPKE HNCUJ WPKVU WR VQ HGGV CYC[ KFGCN YJGP QP NQECVKQP

WIN! As a special treat, thanks to our friends at Johnsons Distribution, we have one Sekonic L-358 meter to give away in a special easy-to-enter competition. All you have to do is answer the following question and send us your entry on a postcard to: Sekonic L-358 giveaway Black & White Photography Magazine 86 High Street Lewes East Sussex BN7 1XU Question: When shooting snowy scenes, a camera meter can easily give you a false reading. Should you: (a) underexpose by two stops, (b) overexpose by two stops or (c) put the kettle on. Answers by 6 December 2007

About David Corfield

.'+%# /2 PRICE ÂŁ2,400 for the body, ÂŁ1,520 for the 35mm f/1.2 Summicron lens. Prices include VAT. CAMERA TYPE Compact 35 mm rangefinder system

+3 diopter available. Bright line frames activated in pairs: for 28 and 90 mm, 35 and 135 mm or 50 and 75 mm. Automatically displayed when the lens is mounted.

camera with mechanically controlled shutter. LENSES Leica M bayonet mount. Camera accepts

Leica?

Leica M-series lenses from 21-135 mm.

+ NQXG JGT I

/756 #&/+6 + *#& /; FQWDVU ¹6*+5 ECOGTC YKNN QRGP FQQTU HQT [QW ² UCKF VJG OCP HTQO .GKEC #PF CU + NGHV + NQQMGF FQYP CV VJG ECTTKGT DCI DGCTKPI VJCV HCOQWU TGF FQV CPF CNOQUV KOOGFKCVGN[ + UVCTVGF VQ HGGN VJCV + JCF LWUV UKIPGF O[UGNH KPVQ C TCVJGT URGEKCN ENWD +V²U C YGKTF HGGNKPI %[PKECN JCEM VJCV + CO +²O YGNN VTCKPGF VQ UPKHH QWV VJG DWNNUJKV QH OCTMGVGGTU DWV VJKU NKVVNG ECOGTC JCU GPFGCTGF KVUGNH VQ OG KP C YC[ + PGXGT VJQWIJV RQUUKDNG +V KU CHVGT CNN QPN[ C VQQN $WV CU + CO FKUEQXGTKPI PGCTN[ GXGT[ FC[ DGECWUG VJCV²U JQY QHVGP + WUG KV VJKU ECOGTC EJCPIGU VJG YC[ [QW VCMG RKEVWTGU 1PEG [QW²XG OCUVGTGF VJG CTV QH NQCFKPI HKNO #CCJ [GU (KNO +V JCF DGGP C YJKNG UKPEG +²F NQCFGF C TQNN QH OO KPVQ CP / UGTKGU ECOGTC CPF KV UJQYGF QP O[ HKTUV CVVGORV 9JKNG + NQXG VJG VCEVKNG PCVWTG QH C TQNN QH VJG MKPMU CPF IGPGTCN DWEMNGF UVCVG QH VJG NGCFGT UWIIGUVGF QVJGTYKUG .QCFKPI HTQO WPFGTPGCVJ VJG VGORVCVKQP KU CNYC[U VQ TWUJ VJG RTQEGUU CPF VJKU KU C DKI OKUVCMG 6JG KPHCOQWU RCRCTC\\Q 4KEJCTF ;QWPI QPEG FGENCTGF JG EQWNF NQCF HKNO KPVQ JKU .GKEC / YJKNG TWPPKPI DCEMYCTFU FQYP VJG UVGRU QH 6JG &QTEJGUVGT /G! + IQV KV TKIJV QP O[ UGEQPF CVVGORV YJKEJ + UWRRQUG KU PQV DCF 0GXGT TWUJ KV CPF VJCV KU

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VIEWFINDER Large, bright line frame viewfinder with automatic parallax compensation. Viewfinder optical system with reduced stray light sensitivity and optimum visibility of all bright line frames. Eyepiece calibrated to -0.5 dpt. Correction lenses from -3 to

QH LWUV QPG VQ UGE +51 TCPIG KU C NKVVNG DGVVGT VJG UQNG GNGEVTKECN KVGO QP VJG /2 DGKPI C DWKNV KP OGVGT YKVJ +51 URGGFU HTQO VQ KP VYQ UVQR KPETGOGPVU 6JG HQEWUKPI KU FQPG OCPWCNN[ QH EQWTUG QP VJG NGPU YKVJ C WUGHWN NKVVNG VJWOD ITKR VQ CKF DWV VJG

EXPOSURE METERING Exposure metering through the lens (TTL), selectively with working aperture. Centre-weighted metering spot has a diameter of 12 mm which corresponds to approx. 13% of the full film format.

SHUTTER SPEEDS 1-1/1000sec plus B SHUTTER TYPE Rubberised cloth focal plane shutter

with horizontal movement; extremely quiet. Mechanically controlled. DIMENSIONS 138 mm x 77 mm x 38 mm WEIGHT 585 g

An Englishman in

New York H His uncanny ability to get beneath the surface of some of the most media-savvy faces has elevated Nigel Parry to unprecedented heights.

E SOUNDS A BIT LIKE PARKY and has the same disarming manner. Where the genial chat show host warms frosty celebs with gently probing questions, Parry does the same with a roll of film. He came to photography in a roundabout fashion, with no formal training but plenty of enthusiasm, and today is one of the most sought after celeb snappers.

“I’d been using a camera since the age of 14, and by 16 I’d taught myself how to process and print colour negatives,� he says. “But it wasn’t until later in my life, after I’d been working as a designer for a few years, that I realised I could earn a better living taking photos professionally.� Parry’s then boss at publishing house Faber & Faber allowed him the flexibility of taking one day off a week to go out and photograph people, many of whom were the subjects of the company’s book jackets he designed. “As a designer, I knew exactly the kind of pictures I wanted, so it seemed fair enough to go out and shoot the pictures for the book jackets myself.� This was to be a big turning point in Parry’s professional life – he found that he could earn more in one day as a photographer than in four as a designer. Something had to be done. “I had an exhibition at the Groucho Club in London in 1989,� he recalls. “It caught the attention of Nigel Skelsey, picture editor of The Sunday Telegraph.� He saw Parry’s work and immediately set to work on getting him published. Skelsey recalls Parry’s obsessive attention to detail. “He used to come into The Sunday Telegraph office with a box of 12x16in fibre-based black &

white prints under his arm. Two or three prints would be all that he’d produce from a typical shoot. He’d never show us his contact sheets, his attitude was: ‘Here is the picture. Take it or leave it.’ It wasn’t arrogance, it was just his way. And anyway, we always took the pictures.� It was this experience that eventually led Nigel to the States. “I worked on all sorts of picture stories in the UK for Nigel Skelsey and as a reward for all my hard work he sent me to New York to photograph Quentin Crisp,� says Parry. “It was on that trip that I realised how getting under the skin of well-known subjects and trying to reveal something extra about them was what made photography exciting for me. And to get the A-list celebrities I wanted, I had to be in the USA. “I came back to New York in 1992 to shoot Meryl Streep for The New York Times,� he says, “and it was then that I saw just how Americans treated photography. The magazine editors of the time took a more serious view and saw it as a powerful tool. This was a very different way to how the British treated it at the time. I found it the best environment to work in and the subjects I worked with were really into the

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CONTACT Leica Camera (UK), Davy Avenue, FILM SPEED RANGE ISO 6/9 to ISO 6400/39°. FLASH SYNCHRONISATION SPEED 1/50sec and below

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Knowlhill, Milton Keynes MK5 8LB www.leica-camera.co.uk tel 01908 256400

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LEFT A useful test of the MP’s meter, this. And like all centre-weighted meters it instantly underexposed this backlit scene. Careful metering for the shadow areas with some judicious braketing on the part of the photographer, though, and detail was retained across the negative. Scanning it into a Nikon CoolScan later and with some messing around in Photoshop results in a fusion of old and new technologies. Perfect!

Christmas 2007 $ 9 37

36 $ 9 Christmas 2007

74 | Practical Photography

Your questions answered by Les McLean

A reporter’s eye

THREE FLASH MEASUREMENT TYPES

SPECIFICATION

ĂƒAbout Nigel Parry

Darkroom dilemmas!

Kylie, photographed by Stephen Perry

December 2007 $ 9 57

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Parry’s clients include Vanity Fair, Esquire and GQ. His expertise has also been employed by the likes of Pepsi and Warner Bros. Parry is represented by CPI, visit www.cpi-ny.com

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56 $ 9 December 2007

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Black&White 2007 ÂŁ3.99 December Issue 79

APHOTOGRAPHERS’INSTITUTEPRESSMAGAZINE

BLACK&WHITE PHOTOGRAPHY

HeZX^[^XVi^dch

s

y specialist area of expertise is the photographic press. I started out as a features writer for Practical Photography in 1996 and rose within the ranks at Emap to become Features Editor on Photo Answers and Practical Photography between the years of 1996 to 2000. “I was around at the time when digital photography was starting to really take a hold on the consumer and was part of the development team who were assembled by Emap management to launch what is now the largest selling photography magazine un the UK, Digital Photo. At the time it was called Digital Photo FX and the then editor, Peter Bargh, later went on to launch ePhotozine.com, now the biggest online portal for enthusiast photographers. “I left Emap in 2000 to edit VW Motoring magazine but was headhunted by Archant Specialist two years later to help establish Photography Monthly as Assistant Editor. I remained with the company for a further two years, leaving in 2004 to establish myself as a freelance editorial consultant under my company David Corfield Communications. “Since then I have gone on to cement my reputation as a photographic expert by editing various photo industry magazines and journals, as well as write brochures and direct PR campaigns for many photographic clients.�

O U R EY ES, YO U R V I S I O N EN HA NC E YO U R P EN TAX EX P ERIEN CE 1 Above: Pentax digital SLR system brochure, written by David Corfield for Pentax Great Britain, October 2006

DAVID CORFIELD PROFILE magazine editor, writer and photographer key strengths: leadership, communication and an eye for detail PERSONAL DETAILS Born September 14, 1968 Lives in Tixover, Rutland Full driver’s licence CAREER PATH 2004 - date

FREELANCE WRITER AND PHOTOGRAPHER Established David Corfield Communications, offering freelance editing and photography services to a wide variety of clients. News Editor of Octane magazine. Editor of Black & White Photography magazine. Editor of Pixel (weekly photo trade magazine). Launched Total Audi magazine and presented TV programme for the Audi Channel. Contributing writer and photographer for Performance French Cars and Modern MINI magazines. Media officer for the World Rally Championship on Rally Finland and Rally GB. Provided PR analysis and brochure editorial for Fujifilm. Provided PR service for Vivitar cameras.

2002 - 2004

ARCHANT PLC Deputy Editor, Photography Monthly magazine. Duties included flatplanning, magazine production, commissioning journalists, liaising with repro house, budgeting, interviewing photographers and developing the magazine’s website.

2000 - 2002

WARNERS GROUP PUBLICATIONS PLC Editor, VW Motoring magazine. Responsible for editorial direction, content and implementation of ideas. Worked closely with advertising team to achieve success in generating revenue though the magazine’s online presence.

1996 - 2000

EMAP ACTIVE LTD Features Editor, Practical Photography and Photo Answers magazines. Main responsibilities included the generation of feature ideas, interviewing readers and photographers and writing technique features on all aspects of photography.

1993 - 1996

FREELANCE WRITER AND PHOTOGRAPHER I worked with market-leading car titles including Max Power, Autocar, and What Car? magazines. My photography encompassed a wide variety of subjects including portraits, location shoots and studio work.

1987 - 1990

1982 - 1987

EDUCATION BLACKPOOL COLLEGE Graduated from HND course in Photography with Distinction. Went on to gain my Associateship from the British Institute of Professional Photography. I was sponsored by Volkswagen for my final year. PEEBLES HIGH SCHOOL O level qualifications: English, Mathematics, French, German, Physics, Modern Studies. A levels: English, French, German and Modern Studies.

Rose Cottage, Tixover, Stamford, PE9 3QL, www.davidcorfield.com, david@davidcorfield.com, 01780 444520

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